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| author | nfenwick <nfenwick@pglaf.org> | 2025-03-09 00:04:26 -0800 |
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| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-09 00:04:26 -0800 |
| commit | 2565fc4f2101f0160081c531099788effbce29ec (patch) | |
| tree | 4345815d44c64d9cbb44c704362caa8036660a5e /40250-h | |
| parent | 10f78488fda99d4a6598597a576bdcc617001101 (diff) | |
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| -rw-r--r-- | 40250-h/40250-h.htm | 667 |
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diff --git a/40250-h/40250-h.htm b/40250-h/40250-h.htm index 6307237..809d9e5 100644 --- a/40250-h/40250-h.htm +++ b/40250-h/40250-h.htm @@ -3,7 +3,7 @@ <html lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1"> + <meta http-equiv="Content-Type" content="text/html; charset=UTF-8"> <title> The Project Gutenberg eBook of Of the Decorative Illustration of Books Old and New, by Walter Crane. </title> @@ -213,48 +213,7 @@ tr.spaceAbove > td </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Of the Decorative Illustration of Books Old -and New, by Walter Crane - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Of the Decorative Illustration of Books Old and New - 3rd ed. - -Author: Walter Crane - -Release Date: July 16, 2012 [EBook #40250] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK DECORATIVE ILLUSTRATION OF BOOKS *** - - - - -Produced by Chris Curnow, Linda Hamilton, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 40250 ***</div> <div class="transcribers"> @@ -490,15 +449,15 @@ AND TREATMENT. <a href="#chapter5">279.</a></p> <tr><td align="left" colspan="2"><span class="toctitle">GERMAN SCHOOL, XVTH CENTURY.</span></td><td align="right" valign="bottom" width="20%"><span style="font-weight:bold;font-size:.9em;">PAGE</span></td></tr> <tr><td width="10%"> </td><td align="left" valign="top"><span class="toctext">"Leiden Christi." (Bamberg, 1470)</span></td><td align="right" valign="bottom" width="25%"><A href="#i_018">3</a></td></tr> <tr><td> </td><td align="left" width="65%"><span class="toctext">Boccaccio, "De Claris Mulieribus." (Ulm, 1473)</span></td><td align="right" valign="bottom"><a href="#i_022">7</a>, <a href="#i_026">11</a></td></tr> -<tr><td> </td><td align="left" valign="top"><span class="toctext">"Buch von den sieben Todsünden." (Augsburg, 1474)</span></td><td align="right" valign="bottom"><a href="#i_030">15</a></td> </tr> -<tr><td> </td><td align="left" valign="top"><span class="toctext">"Speculum Humanæ Vitæ." <a name="tn_png_11"></a><!--TN: Right bracket added before "Augsburg"-->(Augsburg, <i>cir.</i> 1475)</span></td><td align="right" valign="bottom"><a href="#i_032">17</a></td> </tr> +<tr><td> </td><td align="left" valign="top"><span class="toctext">"Buch von den sieben Todsünden." (Augsburg, 1474)</span></td><td align="right" valign="bottom"><a href="#i_030">15</a></td> </tr> +<tr><td> </td><td align="left" valign="top"><span class="toctext">"Speculum Humanæ Vitæ." <a name="tn_png_11"></a><!--TN: Right bracket added before "Augsburg"-->(Augsburg, <i>cir.</i> 1475)</span></td><td align="right" valign="bottom"><a href="#i_032">17</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">Bible. (Cologne, 1480)</span></td><td align="right" valign="bottom"><a href="#i_036">21</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">Terrence: "Eunuchus." (Ulm, 1486)</span></td><td align="right" valign="bottom"><a href="#i_042">27</a></td> </tr> -<tr><td> </td><td align="left" valign="top"><span class="toctext">"Chronica Hungariæ." (Augsburg, 1488)</span></td><td align="right" valign="bottom"><a href="#i_050">35</a></td> </tr> +<tr><td> </td><td align="left" valign="top"><span class="toctext">"Chronica Hungariæ." (Augsburg, 1488)</span></td><td align="right" valign="bottom"><a href="#i_050">35</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">"Hortus Sanitatis." (Mainz, 1491)</span></td><td align="right" valign="bottom"><a href="#i_054">39</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">"Chroneken der Sassen." (Mainz, 1492)</span></td><td align="right" valign="bottom"><a href="#i_056">41</a></td> </tr> -<tr><td> </td><td align="left" valign="top"><span class="toctext">Bible. (<a name="tn_png_011"></a><!--TN: "Lubeck" changed to "Lübeck"-->Lübeck, 1494)</span></td><td align="right" valign="bottom"><a href="#i_062">47</a></td> </tr> -<tr><td> </td><td align="left" valign="top"><span class="toctext">"Æsop's Fables." (Ulm, 1498)</span></td><td align="right" valign="bottom"><a href="#i_068">53</a></td> </tr> +<tr><td> </td><td align="left" valign="top"><span class="toctext">Bible. (<a name="tn_png_011"></a><!--TN: "Lubeck" changed to "Lübeck"-->Lübeck, 1494)</span></td><td align="right" valign="bottom"><a href="#i_062">47</a></td> </tr> +<tr><td> </td><td align="left" valign="top"><span class="toctext">"Æsop's Fables." (Ulm, 1498)</span></td><td align="right" valign="bottom"><a href="#i_068">53</a></td> </tr> <tr class="spaceAbove"><td align="left" colspan="2"><span class="toctitle">FLEMISH AND DUTCH SCHOOLS, XVTH CENTURY.</span></td><td> </td></tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">"Spiegel onser Behoudenisse." (Kuilenburg, 1483)</span></td><td align="right" valign="bottom"><a href="#i_040">25</a></td> </tr> @@ -510,13 +469,13 @@ AND TREATMENT. <a href="#chapter5">279.</a></p> <tr class="spaceAbove"><td align="left" colspan="2"><span class="toctitle">ITALIAN SCHOOL, XVTH CENTURY.</span></td><td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">"De Claris Mulieribus." (Ferrara, 1497)</span></td><td align="right" valign="bottom"><a href="#i_069">54</a></td> </tr> -<tr><td> </td><td align="left" valign="top"><span class="toctext">Tuppo's "Æsop." (Naples, 1485)</span></td><td align="right" valign="bottom"><a href="#i_070">55</a></td> </tr> +<tr><td> </td><td align="left" valign="top"><span class="toctext">Tuppo's "Æsop." (Naples, 1485)</span></td><td align="right" valign="bottom"><a href="#i_070">55</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">P. Cremonese's "Dante." (Venice, 1491)</span></td><td align="right" valign="bottom"><a href="#i_071">56</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">"Discovery of the Indies." (Florence, 1493)</span></td><td align="right" valign="bottom"><a href="#i_072">57</a></td> </tr> -<tr><td> </td><td align="left" valign="top"><span class="toctext">"Fior di Virtù." (Florence, 1498)</span></td><td align="right" valign="bottom"><a href="#i_073">58</a></td> </tr> +<tr><td> </td><td