O thou most sweet spouse of my soul, Christ Jesu, desiring heartily

evermore for to be with thee in mind and will, and to let none

earthly thing be so nigh my heart as thou, Christ Jesu; and that

I dread not for to die for to go to thee, Christ Jesu; and that I

may evermore say unto thee with a glad cheer, my Lord, my God, my

sovereign Saviour Christ Jesu, I beseech thee heartily take me,

sinner, unto thy great mercy and grace, for I love thee with all my

heart, with all my mind, with all my might, and nothing so much in

earth nor above earth as I do thee, my sweet Lord, Christ Jesu. And

for that I have not loved thee, and worshipped thee above all things

as my Lord, my God, and my Saviour, Christ Jesu, I beseech thee with

meekness and heart contrite, of mercy and of forgiveness of my great

unkindness, for the great love that thou showedst for me and all

mankind, what time thou offerdst thy glorious body, God and man, unto

the Cross; there to be crucified and wounded, and unto thy glorious

heart a sharp spear, there running out plenteously blood and water

for the redemption and salvation of me and all mankind. And thus

having remembrance steadfastly in my heart of thee, my Saviour Christ

Jesu, I doubt not but thou wilt be full nigh me, and comfort me both

bodily and ghostly with thy glorious presence, and at the last bring

me unto thy everlasting bliss, the which shall never have end. Amen.

The only EXISTING COPY known is in the library of Earl Spencer, where

it is bound up in a copy of Caxton’s “Pilgrimage of the Soul.” It is in

perfect condition, and measures 11 × 8 inches.

NO. 58.--THE FABLES OF ÆSOP; OF AVIAN; OF ALFONSE; AND OF POGE,

THE FLORENTINE. _Folio. “Emprynted by me William Caxton at

Westmynstre . . the xxvj daye of Marche the yere of oure lord

M CCCC lxxxiiij.”_

COLLATION.--~a b c d e f g h i k l m n o p q r s~ are 4ns, the last two

leaves of ~s~ being blank. In all 144 leaves, of which two are blank.

Note.--The first leaf of ~a~ is not signed, being printed only on the

verso.

TYPOGRAPHICAL PARTICULARS.--There is no title-page, unless we call the

great cut of Æsop by that name. The type is of two sorts, No. 3, used

in three places at the beginning of the work for headings, and No.

4*, in which is the whole text and the head-lines. The lines, which

measure 4⅝ inches, are fully spaced out, and in those few pages where

there is no woodcut there are 37 or 38 lines. There are head-lines and

folios throughout, except in sig. ~n~, which has folios only. Woodcut

initials are used throughout, and on the verso of sig. ~a ij~ is a

large floriated ~A~, afterwards used in the “Order of Chivalry.”

The first recto of sig. ~a~ is blank. Upon the verso is a large woodcut

(4⅝ × 6¾ inches), of Æsop, surrounded by the subjects of his fables,

with the word ESOPVS at the top. On the second recto, which is signed

~a ij~, the book commences with the following title, in large type, No.

3--

~ℂ Folio ija

ℂ Here begynneth the book of the subtyl hystoryes

and Fables of Esope whiche were translated out

of Frensshe in to Englysshe by wylliam Caxton

at westmynstre Jn the yere of oure Lorde . M .

. CCCC . lxxxiij .~

~Jrst begynneth the lyf of Esope with alle his fortune

~F~ how he was subtyll/wyse/and borne in Grece / not ferre

fro Troye the graunt in a Towue named Amoneo /

whiche was amonge other dyfformed and euylle shapen / For~

[Illustration: ÆSOP BEATEN BY HIS MASTER.]

The whole is finished by an epilogue, written by Caxton himself, which

begins on the recto, and concludes on the verso of sig. ~s~ 6.

~swere of a good preest and an honest / And here with J fy-

nysshe this book / translated & emprynted by me William

Cax-‖ton at westmynstre in thabbay / And fynysshed the

xxvj daye ‖ of Marche the yere of oure lord M CCCC

lxxxiiij / And the ‖ fyrst yere of the regne of kyng Rychard

the thyrdde~

The woodcuts by their treatment evidently came from the hands of the

artist who had previously illustrated the “Game of Chess.” It is

perhaps impossible to decide whether they are of Flemish or English

origin. The woodcut on p. 288 represents Æsop beaten by his master.

Caxton himself tells us at the beginning of the book that it was a

translation of his own from the French. It is rather remarkable that

although the fables of Æsop, in French, were found in all the great

libraries of the fourteenth and fifteenth centuries, and as many as

three or four different copies in some, yet none apparently have

descended to our time. No trace of an English translation previous to

that of Caxton has been discovered, and he must therefore have the

credit of introducing these fables to his countrymen in the English

tongue. They were reprinted in London, with scarcely any alteration,

for nearly two centuries. Whether translated from a manuscript, or an

early French printed edition, it is now impossible to say.

This is a very rare book: the only perfect copy known was devised by

Mr. Hewett, of Ipswich, to King George III, and is now in the Royal

Library, Windsor. Imperfect copies are in the British Museum and at

Oxford.

NO. 59.--THE ORDER OF CHIVALRY. _Quarto. Without Printer’s Name,

Place, or Date. Translated by Caxton and presented to Richard

III. (1483-5.)_

COLLATION.--~a b c d e f~ are 4ns, ~aj~ being blank; ~g~ a 2n, with

the last leaf blank; in all 52 leaves, of which two are blank.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type is No.

4*, but two headings at the beginning of the work are in type No. 3.

The lines, which measure 3⅛ inches, and of which there are 26 to a

full page, are fully spaced out. Without folios or catchwords. Initial

letters cut in wood are used.

Commencing with a blank leaf the work opens with a short preface, on

sig. ~a ij~, the first four lines being in type No. 3. The Text begins

thus:--

~ℂ Here begynneth the Table of

this present booke Jntytled the

Book of the ordre of chyualry

or knyghthode~

The Text ends:--

~vertuouse dede / And J shalle pray almyz-

ty god for his long lyf & prosperous wel-

fare / & that he may haue victory of al his

enemyes / and after this short & transitory

lyf to haue euerlastyng lyf in heuen / whe-

re as is Joye and blysse world without

ende Amen /~

The date of printing, which was in the reign of Richard III, must have

been between June 26th, 1483, and August 22nd, 1495. The “Order of

Chivalry” has no connection with “L’ordene de chevalerie.” Dibdin, in

the _Typ. Ant._, and Moule, in _Bib. Herald._, both err in this matter.

Two copies are in the British Museum, and two in private libraries: no

others are known.

NO. 60.--CHAUCER’S CANTERBURY TALES. _Folio. Second Edition, with

Woodcuts. “By William Caxton.” Without Place or Date. (1484?)_

COLLATION.--~a b c d e f g h i k l m n o p q r s t~ are 4ns, with

~a j~ blank; ~v~ a 3n, ~aa bb cc dd ee ff gg hh~ are 4ns; ~ii~ a

3n; ~A B C D E F G H J K~ are 4ns; ~L~ a 2n. In all 312 leaves, of

which one is blank.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type of the

Text is No. 4*, the heads being all in No. 2*. The lines in the

prose portion are spaced to an even length, and measure 4⅞ inches.

38 lines to a page. Without catchwords or folios, and almost without

punctuation. Space left for the insertion of initials.

This second edition, Caxton tells us, was printed six years after the

first. Having fixed the year 1477-8 as about the date of the first,

that will give about 1484 for this.

Commencing with a blank leaf, the prohemye follows on ~a ij~.

~Prohemye~

~Rete thankes lawde and honour / ought to be gy-

uen vnto the clerkes / poetes / and historiographs

~g that haue wreton many noble bokes of wysedom

of the lyues / passios / & myracles of holy sayntes

of hystoryes / of noble and famous Actes / and

faittes / And of the cronycles sith the begynnyng

of the creacion of the world/vnto thys present tyme/by whyche~

The proheme, which is an excellent and indubitable specimen of Caxton’s

own composition, and reflects as much credit upon his disposition as

upon his literary abilities, finishes on the verso of sig. ~a ij~--

~after thys short and transitorye lyf we may come to euer-

lastyng ‖ lyf in heuen / Amen~

~By Wylliam Caxton~

On sig. ~a iij~ recto, with room for a 4-line initial,

~Han that Apryll wyth hys shouris sote

~w~ The droughte of marche hath percyd the rote

And bathyd euery veyne in suche lycour

Of whyche vertue engendryd is the flour

Whanne Zepherus eke wyth hys sote breth~

The Parson’s Tale finishes on sig. ~L iij~ verso, and is followed by

the Retraction.

The Text ends with seven lines on sig. ~L~ 4 recto,

~be one of hem at the day of dome that shal be sauyd / Qui

cum ‖ patre et spiritu sancto viuit et regnat deus / Per omnia

secula ‖ seculorum AMEN /~

The verso is blank.

REMARKS.--The wood-cut illustrations appear to be by the same artist

that was engaged upon Æsop. The wife of Bath is represented on page 293.

Two copies are in the British Museum, and one in each of the following

libraries--Magdalen and Pepysian, Cambridge; St. John’s, Oxford; Royal

Society, London; Earl of Ashburnham, and Earl Spencer. In the year 1858

I discovered a copy in the Library of the French Protestant Church, in

a torn and dirty state, having been used for some time to light the

vestry fire. I drew attention to its great value and interest, and it

was doubtless saved from further mutilation. Some time afterwards it

disappeared from the library altogether, and no one now knows what

has become of it. For identification the following particulars are

here given:--it wants all before sig. ~h~ 5; ~p~ 7; ~t~ 8 and ~v ij~;

~bb ij~; and ~dd~ 8; ~A j~; ~B iij~ and 4; and all after ~E~ 8. In

the original binding. Torn, dirty, and ill used. Measurement, 10⅝ ×

7¾. Autograph “·· Rawlinson A° 1717.” Also, “Ex dono · · · Bateman

Bibliopola.”

[Illustration: “THE WIFE OF BATH.”

FROM THE SECOND EDITION OF CHAUCER’S “CANTERBURY TALES.”]

NO. 61.--THE BOOK OF FAME. _Folio. “Emprynted by wylliam Caxton.”

Without Place or Date. (1484?)_

COLLATION.--~a b c~ are 4ns. ~a j~ being blank; ~d~ a 3n, ~d~ 6

being blank = 30 leaves, of which two are blank.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type is

entirely No. 4*. In the epilogue, which is the only prose part, the

lines are fully spaced out, and measure 4⅞ inches. 38 lines to a page.

Without folios or catchwords. Space left for the insertion of 2 or

3-line initials, with directors.

Commencing with a blank leaf, the Text follows on sig. ~a ij~ recto,

~The book of Fame made by Gefferey Chaucer~

~Od torne vs euery dreme to good

~g~ For it is wonder thyng by the rood

To my wyt / what causyth sweuenys

On the morowe / or on euenys~

The poem ends on sig. ~d~ 5 recto,

~Thus in dremyng and in game

Endeth thys lytyl book of Fame~

~Explicit~

The epilogue immediately follows, the Text ending,

~J humbly beseche & praye yow / emonge your prayers / to

remem-‖bre hys soule / on whyche / and on alle crysten

soulis / J beseche al-‖myghty god to haue mercy Amen~

~Emprynted by wylliam Caxton~

The epilogue has considerable interest, as showing Caxton’s opinion of

Chaucer, and is here given verbatim.

“J fynde nomore of this werke to fore sayd / For as fer as I can

vnnderstōde / This noble man Gefferey Chaucer fynysshyd at the sayd

conclusion of the metyng of lesyng and sothsawe / where as yet they

ben chekked and maye not departe / whyche werke as me semeth is

craftyly made / and dygne to be wreton & knowen / For he towchyth

in it ryght grete wysdom & subtyll vnderstondyng / And so in alle

hys werkys he excellyth in myn oppynyon alle other wryters in our

Englyssh / For he wrytteth no voyde wordes / but alle hys mater is

ful of hye and quycke sentence / to whom ought to be gyuen laude and

preysyng for hys noble makyng and wrytyng / For of hym alle other

haue borowed syth and taken / in alle theyr wel sayeing and wrytyng

/ And I humbly beseche & praye yow / emonge your prayers to remembre

hys soule / on whyche and on alle crysten soulis I beseche almyghty

god to haue mercy Amen”

REMARKS.--As will be seen by the list of Existing Copies, the printed

text of Caxton is extremely rare; so is the reprint by Pynson in

1526. Manuscripts of this poem were, probably, even in our printer’s

time, difficult to obtain. The copy used by him was certainly very

imperfect. Many lines are altogether omitted, and in the last page

Caxton was evidently in a great strait, for his copy was deficient 66

lines, probably occupying one leaf in the original. We know from his

own writings the great reverence in which our printer held the “noble

poete,” and we can imagine his consternation when the choice had to

be made, either to follow his copy and print nonsense, from the break

of idea caused by the deficient verses, or to step into Chaucer’s

shoes and supply the missing links from his own brain. He chose the

latter course, and thus instead of the original 66 lines, we have two

of the printer’s own, which enable the reader to reach the end of the

poem without a break-down. These lines are in the following quotation

printed in italics; the entire extract being the first six lines of the

last page:--

They were a chekked bothe two

And neyther of hym myght out goo

_And wyth the noyse of themwo_ _Caxton_

_J Sodeynly awoke anon tho_

And remembryd what I had seen

And how hye and ferre I had been

It should be noticed that Caxton has here printed his name in the

margin to make known his responsibility to his readers. The “out” not

having been hitherto noticed, the position of his name there has been a

puzzle to all bibliographers, until explained by Mr. Bradshaw.

