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 Copyright 1962 by La Bibliofila, Via Manzoni 14, Milano

This volume is compiled by Carla Marzoli.

Designed by Max Huber.
Printed in Italy
by Industrie Grafiche Nicola Moneta, Milano,
with the technical assistance of Giancarlo Rizzarda.
The edition consists of two thousand numbered copies
on Fabriano paper.

Copy number 1 3

Design of the title-page is adapted from plate 23 in Antonozzi.

Preface
Introduction
Symbols
Index I
Index II
Catalogue
Working Bibliography
 It is a fact that the professional bookdealer and the private collector,
although united by their love of books, are poles apart in their
consideration of the end result. It can happen, however, that a
bookdealer finds himself confronted with a group of books which
awakens in him something of the collector's own passion and
which he cannot therefore consider with the cold business sense
that must generally govern his activity. The present collection
of writing-books is in fact the result of such a « crisis », and it is
no doubt due to the fact that in this instance my love of books has
dominated my business sense. It is on this account, I think, that
I have been given such unstinting help from so many eminent
scholars in the field.

I have from the fist been attracted by the typographical aspect

of a beautiful book, and in this regard I was especially impressed
during my visits to the Newberry Library in Chicago and the
Prints Division of the Metropolitan Museum in New York by excep-
tional writing-books and manuscripts which Mr. James M. Wells
and Mr. A. Hyatt Mayor, respectively, were good enough to select
for my inspection. Upon my return to Italy, a fortunate series of
circumstances brought to my attention a group of approximately
fifty writing-books which were destined to form the nucleus of the
present collection. My immediate reaction was to keep the collection
intact and also to extend it as far as possible; though at the same
time I realized the formidable nature of the difficulties entailed
in the bibliographical classification of the work. The almost total
lack of biographical data on the calligraphers themselves and the
_ scarcity of bibliographical descriptions of their works, especially
for those following the better-known masters of the sixteenth
century, caused me no little anxiety.

I consulted Mr. A. F. Johnson, and I visited at the British Museum

and submitted to him a list of the books I possessed. That eminent
scholar, Mr. Johnson, was perplexed. He asked: « Are you intending
a catalogue? I myself have never seen the greater part of your books!»
7
Indeed Mr. Johnson insisted that a catalogue was necessary. He
made it a condition that the descriptions be precise and detailed.
His own Catalogue of Italian Writing-Books of the Sixteenth Century
is an excellent example of the type of collation needed and I did not
hesitate to use it as a guide in describing my own books.

Mr. Johnson also sent me to the Victoria and Albert Museum to

consult the collection there, and here I had the good fortune to
work under the guidance of the late James Wardrop, a great scholar
and gentleman, showing so rare a mixture of erudition and spirit-
uality. I shall always remember with infinite gratitude the generosity
of his mind and his readiness to impart to me the richness of his
special knowledge.

He, too, advised me to catalogue my collection, observing that the

range and scope of the works included could well provide a contri-
bution valuable for historical and artistic reasons to the study of
calligraphy in general.

Upon completion of the description of the books I submitted a

proof of the pages to Mr. Stanley Morison, whom I asked to write
a few words of introduction. He estimated the value of the Cata-
logue, decided he was in the position to measure the degree of
thoroughness with which the descriptions had been drafted and to
appreciate the extent of labor included in the whole work. Working
with Mr. Morison has been one of the most gratifying and rewarding -
experiences of my entire career. I learned much from him. He
has in recent years been obliged to write on international political
history. For this reason also I am the more grateful to him for finding
the time to return to a past love of which he is master. At his pressure
I went to the Vatican Library in search of material for the source
of Horfei. It was another very difficult task, and I am doubtful that
I should have been successful without the continual and most
profitable cooperation that Prof. Lamberto Donati has given to
me. After many days of research I found in a cased catalogue, more
or less out of use, the card mentioning a Manuscript of Horfei.
It was the « missing » autograph of Horfeis Alphabet, which is
critically appraised in the Introduction. Unfortunately the manu-
script is in very poor condition, but the emotion of seeing it was no
less impressive.
se I returned often to work at the British Museum, and my grateful
thanks go of course to Mr. A. F. Johnson, as well as to Dr. Dennis
Rhodes, whose competence in the specific field of Italian literature
is well known. I owe much to these scholars for their valuable
advice and suggestions.
To all Directors, Librarians and staff members of both foreign and
Italian Libraries and Museums whom I visited personally or with
whom I corresponded by letter, I extend my heartfelt thanks for
the precious information supplied. In particular, I wish to mention:
Mr. Walter Amstutz (Zurich); Dr. Erwin M. Auer (Director, Kunsthistorisches
Museum Bibliothek, Wien); Prof. Marina Bersano Begey (Director, Biblio-
teca Reale, Torino); Dr. E. Berckenhagen (Director, Ehemals Staatliche
Museen Kunstbibliothek, Berlin); Miss Alice H. Bonnell (Special Collections,
Columbia University, New York); Signora Timina Caproni Guasti (Roma);
Mgr. Carlo Castiglioni (Prefetto, Biblioteca Ambrosiana, Milano); Dr. Angelo
Ciavarella (Director, Biblioteca Palatina, Parma); Prof. Laura De Felice
Olivieri (Director, Biblioteca Nazionale Centrale, Roma); Prof. Lamberto
Donati (formerly of the Biblioteca Apostolica Vaticana); Sir Frank Francis
(Director of the British Museum, London); Dr. Gino Garosi (Director,
Biblioteca Comunale deglIntronati, Siena); Prof. Tullia Gasparini Leporace
(Director, Biblioteca Nazionale di S. Marco, Venezia); Prof. Andrea Giraldi
(Director, Biblioteca Nazionale Centrale, Firenze); Prof. Guerriera Guerrieri
(Director, Biblioteca Nazionale, Napoli); Prof. J. Guignard (formerly of the
Bibliotheque Nationale, Paris); Mr. Walter Herdeg (Zurich); Mr. Philip
Hofer (The Houghton Library, Harvard University, Cambridge, Mass.);
Mr. Paul Jammes (Paris); Dr. Carlo Mansuino (Biblioteca Nazionale Centrale,
Firenze); Mr. A. Hyatt Mayor (Curator of Prints, Metropolitan Museum of
Art, New York); Prof. Emma Pirani (Director, Biblioteca Braidense, Milano);
Prof. Piero Pugliatti (Director, Biblioteca Estense, Modena); Dr. F. Rennhofer
(Director, ' Katalogabteilung, Oecsterreichische Nationalbibliothek, Wien);
Mr. George A. Schwegmann, Jr. (Chief, Union Catalog Division, The Library
of Congress, Washington D. C.); Prof. Alfredo Servolini (Director, Biblioteca
Federiciana, Fano); Avv. Felice Valsecchi (Sopraintendenza Bibliografica per
la Lombardia, Milano); Dr. Jeanne Veyrin-Forrer (Conservateur a la Réserve
des Imprimés, Bibliothéque Nationale, Paris); Mr. James M. Wells (Custodian,
The Wing Foundation, The Newberry Library, Chicago); Mr. A. W. Wheen
(Keeper of the Library, Victoria & Albert Museum, London).

The layout and the cover of the catalogue are the work of Mr. Max
Huber, who needs no introduction in the field of graphic art. His
continued cooperation has afforded me another proof of his
friendship, for which I am most grateful.
9
 To Mrs. Lucille Majno, who for many months worked in close
collaboration with me, I extend a particularly affectionate note of
thanks.

The catalogue includes 72 items, listed chronologically and divided

according to nationality, embracing a period of time from 1535
to 1885. Included are writing-books of the Italian, French, Low
Countries, Spanish and Portuguese schools.
The bindings, unless otherwise specified, are modern: in parchment
for nos. 2-7, 9-20, 22-32, 37-38, 52-57, 66-68, 71-72; in grey Fa-
briano paper for nos. 33-36, 39-51, 59, 63-65. Special bindings are
mentioned at the end of the description of each particular book
concerned.

In quoting the titles of the books, the original texts have been
rigorously adhered to, even in the cases where obvious errors were
made or obsolete spellings used.

The books are for the most part to be considered in exceptionally

good condition; where necessary restorations have been done very
carefully.

General bibliographies which mention any particular calligrapher

or book are cited at the end of the description concerned. They
have been excluded from the Working Bibliography since they
are too well-known to be included. In indicating the location we
have adhered to the system adopted for the Union eaabee of
the Library of Congress (see note on p. 30).

I have no doubt that numerous omissions and some errors will

be found in the present catalogue. I shall be grateful for any
corrections, suggestions, or pertinent information of any kind,
that the readers of this catalogue will send to me at La Bibliofila,
Via Manzoni 14, Milan, Italy.

Carta C. MARZOLI

10
 INTRODUCTION

These lines precede a Catalogue of model books of script as taught

by masters of the art. « Calligraphy » is well chosen by the booksell-
er as the title for a list which comprises the scripts used for eccle-
siastical, legal, commercial, record and private correspondence pur-
poses; and, secondly, those employed for inscriptional and public
promulgation. Hence, the title « Calligraphy » comprises styles of
scripts for both private and public use. The former style is usually —
known as « writing » and the latter as « lettering ». The bulk of
the items here catalogued are writing-books, while the remainder
are lettering-books.

The printing of the Catalogue is easily justified. « A selection of

booksellers’ catalogues is one of the most important and most fre-
quently consulted departments in any alert collector's reference
library. This is not merely for the comparing of prices: it is for
the contributions to scholarship, bibliographical and other, which
‘responsible antiquarian booksellers have made and make every
year ». So writes Mr. John Carter in his A B C of Book Collecting
(London, 3rd edition, 1961).

Manifestly the present Catalogue is one that ranks as a « contribu-

tion to scholarship, bibliographical and other » which has been made
by one of our « responsible antiquarian booksellers »; in this instance
the proprietor of « La Bibliofila » house in Milan. Assuredly, those
to whom the Catalogue is addressed will, equally with the present
ll
 writer, rejoice to be presented with a mass of relevant biographical
details and, moreover, numerous illustrations, many of which have
not before been reproduced from books which, themselves, rarely
come into the market. _The collection itself is notable as being one
of few of some size that have been offered for sale during the past
thirty years. Thus it comprises half again as many items as were
offered in the remarkable Warmelink sale (Amsterdam, 1960).

The collection of Hippolyte Destailleur, which was catalogued and

dispersed in Paris in 1879, may have initiated modern appreciation
of the work of the writing masters. Destailleur’s calligraphical
section was purchased by the Kunstgewerbe Museum in Berlin. It
was from the personal kindness of the Keeper, Dr. Peter Jessen,
that the present writer learnt in 1922 the « ABC» of Writing-
Book Collecting. Jessen’s Meister der Schreibkunst aus drei Jahr-
_ hunderten (Berlin, 1923) remains necessary to the study.

The best general survey of the development of the major scripts of

the past and present in Western Europe is Hermann Delitsch,
Geschichte der abendléndischen Schreibschriftformen (Leipzig,
1928). The book begins with the Roman inscriptions and contin-
ues to the 18th century. His section (pp. 203-232) on the Latin
cursives begins with Arrighi (Rome, 1522) and concludes with Shel-
ley (London, 1709). The book is abundantly illustrated and does
full justice to the French school. The plan of the book is practical.
It reflects the inspiration of Edward Johnston's Writing, Illumi-
nating and Lettering (London, 1906), but its paleographical basis is
much more complete inasmuch as it describes and illustrates all
current scripts in use before the XVIII century, while Johnston was
concerned to revive only the finest formal ancient and early medieval
hands. Neither Johnston nor Delitsch was concerned with the
precedence of the editions of printed models.

The fundamental, modern, study of sixteenth century writing and

lettering-books was begun by Giacomo Manzoni of Bologna (Lugo,
1816-1889). The second section of his Studii di bibliografia analitica
(Bologna, 1882) pp. 77-240, comprises an historical, bibliographical,
critical and consecutive account of the Italian (only) manuals of
lettering (principally) and writing published in the first half of the
XVI century. Hitherto, attention given to writing-books had ranked
12
as a branch of philology and it is in that relation that Giusto Fonta-
nini (1666-1736) alludes to Palatino, Cresci, Scalzini, Pisani and
others in his Biblioteca della Eloquenza italiana in the edition anno-
tated by Apostolo Zeno (Venice, 1753). The standpoint of the
next commentator upon our subject, the French scholar, Jansen, is
indicated in his title Essai sur (Origine de la Gravure en bois et en
taille-douce. (Paris, 1808). The work deserves to be better known
and appreciated, Portions of his second volume on calligraphy
include much of typographical value and his publisher, Schroll,
has appended a useful notice on stereotyping in France. Thus the
study of writing-books, mainly Italian, had so far been linguistic
(Fontanini), technical (Jansen), and bibliographical (Manzoni),
Numerous aesthetic appreciations of formal handwriting and letter-
ing appeared in the XIX century. The English Arts and Crafts
Movement assisted the revival of decorative calligraphy as an artistic
medium. William Morris practised calligraphy and was acquainted
with the writing-book of Arrighi. In England E. F. Strange in
1895 and Lewis F. Day in 1911, produced manuals of bibliographical
and aesthetic value. The work of this period, of unsurpassed value
to-day, is that of Johnston, mentioned above. In France, Popelin
(Paris, 1895) published a set of facsimiles of writing and lettering of
interest to architects and others. The work was dignified with a
preface by Anatole France.

The systematic, critical, historical and aesthetic estimation of the

French, Spanish and English masters, as well as Italian, was begun
by Domingo Servidori in his Reflexiones sobre la verdadera arte
de escribir (Madrid, 1789). This sumptuous work illustrates the
English masters such as Seddon, More, Snell, Bland and Bickham;
as well, naturally, as the productions of native experts (such as Iciar,
Lucas, Perez, Palomares & c). Servidori also provides a wealth of
historical and critical information about the later Italians who suc-
ceeded Arrighi, Tagliente and Palatino. It was when reading Ser-
vidori that the present writer learnt of Arrighi’s activities as a fine
printer, and was led to the study of his contributions to italic typog-
raphy. Servidori was a Roman who had emigrated to Spain.

The mass of information he gives was supplemented by Torcuato

Torio de la Riva’s Arte de Escribir (Madrid, 1798). This, too, is of
prime value to those interested to know with some degree of pre-
13
 cision why and how our customary letters have their present shapes.
The works of Servidori and Torio present what is still the fullest crit-
ical-aesthetic account, with the most generous pictorial documen-
tation, of the history of handwriting in major European countries,
as illustrated by the plates in the manuals and specimen books of
the masters, down to the end of the XVIII century. The two vol-
umes of Emilio Cotarelo y Mori, Diccionario biogrdfico y bibliogra-
fico de Caligrafos Espanoles (Madrid, 1913) are a model of the kind
of work that is needed for Italy, France and Holland. They are
critical and bibliographical, ie. they provide detailed descriptions
of editions and many facsimiles.

The substantial folio, The English Writing-Masters and their Copy

Books 1570-1800 (Cambridge, 1921) by Ambrose Heal is comparable
with that of Cotarelo y Mori. It comprises biographies of the
writers as well as bibliographies of their works, and is illustrated
“with more than 84 subjects.

A valuable contribution to the German branch of the subject has

been made recently by Dr. Werner Doede, Bibliographie deutscher
Schreibmeisterbiicher (Hamburg, 1958). The study extends from
Neudérffer (Niirnberg, 1519) to Carl Jack (Berlin, 1800), and is sup-
ported by upwards of sixty illustrations. The book includes all
German-speaking lands and hence provides descriptions of the Aus-
trian and German-Swiss writing-books. Dr. Doede provides an ad-
mirable general historical, though strictly bibliographical introduc-
tion. Our indebtedness to the compiler would have been greater if
his entries had led with a biographical paragraph. We would give
much to have the « curriculum vitae » of Caspar Neff, whose book
Ein késtliche Schatzkammer and Thesaurium Artis Scriptoriae (Koln,
1549) is the first to present in Germany the « Italienische » and « Ita-
lica » scripts. Dr. Doede naturally points out that Palatino and
other Italian masters also taught formal gothic (« Lettera Tedesca »)
and the gothic cursive (« Lettera Longobarda »). It is however an
error, commonly made, to suppose that the use of gothic cursives
in the sixteenth and seventeenth centuries was confined to Germany.
Emanuele Casamassima has just (« Litterae Gothicae» in La
Bibliofilia LXII, pp. 109-143, Florence, 1960), documented the extent
which the cursive humanistic « cancellarescha » influenced the cur-
sive gothic that was practised in Italy under the title of « Longo-
14
bardic ». The vigour of the modified cursive gothic so long employed
as a commercial medium is widely attested in the Italian writing-
books of the XVII century. The great French masters devel-
oped an elaborate, bold, uncompromised upright « Ronde » which
is given due place above the « Italiennes bastardes », as the me-
dium for commercial use in Nicolas Duval’s Trésor des nouvelles
Escritures (Paris, 1670) which is one of the more significant items
in the French section of the present catalogue. Here is not the
place in which to argue the superiority of the bold French « Lettre
brisée » (to use Duval’s term) over the feeble German « Fraktur ».

Emphasis may be laid, however, upon the fact that the script which
now dominates the calligraphy and typography of all Christian
countries of the world is one version or other of the « cancellarescha
corsiva ».

The documentary value of the present collection is best appreciated

at this point, for it brings together seventy treatises on hand-
writing printed during three centuries in Italy, France, Holland and
Spain. The student can here perceive the originally universal
gothic hands weakening and finally disappearing before the origi-
nally personal humanistic hands. Thus there has descended to us
one or other variety of what, until recently, was called the « Italian »
hand, which is the great all-purpose script of Western civilisation.
It is used for all commercial and all correspondence purposes
throughout our vast society, while gothic vestiges live out a
precarious existence in the titles of ecclesiastical and legal documents.

The definitive steps by which the formal hand, first used for literary
purposes by the Florentine humanists reached us in cursive state
as a practical, everyday, correspondence form, may be traced in the
collection here listed. It is well, however, to bear in mind the fact
that its career began in the Roman Chancery long before the age of
printing and that the adoption of the cursive humanistic by the Ro-
man chancery was by no means rapidly achieved. Even the human-
ists employed gothic cursive for the vernacular. Poggio himself,
15
as Secretary to Martin V, practised in 1423 a very fine version of the
gothic cursive (Fink VII, 1) which had been the official script for
the Breve (Brief) ever since that class of document had been origi-
nated in the Chancery of Boniface IX (Pietro Tomacelli) 1389-1404.
As this script developed it became more cursive and more decora-
tive. It was the generation of chancery clerks after Poggio, i.e. of
the period after the middle of the fifteenth century who discarded
the intricate gothic cursive in favour of a rational humanistic cur-
sive. It was a highly self-conscious change (i.e. for the Breve only),
for the early humanistic cursive used for the Briefs was so limited in
its purpose, so plain in its design, so functional in structure, and so
nearly perpendicular in intention as to be an almost formal, slightly
sloped « roman » (in the typographical sense) of letter. This, then,
is the disciplined model that was later taught in the writing-books
of Arrighi, Tagliente, da Carpi and in the early editions of Palatino.
No doubt increased bureaucratic business accelerated the official
Brief-script and stimulated the process which increased its slope.

This increased slope combined with a certain suppleness of form

gradually transformed the original plain humanistic cursive into an
intricate cursive that was, in terms of currency, comparable with
the gothic cursive it had superseded.
The detailed paleographical study of the official chancery cursive
still awaits the attention of a qualified scholar. We have at present
only the pioneer work of Franz Steffens (Lateinische Paldographie,
Trier, 1902) and Karl A. Fink (Untersuchungen tiber die papstlichen
Breven des 15 Jahrhunderts, Freiburg-i-B., 1935). It is impossible
at present to say anything more precise than that the change in the
Roman Chancery from late gothic cursive to early humanistic cur-
sive was authorized during the pontificate of Martin V (Oddone
Colonna) 1417-1431; to late humanistic cursive under Leo X (Giovan-
ni de’ Medici) 1513-1521; and to baroque humanistic cursive under
Pius IV (Giovanni Angelo de’ Medici) 1559-1565. This develop-
ment is referred to below.
During the first quarter of the sixteenth century the extensive use of
early humanistic cursive for Latin Briefs won for it the vernacular
title of « littera corsiva over Cancellarescha ». It became a corre-
spondence medium before the end of the 15th century. The adap-
tation of the « Cancellarescha » to typography was made soon.
16
 It was cut for Aldus Manutius by the master punch-cutter of the
age, Francesco Griffo, and first shown in the Epistole devotissime de
Sancta Catharina da Siena (Venice, 1500).
The first printed instructions how to form the « Cancellarescha » oc-
curs in the Theorica de modo scribendi of Sigismondo Fanti (Flor-
ence, 1514). However he failed to secure an engraver competent to
provide him with the blocks, and was forced to leave spaces intended
for a calligrapher to fill. No copy is known in which the spaces are
completed.

The initial printed book, therefore, containing instructions complete

with engraved specimens is La Operina ...da imparare di scrivere lit-
tera Cancellarescha of Ludovico degli Arrighi (Rome, 1522). This
work and those of Giovanantonio Tagliente (Venice, 1523), Ugo
da Carpi (Rome, 1535) and Giovambattista Palatino (Rome,
1540) were reprinted in numerous editions for the use of those who
wished to employ the cursive known as « Cancellarescha » for their
private correspondence and other writing. It was a graceful, often
beautiful letter which, as a personal script, was capable of being
written at fair speed. As such it was a practical hand and was readily
adopted by the leisured, literary and polite class of which it became
the symbol, first in Italy, next in France, Germany, England and else-
where. Several of the masters who taught the «Cancellarescha» are
represented in the present collection. Its early use in England is
admirably documented in A. J. Fairbank and B. Wolpe, Renaissance
Handwriting (London, 1960).
The present Catalogue leads with the Thesauro de Scrittori opera
artificiosa laquale insegna a Scrivere diverse sorte littere cioe cancel-
. larescha & c. of Ugo da Carpi (Rome, 1535). The importance of
the Thesauro is that it reproduces specimens by Fanti, Arrighi and
Tagliente. It is, so to say, an anthology of the hands practised and
inculcated by these masters. There follows a copy of the first edi-
tion of Palatino’s Libro nuovo (Rome, 1540). These two books exhib-
it the cursive humanistic script as then authorised, i.e. under the
pontificate of Paul III (Alessandro Farnese) 1534-1549, for use in
the Roman Chancery for the engrossing of Papal Briefs. The script
is a very formal cursive and, as such, was bound eventually to un-
dergo modification. The next work here to be seen, which initiated
the new, accelerated baroque style (his first work was printed earlier)
LT
is Il Perfetto cancelleresco corsivo of Giovan Francesco Cresci
(Rome, 1579). Also to be mentioned in this place is Il Secretario...
nel quale si vedono le varie et diverse sorti e vere forme di lettere
cancellaresche corsive romane of Marcello Scalzini (Venice, 1581).
To end the century there is the Cancellaresche corsive per Secretari
of Cesare Picchi (Rome, 1598).

Thus the collection here described provides a significant proportion

of the printed documentation necessary to the appreciation of the
changes in the anatomy of the Late Renaissance Chancery Script.

Of course Arrighi, Tagliente, da Carpi and Palatino were adept at

several other hands by which they proved their versatility as artists.
These they also demonstrated in their manuals of instruction. Most
of these hands, with the exception of the old Roman inscriptional
capitals, have long since ceased to be practised; whereas the Late
Renaissance Chancery Script, in variously modified versions,
persisted to the late nineteenth century. In our time it benefits
from a revival of its pure, original, form and is practised by many
amateurs in Britain, U.S.A. and other parts of the world. The
Exhibition « In Praise of Italic », arranged by Mr. Wilfrid Blunt for
the National Book League (London, 1954), was an impressive mani-
festation of the range and depth of interest in the revival of the hand
taught in Arrighi’s manual of 1522.

The first substantial modification in this Late Renaissance Chancery

Script was made in the Chancery itself, and other Vatican depart-
ments, after the time of Sixtus IV (Francesco della Rovere) 1471-
1484. The process was slow. It may be seen implicit in Arrighi’s
manuscript hand as exemplified in the Briefs he executed while the
two friends Pietro Bembo and Giacomo Sadoleto were joint-secre-
taries to Leo X from 1518, and made explicit after Cresci was appoint-
ed Scriptor in the Vatican Library in 1556. To dilate on the infer-
ences to be drawn from the comparison between the books of Pa-
latino and Cresci is unnecessary here in view of James Wardrop’s
thorough treatment of the latter’s responsibility for developing the
new form termed « cancellarescha testeggiata ». This is a script,
the tops of whose perpendiculars are decorated with loops closed
with ink, which produced pearshaped terminals. This may not
be an absolute novelty, for looped ascenders are implicit in some
18
of Arrighi’s more speedy calligraphic cursives; but Cresci’s practice
of stylising them as conspicuous and formal ornaments is new.
It was Cresci’s manner to elaborate the ascenders (b, d, h, 1,) and
smooth the angles (a, c, e, etc.). Thereby he created a less rigid
and more speedy version of the original model which, however,
possessed a degree of sophistication that made it immediately fash-
ionable. The first print (it had been in use earlier in the Chancery)
of the « cancellarescha testeggiata » appears in Cresci’s Essemplare
(Rome, 1560). Palatino’s adoption of it, which he calls « cancella-
resca Romana nella forma ch’é detta corrente », may be seen in
his Compendio (Rome, 1566). It led to a violent controversy which
was resumed by Fontanini in 1753 and is reported in detail by War-
drop. We are justified in terming Cresci’s innovation the Early Baro-
que Chancery Cursive. Its vogue gained from the extended use of
« intaglio » printing from copper in Italy, which he was the first
to employ. (It was used in Germany forty years earlier). The
virtuosity and versatility of Italian copper-engravers is authentically
illustrated in the present collection. What Cresci’s sponsorship and
propaganda of the « cancellarescha testeggiata » led to can be well
seen in one of Scalzini’s special plates. Here he exhibits, in detail,
the many strokes necessary to create the desired embellishments.

At this point it is appropriate to thank Mr. A. F. Johnson for his

Bibliography of Italian Writing-Books of the XVI century which
appeared in 1950. Mr. Johnson’s researches into this subject began
earlier. In fact, publication of the Bibliography was first announced
in 1927. At that time promise was also made of an Introduc-
tion that would comment upon the principal historic styles repre-
‘sented in the writing-books produced before the end of the XVI cen-
tury. This date was set less because it corresponded with the apogee
of Italian excellence and of its influence upon the rest of Europe, than
because it was suggested by the limitations of knowledge available
at the time. Mr. Johnson’s Bibliography was a pioneer effort. It
has been followed by Mr. Claudio Bonacini, Bibliografia delle Arti
Scrittorie e della Calligrafia (Florence, 1953). This work brings
together notices of books most of which, it must be said neither he,
nor in some instances, anybody else, has been able to inspect.
19
 The present writer should now admit that the difficulties created by
the war and by the entailed loss of books & c. has compelled him
to postpone his palaeographical and calligraphical studies. Hence
the introduction long since promised for Mr. Johnson’s book still
awaits completion.

It was the more fortunate, therefore, that James Wardrop should

have addressed his high talent to the subject. A series of articles,
wide in scope and rich in knowledge, elucidated the careers and
labours of the principal masters of the XVI century. His « Arrighi
Revived » was the first of these studies. It appeared in Signature
in July 1939. Those on Tagliente, Palatino, Cresci and Ruano
appeared after peace had returned. Wardrop’s profound knowledge
of the calligraphical developments during the half century after
the appearance of Arrighi’s La Operina in 1522 placed the study of
the Roman Chancery hand upon a basis firmer than it had so far
possessed. Wardrop’s untimely death in 1957 deprived the study
of one who possessed a knowledge unrivalled in Europe or America
and a unique mastery of the period upon which he concentrated —
principally the careers of the Vatican Scriptors from Arrighi to
Ruano. In effect, Wardrop carried his researches as far as the
year 1575. Itis hoped that his posthumous work Script as an Aspect
of the Renaissance, recently announced for publication by the Edi-
_ trice Antenore of Padova, will not long be delayed.

One of the merits of the present Catalogue is that it enables the

enquirer to document the career of the Baroque Chancery Script
_ beyond the point it had reached at the last quarter of the XVI cen-
tury, i.e. as far as Messrs. Johnson and Wardrop have documented
it. More remains to be done before our knowledge of the develop-
ment of what ceased to be called « cancellarescha » and became
known early in the north by the name of « Italica », as Mercator
called it in 1540; Neff in 1549; and van den Velde in 1605. Later
it became known in the Peninsula as « Italiano»; in France
« Italienne » (Materot, 1608); and in the XVIII and XIX centuries it
reached the highest point of its career as one or other of the varieties
of these Italian-Dutch-French-English fusions of the current cursive
Italian Chancery script. It now bears the burden of all national and
international communications. This, therefore, is the primary script
of the world.
20
The secondary script, i. e. that described above as « lettering », was
allied to the formal and cursive humanistic. The Roman imperial
capital was nearly simultaneously revived, and made its appearance
in the writing-books. It has vigorously survived until our time. As
Dr. Giovanni Mardersteig demonstrates in his Leon Battista Alberti
e la rinascita del carattere lapidario romano (Padova, 1959) the
revival was initiated before the middle of the XV century. The
imperial letters duly appeared in print (Parma, da Moille, ca. 1483)
and later in the books of Luca de Pacioli (Venice, 1509), and Sigi-
smondo de Fanti (Venice, 1514). Ugo da Carpi took them from
Arrighi for his Thesauro de’ Scrittori (Rome, 1532). They are to
be seen also in the manuals of Tagliente, Palatino and Cresci, and
in the latter’s Perfetto Scrittore (Rome, 1571) and Antonozzi’s Carat-
teri (Rome, 1638). All these are faithful versions of the letters that
symbolized the authority of Augustus and Trajan. But although
they were revered and revived by the early humanists and con-
tinued by their disciples, the generation that was active in the last —
quarter of the sixteenth century departed from the imperial model.
The works of Luca Horfei of Fano, a priest of some learning and
much virtuosity bear witness to a distinct change. Since his two pro-
ductions have become exceedingly rare, and one of them occurs in
the present collection; and because the author appears to have been
neglected, it may be permissible in this Introduction to devote some
space to him.

The reason why the name of this writer of great distinction has
escaped the chroniclers is difficult to trace. In the absence of any
published account of the disbursements made by the Vatican under
the pontificate of Sixtus V (Felice Peretti) 1585-1590, who was
Horfei’s patron, an historian is severely handicapped and he is left
with Sixtus: monuments and Horfei’s books. The Pope’s passion for
architecture led him to modernize the Vatican Library, build aque-
ducts and fountains, make bridges and gates and create other monu-
ments. Among these vast activities was the raising of obelisks —
the principal of which was that which stood in the old circus of
Nero. This blocked the plans for the basilica of St. Peter which
Sixtus V was bent on completing immediately. Only the main arches
and walls had been finished, and the Dome needed to be started.

It was the back of the basilica that was obstructed by the monument
PA
 that had been brought to Rome by Caligula (37-41 A.D.) from
Heliopolis, where it had stood for 1300 years. In Rome it had
witnessed the martyrdoms under Nero. Sixtus determined to Chris-
tianize this pagan symbol, and the obelisk when re-erected was
surmounted by a conspicuous cross. The Pope was not an old man
(he was merely 64), but he was in a hurry. The moving of the
obelisk was a tremendous event. A solemn liturgical rite exorcised
the obelisk, inscriptions were engraved on all four sides of the base,
and, finally, another rite consecrated it.

The Christian militancy of the texts is unmistakable, e.g... « Obe-

liscum Vaticanum ab impura superstione expiatum iustius » and...
« Dis gentium impio cultu dicatum apostolorum limina operoso
labore transtulit ». The skill and labour involved in the operation
at all the several stages are well observed and minutely illustrated
in the fine engravings that decorate the Chief Engineer's memorial
volume: Del modo tenuto nel trasportare Tobelisco vaticano & c.
(Roma, 1589). But Domenico Fontana does not mention the artist
of the inscriptions. Even the twentieth century writer, J.A.F. Or-
baan, who was an accomplished researcher in the Roman archives
and had great respect for the inscriptions of Sixtus V, and knew of
the existence of an album of Horfei’s inscriptions, abstains from men-
tioning their creator. Yet it is the fact that the great masters who
practised lettering in later generations follow the pattern which
marked all the Sixtine inscriptions on monuments, including the
great obelisk. What then do we know of their designer?

The primary document is in the Vatican Library. It is a manu-

script on paper, and was evidently a « fair copy » that the writer
would use for a transcript upon vellum for presentation to the Pope.
Search has not so far revealed the presentation copy, but the fair
copy suffices for historical reasons since it contains the dedication
to Sixtus V. Here, the artist, Luca Horfei (Lucas Orfeus Fanensis),
describes himself as a scribe in the Apostolic Palace (Palatii Aposto-
lici Scriptor). Horfei proudly says that the act of raising the obelisk
as « an eternal trophy of the Christian religion » was perfected by
the decision to have the inscriptions cut by an « artifex » capable
of rendering with beauty every single letter or character (singulos
letteras seu caractheres). Horfei then proceeds to say that he, who
had devoted almost his entire life to the study of the capital letters
22
(litterae maiores) commonly called Majusculas (quas vulgo MAIV-
SCVLAS appellat), had undertaken to execute a set of capitals equal
in beauty to those of ancients.

Horfei then boasts that through the grace of God & c. he had
succeeded where so many had failed; and having undertaken the
task [of drafting the inscriptions] he had devoted to it so much energy
and skill that the elegance and beauty of his letters was everywhere
recognized. Hence, he says « I have decided to transcribe four of
the most famous inscriptions on the Obelisk and to dedicate them
to Your Holiness together with the entire alphabet of these same cap-
itals (ipsarum MATVSCVLARVM) which I shall soon print and pub-
lish (typis imprimenda) in their entirety, and these, he gladly ac-
knowledges, will be under the most happy protection of Your Holi-
ness and to the advantage of all scholars & c. The four inscriptions
which the artist specifies will be mentioned below.

It is apparent, therefore, that Horfei was prepared to claim maximum

credit for the designs of the capitals shown in his manuscript. The
printed edition which he promised duly appeared. It is a very
rare book and its bibliography has not so far been attempted. There
were probably several editions. Of the original edition only the
title page survives (in the Victoria & Albert Museum, London):

DE CARACTERVM / ET LITTERARVM / INVENTORIBVS

/ EX / PICTVRIS BIBLIOTHECAE VATICANAE / LIBER Luca
Orphei / Fanensi Scriptore Capellae Apostolica / Romae Gio Batt.
Rossi in Piazza Navona.

This text, flanked by two supporters, is handsomely engraved on a

copper plate and the book printed in the form of an oblong quarto.
The Newberry Library copy corresponds with Bonacini 816:

ALFABETO / Delle Maiuscole / Antiche Rom: / Del Signor /

LVCA HORFEI / DA FANO / Opera molt utile / a Scrittori,
/ Pittori, e Scultori / Nella quale / Con ragione Geometrica / S’inse-
gnano le misure di d{eltte I[ettelre. / Si stampano in Roma allinse-
gna del Luppo in Parione.

Undated. Oblong quarto, 24 leaves, A-Z; 23 letters.

23
Bonacini’s suggested date is « verso 1560». As this would place
Horfei as flourishing under Pius IV it may be a misprint for 1650.
There exists a work by Horfei, with a Latin title as the Victoria
& Albert item mentioned above, but with the imprint « Roma in vico
Parionis subsigno Lupo »: undated but certainly late and probably
ca. 1650. The true date of the first edition of De Characterum must
be the year soonest after the raising of the Vatican obelisk, which
was in 1586.

Horfei’s claim to have contrived the design of these capitals may

be admitted. It is in the highest degree unlikely that such a man
would make such a claim in such a place at such a time, if it were
bogus. We may assume that Horfei was entitled to what credit there
may be for the design of these capitals.

What, then, is the point in these inscriptions and the capitals which
comprise them? What is novel in their style and, in so far as there
is anything new in them, why was novelty thought necessary?

Was the motive purely aesthetic? One needs to know something

of the personal preferences of Sixtus V. The Catalogue of his own
library which we know to be written in his own hand, and other
autographs of his, need to be examined. It is abundantly possible
that Horfei was to some extent guided by instructions given him
by authority. Is there any sign of the intervention, at some point,
of authority?

It may be said with confidence that the lettering of the four inscrip-
tions mentioned with particular pride by Horfei and exhibited in
De Characterum represents, so to say, a « modernised » version of
the antique capitals. They are still Roman but without being any
Jonger Imperial. In effect, the Sixtine capitals are a Christian revi-
sion of the capitals that were part of the insignia of Augustus, Trajan
and the succeeding pre-Christian Emperors. Was this revision
merely one more aspect of the Pope's grandiose plans for the modern-
ization of the Eternal City? Pastor salutes Sixtus V as « il creatore
della nuova Roma ». Do we need to look for any further explanation
for the change in lettering? It meant that a new architectural
policy was being executed. Possibly this is all the change signifies.
On the other hand, it might well be that, consistently with the
24,
invocation of the Holy Cross in the text of the four inscriptions and
the placing of the large emblem at the obelisk’s extreme top, the
Sixtine departure from the proportions of the then admired letters
on the Trajan column was deliberate, authoritative and Christian.

