Chapter XVII: Prologue: Of Jean De Vignay to His French Translation (a.d. 1360) of (4)

The first leaf is wanting in the only copy known. The second recto commences with space for a 2-line initial, with director,

~p~ ~Rima aut mihi tunc aurora refulsit &
horridis polo fugientibz vmbris celo ru
bescente die vtcunqz a nocte distinxi . tuc quo~

followed, on the same page, by--

~Lectio sexta~

On the verso is--

~Lectioties de Omel’ . p octauas prima die~

giving the lessons for the week. On the fourth recto is--

~Ad missam Jntroitus~

The sixth verso begins--

~Oratio sanctissimi . d. n. Sixti pape quarti~

The Text ends on the seventh verso, two lines short of a full page,

~et exultatioe ppetua renascamur . Per xpm
dominu nostru~

The only EXISTING COPY is in the British Museum (C. 21. c), and, although wanting the first leaf, has the final blank. Measurement, 8⅜ × 5⅝ inches.

NO. 52.--SEX PERELEGANTISSIMÆ EPISTOLÆ PER PETRUM CARMELIANUM
EMENDATÆ. _Quarto. Per Willelmum Caxton. In Westmonasterio.
(1483.)_

COLLATION.--~a b c~ are 4ns = 24 leaves, of which ~a j~ is blank.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The types used are Nos. 4 and 4*. The lines, which are spaced to an even length, measure 3¼ inches, and there are 26 to a page. Without catchwords or folios. The whole appearance of the print is like the “Servitium de Visitatione” and the “Order of Chivalry.”

The use of types 4 and 4* together points unmistakably to 1483 as the period of issue; and this date, gathered from the typographical particulars only, is completely verified by the letters themselves, the dates of which range from December 11th, 1482, to February, 1483.

The Text begins on ~a ij~ recto, with an introduction which occupies three pages.

~h~ ~Ercules dux Ferrarie in eo ducatu
venetoru armis constitutus paulo post
vetustissimus eorum violat immunitates /
init foedus cum Therdinando Rege Nea-
politano Mediolanensium duce / et floren-
tinorum repu / quod per veneta foedor’ no
licebat / Ueneti propria reposcunt ⸝ ille ter-
giuersari ⸝ Xystus pontifex quartus / relic-
Therdinadi foed &c.~

The six letters begin on sig. ~a iij~ verso. On ~c~ 8 recto is the following colophon:--

~Finiunt sex p’elegantissime epistole /
quarum tris a summo Pontifice Sixto
Quarto et Sacro Cardinalium Collegio
ad Jllustrissimum Uenetiarum ducem
Joannem Mocenigum totidemqz ab ipso
Duce ad eundem Pontificem et Cardina-
les / ob Ferrariense bellum susceptum / con-
scripte sunt / Jmpresse per willelmum Cax-
ton / et diligenter emendate per Petrum
Camelianu Poetar’ Laureatum in West-
monasterio~

Beneath this is a Latin quatrain, beginning

~Eloquii cultor,~

followed by

~Jnterpretatio magnarum litterarum punctatarum parua-
rumque.~

The Text ends with 23 lines on the verso of the same leaf.

REMARKS.--These six letters passed between the Sacred College of Cardinals on one side and the Doge of Venice on the other, the subject being the necessity of closing the war with the City of Ferrara.

