Thomas Frognall Dibdin - A Bibliographical, Antiquarian and Picturesque Tour in France and Germany, Volume Two

T >> Thomas Frognall Dibdin >> A Bibliographical, Antiquarian and Picturesque Tour in France and Germany, Volume Two

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This library has been long celebrated for its collection of _French
Topography_ and of early _French_ and _Spanish Romances_; a great portion
of the latter having been obtained at the sale of the Nyon Library. I shall
be forgiven, I trust, if I neglect the former for the latter. Prepare
therefore for a list of some choice articles of this description--in every
respect worthy of conspicuous places in all future _Roxburghe_ and
_Stanley_ collections. The books now about to be described are, I think,
almost all in that apartment which leads immediately into Sully's boudoir.
They are described just as I took them from the shelves.

RICHARD-SANS PEUR, &c. "_A Paris Par Nicolas et Pierre Bonfons_," &c.
_Without Date_. 4to. It is executed in a small roman type, in double
columns. There is an imposing wood-cut of Richard upon horseback, in the
frontispiece, and a very clumsy one of the same character on the reverse.
The signatures run to E in fours. An excellent copy.

LE MEME ROMANT. "_Imprime nouuelement a Paris_." At the end, printed by
"_Alain Lotrain et Denis Janot_." 4to. _Without Date_. The title, just
given is printed in a large gothic letter, in red and black lines,
alternately, over a rude-wood cut of Richard upon horseback. The signatures
A, B, C, run in fours: D in eight, and E four. The text is executed in a
small coarse gothic letter, in long lines. The present is a sound good
copy.

ROBERT LE DYABLE. "La terrible Et merueilleuse vie de Robert Le Dyable iiii
C." 4to. _Without Date_. The preceding is over a large wood-cut of Robert,
with a club in his hand, forming the frontispiece. The signatures run to D,
in fours; with the exception of A, which has eight leaves. The work is
printed in double columns, in a small gothic type. A sound desirable copy.

SYPPERTS DE VINEUAULX. "Lhystoire plaisante et recreative faisant metion
des prouesses et vaillaces du noble Sypperts de Vineuaulx Et de ses dix
septs filz Nouuellement imprime." At the end: printed for "_Claude veufue
de feu Iehan sainct denys_," 4to. _Without Date_. On the reverse of this
leaf there is a huge figure of a man straddling, holding a spear and
shield, and looking over his left shoulder. I think I have seen this figure
before. This impression is executed in long lines, in a small gothic
letter. A sound copy of a very rare book.[89]

GUY DE VVARWICH. "Lhystoire de Guy de vvarwich Cheualier dagleterre &c.
4to. _No Date_. The preceding is over a wood-cut of the famous Guy and his
fair Felixe. At bottom, we learn that it is executed in a small gothic
type, in double columns. The colophon is on the reverse of V. six.

MESSER NOBILE SOCIO. "Le Miserie de li Amanti di Messer Mobile Socio."
Colophon: "_Stampata in Vinegia per Maestro Bernardino de Vitali Veneciano_
MDXXXIII." 4to. This impression is executed in long lines, in a fair, good,
italic letter. The signatures, from _a_ to _y_ inclusively, run in fours.
The colophon, just given, is on the reverse of _z_ i. Of this romance I
freely avow my total ignorance.

CASTILLE ET ARTUS D'ALGARBE. 4to. This title is over what may be called
rather a spirited wood-cut. The date below is 1587. It is printed in double
columns, in a small roman type. In the whole, forty-eight leaves. A
desirable copy.

LA NEF DES DAMES. 4to, _Without Date_. This title is composed of one line,
in large lower-case gothic, in black, (just as we see in some of the title
pages of Gerard de Leeu) with the rest in four lines, in a smaller gothic
letter, printed in red. In this title page is also seen a wood-cut of a
ship, with the virgin and child beneath.

This book exhibits a fine specimen of rich gothic type, especially in the
larger fount--with which the poetry is printed. There is rather an abundant
sprinkling of wood cuts, with marginal annotations. The greater part of the
work is in prose, in a grave moral strain. The colophon is a recapitulation
of the title, ending thus: "_Imprime a Lyon sur le rosne par Iaques
arnollet_." This is a sound but somewhat soiled copy. In torn parchment
binding.