Copies are in the British Museum; Cambridge; Imperial Library, Vienna,

and Althorpe.

NO. 62.--THE CURIAL. _Folio. “Translated thus in Englysshe by

wylliam Caxton.” Without Printer’s Name, Place, or Date. (1484?)_

COLLATION.--A 3n, signed ~j~, ~ij~, and ~iij~, without any blanks. In

all six leaves.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type is

entirely No. 4*. The lines, which are spaced to an even length, measure

4⅞ inches, and there are 38 to a full page. Without catchwords or

folios.

The Text begins on sig. ~j~ recto,

~Here foboweth the copye of a lettre whyche maistre

Alayn ‖ Charetier wrote to hys brother / whyche desired to

come dwelle in ‖ Court / in whyche he reherseth many my-

seryes & wretchydnesses ‖~

The “Curial” finishes on the sixth recto,

~to god J comande the by thys wrytyng whyche gyue the hys

gra ‖ ce / Amen~

~Thus endeth the Curial made by maystre Alain

Charretier ‖ Translated thus in Englyssh by wylliam

Caxton~

On the verso Caxton has given us the translation of a ballad, written

by Alain Chartier, consisting of 28 lines. It has a burthen:--“Ne chyer

but of a man Joyous,” and commences thus:--

~Ther ne is dangyer / but of a vylayn

Ne pryde / but of a poure man enryched~

The Text ends on same page, with Caxton’s name at foot,

~Ther is no speche / but it be curtoys

Ne preysyng of men / but after theyr lyf

Ne chyer but of a man Joyous

Caxton~

REMARKS.--Caxton translated the Curial from the French, “for a noble

and virtuous Erle,” probably Lord Rivers, who was beheaded at Pomfret,

on June 13th, 1483.

Alain Chartier, born in Normandy about 1386, earned for himself the

appellation of “excellent orateur, noble poëte, et très-renommé

rhétoricien.” He held the office of “Secretaire de la Maison” to both

Charles VI and Charles VII. He died about 1457. The most complete

editions of his works are those by Galiot du Pré, 16mo, Paris, 1529;

and by Duchesne, 4to, Paris, 1617. In the former, however, is an error

which has led to some confusion, as “Livre de l’Esperance” is there

entitled “Le Curial,” the real Curial being a much shorter piece, and

totally different in design. By the “Curial” being addressed to his

brother it is supposed to have been written by Alain to Jean Chartier,

known as the author of “Histoire de Charles VII.” As an instance of

the great repute, in which the writings of Chartier were held in his

age, it is reported that Margaret, the wife of the Dauphin of France,

afterwards Louis XI, finding him one day asleep in his chair, kissed

his lips to the great astonishment of her attendants. “Je ne baise pas

la personne mais la bouche dont estoíent sortes tant de beux discours,”

she exclaimed. There is a painting in Add. MS. No. 15300, vividly

depicting this scene.

Only two copies are known; one is in the British Museum, and the other

at Althorpe.

NO. 63.--TROYLUS AND CRESIDE. _Folio. Without Printer’s Name, Place,

or Date. (1484?)_

COLLATION.--~a b c d e f g~ are 4ns, the first leaf of ~a~ being

blank; ~h~ a 5n; ~i k l m n o~ are 4ns; ~p~ a 3n, with the last

two leaves blank. In all 120 leaves, of which 3 are blank.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type

throughout is No. 4*. Each page contains five stanzas of seven lines

each, with a blank line between each stanza. Without folios or

catchwords.

Commencing with a blank leaf, the poem follows on sig. ~a ij~ recto,

beginning thus:--

~t~ ~He double sorow of Troylus to telle

Kyng Pryamus sone of Troye

Jn louyng / how hys auentures felle

From woo to wele / and after out of Joye

My purpos is / or that J parte froye~

Book I ends on sig. ~b~ 8 verso; Book II on ~f j~ recto; Book III on

~h~ 10 recto; Book IV on ~m j~ recto; Book V on ~p~ 4 recto. On sig.

~p~ 4 recto is also Chaucer’s dedicatory stanza to the “Moral Gower.”

The Text ends on the same page,

~So make vs Jhesu for thy mercy dygne

For loue of mayden / & moder thyn benygne

Here endeth Troylus / as touchyng Cresede

Explicit per Caxton~

REMARKS.--A good account of the source of this poem, and a comparison

between it and Shakspere’s “Troilus and Creside,” with which, however,

it appears to have had little connection, will be found in Bell’s

edition of Chaucer’s works.

Two copies are in the British Museum, one at St. John’s, Oxford, and

one at Althorp.

NO. 64.--THE LIFE OF OUR LADY.--_Folio. “Empryntyd by Wyllyam

Caxton.” Without Place or Date. (1484?)_

COLLATION.--Two unsigned leaves; ~a b c d e f g h i k l~ are 4ns;

~m~ a 3n, the last leaf being blank. In all 96 leaves, of which one is

blank.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type is

entirely No. 4*. A page has five stanzas of seven lines each, the space

of one line being left between each stanza. The lines in the prose part

measure almost 5 inches. Without catchwords or folios. Space left for

the insertion of initials of one to three lines deep, with directors.

The Text begins, with a space for a 3-line initial, on the recto of

the first leaf,

~t~ ~His book was compyled by dan John lydgate monke of

burye / at the excitacion and styryng of the nohle and

victoryous prynce / Kyng harry the fyfthe / in thonoure

glorye & reuerence of the byrthe of our moste blessyd

lady / mayde ‖ wyf / and moder of our lord Jhesu cryst /

chapytred as foloweth ‖ by this table~

The table follows immediately, finishing with nine lines on the verso

of the second leaf.

The poem commences on sig. ~a j~ recto, with space for a 2-line initial,

~o~ ~Thougtful herte plungyd in distresse

With slo’bre of slouth this long wynters nyght~

On the lower-half of the fourth verso of sig. ~m~,

~Here endeth the book of the lyf of our lady

made by dan John lydgate monke of bury /

at thynstaunce of the moste crysten kynge /

kyng harry the fyfth~

~Goo lityl book and submytte the

Unto al them / that the shal rede

Or here / prayeng hem for charite

To pardon me of the rudehede

Of myn enpryntyng / not takyng hede

And yf ought be doon to theyr plesyng

Say they thyse balades folowyng~

The Text ends on the fifth recto of sig. ~m~,

~Blessid be the swettest name of our lord

Jhesu crist / and most glorious marie

His blessyd moder / with eternal accord

More than euer / tendure in glorye

And with hir meke sone for memorye

Blesse vs marie / the most holy virgyne

That we regne in heuen with the ordres nyne~

~Enpryntyd by Wyllyam Caxton~

A blank leaf completes the volume.

REMARKS.--This poem appears to have enjoyed, for a long period, a

considerable popularity. It was composed, as the manuscripts and

printed edition both tell us, by John Lydgate, at the excitation of

King Henry V. The envoy commencing “Goo lytyl booke,” is doubtless a

specimen of Caxton’s own powers of versification, as perhaps are also

the two ballads which follow it. Although the division of the poem into

chapters by Caxton does not agree with any of the known manuscripts,

yet he probably had a copy so divided, for, as we have seen, the

original poem was not chaptered at all, and later scribes would divide

it after their own judgment.

It would have surprised our worthy printer could he have foreseen the

grave charges of carelessness to be brought against him in future ages,

with reference to this production. Ames gives a very slight account of

“The Lyf of oure Ladye,” but so far as it goes, it is correct. Herbert

enlarged Ames’s article, but unfortunately wrote his description from a

copy deficient eight leaves in the middle of the poem, an imperfection

which, notwithstanding the consequent irregularity of signature, he

ascribes to carelessness on the part of Caxton; and, worse still, makes

Caxton himself confess that he was aware of the blunder he had made

before the conclusion of the printing, but thought that to ask the

reader’s pardon was sufficient reparation; a conclusion drawn from the

deprecatory stanzas quoted above, beginning, “Goo lityl book”--a style

of “envoy” very common to all writers of that age. Then follows Dr.

Dibdin, who, as usual, did not make an independent examination, but was

content with reprinting his predecessor’s remarks. The paragraph reads

thus:--“This [the omission of several chapters] must be attributed to

carelessness, which Mr. Caxton himself ingenuously acknowledges in one

of the concluding stanzas.”--_Typ. Ant._ vol. i, page 340, and _Bib.

Spenc._ vol. iv. page 333.

Both Herbert and Dibdin give the heads of all the chapters in this

poem, excepting, of course, those contained in the eight missing leaves

of their copy. These are, therefore, supplied here from the table,

which differs slightly from the heads in the body of the work.

How the chyef temple of rome fyl the nyght of crystes

byrthe / and other wonderful tokenes capitulo L

How the nyght of cristes byrthe a welle in rome

ranne oyle capitulo Lj

How the senatours of rome wolden haue holden Octauyan

theyr emperour as for her god capitulo Lij Liij

How the romayns whan they had domynacion ouer alle

the world made an ymage & callyd hit theyr god capitulo Liiij

How wyse sybyle tolde to the senate of rome

the byrthe of cryst capitulo Lv

How the prophetes prophecyed the byrthe

of cryst capitulo Lvi

A questyon assoyled whiche is worthyest of kyng

wyne or woman capitulo Lvij

EXISTING COPIES:--British Museum, Bodleian, Exeter College, Oxford,

Glasgow, and four in private hands.

NO. 65.--THE LIFE OF THE HOLY AND BLESSED VIRGIN SAINT WINIFRED.

_Folio. Without Printer’s Name, Date, or Place. “Reduced in to

Englysshe by me William Caxton.” (1485?)_

COLLATION.--~a~ and ~b~ are 4ns = 16 leaves, of which the first is

blank.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type is

entirely No. 4*. There are 38 or 39 lines to a full page, and they are

spaced to an even length. Without folios or catchwords.

Commencing with a blank leaf, the Text follows on sig. ~a ij~,

~ℂ Here begynneth the lyf of the holy & blessid vyrgyn

saynt ‖ Wenefryde /~

On sig. ~b~ 6 recto,

~ℂ Thus endeth the decollacion / the lyf after / and the

transla- ‖ cion of saynte Wenefrede virgyn and martir /

whiche was rey ‖ sed after that her hede had be smyton of

the space of xv yere ‖ reduced in to Englysshe by me

William Caxton /~

The Text ends, with ten lines on the recto of sig. ~b~ 8, the verso

being blank,

~celebramus translacionem / cunctorum adipisci mereamur

pec- ‖ catorum remissionem / Per dominum nostrum ⸝ et

cetera /~

REMARKS.--Caxton’s translation gives all the particulars of the

birth, parentage, dedication to God, decollation by Prince Caradoc,

restoration to life “after her head had been smyton off the space of

xv year,” and subsequent canonisation of St. Winifred; followed by the

service in Latin for her “commemoration.”

The earliest existing notice of this saint is found in Cotton MS.

Claud. A. v, which begins “Incipit Vita sancte Wenefrede virginis et

martyris.” The character of the writing is of the twelfth century,

but the Holy Well in Flintshire, dedicated to her, as well as the

existence of chapels and other places in Wales bearing her name, prove

her fame to have been spread for some centuries earlier. The Cotton

MS. itself was probably copied from a much older original. Historians

have therefore agreed to consider her as having lived in the seventh

century. Being a Welsh saint, her name does not at first seem to have

been received with any great veneration outside her own country, and

this may account for the entire absence of all notice of her in the

early historians. The Cotton MS. has a memorandum in a more modern

hand, stating it to be the composition of St. Elerius. For this,

however, there appears to be no other reason than the mention of this

saint as St. Winifred’s confessor. It has, however, been adopted by

Leland, Bale, Pits, and other writers. A second life of St. Winifred

was undertaken in the year 1140 by Robert, a Welsh monk of Shrewsbury,

who compiled his account from MSS. then extant, with the addition

of all the floating details which, in the course of centuries, the

legend had developed. The fame of the saint at that time was rapidly

increasing, partly owing to the grand ceremonial with which her relics

had been, in 1138, translated to the Benedictine Abbey in Shrewsbury.

The variations in these two accounts, especially as to the length of

time she lived after her decollation, has induced a belief that they

are independent productions. Had the second history been shorter and

less miraculous than the first, there might be some reason for the

opinion.

In “Liber Festivalis,” and in the “Golden Legend,” both printed by

Caxton, are short notices of St. Winifred; but in 1484 Caxton himself

set about “reducing into English” her Life. It is unfortunate that he

makes no mention of the language in which his original was written.