Petrus Carmelianus, the editor of these letters, is noticed by Mr. Gairdner, in his preface to the “Memorials of King Henry the Seventh,” published in 1858, for the Master of the Rolls, as having been in England from the time of Edward the Fourth. He may, therefore, have personally employed Caxton to print his “Sex Epistolæ.” The title “Brixiensis” sometimes attached to his name shows that he was a native of the town of Brescia. He seems to have taken an interest in educational matters, as verses by him to John Anwykyl and to William Waynflete, Bishop of Winchester, are prefixed to the “Compendium totius grammaticæ,” printed at Oxford about 1482-83. Some more of his poetry is printed in the Oxford “Phalaris” of 1485. Tanner assigns to Carmelianus the following promotions--Rector of St. George’s, Southwark, 1490; Prebend of York, 1498; Archdeacon of Gloucester, 1511; Prebend of London, 1519. Being in such favour, no wonder that he waxed rich, and that when, in 1522, “an annual grant was made by the Spirituality for the King’s personal expenses in France for the recovery of the Crown,” the name of “Mr. Petrus Carmelianus” appears among the “Spiritual Persons” for the handsome sum of £333 6_s._ 8_d._ In the Calendar of State Papers, where he is called “Latin Secretary of King Henry the Seventh,” mention is made of a letter sent to him from Ferdinand and Isabella of Spain, thanking him for his services, and promising him favour and reward. On the projected marriage of Prince Charles of Castile with the Princess Mary of England he wrote a poem in Latin, printed by Pynson about 1514, of which a unique copy is in the Grenville Library (see _Archæologia_, vol. xviii.) In the same library is a manuscript poem on the birth of the Prince of Wales (1486), another copy, beautifully illuminated, being among the royal MSS. in the British Museum. Both are evidently in the handwriting of Carmelianus, the latter being his presentation copy to the king. The argument of this poem is so characteristic of the age that it is worth noting. Almighty God, compassionating the miserable state of England lacerated with civil war, convoked a meeting of the Saints in Heaven to ask their opinions as to how the long-standing dispute between the Houses of York and Lancaster might be composed. The saints reply that, if the Omniscient Deity cared for any of their counsels, no one was better qualified to state how the wars might be terminated than King Henry the Sixth (already in heaven), who knew the country and the causes of dissension, and they recommended that he should be appealed to. Henry is accordingly called upon to reply to the Supreme Being, and proposes that the two houses should be united so as to be one house, for which an opportunity then offered by the marriage of the Earl of Richmond with the Princess Elizabeth. The Deity approves and decrees its execution, the marriage takes place, and the poem terminates with an exhortation to England to rejoice on account of the prince’s birth. Carmelianus died August 18th, 1527; John de Giglis, Bishop of Worcester, in 1497, his contemporary and countryman, also employed Caxton to print Indulgences.

A manuscript, “Carmen de Vere,”[18] in the British Museum, which is dedicated to Edward Prince of Wales (afterwards Edward V), dated April 1482, affords some information from the pen of Carmelian himself. He says that for the previous ten years he had been travelling about the world, having very lately arrived in England, with the intention of proceeding to Germany and Switzerland; but, captivated by the pleasantness of the country, he had been unable to leave it. He adds that his poem was written to gain the favour of the prince. Whence his dignity of Poeta laureatus was obtained is not known.

The only copy known of this tract was discovered in the year 1874 by Dr. G. Könnecke, archivist of Marburg, in an old volume of seventeenth century divinity, in the Hecht-Heinean Library at Halberstadt. It was described in the “Neuer Anzeiger” of Dr. Julius Petzholdt for October 1874; also in the Athenæum for February 27th, 1875.

NO. 53.--CONFESSIO AMANTIS. _Large Folio. “Enprynted at Westmestre
by me Willyam Caxton the ij day of Septembre / a thousand / CCCC
lxxxxiij (a typographical error for lxxxiij)”._

COLLATION.--A 4n, signed ~ij~, ~iij~, ~iiij~, the first and eighth leaves being blank, followed by a 4n, signed on the second leaf only 1 2, the first leaf being blank; then ~b c d e f g h i k l m n o p q r s t u x y z & A B~ all 4ns; ~C~ a 3n, with the sixth leaf blank. In all 222 leaves, of which four are blank.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. Type No. 4 is used for sigs. ~1~ to ~x~; sigs. ~&~ to ~C~, as well as the introductory matter, are in type No. 4*, while sigs. ~y~ and ~z~ are partly in one and partly in the other. Where type No. 4 is used there are 46 lines to a column, and 44 lines of type No. 4*. On sig. ~z iiij~ recto the two types appear in the same page, the first column being in No. 4 and the second in No. 4*. Without catchwords or folios. Space left for inserting 2 to 6-line initials, with director. The signatures at the beginning of the volume are irregularly printed, and show the want of a settled plan in the printer’s mind. The first 4n, which, as it includes the index, must have been printed last, is properly signed; but, on beginning the book, it appears as if the compositor thought there could be no use for signatures if every leaf had a printed folio, and accordingly they were omitted except on the second sheet, which is signed in Arabic numerals only. The inconvenience of this being seen, the folios were omitted, and the signatures printed in the second 4n, ~b~; while in sig. ~c~ both plans are united, and we have signatures and folios too to the end of the book--the latter, however, with continual errors. The introductory 4n is not included in the enumeration of the folios. Note that sig. ~b~ 4 is printed 2 4, and that from sig. ~p~ to the end the Arabic numerals used in the signatures give place to Roman numerals. The book is in double column throughout. The date in the colophon is printed a thousand CCCC lxxxxiij, a typographical error, which would have led to some confusion had not the regnal year, “the first year of the reign of King Richard the third,” been also added, fixing the right date as 1483.