NOVELAS FOR MARIA DE ZAYAS, &c. _En Zaragoca, en el Hospital Real_, &c.
_Ano 1637_." 4to. These novels are ten in number; some of them containing
Spanish poetry. An apparently much enlarged edition appeared in 1729. 4to.
"_Corregidas y enmendadas en esta ultima impression_."

NOVELAS AMOROSAS. _Madrid_, 1624. 4to. Twelve novels, in prose: 192
leaves. Subjoined in this copy, are the "Heroydas Belicas, y Amoras, &c."
_En Barcelona_, &c. 1622. 4to. The whole of these latter are in three-line
stanzas: 109 leaves.

SVCESSOS Y PRODIGOS DE AMOR. _En Madrid_. 1626. 4to. 166 leaves. At the
end: "Orfeo, en lengva Castellana. A la decima Mvsa." By the same author:
in four cantos: thirty-one leaves.

EL CAVALLERO CID. "El Cid rvy Diez de Viuar."

The preceding title is over a wood-cut of a man on horseback, trampling
upon four human bodies. At bottom: _Impresso con licencia en Salamanca,
Ano de 1627_." 4to.: 103 pages. At the end are, the "_Seys Romances del
Cid Ruy Diaz de Biuar_." The preceding is on A (i). Only four leaves in the
whole; quite perfect, and, as I should apprehend, of considerable rarity.
This slender tract appears to have been printed at _Valladolid por la viuda
de Francisco de Cordoua, Ano de 1627_." 4to.

FIORIO E BIANCIFIORE. "_Impressa, &c. ne bologna, Delanno del nostro
signore m.cccclxxx. adi. xxiii. di decembre. Laus deo."_ Folio. Doubtless
this must be the _Prima Edizione_ of this long popular romance; and perhaps
the present may be a unique copy of it. Caxton, as you may remember,
published an English prosaic version of it in the year 1485; and no copy of
_that_ version is known, save the one in the cabinet at St. James's Place.
This edition has only eight leaves, and this copy happens unluckily to be
in a dreadfully shattered and tender state. At the end:

_Finito e il libra del fidelissimo Amore
Che portorno insieme Fiorio e Biancifiore_

Subjoined to the copy just described is another work, thus entitled:

SECRETO SOLO e in arma ben amaistrato
Sia qualunqua nole essere inamorato.
Got gebe ir eynen guten seligen mogen.

The preceding, line for line, is printed in a large gothic type: the rest
of the work in a small close gothic letter. Both pieces, together, contain
sixty-three leaves.

COMMEDIA DE CELESTINA. "_Vendese la presente obra en la ciudad de Anuers_,"
&c. 18mo. _Without Date_. I suspect however that this scarce little volume
was _printed_ as well as "_sold_" at Paris.

MILLES ET AMYS. "_A Rouen chez la Veufue de Louys Coste_." 4to. Without
Date. The frontispiece has a wood-cut of no very extraordinary beauty, and
the whole book exhibits a sort of ballad-style of printing. It is executed
in a roman letter, in double columns.

OGIER LE DANOIS. "_On les vend a Lyon_, &c." Folio. At the end is the date
of 1525, over the printer's device of a lion couchant, and a heart and
crown upon a shield. It is a small folio, printed in a neat and rather
brilliant gothic type, with several wood-cuts.

GALIEN ET JAQUELINE. "_Les nobles prouesses et vaillances de Galien
restaure_," &c. 1525, Folio. The preceding is over a large wood-cut of a
man on horseback; and this romance is printed by the same printer, in the
same place, and, as you observe, in the same year--as is that just before
described.

HUON DE BOURDEAUX. Here are four editions of this Romance:--to which I
suspect fourscore more might be added. The first is printed at _Paris_ for
_Bonfons_, in double columns, black letter, with rude wood-cuts. A fine
copy: from the Colbert Collection. The second edition is of the date of
1586: in long lines, roman letter, approaching the ballad-style of
printing. The third edition is "_A Troyes, Chez Nicolas Oudot_, &c. 1634."
4to. in double columns, small roman letter. No cuts, but on the recto and
reverse of the frontispiece. The fourth edition is also "_A Troyes Chez
Pierre Garnier_, 1726," 4to. in double columns, roman letter. A very
ballad-like production.