There is no reason to suppose that Caxton understood Welsh, or else

doubtless he could have obtained several MSS.[20] Again, it is very

improbable that Caxton translated from his usual source, the French, as

the saint was unknown across the Channel. It is therefore most probable

that the Latin account of Robert, already noticed, was Caxton’s

original, a probability we are not able to verify by collation, as no

manuscript appears to be known.

Caxton’s edition has the Latin commemoration of the saint at the

end, which was ordained with great ceremony by Arundel, Archbishop

of Canterbury, in 1391, who, at the same time, removed the day from

June 24th to November 3rd. This shows how the fame of St. Winifred

had increased. All the old legends state that on the spot where

Prince Caradoc decapitated the Virgin, there immediately sprung up an

impetuous stream of healing water. The famous Holy Well is on this

spot, and thence flows “St. Wenefrede’s Stream,” which empties itself

at the mouth of the Dee. The fame of wonderful cures effected by these

waters spread all over England, and greatly enhanced the shrine of St.

Winifred, until Holywell became the most favoured goal of pilgrims to

the north. Caxton could not perhaps have chosen a more popular life

when he undertook his translation. Henry VII built an octagonal well

over the source of the stream, with conveniences for using the waters,

and over this a beautiful chapel.

The shrine was plundered at the dissolution of the monasteries, and a

portion of the ruins was, in 1811, and is probably, still used as a

free grammar school.

In Caxton’s “Polycronicon,” in the metrical account of Wales, there are

twenty-two lines of curious matter concerning the Holy Well, and the

awful fate which befell the descendants of Prince Caradoc.

Only three copies of this edition are known. There is a fair specimen

in the King’s Library, British Museum, a poor one at Lambeth, and a

good one at Ham House, Surrey.

NO. 66.--THE NOBLE HISTORIES OF KING ARTHUR AND OF CERTAIN OF HIS

KNIGHTS. _Folio. “Emprynted in thabbey westmestre, the last day

of Juyl the yere of our Lord M CCCC lxxxv.”_

COLLATION.--The prologue and table take up a 4n and 5n; the first

leaf in the 4n is blank, the next 3 are signed ~ij~, ~iij~, ~iiij~;

the first four leaves only of the 5n are signed ~v~, ~vj~, ~vij~,

~viij~; ~a b c d e f g h i k l m n o p q r s t u x y z & A B C D E F G

H J K L M N O P Q R S T U X Y Z aa bb cc dd~ are 4ns; ~ee~ is a 3n.

In all 432 leaves, of which one is blank.

Note.--Sig. ~S iij~ is printed ~R iij~ and ~T ij~ is printed ~S ij~.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type throughout

is No. 4*. The lines are spaced out to an even length of 4⅝ inches,

and 38 make a full page. Without folios, head-lines, or catchwords.

Initials in wood of three to five lines in depth.

Commencing with a blank leaf, Caxton’s prologue follows on sig. ~ij~,

with a 3-line initial in wood. The Text begins thus:--

~Fter that J had accomplysshed and fynysshed dyuers

~A~ hystoryes as wel of contemplacyon as of other hysto

ryal and worldly actes of grete conquerours & pryn

ces / and also certeyn bookes of ensaumples and doctryne /~

The Text ends on the recto of the sixth leaf of sig. ~ee~, the verso

being blank.

~ℂ Thus endeth thys noble and Joyous book entytled le

morte ‖ Darthur / Notwythstondyng it treateth of the byrth /

lyf / and ‖ actes of the sayd kyng Arthur / of his noble

knyghtes of the ‖ rounde table / theyr meruayllous enquestes

and aduentures / ‖ thachyeuyng of the sangreal / & in thende

the dolorous deth & ‖ departyng out of thys world of them

al / whiche book was re ‖ duced in to englysshe by syr

Thomas Malory knyght as afore ‖ is sayd / and by me

deuyded in to xxj bookes chapytred and ‖ enprynted / and

fynysshed in thabbey westmestre the last day ‖ of Juyl the

yere of our lord / M / CCCC / lxxxv /~

~ℂ Caxton me fieri fecit~

REMARKS.--There does not appear to be any trace in the collections

of the British Museum, or elsewhere, of a manuscript of Sir Thomas

Malory’s text. Of Sir Thomas himself, all we know is contained in the

last sentence of his own book: “This book was ended the ninth year of

the reign of King Edward the fourth by Sir Thomas Malory, Knight;”

that is about 1470. Caxton tells us in his prologue, that Sir Thomas

had “reduced it from certain books in French.” These books, judging

from the conduct of the story, were the celebrated romances of Merlin,

Launcelot, Tristram, the Quest du S. Graal, and Mort Artus, on the

origin of which romances very little appears to be known, though much

has been written. Manuscript copies of all of them are in the British

Museum. Caxton’s edition was reprinted several times, the last being

the well-known 4to. volume, edited by Robert Southey, who has prefixed

a learned dissertation on the rise and development of the story. A very

interesting essay upon the character, epoch, and authors of the various

romances of the Round Table is contained in _Les Msc. Franç._, par M.

Paris, vol. i. page 160. See also the introduction of Thomas Wright to

his reprint of the 1634 edition, entitled _The History of King Arthur_,

3 vols. London, 1858. Also _Les Romans de la Table Ronde et les Contes

des anciens Bretons_, par M. le Vicomte Hersart de la Villemarqué. 8vo.

Paris, 1860.

The only perfect copy known is in the library of Earl Jersey; Earl

Spencer has an imperfect copy, and a fragment is in the British Museum.

There is not a copy at Lichfield, as stated by Mr. Botfield.

NO. 67.--THE LIFE OF THE NOBLE AND CHRISTIAN PRINCE, CHARLES THE

GREAT. _Folio. “Explicit per William Caxton.” Without Place.

“Enprynted the fyrst day of decembre / M CCCC lxxxv.”_

COLLATION.--~a b c d e f g h i k l m~ are 4ns. In all 96 leaves,

of which ~a j~ and ~m~ 8 appear to have been blank. The last leaf,

however, may have had the device.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type is all No.

4*. The pages have two columns, with 39 lines to a column. The lines,

which are spaced to one length, measure 2⅜ inches. Without folios or

catchwords. Woodcut initials three lines deep.

Commencing with a blank leaf, the prologue of the French translator

follows, on sig ~a ij~, with a 3-line printed initial. The Text begins

thus:--

~Aynt Poul doctour of somme werkes haultayne

~S~ veryte sayth to vs that doon ‖ & comysed by their

al thynges that ben re- grete strength ‖ & ryght ar-

duced by wrytyng / ben daunt courage / to the ‖ ex-

wryton ‖ altacyon of the crysten fayth~

* * * * * * * * * *

This preface finishes with five lines down the first column of the

verso, and is followed by Caxton’s prologue, in the same column, which

is finished on the 26th line of the opposite column.

~T~ ~Henne / for as moche J

late had fynysshed in

enpryntye the book of the

noble & ‖ vyctoryous kyng

Arthur fyrst ‖~

The Text ends with the following colophon,

~Whyche werke was fy-

nysshed ‖ in the reducyng of

hit in to en-‖glysshe the xviij

day of Juyn the ‖ second

yere of kyng Rychard ‖ the

thyrd / And the yere of our ‖

lord M CCCC lxxxv /

And ‖ enprynted the fyrst

day of de- ‖ cembre the same

yere of our lord ‖ & the fyrst

yere of kyng Harry ‖ the

seuenth /‖~

~ℂ Explicit p william Caxton~

REMARKS.--Histories and romances of “Karlemaine,” in French and

in Latin, in prose and in verse, existed so early as the twelfth

and thirteenth centuries. These became incorporated later in the

general histories, such as the “Speculum Historiale,” the “Fleur

des Histoires,” &c. The compilation of the romance under notice is

recounted by the anonymous Author himself in his preface and envoye.

From these we learn that Henry Bolomyer, Canon of Lausaune, regretting

the existence of several “disjoined” accounts of Charles the Great,

“excited” our anonymous Author to compile a continuous history of the

first Christian King of France. This he did, and the sources of his

narration, as well as the contents, cannot be described better than in

his own words, thus translated by Caxton (sig. ~m~, 7 recto), “it is so

that at the requeste of the sayd venerable man to fore named Maister

henry bolonnyer chanonne of lausaune J haue been Incyted to translate

& reduce into Frensshe the mater tofore reduced. As moche as toucheth

the fyrst & the thyrd book/ J haue taken & drawen oute of a book named

myrrour hystoryal for the moost parte / & the second book J haue onely

reduced it out of an olde romaūce in frensshe.”

On comparing the first and last books of the text under notice with

the chapters devoted to Charlemagne, in Verard’s edition of the

_Speculum Historiale_ (vol. iv, book 25), it is evident that the

compiler did not confine himself to the account of Vincent de Beauvais.

The Second Book, he tells us, was taken from an old romance in French;

perhaps the same as is still extant in _Royal MS._ 4 C. XI. 10, or the

manuscript in the Imperial Library, Paris, No. 6795.

It is the French compilation made for Henry Bolomyer which Caxton

was requested by “some persons of noble estate and degree”--“my good

singular lords and special masters” as he calls them--to reduce into

English. Among these his good friend Master William Daubeny, treasurer

of the king’s jewels, who is the only one mentioned by name, seems to

have most influenced him.

The only EXISTING COPY at present known is in the British Museum,

King’s Library (C. 10. b. 9). It is _perfect_, wanting only the two

blank leaves, and is in excellent preservation.

NO. 68.--THE KNIGHT PARIS AND THE FAIR VIENNE. _Folio. “Explicit per

Caxton. Westminster. December 19th, 1485.”_

COLLATION.--~a b c~ are 4ns, ~d~ and ~e~ 3ns = 36 leaves, of

which the last only is blank.

Note.--~d j~ is misprinted ~c i~.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type is all

No. 4*; in double columns, the lines being spaced to an even length,

and measuring 2⅜ inches; 39 lines to a column. Without folios or

catchwords. Woodcut initials.

The Text begins on sig. ~a j~ recto,

~ℂ Here begynneth thystorye may or ought to haue / The

of ‖ the noble ryght valyaunt sayd ‖ daulphyn thenne and

& wor- ‖ thy knyght Parys / this noble ‖ lady dyane were

and of the ‖ fayr Uyene / vij yere to gy- ‖ dre wythoute

the daulphyns dou- ‖ ghter of yssue that moche ‖ they de-

vyennoys / the whyche ‖ syred to haue / and prayed ‖

suffred many aduersytees our lord bothe nyght & day

by- ‖ cause of theyr true that ‖ they myght haue chyl

loue or ‖ they coude enioye dren play ‖ saunt and redy

the effect therof of ‖ eche to hys deuyne ‖ seruyce /

other / and our lord thorugh ‖~

The Text ends thus, on sig. ~e~ 5 recto, with sixteen lines in the

first column,

~may accompanye them in the

per ‖ durable glorye of heuen

Amen /~

~ℂ Thus endeth thystorye of

the ‖ noble and valyaunt

knyght pa-‖rys / and the fayr

vyenne dough ‖ ter of the

doulphyn of Uyen- ‖ noys /

translated out of frensshe ‖

in to englysshe by wylliam

Cax- ‖ ton at westmestre

fynysshed the ‖ last day of

August the yere of ‖ our lord

M CCCC lxxxv / and ‖

enprynted the xix day of

decem- ‖ bre the same yere /

and the fyrst ‖ yere of the

regne of kyng Harry ‖ the

seuenth /~

~ℂ Explicit p Caxton~

REMARKS.--Although frequently copied in manuscript, and often printed

in the fifteenth and sixteenth centuries, there are few romances so

rare as “Paris and Vienne.” Translated into the “langage provençal,”

from the original composition, which was in “Catalane,” it was turned

into Latin, French, Italian, Flemish, and English. The French, which

was the translation Caxton used, was accomplished about the beginning

of the fifteenth century, by Pierre de la Sippade, of Marseilles. The

first printed edition was in Italian, at Trévise, 1482; the second,

Caxton’s, 1485. G. Leeu, at Antwerp, 1487, brought out two impressions,

one in German and one in French. Wynken de Worde made an early reprint

of Caxton’s edition. The admiration which Jean de Pins, Bishop of

Rieux, one of the most elegant scholars of his age, conceived for this

romance, induced him to turn it into Latin, for the instruction of

the children of his friend the Chancellor Duprat. It was printed in

1516. The Jesuit Charron, in his Memoirs of Jean de Pins (_Avignon_,

8vo, 1748), speaks thus of this romance: “As for children, it would be

impossible to find a work more fitted to imbue the mind with correct

taste and elegance of style, to influence their characters by the

wisdom of its reflections, or to forearm their hearts against those

assaults of passion which blindly precipitate the young into the

abysses of misery. The work is truly admirable. The situations are so

interesting and the _dénoûment_ so happy, that their conception would

reflect honour on the best writers of the most renowned ages.” (See

_Histoire du Chevalier Paris, et de la belle Vienne_, 8vo, Paris, 1835.)