The policy is comparable, in its symbolism, with Sixtus’ renovation

of the columns of Trajan and Marcus Aurelius, and his erection of
statues of S. Peter and S. Paul on their respective summits. It was
characteristic of this Pope’s building enterprises to emphasize the
conversion of Rome from paganism to Christianity. This was not
irrelevant or superfluous in an age whose cult of the antique art
had degenerated into the practice of antique morals.

It is evident that Horfei’s effort pleased the Pope, since he later

accepted the dedication of the Varie Inscrittioni del Santis. S.N. Sisto
V (Rome, 1589). This sumptuous, authoritative, rare and beautiful
work forms one of the most desirable books in this Catalogue. It
is fully described in the text. All that need be said here is that the
inscriptions « dissegnate in Pietra, et dal medesimo [Luca Horfei da
Fano] fatte intagliare in Rame », while antique in a certain general
sense, have a character obviously different from those on the Trajan
column which Sixtus « converted » into a pedestal for his statue of
S. Peter. While the Inscrittioni advertise Horfei's conspicuous part
in the design of the capitals, it provides reproductions (to be seen
in the De Characterum of 1586-7 and the Inscrittioni of 1589)
of inscriptions by Cesare Moreggio, then, perhaps, as esteemed as
Horfei. An example is the inscription over the door of the ancient
University of Rome. A new building had been begun for it by
Alexander VI (Rodrigo Borgia) 1492-1503. The institution was
renamed the Collegio della Sapienza under Clement VII (Giulio de’
Medici) 1523-1534. Sixtus V, a former professor at the Sapienza
rescued the College from debt, modernised part of the building
and decorated it with Moreggio’s text INITIVM SAPIENTIAE EST
TIMOR DOMINI whose capitals, according to Horfei, having been
cut seven inches high, were lined with gold laid on caustic.

Horfei was master of a fine florid Late « Cancellarescha » as mod-

elled by Cresci; he practised a good, large minuscule of the type that
would have been approved by Ruano; also he developed an original
formal « italic » minuscule which contrasted effectively with his
29
 cursive « cancellarescha ». As scriptor to the Capella Apostolica
which we know better as the Sixtine Chapel (created by Sixtus IV
(Francesco della Rovere), 1472-1484), Horfei practised a fine music
in both ancient and modern notation. It goes without saying that
he could perform a good gothic « rotunda ».

To conclude, his supreme achievement is the Christian revision of

the pre-Christian Roman Capital. That Horfei invented the Sixtine
capital script in his mere capacity as a scribe is hardly probable.

As a cleric and Vatican official he would naturally attend to the sug-

gestions of his superiors. The dedications of the De Characterum
and the Varie Iscrittioni prove that Horfei held the confidence of
the Pope. It has been pointed out (Ernst Kantorowicz, Laudes
Regiae, Berkeley, Calif., 1946 p. 229, n. 32) that Sixtus V engraved
on his coinage the Christian acclamation by which the Church super-
seded the pre-Christian imperial and senatorial acclamation. Thus
the Christus vincit triad naturally became one of the four inscrip-
_ tions to which Horfei referred with special pride in the dedication
of De Characterum to the Pope.

As Horfei gives it there is a fourth line to the original triad, so:

CHRISTVS VINCIT, CHRISTVS REGNAT, CHRISTVS IMPE-
RAT. To this text Horfei added the line: CHRISTVS AB OMNI
MALO PLEBEM SVAM DEFENDAT.

Horfei’s other three texts are in harmony with the Christus vincit
triad. It seems to follow therefore, that the capitals should also be
in harmony with the texts. This would not be so if the Imperial
model were retained. Hence, Horfei’s capitals must be acknowl-
_ edged as having broken with the style that had been standard for a
century and a quarter, i.e. since the Imperial style had been revived
by Donatello, Mantegna, Feliciano, Matteo de’ Pasti and Leon
Battista Alberti. That the capitals of the inscription conspicuously
departed from the Imperial pattern is self-evident. It is difficult
to believe that this change had a purely aesthetic motive, for
the new model was standardised for use on all the Sixtine edi-
fices, and also for the title page of the new text of the Vulgate Bible
(Rome, 1590). The capitals, therefore, must have been backed by
authority from the date of the raising of the Vatican obelisk in
26
1586-7. It may reasonably be concluded, therefore, that the de-
parture from the pre-Christian pattern is to be judged less as an ,
aesthetic aspect of Sixtus V’s architectural activities than as one more
dogmatic affirmation of the Pope’s determination to eradicate from
Rome all revived paganism. As may be verified from books in
the present collection the great writers who succeeded Horfei accom-
modated themselves to the standard which he was the first to set
in print.

We may now drop the subject. The foregoing paragraphs have

concentrated upon the history and development of the Chancery
cursive writing and the Roman Capital lettering in Italy as illus-
trated by the volumes listed in the present Catalogue. Enough
has been said, incidentally, to indicate that the collection here
under consideration is not limited to these two scripts or to their
career in sixteenth and seventeenth century Italy. The collection,
indeed, does this, but its interest extends to later periods and other
European countries.

The raison détre of the successive changes in the form of western

script throughout the ages, from the ancient papyrus to the medieval
vellum period and the modern use of paper as a medium, is clear
and constant. The two main divisions into which western script
falls have already been mentioned, i.e. writing and lettering. The
latter is ceremonial and as such is rightly expensive of time in its
production and of material in its medium. The former is utilitarian
and as such rightly endeavours to be expeditious in its production
and inexpensive in its medium. Any increase in demand for writing
is equivalent to a demand for increase in speed of execution.
Hence the general history of western handwriting as distinct
from lettering involves the systematic observation and critical
appreciation of the effect of the factor of acceleration upon the
shaping of individual letters, their ligaturing, grouping into words
and spacing into sentences & c. To assist this process, recourse was
made to the aesthetic factor and it was by this means that hands
27
that were originally little better than a hardly legible scribble were
elevated into respectability, and given a new career which was,
on occasion, consecrated by religious and or political factors. On
the whole the economic factor was dominant. The interaction of
the aesthetic factor may be observed in the earlier and later
specimens here listed.

It only remains to lay emphasis upon the fact that, as the bookseller
says in the Preface, additions, corrections, indications and locations
of editions and copies are invited. The reason for making this
appeal is manifest. These paragraphs have noted the contributions
made to the Bibliography of Writing-Books. The attentive reader
will have observed that the scientific study of the subject is by no
means advanced. It is lamentable, for example, that nothing has
been done towards a Bibliography of the French Writing-Books
since, many years ago, Jean Grand-Carteret (whom I gratefully re-
member and thank for the kind reception he gave me) printed a
list of titles. The significance of the French school of calligraphers
and engravers, and its influence in opening the way for an entirely
new theoretical approach to letter - design in relation to typography
will be emphasized when Mr. André Jammes, the learned bookseller
in Paris, publishes, perhaps next year, his discoveries in the Archives
Nationales, the documents on the origins of the enquiry which
resulted in the creation of the « Romain du Roi » for the Imprimerie
Royale.

It will then be seen that the «bastarde» in Alais’ L’Art d’écrive (Paris
1680) was considered by no less a figure than the Abbé Bignon as
affording the best inspiration for the italic. This is high praise for
the book (the copy in this collection is handsomely authographed
by Paillasson) and for the author of the maxim « La belle Ecriture
demande un esprit guay pour son execution » (p. 9). He quickly adds
« Tous les violens et les débauches, abrutissent la subtilité de
imagination, engourdissent le mouvement des doigts, et débilitent
leur action ».
28
There is still wanting a study of the Netherlandish Books. It is
hoped that the circulation of this Catalogue may attract students
to a task, the discharge of which is essential if we are to answer
exactly the question why we write the way we do.
S. M.

29
 ‘

LIST OF SYMBOLS OF LIBRARIES CONSULTED

AW Albertina, Wien
BAM Biblioteca Ambrosiana, Milano
BAV Biblioteca Apostolica Vaticana, Citta del Vaticano
BBM Biblioteca Braidense, Milano
BCIS Biblioteca Comunale degli Intronati, Siena
BEM Biblioteca Estense, Modena
BFF Biblioteca Federiciana, Fano
BM British Museum, London
BMV Biblioteca Marciana, Venezia
BNCF Biblioteca Nazionale Centrale, Firenze
BNCR Biblioteca Nazionale Centrale, Roma
BNN Biblioteca Nazionale, Napoli
BNPARIS Bibliothéque Nationale, Paris
BPP Biblioteca Palatina, Parma
BRT Biblioteca Reale, Torino
BIM Biblioteca Trivulziana, Milano
CctY Yale University, New Haven, Conn.
CU University of California, Berkeley, Calif.
DFo Folger Shakespeare Library, Washington, D.C.
DLC Library of Congress, Washington, D.C.
ICN Newberry Library, Chicago, Il.
IU University of Illinois, Urbana, II].
KBB Kunstbibliothek, Berlin
KMBW Kunsthistorisches Museum Bibliothek, Wien
KU-M School of Medicine Library, Kansas City, Kans.
KyU University of Kentucky, Lexington, Ky.
MB Boston Public Library, Boston, Mass.
MH Harvard University, Cambridge, Mass.
MH-A Harvard University, Arnold Arboretum, Jamaica Plain
MiU University of Michigan, Ann Arbor, Mich.
MnU University of Minnesota, Minneapolis, Minn.
NcD Duke University, Durham, N.C.
NjN Newark Public Library, Newark, N.J.
NN New York Public Library, New York, N.Y.
NNC Columbia University, New York, N.Y.
NNH Hispanic Society of America, New York, N.Y.
NNNAM New York Academy of Medicine, New York, N.Y.
NPV Vassar College, Poughkeepsie, N.Y.
ONBW Oesterreichische Nationalbibliothek, Wien
PHC Philip Hofer Collection, Cambridge, Mass.
PP Free Library of Philadelpia, Philadelphia, Penn.
PPC College of Physicians of Philadelphia, Philadelphia, Penn.
RBM Civica Raccolta delle Stampe A. Bertarelli, Milano
VAML Victoria and Albert Museum, London
WaPS State College of Washington, Pullman, Wash.

The symbols used for the American libraries are those in the National
Union Catalog of the Library of Congress, Washington, D.C. In order to
have a uniform system of reference, we have taken the liberty of creating
analogous symbols for the Italian and European libraries consulted. For
more convenient reference, the listings are given alphabetically, according
to each library’s symbol.

30
 INDEX I CALLIGRAPHERS AND AUTHORS

p. 138 Allais de Beaulieu, p. 52, 54 Horfei da Fano, Luca

Jean-Baptiste 150, 151 Huet de Tostes
42, 43 Amphiareo, Vespasiano 120 Lenzi, Carlo
127 Andreoli, Eliodoro 125 Martuscelli, Pasquale
126 Angeli, Vittorio 161 Olod, Fr. Luis de
87 Antonozzi, Leopardo 145, 146 Paillasson
168 Araujo, Antonio Jacinto de 37, 39 Palatino, Giovambattista
122 Audifredi, Ange 118 Pasinati, Pietro
132, 134 Barbedor, Louis 105 Peiraud
70, 72 Barisoni, Giovanni 74 Periccioli, Francesco
DEG Bessier, Francesco 153 Perret, Clément
110 Betti, Giovanni Battista 60 Picchi, Cesare
159 Boissens, Cornelis 73 Pisani, Dario
115 Bonatti, Giuseppe 90 Pisani, Francesco
147 Bourgoin, Charle 96 Pisani, Giovanni Battista
Alexandre
86 Raimondi, Nicolo
35 Carpi, Ugo da
61 Rossi, Marco Antonio
46 Conretto da Monte Regale
78 Ruinetti, Tomaso
44, 45 Cresci, Giovan Francesco
152 Sanier, Charles
123 Cupilli, Ottavio
116 Savant, Giuseppe
124 D’Aste, Ippolito
49 Scalzini, Marcello
139 De Blegny, Estienne
81 Segaro, Giuseppe
107 Decaroli, F.
84 Sellari, Giuliano
119 Delpino, Filippo
163 Servidori, Domingo Maria
129 Desmoulins, Francois
97, 100, 101,.103 Tiranti, Honorato
136 Duval, Nicolas (Pére)
165 Torio de la Riva y
140 Duval, Nicolas (Fils) Herrero, Torcuato
FLMC 118 Trecco, G. B.
68 Fumarola, Abele 106 Tronte, Gennaro
111, 118, 114 Giarré, Gaetano 156 Van den Velde, Jan
144 Glachant, Francois-Michel 69 Zanella, Don Sebastiano

The illustrations are neither numbered nor indexed, since they immediately follow the
author concerned. Consequently, the Index of Authors is valid also for the illustrations.
31
 INDEX II ENGRAVERS

The first name is that of the Engraver; the second is that of the Calligrapher
for whom the engraving was done.

Amati p. 116 Savant

Amettler, B. 165 Torio
Amphiareo, Vespasiano 42, 43 Author & Engraver
Andreoli, Eliodoro 127 Author & Engraver
Angeli, Vittorio 126 Author & Engraver
Arghinenti, Jacques 122 Audifredi
Armanino 124 D’Aste
Asensio, Francisco 165 Torio
Aubin 144 Glachant
Baillieul, F. 142 Duval Fils
144 Glachant
105 Peiraud
Baratti, Antonio 145, 146 Paillasson
Baratti, Valentina 145, 146 Paillasson
Baisier 108 Decaroli
Berey, C. A. 189 De Blegny
142 Duval Fils
Betti, G. B. 108, 110 Author & Engraver
Blanco, Cristoforo 78 Ruinetti
Boissens, Cornelis 159 Author & Engraver
Bonatti, Giuseppe 115 Author & Engraver
Bonnart, N. 137 Duval Pére
Borbonius, Nicolaus 78 Ruinetti
Boulanger, F. 134 Barbedor
Brasseux 125 Martuscelli
Campo Antico, Fratelli 124 D’Aste
Canuti, Gaetano 120 Lenzi
Carpi, Ugo da 35 Author & Engraver
Casanova 124 D’Aste
Castro, G. 165 Torio
Charpentier, P. L. 144 Glachant
Chianale 116 Savant
Cipriani, G. B. 117 Bessier
Cordier, Roberto 134 Barbedor
Cungius, Camillo 84 Sellari
87 Antonozzi
90, 93 Pisani, F.
Cupilli, Ottavio 128 Author & Engraver
Dal Fiano, D. Epifanio 81 Segaro
D’Avignon 147 Bourgoin
De Berey 105 Peiraud
De Hooghe, Cornelis 153 Perret
Desmoulins, F. 129 Author & Engraver
32
. Dizambourg 150, 151 Huet de Tostes
Duval Pére 136 Author & Engraver
FLMC 67 Author & Engraver
Franceschini, F. 120 Lenzi
Franco, Giacomo SOME Scalzini
Fumarola, Abele 68 Author & Engraver
Gangoiti 167 Torio
Giarré, Brunone 114 Author & Engraver
Giarré, Gaetano 111, 113, 114 Author & Engraver
Giarré, Raimondo 114 Author & Engraver
Godinhio, Manuel de Silva 169 Araujo
Horfei da Fano, Luca 52, 54 Author & Engraver
Hupenoire, Pierre 101 Tiranti
Lanzani, Giuseppe 120 Lenzi
Lattré 144 Glachant
105 Peiraud
Lucius da Corta 169 Araujio
Magrini, G. 124 D’Aste
Mansilla, L. 164 Servidori
Marelli, Andrea 44 Cresci
Mercoli, G. 163 Servidori
Palatino, G. B. 37, 39 Author & Engraver
Parmiani, E. 194 D’Aste
Pasinati, Pietro 118 Author & Engraver
PeviEw Ee Ss! 107 Decaroli
Petroschi, Joan 162 Olod
Pinelli akg Bessier
Puthaux 142 Duval Fils
Sanier Fils 152 Sanier Pére
Senault, L. 138 Allais
Servidori, D. M. 163 Author & Engraver
Solaro, Paolo Batista We Pisani, D.
Tela 116 Savant
Thomassino, Filippo 61, 62, 65 Rossi
Tronte, Gennaro 106 Author & Engraver
Van Buyten, Martin 74, 15,76 Periccioli
60 Picchio
Van den Velde, Jan 156 Author & Engraver
Vidal, Honoré 124 D’Aste
Videman, Danielo 97 Tiranti
Vredeman de Wriese, Jan (?) 153 Perret

33
 ri

Where no biographical information is given,

t is because no such data was found in the
my
wy sources consulted.
 Italian School Sixteenth Century

UGO DA CARPI
Ugo da Carpi is believed to have descended from the « Thesauro de’ Scrittori », and the title-page contains
ancient family of the Counts of Panico, the tenth child the words « opera artificiosa... intagliata per Ugo da
of Count Astolfo. The date of his birth is uncertain. Carpi». This edition also includes blocks from the
In a petition to the Senate of Venice, in 1516, to « Operina » of 1522, to vindicate the privilege accord-
grant him protection from piratical imitators of his ed by Clement VII which Arrighi was accused of hav-
prints, he is said to be in advanced age (« venuto al- ing infringed, as well as blocks from the « Vera arte
Yeta senile »), which induces some bibliographers to delo excellente scrivere » of 1524 by Giovanantonio
put the date of his birth back to 1450, and not 1480 Tagliente.
as is generally held. Mr. Johnson, however, on the Carpi was also a painter, though a very mediocre
basis of the more recent studies made by L. Servidori, one. A picture of his which, he proudly explain-
puts the date of Carpi’s birth at 1479 or 1480 and the ed, was painted with his fingers instead of a brush,
date of his death at 1538. was hung over one of the altars in St. Peter’s (« Ugo
Ugo da Carpi’s fame rests above all on his ability as da Capri ha fatto questa pittura senza pennello, chi
a block-maker and his method of producing coloured non lo crede, si becca il cervello »). Vasari relates that
woodcuts, known as chiaroscuro, his being the first having gone one day with Michelangelo to hear Mass
to appear in Italy. Although not a calligrapher, Carpi at that particular altar, he brought Carpi’s picture to
cut the blocks for a number of writing-books. The the attention of the famous sculptor, who replied:
blocks for the first part of the « Operina di Ludovico « Sarebbe meglio, che avesse adoprato il pennello, e
Vicentino da imparare di scrivere littera cancellare- Yavesse fatta di miglior maniera ». (He would have
scha» of 1522 are attributed to Carpi. In 1525, Ugo done well to have used a brush, and have made a
da Carpi published the book in Rome under the title better job of it.)

THESAVRO DE SCRiT || Torr || Opera artificiosa

-THESAVRO DE SCRIT laquale con grandissima arte si per pratica ||
come per geometria insegna a Scriuere diuerse

TORI sorte littere: || cioé Cancellarescha: merchan-

tescha: formata: Cursiua: Antiqua: mo- ||der-
COW vere arifcio(a arte’{¢perpratt
Caquale’con arandiffima na: et bastarda de’ piu sorte: cum uarij e bel-
{ iene i inf os Si deed ae! lissimi exempli. & || altre sorte littere de uarie
ctoe’(avecfare(cha : merchantefcha :formats (rf :Antigea‘no
ra lingue: cioé Grecha: hebraica: Caldea || &
Arabicha: Tutte extratte da diuersi et probatis-
dema-ct baftardaide’piuforte cum wane? bellfisexer simi Auttori: & || massimamente da lo precla-
- aire’forte (itere’de’viaie’lingne'cioe’Gvecha sbebmidha: aldew rissimo SIGISMUNDO || fanto nobile ferrarese:
Auftort:eo7
|e Arabicha Jute’extratte’ da dimerfi et‘probatiftin mathematico: et Architettore eru- || ditissimo:
maffemanente’ alo preclanfimo SIGISMVNDO dele mesure e ragione de littere primo ||
cr?
anto nobile’ferrarefe!mathematico setArcietiore! inuentore: Intagliata per Ugo da ||Carpi: Cum
ditiffinodele mufure/e/ raquo’delittere’prima gratia: et Pri || uilegio || . A . S || Anchora
insegna de atemperare le Penne secundo diuer-

CAG eek
snuentore’: coe
carer: (Cum githacet Prt, se sorte || littere e cognoscere la bontade de
. wig
quelle, e carte: e fare inchiostro || et. Verzino.
Cenaprio e Vernice: cum multi altri secreti
wh per- || tinenti alo Polito: et Eccellente Scritto-
re: come per te medesi- !| mo legendo impa-
rarai. Ne lanno di nostra salute. || M.D. xxxv ||

cArichora infoqna deratempertre’le’

Penne’fecindodiverforte?-
iGitere‘1ercoqnofcere {abontade’ de’quclle e/ carte fart’tuchtoftro
} et ind. ioe” ernice’ evn nedltr alta [oerch’per-
| tinente alo Polit:et €
ccellente’ Scrittore’ come’perte’medefi-
m0 Saordo smpararat. NeTanno dino folute!
oe
»>M*+D+X> X V
eee ee
 cheme Galecoe
=D)
In quarto (200x133 mm.). 48 leaves, mostly wood- con mel,
OX Artes ie
cuts: sig. A-A?4, Leaf 1r°: Woodcut title, with
two hands in centre holding writing implements
resting on the letters AS. Leaf 1 v°: Full-page cut
of a writer’s utensils, copied from Tagliente’s book.
Leaf 2 r°: « Epistola alli Lettori », printed in italic
instead of roman. This variant of the 1535 edition
exists also in the British Museum copy (G. 648).
Leaf 3r°: Reproduction of the title of Tagliente’s
work with the date altered to mpxxxu. No de-
vice of Blado. Leaves 3 v’- 34 v°: These famous
calligraphic plates give some of the most significant
examples of alphabets, initials, roman type, and

ae
Gothic, Hebrew, Persian, Turkish and Arabic let-
ters printed from blocks. There are plates copied
from Tagliente and Arrighi; an alphabet described
by Fanti in the second book of his Theorica et
Pratica of 1514; and examples of Rotunda and
roman capitals. Leaf 35r°: « Lettera da Bolle
Antiche ». Last lines of Leaf 35r°-44r°: « Le
Raggioni » in italic. Leaf 44v°: « Lud. Vicenti- mano OO:
Gel iE
nus Rome scribebat ». Leaves 45-48: Arithmetical
examples and « Abaco», signed at the end of Leaf
nal
ie ee Tide
48: « Angelus Mutinen || Composuit>.
Brown morocco binding, with impression of round
emblem on front cover.
For this edition the same blocks were used as for
the original 1525 edition by Blado, whose device
was cancelled from the title-page. (A. F. Johnson,
Signature, n. 10.) ~

Location: BEM; BM; BNCF (impf.); BNCR;

BNPARIS; BPP; DLC; ICN; KBB; VAML.
Argelati, p. 500; Bartsch, XII, p. 5; Basan, I,
p. 106; Bénézit, II, p. 333; Bonacini, n. 1913;
Brunet, V, 1001; Bryan, I, p. 255; Fumagalli-
Belli, un. 17; Catalogo Bs n. 960; Essling,
n. 2188; Gandellini, 1jh peseOl, VUlleop Os
Graesse, II, p. 551; Jansen, II, F 49; Johnson,
Signature, n. 10, pp. 30-31; Kristeller, Kupferstich,
pp. 293, 305- 308; Le Blanc, I, p. 595; Lippmann,
pp. 69, 136; Manzoni,
pp. XXIV, XXXI, XLIX, 107-
140; Mariette, I, p. 307; Morison, Newberry Bul-
letin, p. 13; Riccardi, I, ‘part Il, 518-519; Sunder
III, n. 7423; Tiraboschi, Ill, pp. 212-213, VI,
pp. 353-354; Treccani, VIII, B 429- 430, IX,
p. 142; Thieme- Becker, VI,p Vasari, I: 212,
V:420, 646, VII: 284; ote VI, p. 31.
 “PALATINO, GIOVAMBATTISTA 4
We learn from a sonnet in praise of Palatino by To- suspicion of dependence on an engraver ». (Wardrop,
__,@inasso Spica that he was a native of Rossano in Cala- Signature, n. 14.)
bria, but in his works the calligrapher repeatedly and Palatino cut the inscription for the famous Porta
proudly qualifies himself as « Civis Romanus ». We del Popolo, which dominates the great Piazza of the
know that Palatino was already a Roman citizen in same name in Rome. « There is a touching appropri-
1538, two years before the publication of his Libro ateness in the thought that this noble stone, adorned
Nuovo. For his ability as a scribe as well as for his by one who so prized his citizenship, should be the
prominence in intellectual circles, Palatino deservedly
first to greet the eye of the traveller, who takes the
enjoyed widespread fame and popularity. Not even the
pilgrim’s way to Rome ». (Wardrop, Signature, n. 14.)
bitter attacks and accusations directed against Palatino
by Cresci could shake the honoured position held by The first edition of the Libro Nuovo was published in
the « calligrapher’s calligrapher ». If added proof were Rome in 1540 by Baldassare di Francesco Cartolari,
needed to refute Cresci’s contention that Cesare and not by Antonio Blado as often is believed. Moreo-
Moreggio was the actual author of the new plates in ver the Libro Nuovo was the first work to be printed
Palatino’s Compendio, we now have access to two in Rome by Baldassare Cartolari. (Barberi, La Biblio-
manuscripts from Palatino’s hand (the first in the filia, 1951.) The book was reprinted by the Widow
Bodleian Library, the second formerly in the Kunst- Cartolari in 1543 and 1544. Antonio Blado also pub-
gewerbemuseum, Berlin) which together are « Pala- lished the Libro Nuovo in 1540, with subsequent edi-
tino’s pride and vindication, absolving him from any tions appearing in 1545, 1548, 1550 and 1553.

g LIBRO NvOvo || DIMPARARE A SCRIVERE TUT- ||

TE SORTE LETTERE ANTICHE ET Mo- || DERNE DI
TVITE NATIONI, || CON NVOVE REGOLE || MISVRE
ET ES- || SEMPrI, || Con vn breue & vtile trattato
de le Cifere, Composto per || Giouambattista
Palatino Cittadino Romano. || [Oval woodcut
portrait of the Author] || Con Gratia, & Priui-
legio. ||Colophon: Stampata in Roma appres-
so Campo di Fiore nelle || Case di M. Bene-
detto Gionta per Baldassarre di || Francesco
Cartolari Perugino, a di 12. || d’Agosto.
M. D. XL. ||
In quarto (206x134 mm.). 52 leaves, most of
Tyhich are printed from woodcuts: sig, A-N in
fours. Alr®: Title in type; Atv’: blank. A?r°: Privi-
lege granted by Paul III, dated August 16, 1540, in
italic type; A?v°: Sonnet by Thomasso Spica in
woodcut chancery letter. A3-A*: Dedicatory address
to Cardinal di Lenoncorte, in roman type, dated
Rome, August 1540. B- D and E?r°: Examples of AI TOY ont:
« lettere cancellaresche ». E1v°-E*: « Lettera mer-
cantile » (Milanese, Roman, Venetian, Florentine, as al
Sienese, Genovese, and alphabet in « Maiuscole
merchantili »). F1r°: « Lettere di bolle Apostoli-
che »; Flv°: « Lettere di Breui». F? and F®r°:
« De la cancellaresca formata »; Fv°: « Lettera
Napolitana ». F*: « Delle lettere francese ». Gtr°:
« Lettera Spagnola »; G1v°: « Lettera Longobar-
da». G2r°: « Lettera tedesca »; G2v°: « Lettera
francese ». G?-M?: Gothic alphabet, « Lettera
Mancina », « Lettera Trattizata », inscriptional al-
phabet, « Delle Cifre », « Lettere Cifrate », « Ci-
fre Quadrate, & Sonetto figurato >, monograms
and various alphabets, including Latin, Greek,
Hebrew, Arabic and Egyptian. M°r°:; « Lettera
formata >; M®v°: Woodcut of implements similar
37
to Tagliente’s, but different in design; M‘*r°-N2v°:
« Degl’instrvmenti », in roman; N?v°-N®r°:; « Del
temprar de le penne» in roman; N®v°-Nér°:
« Modo et, ordine, che deveria tener || si da
ogniuno che principia d’imparare a scriuere >».
N‘v’: Device of moth and lighted candle with
the motto « ET SO BEN CHIO VO DIETRO A QUEL
CHE MARDE ». Colophon: Stampata in Roma ap-
presso Campo di Fiore nelle || Case di M. Bene-
detto Gionta per Baldassarre di || Francesco Car-
tolari Perugino, a di 12. || d’Agosto. M. D. XL. ||
In the dedicatory address Palatino assigns the
invention of printing to Gutenberg in the year
1452 and mentions Jenson as the perfector of
the art.

Location: BM (impf.); BNCF; ICN; IU; KyU;

NjN; NNC; ONBW; PP; VAML.

C Donte fonghtoch, etlaferenaforma.

detfantoalegro,ct amorofoafpetto ?
dou c laman ebuina on cl bespet «
thappenfarut hor’ in fertte mi tratt forma?

Upc FOO REG sof

pehn
fieMlog e, eC MOGs
Cncs SS

CHEE FVDZ2VAL } PSE N 2<a||

| IA RES UIF
cDou’e delfermopie‘quella| fant orma?
colballarpellegrinpren dt dsletto?
TRG nO @aCaciaa)
BBR)
He

4
.
don’e ‘Lfoane’canta,ct (fatelleto
che’fu degut ualor wrofkantenorma ?
[ CR
ET
RT
OSIM
A
AT
He
A
HS
3 COMPENDIO ||DEL GRAN VOLVME ||DE L’ARTE DEL
“BENE ET || LEGGIADRAMENTE SCRIVERE || TVTTE
LE SORTI DI LETTERE || ET CARATTERI, || CON LE
LOR REGOLE MISURE, & ESSEMPI, || DI M. GIOAN-
BATTISTA PALATINO || CITTADINO ROMANO. || Da
lui medesimo cauato & ristretto, Con ogni ||
possibile breuita nel presente Trattato. || Con
un nuouo breue & util discorso delle crFRe ||
Et con laggionta d’alcune Tauole, & altri par-
ticolari, non meno bellissimi, || che vtilissimi,
& necessarij ad ogni gran SECRETARIO, ||
& daltre persone di qualunque natione si
siano, in questo || mestier de la penna. Doue
il tutto si pud vedere ||con la debita correttione
illustrato. || [Flueron] || 1v Roma alla Chiauica
di S. Luca, per li Heredi di Valerio || & Luigi
Dorici Fratelli Bresciani ’Anno 1566. ||
Colophon: 1n vENeETIA, || Per gli Heredi di
Francesco Rampazetto. || M. D. Lxxvu. ||

In quarto (183x140 mm.). 62 leaves: sig. A-G This particular edition is not described in any
in eights, H in six. Ar’: Title in type. Atv’: bibliography. An edition bearing the same date
Woodcut portrait of Palatino. A2r°: Sonnet by and having the same number of leaves and
Tomasso Spica in italic. A?v°-A5v°: New preface signatures, but printed for the Heredi of Marchio
in italic by Palatino. A®r®: Woodcut plate with Sessa, is often described.
title written in very beautiful Chancery letter:
« Il modo d’imparare 4 Scriuere la lettera || Can-
cellaresca Romana, || nella forma ch’é detta ||
corrente.|| Con le sue proprie Regole, et mi-
sure proportionate, || Ritrouato, et Composto || Fi5
da M. Giouanbattista Palatino, Cittadino || ro-
mano, || Et da lui stesso di nuouo corretto, || Leftcray
YAnno di nostra || Salute, |] mpxxvi. || Con
Gratie, & Priuileggi. || A®v°-C3v°: New plates
headed «Cancellaresea Romana» _ testeggiata
(the text is identical with that of the « Libro »
of 1540, 1564, 1565 and 1566). From C#4
to the end the blocks of the earlier editions A ea [ono damere, eb ciafeuna freen~
are used. H®r°: Moth and candle device. Letter- de la fia natura. Qual aca colut fi
press in roman, except the description of « Can-
cellaresca formata », leaves D1v°-D?r°, which is I ts Pisaty ami lauclenofa desta
in italic.
: frarae dolce figs—
Location: BAV; BMV; BNCR; DLC; ICN; NNC;
ONBW. Neer auc denshiklmnop ge
Barberi, Bibliofilia, 1951, p. 69; Bénézit, VI, stuxysip.
p. 489; Bonacini, n. 1328; Brunet, IV, 314; Bru-
net, Suppl., II, 130; Cat. Borghese, II, n. 1375;
Cat. Solar, n. 615; Cat. Valdruche, n. 249; Dubois,
pp. 84-85; Encycl. Brit., IV, p. 616; Ferrari, : alata [Rome Synibcbaf
p. 508; Graesse, V, p. 104; Jansen, II, p. 49;
Johnson, Signature, n. 10, p. 31; Kristeller,
Kupferstich, Lp 293; Morison, Newberry Bulletin,
Le mi argent

p. 15; Olschki, Choix, V, nos. 4966, 4968; Ric-

| eo
cardi, I, part II, 236; Sander, II, n. 5392; Thieme- | o fim Bi see ASA:
Becker, XXVI, p. 156; Treccani, VIII, pp. 429,
430, XXV, p. 951; Wardrop, Signature, n. 14,
pp. 3-39; Zani, XIV, p. 227.
39
 i a} 5)
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<a fe ITN
me <4 N we <— +=
 PALATINVS F AoC.
EB BALE.

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BOE OVEYVEY TIES TODS &b560
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 AMPHIAREO, VESPASIANO
Amphiareo, a Franciscan friar, was born at Ferrara
and died in 1563. The dedication of the 1554 edition
of the « Opera» reports the fact that he had been
teaching writing for thirty years. Mr. Johnson in
Signature, n. 10 writes: « According to Sbaralea’s
Scriptores Trium Ordinum S. Francisci, he belonged
to the family of Albertacci ». No other work by Am-
phiareo has been recorded.

4 OPERA DI FRATE VESPA- || SIANO AMPHIAREO DA

FERRARA DEL- || L’;ORDINE MINORE CONVENTVALE,
NELLAQUALE SI || INSEGNA A SCRIVERE VARIE
SORTI DI LETTERE, ET MASSIME || VNA LETTERA
BASTARDA DA LVI NOVAMENTE CON SVA || INDV-
STRIA RITROVATA, LAQVAL SERVE AL || CANCEL-
LARESCO ET MERCANTESCO, || POI INSEGNA A FAR
LINCHIOSTRO NEGRISSIMO CON TANTA || facilita,
che ciascuno per semplice che sia, lo sapra
far da se. Anchora a macinar loro & scriuere ||
con esso come si fara con Iinchiostro, pari-
mente a scriuere con l'azurro, & col || cinaprio,
opera utilissima e molto necessaria all'uso
humano. || CON PRIVILEGIO ||IN VENETIA, MDLV.||

Oblong (150x200 mm.). 48 leaves: 4 unnum.

bered leaves and 44 leaves with sig. A-E in
eights, and F in four.
Leaf 1: Title in type, with cut of hands holding
pen and compass. Leaf 2: Dedication to France-
sco Donato, Prince of Venice. Leaf 3 r°: « Ai Be-
nigni Lettori. » Leaves 3 v°-4 v°: Various recipes.
Alr’-C1v°; Calligraphic examples and specimens
of numerous types of script and alphabets, includ-
ing several decorated capital letters. C?r°-C’v°:
An alphabet of large, very ornate capitals. C®r°-
D5v°: Another series of capital letters of rich and
complicated design, although smaller than the
pone series. D®r°-F8r°: Two geometrically
esigned alphabets, the first of minuscules and
the second of roman capitals. F8v°-F4r°: Instruc-
tions on how to prepare the pen, a recipe for the
making of ink and the Registro. F4v’: blank.
This is a reissue of the 1554 edition, with the
letterpress reset. There is no printer's name, but
as Mr. Johnson points out in Signature, n. 10,
from the woodcut initials used it appears to have
been printed by Geronimo Scotto.

Location: BM; NNC.