LES QUATRE FILZ AYMON, Two. editions. One. "_a Lyon par Benoist Rigaud_,
1583," 4to. The printing is of the ballad-kind, although there are some
spirited wood-cuts, which have been wretchedly pulled. The generality are
as bad as the type and paper.

MABRIAN. &c. "_A Troyes, Chez Oudot_, 1625," 4to. A vastly clever wood-cut
frontispiece, but wretched paper and printing. From the _Cat. de Nyon_; no.
8135.

MORGANT LE GEANT. "_A Troyes, Chez Nicholas Oudot_, 1650, 4to." A pretty
wood-cut frontispiece, and an extraordinary large cut of St. George and the
Dragon on the reverse. There was a previous Edition by the same Printer at
Rouen, in 1618, which contains the second book--wanting in this copy.

GERARD COMTE DE NEVERS, &C. 1526, 4to. The title is over the arms of
France, and the text is executed in a handsome gothic letter, in long
lines. At the end, it appears to have been printed for _Philip le Noir_. It
is a very small quarto, and the volume is of excessive rarity. The present
is a fine copy, in red morocco binding.

CRONIQUE DE FLORIMONT, &C. At "_Lyons--par Olivier Arnoullet_," 4to. At the
end is the date of 1529. This impression is executed in a handsome gothic
type, in long lines.

TROYS FILZ DE ROYS. Printed for "_Nicolas Chrestien--en la Rue neufue
nostre Dame_," &c. Without date, 4to. The frontispiece displays a large
rude wood cut; and the edition is printed in the black letter, in double
columns. All the cuts are coarse. The book, however, is of uncommon
occurrence.

PARIS ET VIENNE:--"_a Paris, Chez Simon Caluarin rue St. Jacques_." Without
date: in double columns; black letter, coarsely printed. A pretty wood-cut
at the beginning is repeated at the end. This copy is from the Colbert
Library.

PIERRE DE PROVENCE ET LA BELLE MAGUELONNE. 1490. 4to. The title is over a
large wood-cut of a man and woman, repeated on the reverse of the leaf. The
impression is in black letter, printed in long lines, with rather coarse
wood-cuts. I apprehend this small quarto volume to be of extreme rarity.

JEHAN DE SAINTRE--"_Paris, pour Jehan Bonfons_," &c. 4to. _Without date_. A
neatly printed book, in double columns, in the gothic character. There is
no cut but in the frontispiece. A ms. note says, "This is the first and
rarest edition, and was once worth twelve louis." The impression is
probably full three centuries old.

BERINUS ET AYGRES DE LAYMANT. At bottom: sold at "_Paris par Jehan de
Bonfons_, 4to. _No date._ It is in double columns, black letter, with the
device of the printer on the reverse of the last leaf. A rare book.

JEAN DE PARIS. "Le Romat de Iehan de Paris, &c. _a Paris, par Jehan
Bonfons_, 4to. _Without date_. In black letter, long lines: with rather
pretty wood-cuts. A ms. note at the end says: "Ce roman que jay lu tout
entier est fort singulier et amusant--cest de luy douvient le proverbe
"_train de Jean de Paris_." Cest ici la plus ancienne edition. Elle est
rare." The present is a sound copy. There are some pleasing wood-cuts at
the end.

CRONIQUE DE CLERIADUS, &C. "_On les vend a Lyon au pres de nostre dame de
confort cheulx Oliuier Arnoullet_. At the end; 1529. 4to. This edition,
which is very scarce, is executed in a handsome gothic type, in long lines.
The present is a cropt but sound copy.

GUILLAUME DE PALERNE, &C. At bottom--beneath a singular wood-cut of some
wild animal (wolf or fox) running away with a child, and a group of
affrighted people retreating--we read: "_On les vent a Lyon aupres Dame de
Confort chez Oliuier Arnoulle_." At the end is the date of 1552.

---- Another edition of the same romance, _printed at Rouen, without date,
by the widow of Louis Coste_, 4to. A mere ballad-style of publication:
perhaps not later than 1634.--the date of our wretched and yet most popular
impression of the Knights of the Round Table.