In the Utterson Library was an extremely rare printed edition of the

French version, from which Caxton translated, entitled “l’Hystoire du

vaillant and noble cheualier paris: and de la belle Viene fille du

dauphin de Vienoys.” 4to. Paris. Jehan Bonfons. c. 1500.

The only EXISTING COPY is in the British Museum. It was formerly

in Ames’s possession, but after the issue of “The Typographical

Antiquities,” passed into the library of Sir Hans Sloane, and thence

into the King’s Library, St. James’s.

A reprint of this copy has been edited, with a Preface, Glossary, and

Notes, by W. C. Hazlitt, for the subscribers to the Roxburghe Library.

London, 4to. 1868.

NO. 69.--THE GOLDEN LEGEND. _Largest Folio. Second Edition. Small

Head-lines. (1487?)_

COLLATION.--The same exactly as the first edition, with the exception

of sigs. ~X~ and ~Y~, in which appears the following variation:--

FIRST EDITION. | SECOND EDITION.

|

sig. ~X~, 6 leaves } | sig. ~X~ = 8 leaves.

sig. ~Y~, 2 ” } = 9 leaves | signed to ~X iiij~, and followed

unsigned 1 ” } | by sig. ~aa~.

In order to get the matter of the two signatures into one, the sixteen

pages of ~X~ in the second edition are all made a line longer than in

the first. This arrangement was evidently considered as an improvement,

and therefore was later in point of time than the edition in which it

does not occur.

TYPOGRAPHICAL PARTICULARS.--These in the main are identical with

the edition already described, the chief peculiarity being that the

head-lines of the pages and the head-lines of the various lives, which

in the first edition are all in type No. 3, are in the second edition

all in type No. 5. We must also notice that in places (_e.g._ sig.

~X j~ recto) the large capital letters, used in type No. 6, make an

accidental appearance in the head-lines, where they were occasionally

used instead of quadrats. This evinces a much later period for the

impression than the first edition.

REMARKS.--The absence of any complete copy, or indeed of any copy

having prologues or colophon, suggests the idea that certain sheets

only may, for some reason, have been reprinted to supply deficiencies;

if so, the reprint is so extensive, that, for the sake of accuracy, it

is better to look upon it as a separate edition.

EXISTING COPIES.--In the British Museum is a copy, of which by far the

larger portion belongs to the second edition, sigs. ~x~ to 9 and sigs.

~G~ to ~aa~ being of the first edition. In the Douce Library at Oxford

is a copy, of which by far the larger portion belongs to the first

edition, the part belonging to the second edition being just that which

is wanting in the British Museum copy; so that if an exchange could be

made, the British Museum might have a perfect second edition and the

Bodleian a perfect first edition.

Portions of the second edition are in the University Library,

Cambridge, and the library of the Duke of Devonshire at Chatsworth.

FOOTNOTES:

[18] Reg. 12 A xxix, the particulars of which were kindly communicated

by Mr. Bond, keeper of the MSS.

[19] “Even” = “fellow.” The gravedigger in _Hamlet_, act V, sc. 1, uses

the same phrase, “even Christian.”

[20] Llwyd, in his Catalogue of Welsh MSS., mentions two.

A DESCRIPTION OF BOOKS PRINTED IN

TYPE No. 5.

_BOOKS PRINTED IN TYPE No. 5._

70. Good Manners May 11th, 1487

71. Speculum. First Edition 1487?

72. Directorium. First Edition 1487?

73. Horæ. Third Edition 1488?

74. Royal 1488?

75. Image of Pity 1489?

76. Doctrinal. May 7th, 1489?

77. Speculum. Second Edition 1490?

78. Commemoratio 1491?

79. De Transfiguratione 1491?

80. Horæ 1491?

[Illustration: Plate XII.

_Caxton’s Type, No. 5._]

BOOKS PRINTED IN TYPE No. 5.

NO. 70.--THE BOOK OF GOOD MANNERS. _Folio. “Explicit et hic est

finis per Caxton.” Without Place. “Enprynted the xj day of Maye”

the year of our Lord 1487._

COLLATION.--~a b c d e f g~ are 4ns, ~h~ a 5n = 66 leaves (no

blanks).

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type throughout

is No. 5. The lines are spaced to an even length, and measure 4⅝

inches. A page has 33 lines. Without catchwords or folios. Woodcut

initials of two to three lines in depth.

The Text begins on sig. ~a j~ recto,

~W~ ~Han J consydere the condycions & maners of the

comyn ‖ people whiche without enformacion & lernyng

ben rude ‖ and not manerd lyke vnto beestis brute acordyng

to an olde ‖~

making a full page. On the verso, with 2-line wood initial,

~H~ ~Ere begynneth the table of a book named & Jntytuled

the ‖ book of good maners the which was made & com

posed ‖ by the venerable & dyscrete persone Frere Jaques

le graunt ly ‖ cecyat in Theologye religyous of the ordre of

saynt augustyn ‖ of the conuent of parys.~

The end is on the tenth recto of sig. ~h~, the verso blank,

~ℂ Explicit / et hic est finis / per Caxton &c~

~ℂ Fynysshed and translated out of frenshe in to englysshe

the ‖ viij day of Juyn the yere of our lord M iiij C lxxxvj /

and ‖ the first yere of the regne of kyng harry the vij / And

enpryn- ‖ ted the xj day of Maye after / &c~

~Laus deo~

REMARKS.--Jacques Legrand was an Augustin friar, and is stated (though

upon what authority does not appear) to have been a native of Toledo,

in Spain, confessor to Charles VII, and to have refused a bishopric.

He is known to have been the author of the “Sophologium,” originally

written in Latin, and translated by himself into French for the Duke

of Orleans, son of Charles V. He also was the author of “Le livre des

bonnes meurs,” which he dedicated to the Duke de Berri.

In an interesting prologue appended by Caxton to this work we are

informed that he undertook the task at the desire of William Praat,

a fellow-mercer. The terms in which Caxton speaks of Praat as “an

honest man” and “a singular friend of old knowledge,” whose death-bed

request it was that the book which had pleased and instructed his own

mind should have greater currency among the people by means of his

friend’s new Art of Printing, prove the close amity which must have

existed between the two Mercers. Caxton, according to his friend’s

wish, translated and printed it “for the amendment of manners and the

increase of virtuous living.”

Only three copies are known--one at Cambridge, one at the Royal

Library, Copenhagen, and one at Lambeth.

NO. 71.--SPECULUM VITÆ CHRISTI. _Folio. “Emprynted by wyllyam

Caxton.” Without Place or Date. Edition A. (1487?)_

COLLATION.--~a b c d e f g h i k l m n o p q r s~ are 4ns, with the

first leaf of sig. ~a~ blank; ~t~ a 2n, with the fourth leaf blank. In

all 148 leaves, of which two are blank.

TYPOGRAPHICAL PARTICULARS.--Without title-page. The type throughout is

No. 5. The lines are spaced to an even length, and measure 4⅝ inches.

A page has 33 lines, exclusive of the head-lines, and one line space

between. Without folios or catchwords. There are side notes throughout

the volume, a rare practice with Caxton, who, however, probably

followed his copy in this particular, as side notes appear in nearly

all the manuscript versions. An initial, cut on wood, begins every

chapter.

Commencing with a blank leaf, the Text begins thus on sig. ~a ij~

recto:--

~ℂ Jncipit Speculum vite Cristi.~

~T the begynnynge of the prohemy of the booke that is

~A~ cleped the myrroure of the blessyd lyf of Jhesu Cryste

the fyrst parte for the monedaye / ℂ A deuoute medy-

tacion of the grete counceyll in heuene for the restorynge of

man ‖ and hys sauacyon . Capitulum primum . ℂ Of the

manere~

At the head of sig. ~b ij~ recto,

~Die lune ℂ Prima pars ca j.~

~dome all the Courte of heune wondrynge and commendyng

the souerayne wysedome assented wel here to / but ferther-

more ‖~

At the head of sig. ~f~ 6 verso,

~ℂ Ca / xv ℂ Die Mercurij ℂ Tercia pars~

~parauentur there with a fewe smal fysshes that oure lady

had ‖ ordeyned theme as god wold / & soo therwith the

Aungels co-‖~

The “Speculum” ends at foot of sig. ~s i~ recto,

~lord ihesu and his moder Mary now and euer withoute

ende ame~

~ℂ Explicit speculum vite Cristi.~

On the verso begins a treatise on the Sacrament of Christ’s body,

~ℂ A shorte treatyce of the hyhest and most worthy sacra-

mente ‖ of crystes blessid body . and the merueylles therof.~

which finishes on sig. ~t~ 3 recto with the following imprint:--

~ℂ Emprynted by wyllyam caxton~

REMARKS.--There appear to have been two original works on the “Life

of Christ” in the libraries of the fifteenth century. One by Father

Ludolphe, or Rudolphe (_Addit._ 16609), was translated, as already

noticed, into French, and thence into English; but this is an entirely

different work to that printed by Caxton. St. Bonaventure, in 1410,

wrote “The Life of Christ” in Latin (_Royal_ 17, D. XVII), which became

very popular, and was translated several times into French, with

amplifications more or less. In the early part of the fifteenth century

Jean de Gallopes, already noticed as the translator of “The Pilgrimage

of the Soul” (_ante_ page 259), made a French prose translation of

Bonaventure’s Latin work (_Royal_ 20, B. IV). This bears a close

resemblance to the English text as printed by Caxton, was dedicated by

Gallopes to Henry V, and probably had considerable currency among the

English, to whom Gallopes, if not an Englishman himself, was well known

from his connection with the Duke of Bedford. The author of Caxton’s

English text is unknown, but he professes to have borrowed largely from

the Latin of Bonaventure.

Of the “Speculum vitæ Christi” two distinct editions were issued, both

printed with the same types, page for page, line for line (with few

exceptions), and nearly letter for letter. The typographical minutiæ do

not enable us with facility to determine which edition has the better

claim to priority of workmanship. The greatest variations will be found

in the head-lines, where, from sig. ~k~ to the end of the volume, there

is a difference in every page; one edition (A) using the word ~Ca~ in

the heads, while the other (B) has the full word ~Capitulum~. In the

University Library, Cambridge, there is a copy of each edition.

There is a curious transposition of pages in the copy belonging to W.

E. Watkyn Wynne, Esq., proving that even so late as 1489, the practice

of printing one page at a time was retained. This is shown by the verso

of sig. ~e iiij~ being printed on the recto of sig. ~e~ 6, and _vice

versâ_. In sig. ~e~ there are several instances of the side notes

having been blocked out in the printing. Pressmen call it “a bite.”

EXISTING COPIES.--British Museum; Cambridge; Hunterian Museum, Glasgow;

and four in private libraries. One of the copies in the British Museum

is on vellum, and before the Reformation was in Sion Nunnery.

NO. 72.--DIRECTORIUM SACERDOTUM, UNA CUM DEFENSORIO EJUSDEM; ITEM

TRACTATUS QUI DICITUR CREDE MIHI. _Folio. Second Version, First

Edition. Per William Caxton apud westmonesteriu. Without Date.

(1487?)_

COLLATION.--Kalendar a 3n, signed ~j ij iij~; ~a b c d e f g h i k l m

n o p q~ are 4ns; ~r~ a 5n; ~s t~ are 4ns. In all 160 leaves. In the

only copy known the whole of the kalendar is inserted between the first

and second leaves of sig. ~a~, making ~a j~ appear as the first leaf in

the book.

Note.--The signature to ~e j~ is not printed.

TYPOGRAPHICAL PARTICULARS.--Without title-page. The type is all No. 5.

The lines, which are fully spaced out, measure 4⅝ inches. Exclusive of

head-lines there are 33 to the page. Without folios or catchwords. A

few 2-line woodcut initials.

The work commences with a kalendar of the months, a month to a page,

each being headed by a Latin couplet on unlucky days, and a woodcut KL.

The Text begins on sig. ~j~ recto,

~KL~ ~Prima dies mensis. & septima truncat vt ensis

Januarius het dies xxxj / luna vero xxx

iij A Januarij Circusicio dm dup fm ix l’c~

The Text ends on sig. ~t~ 8 verso,

~de michi / Na qui predcas regulas memoriter tenet vix pote-

rit errare in seruicio diuino / Deo gras /~

~ℂ Caxton me fieri fecit~

REMARKS.--The large woodcut, which is really on sig. ~a j~ verso, is,

in the only known copy, transposed, very naturally, to precede the

Kalendar. This at first misleads one to believe that it does not belong

to the volume. It measures 9 × 5¾ inches, and occupies the entire

page, being thus described by Herbert--“In the middle part Christ is

seen naked, half length, as at a window, with his arms across and his

head inclined, showing the wounds on his hands and under the right

breast; a spear erect on the right and a sponge on the left; over his

head is a tablet with INRI. On a tablet beneath the window the title

appears evidently to have been printed, but from this copy has been

indiscreetly cut out. About this middle part are 28 square divisions,

each containing some symbol of the passion, forming a kind of border.”

An engraving similar in design was used for the “Horæ,” described at

No. 75 _post_.

There was another edition of this work in type No. 6, printed in 1489

(see No. 87). In both the Latin is printed with many contractions. In

the various editions of “Typographical Antiquities,” these two editions

being treated as one has led to several errors.