align="left" valign="top"><span class="toctext">"Fior di Virtù." (Florence, 1498)</span></td><td align="right" valign="bottom"><a href="#i_073">58</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">Stephanus Caesenas: "Expositio Beati Hieronymi in Psalterium." (Venice, 1498)</span></td><td align="right" valign="bottom"><a href="#i_074">59</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">"Poliphili Hypnerotomachia." (Venice, 1499)</span></td><td align="right" valign="bottom"><a href="#i_078">63</a>, <a href="#i_080">65</a></td></tr> -<tr><td> </td><td align="left" valign="top"><span class="toctext">Ketham's "Fasciculus Medicinæ." (Venice, 1493)</span></td><td align="right" valign="bottom"><a href="#i_310">295</a></td> </tr> +<tr><td> </td><td align="left" valign="top"><span class="toctext">Ketham's "Fasciculus Medicinæ." (Venice, 1493)</span></td><td align="right" valign="bottom"><a href="#i_310">295</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">Pomponius Mela. (Venice, 1478)</span></td><td align="right" valign="bottom"><a href="#i_312">297</a></td> </tr> <tr class="spaceAbove"><td align="left" colspan="2"><span class="toctitle">ITALIAN SCHOOL, XVITH CENTURY.</span></td><td> </td></tr> @@ -530,19 +489,19 @@ AND TREATMENT. <a href="#chapter5">279.</a></p> <tr><td> </td><td align="left" valign="top"><span class="toctext">Artist unknown: Portrait title: Ludovico Dolci, 1561. (Venice, Giolito, 1562)</span></td><td align="right" valign="bottom"><a href="#i_148">133</a></td> </tr> <tr class="spaceAbove"><td align="left" colspan="2"><span class="toctitle">GERMAN SCHOOL, XVITH CENTURY.</span></td><td> </td></tr> -<tr><td> </td><td align="left" valign="top"><span class="toctext">Albrecht Dürer: "Kleine Passion." (Nuremberg, 1512)</span></td><td align="right" valign="bottom"><a href="#i_096">81</a>, <a href="#i_098">83</a>, <a href="#i_100">85</a></td></tr> -<tr><td> </td><td align="left" valign="top"><span class="toctext">Albrecht Dürer: "Plutarchus Chaeroneus." (Nuremberg, 1513)</span></td><td align="right" valign="bottom"><a href="#i_102">87</a></td> </tr> -<tr><td> </td><td align="left" valign="top"><span class="toctext">Albrecht Dürer: "Plutarchus Chaeroneus." (Nuremberg, 1523)</span></td><td align="right" valign="bottom"><a href="#i_104">89</a></td> </tr> +<tr><td> </td><td align="left" valign="top"><span class="toctext">Albrecht Dürer: "Kleine Passion." (Nuremberg, 1512)</span></td><td align="right" valign="bottom"><a href="#i_096">81</a>, <a href="#i_098">83</a>, <a href="#i_100">85</a></td></tr> +<tr><td> </td><td align="left" valign="top"><span class="toctext">Albrecht Dürer: "Plutarchus Chaeroneus." (Nuremberg, 1513)</span></td><td align="right" valign="bottom"><a href="#i_102">87</a></td> </tr> +<tr><td> </td><td align="left" valign="top"><span class="toctext">Albrecht Dürer: "Plutarchus Chaeroneus." (Nuremberg, 1523)</span></td><td align="right" valign="bottom"><a href="#i_104">89</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">Hans Holbein: "Dance of Death." (Lyons, 1538)</span></td><td align="right" valign="bottom"><a href="#i_106">91</a>, <a href="#i_107">92</a></td></tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">Hans Holbein: Title-page: Gallia. (Basel, <i>cir.</i> 1524)</span></td><td align="right" valign="bottom"><a href="#i_108">93</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">Hans Holbein: Bible Cuts. (Lyons, 1538)</span></td><td align="right" valign="bottom"><a href="#i_110">95</a>, <a href="#i_111">96</a></td></tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">Ambrose Holbein: "Neues Testament." (Basel, 1523)</span></td><td align="right" valign="bottom"><a href="#i_112">97</a></td> </tr> -<tr><td> </td><td align="left" valign="top"><span class="toctext">Hans Burgmair: "Der Weiss König." (1512-14)</span></td><td align="right" valign="bottom"><a href="#i_114">99</a></td> </tr> +<tr><td> </td><td align="left" valign="top"><span class="toctext">Hans Burgmair: "Der Weiss König." (1512-14)</span></td><td align="right" valign="bottom"><a href="#i_114">99</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">Hans Burgmair: "Iornandes de Rebus Gothorum." (Augsburg, 1516)</span></td><td align="right" valign="bottom"><a href="#i_116">101</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">Hans Burgmair: "Pliny's Natural History." (Frankfort, 1582)</span></td><td align="right" valign="bottom"><a href="#i_118">103</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">Hans Burgmair: "Meerfahrt zu viln onerkannten Inseln," etc. (Augsburg, 1509)</span></td><td align="right" valign="bottom"><a href="#i_120">105</a></td> </tr> -<tr><td> </td><td align="left" valign="top"><span class="toctext">Hans Baldung Grün: "Hortulus Animæ." (Strassburg, 1511)</span></td><td align="right" valign="bottom"><a href="#i_122">107</a>, <a href="#i_123">108</a>, <a href="#i_124">109</a>, <a href="#i_125">110</a></td></tr> -<tr><td> </td><td align="left" valign="top"><span class="toctext">Hans Wächtlin: Title Page. (Strassburg, 1513)</span></td><td align="right" valign="bottom"><a href="#i_126">111</a></td> </tr> +<tr><td> </td><td align="left" valign="top"><span class="toctext">Hans Baldung Grün: "Hortulus Animæ." (Strassburg, 1511)</span></td><td align="right" valign="bottom"><a href="#i_122">107</a>, <a href="#i_123">108</a>, <a href="#i_124">109</a>, <a href="#i_125">110</a></td></tr> +<tr><td> </td><td align="left" valign="top"><span class="toctext">Hans Wächtlin: Title Page. (Strassburg, 1513)</span></td><td align="right" valign="bottom"><a href="#i_126">111</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">Hans Sebald Beham: "Das Papstthum mit seinen Gliedern." (Nuremberg, 1526)</span></td><td align="right" valign="bottom"><a href="#i_128">113</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">Reformation der bayrischen Landrecht. (Munich, 1518)</span></td><td align="right" valign="bottom"><a href="#i_132">117</a></td> </tr> <tr><td> </td><td align="left" valign="top"><span class="toctext">Fuchsius: "De Historia Stirpium." (Basel, 1542)</span></td><td align="right" valign="bottom"><a href="#i_138">123</a></td> </tr> @@ -550,7 +509,7 @@ AND TREATMENT. <a href="#chapter5">279.</a></p> <tr><td> </td><td align="left" valign="top"><span class="toctext">Johann Otmar: "Pomerium de Tempore." (Augsburg, 1502)</span></td><td align="right" valign="bottom"><a href="#i_162">147</a></td> </tr> <tr class="spaceAbove"><td align="left" colspan="2"><span class="toctitle">FRENCH SCHOOL, XVITH CENTURY.