DAIGREMONT ET VIVIAN. _Printed by Arnoullet, at Lyons_, in 1538, 4to. It is
executed in a handsome gothic letter, in long lines. This copy is bound up
with the _first_ edition of the Cronique de Florimont--for which turn to a
preceding page[90]. In the same volume is a third romance, entitled

LA BELLE HELAYNE, 1528, 4to.:--_Printed by the same printer_, with a
singular wood-cut frontispiece; in a gothic character not quite so handsome
as in the two preceding pieces.

JOURDAIN DE BLAVE. _A Paris, par Nicolas Chrestien_," 4to. _Without date_.
Printed in double columns, in a small coarse gothic letter.

DOOLIN DE MAYENCE. _A Paris--N. Bonfons_. _Without date_, 4to. Probably
towards the end of the sixteenth century; in double columns, in the roman
letter. Here is another edition, _printed at Rouen_, by _Pierre Mullot_; in
roman letter; in double columns. A coarse, wretched performance.

MEURVIN FILS D'OGER, &C. _A Paris;--Nicolas Bonfons_." 4to. _Without date_.
In the roman letter, in double columns. A fine copy.

MELUSINE. Evidently by _Philip le Noir_, from his device at the end. It is
executed in a coarse small gothic letter; with a strange, barbarous
frontispiece. Another edition, having a copy of the same frontispiece,--
"_Nouuellement Imprimee a Troyes par Nicolas Oudot. 1649."_ 4to. Numerous
wood-cuts. In long lines, in the roman letter.

TREBISOND. At the end: for "_Iehan Trepperel demourat en la rue neufue
nostre dame A lenseigne de lescu de frac_. Without date, 4to. The device
of the printer is at the back of the colophon. This impression is executed
in the black letter, in double columns, with divers wood-cuts.

HECTOR DE TROYE. The title is over a bold wood-cut frontispiece, and
_Arnoullet_ has the honour of being printer of the volume. It is executed
in the black letter, in long lines. After the colophon, at the end, is a
leaf containing a wood-cut of a man and woman, which I remember to have
seen more than once before.

And now, methinks, you have had a pretty liberal assortment of ROMANCES
placed before you, and may feel disposed to breathe the open air, and quit
for a while this retired but interesting collection of ancient tomes. Here,
then, let us make a general obeisance and withdraw; especially as the
official announce of "deux heures viennent de sonner" dissipates the charm
of chivalrous fiction, and warns us to shut up our volumes and begone.

[81] [The only copy of it in England, UPON VELLUM, is that in the Royal
Library in the British Museum.]

[82] [It seems that it is a production of the GIUNTI Press. Cat. _des
Livr. &c. sur Velin_, vol. ii. p. 59.]

[83] [I learn from M. Crapelet that this book is a _Lyons Counterfeit_
of the Aldine Press; and that the _genuine_ Aldine volume, upon
vellum, was obtained, after my visit to Paris, from the Macarthy
Collection.]

[84] [I had blundered sadly, it seems, in the description of this book in
the previous edition of this work: calling it a _Theocritus_, and
saying there was a second copy on _large paper_. M. Crapelet is
copious and emphatic in his detection of this error.]

[85] [I thank M. Crapelet for the following piece of information--from
whatever source he may have obtained it: "The library of Henri II. and
Diane de Poictiers was sold by public auction in 1724, after the death
of Madame La Princesse Marie de Bourbon, wife of Louis-Joseph, Duc de
Vendome, who became Proprietor of the Chateau d'Anet. The Library, was
composed of a great number of MSS. and Printed Books, exceedingly
precious. The sale catalogue of the Library, which is a small
duodecimo of 50 pages, including the addenda, is become very scarce."
CRAPELET; vol. iii. 347.

My friend M. GAIL published a very interesting brochure, about ten
years ago, entitled _Lettres Inedites de Henri II. Diane de Poitiers,
Marie Stuart, Francois, Roi Dauphin &c_. Amongst these letters, there
was only ONE specimen which the author could obtain of the _united_
scription, or rather signatures, of Henry and Diana. Of these
signatures he has given a fac-simile; for which the Reader, in common
with myself, is here indebted to him. Below this _united_ signature,
is one of Diana HERSELF--from a letter entirely written in her own
hand. It must be confessed that she was no Calligraphist.