The numerous and constantly varying alterations in the daily order of

Church Service must have rendered, in all ages, a book of directions

most necessary to all officiating priests. But the introduction of new

Feasts and Commemorations would, in course of time, render any such

book incorrect. Thus it happened that Clement Maydestone, a monk of

the order of St. Bridget, and a priest, finding, as he tells us in

his prologue, that one of the most important festivals in the year,

that of Corpus Christi, with its Octave, was, according to the written

directions, celebrated _cum regimine chori_, while the admitted and

general custom of the Salisbury rule was to celebrate that festival

_sine regimine chori_; finding also several necessary things omitted

altogether, and a wrong disposition made of others, determined, by

the consent of his superiors, to correct and supply all defects. When

Clement Maydestone had thus reformed and renewed the Pica, he gave his

work the now recognised title of “Directorium Sacerdotum.” This is the

text as printed by Caxton.

Clement Maydestone appears to have been the son of Thomas Maydestone

(probably of Hounslow, Middlesex), and flourished in the reign of Henry

V. An account of the martyrdom of Archbishop Scroop is also ascribed to

him.

In the latter half of the fifteenth century the reformed Pica of

Maydestone was again collated with the true “Sarum Ordinale,” by one

Clarke, a singing man of King’s College, Cambridge, by order of the

University, which at this period evidently followed the Salisbury

use. A notice of Clarke’s work may be seen in the prologue appended

by Pynson to his “Directorium” of 1497. In the copy of this edition,

lately purchased of Mr. Maskell for the British Museum, are numerous

notes in the autograph of Bishop Wagstaffe, the nonjuror, which have

supplied material for some of the above remarks.

The only EXISTING COPY at present known is that in the King’s Library,

British Museum (C. 10. b. 16), which is _perfect_, in fair condition,

and measures 10½ × 7½ inches. On a fly-leaf is the autograph “W.

Bayntun, Gray’s Inn, bought of a man introduced by Doctor Nugent.” This

copy, which is catalogued by Dr. Middleton as being in the University

Library, Cambridge, was stolen thence between 1772 and 1778. Before

1787 it was purchased by W. Bayntun--and probably (though, of course,

in ignorance) from the thief himself.

NO. 73.--HORÆ.--A FRAGMENT.--_Third Edition. 8vo. Sine ullâ notâ.

(1488?)_

The COLLATION cannot be given, eight leaves, or the whole of sig. ~m~,

being all that is known at present.

TYPOGRAPHICAL PARTICULARS.--The type is No. 5 only. The lines, of which

there are seventeen to the page, are fully spaced out and in length

measure 2⅝ inches. Large full-faced capital letters are used.

On sig. ~m j~ recto the Text begins,

~Non fecisti~

The first words on the rectos of each leaf are--1, ~non~; 2,

~perhanc~; 3, ~habitabile~; 4, ~A Doro~; 5, (injured); 6, woodcut;

7, ~Domine~; 8, ~siones~; the last word on the eighth verso, being

~cospui~.

The woodcut on ~m~ 6 recto is an “Image of Pity,” very similar in

treatment to that noticed on page 316. It occupies only the depth of

ten lines of text, and beneath, in six lines, is the following:--

~To them that before * * * * yma

ge ofpyte deuoutly sey . v . P’r

noster / v . Auyes & a * * * * py-

teously beholdyng * * * * * * of

Xp’s passyon ar graunted * * * *

M / vij . C & . lv / yeres of pardon~

These unique leaves, which have evidently been rescued from the binding

of an old book, were presented, in 1858, by Mr. Maskell to the British

Museum (C. 35. a). Measurement 5¼ × 4 inches. They are in the same

binding as the fragments of another Horæ described at page 332.

NO. 74.--THE ROYAL BOOK OR BOOK FOR A KING. _Folio. Without

Printer’s Name, Place, or Date. “Translated out of frensshe

into englysshe by me wyllyam Caxton / whiche translacion was

fynysshed the xiij day of septembre in the yere of our lord M /

CCCC. lxxxiiij.” (1488?)_

COLLATION.--~a b c d e f g h i k l m n o p q r s t~ are 4ns, the

first leaf of ~a~ being blank; ~u~ a 5n, with the last leaf blank. In

all 162 leaves, of which two are blank.

Note.--~m iij~ is wrongly signed ~m ij~; and ~n j~ is wrongly signed ~n

iiij~.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type is

entirely No. 5. The lines are fully spaced out, and measure 4⅝ inches,

33 forming a full page. Without folios or catchwords. 2-line initials

in wood are used at the commencement of the chapters. There are six

small vignette illustrations in wood, all of which, however, except the

first, which appeared in the “Golden Legend,” are from the “Speculum”

just described, where they are suited to the text, and not, as here,

used without any reference to fitness.

Commencing with a blank leaf, the prologue follows on ~a ij~ recto,

with a 2-line initial.

The Text begins thus:--

~W~ ~Han J remembre and take hede of the conuersacion

of ‖ vs that lyue in this wretched lyf . in which is no

surete ‖ ne stable abydyng . And also the contynuel besynes

of euery ‖~

The Text ends, with a full page, on sig. ~u~ 9 recto,

~T~ ~his book was compyled & made atte requeste of kyng

Phelyp of Fraunce in the yere of thyncarnacyon of our

lord / M . CC · lxxix . & translated or reduced out of

frensshe in ‖ to englysshe by me wyllyam Caxton . atte

requeste of a wor-‖shipful marchaunt & mercer of london .

whiche Jnstauntly re-‖~

* * * * *

~to be called Ryall / as tofore is sayd . whiche translacion or

re-‖ducyng oute of frensshe in to englysshe wos achyeued .

fynys-‖shed & accomplysshed the xiij day of Septembre in

the yere of ‖ thyncarnacyon of our lord . M / CCCC.lxxxiiij /

And in the ‖ second yere of che Regne of Kyng Rychard

the thyrd / ‖~

In the printed epilogue appended to the book by Caxton we

read:--“Which book is called in French ‘Le livre Royal,’ that is

to say the royal book, or a book of a king; for the Holy Scripture

calleth every man a king which wisely and perfectly can govern and

direct himself after virtue.” But “Le livre Royal” was by no means

the title by which Caxton’s contemporaries knew this work. The most

common name is that found in _Royal MS._ 19 C. II “Le livre des Vices

et des Vertus;” although it was sometimes entitled “La Somme de Roi,”

or “La Somme des Vices et des Vertus.” By whatever name known it was

for centuries a favourite book, as is proved by the numerous copies

still extant. Its author is said to be “Frere Laurent de l’ordre

des predicateurs et confesseur de Phillippe le Hardi” (_Les Msc.

Franç._ t. iii, page 388), but his name does not appear in any of the

above-mentioned manuscripts of the work. Very soon after its appearance

it was favourably received in England, where, in the year 1340, it was

translated by a priest of Kent, for the purpose of being read to the

people in their own dialect. This was called “The Ayenbite of Inwit,”

and was printed from the Arundel MS. (No. 57) in the British Museum,

in 1855, for the Roxburghe Club. Another and purer translation into

English (_Addit._ 17013) was also made in the fourteenth century.

EXISTING COPIES.--Bedfordshire General Library, British Museum,

Cambridge, and five in private collections.

NO. 75.--IMAGE OF PITY. _Quarto Broadside. Sine ullâ notâ. (1489?)._

This is a woodcut measuring 5½ × 3⅝ inches, printed on one side of a

quarto. Like the folio woodcut described at page 320, and the 8vo cut

described at page 322, there is a central figure of our Saviour upon

the Cross, surrounded by eighteen small compartments, each having some

reference to the Passion. Beneath the central figure the block has been

cut, and the following sentence inserted in type No. 5:--

~To them that before

this ymage of pyte de

uoutly saye v Pr nr

v Aues & a Credo py-

teuously beholdyng these

ar of Xps passio ar

grauted xxxij . M . vij. C

& lv. yeres of pardon ·~

NO. 76.--THE DOCTRINAL OF SAPIENCE. _Folio. “Caxton me fieri fecit.”

Without Place or Date. Translated May 7th, 1489._

COLLATION.--~A B C D E F G H J~ are 4ns; ~K~ and ~L~ 5ns. In all

92 leaves. No blanks.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type throughout

is No. 5. The lines, which are spaced to an even length, measure 4⅝

inches, and there are 33 to a page. Without folios or catchwords. There

are side-notes, which, however, never exceed the three letters ~Exa~,

which are placed in the margin whenever an “Example” occurs in the

Text. Two woodcuts and printed initials.

The Text begins on sig. ~A j~ recto, with a 3-line initial,

~his that is written in this lytyl boke ought the prestres

~T~ to lerne and teche to theyr parysshes: And also it is ne-

cessary for symple prestes that vnderstode not the scrip~

This prologue is followed by the table, which commences on the bottom

line of sig. ~A j~ verso, and finishes at foot of ~A iij~ recto; and

on the verso, with a woodcut down the side of the type, and a 2-line

initial ~E~, is the commencement of the work.

┌───────────────────────────┐ ~E~ ~Very crysten man &

│ _Woodcut from “Speculum,” │ woman ought to bi

│ of Jesus in the Temple._ │ leue fermely the xij arty-

└───────────────────────────┘ cles of the cristen feith.~

On ~B j~ is another woodcut, the Crucifixion, also from the “Speculum.”

On the verso of sig. ~J ij~ the 64th chapter is thus dismissed:--

~ℂ Of the neclygences of the masse and of the remcdyes J

pas ‖ se ouer for it apperteyneth to prestes & not to laie

men . C . lxiiij ‖~

The Text ends on the tenth recto of sig. ~L~,

~god bi his grace graunte for to gouuerne vs in such wyse

and ‖ lyue in thys short lyf that we may come to hys blysse

for to ly ‖ ue and regne there wythout ende in secula secu-

lorum Amen~

~ℂ Thus endeth the doctrinal of sapyence the whyche is

ryght ‖ vtile and prouffytable to alle crysten men / whyche

is translated ‖ out of Frenshe in to englysshe by wyllyam

Caxton at westme ‖ sster fynysshed the . vij . day of may

the yere of our lord / M / cccc ‖ lxxx ix~

~Caxton me fieri fecit~

On the verso is Caxton’s large device.

REMARKS.--The “Manipulus Curatorum,” compiled in the early part of the

fourteenth, was printed frequently in the fifteenth century. Greswell

mentions--“Savilliani anno 1470; Aug. Vindel. 1471; Gering at Paris

1478;” and several times later. In these, as in all the early French

editions, the authorship is ascribed to Guy, Archbishop of Sens, who

died 1409. This has been adopted by the compilers of the Harleian

Catalogue (III. 1552), and from them by all subsequent bibliographers.

That it is, nevertheless, erroneous, appears from the extracts given

above. In no manuscript copy is the authorship attributed to Guy de

Roye: in fact, it was well known before his time, for it was “envoié à

Paris,” by Blanche, Queen of France, who died in 1370. The archbishop

was, nevertheless, the cause of its being circulated in the French

language; for about the year 1388 he employed several doctors of

divinity to translate it from the original Latin, and promoted its use

by the clergy in all the parishes of his diocese. Further than this he

appears to have had no direct connection with it.

It was known in France under the titles of “Livre de Sapience” and

“Doctrinal de la foy catholique,” but most commonly as “Le Doctrinal au

simples gens.”

The following remark of Mr. Douce is written in his copy of the

“Doctrinal.” “The Sermons of Vitriaco,” or some other of his works,

much quoted in “Scala Perfections,” seem to have been used in the

“Doctrinal.”

EXISTING COPIES.--Cambridge and Oxford (2), and seven in private

libraries. The copy at Windsor Castle is so interesting that a special

description is necessary. It is printed on vellum, and has a chapter on

“Negligences happing in the Mass,” which does not appear in any other

known copy. The parchment used is very coarse, discoloured, uneven in

substance, and disfigured with holes. Dr. Dibdin could never have seen

it, or he would not have written in terms of admiration. A slip of

paper at the beginning states, “This book was presented to the Royal

Library by Mr. Bryant,” which was doubtless the reason why it was

(together with the Æsop) retained when that splendid collection became

national property. It is not known how Bryant obtained it, but it is

curious to note in these days, when every leaf of a Caxton represents a

bank-note, how Bryant demurred at giving the exorbitant price of four

guineas for this vellum copy, and then only after mature consideration

with “old Pain,” the celebrated bookbinder.

The unique chapter at the end of this copy occupies three leaves,

unsigned, and begins thus:--

~ℂ Of the necligences happyng in the masse . and of the

reme-‖ dyes Capitulo · lxiiij°~

~L~ ~Jke as we haue seyd that thys is made especyally

for the symple peple· and for the symple prestes. whiche

vnderstond not latin / bycause that he is not so suffy-

saut ‖ but that somtyme for necligence or other wyse he

may faylle ‖~

The whole of this chapter is very curious, and is occupied with what

the officiating priest is to do--if, after the consecration of the

wine, he remembers that no water had been mingled with it; or finds

that he has consecrated water only; or remembers that he has eaten

ought since midnight; or finds a fly, a “loppe,” or a venomous beast in

the chalice; whether, if a small piece of meat abide in the teeth, and

be swallowed during the celebration, it incapacitates the priest from

singing Mass; what is to be done when the priest lets fall any portion

of the consecrated elements, or meets with a similar accident.