</span></td><td> </td></tr> -<tr><td> </td><td align="left" valign="top"><span class="toctext">Oronce Finé: "Quadrans Astrolabicus." (Paris, 1534)</span></td><td align="right" valign="bottom"><a href="#i_142">127</a></td> </tr> +<tr><td> </td><td align="left" valign="top"><span class="toctext">Oronce Finé: "Quadrans Astrolabicus." (Paris, 1534)</span></td><td align="right" valign="bottom"><a href="#i_142">127</a></td> </tr> <tr class="spaceAbove"><td align="left" colspan="2"><span class="toctitle">MODERN ILLUSTRATION.</span></td><td> </td></tr> <tr><td> </td><td align="left" valign="top"><span class="toctext"><a name="Page_xii" id="Page_xii"></a>William Blake: "Songs of Innocence," 1789</span></td><td align="right" valign="bottom"><a href="#i_152">137</a></td> </tr> @@ -1011,14 +970,14 @@ type.</p> <div class="figcenter" style="width:632px;padding-bottom:.5em;padding-top:.25em;"> <p class="captiontop">GERMAN SCHOOL. <span class="keepright"><span class="smcap">XVth</span> CENTURY.</span></p> <a href="images/i_030_large.png"><img src="images/i_030.png" border="0" alt="" title="" width="632" height="700"></a> -<p class="captioncenter">"BUCH VON DEN SIEBEN TODSÜNDEN UND DEN SIEBEN TUGENDEN."<br> -(AUGSBURG, BÄMLER, 1474.)</p> +<p class="captioncenter">"BUCH VON DEN SIEBEN TODSÃœNDEN UND DEN SIEBEN TUGENDEN."<br> +(AUGSBURG, BÄMLER, 1474.)</p> </div> <p>As examples of illustrated books, according to<a name="Page_16" id="Page_16"></a> -the earlier Mediæval ideas, we may look at twelfth +the earlier Mediæval ideas, we may look at twelfth and thirteenth century "Herbals," wherein different plants, very full and frank in colour and formal in design, are figured strictly with a view to the ornamentation @@ -1051,8 +1010,8 @@ and <a href="#i_332">4</a>, Appendix).</p> <div class="figcenter" style="width:451px;padding-bottom:.5em;padding-top:.25em;"> <p class="captiontop">GERMAN SCHOOL. <span class="keepright"><span class="smcap">XVth</span> CENTURY.</span></p> <a href="images/i_032_large.png"><img src="images/i_032.png" border="0" alt="" title="" width="451" height="700"></a> -<p class="captioncenter">SPECULUM HUMANÆ VITÆ. (AUGSBURG, GÜNTHER ZAINER, <i>circa</i> 1475.)<br> -(<i>Size of original, 6-5/8 in. × 10-5/16 in.</i>)</p> +<p class="captioncenter">SPECULUM HUMANÆ VITÆ. (AUGSBURG, GÃœNTHER ZAINER, <i>circa</i> 1475.)<br> +(<i>Size of original, 6-5/8 in. × 10-5/16 in.</i>)</p> </div> @@ -1097,7 +1056,7 @@ scribe or illuminator.</p> <p>There is a very remarkable Apocalypse (Brit. Mus. MSS. 17353; formerly belonging to the -Carthusian house of Vau Dieu between <a name="tn_png_032"></a><!--TN: "Liege" changed to "Liège"-->Liège and +Carthusian house of Vau Dieu between <a name="tn_png_032"></a><!--TN: "Liege" changed to "Liège"-->Liège and Aix) by French artists of the early fourteenth century, which has a series of very fine imaginative and weird designs (suggestive of Orcagna), @@ -1392,7 +1351,7 @@ Payments were made to them for the work in </td> </tr> </table> -<p class="captioncenter" style="padding-top:0em;">(<i>Original, 7-3/8 in. × 5-1/8 in.</i>)</p> +<p class="captioncenter" style="padding-top:0em;">(<i>Original, 7-3/8 in. × 5-1/8 in.</i>)</p> </div> @@ -1447,7 +1406,7 @@ which no press could possibly rival.</p> decorator, illustrator, or designer of printers' ornaments, of getting type which will harmonize pro<a name="Page_34" id="Page_34"></a>perly with his designs, did not exist with the -mediæval illuminator, who must always have been +mediæval illuminator, who must always have been sure of balancing his designs by a body of text not only beautiful in the form of its individual letters, but beautiful and rich in the effect of its mass on @@ -1477,7 +1436,7 @@ of design.</p> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">"CHRONICA HUNGARIÆ."</span> +<span class="captionbottom">"CHRONICA HUNGARIÆ."</span> </td> <td width="50%" align="right"> <span class="captionbottom">(AUGSBURG, RATDOLT, 1488.)</span> @@ -1576,7 +1535,7 @@ mouldings, as the treatment of the page becomes more pictorial and solid in colour and relief. Sometimes the borders form a distinct framework, inclosing the text and dividing its columns, as in -"The Book of Hours of René of Anjou" (Egerton<a name="Page_39" id="Page_39"></a><a name="Page_40" id="Page_40"></a><a name="Page_41" id="Page_41"></a> +"The Book of Hours of René of Anjou" (Egerton<a name="Page_39" id="Page_39"></a><a name="Page_40" id="Page_40"></a><a name="Page_41" id="Page_41"></a> <a name="Page_42" id="Page_42"></a><a name="Page_43" id="Page_43"></a> MS. 1070), and the same design is sometimes repeated differently coloured. Gradually the @@ -1611,7 +1570,7 @@ width="484" height="700"></a> <span class="captionbottom">"CHRONEKEN DER SASSEN."</span> </td> <td width="50%" align="right"> -<span class="captionbottom">(MAINZ, SCHÖFFER, 1492.)</span> +<span class="captionbottom">(MAINZ, SCHÖFFER, 1492.)</span> </td> </tr> </table> @@ -1724,10 +1683,10 @@ width="700" height="405"></a> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">FROM THE LÜBECK BIBLE.</span> +<span class="captionbottom">FROM THE LÃœBECK BIBLE.</span> </td> <td width="50%" align="right"> -<span class="captionbottom">(LÜBECK, STEFFEN ARNDES, 1494.)</span> +<span class="captionbottom">(LÃœBECK, STEFFEN ARNDES, 1494.)</span> </td> </tr> </table> @@ -1755,7 +1714,7 @@ from German printers, such as Gutenberg, Fust, and Schœffer, not to speak yet of the wonderful fertility of decorative invention, graphic force, and dramatic power of German designers, culminating -in the supreme genius of Albrecht Dürer and +in the supreme genius of Albrecht Dürer and Hans Holbein.</p> <p>The prosperous German towns, Cologne, Mainz, @@ -1908,7 +1867,7 @@ different designers and printers.</p> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">"DAS BUCH UND LEBEN DES HOCHBERÜHMTEN FABELDICHTERS ÆSOPI."</span> +<span class="captionbottom">"DAS BUCH UND LEBEN DES HOCHBERÃœHMTEN FABELDICHTERS ÆSOPI."</span> </td> <td width="50%" align="right"> <span class="captionbottom">(ULM, 1498.<a name="FNanchor_1_1" id="FNanchor_1_1"></a> @@ -1961,8 +1920,8 @@ and miniature are to be found in the Books of Hours which were produced at Paris in the later years of the fifteenth and the early years of the sixteenth -centuries (1487-1519 about) by Vérard, -Du Pré, Philip Pigouchet, Kerver, and Hardouyn.</p> +centuries (1487-1519 about) by Vérard, +Du Pré, Philip Pigouchet, Kerver, and Hardouyn.</p> <p>Specimens of these books may be seen in the British Museum, and at the Art Library at South @@ -1976,7 +1935,7 @@ printed on vellum.</p> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">TUPPO'S ÆSOP.