[Autographs: Henri II, Diane de Poitiers]

[86] [My friend Mr. Drury possessed a similar copy.]

[87] It may not be generally known that one of the most minute and
interesting accounts of this assassination is given in _Howell's
Familiar Letters_. The author had it from a friend who was an
eye-witness of the transaction.

[88] As for the "_singeing_."--or the reputed story of the greater
part of them having been _burnt_--my opinion still continues to be as
implied above: I will only now say that FORTUNATE is that _Vendor_ who
can obtain _25l._ for a copy--be that copy brown or fair.

[89] [My friend, the late Robert Lang, Esq. whose extraordinary Collection
of Romances was sold at the close of the preceding year, often told
me, that THE ABOVE was the _only_ Romance which he wanted to complete
his Collection.]

[90] Page 164, ante.

_LETTER VII._

LIBRARY OF STE. GENEVIEVE. THE ABBE MERCIER ST. LEGER. LIBRARY OF THE
MAZARINE COLLEGE, OR INSTITUTE. PRIVATE LIBRARY OF THE KING. MONS. BARBIER,
LIBRARIAN.

It is just possible that you may not have forgotten, in a previous letter,
the mention of STE. GENEVIEVE--situated in the old quarter of Paris, on the
other side of the Seine; and that, in opposition to the _ancient_ place or
church, so called, there was the _new_ Ste. Genevieve--or the Pantheon. My
present business is with the _old_ establishment: or rather with the
LIBRARY, hard by the old church of Ste. Genevieve. Of all interiors of
libraries, this is probably the most beautiful and striking; and it is an
absolute reproach to the taste of antiquarian art at Paris, that so
beautiful an interior has not been adequately represented by the burin.
There is surely spirit and taste enough in this magnificent capital to
prevent such a reproach from being of a much longer continuance. But my
business is with the _original_, and not with any _copy_ of it--however
successful. M. Flocon is the principal librarian, but he is just now from
home[91]. M. Le Chevalier is the next in succession, and is rarely from his
official station. He is a portly gentleman; unaffected, good-natured, and
kind-hearted. He has lived much in England, and speaks our language
fluently: and catching my arm, and leaning upon it, he exclaimed, with a
sort of heart's chuckle--in English, "with all my soul I attend you to the
library."

On entering that singularly striking interior, he whispered gently in my
ear "you shall be consigned to a clever attendant, who will bring you what
you want, and I must then leave you to your occupations." "You cannot
confer upon me a greater favour," I replied. "Bon, (rejoined he) je vois
bien que vous aimez les livres. A ca, marchons." I was consigned to a
gentleman who sat at the beginning of the left rectangular compartment--for
the library is in the form of a cross--and making my bow to my worthy
conductor, requested he would retire to his own more important concerns. He
shook me by the hand, and added, in English--"Good day, God bless you,
Sir." I was not wanting in returning a similar salutation.

The LIBRARY OF STE. GENEVIEVE exhibits a local of a very imposing, as well
as extensive, appearance. From its extreme length,--which cannot be less
than two hundred and thirty feet, as I should conjecture--it looks rather
low. Yet the ceiling being arched, and tolerably well ornamented, the whole
has a very harmonious appearance. In the centre is a cupola: of which the
elder Restout, about ninety years ago, painted the ceiling. They talk much
of this painting, but I was not disposed to look at it a second time. The
charm of the whole arises, first, from the mellow tone of light which is
admitted from the glazed top of this cupola; and, secondly, from the
numerous busts, arranged along the sides, which recal to your remembrance
some of the most illustrious characters of France--for arts, for arms, for
learning, and for public spirit. These busts are at the hither end, as you
enter. Busts of foreigners continue the suite towards the other
extremities. A good deal of white carved ornament presents itself, but not
unpleasantly: the principal ground colour being of a sombre tint,
harmonising with that of the books. The floor is of glazed tile. It was one
of the hottest of days when I first put my foot within this interior; and
my very heart seemed to be refreshed by the coolness--the tranquillity--the
congeniality of character--of every thing around me! In such a place,
"hours" (as Cowper somewhere expresses it) may be "thought down to
moments." A sort of soft, gently-stealing, echo accompanies every tread of
the foot. You long to take your place among the studious, who come every
day to read in the right compartment of the cross; and which compartment
they as regularly _fill_. Meanwhile, scarcely a whisper escapes them. The
whole is, indeed, singularly inviting to contemplation, research, and
instruction. But it was to the left of the cupola--and therefore opposite
the studious corps just mentioned--that M. Le Chevalier consigned me to my
bibliographical attendant. I am ignorant of his name, but cannot be
forgetful of his kind offices. The MS. Catalogue (they have no printed one)
was placed before me, and I was requested to cater for myself. Among the
_Libri Desiderati_ of the fifteenth century, I smiled to observe the
_Naples Horace of_ 1474 ... but you wish to be informed of the _acquired_,
and not of the _desiderated_, treasures. Prepare, therefore, for a treat--
of its kind.