Commencing with a blank leaf, the paragraph title and table follow on sig. ~ij~, space being left for a 3-line initial, with director.

The Text begins thus:--

~His book is intituled how the world was first of
~t~ confes- ‖ sio amantis / golde / & ‖ after alwey werse
that is to saye ‖ in & werse folio bj ‖
englysshe the confessyon of ‖
the louer maad and com-
pyled by ‖ Johan Gower
squyer borne in walys ‖ Thus endeth the prologue~

The Text ends on the verso of sig. ~C~ 5, ~Folio CCxj~ with colophon in first column,

~Enprynted at westmestre
by me ‖ Willyam Caxton
and fynysshed the ij ‖ day of
Septembre the fyrst yere of
the ‖ regne of Kyng Richard
the thyrd / the ‖ yere of our
lord a thousand / CCCC / ‖
lxxxxiij /~

REMARKS.--The life and poetical writings of the “moral” Gower have received frequent illustrations from modern critics. His chief work, the “Confessio Amantis,” appears to have been begun about 1386 and completed in 1392-3. It was originally dedicated to Richard II, but, on the wane of that monarch’s power, Gower suited himself to the changing times, and recast his prologue. The copies made after this version are termed Lancastrian. The Latin verses and the marginal index are in some manuscripts, as in Caxton’s printed edition, included in the text. They were, Dr. Pauli believes, the original composition of Gower, abounding, like his other poetry, in instances of false prosody and even bad grammar. The verses are imitations in the manner of Boethius, but often unintelligible.

Seventeen copies are extant. British Museum (3); Cambridge; Pembroke College, Cambridge; Hereford Cathedral; Lambeth; Queens’ College and All Souls, Oxford; and eight in private libraries.

NO. 54.--THE BOOK WHICH THE KNIGHT OF THE TOWER MADE TO THE
“ENSEYGNEMENT” AND TEACHING OF HIS DAUGHTERS. _Folio. “Emprynted
at Westmynstre the laste day of Januer the fyrst yere of the
regne of Kynge Rychard the thyrd.” (i.e. 1484.)_

COLLATION.--A 2n, signed on second leaf only ~ij~; ~a b c d e f g h i k l m~ are 4ns; ~n~ a 3n, with the last two leaves blank. In all 106 leaves, of which two are blank.

NOTE--sig. ~c iiij~ is wrongly printed ~d iiij~, and the first leaf of ~d~ is without any signature.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type, as far as sig. ~f~, is No. 4, and forty lines, each 4⅞ inches long, make a full page. From sig. ~f j~ to the end the type is No. 4*, with 38 lines, each 4⅝ inches long, to the page. The lines are fully spaced out. Without folios or catchwords. Space is left for 3, 4, and 6-line initials, with directors.