On the third verso the chapter ends,

~And yf the body of Jhesu crist

or ony piece fylle vpon the palle of the aulter or vpon ony

of the ‖ vestymentes that ben blessyd · the piece ought not

to be cutte ‖ of on whyche it is fallen . but it ought right wel

to be wasshen ‖ And the wasshyng to be gyuen to the

mynistres for to driuke / ‖ or ellys drynke it hym self /

This chapitre to fore J durst not sette in the boke by cause

it ‖ is not conuenyent ne aparteynyng that euery laye man

sholde ‖ knowe it Et cetera /~

NO. 77.--SPECULUM VITÆ CHRISTI. _Folio. “Emprynted by wyllyam

Caxton.” Without Place or Date. Edition B. (1488?)_

COLLATION the same as No. 71.

TYPOGRAPHICAL PARTICULARS the same as No. 71.

Commencing with a blank leaf, the Text begins thus on sig. ~a ij~

recto:--

~ℂ Jncipit Speculum vite Cristi.~

~A~ ~T the begynnynge of the prohemye of the booke that is

cleped the myrroure of the blessyd lyf of Jhesu Cryste

the fyrst parte for the monedaye/⁚ℂ A deuoute medy-

tacion of the grete counceyll in heuene for the restorynge of

man ‖ and hys sauacyon. Capitulum primum. ℂ Of the

manere ‖~

At the head of sig. ~b ij~ recto,

~Die lune ℂ Prima pars Capitulo j~

~dome all the Courte of heuene wondrynge and commendynge

the souerayne wysedome assented wel here to . but forther-

more ‖~

At the head of sig. ~f~ 6 verso,

~ℂ Die mercurij ℂ Tercia pars Capitulum xv /~

~parauenture ther with a few smale fisshes that oure lady

had ‖ ordeyned thenne as god wold . & soo therwyth the

aungels[* typo angels?] co-‖~

The “Speculum” ends at foot of sig. ~s i~ recto,

~hys moder Marye now and euer wythout end Amen

ℂ Explicit speculum vite Cristi.~

On the verso is a treatise on the Sacrament of Christ’s body,

~ℂ A shorte treatyce of the hyhest and most worthy sacra-

mente ‖ of crystes blessid body . and the merueylles therof /~

which finishes on sig. ~t~ 3 recto with the following imprint:--

~ℂ Emprynted by wyllyam caxton~

On the verso of the same leaf the Text ends,

~ℂ Jhesu lord thy blessyd lyf / helpe and comforte oure

wret ‖ chid lyf · Amen · soo mote it be

Explycit speculum vite Cristi complete /

ℂ Jn omni tribulacione / temptacione · necessitate & an-

gustya ‖ succurre novis pijssima virgo maria Amen.~

The recto of sig. ~t~ 4 is blank, and the verso occupied with Caxton’s

device.

EXISTING COPIES.--British Museum; Cambridge; Lambeth and two in private

collections.

NO. 78.--COMMEMORATIO LAMENTATIONIS SIVE COMPASSIONIS BEATÆ MARIÆ IN

MORTE FILII. _Quarto. Without Name, Place, or Date. (1491?)_

COLLATION.--~a b c d~ are 4ns, signed on the first and third leaves

only. Altogether 32 leaves. If a sheet is printed in 4to, a signature

on the first page is sufficient guide for the binder; and two sheets

so printed, and the second inserted after folding inside the first,

would give signatures as in this copy, and, as in the “Servitium,” No.

79, which has Caxton’s imprint. This method, however, points to a late

period of Caxton’s career, and the date 1491 has therefore been affixed.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. Type No. 5 only.

The lines are evenly spaced, and 24 to a full page. Without folios or

catchwords. One small woodcut is on the first page.

The Text begins on ~a j~ recto,

~Comemoraco Lametacois sine copassiois bte

marie i morte filij & dr Comemoraco bte ma-

rie pietatis vl’ ꝯmemoraco pietatis q celebrari

debet feria sexta imediate pcedete domica i passi

one p eo q) ipo die legit’ i eccl’ia de resuscitacoe

lazari~

The Commemoration ends on sig. ~d~ 8 verso.

This particular Commemoration seems quite unknown to all

bibliographers; and of the edition printed by Caxton, the only copy

known is preserved in the Public Library at Ghent. It was first

recognised as a Caxton by Mr. M. F. A. G. Campbell, chief librarian of

the Royal Library, The Hague.

NO. 79.--SERVITIUM DE TRANSFIGURATIONE JHESU CHRISTI. _Quarto.

Caxton me fieri fecit. Without Place or Date. (1491?)_

COLLATION.--Sig. ~a~ consists of a sheet folded in quarto, having a

half-sheet inside; the first recto of the sheet is unsigned, but upon

the first recto of the half-sheet, which is the third recto in the

book, is the sig. ~a ij~. Sig. ~b~ is a whole sheet, signed only on the

first recto, ~b j~. There are altogether ten leaves and no blanks.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type is No. 5

only. The lines are spaced to an even length, and measure 3⅝ inches. 24

lines to a full page. Without folios or catchwords. One small woodcut

of the transfiguration on the first recto. The initial letter in wood,

with many rubrics, are printed in red, not as noticed in “Quatre

derrennieres choses,” by the same pull of the press, but by a separate

operation.

The Text begins on an unsigned leaf, in red ink,

~ℂ Octauo Jdꝯ Augusti fiat seruic’ / de tnsfigu~

The Text ends on sig. ~b~ 4 verso,

~Sci deꝯ . Per oia scl’a seculoru amen

ℂ Caxton me fieri fecit /~

REMARKS.--This little tract has considerable interest for the

bibliographer, for although Caxton had already printed several

service books before this was undertaken, such as the two (if not

three) editions of the “Horæ” (pages 189 and 240 _ante_), the Psalter

with Service for the Dead (page 105 _ante_), and the “Servitium de

Visitatione” (page 264 _ante_), not to mention the service books

for the priests, such as “The Festial” and the three editions of

“Directorium,” yet this can certainly claim a unique distinction in two

particulars, for it is the only _perfect_ service book in the types of

Caxton, and it is the only one known to have his imprint.

The observations concerning the printing of the “Horæ,” last noticed,

might be repeated here. This also has every appearance of being a very

late issue. No other book from the same press was signed in a similar

way. The first sheet was evidently, like sig. ~b~, printed four pages

at once, in which case it would be only necessary to sign the _first_

page, so as to show the binder how to fold it. As in the first sheet

the red-ink title and the woodcut would answer that purpose, we find no

signature at all; but the first page of the half-sheet, which is the

_third_ leaf in the tract, is signed ~a ij~. This is very systematic,

and according to the same plan the second sheet is signed ~b j~ on the

first recto only; but it is an advance in the art, beyond the usual

practice of Caxton.

This service is one of the numerous additions made to the “Church

Calendar” in the fifteenth century, and, being newly ordained by the

Church, would not be found in the old manuscript “Service Books.” To

supply this deficiency it was, therefore, printed separately.

The only EXISTING COPY was purchased many years ago in a volume of

theological tracts by Joshua Wilson, Esq., of Tunbridge Wells. When,

in 1831, Mr. Wilson presented a large portion of his collection to

the Congregational Library, Blomfield Street, London, this volume was

among the number. Here it was first noticed, in 1860, as containing

a Caxton, by Mr. Cowper, who sent an account of the volume to _Notes

and Queries_. It was determined shortly after to dispose of it, and,

in July 1862, it came under the hammer of Mr. Puttick, when it fetched

the high price of £200, and added another curiosity to the Caxtonian

treasures of the British Museum. The volume is in its original binding,

somewhat dilapidated, of oak boards covered with stamped leather, and

contains besides four other black-letter tracts.

NO. 80.--HORÆ.--A FRAGMENT. _Fourth Edition. 8vo. Sine ullâ notâ.

(1490?)_

The COLLATION cannot be given, as four leaves only, signed ~d j~, ~d

ij~, ~d iij~, ~d iiij~, are known.

TYPOGRAPHICAL PARTICULARS.--The type is No. 5 only. The lines, of which

there are seventeen to a page, are fully spaced out, and measure 2⅝

inches. Large full-faced Lombardic capitals are plentifully used, and

printed in red ink separately, as are also such words as _Psalmus_ and

_Versicle_. This points to quite a late production in the career of

Caxton, probably after he had resigned the management of the practical

part to his successor, Wynken de Worde.

The Text of sig. ~d j~ recto begins thus, with a 2-line capital ~O~ in

red ink,

~O~ ~Gloriosa femina exel-

la p’rper sidera qui te cre-

auit prouide lactasti sacro vbere~

These are Latin rhymes printed as prose.

The first words on the succeeding recto are--2, ~rum liberati~; 3,

~dominum~; 4, ~Deus~.

These unique leaves, which have evidently been used as binder’s waste

to form the covers of a book, were presented to the British Museum, in

1858, by Mr. Maskell (C. 35. A.). Measurement 5¼ × 4 inches.

A DESCRIPTION OF BOOKS PRINTED IN

TYPE No. 6.

_BOOKS PRINTED IN TYPE No. 6._

81. Fayts 1489

82. Statutes 1489

83. Governal 1489

84. Reynard. Second Edition 1489?

85. Blanchardyn 1489?

86. Four Sons of Aymon 1489?

87. Directorium Sacerdotum. Second Edition 1489?

88. Eneydos 1490?

89. Dictes. Third Edition 1490?

90. Mirror. Second Edition 1490?

91. Divers Ghostly 1491?

92. Fifteen Oes 1491?

93. Art and Craft 1491?

94. Courtesy. Second Edition 1491?

95. Festial. Second Edition 1491?

96. Four Sermons. Second Edition 1491?

97. Ars moriendi 1491?

98. Chastising 1491?

99. Treatise of Love 1491?

Books Printed in Type No. 6.

NO. 81.--THE FAYTS OF ARMS AND OF CHIVALRY. _Folio. “Per Caxton.”

Without Place. Printed the 14th day of July, the fourth year of

the reign of K. Henry VII., or 1489._

COLLATION.--Two unsigned leaves of table; ~A B C D E F G H J K L M N O

P Q R~ all 4ns; ~S~ a 3n, with the last leaf blank. In all 144 leaves,

of which one is blank.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The whole book

is in one type only, No. 6. The lines, which are fully spaced out,

measure 4¾ inches, and there are 31 to a full page. Without folios or

catchwords. Woodcut initial letters.

The Text begins, with a 3-line initial,

~Ere begynneth the table of the rubryshys of the

~H~ boke of the fayt of armes and of Chyualrye whiche

sayd boke is departyd in to foure partyes /

ℂ The fyrst partye deuyseth the manere that kynges and~

On sig. ~A j~ recto,

~Here begynneth the book of fayttes of armes & of Chyual-

rye / and the first chapytre is the prologue / in whiche xpry-

styne of pyse excuseth hir self to haue dar enterpryse to

speke ‖ of so hye matere as is conteyned in this sayd book~

The Text ends on the verso of the same leaf,

~remayne alleway vyctoryous / And dayly encreace fro ver

tu to vertue & fro better to better to his laude & honour in

this ‖ present lyf / that after thys short & transitorye lyf /

he may at- ‖ teyne to euerlastyng lyf in heuen / Whiche

god graunte to ‖ hym and to alle hys lyege peple AMEN /~

~Per Caxton~

REMARKS.--There is a MS. in the British Museum (_Roy_, 15 E vi)

containing the original French text of Christine de Pisan. It agrees

very accurately with Caxton’s English version, and has the introductory

chapter, in which Christine excuses herself, and explains her reasons

for writing a work on chivalry. This manuscript is also interesting

from having been written for the celebrated John Talbot, Earl of

Shrewsbury, who died in 1453, and by whom it was presented to Queen

Margaret. A still greater degree of interest would invest the volume

if we suppose it to be the identical manuscript from which Caxton made

his translation. This is certainly not improbable, as the original

from the Royal Library was intrusted to our printer, for the purpose

of translation and printing, by King Henry VII of England, as we learn

from the prologue:--“which book, being in French, was delivered to

me, William Caxton, by the most christian king, my natural sovereign

lord, King Henry VII, in his Palace of Westminster, and desired me to

translate this said book, and to put it in print.”

Many French bibliographers (_Les Msc. Franç._ t. v, page 94) ascribe

the composition of “Fait d’Armes et de Chevalerie” to Jean le Meun,

so well known from his connection with “Le Roman de le Rose.” The

sole reason for this appears to have been the fact that Jean le

Meun translated into French the celebrated work of Vegetius, “De re

militari,” written in 1284, a work often quoted in the “Faits d’Armes;”

but since the writings of Christine have become better known, no one

has ventured to claim for the thirteenth, a work containing references

and facts applicable only to the fifteenth century. That a book on

the “Rules of War” should in any age have been written by a woman,

is sufficiently improbable to require a critical examination; and,

therefore, as the claims of Christine to the authorship of “Les Faits

d’Armes” are still denied by some writers, it may not be inappropriate

to state both sides of the argument.