</span> +<span class="captionbottom">TUPPO'S ÆSOP.</span> </td> <td width="50%" align="right"> <span class="captionbottom">(NAPLES, 1485.)</span> @@ -2056,7 +2015,7 @@ invention also.</p> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">FIOR DI VIRTÙ.</span> +<span class="captionbottom">FIOR DI VIRTÙ.</span> </td> <td width="50%" align="right"> <span class="captionbottom">1498 (FLORENCE, 1493?)</span> @@ -2375,13 +2334,13 @@ here given convey a good idea of what charming decorative feeling these title page designs sometimes displayed, and those greatest of designers and book decorators and illustrators, Albrecht -Dürer and Hans Holbein, showed their power +Dürer and Hans Holbein, showed their power and decorative skill, and sense of the resources of the woodcut, in the designs made by them for various title pages.</p> <p>The noble designs of the master craftsman of -Nuremberg, Albrecht Dürer, are well known. His +Nuremberg, Albrecht Dürer, are well known. His extraordinary vigour of drawing, and sense of its resources as applied to the woodcut, made him a great force in the decoration and illustration of @@ -2401,7 +2360,7 @@ given, which show him on the strictly decorative <a name="Page_90" id="Page_90"></a> <a name="Page_91" id="Page_91"></a> side. The title dated 1523 may be compared -with that of Oronce Finé (Paris, 1534). There +with that of Oronce Finé (Paris, 1534). There appears to have been a return to this convoluted knotted kind of ornament at this period. It appears in Italian MSS. earlier, and may have @@ -2414,7 +2373,7 @@ been derived from Byzantine sources.</p> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">ALBRECHT DÜRER, "KLEINE PASSION."</span> +<span class="captionbottom">ALBRECHT DÃœRER, "KLEINE PASSION."</span> </td> <td width="50%" align="right"> <span class="captionbottom">(NUREMBERG, 1512.)</span> @@ -2431,7 +2390,7 @@ been derived from Byzantine sources.</p> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">ALBRECHT DÜRER, "KLEINE PASSION."</span> +<span class="captionbottom">ALBRECHT DÃœRER, "KLEINE PASSION."</span> </td> <td width="50%" align="right"> <span class="captionbottom">(NUREMBERG, 1512.)</span> @@ -2447,7 +2406,7 @@ been derived from Byzantine sources.</p> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">ALBRECHT DÜRER, "KLEINE PASSION."</span> +<span class="captionbottom">ALBRECHT DÃœRER, "KLEINE PASSION."</span> </td> <td width="50%" align="right"> <span class="captionbottom">(NUREMBERG, 1512.)</span> @@ -2463,7 +2422,7 @@ been derived from Byzantine sources.</p> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">ALBRECHT DÜRER.</span> +<span class="captionbottom">ALBRECHT DÃœRER.</span> </td> <td width="50%" align="right"> <span class="captionbottom">(NUREMBERG, HEINRICH STEYNER, 1513.)</span> @@ -2480,7 +2439,7 @@ been derived from Byzantine sources.</p> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">DESIGNED BY ALBRECHT DÜRER.</span> +<span class="captionbottom">DESIGNED BY ALBRECHT DÃœRER.</span> </td> <td width="50%" align="right"> <span class="captionbottom">(NUREMBERG, 1523.)</span> @@ -2631,22 +2590,22 @@ given.</p> <div class="sidenote">THE GERMAN MASTERS.</div> -<p>Albrecht Dürer and Holbein, indeed, seem to +<p>Albrecht Dürer and Holbein, indeed, seem to express and to sum up all the vigour and power of design of that very vigorous and fruitful time of the German Renaissance. They had able contemporaries, of course, among whom are distinguished, Lucas Cranach (the elder) born 1470, and Hans Burgmair, already named, who -was associated with Dürer in the work of the +was associated with Dürer in the work of the celebrated series of woodcuts, "The Triumphs of Maximilian;" one of the fine series of "Der -Weiss König," a noble title page, and a vigorous +Weiss König," a noble title page, and a vigorous drawing of peasants at work in a field, here represent him. <span class="sidenote">THE GERMAN TRADITION.</span>Other notable designers were<a name="Page_96" id="Page_96"></a> -Hans Sebald Beham, Hans Baldung Grün, Hans -Wächtlin, Jost Amman, and others, who carried +Hans Sebald Beham, Hans Baldung Grün, Hans +Wächtlin, Jost Amman, and others, who carried on the German style or tradition in design to the end of the sixteenth century. This tradition of convention was technically really the mode of expression @@ -2704,7 +2663,7 @@ harmony.</p> <span class="captionbottom">HANS BURGMAIR.</span> </td> <td width="50%" align="right"> -<span class="captionbottom">"DER WEISS KÖNIG" (1512-14).</span> +<span class="captionbottom">"DER WEISS KÖNIG" (1512-14).</span> </td> </tr> </table> @@ -2832,10 +2791,10 @@ and humorous, or of the heraldic and mystic."</p> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">HANS BALDUNG GRÜN.</span> +<span class="captionbottom">HANS BALDUNG GRÃœN.</span> </td> <td width="50%" align="right"> -<span class="captionbottom">"HORTULUS ANIMÆ."<br>(STRASSBURG, MARTIN FLACH, 1511.)</span> +<span class="captionbottom">"HORTULUS ANIMÆ."<br>(STRASSBURG, MARTIN FLACH, 1511.)</span> </td> </tr> </table> @@ -2847,10 +2806,10 @@ and humorous, or of the heraldic and mystic."</p> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">HANS BALDUNG GRÜN.</span> +<span class="captionbottom">HANS BALDUNG GRÃœN.</span> </td> <td width="50%" align="right"> -<span class="captionbottom">"HORTULUS ANIMÆ."<br>(STRASSBURG, MARTIN FLACH, 1511.)</span> +<span class="captionbottom">"HORTULUS ANIMÆ."<br>(STRASSBURG, MARTIN FLACH, 1511.)</span> </td> </tr> </table> @@ -2862,10 +2821,10 @@ and humorous, or of the heraldic and mystic."</p> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">HANS BALDUNG GRÜN.</span> +<span class="captionbottom">HANS BALDUNG GRÃœN.</span> </td> <td width="50%" align="right"> -<span class="captionbottom">"HORTULUS ANIMÆ."<br>(STRASSBURG, MARTIN FLACH, 1511.)</span> +<span class="captionbottom">"HORTULUS ANIMÆ."<br>(STRASSBURG, MARTIN FLACH, 1511.)</span> </td> </tr> </table> @@ -2877,10 +2836,10 @@ and humorous, or of the heraldic and mystic."</p> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">HANS BALDUNG GRÜN.</span> +<span class="captionbottom">HANS BALDUNG GRÃœN.</span> </td> <td width="50%" align="right"> -<span class="captionbottom">"HORTULUS ANIMÆ."<br>(STRASSBURG, MARTIN FLACH, 1511.)</span> +<span class="captionbottom">"HORTULUS ANIMÆ."<br>(STRASSBURG, MARTIN FLACH, 1511.)</span> </td> </tr> </table> @@ -2919,10 +2878,10 @@ Vingles, a printer of Lyons.</p> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">HANS WÄCHTLIN.