The Text commences with the prologue on an unsigned leaf, with space for a 3-line initial ~A~,

~Lle vertuouse doctryne & techynge had & lerned of
~a~ suche ‖ as haue endeuoured them to leue for a remem-
braunce~

On sig. ~a j~ recto,

~Here begynneth the book whiche the knyght of the toure
made / And speketh of many fayre ensamples and then-
sygnementys and techyng of his doughters~

The Text ends on the fourth verso of sig. ~n~,

~Here fynysshed the booke ⸝ whiche the knyght of the Toure
ma ‖ de to the enseygnement and techyng of his doughters
transla ‖ ted oute of Frenssh in to our maternall Englysshe
tongue by ‖ me William Caxton / whiche book was ended
& fynysshed the ‖ fyrst day of Juyn / the yere of oure lord
M CCCC lxxxiij
And enprynted at westmynstre the last day of Janyuer the
fyrst yere of the regne of Kynge Rychard the thyrd~

REMARKS.--In the department of “Maine et Loire,” between Chollet and Vezins, may still be seen the ruins of an ancient château, called “Latour-Landry.” Archæologists ascribe the structure to the twelfth century. The place originally bore the name of “La Tour” only, the old family name of the owners being “Landry;” but eventually the two were combined, and “De la Tour Landry” became the patronymic of a long race of knights. The earliest instance of the double name is found in a document dated 1200. Passing over the history of the family, we will confine ourselves to Geoffrey and his book, “pour l’enseignment de ses filles.” The date of neither his birth nor death is known. He was at the siege of Aiguillon in 1346, when he must be supposed to be at least of the age of twenty years. He tells us he wrote his book in 1371, which would make him, at the youngest, 45 years old, though he was probably older. In all the illuminated copies of his work he is represented as discoursing with his three daughters, for whose instruction in their journey through life it was written, as the knight himself in a preface informs us.

He had also sons, as we learn that a similar work had previously been undertaken for their instruction, “as hit is reherced in the booke of my two sonnes, and also in an Euangely.” (See Caxton’s edition, sig. ~n~ 4.) It is interesting to note here, as an instance of the entire disappearance of books once well known, that neither of these compositions of the knight are known now to exist. We also learn that in the compilation of this work he called to his aid two priests, who read to him the Bible, the “Gesta,” and various chronicles of France, England, and other countries. To this may, perhaps, be attributed the predominance of the ecclesiastical element in this book. The knight originally intended to write the whole work in verse, but finding that method necessitated a less concise narration, he soon changed his composition into prose. In the original French, however, a considerable portion of the introduction, though prose to the eye, will be found to have retained its metrical form.

Several writers have denounced the work as obscene, and more fitted for the corruption than the instruction of youth; while others, taking into consideration the manners of that age, have arrived at the very opposite conclusion. At any rate, it is plain our Caxton thought highly of it: he says in his preface, “I advise every gentleman or woman having children, desiring them to be virtuously brought forth, to get and have this book, to the end that they may learn to govern them virtuously in this present life.” He tells us also the occasion of his translating and printing it, which was “at the request of a noble lady which hath brought forth many noble and fair daughters, which he virtuously nourished.” An interesting article upon this work appeared in the _Retrospective Review_: New Series, 1827; vol. i, part ii, page 177. See also, _Le Livre du Chevalier de la Tour Landry_, par M Anatole de Montaiglon. 12mo. Paris, 1854.

We must here notice that, although the anonymous English translation (_Harl. 1764_) preceded that by Caxton, a comparison of the two versions makes it evident that our printer owed nothing to his predecessor. M. Montaiglon, indeed, from a literary point of view, gives a decided preference to the earlier text.

The following amusing extract is suggestive of Shakspere’s “Taming of the Shrew.” Act V, Scene II.

How a woman sprange vpon the table · Capitulo xviij.

