8/12/2019 Anónimo - Ars moriendi [Fac.] (London, c.1491)

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hi

CORNELL

UNIVERSITY

LIBRARY

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a*0 moxknW

tfy&t iff to fage t$t ix<x\t foa to U%t

\ox t$t %&i%t of ntantus fowfe.

*Qp^o^ofi^ogtrctp^ of t%t unique ano perfect copg,

jptinUb aUut 1491

fig QXKfeiant £ajrtott ot QStynfteit de Q#or&e,

preserve* tn $e QSoifetan fiBrarj), ©rforfc

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15 (pieeabtffo, Q»

©ifotb: davenbon press Expositors, \\6 ftfgb Street

(price One {s&jWftitg ani licence

8/12/2019 Anónimo - Ars moriendi [Fac.] (London, c.1491)

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The original of this book is in

the Cornell University Library.

There are no known copyright restrictions in

the United States on the use of the text.

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ara montribi/

t$<xt is to \<>%t i$t cufi foi to *fyt

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prints a6ou* 1491

6g(?Oiffiattt Cajtfon or (JOgnften de Q#orte,

3e«urt, n?tf0 <*>v infrofcucforg note,

8p <£&waro QpfQgft'Qtkljofeott, (Hl.dR.,

Bonooit

15 (pteeabiffg, Q»

fflrfovD: ClavenSon press depositors, 116 1Mgb Street

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AV1^1

HORACE HART, PRINTER TO THE UNIVERSITY

8/12/2019 Anónimo - Ars moriendi [Fac.] (London, c.1491)

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Jnfrobucforj) noU

HIS is one of the first two issues of what,

I hope, will some day be known as ' the

Bodleian facsimile series.' That series is

meant to consist of faithful photographic

reproductions of some of the very rarest

and most interesting volumes, documents, and prints in

the Bodleian library, Oxford. And these reproductions

are meant to be issued at the lowest prices which will

allow a moderate profit, and in the largest numbers

which can easily be sold. Indeed, if they cannot be

sold at a profit, I should be content and happy to go on

issuing them so long as they did not involve absolute

loss.

They will, however, be mere reproductions, and not

annotated editions. I myself have no time whatever for

preparing such editions, and, even if they were prepared

by others, the cost of the editors' labour and of the

additional amount of printed matter would make it

impossible to issue them at the present low prices. It

is of far greater importance that they should go forth

unannotated into many hands than that they should go

forth annotated into few, nor is it altogether a disad-

vantage to have to think and investigate for oneself

instead of finding the thought and the investigation

8/12/2019 Anónimo - Ars moriendi [Fac.] (London, c.1491)

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already done for one by an editor. And lastly, if it be

thought that more elaborate editions would be of real

benefit, those editions will doubtless be supplied by

other writers when once the originals have become well

known.

There are, however, certain bibliographical facts with

which, in examining these works and inquiring into

their history, I make myself acquainted, and those facts

I purpose stating in introductory notes.

Of the present treatise no other copy is known. It

has no printer's name, date, or place, but is in Caxton's

no. 6 type, with four lines of heading at the beginning,

and some head-lines at the end, in the no. i type of

Wynken de Worde, Caxton's workman and successor.

Consequently it is either one of the last books printed

by Caxton or one of the first printed by Wynken de

Worde ; in either case it was probably issued in or

about 1491, the year of Caxton's death, and from

Caxton's house within the precincts of Westminster

Abbey.

The late Mr. William Blades has already described

the treatise, as no. 97 in the 2nd ed. of his ' Biography

and Typography of William Caxton': he also reprinted

it in 1869, but only to the number of 54 copies, and not

in facsimile.

Mr. Blades says that it 'appears to be a translation

from the Latin, and doubtless by Caxton himself

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who was certainly the author of various of the trans-

lations which he printed. ' No other copy, however/

says Mr. Blades, 'manuscript or printed, in Latin or

any other language, appears to be known,' and the

treatise does not answer to any of the three printed

Latin treatises known as 'Ars moriendi' which the

Bodleian possesses. There may nevertheless have

been many more works so entitled ; the heading of the

treatise suggests that it is a translation of a work

already known by a particular name ; the name given is

Latin ; and occasional turns of expression—on the first

page, for example—suggest a Latin original for parts at

least.

One or two points in the printing of the original call

for notice. The type is very ragged. Parts also of

some of the letters are worn away : especially have the

tails of the y's suffered. And many little specks occur,

sometimes in the middle of the loop of a letter. All

these features are very marked in the facsimile.

' Woodcut initials to chapters,' says Mr. Blades ; and

on p. 135 he writes, ' The first use of woodcut initials

was in 1484, after which year they were never (except

on rare occasions when a sort ran short) omitted.' By

reference to what goes before he will be found to mean

that on such rare occasions the former practice of having

an initial painted in by hand was revived : he does not

seem anywhere to acknowledge the use of metal initials

by Caxton.

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Mr. Blades might have been able to give convincing

reasons why all the initials to chapters should be con-

sidered woodcut: but to me it is not by any means

plain that all of them are, and I call attention to the

point as one suitable for discussion.

The treatise consists of a single 'gathering' of 8

leaves, the first four of which are signed Qlj Qjltj (&iij

and Qliiij. The ' chain-lines ' in the paper run across,

and the paper-maker's device goes through the middle

of the backs. And these are the signs of a book

printed in quarto, that is, on sheets twice folded and

so forming 4 leaves. Consequently the treatise must

have been struck off on two quarto sheets'

gatheredone within another. And accordingly it has two distinct

paper-maker's devices, one passing through the back of

QUtj and t>t, and the other in the back of QCtttj (and

doubtless reaching over into (^ij as well, only that the

book has been re-bound too tightly for it to be visible).

I have not only made no attempt to imitate the paper

of the original, but have caused the facsimile to be

printed on paper of which every single leaf bears an

obviously modern device—in order that no rogue may

try to palm off on any inexperienced person a made up

facsimile copy as an original production of Caxton or

Wynken de Worde.

The Bodleian copy has been very badly and very

unevenly cut down. The lower half of the signature to

(§,ij has been ploughed off. So has part of a manuscript

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note on the left margin of the last page: this note

apparently read

The ySftene

degrees of

charyte

or something within a letter or two of these words ; but

all the italicized letters have been cut off.

I have printed the facsimile on the smallest-sized

paper which, Mr. E. Gordon Duff tells me, we can be

certain that Caxton used, that is, paper of which the

full sheet measures 18 inches by 12. Mr. Blades states

that Caxton sometimes used sheets of 16 inches by 11,

but Mr. Duff in addition to his own experience has

had the advantage of seeing the late Mr. Bradshaw's

notes on the subject, and Mr. Blades's measurement

may have been estimated from cut down specimens of

Caxton's press, such as the one here reproduced.

The Bodleian copy is part of the valuable collection

bequeathed to the library by the well-known antiquary,

ThomasTanner, Bishop of St. Asaph, who died in

1735.The merit of having discovered it to be a product of the

Caxton press belongs to that great master in the know-

ledge of 15th century types, the late Henry Bradshaw,

librarian of Cambridge University library.

1 Oct. 1891

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Manufactured by

•AYUKDMoiine

f *. N.Y.Stockton, Calif.

Cornell University Library

Z241 .A8 1891

Ars moriendi : that is to save the craft

olin

3 1924 029 496 134

Date Due

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