</span> +<span class="captionbottom">HANS WÄCHTLIN.</span> </td> <td width="50%" align="right"> -<span class="captionbottom">(STRASSBURG, MATHIAS SCHÜRER, 1513.)</span> +<span class="captionbottom">(STRASSBURG, MATHIAS SCHÃœRER, 1513.)</span> </td> </tr> </table> @@ -3061,7 +3020,7 @@ and did not come into general use until the end of the sixteenth century, with the decline of design.</p> -<p>The encyclopædic books of this period—the +<p>The encyclopædic books of this period—the curious compendiums of the knowledge of those days—were full of entertaining woodcuts, diagrams, and devices, and the various treatises on @@ -3123,7 +3082,7 @@ more particularly to know) is very characteristic.</p> <p class="captiontop">ITALIAN SCHOOL. <span class="keepright"><span class="smcap">XVIth</span> CENTURY.</span></p> <a href="images/i_136_large.png"><img src="images/i_136.png" border="0" alt="" title="" width="480" height="700"></a> <p class="captionbottom" style="margin-top:0em;margin-bottom:0em;"><span class="keepright">(TOSCULANO, ALEX. PAGANINI, 1520.)</span></p> -<p class="captioncenter" style="margin-top:.5em;margin-bottom:0em;">(<i>Comp. Dürer's title page, Nuremberg, 1523.</i>)</p> +<p class="captioncenter" style="margin-top:.5em;margin-bottom:0em;">(<i>Comp. Dürer's title page, Nuremberg, 1523.</i>)</p> </div> @@ -3186,7 +3145,7 @@ that new impulse given to the imagination by the influence of the revival of Classical learning, poetry, and antique art, had become jaded, and, while breaking with the traditions and spirit of Gothic or -Mediæval art, began to put on the fetters of +Mediæval art, began to put on the fetters of authority and pedantry, and so, gradually overlaid by the forms and cerements of a dead style, lost its vigour and vitality—whether due to one or @@ -3265,7 +3224,7 @@ and ornamental sense.</p> <p>This happy equilibrium of artistic quality and practical adaptation after the middle of the sixteenth century began to decline. There were designers, -like Oronce Finé and Geoffroy Tory, at Paris, +like Oronce Finé and Geoffroy Tory, at Paris, who did much to preserve the traditions in book ornament of the early Italian printers, while adding a touch of grace and fancy of their own, but for @@ -3276,7 +3235,7 @@ influences, became more and more paramount over the designer, triumphing over the naturalistic feeling, and over the Gothic and Eastern ornamental feeling; so that it might be said that, -whereas Mediæval designers sought after colour +whereas Mediæval designers sought after colour and decorative beauty, Renaissance designers were influenced by considerations of line, form, and relief. This may have been due in a great @@ -3310,14 +3269,14 @@ was, seems but a poor substitute for Holbein.</p> <table width="100%" border="0" cellpadding="2" cellspacing="2"> <tr valign="top"> <td width="50%" align="left"> -<span class="captionbottom">DESIGNED BY ORONCE FINÉ.</span> +<span class="captionbottom">DESIGNED BY ORONCE FINÉ.</span> </td> <td width="50%" align="right"> <span class="captionbottom">(PARIS, SIMON DE COLINES, 1534.)</span> </td> </tr> </table> -<p class="captioncenter" style="margin-top:0em;">(<i>Comp. Dürer's title to Plutarch, 1513, and St. Ambrosius, 1520.</i>)</p> +<p class="captioncenter" style="margin-top:0em;">(<i>Comp. Dürer's title to Plutarch, 1513, and St. Ambrosius, 1520.</i>)</p> </div> @@ -3477,7 +3436,7 @@ charming.</p> and simplicity, and great feeling and grace as a designer, but he can hardly be reckoned as a book decorator. His well-known series to Homer, -Hesiod, Æschylus, and Dante are strictly distinct +Hesiod, Æschylus, and Dante are strictly distinct series of illustrative designs, to be taken by themselves without reference to their incorporation in, or relation to, a printed book. Their own lettering @@ -3523,7 +3482,7 @@ white, and sense of page decoration, may be best judged perhaps by a reference to his "Book of Job," which contains a fine series of suggestive and imaginative designs. We seem to read in Blake -something of the spirit of the Mediæval designers, +something of the spirit of the Mediæval designers, through the sometimes mannered and semi-classic forms and treatment, according to the taste of his time; while he embodies its more daring aspiring @@ -3841,7 +3800,7 @@ Wood Engraving," which appeared in 1889, and is in every way complete as a history, learned in technique, and sumptuous as a book.</p> -<p>I have not mentioned Gustave Doré, who fills +<p>I have not mentioned Gustave Doré, who fills so large a space as an illustrator of books, because though possessed of a weird imagination, and a poetic feeling for dramatic landscapes and grotesque @@ -3912,7 +3871,7 @@ passionate, mystic, and romantic feeling, and earnestness of expression mark a new epoch. They are decorative in themselves, and, though quite distinct in feeling, and original, they are -more akin to the work of the Mediæval miniaturist +more akin to the work of the Mediæval miniaturist than anything that had been seen since his days. Even here, however, there is no attempt to consider the page or to make the type harmonize with @@ -3947,7 +3906,7 @@ Leighton and Mr. Poynter, the influence of Continental ideas and training. I saw some of these drawings on the wood at the time, I remember. For study and research, and richness of resource -in archæological detail, as well as firmness of drawing, +in archæological detail, as well as firmness of drawing, I thought Mr. Poynter's designs were perhaps the most remarkable. A strikingly realized picture, <a name="Page_153" id="Page_153"></a> @@ -4760,7 +4719,7 @@ nature in her more superficial aspects as they can. Others would surround their house with a garden indeed, but they demand something like an architectural plan. They would look at a frontispiece -like a façade; they would take hospitable encouragement +like a façade; they would take hospitable encouragement from the title-page as from a friendly inscription over the porch; they would hang a votive wreath at the dedication, and so pass on into the @@ -4919,13 +4878,13 @@ and its relation to printed ornament and illustration, peculiarly well equipped; while his historic knowledge and discrimination, and the possession of an extraordinarily rich and choice collection of both -mediæval MSS. and early printed books afforded +mediæval MSS. and early printed books afforded him an abundant choice of the best models.</p> <p>In the results which have been produced at the<a name="Page_190" id="Page_190"></a> Kelmscott press we trace the effect of all these influences, acting under the strongest personal -predilection, and a mediæval bias (in an artistic +predilection, and a mediæval bias (in an artistic sense) which may be said to be almost exclusive.