9-OPERA DI FRATE VESPASIANO || AMPHIAREO DA
FERRARA DELL OR- || DINE MINORE CONVENTVALE,
||NELLA QVALE SI INSEGNA A SCRIVERE VARIE SOR-
TI DI LETTERE, ET MAS- || SIME VNA LETTERA BA-
STARDA DA LVI NOVAMENTE CON SVA INDVSTRIA
RITROVATA, || LAQVAL SERVE AL CANCELLARESCO
ET MERCANTESCO. || DI NVOVO RISTAMPATA, ET
AGGIONTOVI QVATTRO BELLISSIME RICETTE, || La
Prima per far Acqua Gommata per distempe-
rare Azurro, & per macinar l’Oro & da scriuere
con esso come || si fara con linchiostro, La
seconda per scriuere con Cinapro, La terza
in che modo si debba temperare || la penna, &
Yultima ci insegna a far l’Inchiostro negris-
simo con tanta facilita, che ciascuno per ||
semplice che sia, lo sapra far da se. Opera
utilissima e molto necessaria all’uso humano. ||
CON PRIVILEGIO. || [Device of Giolito] || IN vINE-
GIA APPRESSO GABRIEL GIOLITO || DE FERRARI.
M.D.LVI. ||

Oblong (150 x 200 mm.), 48 leaves: sig.* in four,

A-E in eights, F in four.
Except for the title-page, the text of this edition
is identical with that of the 1554 and 1555
editions. It is to be noted, however, that the
whole is reset in different type, though still
in italic. The copy described here, contrary to
the descriptions found in bibliographical sources,
bears on the title-page, instead of printers’ flowers,
the device of Giolito, as well as the printer's
name in type, as in the first edition of 1554.
Moreover, the setting of the letterpress and the
woodcut initials in the preliminary pages of this
1556 issue differ from our 1555 edition. The
” existence of our copy seems definitively to prove
that there was a reissue by Giolito in 1556, with Location: ICN.
a new title-page and some changes in type and
engraved decoration. Bonacini, n. 49; Bongi, I, pp. 436-437; Cat. Libri,
n. 97; Cat. Maglione, nos. 992, 993; Cat. Piro-
vano, n. 47; Cat. Valdruche, n. 228; Guilmard, I,
p. 290; Johnson, Signature, n. 10, pp. 34-36;
Kristeller, .Kupferstich, p. 293; Olschki, Choix, ©
X, 14681; Thieme-Becker, I, p. 404; Treccani,
VIII, pp. 429, 430.
 CRESCI, GIOVAN FRANCESCO
Cresci was a native of Milan, but in 1556 was ap-
pointed Scriptor to the Vatican Library in Rome under
Pope Pius V. His Essemplare, published in 1560, rep-
resented a new and modern trend in calligraphy, and
was meant to replace the classic but “dated” Palatino
writing book. Cresci’s cancellaresca testeggiata was to
cause Palatino in time (although it took a long time,
no less than 15 years) to revise his Libro Nuovo and in
1566 to reissue it as the Compendio del gran volume,
in which he recut the old chancery plates in a style
a la “testeggiata”. (See Wardrop, Signature, no. 14,
p. 26.) Cresci answered by accusing Palatino of having
“copied” from him, and a bitter rivalry ensued, that
was carried on after the father’s death by his son,
Giovan Battista, with the posthumous publication in
1622, in Milan, of L’idea con le circostanze naturali
che a quella si ricercano, per voler legittimamente pos-
seder l'arte maggiore e minore dello scrivere. This book
was dedicated to Cardinal Federico Borromeo, founder
of the Ambrosiana Library, under whose protection
Cresci had spent the end of his life in Milan.

6 Alphabet. [1570]
Oblong quarto (196 x 250 mm.) 22 unnumbered
copper-engraved plates. This famous alphabet is
_ one of the three included in the second volume
of Cresci’s Perfetto Scrittore, and appears also
to have been published separately. Each plate
contains an elaborately designed letter of a gothic
entrelac alphabet, surrounded by a very fine
engraved border in the late renaissance style.
The borders include designs of cherubs, scrolls,
masks, animals and various allegorical figures,
and each is different from the other. Some of
the plates are signed and the one with the letter
«I» has a small monogram of the engraver,
Andrea Marelli, in the lower border. The letter
«Z» is missing.

ivy
By

an
71L PERFETTO CANCELLARESCO CORSIVO ||DI GIOVAN
NCESCO CRESCI || GENTILHVOMO MILANESE ||
COPIOSO DOGNI MANIERA DI LETTERE APPARTE-
NENTI || 4 Secretarij, adornato di bellissime, &
vaghe Inuentioni di Caratteri; & col- || lega-
menti, nuouamente posti in vso dallo stesso Ndoviadla downs Se aad je
Autore. ||Con vn’breue discorso circa Phonore,
09feartitnne La
Jes vob: Dukehtsdies gully bebe
li 3
& vtile, che apporta al Secretario lo scriuer’
bene. i Et con vtili dechiarationi quando fatten we, confined
ban rtadatg, Pagifeawdtt Sis
shanno ad vsare dette diuerse Forme di Let- Liyealgewéiels Ces ddlans
ASepiclat,Zhai
Ge fae Me
tere, & perche. ||L1BRO TERZO. || CON LICENTIA Coil
aa, “vit del
Thmaltia, bo della daWidiono.
ie Stas F
DE SvpPERIORI. || iv Roma, Appresso Pietro
ee G dl.
A Signs a, abbtdnes
oi cstnadelip
Spada ad instantia del?’ Autore, & di || M. Pie-
tro Pauolo Palombo Libraro. m.p.Lxxrx. || L Cet
(SZ
O60.

ope pelegs
afhafm,
BSkea
G2 &

Oblong (128 x 195 mm.). 58 leaves; 6 preliminary Location: BBM; BM; BMV; BNCF; CtY; DLC;
unnumbered leaves, .52 plates, numbered 1-52. ICN; NN.
Leaf 1: Title-page: first line of title is inserted
in a border of printers’ flowers; verso blank. Bonacini, n. 424; Brunet, Il, 418; Cat. Libri,
Leaf 2: Dedicatory address to Ippolito Agostini n. 768; Dubois, p. 85; Ferrari, p. 234; Graesse,
Bali di Siena, dated Rome, 1 August 1579. Leaf II, p. 300; Jansen, II, p. 51; Johnson, Signature,
3: Latin verses by Aurelius Ursus with deco- n. 10, pp. 37-40; Kristeller, Kupferstich, p. 293;
rated initial letter; sonnet by M. Christoforo Ca- Morison, Newberry Bulletin, pp. 15-16; Thieme-
stelletto with decorated initial letter. Leaves 4-6 Becker, VIII, p. 88; Treccani, VIII, pp. 429, 430;
r°; Author’s foreword to the reader. Leaf 6 v’: Wardrop, Signature, n. 5, pp. 3-28;. n. 14,
« Auertimento sopra gli errori del presente Li- pp. 25-30; Zani, VII, p. 114.
bro ». The following 52 numbered plates include
various examples of letters and alphabets in Chan-
cery hand printed on recto only. Plate 52 is
missing.
45
CONRETTO DA MONTE REGALE
Conretto describes himself on the title-page of his reproduced in D. E. Smith, Rara Arithmetica, 1908
book as “ scrittore, arithmetico e geom. ”. In Riccardi, (?the Libri copy, in the Plimpton collection, New York),
Bibl. Matem., there is entered a work entitled Inven- from which it appears that the author was Professor of
tion Nouvelle et admirable pour faire toute sorte de Mathematics at Paris. He may be identified with Con-
compte... by Monte Regale, piedmontois, 1585. The retto, whose writing-book, in both editions, is almost
copy was in the Libri collection and was described in as rare. (A. F. Johnson, Signature, n. 10.)
the Libri catalogue, 1859, as unique. The title-page is

VN NOVO ET FACIL || MODO DIMPARAR’A SCRIVERE

||varie sorti di lettere con le sue dichiarationi,
& diuerse maniere || d’Alfabeti di Maiuscole
moderne, Con altre regole per || scriuere con
Oro, Argento & altri colori; || La vera ricetta
di far Inchiostro perfettissimo in tre maniere;
& gl’auertimenti che si deue || hauere nel tem-
prar le penne, || Nuouamente descritto dal
CONRETTO da Monte Regaie di Piemonte, ||
Scrittore, Arithmetico e Geom. ||Con priuilegio
della sereniss. Signoria di Venetia, & d’altri
Prencipi. ||[a rule] ||In VENETIA, MDLXxv1. ||Per
Pietro Dehuchino ad instantia del proprio
Autore. || Colophon: IN VENETIA, M.D.LXXVI. ||
Impressa per Pietro Dehuchino. ||
Oblong ee mm.). 40 leaves: sig. A-K in
fours: A-C#r° e, including the title-page;
C3y°-K4 aaodett ee printed on both sides.
All plates are surrounded by ornamental borders
printed from four different blocks.
A r°: Title in type, verso blank. A?r°: Dedi-
cation (in italic within border of printers’ flow-
ers) to Vincentio Gonzaga of Mantua, dated Ve-
nice, 4 March 1576. Av°- A¢v®: A « Trattato >
dealing with the leading Italian calligraphers, in
which are mentioned Vespasiano, Palatino and
Cresci, as well as others whose works apparently
remained unpublished. Among these are Vincenzo
Busdrago of Lucca and Francesco Moro (Poliviani)

S Salvied fl sat
cifwytbilearrivace pi onealgut
pealrarta
cil ftietocedar
cutiftifa
state antiemodeor, Cui
puraquclaCtrade fgg
ae (20 sd she
F has
SIO C olonga ES
1agodsLibleeprei2
cae caw a.
remonce Seatueua.
 ‘

Tawa NSN RETR my Ry = Gh

BARD G WWE QU \ SratG &
ts UE Y y ZZ be Wy, %,
ry,
\ Ss I) | hac eee ee,
= a 7) iobdacl " 2

oe dde Hf ygShighhn 1119Opp ee

bri
tbtranguilock del}huuomoequeldellaliber=
ta ©hendiceua queantic Lucianodua ragtoniado
ae carer
dellalibereadif lay bsdin rte Jabe
if
iapolopurnon
colacerear HEMo bdipuoretinl CTT

3 rliblavusyz QR

of Padua, whose manuscript specimen book is ligraphic examples printed on black, within or-
now in the Victoria and Albert Museum. B-C®r°: namental borders similar to the other plates.
Further introductory pages of instructions, recipes Full brown calf binding with gold border.
and verses, printed partly in italic and partly in
roman, and all contained within borders of print-
ers’ flowers. C8v°-F4r°: Examples of Chancery let-
ter: «Corsivo Cancellaresco »; « Cancellaresca
corsiva tonda»; «Cancellaresca Moderna»; « Can- Location: DLC; ICN; VAML.
cellaresca Formata»; « Maiuscole Cancellaresche >.
F4y°-G?-r°: « Mercantile » and « Mercantile Mo- Bonacini, n. 401; Cat. Libri, n. 1684; Cat. Val-
derna ». G?v°: « Bolatica moderna»; G%, G#?: druche, n. 232; Johnson, Signature, n. 10, pp. 41-
« Moderna formata ». H!-K‘r°: Plates of roman 43; Morison, Newberry Bulletin, p. 16; Riccardi,
and Gothic alphabets. K*v’: Registro and colo- I, part II, 181; Smith, p. 385; Treccani, VIIL,
phon. Plates H?r°-Ir°? and K?v°-K*r° bear the cal- p. 430.

BSC CD99 8CeF¢

FFFGG SIH|&,LAGAN.
rLHOOPPPR QQ RRR
I.RESETIVORLY CC
 SCALZINI, MARCELLO
Sealzini (or Scalino), born at Camerino in 1556, was Regole were republished along with some Cresci spec-
- an able draughtsman and calligrapher. imens. Among his pupils he mentions his brother
In Signature, n. 10, p. 44, Mr. Johnson writes: « His Lucantonio, P. Nicola Bruni da San Severino and his
book seems to have been a success and in spite of brother Antonio Bruni, and Cristoforo Lavizzano of
his two privileges, from the Pope and the City of Modena. The work of the last one only is now known ».
Venice, there were a number of pirated editions. We also point out that Scalzini’s manuscript specimen-
After leaving Rome he appears to have had a school book dedicated to Francesco Maria II, Duke of Ur-
at Venice. In 1608 he was in the service of the Grand bino, dated 1575, is now in the Vatican Library.
Duke of Tuscany. We have seen that in 1688 his

9 iL SECRETARIO || DI MARCELLO SCALZINI || DETTO proprio da N. S. PAPA GREGORIO xm. Che

IL CAMERINO || dalla Citta di Camerino, Citta- nessuno, per anni diece, possa stampare ||
dino Romano, || Inuentore, Scrittore in Roma. quest’Opera, né intagliare, né far intagliare, 6
|| Nel quale si vedono le varie & diuerse sorti, stampare in qual si voglia modo 4 similitu-
& vere forme di lettere Cancellaresche corsi- || dine, & imita- || tione di qual si voglia delle
ue Romane nuoue da Secretario al presente forme, & sicurezze di mano contenute in essa.
vsitate, da lui con molto studio ritrouate, || || Con Priuilegio della SERENISSIMA SIGNORIA DI
prima introdotte; & poi da altri Scrittori in
VENETIA, Che nessuno possa || stampare, 6 in-
Roma, in Venetia, & in altre Citta d'Italia. ||
- Con tutte quelle Regole, & Auuertimenti, che tagliare, né far’ intagliare 4 similitudine &
bisognano per bene & perfettamente imparar- imitatione come di sopra, per anni xx. ||[Fleu-
le || & scriuere con velocita, & in brieue tempo ron] || IN vENETIA, Appresso Domenico Nico-
senza la presenza del Maestro. || Con Motu lini, Ad Instantia del proprio Autore. 1581. ||

westa An cellavesia Sonza contatenaty sez aprinrectantt if

Serine in wece dela be. - a

esta manveza dt Oe
LEN aclequ iad Gane non mostn
IFCOl ilpost eNO Tar Ca2attc2t fulta Cea CReCE LT
(tae x

ta Soe cnet, come hrGenie ue BE ond. meno?

finUd wl ee ay a Cozkoza tuact ne (u2a SI C21 nd.

49
Oblong (166 x 243 mm.). 66 leaves: 2 unnum- che imparano da Precettori inesperti nelle cancel-
bered leaves; 50 copper-engraved plates, numbered laresche corsive ». Plates 26-27: Forms of address,
5-54; 14 leaves in type, numbered pp. 55-82. contained within designs of calligraphic swirls
Leaf 1; Title-page in type within narrow border and knotted work. Plate 28: A letter which is
of printers’ flowers. Leaf 2: Dedication to Cardi- perhaps addressed to Mgr. Girolamo Mattei,
nal Sirleto dated Venice, 6 May 1581; the Priv- mentioned in plate 27. Plate 29: Several calli-
ilege accorded by Pope Gregory XIII dated 5 graphic designs surround a blank rectangular
January 1580. All the following plates are en- space. Plate 30: A letter to an unnamed person.
graved on recto only. Plate 5: Portrait of Scal- Plate 31: Biblical verses in Latin. Plate 32:
zini signed Giacomo Franco. Plate 6: The Instructions on how to write «la lettera cancel-
author declares Chancery script to be most laresca romana nuova... » Plates 33-34: Forms of
important of all styles of writing. Plate 7: « Ca- address bordered by calligraphic flourishes and
rattere cancellaresco corsiuo moderno da Secre- knotted work. Plate 35: A letter, perhaps ad-
tario.» Plates 8-15: Rules and instructions on dressed to Cleria Farnese. Plate 36: « De’ tiri di
preparation of the pen, the point, how to hold the penna, ouero delle sicurezze di mano ». Plate 37:
pen, how to write on thick paper, how to dip Form of address with calligraphic decorations.
the pen in ink, how to sit when writing. Plate 16: Plate 38: How to write Chancery cursive without
« Caratteri cancellareschi corsiui minuscoli ». ligatures, Plates 39-40: Borders of calligraphic
Plate 17: « Che imitando la lettera adagiata si swirls and knotted work surround blank central
perde la velocita natural ». Plate 18: Datkeation spaces. Plate 41: Form of address with border
to Gio. Francesco Diminuito. Plate 19: Lines ded- of knotted work. Plate 42: A letter to the Abbot
icated to Nicola Bruni, in which the author Mario Mary. Plate 43: A letter to Alessandro
wirns that the use of paint is detrimental to the Lucantoni with instructions and sample letters.
correct writing of Chancery script. Plate 20: Plates 44-45: Forms of address with knotted work
« Cancellaresca corsiua ». Plate 21: « Maiuscole borders. Plate 46: « Cancellaresca corsiua al pre-
caicellaresche corsiue moderne del Camerino >. sente usata ». Plate 47: Examples of Roman Chan-
Plate 22: Common abbreviations. Plate 23: Some cery letters divided in 32 small squares. Plate 48:
ablreviations in Chancery. Plate 24: Chancery « Come si formino le lettere a. 1. et g. ». Plate 49:
cursive for beginners. Plate 25: « Contra quelli Come si formino le lettere r. et h. cancellaresche
seats en stole tira.
sua un Sep ttra.
a

cors.° >. Plate 50: « Come si formino le lettere x. y.

' Z. et c. cancellaresche cors.¢ ». Plate 51: « Come si
formino le lettere d. et f. cancellareschi». Plate 52:
« Come si formino le lettere i. b. m. n. o. p. s. t.
et u. cancellareschi». Plate 53: « Del concate-
hare, et unire le lettere insieme, e della distantia
dé caratteri ». Plate 54: Biblical verses in Latin
in « cancellaresca staccata ». Many of these plates
have the monogram AF, attributed by Nagler
(Monogrammisten, I, 522) to Giacomo Franco but
not accepted by Thieme-Becker.
Pp. 55 to 82, in type, contain the « Regole, et
Avvertimenti Particolari, di Marcello detto il Ca-
merino... intorno allo scriuere Cancellaresco Cor-
siuo Nuouo Romano, al presente vsitato, & da lui
introdotto in Roma & in altre CittA». These
pages bear the signatures B*, C*, D* and E2.

Location: BNPARIS: only some leaves in the Ca-

binet des Estampes; KBB.
Not located in the American Libraries.

Bénézit, VII, p. 548; Bonacini, n. 1617; Dubois,

p- 86; Johnson, Signature, n. 10, pp. 44-45; Nagler,
I, n. 522; Olschki, Livres, n. 412; Thieme-Becker,
XXIX, p. 524; Treccani, VIII, p. 429, 430;
Wardrop, Signature, n. 14, p. 3; Zani, XVII,
p. 93. .

Cr sarees inten sapiellosricl: eecsini ee ee ee oifrmant ahsateen ae

Lele nuntadella tempooatiea, £ plpans,rien preneziea Leuaee catcantencine sinister. udeseee
treéte incipalnente VE OES) oer SVR ory ptt perusstra inttligenza cba
tro, et Eilexza unfarmi alleigit,the de mans, unmins teruseet:
p LL Le quem. er fal’ Ci Mazel 5 baleae dite i Cancrnne|

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 HORFEI, LUCA DA FANO
10 a¥aBETO ||Delle Maiuscole ||Antiche Rom: ||
Del Signor || Lvca HoRFEI || DA FANO || Opera
molt'utile || a’ Scrittori, || Pittori, e Scultori ||
Nella quale || Con ragione Geometrica || S’in-
segnano le misure di dleltte lfettelre. || Si
stampano in Roma all’insegna del Luppo in
Parione. ||

Oblong. 23 numbered copper-engraved plates. printed version, but a careful comparison of the
The 23 plates contain the famous geometrically two shows that the geometric proportions as well
contrived alphabet of capital letters. This extreme- as the formation of the capitals themselves are
ly rare work is discussed by Mr. Stanley Morison identical in both cases.
in his ample comments on Horfei in the Intro- The basic square measuring mm. 115 is the same
duction to the present catalogue (see pp. 12-18). for each plate, although some of the capitals
Our Alfabeto does not have the title-page which (especially the letter Q) run over the confines of
is included in the Newberry Library copy, the the square. We have carefully remounted each
only other printed copy thus far located to our plate on antique paper, measuring mm. 200320.
knowledge. During the course of our studies and A particular note of thanks goes to Dr. Amalia
investigations at the Vatican Library in Rome, Radaeli, Managing Director of Libreria Antiqua-
the Horfei manuscript including the Alfabeto was ria Hoepli in Milan, who had the chance of dis-
discovered (see both Preface and Introduction). covering this extremely interesting volume and
The manuscript (Vat. Lat. 5541) has three pre- generously put it at our disposal to be included
liminary leaves containing the dedication to Six- in this catalogue.
tus V and two inscriptions, one of which is the
Christus vincit... included in Horfei’s Varie Inscrit-
tioni and reproduced in this catalogue. There fol-
lows the alphabet of capital letters, constructed on Location: ICN.
a basic geometric plan measuring mm. 185x180.
Thus the manuscript alphabet is larger than the Bonacini, n. 816.
 ct
ae
.

1] VARIE INSCRITTIONI || DEL SANTISS-S.N-SISTO-V. ||

PONT-MAX: || DA LVCA HORFEI DA FANO || Scrit-
tore dissegnate in Pietra, et dal || medesimo
fatte intagliare in Rame, || PER MOSTRARE LA
LETTERA || Antica Romana || In diuerse gran-
_ dezze & compartimenti || Con alcune cancel-
laresche corsiue variate || et altre maniere dj
lettere necess. || [1589]

Oblong (222x317 mm.). 94 numbered cop- Plate 5: «S*D*N* SIXTO QUINTO || PONT: OPT:
per-engraved plates (of which nos. 1-5 are MAXIMO || ...». Plate 6: «Le due seguenti
included in facsimile). Plate 1: Title-page: three Inscrittioni sono scolpite in marmo negro... »
elements dominate and they are: a triumphal sopra le due porte laterali della Madonna di
coat of arms of Pope Sixtus V, upheld by Loreto. Plates 7-8: The Inscriptions. Plate 9:
two winged angels; the title, which is contained Inscription in capitals describing the construction
in a pure renaissance style frame; and two finely by Pope Sixtus V of a home for the poor.
engraved obelisks. On the background of the print Plate 10: Five lines in Chancery script describing
appear churches and towers of the Vatican the following five plates giving inscriptions
City. Plate 2: Dedication to Ill. Padre Sixto on the obelisk placed in Piazza S. Pietro by
Quinto, Pontefice Massimo, dated from Rome, Sixtus V and a detailed engraving of the obelisk
Ist January 1589, and signed « Luca da Fano, itself. Plates 11-14: The above-mentioned inscrip-
scrittore ». Plate 3: « Il seguente Motto di lettere tions. Plate 15: Engraving of the obelisk. Plate 16:
coperte di oro a mordente é scolpito nella fac- Five lines in Chancery script describing the follow-
ciata principale della Fabrica del Sbodio, cioé ing five plates with the inscriptions on the obelisk
Sapienza di Roma... disegnato a mano di Ce- of Santa Maria Maggiore raised by Sixtus V.
sare Moreggio ». Plate 4: « sIxTUS.V.PONT. MAX Plates 17-20: The above-mentioned inscriptions.
|| INITIUM SAPIENTI4E || EST || TIMOR DOMINI >. || Plate 21: Engraving of the S. Maria Maggiore

SnRa st VS ViINGi
CHRIST VS REG NAG
CHRISTVS IMPERAT
ee RS aise Sel
AB2OM NI wae oe)
Pal bbebeM a SNe ee
i F ENE Boa

ip Onente

34
 wb _ obelisk. Plate 22: Four lines of Chancery script
.. describing the following four plates with the
inscriptions on the S. Maria del Popolo obelisk
offered by Sixtus V. Plates 23-25: The me
tions. Plate 26: Engraving of the S. Maria del
Popolo obelisk. Plate 27: Five lines in cursive
Chancery describing the successive five plates
giving the inscriptions on the S. Giovanni Late-
rano obelisk placed by Sixtus V. Plates 28-31: The
inscriptions. Plate 32: Engraving of the obelisk.
Plate 33: Five lines of unlinked Chancery letter
describing the four plates with the inscriptions
around the pedestal of the Colonna Antoniana.
Plates 34-37: The above inscriptions. Plate 38:
Inscription in capitals commemorating the
raising of the Colonna Traiana. Plate 39: An
engraving of two columns and two obelisks.
Plate 40: Four lines of Chancery script describ-
ing the inscriptions placed by Sixtus V on the
Fontana Maggiore and the Fontana delle Ca-
J
leguent
vole at Civitavecchia. Plates 41-42: The above
inscriptions. Plate 43: Five lines in cursive
opere Chancery for the five plates of inscriptions appear-
ing on the Arco dei condotti delf Acqua Fe-
lice. Plates 44-48: The inscriptions. Plate 49:
vy
naund
“teeta
f
f Four lines of Chancery script for the next plate
Pi
which gives the inscription placed by Sixtus V
Layga, Poems.
near the Fontana di S. Maria degli Angeli.
|
mifurate
no Plate 50: The inscription. Plate 51: Another in-
t
scription regarding the monument erected by Six- _
tus V in honour of Pope Pius V, the subject of
plates 51-54 which show the inscriptions appearing
in the latter's Chapel. Plates 55-57: Inscription
oe
E41 placed by Sixtus V on Alexander the Great’s mon-
re. 1 ument on Monte Quirinale. Plates 58-59: Inscrip-
fo
fi
mute
che
con tions placed by Sixtus V on the facade of Pa-
lazzo del Laterano. Plate 60: Three lines in
4“

Chancery letter describing the inscription placed

by Sixtus V for the Scala Santa. Plate 61: The
inscription. Plate 62: The inscription in capitals
placed by Sixtus V in Palazzo Vaticano. Plate
63: Six verses composed by Horfei commemo-
rating the restorations and works of art brought
about by Sixtus V. Plate 64: Circular inscription
which appears around the cupola of St. Peter's:
ozzad
o49yut
anny
un : Sls de pal x.
« Intorno all’occhio della Cupola di S. Pietro in
Roma. Lettera di tre palmi. » Plate 65: Inscrip-.
Per phieve tion in capital letters appearing on the Chiesa
mifuraregue/ta di S. Girolamo of the Natione Schiavona a Ri-
petta in Roma. Plate 66: Inscription in cursive
P.j2. ms palmo
le
Roma
di
oncie
con
et
m placed by Sixtus V in the Sacello Gregoriano.
Plate 67: Inscriptional capitals appearing at
Minute
the foot of the stairway leading into St. Peter’s
p ee:
(ae
te
OAS
fe
SS
Mezzo from the Pope’s chamber. Plate 68: In five
lines of Chancery script, Horfei informs us that,
although the following plates were not de-
signed by his hand, they give several good calli-
graphic examples, dated Rome, 1589. Plate 69:
. TTA Inscription in Rotunda appearing above the portal
\@ 5 pases asses & of Monte della Pieta in Rome. Plate 70: Inscrip-
_——SSSS_ hk: tion in cursive for the Collegio Bolognese. Plate 71:
OBE PISO Dt SANUPIE "T RO. Inscription in Rotunda for the Fontana di Trevi.
mm Roma is 55
 Plate 72: Inscription in Chancery letter placed in memorating the second Concilium Lugdunense
the Chiesa di S. Sabina. Plate 73: Five lines in in Gothic, Greek and cursive script, with three
Chancery cursive describing the various inscriptions lines of musical notes. Plate 89: Inscription in
placed in the Biblioteca Vaticana (plates 74-82). Chancery letter commemorating the Concilium
Plate 74: Inscription in capital letters commem- Ephesinum and Concilium Constantinop. Plate
orating the building of the Library. Plate 75: 90: Inscription in Chancery script commemorating
Similar inscription in smaller capital letters, and the Concilium Lateranense Generale. Plate 91:
an explanatory note in Chancery script. Plates 76- Inscription in Chancery script commemorating
77: Two long inscriptions in capitals commem- the Concilium Hiconum, the Concilium Constan-
orating the foundation of the Library. Plate 78: tinop. and the Concilium Calcedonense. Plate 92:
Another inscription for the Library, with two lines Inscription in Gothic commemorating the Con-
in Gothic and one in inscriptional letters. Plate cilium Tridentinum. Plates 93-94: Inscription in
79: Inscriptions in cursive for the Bibliotheca honour of Sixtus V and the splendour of his pon-
Hebraea and Bibliotheca Babilonica. Plate 80: tificate. '
Inscriptions in cursive for the Bibliotheca Athe- The title-page and the first five plates are missing
niesis and Bibliotheca Alexandrina. Plate 81: in our copy, but from plate 6 all plates follow
Inscription in Chancery letter for the Bibliotheca consecutively.
Caesariensis. Plate 82: Inscriptions in cursive for From our research it appears that the Vatican
the Bibliotheca Romanorum and_ Bibliotheca copy of the Inscrittioni of Horfei (R. G. Arte, IV
Hierosolymitana. Plate 83: Inscription in deco- 169) is the only copy known without the
rated Gothic commemorating the Concilium La- numbering of the plates, whereas both the
teranense held under Giulio II and Leone X. Newberry Library copy and our own have the
Plate 84: Inscription in three parts for the same numbers on the lower right corner of the
Concilium Lateranoecumenicum held under In- plates.
nocenzo III. Plate 85: Inscription in cursive com-
- memorating the first Concilium Lugdunense. Location: BAV (2 copies): R.G. Arte IV, 169
Plate 86: Inscription in Gothic commemorating (119 leaves) and Rossiana 3017 (50 leaves); BFF
the Concilium Viennense held under Clemente V. (90 leaves); ICN.
Plate 87: Inscription in cursive commemorating
the Concilium Florentinum held under Euge- Morison, Newberry Library Bulletin, p. 20; Trec-
nio IV and Gregorio X. Plate 88: Inscription com- cani, VIII, p. 429.
56
 Sets
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Noe Om MN AX= RTT Vv
Dee aA ve TM PO
Viel SPOR OANA ORTVNA
PeEV NEO Ba VE VOM Os.
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Dy py t
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DO A
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ee principale uerso ponente).

Sra STAN TINY S

Peter aR Vv CEM
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Pee ST LVEST RO
Ppl PAP LIZA TY Ss
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POM Delo. K.6 Ik = PON TN ae

Pyibliobeca Apottolovii.
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mn Komana Eccleha perpetuo

alleruan utbet.

Brblotheca fon nficum -

CR omant Lontypces apo Dien ekother
magno studvo amply cant argue aflranc.

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58
 Peet vor VeRO ND eoM AX
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59-
 PICCHI (PICCHIO), CESARE
Some specimens of Picchi appear in the selection
from Curione, published,in 1618, but no biographical!
data regarding Cesare Picchi have been found. Men-
tion of Giorgio Picchi, a painter born at Castel-
Durante around 1550 and who died at Rome in 1599,
is made in several sources. He is certainly Cesare’s
brother, since plate 48 of this writing-book contains
the following address: «To my most honoured
brother Giorgio Picchi, his most affectionate brother
Cesare Picchi - Castell’ Durante ». Giorgio Picchi
worked at the Vatican, but also at Urbino and Castel
Durante. Cesare was probably established in Rome
where he published his book.

12 Cancellaresche corsive per Secretarij. Libro I.

Martinus van Buyten sculpsit. Roma 1598.

Oblong (192 x 264 mm.). 48 copper-engraved

plates: title-page (missing in our copy) and 47
plates, numbered 1-47.
Plate 1: Dedicatory address to the Duke of Ur-
bino, dated Rome, November 1598. Plates 2-5
and 7-29 contain examples of alphabets and nu-
merous letters of thanks apparently addressed to
a patron. Plate 6 is in Spanish. Plates 30-31:
Alphabets of capital letters. Plates 32-45: Various
forms of address, including such famous names
as the Duke of Urbino, Cardinal Farnese, Car-
dinal Aldobrandino, Cardinal Montalto, Cardinal
Salviati, etc. Plates 46-47: Two additional letters.
All the plates, except no. 6, bear Picchi’s signa-
ture, and are surrounded by wide ore as of x
ders, some of which are repeated in the first an i Aes Mf
last plates. The title-page ae plates 11 and 12 dewle lis mS)oy eo mis Cll MLE
are missing in our copy, and numbers 21, 22 and aunevon ba bee cof“Nf ygMag (llyieTr
23 exist in fragmentary form.
Picchi’s book is extremely rare and of great in- J ranean city £9 wie

terest. It represents another example of successful 7, 2h featfege eer ns: 7c.

_Sia
collaboration between an Italian calligrapher and egygay lle VY » A ot
the famous Dutch engraver, Martinus van Buyten. lL ¥ erarar
cs#9conconcone‘nts Ld JfaiUd Vetall
We have found only two listings of books by Pic- a Mlhgh,AG: CM “C Ke, 4G geesfaces
=
chi. One is given by Mr. Johnson in Signature,
n. 10, where he describes the Borsenverein, Leip- GO (ob
zt copy, dated Rome 1598, with title-page and a
nly 38 plates. The other is in the Kunstbibliothek
Berlin catalogue (n. 5207), listing an edition dated
1609 of a Libro Primo di Cancellaresche corsiue,
but engraved by Christoforus Blancus. Plate 1 of
our set of 47 consecutively numbered plates is a
dedication dated Rome 1598. This seems to be
the same edition mentioned by Mr. Johnson, with
the addition of 9 plates, numbered 39-47.

Not located in the Libraries consulted.

Bénézit, V1, p. 661; Bonacini, n. 1422; Bryan, IV,

py 113; Cat. Valdruche, n. 252; Johnson, Signa-
ture, n. 10, p. 47; Treccani, VIII, p. 429; Zani,
XV, 113.
60
 ROSSI, MARCO ANTONIO
Rossi, also known as Rubeis, operated in Rome at
‘least until the year 1640. His “bottega” (workshop)
flourished and counted some of the most important
engravers of the time among its collaborators. Among
these were Antonio Tempesta and Philippe Thomas-
sin, who are the engravers of the title-page and the
two portraits in Rossi's book. (Thomassin also had
his own shop, where Jacques Callot worked.) Rossi’s
descendants continued the workshop and, in view
of the immense stock of important material accumu-
lated through the years, in 1788 Pope Clement XII
(Prince Corsini) required that the entire collection of
plates, prints and blocks be sold to the Camera
Apostolica. Thus the Camerale Romana was formed,
later to become the Calcografia Nazionale, as it is
still known today.

13 GIARDINO DE SCRITTORI || DI MARC’ANTONIO ROSSI

ROMANO. ||ALL'ILL.MO ET R.MO SIG.RE IL S.R CARD.
ALDOBRANDINO || Nel quale si vede il vero modo
di scriuer facilissimamente tutte || le sorte di
lettere, che al presente sono in vso, et che sono
||necessarie ad ogni qualita di Persona: || Con
vn Alfabeto di Maiuscole Antiche Rom. ||
fatte per ragion’ di Geometria || Stampato in
Roma appresso il proprio Autore: || Con Priui-
legio di N. Sig.re & Licenza de Superiori. ||
m-p1uc || Camillo Spalucci inuentor Phls Tho-
massinus fec. ||

Cle INO ES CRA TOR

DrMarc ‘Antonio Roth Romano.
ALLTEL ET Re°SIG™ILS°CARD.ALDOBRANDINO \SS
Nel qudle fi vede 1l wero modo di fcriuer facilillimamente tutte
le force dt lettere, che al preente {ono 1n wlo.et che tono
neceflarie ad og nt qualita di Perfonao~
Con 9niAlfabeco diMatutcole Antuche Rom.
F tatte per ragton du Geometrid te
Stampato in Roma appreflo il proprio. Autore +
Con Prualegto di N.Sig. & Licenza de Superiort.
 es,
=
:
y "Uf WY
Cas

(CGE Liy
MAMTA

Lanner |Cea
we
ey econ
(Wet. ~\(Cae oud.
AN PS SITIOS TTT CCD TIO ese eT aT lalla
AOMOYOD)ANNDNNDDDDADDD ANN DNDN NNN APSHA NN AALAND

_ Oblong (270x204 mm.). 146 leaves includ- Ad Petrum Aldobrandinum. B®: Marii Ursini...
ing: 4 unnumbered plates; 17 leaves in type: Epigramma. B+: Ad Petrum Aldobrandinum. C?:
(sig. A-D in fours plus 1 unnumbered leaf); Josephi Castalionis. Luca Valerii. C?: Pompeii
113 plates numbered 7-119 and 12 unnumbered Ugonii... Epigramma. Ad Petrum Aldobrandi-
plates. All plates are copper-engraved. num... Jacobi Hustii... Epigramma. C*: AILIIL...
Plate 1: The title is written as a legend Cardinale Aldobrandino... Antonio Caetani. C*:
within a cartouche and is surrounded by a mag- AlITll... Cardinale Aldobrandino... Scipione Cae-
- nificent border of very rich and unusual dec- tani. D!: Del Signor Pompeo de Massimi. D?:
oration including cherubs and masks against a Del Sig. Gio. Battista Helicona. Del Signor Ce-
black net-like background. The coat of arms of sare Giuvenale. D®: Dell’Academico Solingo.
_ Cardinal Aldobrandino dominates the upper cen- Del Sig. Gasparo Borgi. D*: Del Sig. Bartolo-
tral portion of the page. Signed: Camillo Spalucci meo Rossi, Del R.P.F. Bastiano Castelletti...
inuentor - Phls Thomassinus fec. Plate 2: Dedica- Unnumbered leaf: Della Sig. Margarita Sarroc-
tion to Pietro Aldobrandino, signed Marc’ Antonio chi. Della Signora Giulia Caleppia.
Rossi. Plate 3: Portrait of Cardinal Aldobrandino The copper-engraved calligraphic plates follow,
in a framed oval medallion. Four allegorical fig- printed on recto only. Plate 7: Introduction to
ures denoting the cardinal virtues (Justice, Pru- the Regole. Plate 8: Regola Prima. Plate 9:
dence, Temperance and Fortitude) are included in Example and explanation of the same. Plate 10:
the richly decorated border of fruits and cherubs. Regola Seconda. Plate 11: Regola Terza. Plate 12:
At the bottom the Cardinal’s coat of arms is set Regola Quarta. Plate 13: Regola Quinta. Plate
in the centre, and to either side, the signatures Ant. 14: Regola Sesta. Plate 15: Regola Settima.
Temp. inv. and Phls Thom. sculp. Plate 4: Portrait Plate 16: Regola Ottava. Plate 17: Regola Nona.
of the author at the age of 21, signed Camillus Plate 18: Regola Decima. Plate 19: Regola De-
Spalacius inventor - Phls Thomassinus sculpsit. cimaprima. Plate 20: Regola Decimaseconda.
The 17 leaves of dedications which follow are Plate 21: Regola Decimaterza. Plate 22: Regola
_ in type and printed on recto only. Each dedi- Decimaquarta. Plate 23: Regola Decimaquinta.
cation has a decorated woodcut initial. At: Ad Plate 24: Regola Decimasesta et ultima. Plate
Petrum Aldobrandinum. A?: Epigramma. A?: 25: Calligraphic example illustrating the Regole.
Melchioris Crescentii. Af: Ad Petrum Aldobran- This group of plates is written for the most part
dinum... Epigramma. B!: Jacobi Cavalerii. B?: in cursive Chancery script, with each page con-
62
tained within a different border. Some of these plate with «Canon quator vocum ». Plate 91:
borders are simply engraved with linear designs, Alphabet in large majuscules. Plate 92: « Regola
while others are richly decorated and are similar per la lettera ecclesiastica ». Plates 93-100: Exam-
in style to those of the portraits and the title-page. ples of various letters. Plate 101: Another mu-
Included in these oes are sirens, masks, an- sical page: «Gloriosa Dei Genitrix Virgo Ma-
gels, fruits and flowers, birds, and some of the riae ». Plate 102: Alphabet of Gothic capitals.
decorations are on segmented backgrounds. A Plate 103: Another alphabet. Plate 104: « Let-
few of the plates contain the implements used in tera Bollatica ». Plates 105-110: Alphabets and
the arts of calligraphy and engraving. various calligraphic examples. Plate 111: Gothic
Plates 26-28: « Modo facilissimo di concatenare alphabet. Plate 112: Another alphabet. Plate
le lettere cancellaresche corsive». Plate 29: 113: « Lettera Rognosa ». Plate 114: The author
« Alfabeto utilissimo per formare la mano dei writes: « Avevo grandissimo desiderio di far in-
principianti ». Plates 30-33: « Alfabeti minuscoli tagliare YOratione Dominicale in cinquanta di-
e maiuscoli». Plate 34: « Qualité d'un buon verse lingue e caratteri...». Plate 115: « Lettera
temperino ». Plate 35: « Qualita de] Calamaro... » Arabica ». Plate 116: « Lettera Chaldea ». Plate
Plate 36: « Qualita della Vernice ». Plate 37: 117: «Lettera Greca». Plate 118: « Lettera
« Trattato di diversi Istrumenti... » Plates 38-40: Hebraica ». Plate 119: « Lettera Latina ».
Calligraphic examples, with mention of Scipione There follow 12 unnumbered leaves containing
and Nicolé Pisani. Plate 41: Dedication to Mi- another interesting geometrical alphabet of beauti-
chelangelo Fossato di Lione. Plate 42: To Mag- ful proportions, derived from Cresci.
giore Redi di Arfano. Plate 43: To Ottaviano Man- Plates 7, 8, 32, 33, 46, 47, 66, 67, 69, 74, 75,
tolledi. Plates 44-64: Series of plates, generally 78, 84, 88, 97, 99 and 108 are missing.
divided in four sections, including the correct
forms of address used for persons of various Location: BAV; BM; BNCF; ICN; ONBW; PHC.
ranks, both secular and ecclesiastical. Plates 65-
69: « Regola per la lettera ferma o formatella’ ».
Plate 70: « Regola per la lettera formata ». Plates Bonacini, n. 1564; Cinelli, IV, 180; Ferrari, p. 590;
71-79: Examples of various letters. Plate 80: Johnson, Signature, n. 10, pp. 47-48; Petrucci,
« Regola per la lettera Antica Tonda ». Plates p. 3; Thieme-Becker, XXIX, p. 67; Treccani, VIII,
81-89: Various specimens. Plate 90: Musical. p. 430; Zani, XVI, p. 215.

