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1

9.6 In-line printed manicules link marginal notes to
words in the text. This is taken from a work printed by Albrecht Kunne in
Memmingen in 1490 with the snappy title Repetitio caphuli “Omnis utriusque
sexus”depoenitentiis etremissionibus, or, roughly, “Lecture on the Canon ‘Omnis
utriusque sexus’; On [the Sacrament of] Penance and the Remission [of Sins].”

author or editor. In one farcical episode, the “Great Bible” commis¬
sioned by King Henry VIII of England-the Bible’s first authorized
English translation-had all the annotations struck from its second
edition, leaving manicules stranded throughout the text ^ without

THE MANICULE ^ 181

pxiespoitdmg notes. A sheepish preface directed readers ^ tas"

„lhelp if they could not understand a passage thus marked.

The printed manicule grew steadily m0[ec0™™°“

Wishers moved to protect the integrity of their wort. In some

*deS,tet°6"' ;e„rire margins were sacrificed to

pul

guide readers to the “correct” interpretation of a work

^ _ . • fn

Ararne an all-consuming passion:

uotesthat rammed home the official line, leaving little or no room tor

the reader's own critical judgments.** Bythe nineteenth century ^
hand-crafted manicule was out on
its implacable printed counterpart

! its ear, pushed into irrelevance by

* * *

r ven as the spat between printed and hand-drawn manicules
b taged on in the margins, printers began to deploy then nea y
cut fists outside their usual role as reference marks.

The so-called incunable period (from the Latin шишЬиІа.ІО,
Wie" or -swaddling clothes") that followed the arriva of prmt-
ing saw a variety of experiments in book and page layout) Perhap
the most jarring omission from early printed books was the lack of a
proper title page: the closes, analogous feature was the colophon
. single leaf a. the back of the book that described .ts provenne
to a greater or lesser degree, including details such as tts ...le, date
sod place of its printing-.hough curiously enough, almost never.
author.51 Over time the colophon was increasingly transpose о
front of the book to greet the reader as he or she opened it, and became
in the process a playground for typographic experimentation. The
haphazard contents of these early title pages could be surrounded by
a decorative woodcut border or surmounted by an engraved illustra¬
tion, but by the second half of the sixteenth century, printers had
reached an unspoken accord that other than illustrations forming
part of the work itself, the only characters to appear on their pages