</p> <p>The Kelmscott roman type ("golden") perhaps @@ -5115,7 +5074,7 @@ have seen. The designs are simple and bold, and in harmony with the subject, and good in decorative character. His illustrations to Hans Christian Andersen's "Fairy Tales" are full of a -naïve romantic feeling, and have much sense of +naïve romantic feeling, and have much sense of the decorative possibilities of black and white drawing. Mrs. Gaskin's designs for children's books show a quaint fancy and ornamental feeling @@ -5433,7 +5392,7 @@ his individuality and power. The designs for the work by which Mr. Beardsley became first known, I believe, the "Morte d'Arthur," alone are sufficient to show this. There appears to be a strong -mediæval decorative feeling, mixed with a curious +mediæval decorative feeling, mixed with a curious weird Japanese-like spirit of <i>diablerie</i> and grotesque, as of the opium-dream, about his work; but considered as book-decoration, though it is effective, @@ -5557,7 +5516,7 @@ some pen drawings which won the gold medal at <a name="Page_226" id="Page_226"></a> the National Competitions at South Kensington, in which a romantic feeling and dramatic force was -shown in designs of mediæval battles, expressed in +shown in designs of mediæval battles, expressed in forcible way, consistent with good line and effect in black and white. His design of the Legend of St. Cuthbert in "The @@ -5675,7 +5634,7 @@ of drawing and feeling.</p> <p>Miss Alice B. Woodward ought also to be -named for her clever treatment of mediæval life +named for her clever treatment of mediæval life in black and white.</p> <p>More recently, perhaps the most remarkable @@ -5834,11 +5793,11 @@ and sympathy.</p> be a somewhat similar movement in art, the work of the newer school of English designers has awakened the greatest interest. The fact that M. -Oliver Georges Destrée has made sympathetic +Oliver Georges Destrée has made sympathetic literary studies of the English pre-Raphaelites and their successors, is an indication of this. The -exhibitions of the "XX<sup>e</sup> Siècle," "La libre -Æsthetique," at Brussels and Liège, are also +exhibitions of the "XX<sup>e</sup> Siècle," "La libre +Æsthetique," at Brussels and Liège, are also evidence of the repute in which English designers are held.</p> @@ -6163,12 +6122,12 @@ M. G. W. Dijsselhof and M. R. N. Roland Holst.</p> <div class="sidenote">GERMANY.</div> <p>In Germany, such original and powerful artists -as Josef Sattler and Franz Stück; the former +as Josef Sattler and Franz Stück; the former seemingly inheriting much of the grim and stern humour of the old German masters, as well as their feeling for character and treatment of line, while his own personality is quite distinct. While -Sattler is distinctly Gothic in sympathy, Stück +Sattler is distinctly Gothic in sympathy, Stück seems more to lean to the pagan or classical side, and his centaurs and graces are drawn with much feeling and character. We have already mentioned @@ -6249,7 +6208,7 @@ of a modern.</p> <p>In his book illustrations he seems, however, so far as I know, to lean rather towards illustrations pure and simple, rather than decoration, and ex<a name="Page_268" id="Page_268"></a>hibits -great archæological resource as well as +great archæological resource as well as romantic feeling in such designs as those to "Les Cinq Fils d'Aymon." The absence of book decoration in the English sense, in France, however, @@ -6415,7 +6374,7 @@ of "The Knight Errant."</p> distinguished himself as a decorative artist in book designs, which showed, among other more modern influences, a considerable study of the method of -Albert Dürer. I give a reproduction which suggests +Albert Dürer. I give a reproduction which suggests somewhat the effect of the famous copperplate of Erasmus. He sometimes uses a lighter method, such as is shown in the drawings to @@ -6748,7 +6707,7 @@ are all treated as panels of figure design, or pictures, and are enclosed in fanciful borders, in which subsidiary incidents of characters of the poem are introduced or suggested, somewhat on -the plan of mediæval tapestries. A reduction of +the plan of mediæval tapestries. A reduction of one of these is given above.</p> <a name="Page_289" id="Page_289"></a> @@ -6778,8 +6737,8 @@ ornament proper.</p> <p>The famous designs of the "Hypnerotomachia Poliphili," 1499, may be taken as an instance of -this treatment; also the "Fasciculus Medicinæ," -1495, "Æsop's Fables," 1493, and other books of +this treatment; also the "Fasciculus Medicinæ," +1495, "Æsop's Fables," 1493, and other books of the Venetian printers of about this date or earlier, which are generally remarkable for fine quality of their outline and the refinement and grace of their @@ -6828,7 +6787,7 @@ block book.</p> <div class="figcenter" style="width:482px;padding-bottom:.5em;padding-top:.25em;"> <p class="captiontop">ITALIAN SCHOOL. <span class="keepright"><span class="smcap">XVth</span> CENTURY.</span></p> <a href="images/i_310_large.png"><img src="images/i_310.png" border="0" alt="" title="" width="482" height="700"></a> -<p class="captioncenter">KETHAM'S "FASCICULUS MEDICINÆ." (VENICE, DE GREGORIIS, +<p class="captioncenter">KETHAM'S "FASCICULUS MEDICINÆ." (VENICE, DE GREGORIIS, 1493.)</p> </div> @@ -6872,9 +6831,9 @@ How it would purify literary style!</p> given to the formation of letters by designers in the past.</p> -<div class="sidenote">THE DÜRER ALPHABETS.</div> +<div class="sidenote">THE DÃœRER ALPHABETS.</div> -<p>Albrecht Dürer, in his "Geometrica," for instance, +<p>Albrecht Dürer, in his "Geometrica," for instance, gives an elaborate system for drawing the Roman capitals, and certainly produces by its means a fine alphabet in that type of letter, apparently @@ -7129,7 +7088,7 @@ a leading place should be given to M. Boutet de Monvel, whose delicate drawing, tasteful colouring, and sense of decorative effect, combined with abundant resource in variety of costume, and skilful -treatment of crowds, <a name="tn_png_321"></a><!--TN: "mediaeval" changed to "mediæval"-->mediæval battle scenes, +treatment of crowds, <a name="tn_png_321"></a><!--TN: "mediaeval" changed to "mediæval"-->mediæval battle scenes, and ceremonial groups are seen to full advantage in his recent "Ste. Jean d'Arc," although no particular relationship between illustration and type @@ -7419,7 +7378,7 @@ Ex-Libris Series. Bell.