63
 Wa

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64
_ «We have compared our copy of the Giardino either pages in type, the first of which replaces the
directly or on the basis of descriptions kindly sent magnificent engraving by Spalucci and Thomas-
by the various librarians, with copies existing in sino. The consecutive numbering of the pages
the following collections: Dr. W. Amstutz in remains nevertheless identical with that in the
Ziirich (ex-Davis, Cat. 156, n. 144), Biblioteca other copies which are not divided in four parts.
Apostolica Vaticana, Biblioteca Nazionale Centrale The last 12 plates of capital letters are unnum-
in Florence, British Museum, Philip Hofer Col-
lection in Cambridge, Mass., The Newberry Li- bered in all copies and appear more frequently
brary in Chicago, Oéesterreichische National- as a separate book (see description of the New-
bibliothek in Vienna. It has been possible to berry copy in Johnson, The Catalogue, Signature
establish that all these copies, including our own, n. 10, p. 48).
are dated Rome 1598, and are bound in a single It would seem safe to assume that this book was
volume. However, only four of these (the Biblio- issued twice in the same year, both as a single
teca Nazionale Centrale in Florence, Philip Hofer volume and as four separate volumes. We know
Collection, The Newberry Library copies and that Rossi headed a thriving workshop dedicated
our own), have the 16 preliminary leaves with to the sale as well as to the printing of books and
signature A-D in fours. prints, and the four separate books may well have
Of particular interest is the fact that the Amstutz been considered more saleable than the original
copy is divided into four books, with four title- lengthy version.
 ly Vy Yex > eae .
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| F.L. M.C.
a | : ,

14 1, prrmo .iBro || delli diuersi caratteri di

F.L.M.C. cidé || Italiani, Francesi, Spagnuoli
et Latini ||nuouamente stampato || Con Priui-
legio ||

Oblong (245x180 mm.). 20 unnumbered

plates. The signature F.L.M.C. appears in
several of the plates, and the text of many
of them includes expressions of gratitude to
a friend or patron who apparently bestowed
numerous favours upon the author. In one of
the plates the calligrapher speaks of the fame
he acquired among the Romans, which would
lead us to suppose that F.L.M.C. was settled in
that city. Other of the plates contain philosophical
and religious texts, in Latin and Spanish as well
as in Italian. :
We have not succeeded in finding bibliographical ae tir rie tepee ae
details of the person who signed work with —— 4 U4 © he
alendiionerchoun ickpe da wb
the initials F.L.M.C. The title-page is especially ye EAPO GALS Le Fe
lovely, and is without doubt the work of a very Hs é 28 7
able engraver. The plates show examples of Chan- Lt hi tnd ee a Gractse dine
cery script and are similar to many of the speci-
mens of common writing-books of the second
half of the 16th and early 17th centuries. ae ce
SCLMMMA
Location; Only the Cabinet des Estampes of the
Bibliothéque Nationale of Paris owns a fragment
of this book consisting of the title-page and some
leaves. 2
AR ily
Uy F;) i FimH i}
HW Vip ( H i iM ,

H ‘| TA A
SE)qi

Iealians,srancesi.Seagnaoh et Seay:
nuonament’ sta a

} 4 _

UY MP i) welll |
Ohl i cl / i) \ U fj
LALA AL 'semi | |ane LL KN
 FUMAROLA, ABELE
15 Oblong (152x210 mm.). 8 copper-engraved plates.
The name of the author appears in each of the
plates, which contain very finely executed examples
of Chancery script with calligraphic decorations.
One of the plates is dedicated to Lodovico Cu-
rione, and ends « I] Fumarola scrisse a Napoli ».
Another is addressed to Marc’Antonio Rossi, with
words of praise for the calligrapher and the suc-
cess of his school. A third plate is addressed to the
engraver, Martino Vanbuiten, a close friend of the
author, requesting his opinions and advice.
Although these 8 plates of Chancery script by
Fumarola represent only a fragment of the au-
thors work, we consider of special interest his
references to other leading calligraphers, who were
his friends and contemporaries. We have found
no mention of Fumarola in the numerous sources
examined, but we hope that the inclusion of this
fragment in our catalogue will lead to the discovery
of additional books and information.

(a Sra NBS
ROT
CC
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maa inilarees depales
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 Italian School Seventeenth Century

ZANELLA, DON SEBASTIANO

16 Nuouo Modo di Scriuere Cancellaresco || Cor-
siuo Moderno Di Don Sebastian || Zanella
Padouano Libro Primo. || Appo Pietro Paulo ||
Tozzi || In Padoua. 1605. || Con Priuilegio ||

Oblong (200x 142 mm.). 46 leaves: 4 leaves for all contain various examples of Chancery cursive,
preliminaries, including title-page; 42 copper-en- using alphabets, proverbs, philosophical thoughts
graved plates, numbered 5-46. Leaf 1: Blank. and comments by the author and abbreviated
Leaf 2: Title in Chancery script surrounded by forms of address. All the plates are surrounded
a wide engraved baroque border. Leaf 3, in type: by ruled borders and the calligraphic examples
Dedication to Mgr. Girolamo Conte di Porcia; contain numerous swirls and flourishes, many of
dedicatory verses by Paolo Emilio Cadamosto which resemble flower designs.
within a border of printers’ flowers. Leaf 4 r°:
Engraved oval portrait of Zanella within an ornate Location: BMV (impf.); NNC.
border. Leaf 4 v’: «L’Auttore a chi legge» in type
within a border of printers’ flowers, Plates 5-46 Not mentioned in the bibliographies consulted.

Ws »)
4 |
ACIUI D
9 D
9 SS
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ALI LLT0
CS BS tS G
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lee ie
 BARISONI, GIOVANNI
Although we have not succeeded in finding any bio-
graphical references to Giovanni Barisoni, this calli-
grapher reveals himself to some extent in the many
notes, dedications and forewords included in his writ-
ing-books. Born during the latter half of the 16th
century, Barisoni was active in Venice and would
seem to have been a native of that city. He mentions
numerous prominent people among his friends, pupils
and protectors, and he misses no opportunity of as-
serting his own position in the field of writing.
The eminent collector, Count L. Cicognara, describes
the book, Il vero lume dell’arte dello Scrivere. This
was apparently a special dedication copy, with the
initial pages very finely illuminated. It corresponds
in every other way to our own copy.

17 GIARDINO || DE GLI ESSEMPI DI || GIOVANNI BARI-

sont, || Nel quale senza Maestro insegna con
fa: flcilissime regole, e bellissime || inuetioni
il uero carattere || cancellaresco corsiuo. ||
LIBRO PRIMO || oe Al Molto IlLre Sig.r
Marc’ Ant.° Saitta || (in scroll): CON privi-
LEGIO PER ANNI XXv || IN VENETIA || Appresso
Gio: Batta Ciotti. || M.pcvt. ||

re oat aed nelaa

Rat 45% causes pune:SMG 4D i i oeLAULtAs01 C02fys

7
2eellegla li im Age fe Aes Spat
>
Boma Be aaa

70
 ee (144x 200 mm.). 19 leaves: etched title-
page (leaf 1); 4 leaves in type (sig. A*); 10 copper-
engraved ie (numbered 1-10); 4 leaves in type
(sig. B+).
hfeRescue
pe ok,
Leaf 1: Title surrounded by angels, and two full-
length allegorical figures at either side. Verso
blank. At: Dedicatory address to Marc’Anto-
nio Saitta dated Venice, 1 December 1605. ON LEE :
A’r°: Sonnet by Serafino Collini, Canonico Re-
golar Lateranense. A2v°: Author's foreword to
the reader. Ar°: « Dechiaratione, Ch’insegna
a conoscer tutti quei lineamenti, che sono neces-

eee)
sarij, 2 chi vuol con fondamento posseder Yarte ».
A®v°; « Regola per far la falsa riga, e rigare >.
A*; «Dichiaratione di quello, che si contiene
né’ primi quattro essempij delle quattro lettere
principali, che sono i.o.]. e f. dalle quali si cauano
tutte Taltre». There follow ten plates, with
simple ruled borders, containing various calli-
graphic examples of capital letters, abbreviations,
forms of address, in very refined Chancery
script. Bir’: Sonnet by Giulio Cesare Menatti.
B1v°-B8v°: Author's farewell. with some explan-
atory remarks on his work. B#r°: Imprimatur,
dated 23 November 1605 and cenfirmed 26 No-
vember 1605. B4v°: blank. Not located in the Libraries consulted.

AT
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ITT
wa

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AT Y TATTOO DOM TOMUTINTINDINN UCN LN ONTO

71
18 tL VERO LUME DELL’ARTE DELLO || SCRIUERE COL
QUAL GIOUANNI BARISONI PRIUILEG.TO DALLA
SER.MA || REP.CA DI VENETIA, INSEGNA CON UNA
SOLA LETTIONE A FORMARE IL || UERO CARATT.RE
CANC.CO HUOMINI DONNE IN QUAL SI UOGLIA ETA
poc.LE || Dedicato al Molto Ill.re Sig. Paolo
Sarotti. || Stampato ad’ istanza dell’autore l’an-
no M.D.C.vyyj: || In Venetia. ||

Oblong (165 x 225 mm.). 18 unnumbered leaves: There follow the 13 plates, the first of which again
title-page; 4 leaves in type (sig. A+); 13 copper- shows the author writing at a table, surrounded
engraved plates. Title-page: title placed within 2 by numerous calligraphic examples. ‘The remain-
very ornate border surrounded by numerous atie- ing plates contain various specimens of very beau-
gorical figures and trophies. A man (probably the _ tiful Chancery script.
author himself) is seated at a table in the centre
of the lower border, teaching a boy the art of cal- : ved
ligraphy. A°-A‘: Dedicatory address to Paolo Sa- Location: BAV (missing the title-page); KBB.
rotti dated Venice, 5 December 1607; the authors Both with 12 plates instead of 13. _
foreword to the reader; « Le dichiarazioni di tutto Not located in the American Libraries.
quello, che si contiene nella presente Opera, breue-
mente spiegate »; and the author’s privilege dated Bonacini, n. 147; Cat. Cicognara, I, n. 292; Cat.
16 November and registered 23 November 1607. Valdruche, n. 230.

ne ct

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 PISANI, DARIO
J9& || Prmo || tro || DELLT ESSEMPLARr || DI
~ Lettere Cancellaresche Corsiue et || altri Ca-
ratteri di || panto prsant || Da S. Gimignano
C.P. || Int.to in Pisa per Paolo Batista dal
Solaro Genou. Anno 1607. || Con Licentia de
Superiori. ||

Oblong (120x195 mm.). 28 numbered copper-

engraved plates. Plate 1: Title-page, with title
enclosed within very ornate border; small por-
trait of author bottom centre. Plate 2: The
Medici Coat of Arms. Plate 3: Dedication to
Don Cosimo Medici dated Pisa, August 15, 1606.
Plate 4: An alphabet. Plate 6: A maxim. Plate 7:
« Lettera Cancellaresca Piccola del Pisani». Plates
9-12: Dedications to Pope Paul V, Emperor
Leopold II, King Philip III of Spain and the
Grand Duke Ferdinando Medici of Tuscany.
Plates 13-19: Examples of abbreviated forms ot
address. Plate 20: Historical text. Plates 21-26:
Examples of Chancery using religious subjects.
Plate 27: Alphabet of capital roman letters. Plate
28: Author’s farewell.
All the calligraphic examples and the alphabets
are enclosed within margins and printed on recto
only. Delicate calligraphic designs adorn some
of the plates. Not listed in the bibliographies nor located in
Plates 5 and 8 are missing. the Libraries consulted.

if
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ME ED BT MP MD ME A EF PY DD ET MF QI VISCLI MF LD MET ETT DP OT OT
SiaSS § ————— j : 4 Sui

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 PERICCIOLI (PERICCIUOLI),-
FRANCESCO
Periccioli, a Sienese priest, lived during the end of the most part incomplete, his books of Chancery script
16th and early part of the 17th centuries. The refer- form a rare and important work. Gandellini, that as-
ence books usually speak. only of Giuliano, Periccioli’s siduous collector of notes and anecdotes, has this to
‘nephew, a prominent painter and engraver, who first say about Francesco Periccioli: «...a man of such
studied under his uncle and later went on to Florence, excellence in the art of writing that perhaps in Italy
where he died in about 1640. Francesco, however, he had no equal »,
holds an honoured place in the field of calligraphy. Periccioli wrote three books, but no trace of the first
For centuries Siena enjoyed a glorious tradition of ar- has been found. It was probably published in Siena
tistic production, and was a city where importance was before 1610, the year the author himself published
attached to the illumination of manuscripts. It is there- « Il Secondo Libro Delle Cancellaresche Corsiue e di-
fore strange that, with an heritage of this kind, and ata verse maniere di lettere ... Martinus Vanbuyten Holan-
time when in other cities of Italy important calligraphic densis sculpsit. Anno D. 1610, In Siena appresso il
works were appearing, there did not exist a group of proprio Autore », Copies of this second book seem to
calligraphers capable of continuing the grand Sienese exist only in the Biblioteca Comunale of Siena and in
tradition. The only Sienese scribes of any consequence the Kunstbibliothek of Berlin. The Terzo Libro is
known to bibliographers are Padre Augustino (16th considered a more beautiful and important work than
century) and our own Periccioli. In spite of the fact the second. The most complete copy located of this
that the latter’s works have survived in a very limited book, a truly. rare calligraphic specimen, is in the
number of copies, and those that exist are. for the Biblioteca Comunale degli Intronati of Siena.

IL TERZO LIBRO || DELLE CANCELLARESCHE CoR- 20

SIVE || ET ALTRE MANIERE DI CARATTERI || con
le regole a loro appartenenti || ornato di varij
gruppi inuentati da || FRANCESCO PERICCIOLI ||
Scrittore in Siena || Intagliato per Martino
Vanbuiten in Napoli. ||1619. ||Con licenza de’
Superiori ||

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74
’ Oblong (164 x 230 mm.). 60 leaves: 6 preliminary fabeto scritto da Francesco Periccioli ». Plate 12:
leaves for title-page, sig. A in four and portrait; « Vere concat.re .cancellaresche scritte dal Pe-
2 unnumbered plates (leaves 7, 8); 52 plates, riccioli ». Plate 13: Letter addressed to Giusep- |
numbered 1-52. Except for the preliminary leaves pe Rumneio Ing.se. Plate 14: « Abbr.re di Franc.o
with sig. A*, the entire book is copper-engraved. Perice.li intag.te dal Sig.r Mart.no Vanbujiten ».
Leaf 1: Title- page, with calligraphic border. Plates 15-16: Abbreviations. Plate 17: Letter
Leaves 2-5 (A*): Dedication to the Grand Duke to Alessandro Petrucci Archbishop of Siena. Plate
of Tuscany, Gosimo Secondo; « A’ Benigni Let- 18: Letter to Alfonso Bandini. Plate 19: Letter
tori»; Epigrams by Antonio Muscini, Francisci to Aliprando Ugurgieri. Plate 20: Letter to Mgr.
Boninsigni, Dominici Gratii; Sonnets by Girolamo Antonio Ricci. Plate 21: Dedication to Abbot
Buoninsegni, Ettore Nini, Lucrezio Franceschi and Antonio Orselli. Plate 22: Letter to Aristide Ben-
Claudio Tolomei. Leaf 6: Portrait of the Author. voglienti. Plate 23: Letter to Arrigo Moore, In-
Leaf 7: Coat of arms of the Medici Family. Leaf glese. Plate 24: Letter to Fabrizio Colloredo,
8: A very unusual engraving with a vase of flow- Luogotenente dei Gentiluomini d’Arme Senesi e
ers and fantastic animals. Maestro di Camera del Duca di Toscana. Plate
Plate 1: Dedication. to Cosimo Secondo, Gran 25: Letter to Fabrizio Petrucci. Plate 26: Letter
Duca di Toscana. Plate 2: Dedication to Card. to Francesco Piccolomini. Plates 27 and 28: Miss-
de’ Medici. Plate 3: Dedication to Don Ferdi- ing. Plate 29: Letter to Giorgio Giorgi. Plate 30:
nando Medici Gran Principe di Toscana. Plate 4: Letter to Giuseppe Rumneio, Inglese. Plate 31:
Dedication to Don Lorenzo de’ Medici. Plate 5: Letter to Lattanzio Lattanzi at Orvieto. Plate 32:
« Regola prima». Plate 6: Letter addressed to Letter to Leonardo Vais. Plate 33: Abbrevia-
Fabrizio Petrucci. Plate 7: «Terza Regola >. tions. Plate 34: Letter to Montauto de’Conti di
Plate 8: «Regola Quarta». Plate 9: «Regola Quin- Montauto Alfiere dei Gentiluomini d’arme se-
ta». Plate 10: « Regola Sesta». Plate 11: « Al- nesi. Plate 35: Letter to Martino Vanbuiten.
75
Plate 36: Letter to Petro Vecchij at Siena 1616. is perfect and his Chancery script always in com-
Plate 37: Dedication to Rodorigo Maggio. Plate plete harmony with the design of the border,
38: Letter to Scipione Tancredi. Plate 39: Dedi- even when he gave his fantasy free rein. The mi-
cation to Tommaso Hovard Conte di Frandelia. nuteness of the engraved line reveals the work of
Plate 40: Letter to Troiano Buoninsegni. Plate an excellent engraver, and in fact Martin van Buy-
41: Dedication to Orazio Chigi. Plate 42: Dedi- ten was fully capable of faithfully reproducing
cation to Giuliano Doria. Plate 43: Sacred verses the extraordinary creations of the calligrapher.
in Latin. Plate 44: Alphabet in capitals and mi- The plates of both the Siena copy and our own
nuscules. Plate 45: Sacred verses in Latin based are numbered, but in some instances the plates
on preceding alphabet. Plate 46: Sienese Gothic bearing identical numbers in both copies are dif-
Alphabets. Plate 47: Sacred verses in Gothic. ferent in subject matter and design. (See repro-
Plate 48: Dedication to Giorgio Ridolfi and Gior- ductions pls. 52 of both the Siena copy and our
gio Cristoforo di Haslang, colleagues of the author, own.) In addition, there are some plates which
in Chancery. Plate 49: Dedication to Cardinal are identical but numbered differently. The Siena
Orsini, in Chancery. Plate 50: Dedication to Mgr. copy is the only one located having a plate
Fabio Sergardi Vicario Generale di Siena, in numbered 53, but which is identical with plate
Chancery. Plate 51: Dedication to Granduca di 48 in our copy.
Toscana, in Chancery, but more richly decorated.
Plate 52: Abbreviations. Location: BCIS; ICN; KBB; RBM (41 leaves
In our copy, the title-page, leaf 1 of prelimi- without title).
naries and plates 6, 13, 27, 28, 53 and 54 are miss-
ing but included in facsimile. Plates 8, 9, 18 and Bénézit, VI, p. 596; Bonacini, n. 1396; Bryan,
20 have been neatly repaired. IV, p. 95; Cat. Borghese, Il, n. 1429; Cat. Val-
The remarkable borders of Periccioli’s book show druche, n. 251; Encycl. Brit., IV, p. 616; Gandel-
that the hand of the Sienese calligrapher was lini, II, p. 29; Morison, Newberry Bulletin, p. 19;
quite exceptional. The composition of the page Thieme-Becker, XVI, p. 413; Zani, XV, p. 42.
76
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 RUINETTI, TOMASO
21 DEA || DEL BVON SCRITTORE || OPERA PRIMA ||
DI TOMASO RVINETTI DA RAVENA || a’ beneficio
de’ desiderosi d’imitare || le uere forme dello
scriuere ||Dedicata all'Ill.mo et R.mo Sig. Car-
dinal Pietro Aldobrandino. || Con Priuilegio
di Nostro Signore & Licenza de’ Superiori.
Intagliata da Christof.° Blanco L’anno 1619. ||

Oblong folio (300x210 mm.). 43 numbered cop- « A’ Leggitori >». Plate 8: «Alfabeto del Rui-
per-engraved plates. Plate 1: Title-page. A series netti ». Plates 9-15: « Circa il tenere la penna >»,
of calligraphically designed angels and decorations with interesting and extensive instructions on how
surrounds a central rectangle containing the title. to hold the pen and the formation of the various
Plate 2: Dedication in italic to « PAVLVS P.P. letters. Plates 16-19: « Legature del Ruinetti per
QVINTVS AD FVTVRAM REI MEMORIAM » by Car- facilitare il verso». Plates 20-21: «Il temperar
dinal Susanna. Nicolaus Borbonius sculpsit. Plate della penna ». Plate 22: An alphabet of capital
3: Cardinal Aldobrandino’s coat of arms surround- letters in a full-page design of calligraphic swirls
ed by numerous winged angels, two of which are and flourishes. Plates 23-24: Series of abbreviated
supporting the Cardinal's hat. Plate 4: Dedicatory ~ forms of address. Plates 25-30: Dedications to
address to Cardinal Aldobrandino, Archbishop of Cardinal Mellini, Mgr. de Tores, Gio. Stefano
Ravenna. Plate 5: Dedication to Cardinal Aldo- Spinola, Cesare Rigrini, Francesco d’Asti and An-
brandino’s nephew, Hippolito. Plate 6: A calli- tonio Sacchi. Plate 31: « Alfabeti del Ruinetti per
graphic border divides the page into four sections, la ’ra Formatella ». Plates 32-35: Dedications to
each of which contains a dedication to a different Cardinal Leni, Vittorio Lancellotti, Luigi Ramiro
member of the Aldobrandini family. Plate 7: and Giac. Ruinetti. Plate 36: Alphabets in capitals

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and minuscules. Plates 37-39: Dedications to

“ Cardinal di Santa Susanna, Francesco Armanno
and Francisco Ingolo. Plate 40: Alphabets in
capitals and minuscules. Plates 41-42: Additional
dedications in Latin. Plate 43: Alphabet in large
capital letters.
All the plates bear Ruinetti’s signature and are
very richly decorated. The writing specimens
disappear within the borders which, in addition
to the usual flourishes and knotted work, contain
calligraphically executed figures of angels, birds,
beasts and fies With Ruinetti’s book the era of
calligraphic virtuosity is definitely inaugurated.
Modern full red morocco binding.

Location: BAM; BEM; BMV; BNPARIS: Cabinet

des Estampes; KBB; ICN; NNC; VAML.

Bonacini, n. 1585; Dubois, p. 108; Ferrari, p. 595;

Ginanni, II, p. 341; Morison, Newberry Bulletin,
pa 19; Olschti, Choix, n. 15243; Treccani, VII,
pp. 429, 430; Zani, XVI, p. 265.
79
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 SEGARO, GIUSEPPE
ot to Bénézit, Segaro was a painter of minia-
mi
es. He was working in Genoa during the latter part
of the 16th and early 17th centuries.

i 292 DELLIDEA || Dello Scriuere di || GrvsEPPE

SEGARO || GENOVESE || Intagliata Per lo Molto
Reuerendo D. Epifanio dal Fiano || Vallém-
brosano Priore dello Spirito Santo di Firenze
||L’Anno 1607 ||[In Genova, per Givseppe Pa-
voni. con Licenza de’ Svperiori. mpcxxtrv.]

Oblong folio (263x335 mm.). 44 unnumbered dere d’essere ualenthuomini in questa professio-
copper-engraved plates. Plate 1: Title-page. ne». Plate 6: « Alfabeto maiuscolo d’inuent.ne
Title contained within baroque architectural del Segaro ». Plate 7: Address to Pope Leo XI.
border; coat of arms top centre and angels either Plate 8: Sacred verse in Latin capitals with deco-
side. Bottom centre an eagle with motto: « REGIA rated initial. Plate 9: Biblical verses in « carattere
SVSTINET ALES ». Plate 2: Dedicatory address formato ». Plate 10: Alphabet in Chancery script.
to Gio. Vincenzo Imperiale by G.B. Segaro, the Plate 11: Abbreviations in Chancery letter. Plate
author’s son, dated Genoa, May 15, 1624, after 12: Dedicatory address to Bartolomeo Franco.
Giuseppe’s death. Plate 3: Dedicatory address to Plate 13: Dedicatory address to Giannettino Spi-
Luigi Centurione Marchese di Murzasco & c., nola. Plate 14: Dedicatory address to Carlo D’Or-
dated Genoa, November 1, 1604. Plate 4: Dedi- ta, dated Genoa, December 24, 1604. Plate 15:
catory address to Cesare Mainardo of Florence, Instructions on how to write Chancery cursive,
Abbot of Vallombrosa and invocation to S. Giro- giving alphabet as example. Plate 16: « Formatella
lamo di Sclavonia. Plate 5: « CANCELLARESCA da antica ». Plate 17: « Mercantile Velocissima >.
imitarsi per coloro che con parole danno a cre- Plate 18: Letter to unnamed person, dated Ge-

WINE
Te Meld
A ee ee oe
din pres Loom fatdellenea
10 pele empoagg fred. uc:

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 8 CDE LTAS NON aus idee
ee
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OE TRI
| nennnnnanalnnnonnn ata a? ne
Leann 008 12 a beom WEBI MW
at
Crrzerra See OeN°
gL
~aensu Orxx Sel’ Ly Porlily

noa, March 24, 1605. Plate 19: Verses. Plate 20: Marino, dated Genoa, March 1, 1604. Plate 43:
« Abbreviazioni Invenzioni del Segaro ». Plate 21: Letter to Cristofaro Papi. Plate 44: Letter to Co-
Letter in Spanish to Francisco Bri dated Genoa, _ stantino Pinelli.
May 30, 1606. Plate 22: Instructions on using Segaro’s book is a magnificent and important work
the pen. Plate 23: The author’s apology to the in that it represents a rare example of transitional
readers for small errors appearing among the calli- calligraphy and decoration embracing the latter
graphic examples. Plate 24: Instructions on ideal part of the XVI and early XVII centuries. While
position for writing. Plate 25: Letter to Simone we have a perfect example of formal Chancery
Molinaro « musico eccelentissimo». Plate 26: Sam- script, the plates already contain many of the
ple letter to unnamed person. Plate 27: «Doppia calligraphic flourishes that are typical of and
maniera di ben formare li caratteri cancellare- dominant in the Baroque period. The square
schi ». Plate 28: Letter to Paolo Agostino Spino- borders, which are beautifully engraved, are still
la. Plate 29: Comments on the art of calligraphy in the classic Renaissance style, although the
in French, Spanish and Italian. Plate 30: Alpha- decorative motifs contained within the borders
bet in Chancery script. Plate 31: Sample letter in _ reveal the freer designs which prevail later in the
« cancellaresca piena » to unnamed person. Plates XVII century.
32-34: Sample letters in Chancery hand. Plate
35: Abbreviations and alphabet of the author's
invention. Plate 36: « Letterina velocissima e fa-
cile». Plates 37-38: Sample letters, the first :
of which is in Spanish, dated Genoa, December Location: BAM; BM; BNCR; BNPARIS: Cabinet
25, 1605. Plate 39: Verses from New Testament des Estampes; BPP; KBB; ICN; VAML.
in Latin capitals. Plate 40: Letter to G.B. Verte-
ma, dated Genoa, December 14, 1604. Plate 41: Bénézit, VII, p. 696; Bonacini, n. 1675; Cat. Piro-
Author’s comment on the art of calligraphy in vano, n. 1088; Cat. Valdruche, n. 258; Dubois,
Chancery script. Plate 42: Letter to the poetG.B. p. 108; Zani, XVII, p. 199.
82
 Lefgcee

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83
 SELLARI, GIULIANO
23 LABERINTO || DI. VARIIT CARATTERI | Di Giuliano
Sellari da Cortona, || Scrittore, Aritmetico, e
Geometra, || Intagliato da Camillo Cungi, e ||
Stampato in Roma appresso |’Autore, lanno
1635. || Con Priuilegio, e Licentia de Su-
periori. ||

Oblong folio (190x270 mm.). 32 unnumbered, design with four figures of birds and griffons in
copper-engraved plates. Plate 1: Title in type, the corners. Plate 20: Alphabet and religious
enclosed within ornamental engraved border. Car- verses in Rotunda. Plates 21-30: Series of de
dinal Savelli arms between two lions top border; decorated initials. Plates 31 and 32: Latin al-
face of cherub centre bottom border. Plate 2: phabet and religious verse on black background.
The same emblem calligraphically designed. Plate This book, although elaborate in design, is nev-
3: Dedicatory address in Chancery cursive to Car- ertheless one of the most elegantly and tastefully
dinal Savelli. Plates 4 and 5: Alphabet and executed writing-books of the XVII century. All
Author’s explanatory note. Plate 6: « Alfabeto, the plates have either wide entrelac decorations
doue si eee tutte quelle lettere, che nascono or ample borders of ingeniously contrived calli-
da un medesimo tratto ». Plates 7-10: Series of graphic figures and details. Sellari’s engraver was
thoughts and observations by the Author in Chan- Camillo Cungius, a well-known artist in his own
cery script. Plate 11: Chancery capital letters. right and noted for his collaboration with eminent
Plate 12: Series of abbreviations of honorary titles. calligraphers of this period (see Antonozzi).
Plates 13-16: Dedications in Chancery script to
Cardinal Biscia, Cardinal Verospi, Bernardino Sa- Location: KBB; ICN; RBM (24 leaves without
velli, Prince d’Albano and Pier Francesco Paoli. title).
Plates 17 and 18: Author’s notes on « Lettera Can-
cellaresca ». Plate 19: Calligraphic labyrinthine Bonacini, n. 1683.

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 RAIMONDI, NICOLO’
24 SCHERZI DELLA PENNA ||E SAGCIO ||D’'ALCVNE MA-
NIERE DI SCRIVERE || Conforme I’vso moderno ||
DI NICOLO RAIMONDI PIEMONTESE || SCRITTORE DI
ROMA, || E DELLE COSMOGRAFIE NELLA GALERIA
PONTIFICIA || DI S. PIETRO IN VATICANO; || ET
HORA MAESTRO DI SCRIVERE IN GENOVA || NELLA
SCVOLA DEL SIG, DAVID VERONESE, || Professore
eccellentissimo di Aritmetica, Geometria, Alge-
bra, || & Scrittura doppia. || [1637]

Oblong (202x298 mm.). 21 copper-engraved letter used by Raimondi in the Vatican Gallery
plates: Title-page (missing in our copy) and 20 inscriptions. Plate 15: Alphabet of minuscules.
unnumbered plates. Plate 1: Various examples of Plate 16: Alphabet of capital letters. Plates 17-
minuscules in Chancery, surrounded by a very 20: Alphabet of very beautifully decorated capital
finely executed calligraphic border. Plate 2: Alpha- letters. Each letter is contained within a square
bet of capital letters within a border of knotted on a delicately designed background of fruits,
work, The top and bottom borders are formed flowers, angels and masks. The last square bears
by a series of interlaced delicately designed cap- the inscription: « Nicolavs Raymvndys Inventor».
ital letters. Plates 3-4: Two dedications to Car- Raimondis writing-book may be compared with
dinal Barberino. Plate 5: Dedication to Mgr. Fau- those of Antonozzi and Sellari, for both style and
sto Poli. Plate 6: Dedication to the Princes Carlo content. The calligraphic specimens and the bor-
and Maffeo Barberini. Plate 7: Dedication to ders of the plates are very fine. In addition to
Mgr. Massani. Plate 8: Dedication to the cosmog- delicately executed knotted work, there are nu-
rapher Luca Ostinio. Plate 9: Dedication to merous original calligraphic designs and figures.
Dr. Scotti. Plate 10: Examples of « Bastarda Mer- The bee motif, which appears in the Barberini coat
cantile ». Plate 11: Another page in the same of arms, is also present in many of the borders.
script, headed by the date 10 October 1637.
Plate 12: Two alphabets and prayer in Latin. Location: KBB (16 leaves without title); VAML.
Plate 13: Specimen of the « lettera formata > Not located in the American Libraries.
which Raimondi used for the inscriptions in the
Vatican Gallery. Plate 14: Another example of Bonacini, n. 1481.