N a tyme it happed that Marchauntes of Fraunce cam from certayn
J Fayres / where as they sought Draperye / and as they cam with
Marchaundyse fro Roan / that one of them said / it is a moche
fayre thynge a man to haue a wif obeysaunt in alle thynges to her
husbond / Verayly sayde that one / my wyf obeyeth me well / And the
second said. J trowe / that my wyf obeye me better / ye sayd the
thyrd / lete laye a wager / that whiche wyf of vs thre that obeyeth
best her husbond / and doeth sonnest his commaundement that he wynne
the wager / wherupon they waged a Jewele / and accorded al thre to
the same / & sworen that none shold aduertyse his wyf of this bargayn
/ sauf only to saye to her / doo that whiche J shall commaunde what
soeuer it be / After when they cam to the first mans hows / he sayd
to his wyf Sprynge in to this bacyne / and she answerd / wherfore
or what nede is it. And he said by cause it playsyth me so / and J
wyll that thou do so / Truly said she J shall knowe fyrst wherfor J
shall sprynge / And soo she wold not doo it · And her husbond waxe
moche angry and felle / and gafe her a buffet / After thys they cam
to the second marchauntes hows / and he saide to his wyf lyke as
that other saide / that she wold doo his commaundement / And it was
not long after that he said to her Sprynge in to the basyn / And she
demaunded hym wherfore / And at the last ende for ought that he dyde
/ she dyd it not / wherfore she was beten as that other was / Thenne
cam they to the thyrd mans hous And there was the table couered ·
and mete set theron And the marchaunt said to thother marchauntes in
theyr eres / that after dyner he wold commaunde her to sprynge in
to the bacyn / And the husbond sayd to his wyf / that what someuer
he commaunded her she shold do it / his wyf whiche that moche louyd
hym and dred hym herd wel the word. And it was so that they bygan to
ete / and there was no salt vpon the table / And the goodman sayd
to his wyf / Sail sur table And the good wyf whiche hadde fere to
disobeye hym / sprang vpon the table and ouerthrewe table ⸝ mete
/ wyn / and platers to the ground / How said the good man / is this
the manere / Cōne ye none other playe but this / are ye mad or oute
of youre wyt. Syre said she / J haue done your commaūdement / haue ye
not said that youre commaundement shold be done what someur it was.
Certaynly J haue it done to my power how be it that it is youre harme
and hurte as moche as myn. For ye sayd to me that J shold spryge on
the table ⸝ J said he /J sayd ther lacked salt vpon the table /
Jn good feyth J vnderstode said she for to spryng / thene was ther
laughter ynouz & al was taken for a bourd and a mocquerye / Thenne
the other two Marchauntes said it was no nede to late her sprynge in
the basyn / For she had done ynough / And that her husband had wonne
the wager.... And thus ought euery good woman to fere and obeye her
lord & husbonde and to do his commaundement is hit right or wrong /
yf the commaundement be not ouer outrageous / And yf ther be vyce
therin / she is not to blame / but the blame abydeth vppon her lord
and husbonde.

There are two copies in the British Museum, one at Cambridge, one at Oxford, and two in private libraries.

NO. 55.--CATON. _Folio. Without Printer’s Name, Place, or Date.
“Translated ... by William Caxton in thabbey of Westmynstre the
yere of our lord M CCCC lxxxiij.” (1484?)_

COLLATION.--The prologues and table a 3n, signed ~ij~ and ~iij~ on the second and third rectos, the first and last leaves being blank: then ~a b c d e f g h~ are 4ns; ~i~ a 5n; ~a j~ and ~i~ 10 being blank. In all eighty leaves, of which four are blank.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. Two sizes of type are used: No. 2 for the Latin headings, and No. 4* for the Text. The lines, which are fully spaced out, measure 4⅝ inches, and there are 38 to a full page. Without folios or catchwords. Space is left for the insertion of 3-line initials, sometimes with and sometimes without directors.

Commencing with a blank leaf, Caxton’s short prologue and his dedication to the City of London follow on sig. ~ij~.

The Text begins thus:--

~ℂ Here begynneth the prologue or prohemye of the book
callid ‖ Caton / whiche booke hath ben translated in to En-
glysshe by ‖ Mayster Benet Burgh / late Archedeken of
Colchestre and ‖ hye chanon of saint stephens at westmestre /
which ful craftly ‖ hath made it in balade ryal for the erudi-
cion of my lord Bou- ‖ sher / Sone & heyr at that tyme to my
lord the erle of Estsex ‖ And by cause of late cam to my
hand a book of the said Caton ‖ in Frensshe / whiche
reherceth many a fayr lernynge and nota ‖ ble ensamples /
J haue translated it oute of frensshe in to En ‖ glysshe /
as al along here after shalle appiere / which J presente
unto the Cyte of london /~

~Nnto the noble auncyent and renomed Cyte / the
~v~ Cyte ‖ of london in Englond / J William Caxton
Cytezeyn ‖ & coniurye of the same / & of the frater-
nyte and felauship ‖ of the mercerye owe of ryght my
seruyse & good wyll / and of~

The table follows, making, with the introductory matter, eight printed pages, the whole concluding on the fifth verso, with the sixth blank leaf. After another blank is the Gloss, headed by a quotation of seven lines of Latin in type No. 3, with ~a ij~ for the signature.

