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diff --git a/44890-h/44890-h.htm b/44890-h/44890-h.htm index 8a2ef43..20d865c 100644 --- a/44890-h/44890-h.htm +++ b/44890-h/44890-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" 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" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Printed Book, Its History, Illustration, and Adornment, by Henri Bouchot. @@ -109,49 +109,7 @@ p.drop-capi1:first-letter { padding-right:0.2em;margin-left:-1.8em; } </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of The Printed Book, by Henri Bouchot - -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: The Printed Book - Its History, Illustration and Adornment, from the Days of - Gutenberg to the Present Time - -Author: Henri Bouchot - -Translator: Edward C. Bigmore - -Release Date: February 13, 2014 [EBook #44890] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE PRINTED BOOK *** - - - - -Produced by Chris Curnow, Tony De Vita 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 44890 ***</div> <div class="figcenter" style="width: 600px;"> <img src="images/i_cover.jpg" alt="Cover" /> @@ -2183,7 +2141,7 @@ of prints that received a text in the sixteenth century.</p> <a href="images/i_071f.jpg"> <img src="images/i_071.jpg" alt="" /> </a> -<p class="caption">Fig. 21.—Title of the "Apocalypse," by Albert Dürer, +<p class="caption">Fig. 21.—Title of the "Apocalypse," by Albert Dürer, printed in 1498. First edition, without text.</p> </div> @@ -2435,7 +2393,7 @@ and perfect toleration.</p> <a href="images/i_081f.jpg"> <img src="images/i_081.jpg" alt="" /> </a> -<p class="caption">Fig. 25.—Border in four separate blocks in the <i>Heures à +<p class="caption">Fig. 25.—Border in four separate blocks in the <i>Heures à l'Usaige de Rome</i>, by Pigouchet, for Simon Vostre, in 1488. Small figures from the "Dance of Death."</p> </div> @@ -2567,7 +2525,7 @@ of present money.</p> <img src="images/i_087.jpg" alt="" /> </a> <p class="caption">Fig. 29.—Plate from the Tristan published by Antony -Verard, a copy of which was illuminated for Charles of Angoulême.</p> +Verard, a copy of which was illuminated for Charles of Angoulême.</p> </div> <p>Verard had preceded Simon Vostre in the publication @@ -3327,7 +3285,7 @@ friends, and he saw that it was an unapproachable work.</p> </a> <p class="caption">Fig. 45.—Plate taken from the <i>Theuerdanck</i>, representing Maximilian and Mary of Burgundy. Engraved on wood after -Schäufelein.</p> +Schäufelein.</p> </div> <p>Bold strokes, majestic letters, intertwined ornaments, @@ -3486,7 +3444,7 @@ Gaule et Singularitez de Troye</i>. Queen Anne of Brittany as Juno.</p> <a href="images/i_119f.jpg"> <img src="images/i_119.jpg" alt="" /> </a> -<p class="caption">Fig. 47.—Title of the <i>Entree d'Eléonore d'Autriche a +<p class="caption">Fig. 47.—Title of the <i>Entree d'Eléonore d'Autriche a Paris</i>, by Guillaume Bochetel. Printed by Geoffroy Tory in May, 1531, quarto.</p> </div> @@ -3723,7 +3681,7 @@ the wine with which each of them makes himself drunk."</p> <img src="images/i_129.jpg" alt="" /> </a> <p class="caption">Fig. 53.—Robert Estienne, after the engraving in the -<i>Chronologie Collée</i>.</p> +<i>Chronologie Collée</i>.</p> </div> <p>This piece is only cited to show to what lengths @@ -4015,8 +3973,8 @@ Lyons.</p> <img src="images/i_137b.jpg" alt="" /> </a> <p class="caption">Fig. 59.—Portraits of Francis, dauphin, and of Charles, -Duke of Angoûleme, after the originals of Cornelis of Lyons. Woodcuts -taken from Roville's <i>Promptuaire des Médailles</i>.</p> +Duke of Angoûleme, after the originals of Cornelis of Lyons. Woodcuts +taken from Roville's <i>Promptuaire des Médailles</i>.