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 ANTONOZZI, LEOPARDO
_»Antonozzi was a well-known calligrapher as well as a variety although still within the strict limits of the
“painter of miniatures. Zani records that he was born Chancery cursive script. Antonozzi was especially tal-
at Osimo, and Bertolotti further states that in 1629 he ented in his decorative borders and penstroke designs.
was in Rome painting miniatures for Pope Urban VIII. Antonozzi’s engraver, Camillo Cungius, was born in
Antonozzi published his writing-book, De’ Caratteri, in Rome about 1604. He worked both in Rome and in
1638. The date of his death is put after 1658. Accord- Florence, and a number of his prints are listed in
ing to Jansen, Antonozzi’s writing-book surpassed the Gandellini’s Notizie Istoriche sugli Intagliatori.
works published by Ludovico Curione, having more

25 DE || CARATTERI || Dr || LEOPARDO ANTONOZZI ||

LIBRO PRIMO || Rome Super. Permiss. C. Cun-
gius Scul. 1638. ||

Oblong (213 < 300 mm.). 74 unnumbered leaves: to Cardinal Pallotto. Leaf 10: Dedication to Cre-
34 copper-engraved plates; 2 leaves in type; 1 scenzio Saccardi. Leaf 11: Dedication to Ascanio
blank leaf; 37 leaves of woodcuts. Leaf 1: En- Belmesseri. Leaf 12: Dedication to Antonio Maria
graved title-page with a baroque ornamental Candio. Leaf 138: Dedication to Andrea Irzebicki.
border depicting various writing implements, and Leaf 14: Dedication to Mgr. Ferdinando Deneu-
a mask bottom centre. Leaves 2-3: « A Lettori » fuille, Abbot of Halincourt. Leaf 15: Dedication
in italic type. Leaf 4: Alphabet of minuscules in to Bartolomeo Oreggi. Leaf 16: Dedication to
Chancery cursive. Leaf 5: Alfabeti di Lettere Imerio Mattucci. Leaves 17-19: Maxims and
Maiuscole cancellaresche corsiue » and « Alfabeti proverbs. Leaf 20: Dedication to Cardinal de
di Maiuscole delle Lettere Formatelle, Bastarde, Araceli. Leaf 21: Dedication to Cardinal Biscia.
e Formate ». Leaf 6: Dedication to Prince Mau- Leaf 22: Dedication to Marquis Girolamo Mattei.
rizio, Cardinal of Savoy. Leaf 7: Dedication to Leaf 23; Dedication to D. Carlo Francesco Conte
Olimpia Aldobrandini, Princess of Rossano. Leaf di Valperga. Leaf 24: Dedication to Baron Udal-
8: Paragraph of observations signed « Leopardo rico di Kolourat. Leaves 25-36: Engraved series
Antonozzi Osimano scriueua ». Leaf 9: Dedication of richly decorated capitals in « lettera Ecclesia-

| CARATTERI
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stica ». Leaf 37: Blank. Leaves 38-43: Series of and he also added at the base the text:
alphabets and Latin texts. Leaves 44-55: Alphabet « SIXTUS *V*B*PETRO APOST MDLXXXvImI» accord-
of inscriptional capital letters printed on both ing to the design as may be seen in plate 38 of
recto and verso. Leaves 56-74: Another alphabet Horfei’s « Varie Inscrittioni... » of 1589. (See n. 11
of inscriptional capitals larger than the pre- included in the present catalogue.)
ceding series, printed on recto only. The The larger capital alphabet according to Antonozzi
present copy can be considered of the very is his own invention. He makes special mention
first issue, complete with the two famous woodcut of this claim in his preface but, as in many,
alphabets of capital letters on a black background if not most, of the claims made by professional
which very often are lacking in copies of Anto- writing-masters, the phrase «mia inventione »
nozzis book. The copper-engraved plates are should not be interpreted literally. Antonozzi may
unnumbered, whereas in other copies we have have varied from Horfei in the relation of the
found them to be numbered (e.g. a copy we have thickness of the strokes to the square, but the
in our possession, also dated 1638, has the con- essential form of his capitals is generally dependent
secutive numbering of the plates, but is missing upon his predecessor. It should be noticed that
the woodcut leaves). We are of the opinion that the M in Antonozzi’s « inventione » does, in fact,
the numbered version was issued later in the same correspond with that claim to the extent that his
year. Antonozzi, in his preface, gives major em- thin strokes are thicker than Horfei’s. Antonozzi
’ phasis to the importance and perfection of the two is one of the last writing-masters to dogmatize
woodcut alphabets. The smaller of the two, he about the proportion of the strokes to the square.
says, are the letters that appear on the « su- He is all for 1:9.
perbissima e famosissima Colonna Traiana >,
which, he goes on to say, in the opinion of all Location: BNPARIS; KBB; ICN; NNC; VAML.
experts, are «the most beautiful in all the world».
That this alphabet deserves to be ranked as Bénézit, I, p. 210; Bertolotti, p. 158; Bonacini,
« Trajanic » is obvious from the M which is n. 88; Cat. Borghese, II, n. 83; Cat. Valdruche,
imperial in form with spread legs and no serifs n. 229; Ferrari, p. 41; Gandellini, I, pp. 251-253,
at the top of the strokes. Here it is well to recall VIII, pp. 247-249; Jansen, II, pp. 50, 53; Morison,
the fact that when Sixtus V raised the Trajan Newberry Bulletin, p. 20; Thieme-Becker, II,
column he placed on its top a figure of St. Peter, p-19;.Zani, Tl, p.157, Vil, poke:

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 PISANI, FRANCESCO
According to Bénézit, a Francesco Pisani, illuminator,
was working in Genoa during the middle of the 17th
century. No other biographical information has been
found in any of the sources referred to.

26 TRATTEGGIATO DA PENNA... Franciscus Pisanus

Scriptor Genuensis Inventor [ANNO DOMINI
MDCXXXxX|]

Oblong folio (260x375 mm.). 30 copper-en- Sonnet dedicated to Luca Assarino, with
graved plates. Plate 1: Title- page. A very decorated initial. Wide border of calligraphic
lovely copper engraving combining _ several knotted work leaving three blank spaces left and
allegorical figures, emblems and _ architectural right-hand margins and bottom. Plate 5: Dedi-
motifs. Signed «To. Andrea Ansaldus Ge- catory address to Patriarca Francesco. Border
nuensis Inventor - Camillus Cungius Sculpsit >. contains figures of St. Francis, an angel playing
Centre space, where title should appear, is a musical instrument, and another saint reading
blank. Plate 2: A macabre border of calligraph- a book. Plate 6: Dedicatory address to Giulio
ically designed skeletons surrounds a central in- Benso, with cherubs supporting the plaque on
scription: Franciscus Pisanus || SCRIPTOR EN- which the address is written. Plate 7: Dedications
posvir || ANNO DOMINI MDCXxxxx || Plate 3: to Pope Urbano VIII, King Louis XIII of France,
St. George on horseback in battle against the King Philip IV of Spain, Emperor Ferdinando III
dragon. Full-page vertical design, signed « Fran- of Austria, with the crown of each ruler appearing
ciscus Pisanus Scriptor Genuensis Inuentor » above the name and the heads of cherubs in be-
lower left. Double ruled border all around tween. Plate 8: Dedicatory address to Don Carlos
with following verses in capital letters: « TRAT- Doria Duke of Tursis, appearing in a central oval
TEGGIATO DA PENNA OGN HOR SOVRANA || DIFEN- supported by eagles and cherubs at either side.
SOR DI LIGVRIA ECCO MI MOSTRO || TRAFIGGO Plate 9: Dedicatory address to Cardinal Duraz-
IL DRAGO E PIV L INVIDIA VANA || DI CHI PRENDE zo, Archbishop of Genoa, with two full-length an-
A EMVLAR QVEST ALMO INCHIOSTRO » || Plate 4: gels supporting design of Cardinal’s hat over the

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« Confratelli della Compagnia della Morte », with Governors of the Republic of Genoa, with two
various figures of skulls and death symbols. Plate full-length griffons supporting arms of the city
11: Dedicatory address to Gio. Francesco Serra top centre. Bottom centre head of two-faced
Marchese di Strevi, with three figures of angels Janus. Plate 14: Dedicatory address to Adriano
and coat of arms. Plate 12: Dedicatory address de Sitigrausen, Colonel of the Guards, within
to Michele Imperiale Marchese di Cyra, with oval with figures of warriors at either side.
crown top centre and two eagles at sides. Plate 15: Dedicatory address to Don Filippo Spi-

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nola Marchese de los Balbasis in centre with two tre figure of Cupid, bottom centre vase of flowers.
soldiers on horseback at either side; arms top Plates 28 and 29: Large fanciful designs cover-
centre and two overturned columns bottom centre. ing almost entire page. Plate 30: Divided in
Plate 16: Dedicatory address to Agostino Palla- two parts, of unequal size. The left-hand plate
vicino, Doge of Genoa, with bust of Doge up- contains two full-length angels supporting central
per centre and two allegorical figures at sides. coat of arms. The right-hand plate represents
Plates 17 to 30 follow, showing only the various Death in supine position under.scythe and leaning
borders and designs. Blank spaces remain where on hourglass.
the Author obviously intended to include addition- Francesco Pisani’s book, in our opinion, is possibly
al dedications. Plate 17: Two Tritons mounted the most extraordinary example of a 17th century
on sea horses surround a central oval space. calligrapher’s work to be included in our cata-
Plate 18: Feminine figure of painter (similar to logue. The author displays a fantasy and skill that
that of Plate 6), with cherubs flanking a square are unique. The best calligraphers of the time
space. Plate 19: Design of galleons with cherubs allowed themselves much freedom and imagination
blowing sails. Plate 20: Two warriors on horse- in the borders and decoration of their plates, but
back supporting coat of arms. Plate 21: Two Pisani went further and created a series of harmo-
full-length angels supporting series of four coats of nious artistic compositions that did not adhere
arms. Plate 22: Large figure of open-winged grif- to the traditional conception of book decoration.
fon hovering over oval space. Plate 23: Two musi- While allowing his imagination free rein and his
cal angels standing on cornucopias of fruits and pen the utmost freedom, Pisani nevertheless fol-
flowers and supporting cardinal’s hat top centre. lowed a logical plan. The subject of each decora-
Plate 24: Numerous cherubs surrounding twelve tion is closely connected with the important per-
heart-shaped spaces. Plate 25: Six angels and sonages who obviously commissioned the plates
richly decorated knotted work forming central and to whom the calligrapher addressed each
rectangular space. Plate 26: Straight-ruled central dedication.
rectangular space with figures of two chained The last plates in our copy are before the letter
slaves at sides; emblem of crowned eagle top and apparently appear for the first time, since no
centre; bottom centre very interesting design of a mention is made of them in any of the copies we
boat. Plate 27: Full-length figures of Gentleman have succeeded in locating. They were probably
and Lady supporting blank oval coat of arms some of the artist's own proofs of the engraved
bearing motto: FILIUS SANGUINIS AMOR. Top cen- calligraphic compositions before the script was
92
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added. Also the title-page, signed by the famous Location: BAV (16 leaves); BM (14 leaves):
engraver Camillo Congius, seems to be a rarity. ICN (20 leaves); KBB (25 leaves).
If this title-page is actually part of the book, then
in view of the excellence of the engraving Bénézit, VI, p. 707; Bonacini, n. 1439; Brunet, —
throughout, it could well be that Congius Suppl. II, 243; Cat. Pirovano, n. 914; Cat. Val-—
collaborated with Pisani for the engraving of the druche. n. 252: Treccani, VIII, p. 429: Zani. XV.
plates, as he did with Sellari and Antonozzi. p. 179.

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 PISANI, GIOVANNI BATTISTA
27 1 PRIMO LBRO || Di lettere corsiue moderne || AltabctiMaiuscoli
diGio:Batta Pilan’

DI GIO BATTISTA PISANI ||Scrittore, e Arimmetico

in Genoua || stampato appresso l’Autore l’anno
1641. || Con priuilegio, et licenza de Sup" ||

Oblong (198 x 260 mm.). 32 copper-engraved +7 , . ,- a090,>7//), Ph

phtes.Pat 1: Title-page with ast Eedae EZABCDEFLIILM NOLQUSIGR VS
order and small oval portrait of the Author. & We =
The portrait is surrounded by the inscription: fe xX - AW
€10, BAPTISTA PISANVS AETATIS ANN XXxv». Three CA ey LY,VO
plates of dedications (nos. 26, 27, 28 in our copy) oy
are included: to the Reader, to Giacomo Durazzo, N HY
and to « Gio. Battista suo Avvuocato ». The re- —
maining plates ‘ots examples of Chancery cursive
alphabets, samples of commercial letters, accounts,
abbreviations and addresses in various scripts.
Pisani’s name or signature appear in almost all of
the plates, except for six which bear either the
signature or monogram of Scipione Leoni. Of par-
ticular interest is the plate (no. 10 in this copy)
which has the dedication « Al Sig. Fran. Pisani
mio fra’llo. Scrittore. Roma >».

Location: BMV; ICN; KKB; NNC; VAML.

Oldoini, p. 332.

IL PRIMO LIBRO
= ~

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aX x 5
Sorittore, C7Arimietico in Genona ,
: aS
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(Con,
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wet
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TIRANTI, HONORATO
fi«
.Honorato Tiranti, from Saorgio, was secretary to Carlo to be in existence. The four titles included in the
Emanuele II (1634-1675), son of Maria Cristina of present Catalogue are for the moment « unique copies »
France, who reigned for a relatively short period over with the exception of the « Laberinto de Groppi »
the Duchy of Piedmont. The Duke gathered together which is owned also by the Kunstbibliothek of Berlin
a number of very able artists, especially architects, for and the Newberry Library.
the purpose of enriching and beautifying the capital At the Victoria and Albert Museum we were able to
city, Turin. This was the period of the « Barocco Pie- examine their copy of: Le Regole di scrivere || i carat-
montese », one of the most significant in the history teri || d'Honorato Tiranti |di Saorgio || Segretario, e
of Turin and the Piedmont region. Thus Tiranti was Maestro di Scrivere dell’Altezza Reale || Del Serenis-
an exponent of this important artistic era. The man simo || Carlo Emanuel || Duca di Savoja || Principe
and his works were described by Andrea Rossotto in di Piemonte Re di Cipro, etc. || Nei quali si tratta
1667 (Syllabus Scriptorum Pedemontii), who refers to di tutta lAnatomia del carattere cancel||laresco corsivo,
Tiranti as an « elegantissimus Poligraphus », and also per piu facilmente impararlo e con || altri esemplari
gives a complete list of the calligrapher’s books. Ono- intagliati in Roma da Danielo || Videman l'Anno 1639.
rato Derossi repeats the same information in his Scrit- The last plate is signed: Tirantus Taurini || scribebat,
tori Piemontesi... (Torino, 1790), and adds that all of Videman || Roma Incidebat, 1639.
Tiranti’s works were printed in Torino. In 1860, J. B. The Newberry Library owns: La Teorica, e pratica
Toselli included Tiranti in his Bibliographie Nicoise dello scriuere cancellaresco, e altri caratteri, libro
ancienne et moderne, calling him a « distinguished sesto. Torino, 1656.
philosopher, author of several works very useful in We therefore believe that plate n. 24 of the Sommario,
the study of the Italian language ». Toselli lists only an Index of Libri del Tiranti, reproduced below, is a
nine books. valuable contribution to the study of this important
We find a very limited number of Tiranti’s books calligrapher.

28 IL LABERINTO || DE GROPPI, O SIENO TIRI, || 0 lissima per chi vuol in vn medesimo tempo
TRATTI DI PENNA || ARTIFICIOSI, E NATVRALI, || imparar a scriuere, || & YOrtografia. || DEL
Nel cui centro é breuemente descritta ’Orto- SECRETARO HONORATO TIRANTI DI SAORGIO || LI-
grafia, e l'Inter- || puntione della Lingua Ita- BRO SETTIMO. In Torino 1655, Con licenza
liana, in Carattere Can- || cellaresco, & altri, de’ Superiori. [Dedication dated 1656]
con suoi Alfabeti per impararli. || Opera vti-

‘@,

Repl FALofeeyseeeCaneel Coun g ¢ gui weddgfeguere.

aepee wee Wabentnde 20fofp, acl cuw
A cto MarufedlocMiurufedo centro: Pree capa)
SE, ee bee dMa
Ma Jyngua ueahinag.
ieee Mlettodencemnppaede’ a ODM. ieapuriin dda Ln:
Jeeucee. y4ae Tate feonda)
op. Cazattert / Wga hie
Seetto Lratiant. Cys nmi ae Ke.
Memoiedll Unudhua, Mba Og ee a Angud
A Viera dy feorucee ral
puetuea preeenmes
me peeeunte fit i
 Oblong folio (244x380 mm.). 23 leaves: title be « nell’eta cadente di 64 anni, con vista cor-
and 4 leaves in type; 18 unnumbered copper- ta e polso debole». Plate 3: The Author's
engraved plates. Leaf 1: The title-page is beau- declaration forming a labyrinthine design by
tifully composed in various type faces and is means of «linee intrecciate e concatenate di
enclosed within a narrow border of delicate molti groppi artificiosi...». Plate 4: « Della
printers’ flowers which also appears in the follow- Scrittura, in genere », dated Torino, 17 July 1654.
ing.leaves preceding the plates. The Imprimatur, Plate 5: « Divisione delle Lettere ». Plate 6:
whose text is very complimentary to the author, « Delle Lettere Mute». Plate 7: « Della dup-
was issued to Tiranti by the « Abbate D. Va- plicatione, & triplicatione delle Lettere ». Plate
leriano Castiglione Consultore nel S. Officio di 8: « Le Vocali come dupplicate ». Plate 9: « Le
_ Torino » and is printed on the verso of the title- Semivocali, come dupplicate ». Plate 10: «M
page. Leaf 2: Dedication to: «Reale Altezza come semplice, 0 come dupplicato ». Plate 11:
del Serenissimo Carlo Emanuele IJ, Duca di «N. Dupplicata ». Plate 12: « R. Caninamente
Savoia, Prencipe di Piemonte, Ré di Cipro », dupplicata, e moltiplicata ». Plate 13: Examples
dated Torino, 25 April 1656. Leaves 3 r°-5 v°: of other consonants. Plate 14: «Z Lettera di
sonnets, poems, anagrams and epigrams by melzana, e di tutta pronuncia ». Plate 15: « Le
Abbot Scoto, Gio. Antonio Bonardo Mangarda, Mute come dupplicate ». Plate 16: « Altri esem-
Giuseppe Amedeo Christiano Bonardo Mangar- pi di Mute Dupplicate». Plate 17: «C.D.F.
da Sforza, Prior Girolamo Biella, and some anon- Come Dupplicate ». Plate 18: «@[email protected]. Se
ymous writers. dupplicate ».
Plate 1: Half-title: the title is repeated calli-
graphically, omitting the date. Plate 2: A foreword
by the Author, in which he declares himself to Location: KBB; ICN.

\\ 4

ROK
%, 0 () v y

®
O-S4 NO TIRI
OLTRARTPDPPENNA
Araficiofie Nacurali
§ Neu Cusine oe ial (ie ‘
UmtLOne ee pelts a oan in Cheater ancedeeste
abe, A,Jul erie pec unpacact)
O pera xcuyffima per chi wo! invitmed efimorcempo
imparara Scruere’ & LT’ Ortog-rafia
 r wy Be eee
oo prilentn, > x men trey,
(eno
Actor / Yn,
rs

2, ise ? <A : \* “a oR
CMeffo
cw gi at . .
Los sia come dis
4

P Ay, ; “lige Wey:

ooWD ary
“f 2, 12
SOO 1 Pa eyG12 sr tee,2 anv irr,
: ae vue ay
01 3]w iY. L942
0d Sion aby 52] Wy
i ‘C Les
SyjPoucyr
woes 471 2>
punpy wt" Ze> i Pies dius
3
LEU eo
an os
i Sere
r 72

ay ase <
yw?
SD, oe “e Me PWD Changs

see
LE?
ga, go ge?
ig M9 4 550.7, eS
CellC” Wb, Mionyds
“neo,

Laur rsdupghese |
Pesfenulihee eucbemenea della pemunctd,S ° Lou,
es a Papsespe licemenvods eeCONSINAML, CEUNCIMUL :
LPS.indore Pei Duala td Savingecndonala.wi
ee fut browe, Cne€a. 8 Mille PASS eminataf Cue?
wy Gh
mL noni ey ae CONGTULL, typCCUNLY SOUL L he
Hedstamente about NK Msn CLO ne oe toes
tins ae ute semplice Consonant? vue LarineLeade i)
. weal G UeL9, LD Sein, Chine
—29Dé || Caratteri Italiani || Pit vsati da buoni
Scrittori. || De’Groppi, 6 sieno Tiri, 6 Tratti di
Penna; & |! altre Cartelle da principianti dello
scriuere ||Del Secro. Honorato Tiranti ||Libro
quarto de’ suoi Caratteri Anno 1656. ||

Oblong folio (233 x 355 mm.). 25 numbered cop- Vistessi tiri, 6 siano tratti di penna ». Plate 15:
per-engraved plates. Plate 1: Title-page with « Lettera Cancellareschina ». Plate 16: « Can-
a very decorative calligraphic border. Plate 2: cellaresca grossa da Negotianti ». Plate 17: « Can-
« Alfabeto Cancellaresco doppio». Plate 3: cellaresca da Negotianti». Plate 18: « Cancella-
« Concatenature, o siano ligamenti delle Let- resca Picciola da Negotianti». Plates 19-20:
tere». Plate 4: «Delle cinque maniere di « Formatella testeggiata per far mano ferma >.
Caratteri piu usati da buoni Scrittori Italiani, Plate 21: « Formatella picciola ». Plates 22-23:
et come vno deriui dallaltro». Plate 5: « Antica Tonda ». Plate 24: Author’s farewell in
« De’sudetti Caratteri». Plates 6-8: « Della cursive Chancery. Plate 24 bis: Alphabet of cap-
Cancellaresca Corsiua Italiana». Plates 9-10: ital letters.
« De’Groppi, 6 siano tiri, 6 tratti di penna arti-
ficiosi per adornamenti». Plate 11: « De’Groppi
fatti col polso eleuato in aria». Plate 12: « De’
medesimi Groppi naturali ». Plates 13-14: « Del- Not located in the Libraries consulted.

OPI Ss 3 tanodeanidipenna

Fos faelnc lla doles Ceca a

Pecispsi gue
of}

heSPitsen binb peopasin,ce conperecnr a wees Corey, Luts nitwed-

or. ? guts UClccda apes Boe o#one
seal’hlean” medi J eee duit A ieee ah ez
Ot inguelldeZ.Shi te deterioe
ae
d mut See A: Dea: th,
2
-_
i: 4

30 LTnterpuntione || Della || Lingua Italiana, ||

_ “Parte seconda || del Laberinto. || Del Secro.
-Honorato Tiranti, Intagliato || Da Pierre Hu-
penoire Francese. 1657. ||

Oblong folio (243x380 mm.). 17 unnumbered, Plate 10: « Concatenature Cancellaresche ». Plate
copper-engraved plates. Plate 1: Title-page, which 11: « Maiuscole Cancellaresche, fatte col pol- ©
is divided in five sections and has the emblem so eleuato in aria ». Plate 12: « Formata con le
of the Dukes of Savoy in centre. Plate 2: « De teste». Plate 13: «Lettera ferma». Plates 14-15:
Gli Accenti ». Plate 3: « Vso dell’Accento Graue ». Alphabet and religious phrase in Latin capitals.
Plate 4: « Della Interpuntione ». Plate 5: « Esem- Plate 16: Invocation and dedication to the Blessed
pi della Interpuntione ». Plate 6: « Varie altre Virgin in « carattere formato con le teste ». Plate
parti, distinte, col punto, e virgola». Plate 7: 17: Alphabet in Roman capitals « maestoso >.
« De’punti, doppi, esclamatiuo, et interrogatiuo >.
Plate 8: Della Parentesi, o del Punto fermo ».
Plate 9: «Epilogo delle Regole d’Ortografia >. Not located in the Libraries consulted.

ous éstoner epeccig cd Toeiue emain rman, ds Mlle

“an/ re O POL FSaccodueu,tlngaee; De SiO Cevmec xX Hy)
CR Letewi acommunt Aes; Se Miigac,peose vineleinstal, ER)
Mi, |incombenti eclauale GFA Gnieatingcsclamatius? He RK
. Bo) We 2 LID EES My bl TO hit,e5: UK ie oN)
SSO Audet inktanle Come.O Civ mnasfitee : Le SicZ SS
lato |Ditemi, L OSL oy
fue
dept é
 <Q sy Ge

WZ o K. \ :

St DA fodFALop nhs bern,

nk LA Gourifeide SCeae ; Con ieCrawspel rnadida
= C%eani A Detain utd d pdels £Mersey ip
Deed, Cine;CON POC JSPee ba ae CHEM tL C#Si JG?
| 5 A 7

Cox ee Al'sLoueduta,2ccota fx
Stipe Oly papleraiehe
\\ ged JLelilop sen cowlodue te aceimhat? de lope. “ffhee ferns
eeu d Sods Sein ; iene ng Hibicadd un “i ah vlestresinslo

ee ee wad — EY Enid.Shon ‘4 ihe Lome ,

Miguel cbekermina Cutts ddsiussUE 1d due ee

u opeamen
; be? cunts,
(rabeehe pant feFas, Ggisrietcanto +

BG
so>

a SSK - = .

=
ZS aN
SY

Alla Santiffima Ve reine’: aN)

Madre‘dcll’ Increato:
Tntawainogni tempo,

Gy ee
(Nella qual@auanti ognialtraEffenza ripoo
CRD. LADIVINA.
Eletadell’ Onnipotentsjfimo:
Madre’del Saptentiffime:
Diletta aEa moraine
Con quanto puomat per fuomezzo unpetrard DWERD
Divigoree' dtcojtanza : RY
D inéellettoe di mente’: IR
D1 Sptrito,e' di Cuore. we
te’debali fatiche'di Scritrira; (peran:
odeffer per Lei afcritroal Librod?'Viué,
( Infegno autenticoeVoto dtper.
petiia obligartonese’deuottone,
HonoratoTiranti
humilmente’
dedica,e’
 BREVE || Sommario d’alcune Regole d’Ortogra- 31
athe fia ||Della Lingua Italiana, ||Del Secro Hono-
rato Tiranti di Saorgio, || Ottauo Libro dé
suoi Caratteri, in Torino L’anno. || 1657. ||

Oblong folio (230x355 mm.). 28 numbered

copper-engraved plates. Plate 1: Title-page with
border of knotted work all around. Plate 2:
Invocation in Latin to the Virgin, with knotted
work border; top centre has heart-shaped en-
graving of the Virgin; left and right-hand bor-
ders contain two engraved ovals of a Gentleman
and a Lady in prayer; bottom centre has
coat of arms. Plate 3: Author’s foreword to
Reader contained within an oval with ter-
minal pen designs, declaring book to be brief
summary of writing and punctuation of the
Italian language in «carattere cancellaresco
pieno da negozianti». Plate 4: « Dell’Alfa-
beto». Plate 5: «Delle Vocali». Plate 6:
The letter O. Plates 7-8: « Delle Consonanti, e
fra esse, prima delle Mute ». Plates 9-11: « Delle
Seratoccalt e Liquide, et Immutabili ». Plates 12-
13: « Della Pronuncia, dell’Accento, e dell’Orto-
grafia >». Plate 14: « Del Punto Interrogatiuo >.

ON oe
KIS
MR he,
eS
'
SS AP siete a eyo thoes Lfesanch ghGe C LEE
SS pO ys paelan OL, zefenla) Lae=
= ad aleunedimanda di ANA A oh (ome An aiyfee: a=
S55 ES ofa, mg ue ta mole,ssual cfu Celeto ee
- see Ties tela Diba rale.fu fi Codel anes RS
Si ok dnpeliacdJt feces. Gai Conann) a EO
SS 7 BE
SES
80 BD
NS

Z MZ bi7 AR>PVQSN
Sif
WSS
SSS > SERRA SS
Plate 15: Ortografia. Plate 16: « Della Senten-
za». Plate 17: « Della Interpuntione ». Plate 18:
« Della Parentesi». Plate 19: Monogram of
Christ composed of ‘several-pointed star with
scalloped border containing motto ET IN VIR
TU TE TVA LI BE RA ME. Plates 20-21: Exam-
ples of writing in « Lettera Cancellareschina ».
Plate 22: The words « QUI SCRIVE IL TIRANTI >,
in Latin capitals, within a star-shaped border.
Plate 23: Latin alphabet. Plate 24: List of
books by Tiranti, in two columns. Plate 25:
Abbreviations in Chancery cursive. Plate 26:
«Formata grossa testeggiata». Plate 27: «Lettera
formata grossa ». Plate 28: Latin capital letters.

Not located in the Libraries consulted.

The decoration of the four Tiranti books is var- Tiranti remains first and foremost a master of
ied and sometimes profuse, but the calligrapher’s calligraphy and no mere virtuoso of the pen. Little
style is sure and recognisable throughout. His has been known of him until now, so that the
wide « command of hand » margins are especial- four books included in this cataloque are an im-
ly attractive but do not detract from the writing portant contribution to the study of Tiranti and
specimens, which ‘remain the important part of his work.
the calligrapher’s work. True to his times, Tiranti
also indulged in decorative birds and animals; but
also true to his inherent sobriety and perception,
the figures he designs are always harmonious and Bonacini, n. 1878; Cat. Pirovano, n. 1163; Cat.
in good taste. His use of the peacock, a typical Valdruche, p. 57; Derossi, p. 215; Ferrari, p. 657;
decoration in many of his books, is especially to Toselli, p. 262; Treccani, VIII, pp. 429, 430; Ros-
be noted. sotto, p. 281.

WS)
IN, eS eet
) an ia
a
LF

ab
 Italian School Eighteenth Century

PEIRAUD
32 NUOVO || LIBRO DI SCRITTURA, || OVVERO L’ARTE
DIMPARARE || A BEN SCRIVERE SENZA MAESTRO.
|| Ricavato da Capi d’Opera de’ piu Celebri
Professori di Scrittura Italiana e Francese ||
Dal Sig.re || Peiraud |! Professore di Scrittura
||IN ToRJNO ||Si vende in Torino nella Bottega
delli Fratelli Reycends, Guibert, e Silvestre
Librari Sul || Cantone di Contrada Nuova, a
l'Insegna del Beato Amedeo. || [ca. 1722]

Oblong folio (245x397 mm.). 20 unnumbered, « Abbreviature che si praticano scriuendo ». Plate
copper-engraved plates. Plate 1: Title-page in cal- 15: Additional sentences in cursive script. Plate
ligraphic type. Plate 2: « Postura del Corpo, e Re- 16: Example of a business letter. Plate 17: « Ab-
golamento della Penna per Scriver a bell’aggio », breviature praticate nello Scriuere ». Plate 18:
with illustrations of a hand holding a pen in writ- « Titoli di Lettere Abbreviati ad uso moderno »..
ing position and two calligraphers. Plate 3: « De Plate 19: Another example of business letter.
Gli Ellementi de Caratteri ». Plate 4: Various al- Plate 20: Example of cursive script in three dif-
phabets (« carattere formato », « carattere corsi- ferent types of letter.
vo » and « Lettere Majuscole ») contained within Many of the plates are decorated with calli-
a border of large capital letters. Plate 5: Alphabet graphically designed figures of birds (plate 20 has
of small letters in « carattere grosso ». Plate 6: in addition a decorative border all around). Plate 4
Alphabets of small and capital letters. Plate 7: is signed « De Berey sculpsit »; plates 7-8 were
« Les lettres qui se lient du pied au milieu >. engraved by F. Baillieul; plate 20 is signed Lattré.
Plate 8: «Les lettres qui se lient de pied en
teste ». Plates 9-11: Example of « carattere for-
Location: ICN.
mato » with variations. Plate 12: Various abbre-
viations and forms of address. Plate 13: Three
illustrative sentences in cursive hand. Plate 14: Bonacini, n. 1386.

aes Hac Sigs mio Lin Qua” AP Rint 5p¢nin Bie iy

Bl ak IL - Sig. no tone c)uig

a4 a) tee ene rey lia ay tcho “anco U1.

C= VEMWOTLR

, Me Oo, ‘ gS mo

M Sip Goto (dam

WR « es A Cee ce (ey Af Jif 3 artolomee

Hil

encha

105
 TRONTE, GENNARO
33 ESSEMPLARE || De Caratteri || Di Gennaro ||
Tronte. || 1730. || Jan. Tronte scrip. delin. &
excud. Neap. ||

Oblong (175
x 275mm.). 20 unnumbered copper- minuscules, with a decorated initial in the style
engraved plates. Plate 1: Title-page, with title of Amphiareo’s « Rotunda ».
contained within a heartshaped shield supported Plates 5, 8, and 10 to 19 are decorated with
by calligraphically designed angels. Plates 2-4: various designs and the figures of birds and ani-
Alphabets of capitals and minuscules in two sizes. mals composed of calligraphic flourishes and
Plates 5-6: Capitals and minuscules in « carattere knotted work.
bastardo ». Plates 7-8: Author's instructions.
Plate 9: « Majuscole, e minuscole Cancellare-
sche ». Plates 10-19: Explanatory notes and Location: BNN; NNC.
samples of various styles of writing (« Bastardo,
Cancellaresco, e Tondo... »). Plate 20: Gothic Treccani, VIII, p. 429.

sh y

~ COEQIS ar
OOS
VO}
Ds Se
NS) HQ
De Caratteri CS ae
D1Gemnaro (s Oy WI GE
Tronte.
x
SD
SY SA
JG
<4? ;

ays a

Sy ae
>

) )- 2
(Cancanente,c LegLEOMENKG SL DEROthe oe Ona nel —
a gen =
vale quests eaaatteerYancellasesc,ma nahragua =
; 2 > an /
swoghit
a
JO {9ey) cmon J deve mak emerlamedes CnNG, Joe-
JU ac tee
VE ido, pe frmaney tam, ee 5 ees 0 mmanoWd |
Be

alnes femursIcadet antag Oe

BS) G
porte |
tenend os L cnc uy Mano hole Diz on bemeced 7,nNatu-

106
 DECAROLI F.
4 Prmmaestramenti || Teorico pratici || Indiriz-
_ Zati ad agevolare il Modo d’imparare da per
_ se ||LA scerrrura moperna ||Opera Dedicata
Agli Amatori || dell’Arte di ben Scrivere
DAL P.D.F. DECAROLI || Cappellano del Regio
Spedale della Carita. || Intagliata in Rame da
P. S. Petit, Incisore dei Nuovi Esemplari di
Serittura di Parigi. || xv rormno, || Si vende
dai Fratelli Reycenda Mercanti Libraj in Con-
trada Nuova. || 1772 ||

In folio (460 x 345 mm.). 44 numbered copper- la penna tenere, e regolare », Plate 7: « Capo
engraved. plates. Quarto || Esempio di finée semplici atto a porre
Plate 1: Title-page, which is imposing for the size in pratica le due antecedenti lezioni ». Plates 8-
and variety of the scripts used. Plate 2: Preface. 9: ~¢Capo Quinto || Divisione delle Lettere»
Plate 3: < Capo Primo || Del modo di temperare and ¢ Capo Sesto || La Formazione delle lettere
Ja penna». Plate 4: «Capo Secondo || Come semplici o, ed i». Plates 10-11: « Capo Setti-
nello scrivere abbia ad essere situato il cor- mo ||La Formazione delle lettere meno principa-
po». Plates 5-6: «Capo Terzo || Come debbasi li». Plates 12-19: «Capo Ottavo || La Forma-

: aan CDi see

Coempleire a Lettere EM apuscole separate ¢ legate pe addestrare la mano,

EAA AABB BBL LL 03

3 CCOCDDDECLIDALGGP
GOICICHIISLL
I PLL Me
SH6MANCENMUWCVBEIRQAVEV
OM
OLLBLAINA OPQ RRR
BERR IR RSIS LCV
V PVE BED VELA)

OOCOOBLGO 29VBLsI
ne ean
(ro) lit

BNE aN

107
zione delle lettere composte ». Plate 20: « Capo vé par Baisier d Paris 1760. Plate 44: Six sample -
Nono || La Raccolta di tutti imembri uniti, e sepa- words.
rati delle lettere semplici, e composte ». Plate 21: This work is a rare and elegant example of 18th
«Capo Decimo || Diversi Alfabeti di Scrittura century calligraphy. All of Decaroli’s plates have
formata ». Plate 22: « Capo Undecimo || Della narrow decorated borders all around, each different
Distanza delle lettere, de’ vocaboli, e linee ». from the other, and numerous calligraphic designs
Plate 23: «Capo Duodecimo || Del Modo di adorn the text. In some plates (e.g. nos. 32 and 34),
legare le lettere ». Plate 24: « Lettere da legarsi the specimens are particularly refined, denoting
di piede in capo» and « Lettere da legarsi di the typical elegance of the time. Each plate, except
capo in capo». Plate 25: « Capo Decimoterzo no. 43, is signed by both the author and the
|| Regola generale del Contorno delle lettere engraver.
corsive » and « Capo Decimoquarto || Diversi Al- The present copy includes at the beginning a sup-
fabeti di carattere corsivo ». Plate 26: « Capo plementary unnumbered plate which apparently
Decimoquinto || Esemplare di lettere legate desti- is not part of Decaroli’s original work. It is a
nate per esercizio dei capi antecedenti ». Plate 27: very beautiful engraving by Giovanni Battista
« Capo Decimosesto || Della Formazione delle Betti, the famous Florentine engraver (see next
Lettere Majuscole ». Plate 28: « Capo Decimoset- number our catalogue), depicting a lovely full-
timo || Esemplare di Lettere Majuscole separate e length winged angel holding an oval portrait of
legate per addestrare la mano ». Plates 29-31: A Victor Amedeus Maria, King of Sardinia. A square
dissertation on the origins and development of the border of calligraphical designs frames the
art of writing. Plate 32: A series, from A to M, of central figures. In the lower right-hand corner
fancifully designed capital letters. Plate 33: Phil- appears the name M. Vigada. The plate is signed:
osophical thoughts of the author in Latin. Gio. Batt. Betti incise. Firenze 1762.
Plate 34: Remainder of the alphabet described in
plate 32. Plates 35-42: Various religious and
Location: BNPARIS; ICN; KBB; NN; NNC;
philosophical observations in Latin, Italian and
French. Plate 43: An alphabet of minuscules, VAML.
with very explicit instructions and proportions for
their formation. This plate is Paee |Ecrit et Gra- Bonacini, n. 471; Treccani, VIII, pp. 429, 430.
Lartecpa Z'm delle due lettere semplict O, ed ¢: consta ul prune membro d'una L, ommettendone i basso contorno
(1)tl secondo pigla a princynoun Oele' prodotto dat dtstendunento Ielle dita, gunn una ptcola porswone del
membro posteriore dell'0 tn edda distinta co' numeri (tj ¢ (S)rappresentante ultimo gro, che la penna 1 deve /
c c

Jue (2aj-dl tern membro, coetl rimanente della seconda linea retta derwa medesmamente Jali t Jettratone J
altren tl basso contorno (3). tl quarto pot comincia come tl secondo (4), e fintsce come lat, come dé vede Opypnesso.
c ,@

Zin re? y
2 —

fd
le

eNascendo ta 11 dall ‘anteccdente, dara regolarinente formata, ommeltendo in guesta i secondo, cd i terzo membro
J c

Or gquella nccome notat dono nella deguente figura, e chiaramente lo indegna la pratica divisnone
e7e c

ra E
Li
Zzae
4

ey Vasce lap Ht due altre, che sono O, cdi J percto Wivdes in tre membri, Je quali d primo, e secondo compongono
“ti wnfertore
le due parts inferiort postertore dell 0, inclusa la Ppporxione anteriore tn eda
Dall.‘aparte tepodtertor
Oe Ocl” fA) tltl terzo lo pt . cnde da
induata col numero(4),e questo tera membros puo ancora riguardare, come una C voltata allingut, cd alrovescio.3.