The Text ends on the ninth recto of sig. ~i~, the tenth leaf being blank,

~thynge men may intytule this lytell book the myrour of the
re ‖ gyme & gouernement of the body and of the sowle /~

~Here fynyssheth this present book whiche is sayd or
called ‖ Cathon translated oute of Frensshe in to Englysshe
by Will- ‖ iam Caxton in thabbey of westmynstre the yere
of oure lord ‖ M CCCC lxxxiij / And the fyrst yere of the
regne of kynge ‖ Rychard the thyrd the xxiij day of decembre~

REMARKS.--In his prologue Caxton says, “To the end that the histories and examples that be contained in this little book may be lightly found ... they shall be set and entitled by manner of Rubrics ... and they shall be signed as that followeth of the number of leaves where they shall be written.” Accordingly the numbers given in the table agree with their proper folios, but these folios are not inserted, either in print or manuscript, in the body of the work, rendering the table almost useless.

Caxton says in his preface that he translated from a French copy, “which rehearsed many a fair learning and notable example;” and some portions of his own introductory matter suggest also a French original. Were a manuscript to be found, its title would probably agree with Caxton’s concluding description of the work--“the mirror of the regime, and government of the body and of the soul.”

The year 1483 is usually assigned to the printing of this book; but as the translation was not ended till December 23rd, it seems improbable that it was printed till 1484.

As already noticed, this “Caton” is a very different work from the composition known as “Catho Magnus,” the distichs of which serve here only as a text whereon to hang an extensive gloss. A short notice of “Mayster Benet Burgh” has already been given.

There are copies in the British Museum, Cambridge, Glasgow, Oxford, Exeter College, Oxford, and seven in private hands.

NO. 56.--THE GOLDEN LEGEND. _Largest Folio. First Edition.
“Fynysshed at westmestre the twenty day of nouembre / the yere
of our lord M / CCCC / lxxxiij / By me Wyllyam Caxton.” (1484?)_

COLLATION.--An unsigned 3n, with first and sixth leaves blank; ~a b c d e f g h i k l m n o p q r s t u x y z &~ are 4ns; 9 a 3n; ~A B C D E F G H J K L M N O P Q R S T U~ are 4ns; ~X~ a 3n; ~Y~ is a single sheet, followed by a single leaf, the back edge of which is sometimes returned round ~Y~, and sometimes sewn separately; ~aa bb cc dd ee ff~ are 4ns; ~gg~ a 3n; ~hh ii~ 4ns; ~kk~ a 3n, ~kk~ 6 being blank. In all 449 leaves, of which three are blank.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. There are two sizes of type, No. 3 being used for head-lines and headings to chapters, while No. 4* is used for the text. The whole is in double columns, and the lines, which are fully spaced out, measure three inches; 55 lines in a column, and 110 to a full page. There are folios throughout, but numbered very irregularly. Space is left for the insertion of 3 to 6-line initials, with directors. There are no catchwords. Woodcuts are used throughout, apparently from the hand of the same artist who engraved the cuts for the second edition of the “Chess Book.”

The first edition is principally distinguished by the use of Type No. 3 for head-lines, &c., and also by a variation in the signatures ~X~ and ~Y~. Both this and the second edition are printed upon very large sheets of paper, larger indeed than Caxton ever used before or after. The edition of 1493 is upon the usual size.