Among the manuscripts in the British Museum is one entitled “The

Boke of Noblesse” (_Royal_ 18, B. XXII). This, for the first time,

was printed in 1860, for the members of the Roxburghe Club. The

author is entirely unknown, and the only reason for mentioning this

at all is that the name of Christine frequently appears in its pages

as an authority upon military matters, but is always referred to as

“Dame Cristyn in hir booke of Tree of Batailes,” or some military

phrase. But “L’Arbre des Battailes” is the well-known compilation

of Honoré Bonet, of which copies may be seen in _Royal_ 20 C. VIII,

and _Addit._ 22768. Now, what is the natural conclusion from this

erroneous ascription? Evidently that the unknown writer of the “Book

of Noblesse,” quoting probably from a copy of “L’Arbre des Battailes,”

which had neither prologue nor epilogue; and having in his mind the

great fame of Christine as the writer of a book on a similar subject,

made the not unpardonable mistake of misquoting the author’s name, and

attributing to Christine, the compiler of “Les Faits d’Armes,” all the

quotations drawn from Bonet’s “L’Arbre de Battailes.” Not so, argues

Mr. John Gough Nichols, in his interesting preface to the Roxburghe

impression. “Christina de Pisan,” he urges, “was a Poetess;” and it

is not likely that she had more to do with the “Faits d’Armes” than

the “dame Christine” of “The Book of Noblesse” had with the “Arbre des

Battailes.” In support of this opinion is quoted a marginal note in

“The Boke of Noblesse,” in an old hand-writing, but more modern than

the original manuscript, to the following effect:--

“_L’Arbre des Battailles compose par Honore Bonet Prieur de Sallon en

Prouuence._”

“Note y^t in some Authors this Booke is termed Dame Christine of

y^e tree of Battayles, not that she made yt; But bicause she was a

notable Benefactour to Learned men and perchance to y^e autor of this

Booke And therefore diverse of them sette furthe their Bookes under

her name.”

The author of this note was evidently unacquainted with the

particulars of the life, or the character of the writings, of

Christine--the “virilis fœmina” of her eminent contemporary,

Gerson--and “La grant sagesse” of her editor, Jean Marot. The assertion

that authors set forth their books under her name is unsupported by a

single known instance; while her early tuition, political life, and

numerous writings, would both enable and incline her to compose such a

work.

Christine expressly states in the preface that she wrote the work; and

although Verard, in his printed edition of 1488, omits the prefatory

address, it appears in numerous manuscripts, and may be read in

Caxton’s translation. “Because,” says Christine, “men of arms are not

clerks, nor instructed in the science of language, I have assembled

and gathered together diverse books to produce this work. And because

that this is a thing not accustomed and out of usage to women / which

commonly do not intermit but to spin on the distaff and occupy them in

things of household. I supplicate humbly * * to have nor take it for no

evil if I a woman charge myself to treat of so high a matter.”

Then follows an appeal to the goddess Minerva, who, being born in

“Puylle” in Italy, was “somewhat consonant in the nation,” for, adds

Christine, “I am as thou wert, a woman Italian.”

Christine was no common poetess whose strength was in the prettiness

of her amatory verses. The short account of her already given (see

_ante_ page 195) will show the energetic and comprehensive character

of her mind. Educated by her father in the whole course of literature

at that time in vogue, she had, while yet young, made herself mistress

of the Latin language, and stored her mind by the perusal of the most

celebrated writings, as well Pagan as Christian. Living in the midst

of wars and preparations for war, many of her acknowledged writings

teem with warlike allusions. In politics her opinion had great weight;

she was consulted by the highest nobles of France; and many years of

her life were spent in the endeavour to raise the political and moral

tone of the country. The celebrated Jean le Meun found in her no weak

opponent, and the equally celebrated Chancellor Gerson a most potent

ally.

There are 21 copies of this work known, of which eleven are in private

libraries.

NO. 82.--STATUTES OF HENRY VII. _Folio. Sine ullâ notâ. (1489?)_

COLLATION.--~a b c d~ are 4ns, with the first leaf of ~a~ blank; ~e~ a

5n, with the last blank. Total 42 leaves, of which two are blank.

Note.--The signature is omitted on ~a ij~. The third and fifth leaves

of ~e~ are erroneously signed ~d iij~ and ~d v~.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type is all No.

6. The lines, which are spaced to an even length, measure 4⅝ inches,

and there are 31 (in three instances 33 lines) to a full page. Without

folios or catchwords. Only one 2-line woodcut initial is used.

After a blank leaf, the work commences on the second recto of sig. ~a~.

The Text begins thus--

~ℂ The kynge our souereyn lorde henry the seuenth after the

conquest by the grace of god kyng of Englond & of Fraunce

and lorde of Irlonde at his parlyamet holden at west-~

The Text ends with nine lines on sig. ~e~ 9 verso, the last three being

as follows:--

~‖ pleysure Wheder he wylle after the fourme conteyned &

ordei ‖ ned in and by this acte / or after the maner & fourme

afore ti ‖ me vsed /~

REMARKS.--This is the earliest known volume of printed statutes, and is

further remarkable as being in English. It contains some very curious

and interesting legislation on political, trade, and domestic matters.

The British Museum copy was purchased from Mr. Lilly, who, a few days

before, had bought it at Hodgson’s for £2, 10s. It was then bound up

with some other law tracts and year-books, mostly from the press of

Machlinia, one of which, being unique, was catalogued by Mr. Lilly at

100 guineas. There is also a perfect copy in the National Library,

Paris, and the Inner Temple, London, with one copy only in private

hands.

NO. 83.--THE GOVERNAL OF HEALTH.--THE MEDICINA STOMACHI. _Quarto.

Sine ullâ notâ. (1489?)_

COLLATION.--The “Governal,” ~A~ and ~B~ 4ns; the “Medicina,” two

unsigned leaves = eighteen leaves.

TYPOGRAPHICAL PARTICULARS.--Without title-page. Only one type, No. 6,

is used throughout. The lines, which are of an even length, and measure

2⅝ inches, excepting ~B~ 7 verso, which has 24, have all 23 lines to a

page. Woodcut initials to chapters. Without folios or catchwords.

The Text begins on sig. ~A j~ recto,

~n this tretyse that is cleped Go

uernayle of helthe : What is to

~I~ be sayd wyth crystis helpe of so-

me thynges that longen to bodi

ly helthe / hadde and to be kept or

to bodily helthe . lost and to be recouered / and~

and ends,

~This receyte boughte is of no potycarye

Of mayster antony ne of mayster hughe

To all indyfferent it is rychest dyetarye~

~Explicit medicina stomachi:~

REMARKS.--The “Governal” was originally written in Latin, and soon

after translated into English, but no trace of the translator’s name

is left. The date of the original composition is unknown; we can only

gather from the non-existence of manuscripts of an earlier date than

the latter half of the fourteenth century that it was composed about

that period.

The name of the author or compiler is doubtful. From _Sloane_ 989

one would say that John de Burdeux wrote it for the good of a “frende,”

but _Sloane_ 3149 attributes it to another writer, “Explicit tractatus

Bartholomei.” John de Burdeux was the author of several tracts on

medicine, and flourished in the latter half of the fourteenth century.

Bartholomeus was rather a prolific writer of the fourteenth and

fifteenth centuries, but the “Governal” is not found among the works

generally attributed to him. Whoever may have been the author, the work

possesses small claims to originality, being a compilation from the

medical works of the Arabian and Greek physicians, and quoting largely

from the “Regimen Sanitatis Salernitanum.” The “Medicina Stomachi” is

contained in most collections of Lydgate’s poetry, and in _Harl._ 116

is directly attributed to him.

[Illustration: Plate XIII.

_Caxton’s Type, No. 6._]

Both tracts were reprinted by Wynken de Worde, _sine anno_, who repeats

all the blunders of the first edition. These editions are equally rare,

the only copy of the second being in the Public Library, Cambridge.

An annotated reprint of Caxton’s text was issued privately by the

editor of this work in 1858. On no other occasion does this interesting

treatise, which was the earliest medical book printed in the English

language, appear to have passed through the press.

A good copy is in the old library of the Earls of Dysart, at Ham House,

Surrey, and another in the Bodleian.

NO. 84.--THE HISTORY OF REYNARD THE FOX. _Second Edition. Folio.

Sine ullâ notâ. (1489?)_

COLLATION.--An unsigned sheet of introductory matter; sigs. ~a b c d e

f g h~ are 4ns; ~i~ is a 3n. No blank leaves. In all seventy leaves.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type throughout

is No. 6. The lines, which are fully spaced out, measure 5⅝ inches, and

there are 31 (sometimes 32) to a page. Woodcut initials are used. On

the first recto is Caxton’s device, underneath which is the following

line only:--

~ℂ This is the table of the historye of Reynart the foxe /~

On the verso commences the table, which ends seven lines down the

second recto, underneath which is,

~ℂ Hyer begynneth hystorye of reynard the foxe.~

The preface finishes the page. The second verso is blank.

On sig. ~a j~,

~ℂ How the lyon kynge of alle bestys sent oute hys

maude ‖ mentys that alle beestys sholde come to hys feest

and court / ‖~

~ℂ Capitulo Primo~

The conclusion of the text cannot be given, no perfect copy being at

present known. For an account of the first edition of this celebrated

allegory see _ante_ page 229.

The only EXISTING COPY is in the Pepysian Library, Cambridge. It

unfortunately wants the last two leaves, containing the epilogue of

Caxton, and ends on sig. ~i~ 4 verso, with these words,

~And her wyth wil J leue fforw

hat haue J to wryte of thyse mysdedis J haue ynowh to doo~

It is in good condition, but cropped, measuring 9 × 6¾ inches. Pepys’s

arms on the binding, and his book-plate inside. The wanting leaves are

supplied in manuscript of seventeenth century.

NO. 85.--THE HISTORY OF BLANCHARDIN AND EGLANTINE. _Folio. Sine ullâ

notâ. (1489?)_

COLLATION.--Imperfectly known. The introductory matter makes a 3n,

signed ~i~, ~ii~, ~iij~, the sixth leaf being blank. ~A B C D E F G H

J K L M~ are 4ns, and there were probably several other additional

signatures.

TYPOGRAPHICAL PARTICULARS.--Without title. The type is all No. 6. The

lines, which are all of one length, measure 4⅝ inches, and there are 31

to a full page. Woodcut initials. Without folios or catchwords.

The Text begins on sig. ~j~ recto, with a prologue by Caxton,

~U~ ~Nto the right noble puyssaut & excellet pryncesse my

redoubted lady my lady margarete duchesse of So-

mercete / moder vnto our naturel & souerayn lord and most~

and finishes on the verso of the same leaf,

~Joyes desirs in thys present lyf: ℂ And after this short

and transytorye lyff . euerlastynge lyff in heuen Amen /~

The table follows on sig. ~ij~, with a 2-line initial,

~H~ ~Ere begynneth the table of the victoryous prynce

Blanchardyn / sone of the noble kyng of Fryse~

and finishes on the 5th recto, which, however, in the only copy known,

is, unfortunately, in manuscript. This appears to have been copied

from the very rare reprint by Wynken de Worde, the last four lines

being--“How Blanchardin wedded his love the proude | pucelle in amours:

And of the grete ioye that | was made there . and of the Kynge of Fryse

deth capl° liiij°”

The sixth leaf is blank. On sig. ~A j~ recto the first chapter

commences as follows:--

~ℂ The first chapitre of this present boke conteyneth how

Blanchardyn departed out of the court of his fader kynge

of fryse / Capitulo primo .~

~T~ ~Hat tyme when the Right happy . wele of~

All the text after sig. ~M iiij~ is wanting in the only known copy.

REMARKS.--The prologue to Caxton’s translation of this romance is

fortunately preserved, from which we learn that Margaret, Duchess of

Somerset, brought to Caxton the French version of this romance (which

she had “long before” purchased of him), with her commands that he

should translate it into English. Having made the translation, he

presented it to Her Grace, probably as a manuscript, as he says nothing

of any command to print it. It was, however, soon after put to press,

perhaps at Caxton’s own risk, as a trade speculation. As to the date,

there are only the typographical particulars to guide us, which,

however, all point to about the year 1489.

The only known EXISTING COPY is in the library of Earl Spencer. One

leaf is in the Library of the British Museum.

NO. 86.--THE FOUR SONS OF AYMON. _Folio. Sine ullâ notâ. (1489?)_

The COLLATION cannot be given accurately, as no perfect copy is known.

~A B C D E F G H J K L M N O P Q R S T U X Y Z aa bb cc dd ee ff gg

hh ii kk ll~ are all 4ns, ~mm~ being a 3n, with the sixth leaf,

probably, blank. This makes a total of 278 leaves; but it is more than

likely that some introductory matter preceded sig. ~A~.