</p> </div> <p>The workshops of the second city of France, we see,<span class="pagenum" id="Page_130">[130]</span> @@ -4081,7 +4039,7 @@ an official position, like Clouet.</p> <a href="images/i_139f.jpg"> <img src="images/i_139.jpg" alt="" /> </a> -<p class="caption">Fig. 60.—Captain of foot from the <i>Entree de Henri II. à +<p class="caption">Fig. 60.—Captain of foot from the <i>Entree de Henri II. à Lyon</i> (1549).</p> </div> @@ -4114,7 +4072,7 @@ title-pages for the use of publishers.</p> </a> <p class="caption">Fig. 61.—Title of John Cousin's <i>Livre de Portraiture</i>, published in 1593 by Le Clerc. (The spot on the title is in the -original, preserved among the prints of the Bibliothèque Nationale.)</p> +original, preserved among the prints of the Bibliothèque Nationale.)</p> </div> @@ -4208,8 +4166,8 @@ the boastings of courtiers and political abstractions.</p> <a href="images/i_144f.jpg"> <img src="images/i_144.jpg" alt="" /> </a> -<p class="caption">Fig. 62.—Engraving by P. Woériot for Georgette de -Montenay's <i>Emblèmes</i>.</p> +<p class="caption">Fig. 62.—Engraving by P. Woériot for Georgette de +Montenay's <i>Emblèmes</i>.</p> </div> <p><span class="pagenum" id="Page_137">[137]</span>Among the publications opposed to the Government @@ -4784,7 +4742,7 @@ give a copy.</p> <img src="images/i_165.jpg" alt="" /> </a> <p class="caption">Fig. 71.—Title engraved by Claude Mellan for Urban -VIII.'s <i>Poésies</i>, printed at the Royal Printing House, in 1642.</p> +VIII.'s <i>Poésies</i>, printed at the Royal Printing House, in 1642.</p> </div> <p><span class="pagenum" id="Page_158">[158]</span>Lyons did not remain far behind in the movement, @@ -4895,7 +4853,7 @@ de l'Espée</i> came in 1628, among numerous others.</p> <a href="images/i_169f.jpg"> <img src="images/i_169.jpg" alt="" /> </a> -<p class="caption">Fig. 72.—Title of Pluvinel's <i>Manège Royal</i>, engraved by +<p class="caption">Fig. 72.—Title of Pluvinel's <i>Manège Royal</i>, engraved by Crispin Pass in 1624.</p> </div> @@ -5041,7 +4999,7 @@ the commencement of the eighteenth century.</p> <a href="images/i_175f.jpg"> <img src="images/i_175.jpg" alt="" /> </a> -<p class="caption">Fig. 74.—Plate taken from the <i>Lumière du Cloistre</i>. +<p class="caption">Fig. 74.—Plate taken from the <i>Lumière du Cloistre</i>. Copper plate by Callot.</p> </div> @@ -5112,7 +5070,7 @@ the vignettists of the eighteenth century.</p> <a href="images/i_177f.jpg"> <img src="images/i_177.jpg" alt="" /> </a> -<p class="caption">Fig. 75.—Title of the <i>Manière Universelle</i>, by +<p class="caption">Fig. 75.—Title of the <i>Manière Universelle</i>, by Desargues, in 1643, by Abraham Bosse.</p> </div> @@ -5308,7 +5266,7 @@ with Bossuet, Boileau, and the others.</p> <a href="images/i_184f.jpg"> <img src="images/i_184.jpg" alt="" /> </a> -<p class="caption">Fig. 77.—Tailpiece of Sébastien Leclerc for the +<p class="caption">Fig. 77.—Tailpiece of Sébastien Leclerc for the <i>Promenade de St. Germain</i>.</p> </div> @@ -5391,7 +5349,7 @@ thousand other works of small repute.</p> <a href="images/i_187f.jpg"> <img src="images/i_187.jpg" alt="" /> </a> -<p class="caption">Fig. 78.—Small figure of Sébastien Leclerc for +<p class="caption">Fig. 78.—Small figure of Sébastien Leclerc for Richesource's pamphlet.</p> </div> @@ -5563,7 +5521,7 @@ eighteenth century.</p> <a href="images/i_192f.jpg"> <img src="images/i_192.jpg" alt="" /> </a> -<p class="caption">Fig. 79.—Letter by Cochin for the <i>Mémoires d' +<p class="caption">Fig. 79.—Letter by Cochin for the <i>Mémoires d' Artillerie</i> of Suvirey de St. Remy.</p> </div> @@ -5839,7 +5797,7 @@ is here reproduced.</p> <img src="images/i_201.jpg" alt="" /> </a> <p class="caption">Fig. 82.—Title-page engraved by Fessard after Cochin for -the works of Madame Deshoulières, 1747.