The first leaf is blank; on the second recto is a large woodcut of Saints, 9 × 6½ inches, under which the Text begins thus, making a full page:--

(_Woodcut of Saints._)

~He holy & blessed & accomplisshed dyuerse
~t~ doctour ‖ saynt Jerom werkys ‖ & hystoryes trans-
sayth thys aucto ‖ ryte / lated out of frensshe ‖ in to
do alweye somme good ‖ englysshe at the requeste of
werke / to thende that the cer- ‖ teyn lords / ladyes
deuyl fynde ‖ the not ydle / and gentylmen / ‖ as thy-
And the holy doctour ‖ saynt storye of the recuyel of
austyn sayth in the book Troye / ‖ the book of the
of the ‖ labour of monkes / chesse / the hystorye of ‖ Ja-
that no man stronge ‖ or son / The hystorye of the
myghty to laboure ought to myrrour ‖ of the world / the
be ydle ‖ for which cause xv bookes of Meta- ‖ mor-
when J had parfour- ‖ med pheseos in whyche been con-
teyned ‖~

This prologue finishes, half-way down the second column, on the verso of the same leaf. On the third recto is another woodcut, 8 × 4½ inches, of a horse galloping past a tree, bearing a label, ~My Truste Js~ (see a facsimile in Dibdin’s _Typ. Ant._, vol. i, page 186). This was the device of William Fitzallan, Earl of Arundel, Caxton’s patron. Underneath this commences Caxton’s own prologue, with space for a 3-line initial ~A~,

~Nd for as moche as also haue enprynted it in the
this ‖ sayd werke was moost best ‖ Wyse that J
grete & ouer charge- haue coude or myght / and ‖
able to me taccomplisshe ‖ J presente this sayd boook to
feryd me in the begynnyng his good & ‖ noble lordshyp ⸝~

This occupies the whole page. On the third verso the table is begun, ending on the sixth recto, with sixteen lines in the first column, the rest of the page being blank. It ends thus--

~Dues folio CCCC xxvij
Explicit~

On sig. ~a j~ the original Text is begun, space being left for a 6-line ~T~,

~He tyme of thaduet quysshid of ygnorance &
Jmpuissauce /‖ to y^e yf he
or comyng of our had so come to fore / pauen-
ture ‖ man myght saye y_{t} by
lord in to this world his owne merites ‖~

The Text ends on ~kk~ 5 recto, half-way down the second column,

~afore is made mencyon /
Whiche werke ‖ J haue
accomplisshed at the com-
maun-‖demente and requeste
of the noble and ‖ puyssaunte
erle / and my special good ‖
lord Wyllyam erle of aron-
del / & haue ‖ fynysshed it at
westmestre the twenty ‖ day
of nouembre / the yere of our
lord ‖ M / CCCC / lxxxiij /
& the fyrst yere ‖ of the reygne
of Kyng Rychard the ‖ thyrd
By me wyllyam Caxton~

In the latter half of the thirteenth century, Jacobus de Voragine, Archbishop of Genoa, who died in 1298, compiled a book called “Legenda Aurea,” in which the lives and miracles of numerous saints were narrated. This was found very useful to the priests in their sermons, and soon became so popular that it was translated into nearly every European language. The Latin text of “Voragine” has been reprinted from an early manuscript, and edited by Dr. Th. Graesse, 8vo, Lipsiæ, 1840. It has also received a modern French dress under the title “La Légende dorée, par Jacques de Voragine, traduit du Latin, par M. G. B., 8vo, Paris, 1843.” In the early part of the fourteenth century, Jean Belet, an author but little known to modern bibliographers, though often quoted by the writers of his age, translated the Latin of Jacobus into French, not, however, without embellishing it with many new additions. Shortly after the production of Belet, Jehan de Vignay, who has been already noticed as translating the Book of Chess, undertook a new version in French of “La Légende dorée,” which he accomplished before 1380, as he dedicated it to “Jeane, royne de France.” His translation, however, was founded on the previous labours of Belet, which he amplified, adding about 44 new legends. About the middle of the fifteenth century, certain “worthy Clerks and Doctors of Divinity” compiled a “Book of the Life of Saints,” which they describe as “drawn into English after the tenor of the Latin.” These worthy Clerks and Doctors, however, would have given a much more true account of their labours had they stated that, with the exception of some additional fables not traceable in the original Latin, they owed the whole of their compilation to “La Légende dorée” of Jehan de Vignay.