LACTANTIUS. _Printed in the Soubiaco Monastery_. 1465. Folio. This was Pope
Pius the Sixth's copy. Indeed the greater number of the more valuable early
books belonged to that amiable Pontiff; upon whom Audiffredi (as you may
well remember) has passed so warm and so well merited an eulogium[92]. The
papal copy, however, has its margins scribbled upon, and is defective in
the leaf which contains the errata.

AUGUSTINUS DE CIVITATE DEI. _Printed in the same Monastery_. 1467. Folio.
The margins are broad, but occasionally much stained. The copy is also
short. From the same papal collection.

CICERO DE ORATORE. _Printed in the same Monastery_. _Without Date_. Folio.
A sound copy, but occasionally scribbled upon. The side margins are rather
closely cropt.

BIBLIA LATINA. 1462. Folio. 2 vols. I saw only the first volume, which
displays a well-proportioned length and breadth of margin. The
illuminations appear to be nearly coeval, and are of a soft and pleasing
style of execution. Yet the margins are rather deformed by the designation
of the chapters, in large roman numerals, of a sprawling character.

BIBLIA ITALICA. _Kalend. de Octobrio_. 1471. Folio. 2 vols. A perfectly
magnificent copy (measuring sixteen inches three eighths, by ten and six
eighths) of this very rare edition; of which a minute and particular
account will be found in the Catalogue of Earl Spencer's Library.[93] After
a careful inspection--rather than from actual comparison--I incline to
think that these noble volumes came from the press of _Valdarfer_. The copy
under description is bound in brown calf, with red speckled edges to the
leaves. This is a copy of an impression of which the library may justly be
proud.

BIBLIA POLONICA. 1599. Folio. In style of printing and embellishment like
our Coverdale's Bible of 1535. Whether it be a reprint (which is most
probable) of the famous Polish Bible of 1563, I am unable to ascertain.

VIRGILIUS. _Printed by Sweynheym and Pannartz_. (1469.) Folio. FIRST
EDITION; of the greatest rarity. Probably this is the finest copy (once
belonging to Pius VI.) which is known to exist; but it must be considered
as imperfect--wanting the Priapeia. And yet it may be doubted whether the
latter were absolutely printed by Sweynheym and Pannartz for their _first_
edition? This copy, bound in white calf, with the papal arms on the sides,
measures twelves inches and a quarter in length, by eight inches and five
eighths in width: but the state of the illumination, at the beginning of
the Bucolics, shews the volume to have been cropt--however slightly. All
the illuminations are quiet and pretty. Upon the whole, this is a very
precious book; and superior in most respects to the copy in the Royal
Library.[94]

PLINIUS SENIOR. 1469. Folio. EDITIO PRINCEPS. A copy from the same papal
library; very fine, both as to length and width.--You rarely meet with a
finer copy. _The Jenson edition_ of 1472 is here comparatively much
inferior.

CICERO. RHETORICA VETUS. _Printed by Jenson_. 1470. Folio. A great
curiosity: inasmuch as it is a copy UPON VELLUM. It has been cruelly cut
down, but the vellum is beautiful. It is also choked in the back, in
binding. From the collection of the same Pope.

SUETONIUS. _Printed by I.P. de Lignamine_. 1470. Folio. A magnificent copy;
measuring thirteen inches and one eighth in height. The first leaf is,
however, objectionable. From the same collection.

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