</p></div> <p class="index"><span class="smcap" style="font-weight:bold;">Abbey</span>, Edwin, <a href="#Page_166">166</a>.</p> -<p class="index"><i>Æsop's Fables</i> (Venice, 1493), <a href="#Page_293">293</a>.</p> +<p class="index"><i>Æsop's Fables</i> (Venice, 1493), <a href="#Page_293">293</a>.</p> <p class="index">—— (Ulm, 1498), <a href="#Page_53">53</a>.</p> @@ -7431,7 +7390,7 @@ Ex-Libris Series. Bell.</p></div> <p class="index">Aldus, <a href="#Page_62">62</a>, <a href="#i_078">63</a>, <a href="#i_080">65</a>, <a href="#Page_108">108</a>.</p> -<p class="index">Alphabet (Dürer's), <a href="#Page_299">299</a>.</p> +<p class="index">Alphabet (Dürer's), <a href="#Page_299">299</a>.</p> <p class="index"><i>Alphabets</i> (Bell, 1894), <a href="#Page_299">299</a>, <a href="#Page_300">300</a>.</p> @@ -7457,7 +7416,7 @@ Ex-Libris Series. Bell.</p></div> <p class="index">Aulus, Gellius (Venice, 1509), <a href="#i_088">73</a>.</p> -<p class="indexstart">Bämler, <a href="#i_030">15</a>.</p> +<p class="indexstart">Bämler, <a href="#i_030">15</a>.</p> <p class="index">Bateman, Robert, <a href="#Page_160">160</a>, <a href="#i_177">162</a>-<a href="#i_180">165</a>.</p> @@ -7481,7 +7440,7 @@ Ex-Libris Series. Bell.</p></div> <p class="index">Bible (Cologne, 1480), <a href="#i_036">21</a>.</p> -<p class="index">—— (Lübeck, 1494), <a href="#i_062">47</a>.</p> +<p class="index">—— (Lübeck, 1494), <a href="#i_062">47</a>.</p> <p class="index">—— (Mainz, 1455), <a href="#Page_49">49</a>.</p> @@ -7515,7 +7474,7 @@ Ex-Libris Series. Bell.</p></div> <p class="index">Brown, Ford Madox, <a href="#Page_154">154</a>.</p> -<p class="index"><i>Buch von den Sieben Todsünden</i> (Augsburg, 1474), <a href="#i_030">15</a>.</p> +<p class="index"><i>Buch von den Sieben Todsünden</i> (Augsburg, 1474), <a href="#i_030">15</a>.</p> <p class="index">Burgmair, Hans, <a href="#Page_92">92</a>, <a href="#Page_95">95</a>, <a href="#i_114">99</a>, <a href="#i_116">101</a>, <a href="#i_118">103</a>, <a href="#i_120">105</a>.</p> @@ -7558,7 +7517,7 @@ Ex-Libris Series. Bell.</p></div> <p class="index"><i>Chroneken der Sassen</i> (Mainz, 1492), <a href="#i_056">41</a>.</p> -<p class="index"><i>Chronica Hungariæ</i> (Augsburg, 1488), <a href="#i_050">35</a>.</p> +<p class="index"><i>Chronica Hungariæ</i> (Augsburg, 1488), <a href="#i_050">35</a>.</p> <p class="index"><i>Cinderella</i> (Dent, 1894), <a href="#i_269">254</a>.</p> @@ -7620,7 +7579,7 @@ Ex-Libris Series. Bell.</p></div> <p class="index"><i>Descent of Minerva, The</i> (1508), <a href="#i_086">71</a>.</p> -<p class="index">Destrée, Oliver Georges, <a href="#Page_241">241</a>.</p> +<p class="index">Destrée, Oliver Georges, <a href="#Page_241">241</a>.</p> <p class="index">De Vinne Press, The, <a href="#Page_189">189</a>.</p> @@ -7634,15 +7593,15 @@ Ex-Libris Series. Bell.</p></div> <p class="index"><i>Discovery of the Indies, The</i> (Florence, 1493), <a href="#i_072">57</a>.</p> -<p class="index">Doré, Gustave, <a href="#Page_149">149</a>.</p> +<p class="index">Doré, Gustave, <a href="#Page_149">149</a>.</p> <p class="index">Duff, Gordon, <i>Early Printed Books</i>, <a href="#Page_185">185</a>.</p> <p class="index">Duncan, John, <a href="#Page_226">226</a>, <a href="#i_270">255</a>, <a href="#i_272">257</a>.</p> -<p class="index">Du Pré, <a href="#Page_54">54</a>.</p> +<p class="index">Du Pré, <a href="#Page_54">54</a>.</p> -<p class="index">Dürer, Albrecht, <a href="#Page_49">49</a>, <a href="#Page_80">80</a>, <a href="#i_096">81</a>, <a href="#i_098">83</a>, <a href="#i_100">85</a>, <a href="#i_102">87</a>, <a href="#i_104">89</a>, <a href="#Page_95">95</a>; his <i>Geometrica</i>, <a href="#Page_294">294</a>.</p> +<p class="index">Dürer, Albrecht, <a href="#Page_49">49</a>, <a href="#Page_80">80</a>, <a href="#i_096">81</a>, <a href="#i_098">83</a>, <a href="#i_100">85</a>, <a href="#i_102">87</a>, <a href="#i_104">89</a>, <a href="#Page_95">95</a>; his <i>Geometrica</i>, <a href="#Page_294">294</a>.</p> <a name="Page_337" id="Page_337"></a><p class="indexstart"><i>Early Italian Poets</i> (Smith, Elder, 1861), <a href="#Page_152">152</a>.</p> @@ -7660,15 +7619,15 @@ Ex-Libris Series. Bell.</p></div> <p class="index">"Ex-Libris Series," The, <a href="#Page_185">185</a>.</p> -<p class="indexstart">Finé, Oronce, <a href="#Page_91">91</a>, <a href="#Page_126">126</a>, <a href="#i_142">127</a>.</p> +<p class="indexstart">Finé, Oronce, <a href="#Page_91">91</a>, <a href="#Page_126">126</a>, <a href="#i_142">127</a>.</p> -<p class="index"><i>Fasciculus Medicinæ</i> (Venice, 1495), <a href="#Page_293">293</a>.</p> +<p class="index"><i>Fasciculus Medicinæ</i> (Venice, 1495), <a href="#Page_293">293</a>.</p> <p class="index">Fell, H. Granville, <a href="#Page_227">227</a>, <a href="#i_269">254</a>.</p> <p class="index">Feyrabend, Sigm., <a href="#i_146">131</a>.</p> -<p class="index"><i>Fior di Virtù</i> (Florence, 1493?), <a href="#i_073">58</a>.</p> +<p class="index"><i>Fior di Virtù</i> (Florence, 1493?), <a href="#i_073">58</a>.</p> <p class="index">Flach, Martin, <a href="#Page_108">108</a>.</p> @@ -7742,7 +7701,7 @@ Ex-Libris Series. Bell.</p></div> <p class="index"><i>Grimm's Household Stories</i> (Macmillan, 1882), <a href="#Page_174">174</a>, <a href="#i_194">179</a>.</p> -<p class="index">Grün, Hans Baldung, <a href="#Page_96">96</a>, <a href="#i_122">107</a>, <a href="#i_123">108</a>, <a href="#i_124">109</a>, <a href="#i_125">110</a>.</p> +<p class="index">Grün, Hans Baldung, <a href="#Page_96">96</a>, <a href="#i_122">107</a>, <a href="#i_123">108</a>, <a href="#i_124">109</a>, <a href="#i_125">110</a>.</p> <a name="Page_338" id="Page_338"></a> <p class="indexstart">Halberstadt Bible, The, <a href="#Page_49">49</a>, <a href="#i_132">117</a>.</p> @@ -7773,7 +7732,7 @@ Ex-Libris Series. Bell.</p></div> <p class="index">Horne, H. P., <a href="#Page_186">186</a>.</p> -<p class="index"><i>Hortulus Animæ</i>(Strassburg, 1511), <a href="#i_122">107</a>, <a href="#i_123">108</a>, <a href="#i_124">109</a>, <a href="#i_125">110</a>.</p> +<p class="index"><i>Hortulus Animæ</i>(Strassburg, 1511), <a href="#i_122">107</a>, <a href="#i_123">108</a>, <a href="#i_124">109</a>, <a href="#i_125">110</a>.</p> <p class="index"><i>Hortus Sanitatis</i> (Mainz, 1491), <a href="#i_054">39</a>.</p> @@ -7855,7 +7814,7 @@ Ex-Libris Series. Bell.</p></div> <p class="index">Linton, W. J., <a href="#Page_146">146</a>-<a href="#Page_149">149</a>, <a href="#i_166">151</a>.</p> -<p class="index">Lübeck Bible, The, <a href="#i_062">47</a>.</p> +<p class="index">Lübeck Bible, The, <a href="#i_062">47</a>.