—— oo

:
Decarol soy iB Let sly
 BETTI, GIOVANNI BATTISTA
Born in Florence, Betti was an engraver working both
in Florence and in Rome between the years 1754
and 1777.

35.4” || DILETTANTI || DELLE || BELL’aRTr || 1779.

GB: Betti inc: Fir. |

Oblong (232x320 mm.). 25 unnumbered, cop- a ei

per-engraved plates. Each plate is a finely exe-
cuted engraving representing a_ single letter
of the alphabet. The scenes are of an allegorical "
or mythological nature, very ornately designed
and of unusual fantasy. The subject and letter of °
each plate correspond to the legends appearing on
the title-page, he are in eftect a table of con-
tents as follows:

delle
ae 2

—=-

Location: ICN.

_ Bénézit, I, p. 633; Bonacini, n. 200; Cat. Valdru-

che, n. 226; Gandellini, I, p. 87; Guilmard, I,
_ p. 332; Le Blanc, I, p. 327; Thieme-Becker, III,
p. 543; Zani, IV, p. 26.
7 -CIARRE, GAETANO
Vesctao was the son of the famous painter, Pietro
_Giarre, noted for his work in the Certosa near
Pisa. Gaetano, who was active during the last years of
_ the 18th century, was an engraver and in addition
to his famous Alphabet in 24 plates, engraved por-
traits of the calligrapher Giacchino Frosini, of Tsarina
Anna Ivanovna and of Tsar Alexander I.
Gaetano Giarré, together with his sons Bruno and Rai-
mondo, worked at Florence as teachers of calligraphy
and arithmetic.

36 ALFABETO || DI LETTERE INIZIALI || ADORNO DI

ANIMALI || E PROSEGUITO || DA VAGA SERIE || DI
CaRATTERI. || All’Ill.mo Sig. Cav.re Priore ||
Gio: Orazio Rucellai || Patrizio Fiorentino ||
Presidente della R. Accademia || delle Belle
Arti || di Firenze || Gaet. Giarré inv: e incise
1797. In Firenze appo: Giacomo Moro sotto
gli Ufizi ||

ES in liwoerlic.
aelaELL ow) Oe vnlaceWhew
ees USA Te VL We UUAMO,
Hi (2x0, ihhhito,e li Dylesl wl OP
XA:Cliypie etyOt jelloTagillo
LM
Tapour vol? Lo
fondaes
In
WegGlleHlo novo’ MeseG
fugpnalo Sere
“tl
CH J intl Nae
bugpanenteiyYyorHoo
7

2 og Lorne te) Chiro Wt pon

Duntr provurw
ARTE E NATURA
 oF

In folio (8370x255 mm.), 25 unnumbered, cop- «Torni la gloria a noi». Plate 21: « Urta e
per-engraved plates. combatti... ». Plate 22: « Viva amor del Vero >.
Plate 1: Title-page. Plate 2: « Alla Gioventi... >. Plate 23: « Xenocrate tinsegni ». Plate 24: « Ya-
Plate 3: « Bella é PArte ». Plate 4: «Cerca il culo ardente...». Plate 25: « Zelo mi spinge >.
Saggio la Gloria». Plate 5: « Degna e YAmi- Each plate, including the etched title-page, is
sta... ». Plate 6: « Eta dell’Oro torna... ». Plate 7: beautifully decorated with floral garlands, ara-
« Fortuna assistimi...». Plate 8: « Germoglia la besques, birds, animals, vases, trophies and masks.
Virti... ». Plate 9: « Homero oggi é mia guida >. These decorations surround the various calli-
Plate 10: « Ingegno, é ardire ». Plate 11: (Letter graphic examples which follow the initial letters.
K) « Pit d'un Ingegno Peregrino, e raro... ». Plate
12: « Luce il Sapiente... ». Plate 13: (Letter M)
« Col rabbuffato crin dorgoglio piena... ». Plate
14: « Nota, ed apprendi». Plate 15: « Onor mi
alletta... ». Plate 16: « Pensa e risolvi ». Plate 17:
« Questa é la via ». Plate 18: « Riedi all’Onore ». Location: BAM; BEM; BNCF; ICN; KBB; NN;
Plate 19: « Saggio chi scusar sa». Plate 20: NNC; RBM; VAML.

\
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aN

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Gotten de si Vittoria? aA +o
Nictro al nwo nobilViggo Uy |
oe prontel Uom sacenoe!} VA ~
ae Uy :
YANO de Coraggio” :
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45 .

b 3 7Gaetano Giarré Scrittor Fiorentino || INvEN-

TO E INCISE QUESTO NUOVO METODO PER FOR-
MARE UN BEL CARATTERE || Si vende in Firenze
presso Giacomo Moro sotto gli Ufizi || Al
Chiarissimo Sig: Raffaello Morghen || Primo
Maestro d'Incisione in Rame alla R. Corte di
Toscana || Gaetano Giarré Dedica || [1801]

Oblong (315x210 mm.). 17 numbered copper- scolo Greco» and « Majuscolo ». Plates 16-17:
engraved plates. Plate 1: Title-page, with oval « Iniziali a mano volante per acquistare scioltezza
engraving representing a writing lesson. Plate 2: di Penna ».
« Lettere formate sciolte », and « Alfabeto Minu- All the plates are signed « G. Giarré » and deco-
scolo di Carattere Formato ». Plate 3: « Attacca- rated with knotted work and figures of birds and
ture di due e tre Lettere » and « Metodo facile animals; plates 2, 3 and 16 bear the date 1800;
per acquistare una egual pendenza e distanza ». plates 4, 5 and 8 the date 1801.
Plate 4: Alphabet of capital letters. Plate 5:
« Il Principiante scriva lungamente in questa for-
ma...» Plate 6: « Carattere formato all’Italiana ».
Plate 7: « Viva la Penna». Plates 8-11: Var-
ious instructions and exercises. Plate 12: « Al-
fabeto Corsivo all’Italiana con le sue variazioni.
Alfabeti Stampatelli Majuscoli e Minuscoli >.
- Plate 13: Instructions. Plate 14: « Istruzione per
temperar la Penna. Carattere Inglese. Alfabeto
Tedesco ». Plate 15: The author’s announcement
of a future work followed by « Alfabeto Minu- Location: BAM; BNCF; ICN; KBB; NN; VAML.

omyeee
0 METODO p
al ]

Spa

© Y ape Vee Yaffuello OMorylen )

reo Ohare he YrerstoHe OMe. Yroe alla R 3 Grte de Yascina —
> ‘ .
bactruc Carve Qelca

113
38 Nuovo METopo || per formare varj Caratteri ||
Moderni || Delineato e inciso da Gaetano
Giarré e F igli || Maestri di Calligrafia e di
Aritmetica in Firenze || Firenze presso Gia-
como Moro || [1822]

Oblong folio (242x355 mm.). 15 numbered copper- 2, 5, 6, 9, 13 and 14 are signed Raimondo
engraved plates. Plate 1: Title-page. Plate 2: Giarré; plates 3, 7, 8, 10, 12 and 15 are signed
« Elementi del Carattere Minuscolo Lezione Pri- Brunone Giarré; plates 4 and 11 are signed Gae-
ma» and « Alfabeto Minuscolo Inglese Lezione tano Giarré e Figli.
Seconda ». Plate 3: « Connessioni di pit Lettere The title-page and several plates are decorated
Lezione 3*». Plate 4: « Lungo esercizio in que- with figures of animals, sometimes designed cal-
sta forma e grandezza ». Plate 5: « Bastardo alla ligraphically. Plates 10, 14 and 15, in addition to
Francese ». Plate 6: « Dopo avere assicurata la the engraver’s name, bear the date 1822.
prima grandezza si passi alla presente ». Plate 7:
« Mezzano Inglese». Plate 8: « Ronde». Plate Location: RBM.
9: «Coulée » and « Inglese ». Plate 10: « Nota
ed apprendi». Plate 11: «Inglese Corsivo >. Not located in the American Libraries.
Plate 12: «Alfabeto Majuscolo Coulée» and
« Alfabeto Ronde Majuscolo ». Plate 18: « Delle Bénézit, IV, p. 237; Bonacini, nos. 672, 677; Cat.
Paterne cure é questo un picciol saggio ». Plate 14: Borghese, I, n. 1161; Cat. Pirovano, n. 531; Cat.
« Alfabeto Majuscolo Corsivo Inglese ». Plate 15: Valdruche, nos. 241, 242; Olschki, Choix, X,
«Continua T’Alfabeto Majuscolo Inglese » and n. 14928; Thieme-Becker, XIII, p. 592; Treccani,
« Alfabeto Minuscolo Tedesco Stampatello ». Plates VIII, p. 430.

ABCDEFCHIKLMN
OP ia

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 ost

Italian School Nineteenth Century

BONATTI, GIUSEPPE
_ 39 Esemplare || pr | CALLIGRAFIA ITALIANA || An-
no 1802 || Giuseppe Bonatti incise. || 1n Bas-
sano. ||

Oblong (217x295 mm.). 20 numbered cop- « Majuscolo all’uso Inglese ». Plate 12: « Alfa- |
per-engraved plates. Plate 1: Title integrated beti di Carattere Formato». Plate 13: « Let-
with decoration of calligraphic knotted work, tere di stampa cavate dai migliori monumenti
signed: Giuseppe Bonatti incise. Plate 2: « Falsa antichi ». Plate 14: Alphabet of capital letters
riga, che serve per la pendenza del carattere ». forming the borders of a rectangle, within which
Plate 3: « Alcuni avvertimenti circa la positura are the instructions for their formation. Plates
di chi scrive ». Plate 4: « Quadrati delle propor- 15-18: Various calligraphic examples. Plate 19:
zioni del Carattere Formato. » with illustrations « Cifre che servono di norma a formarne delle
of correct preparation of the pen. Plate 5: « Di- altre consimili». Plate 20: «Ricetta per fare
stanza delle Lettere». Plate 6: « Legamento l'Inchiostro », with instructions.
delle Lettere ». Plate 7: «Elementi delle Let-
tere Majuscole ». Plate 8: « Alcuni Alfabeti di
Carattere corsivo». Plate 9: Comparison of Location: NNC.
three types of alphabet. Plate 10: « Alfabeti di
Carattere minuscolo all’uso Inglese ». Plate 11: Bonacini, n. 238.

Lotere che nascono de of Pel:

 SAVANT, GIUSEPPE
40 MODELLI || PER IMPARARE LA BELLA SCRITTU-
RA ||DI GIUSEPPE SAVANT || Maestro di scrittura
dei Paggi delle ti.aa.u. || Al Chiaris.mo Sig.r
Michele Andrea Martini || Inciso da Amati e
Tela Presso li fratelli Pomba Libraj in prin-
cipio di contrada di Po in Torino || [1810]

Oblong folio (240x370 mm.). 18 numbered copper-

engraved plates. Plate 1: Title-page with deco-
ration of two griffons and knotted work. Plate 2:
Dedicatory address to M. A. Martini, dated May
1, 1810, decorated calligraphically with the fig-
ures of Time and two birds. Plate 3: « Positura
del Corpo », illustrated with the figures of a man
and a woman writing at a table. Plate 4: « Po-
situra della Mano», with illustration. Plate 5:
« Taglio della penna », with illustration. Plate 6:
« Esercizio preparatorio ». Plates 7-18: Examples
of various alphabets and scripts illustrated with
proverbs and maxims.
All the plates were engraved and signed by Amati
and Tela, except plate 3, which is signed by Chia-
nale. The Hook is decorated with calligraphically 7 oogtion: NN
designed animals and very finely executed mytho- }
logical figures. Cat. Borghese, I, n. 915; Treccani, VIII, p. 430.

116
 Z BESSIER, FRANCESCO
4] L1eRo pr caRaTTERE || Secondo il gusto il pid
: “Moderno, || E il pit generalmente praticato
dai Computisti || Mercanti e Banchieri d’Euro-
pa & c. || Opera che contiene tutti gli Elementi
del Carattere, la positura del || Corpo nello
scrivere, la tenuta della Penna, e il modo di
ben temperarla || Scritto in Roma da Fran-
cesco Bessier Maestro di bel Carattere. || Gio.
Batt. Cipriani ine. || [1811]

Oblong (209x295 mm.). 16 numbered cop- « Carattere Mezzano ». Plate 11: « Positura del
per-engraved plates. Plate 1: Calligraphic title Corpo, e delle Braccia nello scrivere ». Plate 12:
within border of knotted work. Plate 2: Fore- « Modo di tenere la Penna scrivendo ». Plate 13:
word by the author, « Alla Gioventi amante del « Modo di temperare la Penna ». Plate 14: « Uti-
bel Carattere ». Plate 3: Page of illustrations, lita del Carattere ». Plate 15: « Esemplare di Ca-
designed by Bessier and engraved by Pinelli, rattere Francese ». Plate 16: « Majuscole » « Al-
showing the correct posture for writing and prep- fabeto Gotico Minuscole » and « Alfabeto Gotico
aration of the pen. Plate 4: « Veri Principj di Majuscole ».
Carattere Moderno» and « Esercizio per scio- Bessier’s book is an interesting example of PO
gliere le dita». Plate 5: « Alfabeto Italiano Mi- writing technique, with little calligraphic adorn-
surato », « Alfabeto di Carattere Tondo», and ment. The writing master’s intention was to es-
« Alfabeto di Carattere Francese ». Plate 6: « Al- tablish a precise set of rules to obtain a simple
fabeto di Carattere Inglese », « Alfabeto Tremo- but elegant modern script.
lato », « Alfabeto Stampatello Minuscole » and
« Majuscole ». Plate 7: Four sample words. Not listed in the bibliographies nor located in
Plate 8: « Carattere Grosso ». Plates 9 and 10: the Libraries consulted.

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 TRECCO, G. B. PASINATI, PIETRO
Born at Vicenza on February 24, 1747, Trecco entered A well-known medallist, Pasinati was a native of Vi-
the religious life and was a teacher of mathematics cenza. Born in 1756, he died in Rome on September 7,
and philosophy. He died on July 19, 1830. 1829.

42 REGOLE PRATICHE || PER DISEGNARE GLI ALFABETI MONOGRAMMOPLOCIA || In ogni possibile aspet- 43
MAJUSCOLI || AD USO || DI COMPARTIRE CON to alfabetico || CoN IN FINE DUE TAVOLE || DI
ESATTEZZA E BREVITA || LE ISCRIZIONI ||SOPRA SCUDI CIVICI E BELLIcI || Disegnata e incisa ||
QUALUNQUE DATA SUPERFIZIE || OPERA || CORRE- da || prerRo PASINATI || VICENTINO || [Mono-
DATA DI TAVOLE XXVIII. IN RAME || AUTORE ED gram] || ROMA mpcccxxi ||,Con permesso de’
EDITORE G. B. TRECCO || VICENZA || TIPOGRAFIA Superiori. ||
mosca || 1820. ||
In folio (420 x 295 mm.). 58 copper-engraved
In quarto (283
x 204 mm.). 50 leaves, numbered lates: 4 unnumbered (leaves 1-4) and 54 num-
pp. 1-100, including title-page and 24 copper- bered 1-54. Leaf 1: Title-page, with the Author’s
engraved plates, plus two folded plates hors-texte. monogram. Leaves 2-3: « Ragionamento Prelimi-
Pp. 1-2: Title-page. Pp. 3-6: Preface. Pp. 7-60: nare dell’Autore ». Leaf 4: An interesting plate
« Parte Prima i Delle Regole per disegnare gli showing examples of « Cifra simmetrica » and
Alfabeti Majuscoli ». Pp. 61-89: « Parte Seconda « Cifra comune ». A diagram is given explaining
|| Delle Regole per compartire le Iscrizioni >. the symmetrical method followed to obtain the
Pp. 90-97: « Parte Terza i Del Comparto delle 624 monograms included in the book. Plates 1-52:
Iscrizioni ». Pp. 98-100: Index. The two folded Series of monograms in alphabetical order. Plate
plates at the end give engraved examples of 53: « Scudi Civili ». Plate 54: « Scudi Militari >».
lettering mentioned in the text. Leaf 4 and all the plates of monograms bear the
Trecco states in the Preface that it was his inten- signature of Pietro Pasinati as designer and en-
tion to establish a set of rules to be followed by the graver, and have a double-ruled border all around.
artisans of Vicenza for the engraving of inscriptions
in marble. For the proportions and instructions
given, Trecco says that he took as his guide one
Location: BNCF; BNPARIS; BPP; NN.
of the most perfect alphabets of capital letters to
be found.
Bénézit, VI, p. 536; Bonacini, n. 1373; Ferrari,
Location: BAV; BBM; BMV; BNPARIS; BPP; p. 520; Rumor, II, p. 497.
IU; ICN; ONBW.

®
Bonacini, n. 1900; Ferrari, p. 667; Rumor, III,
p. 235.

MA MB MC

MD ME MF

U 0

MG MH MI

MK ML iM
118
 DELPINO, FILIPPO
In 1809, Joseph Carstairs of London championed a Filippo Delpino, in the introduction to the Italian
whew method of handwriting, in which the forearm edition of 1829, writes that he based his translation
and not the fingers controlled the script. His book on the original Carstairs publication in London of
was translated into French, Italian and Spanish, and 1814. It was Delpino’s intention to introduce in Italy
brought to America in 1830, where it met with such this simpler and speedier method of writing, to’ sup-
success that the method was thereafter referred to as plant the classic models which, as he says, were more
the American System. embroidery than actual script.

44 METODO || DI G. CARSTAIRS || FALSAMENTE CHIA-

MATO || METODO AMERICANO || ossiA || L’ARTE
DIMPARARE A SCRIVERE || 0 MIGLIORARE LA
SCRITTURA || in poche lezioni || TRADOTTO DAL-
LINGLESE || E CORREDATO DI 33 TAVOLE || NUO-
VAMENTE INCISE || PER CURA || DI FILIPPO DEL-
PINO. || ... Torino 1829 || DALLA TIPOGRAFIA DI
ALESSANDRO FONTANA || E si vende dai prin-
cipali Librai d'Italia. ||

In-8° (225x 130 mm). 45 leaves: 2 unnumbered

leaves for title and index; 32 leaves for text,
numbered pp. 1-64; 11 folded leaves with 33
numbered copper-engraved plates.
Leaf 1: Title-page. Leaf 2: Index. Pp. 1-64: A
very interesting text, where Mr. Delpino mentions
for the first time the translation of the important
« New Method » of writing, published in Lon-
don by Mr. Carstairs in 1814. On p. 9 the
Author gives the « Esame pubblico del Metodo
del Sig. Carstairs > followed by the explanation
of the various plates. The plates in fact give
technical demonstrations of the same method.
Not located in the Libraries consulted.
Encycl. Brit., IV, p. 617; Treccani, VII, p. 430.

24

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 LENZI, CARLO
45 CINQUANTA TAVOLE ALFABETICHE || che formano
un corso || di calligrafia || interessante a qua-
funque classe di persone || VENDIBILE DA ZEC-
cut || in Bologna Via Asse || Carlo Lenzi
Scrisse Giuseppe Lanzani incise || [ca. 1830]

Oblong (155 x 388 mm.). 51 numbered, copper- of calligraphic flourishes. Plate 2: « Viva la Pen-
engraved plates. The book, one of the most in- na», with a series of small engravings depict-
teresting in the style typical of the nineteenth ing Italy’s most significant artistic monuments
century, contains more than one hundred etchings, and buildings. Plates 3-6: Series of elementary
including a series of decorated initials and beau- penmanship exercises, with illustrations of the pen
tiful examples of alphabets. It is the work of and how to hold it. Plates 7-8: Italian alpha-
three engravers: G. Lanzani, Gaetano Canuti and bets. Plate 9: First of the series of vignettes in-
fF. Franceschini. While the numbering of the corporating the letters of the alphabet. Here the
plates after no. 37 is faulty, the total number fetters A and B help to form two humorous scenes.
corresponds perfectly to the description. Plate Plate 10: «La Fortuna», 8 verses by Meta-
1: Title-page, with title printed on background stasio. Plate 11: Two vignettes with the letters

Aa Bh CeDdBeFfGg MhkiSj KELI Ma NuOo

Fu Cire LearnnentIne

F Branceechind ine

FPFranceschini tre
€ and D, Plate 12: Calligraphic examples using Plate 44: Decorated initials K-O, and «I Tre
roper names. Plate 13: Letters E and F of the Tempi ». Plate 45: The numbers 7-8. Plate 46:
series. Plate 14: Additional proper names. Plate Decorated initials P-T, and «La Vecchiaja ».
15: Letters H and G. Plate 16: Alphabets in cap- Plate 47: The numbers 9-10, Plate 48: Decorated
itals and minuscules. Plate 17: Letters I and J initials U-Z, and « Regola dell’uomo sul vivere
Plate 18: Sonnet entitled « All’Italia ». Plate 19: sociale ». Plate 49: The numbers 11- 12, ending
Letters L and K. Plate 20: The « Pater Noster ». the series. Plate 50: The proverb « Colla Pa-
Plate 21: The letters M and N. Plate 22: The zienza e la Fatica Si Vince Tutto », surrounded
Ten Commandments. Plate 23: The letters O and by the English, French, Italian and German al-
P. Plate 24: Sacred verses with holy scene in phabets.
centre. Plate 25: Letters Q and R. Plate 26:
«La Musica». Plate 27: The letters S and T.
Plate 28; Gothic alphabets and numbers. Plate
29: The letters U and V. Plate 30: « La Dime-
stichezza'», with a series of Roman numerals.
Plate 30 bis: « Gotico Minuscolo » and verses by
P. da Lojano. Plate 31: The letters W and X.
Plate 32: Sonnet by Dante dedicated to ies
trice: «Tanto gentile e tanto onesta pare...
Plate 33: The letters Y and Z, last of the series.
Plate 34: Italian Gothic alphabets. Plate 35;
Diphthongs AE and OE incorporated in two vi-
gnettes. Plate 36: « Marche Numeri e Segni Mer-
cantili ». Plate 37: The abbreviation « & » in a
vignette. Plate 38: A decorated Gothic alphabet.
Plate 39: Beginning of the series of vignettes Location: RBM.
using numbers: nos. 1-2. Plate 40: First plate of
a series of decorated initials with the letters A-E,
plus other alphabets. Plate 41: The numbers 3-4. Not located in the American Libraries.
Plate 42: Decorated initials F-J, with other cal-
ligraphic examples. Plate 43: The numbers 5-6. Bonacini, n. 1049.

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 AUDIFREDI, ANGE
461A || CALLIGRAPHIE PROGRESSIVE || Ouvrage ||
Agréé par Sa Majesté || ou || cours COMPLET
DES ECRITURES || appelees || Anglaise, Coulée,
Batarde, Ronde et Gothique || accompagné des
Legons imprimées de [Auteur || ANGE aupI-
rREDI || gravée par || Jacques Arghinenti ||
Turin 1834 ||

Oblong folio (290 x 455 mm.). 28 leaves: 27 num- Plate: 15. « L’Ecriture Coulée » with instructions
bered, copper-engraved plates, plus 1 unnumbered and examples. Plate 16: « Position de la Main »
leaf (the last) in type. Original printed cover and « Taille de la Plume pour I'Ecriture Cou-
preserved. Plate 1: Title: «LA CALLIGRAPHIE lée et Batarde» with curved borders and il-
PROGRESSIVE || PAR || ANGE AUDIFREDI || PROFES- lustrations. Plates 17-22: Various letters of the al-
SEUR A TURIN... >» The lower portion of the page phabet with instructions and sample words and
has the calligraphically designed engraved figure phrases. Plate 23: « Tenue de la Main» and
of Phaethon driving the Chariot of the Sun. Plates instructions for preparation of the pen, with il-
2-8: Various examples of words and sentences lustrations and curved borders and designs.
in cursive script. In the following plates the Plates 24-26: Examples of « écriture ronde >».
author, who was professor of calligraphy in Plate 27: Gothic alphabet and series of decorated
Turin, begins a series of lessons addressed to initials. Last unnumbered leaf contains « Lezioni
his students. Plate 9: Alphabet, numbers, in- di Angelo Audifredi... a’ suoi Allievi >.
structions on « Position du Corps», the latter Plates 10, 11, 12, 22, 25 and 26 bear the signa-
enclosed within a curved line border. Plate 10: tures of the author and of the engraver, J. Ar-
« Tenue de la Main» and « Taille dune Plume ghinenti.
faible Pour TEcriture Anglaise», contained
within borders of curved lines and sprays of Not located in the Libraries consulted.
leaves. Plates 11-14: Additional letters of the
alphabet with sample words and _ sentences. Treccani, VIII, p. 430.

Thi(sabedefohijRlinnopqrStumry:
 CUPILLI, OTTAVIO
pATpruov0 METODO || E || COLLEZIONE MODERNA ||
pr || CARaTrerr || da Ottavio Cupilli Forli-
vese || Scritti ed Incisi || Per || L’arte dello
scrivere || 1837 ||
Oblong folio (510 x 395 mm.). One volume in four Nel 1838 || Scritti ed Incisi. || Plate 2: « Scrit-
parts, with original covers preserved. tura Francese... ». Plate 3: « Corsivo Francese ».
Part One: 12 numbered copper-engraved plates. Plate 4: Alphabet of capital letters and series of
Plate 1: Title-page: Nuovo Metodo || E || Col- maxims. Plate 5: « Carattere Rotondo ». Plate 6:
« Maiuscole ». Plate 7: « Carattere Rovesciato >.
lezione Moderna || di || cararreri || da Otta-
Plate 8: « Carattere Bastardo ».
vio Cupilli Forlivese || Scritti ed Incisi || per ||
L’Arte dello scrivere || 1837. || Plate 2: « Regole Part Four: 8 numbered copper-engraved plates.
di Calligrafia ». Plate 3: « Elementi del Carattere Plate 1: Title-page: ESEMPLARI MODERNI || del
Inglese ». Plate 4: « Altri Elementi del Carat- || Carattere Spagnuolo || e || diversi alfabeti di
tere Inglese...» Plate 5: « Alfabeto Minuscolo varie nazioni || Raccolti Scritti ed Incisi || da || Ot-
Inglese ». Plate 6: « Carattere Grande». Plate tavio Cupilli || Forli. || Plate 2: « Elementi del
7: « Carattere Mezzano ». Plate 8: « Lettere... » Carattere Spagnuolo », Plate 3: Series of writing
Plate 9: « Altro Mezzano ». Plate 10: « Carat- specimens and maxims enclosed within an oval
tere Piccolo». Plate 11: « Altro oe >. border composed of decorative capital letters.
Plate 12: « Sopraccarte di Lettere... Plate 4: « Alfabeti Germanici» with an oval
border of Gothic capitals. Plate 5: Gothic alpha-
Part Two: 8 numbered copper- ee lates. bets. Plate 6: nancy and Greek alphabets.
Plate 1: Title-page: Caratteri || rrarant [| dall’ Plate 7: Egyptian and Hindustani alphabets.
|| Ottavio Cupilli || Scritti || Ed Incisi. || Plate Plate 8: Armenian alphabets.
2: «Serittura Italiana...». Plate 3: « Elementi The plates of the four parts have calligraphic
del Carattere Italiano». Plates 4-5: Series of borders and all are engraved and signed by
maxims. Plate 6: « Lettere Iniziali... » Plates 7-8: Cupilli.
Series of maxims.
Part Three: 8 numbered copper-engraved plates. Location: BNCF.
Plate 1: Title-page: Modelli || del || caraTrere Not located in the American Libraries.
FRANCESE || dal || Forlivese Ottavio Coat || Not listed in the bibliographies consulted.

Sy ee gasesaoe D;
 D’ASTE, IPPOLITO
48 Modello di Calligrafia || Esecurro pa || IPPo-
LITO D'ASTE GENOVESE || DEDICATO || A S.S.R.M.
CARLO ALBERTO || RE DI SARDEGNA, DI CIPRO, DI
GERUSALEMME, ECC. ECC. ECC. || [Fleuron] ||
cENovA || Tipografia e Litografia PONTHENIER
|| (Con permissione) || [1840]

Oblong folio (262x340 mm.). 24 numbered Plate 7: Page dedicated to Lodovico Ariosto
leaves: 4 leaves in type (pp. 1-8), and 20 num- with an excerpt from Orlando Furioso. Plate 8:
bered plates. Leaf 1: Title-page. Leaves 2-4: « Elementi di Scrittura Italiana e Corsiva Fran-
Author's introduction: « Della Scrittura Inglese », cese ». Plate 9: « Italiana ». Plate 10: « Alfabeto
« Della Scrittura Italiana e Francese », « Della Italiano ». Plate 11: « Francese ». Plate 12: « Cor-
Scrittura Rotonda » and « Della Scrittura Gotica siva Francese Moderna ». Plate 13: « Rotonda »,
e Tedesca », ending with the Author’s signature with verses by Manzoni and Lamartine. Plate 14:
and dated Genova, 1 November 1840. Some of « Corsive, e Rotonde Francesi ». Plate 15: Exam-
the following plates are lithographically printed. les of various alphabets. Plate 16: « Gotico >.
Plate 1: Half-title: mopELio || pi CALLIGRAFIA Plate 17: « Tedesco ». Plate 18: « Stampatelli >.
|| contenente || i principi e gli alfabeti || di || Plate 19: « Saggio del proposto Modello di Calli-
QUALUNQUE MODERNA SCRITTURA || ESEGUITO || grafia». Plate 20: Full-page « Trompe-lceil >.
DA || IPPOLITO D’ASTE || IPPOLITO D'ASTE GENOVESE The beautiful etchings and lithographs are signed
INVENTO E SCRISSE || GRAVE PAR HONNORE E. VIDAL by: Fratelli Campo Antico; G. B. Campo Antico;
A Pisz. || Plate 2: Dedication to Carlo Alberto. C. Magrini; Casanova; Enr. Parmiani; Honoré
Plate 3: «Scrittura Inglese». Plate 4: « Al- Vidal; N. A.; Armanino.
fabeto delle minuscole Inglesi ». Plate 5: « Maiu-
scolo». Plate 6: Page dedicated to Vittorio Location: BRT; ICN.
Alfieri da Asti with a quotation from Saul. Bonacini, n. 459.
 ule

MARTUSCELLI, PASQUALE
- Martuscelli was a professor of calligraphy in Naples
during the early part of the 19th century. In the pref-
“ace to his book, Trattato di Calligrafia, Martuscelli
relates that he devoted his entire life’s work to the
study and teaching of writing, basing his book on the
results of his studies both in France and Italy.

49 TRATTATO || DI CALLIGRAFIA || ANALITICAMENTE

ESPOSTO, || E DEDICATO ||AI SUOI CARI ALLIEVI ||
pa || Pasquale Martuscelli || PRoFESSORE DI
CALLIGRAFIA NEL PRIMO COLLEGIO DELLA REALE
ACCADEMIA DI MARINA, || NEL REAL COLLEGIO
MILITARE, NEL REAL COLLEGIO DELLE SCUOLE
PIE, || NEL REAL COLLEGIO DI S.* M.* DI CARA-
VAGGIO, E NEL REALE ALBERGO DE’ POVERI, || NA-
POLI, || DALLA STAMPERIA E CARTIERA DEL FI-
BRENO || Largo S. Domenico Maggiore N.° 8. ||
1840.
WOK SBS
=a Rea
iy
f—L}
: Kee
In folio (518 x 345 mm.). 39 leaves: 14 in type,
numbered pp. 1-28; 25 copper-engraved plates,
jae
9 =

numbered 1-25.
Leaf 1: Title-page. Leaf 2: Dedication « A’ miei
cari Allievi ». Leaves 3-4: Preface. Leaves 5-14:
Author's treatise on calligraphy. Plate 1: Half-
title with the author’s portrait. Plate 2: Prepa- VOM FAA YE ee (
ration of the pen, with illustration. Plate 3: YY V XO
How to hold the knife and fingers, with illustra- KX [ Cae | Abo Wy eet
tion. Plate 4: Correct writing position, with il- :

SY IGM |
> i Z ;
lustration of the calligrapher at the writing table. 46 )
Plate 5: Beginner's instructions. Plate 6: « Mi-
nuscole bastarde ». Plate 7: « Grande bastardo ». : ~
Plate 8: «Mezzano bastardo». Plates 9-10: (9G CR ne \ ol?
Examples of « mezzano bastardo ». Plates 11-12: =e ais we
« Piccolo bastardo ». Plate 13: « Mezzano cor-
_ sivo». Plate 14: «Piccolo corsivo ». Plate 15:
« Piccolo bastardo, piccolo corsivo, piccolo ro-
tondo e piccolo inglese ». Plates 16-17: Capital ae Q OKS <
and minuscule alphabets. Plate 18: Capital and ‘ (a)
minuscule alphabets in Rotunda. Plate 19: Calli-
graphic examples. Plate 20: Alphabet « ingle-
se». Plates 21-22: Examples of «inglese ».
Plate 23: «Lettere maiuscole inglesi a mano
poggiata ». Plate 24: Capital and minuscule al-
phabets in English and German Gothic. Plate
25: Alphabet in -inscriptional letters. The signa-
ture of the engraver Brasseux figures in each
plate. All the calligraphic specimens are inter-
spersed with delicate knotted work and designs
of great elegance.

Location: BNN; KBB.

Not located in the American Libraries.

Bonacini, n. 1132; Cat. Borghese, I, n. 882.

125
 ANGELI, VITTORIO
50 ALBUM || CALLIGRAFICO. || Vv. ANGELI dis. ed
ine. || [ca. 1880]

Oblong folio (243x360 mm.). 64 unnumbered Samples of personal and business cards, with
copper-engraved plates. Plate 1: Title, with the borders made up of monograms. Plate 50: Sam-
words « Album Calligrafico » on a background ple title « Raccolta di Alfabeti di Diversi Ge-
design of leaves with an ample rectangular neri ». Plates 51-57: Decorated alphabet pattern-
border of flowers all around. Plates 2-8: Instruc- ed after Amphiareo. Plate 58: A very interesting
tions and examples «pel carattere inglese ». mounting of decorated business cards. Plates
Plates 9-10: Moral maxims in poetry and prose 59-64: Another Gothic alphabet, patterned after
in same style of writing. Plates 11-31: Calli- Cresci. The majority of the plates are signed
graphic examples, including a number of verses V. Angeli, and plates 3, 6, 9, 11, 12 and 7 an
and specimen words in both English and French. addition to Angeli’s signature have « F. Bosisio
Plates 32-36: Alphabet and sample sentences scrisse ». Plate 43, besides the signature V. Angeli,
in German Gothic. Plate 37: «Italiano» and has the inscription « Carlo Crespi, Editore >.
« Romano ». Plate 38: Hebrew and Greek al-
phabets. Plates 39-40: English Gothic. Plate 41: Location: BNCF.
Inscriptional lettering. Plate 42: Italian alphabet. Not located in the American Libraries.
Plates 43-46: Sample titles for life and works of
principal writers of prose and poetry of Italy,
France, England and Germany. Plates 47-49: Not listed in the bibliographies consulted.

PU es ;

Cor (AAS OH IUCT =

 _ ANDREOLI, ELIODORO
Andreoli was a noted Italian calligrapher living in
a
fe 19th century, when Umberto I of Savoy was King
To) Italy. He was the author of numerous writing-
books, although the « Raccolta di Epigrafi» we
describe is not mentioned in any of the sources
- examined.

ol RACCOLTA DI EPIGRAFI || SCRITTE ED INCISE ||

DAL PROF. ELIODORO ANDREOLI || DEDICATE || a
Sua Eccellenza il Comm. acHILLE BasILe || R.
Prefetto di Milano || miLANo - STAB. TIP. DU-
CATI, VARISCO & co. || [ca. 1885]

Oblong folio (303x425 mm.). 14 unnumbered for Antonio Canova. Plate 9: Epigraph for Benja-
lithographic plates. Plate 1: Title within a bor- min Franklin. Plate 10: Two epigraphs decorated
der of cherubs and dragons. Plate 2: Dedica- with flourishes and calligraphically designed ani-
tion to Comm. Achille Basile. Plate 3: « La Cal- mals, and a third design with the word « Omag-
ligrafia é la porta deglimpieghi», with calli- gio » of the author. Plate 11: Epitaph in mem-
graphic knotted work, cherubs and birds. Plate 4: ory of the martyrs of the Risorgimento. Plate 12:
Dedication to Umberto I, with several decorated Epitaph for Nicolo Tomaseo. Plate 13: Epigraph
initials and various styles of printed letters. Plate for Gerardo La Porta. Plate 14: Another dedica-
5: «Ai Gloriosi Soldati di Dogali», within a tion to Franklin.
round calligraphic border. Plate 6: A page com-
memorating the battle of Dogali, giving various Not located in the Libraries consulted.
calligraphic examples. Plate 7: Epitaph for a small
boy supported by three angels. Plate 8: Epigraph Treccani, VIII, pp. 428, 430.
 V Angel BS pn yod

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 ey
French School Seventeenth Century
uth

DESMOULINS, FRANCOIS
Desmoulins was an engraver and calligrapher at Lyon
during the, 17th century. Bénézit classifies him as
« publiciste » as well.