TYPOGRAPHICAL PARTICULARS.--Only one type, No. 6, is used. The lines,

which are all of an even length, measure 4⅝ inches, and there are 31 to

a full page. Without folios or catchwords. Woodcut initials throughout.

The only known copy of this edition begins on sig. ~B iij~, in the

middle of a sentence:--

~Reynawde one of the sones of Aymon / wherof specyally tre~

The Text ends on the fifth verso of sig. ~mm~, with the following

sentence:--

~M~ ~y fayr lordes thenne that this present boke shal re-

de or here . we shall praye god & the gloryous saynte

Reynaude the marter / that he gyue vs grace to perseuere /

and ‖ contynue our liff in good werkes . by the whiche we

may ha ‖ ue at our endynge the liff that euer shall laste /~

~AMEN.~

REMARKS.--Manuscripts of this favourite romance, concerning the

original of which little appears to be known, mount up to the

thirteenth century, and references to it are found in manuscripts of a

still earlier date; but all these are rhythmical romances, and Caxton’s

translation (if we may give him the credit of it) was evidently made

from a French prose text, perhaps that printed at Lyons, about 1480,

under the title “Les quatre filz Aymon.”

Before the discovery of the volume under review, the earliest printed

English text of “The four sons of Aymon” was the 1554 edition of R.

Copland, to which was appended the following colophon:--

“ℂ Here finishith the hystory of the | noble and valiaunt knyght

Reynawde | of Mountawban, and his three bre- | thern ℂ Imprinted

at London, by | Wynken de Worde, the . viij . daye of | Maye, and

y^e yere of our lorde . M,C | CCCC iiii . at the request and com-

| maundement of the noble and puis- | saunt erle, the Erle of

Oxenforde, | And now Emprinted in the yere of | our Lord . M . CCCCC

. l iiii . the | vi daye of Maye, By wylliam Cop- | land, for Thomas

Petet.”

From Copland’s colophon we learn that an edition was issued in 1504

by Wynken de Worde, although, unfortunately, not a single copy is

now known to exist. He, of course, reprinted from the text under

review; and, indeed, the first portion of the colophon above quoted,

so far as it concerns Wynken de Worde, is quite in Caxton’s style,

and recalls the numerous instances already noticed in which Wynken

de Worde, by altering the printer’s name and the date, has falsified

both typographical and historical truth. That in this case he used

Caxton’s colophon, with alterations, is rendered almost certain when

the prologue to Copland’s edition is perused. Here we have all the

peculiarities of our first printer’s style, and his very diction.

No manuscript or printed copy of Caxton’s life of Robert, Earl of

Oxford, is known.

The only known EXISTING COPY of Caxton’s edition is in the library of

Earl Spencer. It is imperfect, wanting all before sig. ~B iij~; ~D~ 8,

~N~ 8, and ~MM~ 6, upon which probably was the Device.

NO. 87.--DIRECTORIUM SACERDOTUM, UNA CUM DEFENSORIO EJUSDEM; ITEM

TRACTATUS QUI DICITUR CREDE MIHI. _Folio. Second Version. Second

Edition. “Impressum per Willelmū Caxton apud westmonasteriū

prope London/” Without Date. (1489?)_

COLLATION.--A preliminary 4n, signed only on the fourth recto with the

figure 4; ~a b c d e f g h i k l m n o p q r s t u x y~ are all 4ns;

~z~ is a 5n. Total 194 leaves. No blanks.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type is all No.

6. The lines, which are spaced to an even length, measure 4⅝ inches.

Exclusive of head-lines there are 31 to a page. A few 2-line woodcut

initials. Without folios or catchwords. The Table on the 8th recto is

printed in black and red.

The “Kalendar,” which has the same woodcut KL as in the first edition,

commences on the first recto, thus:--

[Illustration: ~KL~]

~Prima dies mensis et septima trucat vt ensis

Januarius habet dies xxxj / luna vero .xxx~

The Text ends on sig. ~z~ 10 verso,

~vix poterit errare: in seruicio diuino Deo Gracias~

~ℂ Caxton me fieri fecit .~

REMARKS.--From the fact of the Printer beginning his table for finding

the Golden and Dominical Letters at the year 1489, we may safely assume

that year to be the date of printing, as to print back years would be

useless. The combination of red and black figures, the black form being

first printed, and the red form secondly and separately, shows a great

advance in workmanship over other books by Caxton.

Like the first edition, there is only one EXISTING COPY known of this,

which is in the Bodleian Library. It is, with “The Art and Craft to

know well to die” by the same printer, still in the original parchment

wrapper, as issued from Caxton’s workshop. It is perfect, and in good

condition.

NO. 88.--ENEYDOS. _Folio. Without Printer’s Name, Place, or Date.

“Translated by me wyllyam Caxton,” June 22nd, 1490._

COLLATION.--Sig. ~A a~ 3n, with the first leaf blank: ~B C D E F G H J

K L~ are 4ns, with ~L~ 8 blank. In all 86 leaves, of which two are

blank.

Dr. Dibdin erroneously ascribes only four leaves to sig. ~A~.

Note.--Sig. ~a~ is very irregular: the first leaf, which is blank,

is not reckoned in the signatures, the second and third leaves being

signed respectively ~A j~, and ~A ij~. The fourth leaf, which, to agree

with the others, should have been signed ~A iij~, has no signature at

all; while the omitted signature, ~A iij~, appears on the sixth or last

leaf of the 3n.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type is all

No. 6. The lines are spaced to an even length, and measure 4¾ inches.

There are 31 lines to a full page. Woodcut initials of two, three, and

six lines in depth.

After a blank leaf the prologue begins on the second recto, signed ~A

j~,

~After dyuerse werkes made / translated and achieued / ha

uyng noo werke in hande . J sittyng in my studye where as

laye many dyuerse paunflettis and bookys . happened that~

The Text ends on sig. ~L~ 7 recto, with the following colophon:--

~HERE fynyssheth the boke yf Eneydos / compyled by

Uyr ‖ gyle / whiche hathe be translated oute of latyne in to

frenshe / ‖ And oute of frenshe reduced in to Englysshe by

me wyllm ‖ Caxton / the xxij . daye of Juyn . the yere of our

lorde. M . iiij ‖ C lxxxx. The fythe yere of the Regne of

kynge Henry ‖ the seuenth~

Caxton’s device on the verso. The eighth leaf is a blank.

REMARKS.--The “lytyl booke in frenshe, named Eneydos,” which happened

to come under our Printer’s notice while sitting in his study

surrounded with many divers pamphlets, is a free paraphrase of portions

of “The Æneid,” by Virgil. Had Gawin Douglas, who, in 1553, issued a

Scotch metrical version of “The Æneid,” read Caxton’s preface, he would

have seen that Caxton does not pretend to give a translation of the

Latin poem, and might have spared himself the trouble of some hundreds

of lines in abuse thereof. The “Eneydos” was issued only as a romance

compiled from Virgil’s “Æneid,” and Bocace’s “Fall of Princes;” and,

with little merit, it seems to have gained little favour, even with the

lovers of such compilations, for it never reached a second edition. It

would appear, however, that a good sale was expected, and an impression

more numerous than usual struck off, as few of Caxton’s books are so

common as “Eneydos.”

EXISTING COPIES.--British Museum (3); Cambridge; Trinity College,

Cambridge; Oxford (3); St. John’s, Oxford; Hunterian, Glasgow; and 11

in private libraries.

NO. 89.--THE DICTES AND SAYINGS OF THE PHILOSOPHERS. _Third Edition.

Folio. Westminster. The year 1477 erroneously reprinted, the

real date being about 1490._

COLLATION.--The device and prologue occupy two unsigned leaves; then,

~A B C D E F G~ are 4ns; ~H~ and ~J~ 3ns, the sixth leaf of ~J~

being blank. In all 70 leaves, of which the last is blank. Dr. Dibdin

erroneously says “only 66 leaves.”

There is no title-page. The only type used is No. 6. The lines, which

are fully spaced out, measure 4⅝ inches. There are 30 and 32 lines to a

page, but mostly 31. Without folios or catchwords. 2 and 3-line woodcut

initials.

Caxton’s device is in the centre of the first recto, the prologue

commencing on the verso with a 2-line wood initial,

~W~ ~Here it is so that euery creature by the suffraunce of

our lord god is born and ordeyned to be subgette and

thrall vnto the stormes of fortune . And so in diuerse and~

On sig. ~Aj~ the work commences:--

~Edechias was the first. Philosophir by whom

~S~ through the wyl and pleaser of oure lord god. Sa-

pience was vnderstande and lawes resceyued. whi-

che. Sedechias saide that euery creature of good beleue~

The Text ends at foot of fifth recto of sig. ~J~,

~Whom J beseche Almyghty god tencrece and to continue

in his vertuous disposicion in this world . And after this

lyf to lyue euer lastingly in heuen . Amen .~

~ℂ Caxton me fieri fecit .~

The verso and final leaf are blank.

REMARKS.--This is another instance of the original date and imprint of

a book being reproduced in subsequent editions. All the typographical

particulars prove it to have been printed about 1490; and the presence

of signatures, printed initials, and evenly spaced lines, give

direct testimony against the date 1477, at which time none of these

improvements had been adopted at Westminster.

For literary particulars, see the first edition, page 188, _ante_.

EXISTING COPIES.--Cambridge: St. John’s College, Cambridge; Oxford, and

Lambeth Palace. Three copies are in private libraries.

NO. 90.--THE MIRROUR OF THE WORLD. _Second Edition. Folio. The Name,

Place, and Date of the First Edition reprinted; but about 1490._

COLLATION.--~a b c d e f g h i k l~ are 4ns, the last leaf occupied

with the device only. In all 88 leaves.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type is all No.

6. The lines, which are spaced to an even length, measure 4⅝ inches,

and a full page contains 31. Without folios or catchwords. 2 and 3-line

initials in wood.

Commencing with a blank leaf, the table follows on the second recto,

signed, however, ~a j~.

The Text begins on ~a j~ recto,

~H~ ~Ere begynneth y^e tahle of the rubrices of this presen-

te volume named the myrrour of the world or thy-

mage of the same /~

The Text ends on the seventh verso of sig. ~l~,

~and transytorye lyf he brynge hym and vs in to his eelesty-

all blysse in heuene AMEN /~

~ℂ Caxton me fieri fecit .~

On the eighth verso is the device, the recto being blank.

REMARKS.--Although this book bears the same dates as the first edition,

it is very evident from the type, from the device, from the use of a

woodcut to head Chapter II, which had been used shortly before in the

“Royal Book,” and from many other more minute evidences, that it really

was not printed till about 1490.

It would seem that the proper cut for Chapter II, viz. a figure of a

philosopher with the globe in his hand, having been injured or lost,

that the workman chose the first which offered itself, and thus, in

this edition, we have the very inappropriate illustration of Christ’s

transfiguration, as head to the chapter, “Why God made and created the

World.”

EXISTING COPIES.--Cambridge: Pepysian, Cambridge; Exeter College,

Oxford; Hunterian, Glasgow; Baptist College, Bristol; and eight in

private hands.

NO. 91.--A BOOK OF DIVERS GHOSTLY MATTERS, CONTAINING:--THE SEVEN

POINTS OF TRUE LOVE AND EVERLASTING WISDOM, OR OROLOGIUM

SAPIENTIÆ: THE TWELVE PROFITS OF TRIBULATION;--THE RULE OF ST.

BENET. _Quarto. Wyllelmū Caxton. “Emprynted at westmynstre.”

Without Date. (1490?)_

COLLATION.--The “Seven points of True Wisdom” has ~A B C D E F G H J K

L M~ all 4ns, or 96 leaves.

The “Twelve profits of Tribulation” has ~A B C D~ all 4ns, or 32

leaves.

The “Rule of St. Benet” has ~a b~ 4ns, and ~c~ a 2n, or 20 leaves.

Total of the three tracts, 148 leaves, all printed.

Note.--The signatures to the third tract are unusual, viz. ~a~ is

signed ~aa~, ~a ij~, ~aa iij~, ~a iiij~; ~b~ is signed ~bb~, ~b ij~, ~b

iij~, ~b iiij~; ~c~ is signed ~cc~, ~c ij~.

TYPOGRAPHICAL PARTICULARS.--Without title-page. The type throughout

is No. 6. The lines, which are spaced to an even length, measure 3⅝

inches, and 24 make a full page. Without folios or catchwords.

The Text of “The Seven points of True Wisdom” begins on sig. ~A j~:--

~T~ ~Hese ben the chapitres of thys tretyse

of y^e seuen poyntes of trewe loue and

euerlastyng wysdom drawen oute of

y^e booke y^t is writen in latyn and cleped Oro-

logium sapiencie /~

The tract ends thus, on sig. ~M~ 8 verso,

~ℂ Thus endith the treatyse of the vij

poyntes of true loue & euerlastyng wysdom /

drawen of of the boke that is wryten in laten na

med Orologiu sapiecie .~

~ℂ Emprynted at westmynstre~

~ℂ Qui legit emendet / pressorem non repre

hendat~

~ℂ Wyllelmu Caxton . Cui deꝰ alta tradat~