</p> <a name="Page_339" id="Page_339"></a> <p class="indexstart">Macdonald's <i>At the Back of the North Wind</i> (Strahan, 1871), <a href="#Page_159">159</a>-<a href="#i_176">161</a>.</p> @@ -7971,7 +7930,7 @@ Ex-Libris Series. Bell.</p></div> <p class="index">Pliny's <i>Natural History</i> (Frankfort, 1582), <a href="#i_118">103</a>.</p> <a name="Page_340" id="Page_340"></a> -<p class="index">Plutarchus Chæroneus (1513), <a href="#i_102">87</a>; (1523), <a href="#i_104">89</a>.</p> +<p class="index">Plutarchus Chæroneus (1513), <a href="#i_102">87</a>; (1523), <a href="#i_104">89</a>.</p> <p class="index"><i>Poliphili Hypnerotomachia</i> (1499), <a href="#Page_62">62</a>, <a href="#i_078">63</a>, <a href="#i_080">65</a>, <a href="#Page_293">293</a>.</p> @@ -8021,7 +7980,7 @@ Ex-Libris Series. Bell.</p></div> <p class="index">Renaissance, The, <a href="#Page_61">61</a>.</p> -<p class="index">René of Anjou, Book of Hours of, <a href="#Page_38">38</a>.</p> +<p class="index">René of Anjou, Book of Hours of, <a href="#Page_38">38</a>.</p> <p class="index">Rethel, Alfred, <a href="#Page_172">172</a>.</p> @@ -8055,9 +8014,9 @@ Ex-Libris Series. Bell.</p></div> <p class="index">"Savoy," The, <a href="#Page_221">221</a>.</p> -<p class="index">Schöffer, P., <a href="#i_056">41</a>, <a href="#Page_49">49</a>, <a href="#Page_50">50</a>.</p> +<p class="index">Schöffer, P., <a href="#i_056">41</a>, <a href="#Page_49">49</a>, <a href="#Page_50">50</a>.</p> -<p class="index">Schürer, Mathias, <a href="#i_126">111</a>.</p> +<p class="index">Schürer, Mathias, <a href="#i_126">111</a>.</p> <p class="index">Schwind, M., <a href="#Page_172">172</a>.</p> @@ -8077,7 +8036,7 @@ Ex-Libris Series. Bell.</p></div> <p class="index"><i>Songs of Innocence</i> (1789), <a href="#i_152">137</a>.</p> -<p class="index"><i>Speculum Humanæ Vitæ</i> (Augsburg, 1475), <a href="#i_032">17</a>.</p> +<p class="index"><i>Speculum Humanæ Vitæ</i> (Augsburg, 1475), <a href="#i_032">17</a>.</p> <p class="index">Spence, R., <a href="#Page_224">224</a>, <a href="#i_262">247</a>.</p> @@ -8093,7 +8052,7 @@ Ex-Libris Series. Bell.</p></div> <a name="Page_341" id="Page_341"></a> <p class="index">Strange, E. F., <i>Alphabets</i>, <a href="#Page_185">185</a>, <a href="#Page_300">300</a>.</p> -<p class="index">Stück, Franz, <a href="#Page_265">265</a>.</p> +<p class="index">Stück, Franz, <a href="#Page_265">265</a>.</p> <p class="index">"Studio," The, <a href="#Page_221">221</a>.</p> @@ -8127,7 +8086,7 @@ Ex-Libris Series. Bell.</p></div> <p class="index"><i>Triumphs of Maximilian, The</i>, <a href="#Page_95">95</a>.</p> -<p class="index"><a name="tn_png_356"></a><!--TN: Repeated line deleted-->Tuppo's Æsop, 1485, <a href="#i_070">55</a>.</p> +<p class="index"><a name="tn_png_356"></a><!--TN: Repeated line deleted-->Tuppo's Æsop, 1485, <a href="#i_070">55</a>.</p> <p class="index">Turner, J. M. W., <a href="#Page_146">146</a>.</p> @@ -8139,17 +8098,17 @@ Ex-Libris Series. Bell.</p></div> <p class="index">Ver Sacrum, <a href="#Page_266">266</a>.</p> -<p class="index"><a name="tn_png_356a"></a><!--TN: "Vèrard" changed to "Vérard"-->Vérard, <a href="#Page_54">54</a>.</p> +<p class="index"><a name="tn_png_356a"></a><!--TN: "Vèrard" changed to "Vérard"-->Vérard, <a href="#Page_54">54</a>.</p> <p class="index">Virgil Solis, <a href="#i_146">131</a>.</p> -<p class="indexstart">Wächtlin, Hans, <a href="#Page_96">96</a>, <a href="#i_126">111</a>.</p> +<p class="indexstart">Wächtlin, Hans, <a href="#Page_96">96</a>, <a href="#i_126">111</a>.</p> <p class="index"><i>Walton's "Angler"</i> (Lane, 1896), <a href="#Page_204">204</a>.</p> <p class="index">Wandereisen, Hans, <a href="#i_128">113</a>.</p> -<p class="index"><i>Weiss König, Der</i> (1512-14), <a href="#Page_95">95</a>, <a href="#i_114">99</a>.</p> +<p class="index"><i>Weiss König, Der</i> (1512-14), <a href="#Page_95">95</a>, <a href="#i_114">99</a>.</p> <p class="index">White, Gleeson, <a href="#Page_221">221</a>.</p> @@ -8165,7 +8124,7 @@ Ex-Libris Series. Bell.</p></div> <p class="indexstart">Zainer, Johann, <a href="#i_022">7</a>, <a href="#i_026">11</a>.</p> -<p class="index">—— Günther, <a href="#i_032">17</a>.</p> +<p class="index">—— Günther, <a href="#i_032">17</a>.</p> <a name="i_356" id="i_356"></a> @@ -8198,11 +8157,11 @@ where indicated in the list below:</p> <div style="margin-left:5%;margin-right:5%;"> <ul> <li><a href="#tn_png_11">Right bracket added before "Augsburg"</a></li> -<li><a href="#tn_png_011">"Lubeck" changed to "Lübeck"</a></li> +<li><a href="#tn_png_011">"Lubeck" changed to "Lübeck"</a></li> <li><a href="#tn_png_14">Single quote changed to double quote before"Morte"</a></li> <li><a href="#tn_png_14a">Page number changed from "233" to "283"</a></li> <li><a href="#tn_png_15">Page number changed from "305" and "335" to "309" and "341"</a></li> -<li><a href="#tn_png_032">"Liege" changed to "Liège"</a></li> +<li><a href="#tn_png_032">"Liege" changed to "Liège"</a></li> <li><a href="#tn_png_45">"chiaro-oscuro" changed to "chiaroscuro"</a></li> <li><a href="#tn_png_94">Period added after "SCHOOL"</a></li> <li><a href="#tn_png_94a">Period added after "1508"</a></li> @@ -8221,395 +8180,19 @@ where indicated in the list below:</p> <li><a href="#tn_png_268">Period added after "STRANG"</a></li> <li><a href="#tn_png_284">"opportunites" changed to "opportunities"</a></li> <li><a href="#tn_png_305">"see" italicized</a></li> -<li><a href="#tn_png_321">"mediaeval" changed to "mediæval"</a></li> +<li><a href="#tn_png_321">"mediaeval" changed to "mediæval"</a></li> <li><a href="#tn_png_349">"R.A" changed to "R. A."</a></li> <li><a href="#tn_png_354">Comma added after "MS."</a></li> <li><a href="#tn_png_354a">"Lorenza" changed to "Lorenzo"</a></li> <li><a href="#tn_png_354b">Colon changed to semicolon after "1894"</a></li> <li><a href="#tn_png_355">"Pomponious" changed to "Pomponius"</a></li> <li><a href="#tn_png_356">Repeated line removed</a></li> -<li><a href="#tn_png_356a">"Vèrard" changed to "Vérard"</a></li> +<li><a href="#tn_png_356a">"Vèrard" changed to "Vérard"</a></li> </ul> </div> </div> </div> - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Of the Decorative Illustration of -Books Old and New, by Walter Crane - -*** END OF THIS PROJECT GUTENBERG EBOOK DECORATIVE ILLUSTRATION OF BOOKS *** - -***** This file should be named 40250-h.htm or 40250-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/2/5/40250/ - -Produced by Chris Curnow, Linda Hamilton, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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