52LE || PARANIMPHE || DE || L'ESCRITURE RONDE || Desmoulins Escriuain || Le tout faict & graué
Financiere & jtalienne de || nouuelle formes par luy mesme || A Molins en bourbonnois Le
promptes Et de ||TRES BON SERVICES ||Enrichies second jo de januier || 1625 || a || Lyon ||
de diuers traictz des Inuentions || de frangois C. Sauary -et- B. gaultier .ex: ||

Oblong folio (277x385 mm.). 31 unnumbered, All of these plates are richly decorated and sev-
copper-engraved plates. Plate 1: Title-page: two eral contain original and finely executed figures
allegorical figures, Calligraphy and Arithmetic, at and designs. There are also some particularly in-
either side of an ornately decorated oval contain- teresting birds, animals and huntings scenes. We
ing the title. Plate 2: Sonnet by the author dedi- note a certain similarity in the decoration, and
cated to the Duc de Nivernois, enclosed within a especially in the entrelacs, between Desmoulins’
calligraphically designed border including the fig- writing-book and Italian books of the same period.
ures of two warriors and two griffons supporting All bibliographies give the Lyon 1625 edition as
the coat of arms of the Duke. Plate 3: Another the first, but M. De Nobele (n. 3087 of Cat. VI,
sonnet by the author dedicated to King Louis XIII, Groupe de Libraires Parisiens) lists an earlier,
with two warriors at either side of the portraits unknown issue: A Molins en Bourbonnois, le se-
of the King and the Queen Mother. « Fleur de cond jour de janvier 1615. This copy is now in
Lis » coat of arms at the top centre. All these the Newberry Library of Chicago.
figures are designed calligraphically. Plate 4: Al-
phabet «de la lettre double» and « des lettres
financiéres rondes ». Plates 5-30: Specimens of
various scripts, including Chancery cursive, for Location: BM; BNPARIS: Cabinet des Estampes
examples of moral judgments, historical opinions (26 leaves); ICN.
and royal orders. Plate 31: Alphabet of the « Let-
tre italienne formée », contained within a wide Bénézit, III, p. 213; Bonacini, n. 519; Cat. Val-
border of scroll designs. druche, n. 132; Dubois, pp. 111, 119.

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 BARBEDOR, LOUIS
Barbedor, born about 1589 at Paris, died in 1670.
One of the most important French calligraphers of
the 17th century, he was officially assigned the task
of writing the « lettres francaises », which were to
serve as models throughout the kingdom. Barbedor
is thus credited with having perfected the Ronde
script. His most famous work remains, however, « Les
Escritures financiére et italienne bastarde... », which
in-a short period of time was reprinted in several
editions.

53 LES ESCRITVRES || FINANCIERE ET ITALIENNE BA- Escrire. || AVEC PLVSIEVRS AVTRES ESCRITVRES
STARDE || DANS LEVR NAIFVETE. || OVVRAGE COM- ET ALPHABETS || de la pluspart des Nations du
POSE DE QVANTITE D'EXEMPLAIRES, || qui sont Monde. || Par || LOVIS BARBEDOR, || SECRETAIRE
Expeditions que lon escrit journellement au ORDINAIRE DE LA CHAMBRE DY ROY, || ET MAISTRE
Conseil, au Parlement, || en la Chambre des ESCRIVAIN IVRE A PARIS, || pour la Verification
Comptes, & chez les principaux Officiers de des Escritures & Signatures contestées. || SE
ce Royaume, || chacune Expedition escrite VENDENT A PARIS CHEZ L’AVTHEvR, || Au bout
du charactere conuenable a4 son sujet. || du Pont Sainct Michel deuant la Barriere
Tres-vtile & ceux qui aspirent aux emplois, des Sergens 4 'Enseigne du Manteau Royal ||
esquels il est requis de bien & diligemment M. DC. XLIX. || AVEC PRIVILEGE DU ROY. ||

>

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prone folio (310 x 396 mm.). 51 unnumbered 26-35: Additional examples of commercial letters
leaves: title-page, 2 leaves in type, 48 copper- and documents. Plates 36-37: Philosophical ob-
engraved plates. servations in « batarde » script. Plate 38: Proverbs
Leaf 1: Title-page in type. Leaf 2: « Au Lecteur » in Italian and French in four sections divided by
and « Extraict dv Privilege dv Roy ». Leaf 3: an alphabet of capital letters. Plate 39: Com-
Verses dedicated to the reader and to Barbedor. mercial letter surrounded by sweeping calligra-
The verses are disposed in two columns, with a phical flourishes. Plate 40: Text in Latin surround-
border of printers’ flowers, two decorated initials ed by triple rectangular border. Plate 41: Greek
and a cut of a basket of flowers adorning the page. text and alphabet. Plates 42-44: « Espagnolle
Plate 1: Latin verses in two columns enclosed ronde pleine » and two pages of Spanish text.
within an engraved frame, with the title « Scrip- Plate 45: « Lettre Angloise ». Plate 46: « Lettre
tura > at top centre. Plate 2: An alphabet of flamende ». Plate 47: « Lettre Allemande ». Plate
roman capitals surrounds a Latin prayer beginning 48: «Scriptvrae Variae ».
with a decorated initial. Plate 3: « L’Escriture
Italienne bastarde... ». Plate 4: « L’escriture finan-
ciere... >». Plate 5: Alphabet of minuscules and
capitals within a border of large capital letters.
Plates 6-24: Examples of public acts, petitions,
royal orders, inventory notes, etc. Plate 25: Var-
ious alphabets of minuscules and capitals sur-
rounded by a border of large capital letters. Plates Not located in the Libraries consulted.

‘SCRIPTVRA VARLE
CVM AL PHABETIS

HEBRAICA RABINICA SAMARITANA

OS DySI2 NT“ HTD mpm Se open pn dh pep “AT PUS* STA TY Xaray ATA We Sot

vay Tan Ay. sD EH

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2 DARN PAID TIP ME AAP per
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Wo 2d WILE, HDS: So Gr ilar G- yee. Pos i} Rar Mae Eqpgh utuncy pa. EhEugl wp puym-
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BARBEDOR»

133
 ies z 7 oe
Y

S4LES ECRITURES || FINANCIERS, ET ITALIENNE-RA-

STARDE |] DANS LEUR NATUREL || OUVRAGE COM-
POSE DE QUANTITE D'EXEMPLAIRES |! des Expe-
ditions dont on se sert dans toutes sortes d’Af-
faires, chacune écrite du caractere || convena-
ble & son sujet. |]Trés-utile & ceux qui aspirent
aux Emplois. || Avec DES ALPHABETS ET PIECES
DECRITURES, |!DES NATIONS ETRANGERES ||PAR ||
LOUIS BARBEDOR, || SECRETATRE ORDINAIRE DE LA
CHAMBRE pu ROY, || & Maitre Ecrivain Juré &
Paris. ||4 parts, || Chez perenne prevet, Graveur
2
du Roi, rué Saint Jacques, 4 l'Annonciation. ||
AVEC PRIVILEGE pu ROY. |! [ca. 1650]
eo
as Oblong folio (S18x411 mm.). 57 leaves: title window. Plates 42-46; Examples of « Batarde »,
page, 2 unnumbered leaves, 54 unnumbered en- « Espagnolle ronde pleine > and « Formée >. Plate
graved calligraphic plates. 47: « Lettre flamande ». Plate 48; « Lettre An-
Leaf 1: Title in type. Leaf 2: « Au Lecteur>. loise >. Plate 49; «Lettre Allemande >. Plate
Leaf 3: Full-page oval portrait of Barbedor en- : «Littera Romana cum Capitalibus >, with
wed by F. hakase: a rectangular border of capital letters and
late 1; Latin verses in two columns within an a decorated initial. Plate 51: « Italienne >, with
engra ved frame, with the title « Scriptura > at top alphabet of capitals in the form of a cross. Plate
_ centre, Plate 2: Alphabet in « Ecriture financiere >, 52: « Lettre Latine >, within a heavy ruled ree
framed by a border of large capital letters. Plate 3: ar border. Plate 53: « Lettre Greoque>.
« L’Ecriture financiere...» Plates 4-25: Various Plate 54: « Scripturae Variae cum Alphabetis >,
examples of public acts, petitions, commercial doc with the examples placed within six ruled squares,
uments, etc. Plate 26: Alphabet in « écriture The 54 plates were engraved by Cordier, and all
italienne bastarde >. Plate 27: « L’écriture Ita- (except the Qth) are signed by Barbedor.
lienne Bastarde >. Plates 28-40; Numerous exam- This copy has the name of the publisher Pierre
es of commercial documents, letters, accounts, Drevet printed on the title-page and at the end
etc. Plate 41: A Latin maxim within a circular bor- of the foreword « Aw lecteur >.
der containing eight ovals which in turn surround Location: BM; BNPARIS; VAML.
a central octagon. The ovals and the octagon con- Not located in the American Libraries.
tain additional maxims and philosophical thoughts,
the former in French and the latter in Latin. Cat. Valdruche, n. 116; Dubois, lll, 112;
The spaces between the ovals are finely decora- Encyel. Brit., IV, p. 616; Jansen, » pp. 66-67;
ted. and the whole gives the effect af a rose Treceani, VIII, p. 429.
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135
 DUVAL, NICOLAS
Nicolas Duval is given an important place in the his- of bdtarde script. According to Jansen (Essai sur
tory of French calligraphy. After Barbedor and Gobail- Vorigine de la Gravure...) Duval was «a _ great
le, who was brought to Paris by the French Minister of calligrapher, especially able in his decorations and
Finance, Colbert, Duval is credited with having fur- pen strokes ». A Book of Hours (Nouvelles Heures
ther perfected the « batarde » script. Duval was « se- gravée au burin, dédiées au Roi), engraved by
crétaire ordinaire de la chambre du roi, maitre écri- J. Mariette, was written by « N. Duval, secrétaire
vain juré, et expert pour les vérifications d’écriture ordinaire de la chambre du Roi ». This work bears no
a Paris ». An engraved portrait by Bonnart in 1670 date, but it is Jansen’s opinion that the N. Duval
(included in Duval’s writing-book) gives the calligra- in question might have been the son of the callig-
pher’s age as 85. Another Duval writing-book is men- rapher.
tioned: a small folio with various beautiful examples

55 LE TRESOR || DES NOVVELLES || Escritures de Chambre du Roy e M. Ecriuain || Juré e

Finances || et Italiennes bastardes || a La Expert A Paris pour les verifications d’Ecri-
MopE. || Auec les belles Instructions e || Se- tures. || Auec Priuilege du Roy. || Le Liure se
crets dudit Art || DEDIES || A SON ALTESSE || vend chez lAutheur deuant le grand Portail
MONSEIGNEUR || LE DVC DE || CARIGNAN || PAR de S.' Eustache. || m vend aussi vn petit liure
|| NICOLAS DvvaL || Secretaire Ordinaire de la d’Ecriture, et d’Ortographe, tres vtile. || [1670]

ee PUMP ee Cina Dey

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In folio (355 x 245 mm.). 22 unnumbered, copper- 15: Some philosophical thoughts enclosed within
,gengraved plates. Plate 1: Full-page portrait of the a double octagonal border surrounded by a circle
» author, engraved and signed by N. Bonnart 1670. of birds and animals. Two angels support a scroll
Plate 2: Title-page engraved in several different with the words «Dvvat scripsir». The lower
styles of letter, with calligraphic swirls and de- corners contain two hunters pointing their guns
signs, including two birds, each holding a quill. at a deer. Plate 16. Some additional thoughts
The words « LE TRESOoR » are in white on a black within an oval frame of leaves and flowers. Plate
background. Plate 3: Penmanship exercises « Grand 17: A letter decorated calligraphically. Plate 18:
mouvement » and « Petit mouvement ». Plate 4: A dedication by Duval addressed to the Duc de
« Alphabet mesuré » and « Alphabet en batarde Carignan. Plate 19: Two rectangles containing
courante ». Plates 5-6: Additional alphabets and more of the author’s thoughts and ideas, signed
examples of «batarde». Plates 7-13: Various « Duval» in decorated script. Plates 20-21:
examples of testimonials, royal orders, petitions, Examples of « écriture batarde ». Plate 22: Series
accounts, etc., in « écriture batarde ». Plate 12 is of capital letters in « batarde ».
signed « Duual scrips. en l'année 1670 ». These
plates are all richly decorated with knotted work
and calligraphically designed figures of birds and Location: BNPARIS; MnuU.
angels. Plate 14: A letter addressed to a young
lady asking the state of her health. The writing Bonacini, n. 562; Breitkopf, Il, p. 42; Cat. Val-
is enclosed within an oval supported at either side druche, n. 135; Dubois, p. 115; Jansen, II, pp. 67,
by two calligraphically designed griffons. Plate 70, 71, 179; Graesse, Suppl., p. 266.

xX
.) t
est OVVOTUTC an garde De ster Sxvorr

OYowir Cee dicuv det Pl omarion dex payew

e
’ . .

commplont au od. AH‘ Pouutaricouvuatiay praia. |

e e
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a : ye 3 3
CraWMorney ordiusauvry de HEAL quiere Ca dome 7

a . gpeinge7 arise Cine ques Toms fuy AUIS - We

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e

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=D
 ALLAIS de BEAULIEU,
JEAN-BAPTISTE
56 L’ART D'ECRIRE ||PAR ||ALAIS, ||A Parts, ||Chez
PAuteur, au coin de la rué du Harlay. ||
M. DC. LXxX || AVEC PRIVILEGE Dv ROY. ||

Small folio (331 x 225 mm.). 32 leaves: title-page, tions on Plate 16. Plate 18: « Ordre abregé ».
6 leaves (pp. 1-12) plus 1 unnumbered leaf, 24 Plate 19: « Table de la Liaison des lettres fran-
unnumbered copper-engraved plates. coises et batardes ». Plate 20: Observations on
Leaf 1; Title in type with large cut of basket of Plate 19, Plate 21: « Table de lOrdre qu’on doit
flowers in centre. Leaves 2-6: Dedication to garder dans lEcrit ». Plate 22: Observations on
Monsieur Bellinzani, Conseiiler du Roy, Author’s Plate 21. Plate 23: « Alfabet Francois » and « Al-
foreword and commentary on his work, « Obser- fabet Batard ». Plate 24: « Paralléle des Majeures
vations en forme de Maximes...» and « Extrait et des Capitales financiéres et batardes ».
du Privilege ». Leaf 7 (unnumbered): Series of Plates 10, 19, 22, 23 are signed by both Allais
Latin epigrams by Joannes Quartier. Plate 1: and the engraver Senault.
Calligraphic half-title decorated with flourishes Allais’ book is a valuable treatise on the art of
and knotted work. Plates 2-3: Instructions calligraphy. There are few purely ornamental
for good penmanship. Plates 4-5: «La Tail- decorations, major importance having been given
le de la Plume». Plates 6-7: «Table de la by the calligrapher to the instructions, illustra-
Disposition pour Ecrire ». Plates 8-9: « Secon- tions, tables of exercises and diagrams which
de Table de la Disposition ». Plate 10: « Advis explain the technique of a perfect French hand.
sur les Mains defectueuses ». Plate 11: « Effets It is interesting to note that the autograph of
genéraux de la plume... » Plate 12: « Observation Paillasson appears on the title-page.
sur les Effets...» Plate 13: « Traits ou Lignes ».
Plate 14: « Table des Lettres Radicales... » Plate Location: BNPARIS; KBB; MB.
15: «La maniére de former les 4 lettres radica-
les ». Plate 16: « Table de la Proportion Forme, Bonacini, n. 27; Cat. Valdruche, n. 109; Dubois, |
Situations, et Mouvemens... » Plate 17: Observa- p. 118.

3)

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138
aj DE BLEGNY, ESTIENNE
_57 LES || ELEMENS || ov || PREMIERES || INSTRUC-
__ “ftons || DE || La yeUNESSE || PAR ETIENNE DE
BLEGNY, Expert Juré || Ecrivain pour les Veri-
fications des || Ecritures contestées. || A PARIS,
|| Chez || cartes capri, rue des Massons,
vis-a-vis || le Cadran de Sorbone. || LA vEUVE
LE GRAS, a entrée de la Grand’ || Salle du Pa-
lais. || GUILLAUME CAVELIER, au quatriéme Pi-
lier || de la Grand’ Salle, & la Palme. || t’av-
TEUR, rué Saint André des Arcs. || M. DC. xct.
|| AVEC PRIVILEGE DE SA MAJESTE’. ||

In octavo (120 x 190 mm.). 218 leaves: 6 unnum-

bered leaves; 10 leaves (numbered pp. 1-20); 40
copper-engraved plates including author’s portrait,
162 leaves of text.
Leaf 1: Title-page. Leaves 2-6: Dedication « Aux
Peres de Famille », and « L’Auteur aux Jeunes
Gens ». Pp. 1-13: « La Bonne Métode d’Ecrire >.
Pp. 14-20: « De lEcriture Italienne Batarde, et
de la Maniere d’en former les Caracteres ».
The following 40 plates are divided into two
groups: the first composed of calligraphic speci-
mens and examples, the second containing var-
ious rules and instructions. Plate 1: Portrait
of the author. (In this copy inserted after
the Avis). Plate 2: Half-title in various types
of script with calligraphic decorations: NouVEAVx
|| Exemplaires d’Ecriture || d’une beauté || singu-
liar || ecrirs || PAR ESTIENNE || DE BLEGNY || Me.
Ecriuain 4 Paris || runt ExperT || Etably pour
Verifier Les Ecritures || Et Gravez par C.A. Be- ZN
rey. || Auec priuilege du Roy. || Plates 3-32: A ;
particularly lovely series of writing specimens i) OUMILCL. OUL tCCOLLLLD MA
adorned not only with calligraphic knotted work, ‘ww a at io,
but also with numerous original designs of ani- ab Se ee
mals, birds, cherubs, the Sun and the Moon. de dauant du Jomanne gE”
Plates 33-36: « Instructions morales d’un Pere a
son Fils ». Plates 37-40: « Regles de la Civilité ».
The last portion of the book (162 leaves) is com-
posed of an extensive treatise which includes « Les
Regles de l’Ortografe... », a Dictionary of words
(« Maniére d’écrire correctement divers mots >»),
a « Formulaire » giving examples of commercial
letters and documents, and Petit Essai de Lettres
Convenables a de jeunes gens ». Also included
are: « L’Aritmetique Facile, Avec Yaplication de
ses Regles aux divers sujets proposés pour exem-
ples » and «Table des Parties du Traité de lEcri-
ture ». The last page gives the « Extrait du Privi-
lege du Roy », registered March 12, 1691. Signed:
Aubauin, Sindic. « Achevé dimprimer pour la
premiére fois le 6 Septembre 1691 ».
Blegny’s book is valuable and_ interesting for
the number of subjects touched. He addresses
_ his work especially to the youth of his country,
and in addition to instructions on the art of
writing, includes chapters on arithmetic, spelling,
good manners and social customs.
Not located in the Libraries consulted. a
] 39
 French School Eighteenth Century

DUVAL, NICOLAS
Duval was active during the first half of the eight- The Bureau Académique d’Ecriture: A footnote to
eenth century, a period of reform and standardization the History of French Calligraphy.)
of the craft of handwriting throughout France. In Duval was the son of the eminent Nicolas Duval, one
1727, the new Statutes called for the formation of the of the 24 « anciens Experts de notre ville de Paris ».
Académie Royale d’écriture, whose members were to Duval fils was granted permission to reproduce his
lecture on writing, arithmetic, book-keeping and veri- father’s work as well as to revise and add to it on
fication. During this period one frequently finds men- the basis of his own vast experience in the field.
tion of the Coulée, which supplanted both the ronde The work described below is consequently the son’s
and the bdtarde, Although the coulée was already much more complete and « modern» contribution
used earlier, it was Nicolas Duval who caused it to to calligraphy, considered necessary to meet the re-
become popular and, in fact, by 1760 it had become quirements of the age in which he was living.
the dominant script in France. (James M. Wells:

58 PRATIQUE || UNIVERSELLE || DES || SCIENCES

LES PLUS NECESSAIRES || DANS LE COMMERCE,
ET ||A LA VIE CIVILE, ||AvEC || Une Explication
Methodique pour les Personnes de distinction
& autres, || qui desireront en avoir [intelli-
gence. || Enrichie de prés de deux cens Pieces
de Gravure. || DEDIEE || A S. A. S. MONSEIGNEUR
(No DUC DU MAINE, || Par nicoLas puvaL, l'un
e ses Secretaires. || TOME PREMIER. || [Fleu-
ron] a paris, || Chez ALEXIS-XAVIER-RENE
MESNIER, Libraire-Imprimeur, rué || Saint Se-
verin, au Soleil d’or, ou en sa Boutique au
Palais, Grand’Salle. || Mm. pcc. xxv. || AVEC aP-
PROBATION ET PRIVILEGE DV ROY. ||

In folio (394x255 mm.). 248 leaves, containing are several alphabets of capitals and minuscules,
introductory pages, various texts and copper- specimen words, pages of book-keeping, court
engraved plates. orders, etc. Leaves 45-47: DEMONSTRATION || DES
Leaf 1: Blank. Leaf 2: Half-title: pRaTIQuE || || LETTRES CAPITALES, || ROMAINES DROITES, ||
UNIVERSELLE || DES || SCIENCES || LES PLUS Suivant Tusage le plus communément pratiqué. ||
NECESSAIRES || DANS LE COMMERCE, || ET || A This title is then repeated and followed by the
LA VIE CIVILE. || Leaf 3: Superbly engraved au text. Leaves 48-49: Engraved plates of a geomet-
burin, portrait of Nicolas Duval, signed Colleri tically formed alphabet of capital letters. Leaf
pinxit. Leaf 4: Title-page, printed in red and 50: Engraved plate showing « Alphabet Brisé >
black. Leaf 5: Dedication to Monseigneur Le Duc and «Alphabet Romain Majeur et Mineur». Leaf
du Maine. Leaves 6-7: Avertissement. Leaf 8: 51: Text entitled « Autre description des Lettres
Engraved frontispiece, surrounded by a wide Capitales, en batarde mesurée ». Leaves 52-65:
etched decorative border. Leaves 9-22: TrRaITé || Engraved plates of various alphabets (Batarde,
suR || L’ECRITURE, || ou || NOUVELLES INSTRUC- Romain), including specimen words and phrases,
TIons || SUR LA MANIERE DE BIEN ECRIRE || les a sonnet, religious texts and philosophical obser-
differens caracteres qui sont en usage || en Fran- vation. Leaves 66-76: BATARDE || COULEE || DE
ce. || and: « Approbations », bearing the dates DIFFERENS CARACTERES. || ...and 10 engraved
April 15, 1725 and April 23, 1725. Leaf 23: plates of sample phrases and various official doc-
DESCRIPTION || DE || DIFFERENTES REGLES, || uments. Leaves 77-79: Text entitled: ALPHABET
.. Leaf 24; i headed by identical title appear- || CAPITAL ROMAIN, PANCHE || ov || ITALIQUE
ing on leaf 23. Leaves 25-44: 19 copper-engraved MESURE, || GEOMETRIQUEMENT, || ... followed by
plates of rules and specimens for writing « la lettre 2 engraved plates of a geometrically constructed
de finance », « Batarde » and « Ronde », plus 1 alphabet. Leaf 80: « Table des Matieres ». Leaf
leaf of text in type entitled: REMARQUEs || sUR || 81: MODELEs || D'ACTEs || QUI SE FONT LE PLUS
L'UTILITE || DE || L’ECRITURE RONDE, || ... Included COMMUNEMENT || DANS LE COMMERCE |! ... Leaf
140
 82: «Preliminaire », preceded by an_allegor- leaf 82. Leaves 148-149: avis || suR LA FOR-
_ “Yeal woodcut. Leaves 83-108: Text entitled: ME ET CONSTRUCTION || DEs || ETATS SUIVANTS. ||
MODELS || D’ACTEs || ... DANS LE COMMERCE || DE Leaves 150-153: Engraved plates of sample ac-
LA VIE civitE. || Leaves 109-114: mopEzs || counts, three of which are double and folded.
DARRETS || DU consEm. || and; OBSERVATIONS || Leaf 154: avis || sur || LES BORDEREAUx. || Leaves
suR || LES DIFFERENS || ARRETS, || DONT LES 155-156: Folded double-page engraved plates of
MODELS SUIVENT. || and: MopELs || DARRETS accounts, Leaf 157: «Table des Matieres ». Leaves
DU GRAND consEIL. || Leaf 115: «Table des 158-163: parties || CASUELLES, || DROIT DE MON-
Matieres ». Leaves 116-124: instruction || NEAGE, || ... and text. Leaf 164: « Table des Ma-
POUR || L'INTELLIGENCE || DE TOUT CE QUI CON- tieres ». Leaves 165-170: Tresor || rRoyar, ||
CERNE || ... FINANCE. || and text headed: ELE- CHAMBRE || Des || comptes. || followed by the
MENS, || DE FINANCE. || Leaves 125-129: con- text. Leaf 171: « Table des Matieres ». Leaves
sEILs || sur || LA MANIERE DE DRESSER || UN 172-173: oBsERVATION || suR || LES LETTRES. ||
COMPTE, || ... Leaves 130-131: Engraved plates of CONCERNANT || PLUSIEURS NATURES D’AFFAIRES, ||
sample accounts. Leaf 132: «Table des Ma- ... and text. Leaves 174-183: rnEecuew. || DE || ForR-
tieres ». Leaves 133-147: Fermes || ROYALES, MULES || DE || LETTRES, || DINFERIEUR A SUPE-
|| untes, || TRAITTES FORAINES, || ... AYDES ET RIEUR, || ... followed by the text. Leaves 184-189:
ENTREES, || ... TABAC, || POSTES, || ... and text COPIES DE DIFFERENTES LETTRES, || ... Leaf 190:
preceded by identical woodcut appearing on TABLE || DES || FORMULES || DE LETTRES MISSIVES.

6 ae

Aros SY
oeoS
a) I
SV
<x

0)
|| Leaves 191-246: picTIONAIRE || ETYMOLOGIQUE appeared in his father’s work, Le Tresor. In
|| zr || aisToriQUE || DES FINANCES, AYDES, GA- addition, one of the most elaborate of the plates
BELLES, || ... followed by the Dictionary itself. contained in the book of Duval pére has been
Leaves 247-248: PRIVILEGE DU ROI dated Novem- pasted on the recto of leaf 37 of the copy of
ber 24, 1719 and another dated February 13, the son’s work described here. There have also
1721. At the end there is an APPROBATION dated been added seven manuscript copies of various
October 14, 1725. The plates are signed by Berey, types of letter some of which derive from Tory’s
Bailleul and Puthaux. Champfleury.
Inserted at the end of the volume is an inter-
esting engraving, measuring 740x400 mm., de- Contemporary calf binding; shabby.
picting the Crucifixion of Jesus Christ. The cross
and the figure of Christ are designed calligraph-
ically, except for the head, hands and feet, which
are etched. Location: BN PARIS; ICN.
As indicated in the Privilege, Duval was granted
the right to reproduce some of the plates which Dubois, pp. 127-129.

Alphabet cK oman otUneur.

abedefehiklmnop
q rsituvxyzce
lawse a Monseyoneur eA
Of nia faa

PD
donner Audtance kavow}.
pour
i aot droitenvpuatice)

OUT. Leonor de(boisneCouyer cSergnew dM lewrnilleetoe ConvilleDemanteur

. C kean STacqued odmaury dedowvgny agent de(bangeDLDeffendeur

Ce
Benn 142
143
 Pex)B,
GLACHANT, FRANCOIS-MICHEL as is
59 NOUVEAU TRAITE || DECRITURE, || ENRICHI DE SOPRA
PLUSIEURS PIECES || GRAVEES D'APRES LE CHEF- By “ ie!
D CEUVRE || DE M. ROSSIGNOL; || Ou Yon trouve Oucc commlandouc cr ordout0®..—~

ses Démonstrations, selon les Principes || DE ait dtaw oe VM aaxtuniliay Lowi

M. ALAIS, || Et dans lequel lon combat de }
nouveaux Principes sur l’Art d’écrire; || Dédié PBaounavautwve§ ‘Jouuodssillor.—
& Monseigneur LE DUC DE CHARTRES, au- Jaguaw Oe Sous. ese ueisuae <=,
jourd’hui puc porxEans. || Par le Sieur cia- a
oe
CHANT, Expert, Ecrivain-Juré, & Maitre 4 Ecrire ce KH ounoropudonioffouriam
de Monseigneur ||LE Duc DE CHARTRES. ||NOU- Z ¥ es =}
commiudScuve dad G uatarc oa)
VELLE Eprt1on || Augmentée de plusieurs bel- . C

les Pieces de Graviires, entr’autres une Piece 3 Alecia ae fatwe (oe visinde
qui renferme || les Caracteres des Langues 2 :
Orientales. || [Flewron] || a paris, || Chez yEan- . io
AUGUSTIN GRANGE,
Z °
Libraire,
°
au
°
Palais. || Pied
Z
os5
(2
7D =~
a cc roalee
S

MDCCLIV. || AVEC APPROBATION ET PERMISSION. || ee. ve ony? 7

Gy Ael 4ae 2
A : PA >
eyjf ay ta§ oO,
In folio (413 x 285 mm.). 48 leaves: 18 numbered SICse a oes
leaves in type and 30 unnumbered copper-en- 4 Ve c
graved pint Leaf 1: Title-page. Leaf 2: Dedi- ed) C vO 26 Yz
cation to the Duke of Chartres. Leaf 3: Au Lec- @) Te /
teur. Leaves 4-18: Nouveau Traité d’Ecriture,
with instructions. On the verso of leaf 18, Appro-
bation dated 25 January 1741,
Roi » dated 21 August 1741 and registered 20 Sep-
« Privilege du
co
tember 1741. Plate 1: Half-title: L’Art d’écrire ||
Selon M." Rossignol. || Dedié 4 Monseigneur || ; +
Le Duc de Chartres. || Par Glachant || Expert AMpbabeis des langues Onientales,
Ecrivain Juré || A Paris. |] Se Vend chez la V.° ;On amis wmaperte des pferertles[armies Ae LaOek 1 ARIMAteeal
chague Lettre Mlajuscule avant da [Mlineure aur
de P. Fessard passage S.t Germain de |’Auxerrois Uphabets gui one des Majscules.
ou se trouve !Oeuvre complet de M." Rossignol.
|| AVEC APPROBATION ET PRIVILEGE DU ROY. LE GREC
M.DCC.xLIr ||. Plates 2-11: Examples of « écriture LiWGet MAE” Sadi tage. ads
batarde » and « écriture ronde » with instructions ther}Aa a Be Ty rh addy .Eece. 25 22
on these styles of writing. Plate 12: Sample page LaValewl 2 bay “g a cit tora
of book-keeping. Plates 13-14: Series of oriental LeNom.( Bais Thetaee Thin ota _Capa Lambda Myane By ss
alphabets: Greek, Hebrew, Syrian and Arabic. te rs OS54% IJKkx A,My. Nop.
Plates 15-18: Additional examples of writing in
aValeur| € oni long. i Cou qu, & m n

« batarde » and «ronde» with capital and mi- ue eG. = eS eer

nuscule alphabets. Plates 19-22 (double-page): EO =i Ooal Ilan. Peeg ke2.GCs 17 we
Decorated capital and minuscule alphabets with YeNomy(Uphlon Phin fl ‘chile Pi Gaxega
illustrations showing how to obtain correct pro- taFigurey Vy, Do 09. Xx. TFL G90 ae
portions. Plates 23-24: A sample receipt. Plates ea eee Wi Eo ee eee os
25-26: A decorative alphabet of capital letters. L'HEBREU o« CHALDEEN.
Plates 27-28: Various abbreviations with borders I Ba Onsagest
of calligraphic flourishes. Plates 29-30: Sample hi, badhiphe ce etgainen, pe,
of a royal order. see than,sin.chinrark.koph.
sith pebbainammeclsran-men. 7 Caph jd.kahbbethsarsee. heDal girdbet Aliph.

The plates are signed by Aubin, Baillieul, Lattré, i ae YR ed a °72? Os 12 JIA

Charpentier and Rossignol. a we aeee
2° Les Dyes
Longue, Bréeves Tres Bréves
Krmce.
onkesmeteoa ome. Tow Pathe on Pathak bas Shia ce 5 ois) dat ain tee e
eae ye Secale ne se Fhaph Pathe mzatipl Pathash aw
PU Taam aetiads «Pees eT ee
Shares
mShowa. 4 Went IPiKbate ape Me a SRS oe ae Se

Location: BNPARIS; KBB; ICN. POoPI DDD IH SSoYp

‘Pa
iar sss ph
ear nm lei thdwh dgh @

Bonacini, n. 689; Dubois, p. 141. Gaal pa : 1 BL Chany

once ya?
Lert PAILLASSON
Paillasson is considered one of the more important
__@French calligraphers of the 18th century. His sixteen
plates of specimens, giving the geometric proportions
for the formation of the three types of script used in
France (ronde, bdtarde and coulée), were included in
the Diderot-d’Alembert Encyclopedia, which counted
many of the most eminent men of the arts and
sciences of the time among its contributors. The
Encyclopedia remains to this day one of the most
interesting and valuable works of its kind.

60 L’Art d’Ecrire || réduit || a des démonstrations

vraies et || faciles, || avec || des Explications
claires || pour || Le Dictionnaire des Arts,
par || Paillasson Expert Ecrivain || Juré
1760 || [Extract from the « Encyclopédie, ou
dictionnaire raisonné...» by Diderot and
d’Alembert, 4 Livourne, 1751-1772.]

In folio (423
x 282 mm.), 25 leaves: 9 leaves in Bonacini, n. 1323; Cat. Valdruche, n. 160; Jansen,
type numbered pp. 1-17 (p. 18 is blank) and 16 II, pp. 70-71; Thieme-Becker, XXVI, p. 146; Trec-
copper-engraved plates, numbered 1-16. Pp. 1-17: cani, VIII, p. 429.
« Ecritures »; explanatory text and instructions
regarding each of the following calligraphic plates.
Plate 1: Title-page. Plate 2: «Art d’'Ecrire >.
Full page of illustrations: upper portion depicts
a recom with books and scrolls showing the Pl. W-

ES eae:
names of Paillasson, Barbedor and Rossignol;
the lower portion contains illustrations of
quills, ink stands, and various positions of ( osture vexkamaircl Vt
the hand. Plate 3: «Art dEcrire», signed ed @

Antonio Baratti s. The upper part is made

up of a very lovely engraving showing a
female figure seated at her writing table. The
lower portion shows the correct position of the
hand holding a quill, etc. Plate 4: Instructions
on how to prepare the pen and the various pro-
_ portions of the point. Plate 5: « Situations de
la Plume». Plate 6: « Des Figures Radicales ».
Plate 7: « Hauteur, Largeur et Pente des Ecri-
tures ». Plate 8: « Exercices Préparatoires ». Plate e outer differALEC eH ie
9: «Alphabets des Lettres Rondes ». Plate 10: —————————

« Alphabets des Lettres Batardes». Plate 11: A B c D E

|
F
« Alphabets des Lettres Coulées». Plate 12:
« Taille de la Plume 4 Traites ». Plate 13: « Let- 1

tres Capitales ». Plate 14: « Différentes Ecritu- 3 3

|
res de Rondes ». Plate 15: « Différentes Ecritures se

de Batardes ». Plate 16: « Différentes Ecritures ope

ie

de Coulées». Pp. 1-17 « Ecritures, Contenant

seize planches >.
Plates 5, 6, 7 and 13 bear the monogram VB;
plates 9, 10, 14, 15 and 16 are signed Valentina
Baratti.

Location: ICN; KBB; MnU; NNC.

The copies located refer only to those libraries

which possess the separate extract. The numerous
Libraries which have copies of the entire Diderot-
dAlembert Encyclopedia have not been listed.
 The following book of writing specimens is also an
extract from the Diderot-d’Alembert Encyclopedia. In
the pages of instructions thanks are extended to a
M. des Hauterayes for the compilation of the text and
for the greater part of the alphabets and specimens
included in the plates.

61 CARACTERES ET ALPHABETS || DE LANGUES MOR-

TES ET VIVANTES, ||CONTENANT VINGT-CINQ PLAN-
cHES. || [Extract from « Encyclopédie, ou dic-
tionnaire raisonné... » by Diderot and d’Alem-
bert, 4 Livourne, 1751-1772.]

