Adventure and Art

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Entry 50, Figure 27.
Cato, Marcus Porcius, 234-149 B.C.
Libri de re rustica: M. Cantonis Lib. 1.
Paris: Robert Estienne, 1543.
Actual size of block 5.4 x 4.0 cm.

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Entry 51, Figure 28.

Trissino, Giovanni Giorgio (1478-1550).
La poetica di M. Ciò Van Giorgio Trissino.
Vicenza: Tolomeo Ianiculo, 1529.
Actual size oftext block 16 x 9.9 cm.

76

50. Cato, Marcus Porcius (234-149 B.c.).
Libri de re rustica: M. Catonis Lib. I: M.
Terrentii Varronis Lib. Ili
[ed. Pietro Vettori]. Paris:
Robert Estienne, 17 July 1543. 8".

Printed in Paris by Robert Estienne
(1503P-1559) in 1543. Robert and his
son, Henri II (1531-98), are the two
preeminent scholar-printers of their
century (Steinberg, 86). No less
revered than Aldus's anchor and dol¬
phin device, the Estienne olive tree,
with its biblical inscription, noli altum
sapere, sed timet (be not high-minded,
but fear) urges wonder, humility, and
devotion, suggesting that greater
learning reveals with equal clarity the
overawing majesty of the Creator, the
mysterium tremendum, and the true
insignificance of a man. Like many
of the classical texts of its time,
Estienne's De agricultura appears
completely in italic.

The Rutgers copy bound in limp
vellum, bearing ink stamps from Hox-
ton Academy and Highbury College;
acquired for the Libraries with Federal
Funds; 213805.

Reference: Adams S817

51. Trissino, Giovanni Giorgio
(1478-1550).

La poetica di M. Gio Van Giorgio Trissino.
Vicenza: Tolomeo Ianiculo,
April 1529. 4°.

Trissino's poetry, together with his
epistolary writings on the Italian
language and his translation of

The First One Hundred Years of Printing

Dante's De vulgari eloquentia (the editio princeps of this
important work), comprise the Opere, printed by
Tolommeojanicolo (fl. 1524-1548), in 1529, in the
graceful italic of the calligrapher, Ludovico degli
Arrighi. Janicolo, or perhaps Trissino, purchased it
from Arrighi sometime after 1525. A Roman writing-
master of exceptional gifts, Arrighi modified the cur¬
sive letters used in the Papal Chancery in a publication
he designed to teach calligraphy to laymen.These
were in turn cut by the goldsmith, Lautizio Perugino
(fi. 1524-1525).Their delicacy and quirky expressive¬
ness (note the interpolation of the Greek omega, into
a Latin alphabet) exercised a strong influence on the
subsequent development of italic type, both in Italy
and abroad, and survives in slightly modified form in
the fine printing of our own time.

Reference: Adams T955

Printing's Spread Beyond
tne Mainstream

Spain

52. [Albert, Miguel, ed.]

Repertorium de pravi tate haereticorum.

Valencia: [Miguel Albert], 16 September 1494.

Chancery F°.

The "Repertory on the Depravity of Heretics" was an
official reference work of the Office of the Inquisition
in Spain, an alphabetical dictionary of legal topics for
the guidance of inquisitors. Like most medieval law
books, both manuscript and printed, the text is highly
abbreviated, and thus aimed at users who had formal
training in civil and canon law. The colophon names
Miguel Albert of Valencia, doctor of both laws, as the
editor. Records in the archives of Valencia show that
Dr. Albert contracted with an official of the Inquisi¬
tion in Valencia, Juan Gómez de Carrion, to share the