</p> +the works of Madame Deshoulières, 1747.</p> </div> <p><span class="pagenum" id="Page_194">[194]</span>Nearly all the frontispieces of the Book with vignettes @@ -5881,7 +5839,7 @@ office of the eighteenth century.</p> <a href="images/i_203f.jpg"> <img src="images/i_203.jpg" alt="" /> </a> -<p class="caption">Fig. 83.—Vignette taken from P. Corneille's <i>Théâtre</i>, +<p class="caption">Fig. 83.—Vignette taken from P. Corneille's <i>Théâtre</i>, by Gravelot.</p> </div> @@ -5985,7 +5943,7 @@ of the first order, and it was put on sale by Barbou.</p> <img src="images/i_207.jpg" alt="" /> </a> <p class="caption">Fig. 85.—Vignette by Eisen for the Quiproquo in the -Contes of La Fontaine, in the edition of the fermiers généraux.</p> +Contes of La Fontaine, in the edition of the fermiers généraux.</p> </div> <p>It is not a book to be recommended from a moral @@ -6057,7 +6015,7 @@ by the artist without disappointment.</p> <a href="images/i_210f.jpg"> <img src="images/i_210.jpg" alt="" /> </a> -<p class="caption">Fig. 87.—Tailpiece from the <i>Médecin malgre Lui</i>, by +<p class="caption">Fig. 87.—Tailpiece from the <i>Médecin malgre Lui</i>, by Moreau le Jeune.</p> </div> @@ -6836,7 +6794,7 @@ in such cases, the disciples outstripped their masters.</p> <a href="images/i_235f.jpg"> <img src="images/i_235.jpg" alt="" /> </a> -<p class="caption">Fig. 94.—Vignette by Devéria for the <i>Fiancé de la +<p class="caption">Fig. 94.—Vignette by Devéria for the <i>Fiancé de la Tombe</i>.</p> </div> @@ -6950,7 +6908,7 @@ to willing publishers!"</p> <a href="images/i_239f.jpg"> <img src="images/i_239.jpg" alt="" /> </a> -<p class="caption">Fig. 96.—Vignette by Daumier for the <i>Cholera à Paris</i></p> +<p class="caption">Fig. 96.—Vignette by Daumier for the <i>Cholera à Paris</i></p> </div> <p>Curmer acknowledges the importance of English @@ -7014,7 +6972,7 @@ produced.</p> <a href="images/i_241f.jpg"> <img src="images/i_241.jpg" alt="" /> </a> -<p class="caption">Fig. 97.—Vignette by Gavarni for <i>Paris Marié</i>.</p> +<p class="caption">Fig. 97.—Vignette by Gavarni for <i>Paris Marié</i>.</p> </div> @@ -7050,8 +7008,8 @@ on wood.</p> <a href="images/i_242f.jpg"> <img src="images/i_242.jpg" alt="" /> </a> -<p class="caption">Fig. 98.—Balzac writing his <i>Contes Drôlatiques</i>. -Vignette by Gustave Doré.</p> +<p class="caption">Fig. 98.—Balzac writing his <i>Contes Drôlatiques</i>. +Vignette by Gustave Doré.</p> </div> <hr class="tb" /> @@ -7436,7 +7394,7 @@ the principle is always the same.</p> <img src="images/i_255.jpg" alt="" /> </a> <p class="caption">Fig. 103.—Mark of Jodocus Badius of Asch, representing -the interior of a printing office about 1535. Engraving <i>à la croix de +the interior of a printing office about 1535. Engraving <i>à la croix de Lorraine</i>.</p> </div> @@ -8154,7 +8112,7 @@ the binding is of the period of Henri III.</p> <a href="images/i_283f.jpg"> <img src="images/i_283.jpg" alt="" /> </a> -<p class="caption">Fig. 114.—Sixteenth century binding, called <i>à la +<p class="caption">Fig. 114.—Sixteenth century binding, called <i>à la fanfare</i>. In the Dutuit collection.</p> </div> @@ -9531,383 +9489,6 @@ accelerated, as is also the number of readers.</p> <li>Zwoll, book illustration at, <a href="#Page_67">67</a>.</li> </ul> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Printed Book, by Henri Bouchot - -*** END OF THIS PROJECT GUTENBERG EBOOK THE PRINTED BOOK *** - -***** This file should be named 44890-h.htm or 44890-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/4/8/9/44890/ - -Produced by Chris Curnow, Tony De Vita 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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