In folio (423
x 282 mm.). 33 leaves: 8 leaves méniens ». Plate 14: «Alphabet Géorgien >.
in type numbered pp. 1-15 (p. 16 is blank) Plate 15: «Alphabet Grandan...». Plate 16:
and 25 copper-engraved plates, numbered 1-25. « Alphabet des Anciens Persans ». Plate 17:
Pp. 1-15: «Caracteres et Alphabets »: Intro- « Alphabet Nagrou ou Hanscret ». Plate 18:
duction and explanatory text covering each of « Alphabet Bengale ». Plate 19: « Alphabet Te-
the calligraphic plates that follow. Plates 1-2: longou ou Talenga ». Plate 20: « Alphabet Ta-
« Alphabets Orientaux Anciens ». Plate 3: « Al- moul ou Malabar ». Plate 21: « Alphabet Sia-
phabets Arabe». Plate 4: «Alphabet Arabe, mois » and « Alphabet Bali». Plate 22: « Alpha-
Ture, Persan ». Plate 5: « Alphabets Egyptien, bet... des Lamas du Thibet ou Boutan ». Plate 23:
Phénicien... ». Plate 6: Alphabet ou Sillabaire « Alphabet des Tartares Mouantcheoux >».
Ethiopien et Abissin ». Plate 7: « Alphabet Cophte Plate 24: « Alphabets Japonois ». Plate 25: « Clefs
ou Egyptien ». Plate 8: « Alphabets Hebreu, Sa- Chinoises >.
marit, Grec...». Plate 9: « Alphabet Islandois, An- Plates 1, 5, 8, 12, 22 are signed VB s. Plate 25
gli Saxon...». Plate 10: «Alphabets Russe Moder- is signed Valentina Baratti s.
ne. Russe Ancien... ». Plate 11: « Alphabets Orien-
taux Modernes ». Plates 12-13: « Alphabets Ar- Location: NNC.

PL, XXIV PL Xx

ALPHABETS JAPONOIS. Cuers CHINOISES.

Firo- Calta - Tmatto - Fire- Catta-»Jmatto- Firo- Catta-Jinatto By
Ord. Val. Canna, Canna. Canna. Ord Val. Ginna. Canna. Canna.

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ai
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;

BOURGOIN, CHARLE ALEXANDRE

62 Principes || Des Ecritures Frangaises || Ronde,
Batarde, Coulée, ||démontrés par ||Alexandre-
Bourgoin. || Gravés Sous Sa Direction par, ||
D’Avignon. || Paris. || A Paris chez Basset
rue S‘ Jacques N. 64. || [ca. 1805]

In folio (509x325 mm.). 28 leaves with 30 copper-

engraved plates.
Plate 1: Title-page with title engraved in various
types of script and a small portrait of the author
at the top. Around the portrait appear the words:
« Charle Alexandre Bourcow agé de 35 ans».
Plate 2; «Posture du Corps et Tenue de la
Plume », with several illustrations and a delight-
ful engraving depicting a family writing at a
table under the direction of a writing master.
Plate 3: «Coupes de la Plume», with illustra-
tions. Plate 4: Geometric proportions for the
formation of various letters. Plate 5: « Alphabets Q \ Co
Mesurés. Batarde. Ronde. Coulée ». Plate 6: Var- Co ae,
ious specimen words. Plate 7: Philosophical ob-
servations. Plate 8: Sample words with initial eg aeeneas i)
capital letters forming alphabet. Plate 9: Two SsSe
paragraphs of the author's philosophical thoughts. x =>
Plate 10: Alphabet of capital letters. Plates 11- we
16: Various examples of capital letters and mi- 4 tert monte autplac a
nuscules in the form of sample words, sentences LEY ‘Ge Fla ee a at
and philosophical observations. Plate 17: « Exer- | PO ee eee
“cice » for the formation of capitals. Plates 18-19:
Ae ate Sfeleva nine ©
Additional illustrative sentences. Plate 20: « ont A pee ik
pédiéé ». Plates 21-22: Various alphabets and & abadaer-Ue ee PLDs
paragraphs of illustrative text. Plate 23: An in-
teresting alphabet of capital letters. Plates 24-25; He Se a eee
Additional texts and specimens. Plate 26: « Ma-
jeures ». Plates 27-30 (pp. 1-4): « Principes des
écritures frangaises Ronde, Batarde, Coulée ».
Se
Se
eeeee
eancthe ]
In these four pages of text (which are finely en- | Zz ; ¥
graved, as Be aie plates of specimens) the cal- a, 4p2) Ae es © )ee 2)
ligrapher gives precise instructions for the forma-
° ® Se ie ° °
Nove.
CUM
7
LEAP AQMN ANLYEY, CILA
ee ~
RCA E At

tion of the various types of letter, referring often ee: hes poureacul counaibe De <=
to the preceding plates of specimens. C2z, ae y,
The plies of oalllpranie eeeyiles are all amply | (Oe as ae (muah i caer a
decorated with very fine calligraphic flourishes, ee hee
and some with the figures of birds and animals :
as well. Bourgoin’s hand is in the elegant style poe
of Paillasson and Decaroli and is ably interpreted
by the excellent engraver, D’Avignon. Bey eee SSS a Ca
( Sees Oa Oe an
|
Not listed in the bibliographies nor located in
ee aie
oa
Oe
ee Ge
;
the Libraries consulted. Poouogorns \_/ Seogpiso
147
Pa
 2 a +o In Lsgeere.es
ROLES
i

Odenes japanWw
Peer20V4
ye

as J,oo. yay ec
9 wn La’—~

Le, Set, 2?OMINEN

Sars
AMON _ 2s

BORED gre eeoe ‘c oes

ce bap OS
Dpton

oo Tf onsee Nouk YsLR

es 0b os> aie
=, ES,

CAD ‘Acie SealpsieD

148
> Sa See
| oN eee

es WW EEE UU
MUM COM
eC"
 * ARE
= i
es i
HUET DE TOSTES
63 Ecritures ||Expédiées financiéres Frangaises, ||
Suivies || d'un précis sur la tenue des livres
|| Par Huet, || Gravé par || Dizambourg || a
Paris. || A Paris chez Jean M.4 d’Estampes, rue
S.' Jean de Beauvais N.° 10. || [ca. 1808].

In folio (422x275 mm.). 22 numbered copper- «Commerce». Plate 17: « Définitions som-
engraved plates. Plate 1: Title in various styles maires... ». Plate 18: «Il y a cinq comptes géné-
of writing bordered by calligraphic knotted work. raux ». Plate 19: « Comptes généraux ». Plate 20:
Oval monogram top centre. Plate 2: « Posture « Carnet déchéances ». Plate 21: « Inventaire
du corps », an illustrative engraving, with girls général ». Plate 22: « Formules ».
and boys sitting at a table. Plate 3: « Tenue de All the plates have very fine decorations and
la plume ». Plate 4: « Situations et productions are signed by Huet and Dizambourg.
de la plume». Plate 5: « Exercices ». Plate 6:
« Alphabets Mineurs ». Plates 7-15: Series of
calligraphic examples and alphabets. Plate 16: Location: ICN.

C=
CULLOUNEEEE
MUMQCM Ube J
lL Mvuleclonda >
mculiounetiond..
UM UUW. CY.
SA SE
‘ —~lyyAa)
64 Principes || de tous les Genres d’écriture. ||
_ #Suivis || dun Abregé des regles de YOrtho-
graphe || par || Huet de Tostes || Professeur
décriture ||et anciennement de Langues latine
et francaise || Gravés par Dizambourg || 1814.
|| & Paris chez Jean M.4 d’Estampes, Rue
S.' Jean de Beauvais N.° 10. ||

In folio (394x255 mm.). 20 numbered copper-

engraved plates. Plate 1: Title-page has title
within a calligraphic border and contains an
engraved portrait of King Louis xvmi. Bottom
left and right-hand corners have two allegorical
figures. Plate 2: « Posture du Corps», with an
engraving depicting three seated figures writing
at a table. Plate 3: « Production de la plume >,
with illustrations. Plate 4: « Alphabets Mineurs >».
Plates 5-11: Various alphabets and calligraphic
specimens. Plate 12: A sample page from a book
of accounts. Plates 13-20: Chapters 1 to 10 « De
YOrtographe >.
All the plates have very elegant calligraphic dec-
orations and are signed by Huet and Dizambourg.

Not located in the Libraries consulted.

Cat. Valdruche, n. 148; Treccani, VIII, p. 430. |

/ td)
: i a hor Jtuationie deplane )
Savo we.

a face oblique envehaperr—)

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fo Lo)Bess: laplume ema-faceie Pie seinpode wat

prety —_
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popaneuar Ve loute-fa largeu—vesou a) fart lee ¢ iyie =
f () So
ee ee Desitontn "AYe aa echoes

is 102... plume 2d obiiaae: Loasqrie échinawr peede CexSituation

gun ee

aface ele irs produize majonelonss pepewdiculaure motte —

que cobutve te plume teuue a face tun dele oblique .

( 1. % TENGE ie /.
i » LF,
caveat, La plame tHt~ aE Aavewee - loci ellepres ae, uu dele =—=—=

=
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vAbeget ‘Jon be.

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pas he Loicsaetae hoale —
7
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151
 SANIER
65 RECUEIL COMPLET || DE CHIFFRES || A DEUX ET
TROIS LETTRES. || Composé et Dessiné par Sa-
NIER Pére et Gravé par Son Fils. || Lone
gram] || a paris, || Chez sBance Ainé, M.9
dEstampes, rue S.t Denis, N.° 214. || a LA
ROCHELLE, || Chez Auteur, sur le Quai, prés
la Grosse Horloge, N.° 29. || Déposé a la Bi-
bliothéque Impeériale. || [1811]

In octavo (241x195 mm.). 35 leaves: title,2 appear from plate 6 to the end. Plate 32 repro-
leaves in type and 32 numbered copper-engraved duces three monograms designed by Armand
plates. Very elegant title-page with beautiful cen- Desmarests and engraved by Charpentier in 1695,
tral monogram, followed by the « Avertissement » and three composed by Nicolas Verien, an
giving the explanation for the composition of engraver active in 1725.
monograms which can < varier 4 l’infini ». Plates
1-32: Series of monograms. The number of mono- Location: KBB.
grams totals more than 2300. On plate 5, which Not located in the American Libraries.
bears the « Alphabet Enlacé a l’Anglaise », there
is the date 1811. The « Chiffres 4 trois Lettres » Bonacini, n. 1607; Cat. Valdruche, n. 129.

ce
 Low Countries Sixteenth Century

PERRET, CLEMENT
66 EXERCITATIO ALPHABETICA ||NOVA ET VTILISSIMA; ante hac Edita. || CLEMENTIS PERRETI BRUXEL-
||VARYS EXPRESSA LINGVIS ET CHARACTERIBVS: || LANI, || Nundum. 18. annum egressi, Industria.
raris ornamentis, vmbris, & recessibus, || pic- || anno. || 1569 ||
ture, Architecturaeque, speciosa: || Nusquam

Oblong (265x195 mm.). 34 unnumbered copper- of the book is also represented by the extraordi-
engraved plates. Plate 1: Title-page. Plate 2: nary borders, composed of elaborate « cartouche »
Alphabet of capital letters. Plates 3-9: Religious designs, containing architectural motifs, grotesque
and philosophical thoughts in French. Plates 10-12: masks, fruits and flowers, cherubs, birds and
Various texts in Flemish. Plates 13-15: Religious animals. These engraved borders were the work
themes in English. Plates 16-18: Additional phil- of the famous artist, Cornelis de Hooghe.
osophical notes in French. Plates 19-21: Philo- The name of Jan Vredeman de Wriese is also
sophical themes in Italian. Plate 22: Religious text mentioned by several bibliographers in connection
in Italian, in reverse print (« Lettera Mancina »). with Perret’s book, in view of the similarity in
Plates 23-25; Passages in Spanish. Plate 26: style of these borders with others signed by de
Various examples of capital letters. Plates 27-28: Wriese. Two issues of this book appeared in the
German texts in Gothic script. Plates 29-30: same year, 1569. The first issue (our copy) does
Additional philosophical passages in Spanish. Plate not have the roman numerals (1-xxxum) at the
51; Text in Latin. Plate 32: A passage in Italian. top centre of the plates, nor the Privilege granted
Plate 33: Another text in Latin. Plate 34: A Latin to Plantin.
theme, with the script forming a labyrinthine
design. All the plates, in addition to the text, con- Location: AW; BM; DFo; ICN. (We do not
tain various specimens of letters and alphabets. know if the American copies are of the first or
The Exercitatio is one of the most famous books second issue.)
issued by the celebrated printer, Christopher Plan-
tin. Several well-known artists collaborated with Bonacini, n. 1404; Brunet, IV, 511; Plantin-Mo-
Perret, who composed the plates of calligraphic retus, n. 1883; Graesse, V, p. 207; Guilmard, I,
specimens in Chancery cursive, Gothic, Rotunda p. 487; Jansen, Il, p. 102; Thieme-Becker, XXVI,
and other types of letter. The exceptional value p. 436.

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™7* 155
 Low Countries Seventeenth Century

VAN DEN VELDE, JAN

One of the Netherlands’ most important calligraphers, several well-known writing-books and together with
Jan van den Velde was born in 1568 and died at his contemporary, Cornelius Boissens, is credited with
Rotterdam in 1623. He was the first of an illustrious having introduced and perfected a new trend in Dutch
family of artists, the most celebrated being his son, the calligraphy.
famous engraver and painter, Jan II. Jan I published

67 sprEcHEL || Der Schrijfkonste, || In den wel-

cken ghesien worden ||veelderhande Gheschriff-
ten {{met hare Fondementen ende ||onderrich-
tinghe wtghegeven || poor || Jan vanden
Velde Fransoysch School M: binnen || ver-
maerde Coopstadt Rotterdam. Anno 1605. ||

Oblong folio (388x295 mm.). 67 unnumbered Plates 3-4: Simple calligraphic exercises. Plate 5:
leaves containing 75 copper-engraved plates. In Illustration of forearm and hand holding a pen,
3 parts. Part 1: Portrait, title-page and 32 plates; showing the correct position for writing. Plates
Part 2: Title-page and 24 plates; Part 3: 8 leaves 6-13: Various texts in Flemish and French, in
with 16 plates. different types of script. Plates 14-15: Two dedi-
Part 1: Plate 1: Portrait of the calligrapher, cations in Flemish. Plate 16: Series of large cap-
signed I. Maetham fecit. Plate 2: Title-page, en- ital letters with calligraphic flourishes, resembling
graved by Maetham, with ornate baroque border the Author’s own signature. Plates 17-18: Addi-
composed of cartouche decorations, allegorical tional dedications in Flemish. Plate 19: Dedica-

=
figures, cherubs and garlands of fruits and flowers. tion in French. Plate 20: Dedication to Heer H.

CHARACTERES LATINLQVIBVS
Themata &diftata Preeceptorum in Gymnafys
celeriter excipere dilcent difcip wt.

LA
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156
 wae oh

Goltius in Flemish. Plate 21: Philosophical thought text in « mercantile » script. Plate 20: Dedication
jin French. Plate 22: Calligraphically designed in Spanish, with the date 1609. Plate 21: Dedi-
_ ~ sailing vessel dedicated to « Messieurs de lAdmi- cation in French. Plate 22: Another dedication
rauté... a Rotterdam ». Plate 23: Text in Flemish. in Spanish. Plates 23-24: Series of capital letters
Plates 24-26: Three dedications in French. Plates in various sizes. Plate 25: A series of illustrations
27-28: Philosophical texts in English. Plates explaining the preparation of the pen.
29-33; Texts and dedications in various scripts. Part 3: 16 plates (2 on each page), which appar-
Plate 34: Series of calligraphically designed cap- ently belong to the calligrapher’s Fondement-
ital letters. Boeck. Each plate contains specimens of the var-
Part 2: Artificiosissimum Grammatices. || Verum ious scripts used in different nations at that time.
nobilissimumque speculum, || ... Auctore Johanne The Spieghel’s format is of exceptional size. Van
Veldio, Antverpio || Cum Privilegio Rotterdami, den Velde’s book is a magnificent specimen,
An*. 1605. || not only with regard to the specific period it
Plate 1: Title-page, with an exceptionally fine and represents, but also in relationship to the entire
elegant calligraphic border. Plate 2: Illustration of history of calligraphy as an art. Of special note
hand holding the pen: « Voicy la forme metho- are the plates containing the Gothic letters,
dique. || Pour escrire lettre Italique. || Plate 3: showing unique mastery in the fusion of the
Dedication to « Johannem ab Oldenbarnevelt », script with the calligraphic decoration. In addi-
in Latin. Plate 4: Another dedication in Latin, tion the plates sometimes have ornately executed —
in cursive script. Plates 5-7: Dedications in Chan- ample borders of swirls and flourishes, designs
cery cursive, the last dated 1609, all with similar of animals, cherubs and a sailing vessel. The
calligraphic borders. Plate 8: « Characteres La- last. 16 plates (leaves 60-67) are more simply
tini, Qvibvs...». Plate 9: Dedication in French decorated, the type of calligraphic embellishment
to Philippe de Grasle. Plates 10-11: French texts depending upon the script used.
in Chancery cursive. Plate 12: Text in Flemish
in cursive script. Pate 13: Philosophical theme
in French. Plate 14: Dedication in Italian to
Henrico den Haen. Plate 15: Dedication in Location: ICN; KBB; ONBW; VAML.
French to Mgr. L’Heremite. Plate 16: Dedica-
tion in Italian to Dott. Giouanni Bontio. Plate 17:
Dedication in the form of a series of abbrevia- Bonacini, n. 1931; Brunet, V, 1116; Encycl. Brit.,
tions in Italian to Sig. Giouanni Waesbergio. IV, p. 616; Graesse, Suppl., p. 487; Jansen, II,
Plate 18: Series of abbreviations in French dedi- p. 102; Thieme-Becker, XXXIV, p. 201; Treccani,
cated to Mgr. C. Offermans. Plate 19: Dedication VIII, pp. 429, 430.

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158
 BOISSENS, CORNELIS
68 EXEMPLAREN. | Van veelderhande Neder ||
Jandsche Gheschriften ge || inventeert ende
ghesneeden DOOR CORNELJS BOJSSENS_ ||
[1603-1617].

Oblong (247 x 330 mm.). 19 unnumbered leaves: mp¢xvi. Leaves 18-19: Aphabet of decorated ini-
18 copper-engraved plates, including title-page, tial letters.
and 1 leaf (the 2nd) in type. Boissen’s writing-books were of major importance
Leaf 1: Title-page, with elaborate border of car- in the development and perfection of calligraphy
touche designs, allegorical figures, masks and cher- in the Netherlands during the latter part of the
ubs. The words « Vive la Plvme » appear in the 16th and early 17th centuries. His works are
lower border. Leaf 2: Dedication in type. Leaf 3: extremely rare, and although our copy of the
A lovely full-page engraving with an oval portrait Exemplaren is incomplete, it is nevertheless suf-
of the Author in the centre, surrounded by the ficient to demonstrate the calligrapher’s excellence
words: NIVS. TAT. XLIX. CORNELIUS BOISSE. in the field.
Leaves 4-16: Calligraphic specimens and abbre-
viations in various types of script. All the plates
are richly decorated’ with ample flourishes and Location: KBB.
delicately designed initial letters. The name of the Not located in the American Libraries.
calligrapher appears in each plate and several are
dated between the years 1603 and 1617. Leaf 17: © Bonacini, n. 230; Encycl. Brit., IV, p. 616; Trec-
Series of ornate capital letters, with the date: ANNo cani, VIII, p. 429.

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 Spanish School Eighteenth Century

OLOD, FR. LUIS DE

Padre Olod was a writing master in the school of Santa
Madrona de Barcelona in the 18th century. In 1768
he published the work entitled « Tratado del origen
y Arte de Escribir Bien ». Torio thought little of
Olod’s work and blamed it for being one of the reasons
for the decadence of the art of writing in Spain dur-
ing his lifetime:

69 TRATADO || DEL ORIGEN, || Y ARTE DE ESCRIBIR DEDICASE || AL REY NUESTRO SENoR ||DON CARLOS
BIEN, || ILUSTRADO || CON VEINTE, ¥ CINCO LA- TERCERO, || (QUE DIOS CUARDE.) || SU AUTOR ||
MINAS. || OBRA UTILISIMA || PARA QUE || ASI EL R. P. FR. LUIS DE OLOD BIBLIOTECARIO DEL
MAESTROS, COMO DISCIPULOS, || Y QUANTOS SE REAL || Convento de Santa Madrona de PP.
HALLAREN ESTUDIOSOS DE ESCRIBIR BIEN, || Capuchinos de Barcelona. || [Fleuron] con Las
puedan con facilidad aprender todas las for- LICENCIAS NECESARIAS. || BARCELONA: En la Im-
mas de Letras, que usamos || en Espafia mo- prenta de Carlos Sapera, Librero, en la calle
dernas, y antiguas: Griegas, Hebreas, Syria- de la Libreria. ||Afio 1768. ||A costa de Fran-
cas, || Caldeas, Samaritanas, Arabes, & c. || cisco Basols, y Bastons, Hermano del Autor. ||

[LETRAS QVEBRA DAS.

TRATADO <>

- DEL ORIGEN, Te
OY QUIN en
|
Se
VARS 3|
e074)
\Q
wey RCM
Cr
JOR
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Y ARTE DE ESCRIBIR BIEN.
ILUSTRADO BSB g Job
CON VEINTE, Y CINCO LAMINAS.
OBRA WO Tot LAS
i MA

PARA QUE

ASI MAESTROS, COMO DISCIPULOS,

Y QUANTOS SE HALLAREN ESTUDIOSOS DE ESCRIBIR BIEN,
puedan con facilidad aprender todas las formas de Letras , que ufamos
en Efpafia modernas , y antiguas: Griegas , Hebreas , Syriacas,
Caldeas , Samaritanas, Arabes, &c.

AL REY NUESTRO SENOR

DON CARLOS TERCERO,
( QUE DIOS GUARDE )

SU AUTOR
EL R. P. Fr. LUIS DE OLOD BIBLIOTECARIO DEL REAL
Convento de Santa Madrona de PP. Capuchinos de Barcelona,

Taig
=
Anew.
§ AES 7 D
TEN id NAY hee
RAGED OK AoSEO hen 6
CON LAS LICENCIAS NECESARIAS.
x é - a 5 SO RL Se ore
BARCELONA: En 1a Imprenta de Carlos Sapera, Librero, en la calle de la Libreria,
flo 1768. FR CUDOVICUS OLOPENSIS SCRIPSIT AN NO176:. \'
A cofla de Francifco Bafols ,y Baftons » Hermano del Autor. Petrova are:
=

161
In folio (300x205 mm.). 87 leaves: 6 unnum- alphabets and examples, with several of the plates
bered leaves for title and preliminaries: 58 leaves decorated with knotted work and figures of birds,
numbered pp. 1-116; 20 copper-engraved plates; animals and cherubs. Plate 18 gives a series of
3 unnumbered leaves. Leaf 1: Etched portrait of « Letras Qvebradas », very finely engraved inter-
the author engraved by Joan Petroschi, surrounded laced squares containing initial letters and one
by calligraphic designs which completely cover monogram. The last 3 leaves, printed on both
the page. Leaf 2: Title-page. Leaf 3: Calligraph- sides, include «Letra Redonda... Romanilla »,
ically designed portrait of Carlos Tercero Rey « Abecedario Griego, Hebreo, Syriaco, Caldeo,
de Espana on horseback, with dedication in Samaritano, Arabe ». The first of these 3 leaves
italic. Leaves 4-5: «Prologo» and Privileges is missing.
dated May 11, 1766, plus list of errata. Leaf 6:
Location: BM; BNPARIS; DLC; NNH; WaPS.
Index. Pp. 1-116: 44 chapters of explanatory
text in type. The following 20 calligraphic Bonacini, n. 1309; Cotarelo y Mori, II, n. 797;
plates, engraved by Petroschi, contain various Rico-Blanco, pp. 127-128.

@ e()9
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de
SERVIDORI, DOMINGO MARIA
Servidori was a native of Rome, but went to Spain Lam. Lol.
i 1754 under the protection of Charles III. In
1757 he was appointed « pintor de pluma»
King, and his pen drawings were in fact considered
to the ot, 1s Lui Crit UNE
excellent. In 1789 Servidori published his impor- ‘ if ieee
tant work on the “Arte de escribir” which was
intended to form and guide a school of calligraphy
at that time lacking in Spain. It is a monumental
work, a collection of the classic calligraphic examples

i a ee
then to be found in Italy, France and England
The book made Servidori famous, and although it
_ contains some errors, ably detected by Torio, it re-
mains to this day an important and useful source of
study. Oe a ware
70 REFLEXIONES || SOBRE LA VERDADERA ARTE || DE SteJUNDINCNUO do Sd.Cyst
ESCRIBIR: || POR EL ABATE || DON DOMINGO MA-
RIA DE SERVIDORI, || ROMANO. || TOMO PRIMERO. 6 TSO
|| CON SUPERIOR PERMISO. || MADRID: EN LA
IMPRENTA REAL. || ANO DE MDCCLXxxix. || Vo-
. LoMus D
lume II: tamunas ||de las Reflexiones || SoBRE
EL ARTE DE ESCRIBIR || del Abate D. Domingo
M.* || de Servidori. || maprm. || ANo DE Ti “1
MDCCLXXXIX, ||

OF, Y Wil
gan ige oC
Jules. THI C
&

Aabedfehijktmnoparsh
Ayuccyzeriousdlfiy
(cect
In folio (310
x 450 mm.). 2 volumes. Vol. I: 154
leaves: 2 unnumbered copper-engraved plates

KLMLMINOPQ
for frontispiece and dedication; 5 leaves in type
or title-page, prologue and index; 147 leaves,
numbered pp. 1-293, for text. Verso of last leaf
is unnumbered and contains Errata. Vol. II: 110.
copper-engraved plates, 2 unnumbered and 108
numbered 1-105, plus 1**, 2** and 86**.

RSTUVVAYZ
Vol. I: Leaf 1: Frontispiece signed Dominicus
Servidori inv. et del. - Gia. Mercoli Nip. Inc.,
with portrait of the author bottom centre. Leaf 2:
Title-page in type. Leaf 3: Dedication to Car-
los III, dated Madrid, April 1, 1788. A very lovely
calligraphically designed plate, signed Dominicus
C/ doo : ye jft- Servidori inv... Mansilla sc. Leaves 4-7: Prologue

og sina,
— OMMUMCUS VC CHTOUMON STU and Index. Pp. 1-293: A detailed and comprehen-
sive treatise dealing with the history, theory and
practice of calligraphy. Servidori based his Re-
x —S> ae

. flexiones on the best to be found in the field of

163
Boop (Tabla L]° ; a

fe
wv Moh, Nor Uf Senor \Nonsuur\c;

change
2 le auti/tad le Nou ge Z PE CortesMorena.
ral05 MLO Sie ampavo en misnibulaciones:que po
miamon quisisteponaate en asmanos etusenemigos suplicote
paper 0 1 OM OD BIT PEh deo bo MD 6 87 Bd
que mianima séa fauouciaa contnuamente para quenunca se
’ i MITT] TTT] apaute ait obunaeeerAio wien Seriores mbte Sy
UL ij Te ii)
; gil Hel fe)
guiencrest, sno quu
L

CO Wetimame Serrmo en tuamor: mirame senor

ab cbd erh ilmnopq
e ; ; oe v7 contus of, b clemencia faucrecedme senor mio, CT
| oes ey) CCL
Ld \ Cr

esndadesques os sence me ampatals quien sea connami

el vesseo y quanto “yosericemioIc)
: ’ ie 4 > ‘

Rendidamente Sup.Se digne confertrsela al Sup.de quien

CeRazon demostrativa por lagual se reconoce crada laregla fundamental y difmicion, gueda
sobre elladeo dela Pluma eb Setior Palomares. 3

SH
>>~<F
x
8
3K
A
Serondort: sertb! » Manallaa

calligraphy and printing in Spain, England, Italy scribes mentioned in Vol. I, although Servidori
and France, drawing freely upon the work of also included some excellent plates of his own.
past scribes as well as that of contemporaries. The scope and encyclopaedic qualities of this
The long list he gives of celebrated calligraphers work, and the collaboration of the best engravers
includes the following leading names: Allais, available in Spain, made Servidori’s Reflexiones
Amphiareo, Arrighi, Barbedor, Casanova, Cresci, enormously popular.
Curione, Duval, Fanti, Iciar, Ltcas, Morante,
Paillasson, Palatino, Palomares, Scalzini, Taglien- Red half morocco and marbled paper binding,
te, Torio, Van den Velde, and many more. with back in six section stamped in gold.
Vol. II: Plate 1: Engraved title-page, signed
Laur. a Mansilla, sc. Plate 2: « Varios Alfabetos Location: BM; BMV: (only second volume);
Mayusculos Sepulcrales... », with the inscription: BNPARIS; BPP; KBB; ICN; NcD; NN; NNC;
« Dominicus || Maria de Servidori || Romanus VAML.
scribebat || ANNO MDcCLxxxvu || aetatis suae Blanco, p. 269; Bonacini, n. 1699; Cotarelo y
63.» || There follow the 108 plates of various Mori, Il, n. 1079; Encycl. Brit., IV, p. 618; Rico-
alphabets and scripts, for the most part copies Blanco, pp. 164-165; Thieme-Becker, XXX, p. 528;
of specimens taken from the famous works of the Treccani, VIII, p. 430.

164 a
 TORIO DE LA RIVA y HERRERO,
TORCUATO
Torio was born in 1759 and died at Madrid in 1820.
He was a man of extensive culture who had studied
several languages, an uncommon accomplishment for a
master of calligraphy at that time. Torio, in addition to
being an excellent writing master, is above all praised
as an able and impartial critic and historian of the art,
credited with reforming the bad taste which he con-
sidered prevalent among the Spanish scribes of his
time. The bibliographer, Cotarelo y Mori, gives ex-
} tensive space to Torio in his important work on the
Spanish calligraphers. He also mentions a large folio
manuscript of 42 leaves, with a title similar to that
of the book described here, in possession of the Mar-
quis de Toca y Samio in 1916. Torio’s principal work
was the Arte de escribir, which was celebrated by his
contemporaries and makes a fundamental contribution
to the development of Spanish calligraphy.

LT st SLMS SH pais ae lenar deuusamente ARTE DE ESCRIBIR ||POR REGLAS Y CON MUESTRAS,
a wnuwn dd hombre, reitvarsit anil y pro-
feraoninle tna uludad fisia y real,partate || SEGUN LA DOCTRINA || DE LOS MEJORES AUTO-
dle de ayuda [gia avery gueyrgpurea al loe- RES || ANTIGUOS Y MODERNOS, EXTRANGEROS Y
bajo laaborreable ocunided, lp
igualmé- NACIONALES: || ACOMPANADO || DE UNOS PRIN-
fe del largo pelyroso,y detan diftid remedir-, CIPIOS DE ARITMETICA, || Gramatica y Orto-
durante gual,
0b no tendo sehora SU.ke
Geils, Ve depresa a las
pasones gue le 1 grafia Castellana, Urbanidad y varios sis- ||
SUL OOM lita coniinua yLY mesg Mert, temas para la formacion y ensefianza de los
principales || caractéres que se usan en Euro-
pa. || COMPUESTo || POR DON TORQUATO TOR{O
DE LA RIVA Y HERRERO, || Socio de nimero de
a Giyuate Tino de
la- la Real Sociedad econémica Matritense; ||
ab de_{797. Oficial del Archivo del Excelentisimo Sefior
Q
ct
)
Marques de Astorga, || Conde de Altamira;
oa
pe” (Os 2r= RS : Escritor de Privilegios, y Revisor de Letras ||
TH
CaF
T|
Lona eS Zs antiguas por S.M. || [Monogram] || mMaprip
MDCCXCvil. || EN LA IMPRENTA DE LA VIUDA DE
DON JOAQUIN IBARRA. ||CON LAS LICENCIAS NE-
t lpi lo
grabo.

CESARIAS. ||

Small folio (285 x 188 mm.). 285 leaves: 3 unnum-

bered leaves; 14 leaves numbered pp. 1-xxvm;
209 leaves numbered pp. 1-418; 58 copper-en-
graved plates numbered 1-58; 1 unnumbered leaf
for Errata.
Leaf 1: Engraved frontispiece by B. Ametller
after L. Paret. Leaf 2: Title-page in type. Leaf 3;
Portrait of Conde de Trastamara engraved by
Ametller after a design by Carrafa. Pp. 1-xxvut
contain the Privilege, Dedication to Conde de
Trastamara, Introduction, Alphabetical Index and
Table of Contents.
There follow 418 pages of text entitled: « Historia
del Arte de Escribir desde su origen hasta nues-
tros tiempos ». This is an extensive and detailed
treatise on the origin of the art of writing and
its development up to Torio’s day, with chapters
on the theory and teaching of calligraphy, Spanish
and foreign calligraphers, principles and rules of
arithmetic, etymology and social customs.
The 58 calligraphic plates, interspersed throughout
the text, were engraved by Asensio, Castro and
165
 76.

| AA Vises oe Res

_MOa GpQDg Re SiETUVM 2Nox Yy. LD,

2S

Q@Ye VIVHL GIST? 0.

DIBODEHGA IAM
Mi P2RITUY
1234 507 890. V2
YS
AaBbCcDdkEeF/{GgHbhli
97 KELI Mm Nn 00 Pp

We xas§
[es
D

O70 07 Aerie waulp”

 = Pe
.

_p Cangoiti. They demonstrate the geometric con-

~ Struction of the alphabet, proportions for various
sizes of script, and in addition contain several
specimens of different types of letter. Many plates
are beautifully decorated, and especially to be
noted is a series of delicately designed and em-
bellished initial letters.

Location: BAV; BPP; BM; BNPARIS; CU; ICN;

KBB; MH; MiU; NNC; NNH; ONBW.
Blanco, pp. 272-279; Bonacini, n. 1890; Brunet, V,
885; Cotarelo y Mori, Il, n. 1116; Encycl. Brit.,
IV, p. 618; Graesse, VIL, p- 174; Rico- Blanco,
p: 172; Treccani, VIII, pp. 429, 430.

| Da } ee ee TENT HIE
bth
Vospcotag Lip
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 Portuguese School Eighteenth Century

ARAUJO, ANTONIO JACINTHO DE

Araujo was a Portuguese calligrapher and, as we learn
from the title-page of his Arte de escrever, Professor
' of Writing and Arithmetic. He adds that he was
« Correspondent of the Imperial Academy of Science
in St. Petersburg ».

72 NOVA ARTE DE ESCREVER, || OFFERECIDA || Ao ||

PRINCIPE NOSSO SENHOR, || PARA INSTRUCGAO DA
MOCIDADE: || COMPOSTA || POR || ANTONIO JACIN-
THO DE ARAUJO, || Professor d’Escripta, e Arith-
metica, e Correspondente da Academia Im-
perial das Sciencias em S.' Petersbourgo. ||
[engraved coat of arms] || LisBoa || NA OFICINA
DE ANTONIO GOMES. || M. DCC. xc. Iv. || Com li-
- cenga da Real Meza da Commissao Geral sobre
o Exame, e Censura dos Livros. ||

Boe
4}
eee”

steardintei

168
 _ , Oblong folio (261 x 387 mm.). 38 leaves: 13 leaves Plates 18-22: Series of philosophical and moral
numbered pp. 1-25 (p. 26 is blank) and 25 maxims, all very pinately decorated. Plate 23:
numbered copper-engraved plates. Leaf 1: « Caracteres Romanos ». Plate 24: Series of cap-
Title in type. Leaf 2: Dedication. Leaves ital and minuscule Gothic alphabets, with Bind8
3-13: Discurso Preliminar Nova Arte de calligraphic border. Plate 25: Series of capital
Escrever, Indice. Twelve decorated initials en- letters, each on a square background of very
graved on a background of very beautiful ar- fine filigree work.
_ chitectural designs of buildings and squares adorn Plates 2-5 are signed <« Araujo inv. 1783 - Lucius
the treatise. Plate 1: Full-page allegorical figure sc. », Plates 6-8 bear the same signature, but the
representing Lisbon, signed « Hieronym. Barr. year 1784; plates 9-10 the year 1785; plate 11
inv.-Lucius sc. olisip. 1783 ». Plate 2: Half-title the year 1786; plates 12-14 the year 1787; plates
Pee
ee
ee in various styles of writing and decorated with 15-17 the year 1788; plate 18 the year 1789.
calligraphic flourishes. Plate 3: Series of writ- Plates 19-21 are signed <« Araujo inv. 1789 God. —
ing utensils and calligraphic decorations surround sc. letra ». Plate 22 is signed « Araujo inv. 1790
a central monogram. Plates 4-5: Tllustrations God. se.» Plates 23-25 again bear the names of
and instructions to prepare the quills for various Araujo and Lucius and the year 1790.
scripts. Plate 6: Illustration of correct method The copy of Araujo’s book listed by the Spanish
of holding the quill, surrounded by an ornate bibliographer, Don Emilio Cotarelo y Mori, is
double border of knotted work. Plates 7-9: Series composed of only the half-title and 21 plates. It
of penmanship exercises. Plates 10-12: Series of does not include the 13 leaves of preliminaries
alphabets which seem to be an original invention of having the title-page, dedication, the Author's
the author. Plate 13: Alphabet of capital letters preface and Index. The plates numbered 22-25
decorated calligraphically. Plate 14: Ninth lesson: are also missing from Cotarelo’s description.
« Bastardinho », surrounded by rectangular border
of flourishes and figures of birds. Plate 15: Tenth
Lesson, with ornate rectangular border. Plate 16:
Proportions and instructions on formation of letters Location: NN.
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175
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