It is probable that in Caxton’s time the English version here noticed was well known; indeed we may infer this from the account given by our Printer of the origin of his own text: “Against me here might some persons say, that this Legend hath been translated tofore, and truth it is; but forasmuch as I had by me a Legend in French, another in Latin, and the third in English, which varied in many and diverse places; and also many histories were comprised in the two other books which were not in the English book, therefore I have written one out of the said three books.” Caxton, with his Latin, French, and English copies before him, found a prologue ready to his hand in the version by Jehan de Vignay. This, as was his wont, he translated literally, merely changing two or three of the inapplicable proper names, and adding some personal observations of his own. The bulk of his text comes also from the same source, being nearly identical with that of the English manuscript already noticed; although to Caxton may be given this praise, that in several places where the “worthy doctours of divinite” had inserted in their English version some stories more incredible or more filthy than usual, he very discreetly considerably modified or altogether omitted them. The reader curious in this matter may compare the tales about Nero in the “Life of St. Peter,” as narrated in _Harl. 630_, with folio 202 in Caxton. How much he took from the Latin is impossible to say; nor have I been able to trace to their origin the curious explanatory derivations of the name of each saint, which form the first paragraph in every “Life.” As in “The Festial,” many saints in the “Golden Legend” have their lives illustrated or interwoven with tales from the “Gesta Romanorum.”

This work may be considered the most laborious, as well as the most extensive, of all Caxton’s literary and typographical labours. The compilation of the text only must have been a most arduous task, and the very extensive use of woodcuts must have been extremely expensive and troublesome. Caxton, indeed, confesses that he was “in a manner half desperate to have left it,” when the Earl of Arundel, who apparently suggested the undertaking, sent John Stanney to him, promising the Printer a small annuity, and to take a “reasonable quantity” of copies when completed. The annuity was to be a buck in summer and a doe in winter; but it is not improbable that these presents were commuted into a fixed sum of money, as was certainly the practice with the Gifts of Wine, which, in the fourteenth and fifteenth centuries, were so frequently bestowed as rewards for services rendered. As a memorial of the Earl’s connection with the work, Caxton placed the Arundel device, “My truste is,” after the preface.

Although, from the numerous copies still extant, it is evident that this edition must have been larger than usual, no perfect copy has yet been discovered. The Legend of St. Thomas of Canterbury has been a special object of destruction, being, in nearly every instance, torn out of the volume.

While making every allowance for the rudeness of the age and the plain speaking then customary, the tendency of many of the “Lives” here narrated is so immoral, that many persons have doubted whether these legends were really read to congregations of men and women. But the legacy of several copies of this work to the parish church of St. Margaret’s, as already noticed (p. 159), and the following extract from the will of Queen Margaret, prove that the “Golden Legend” was reckoned among the Church Service Books:--“Item, I will that mine executors purvey a complete Legend in one book, and an Antiphony in another book; which books I will be given to abide there in the said church to the worship of God as long as they may endure.” (Norf. and Norwich Arch. Soc., Dec. 1850, fol. 163.)

This is one of the most common of the productions of Caxton’s press, and probably a larger number than usual was printed. Of the thirty known copies sixteen are divided between the British Museum, Cambridge, Corpus and Pembroke, Cambridge, Oxford, Glasgow, Loganian Philadelphia, King’s College, Aberdeen, Lincoln, Hereford and Bath Cathedrals, Rawlett’s Library, Tamworth, others being in private libraries.

_Portion of the “Death-bed Prayers,” 1484. Caxton’s Type, No. 3, and Type, No. 4._]

NO. 57.--DEATH-BED PRAYERS. _A Folio Broadside. (1484?)_

TYPOGRAPHICAL PARTICULARS.--Types No. 3 and 4* are used. The lines are spaced to an even length. It is half a sheet of paper printed on one side only.

From the language of these prayers it is evident that they were intended for use by the death-bed. They were probably printed in this portable form for priests, and others, to carry about with them.

Although short their interest is great, and the reader may not be displeased to read them in the following more modern spelling than that of the original.

O glorious Jesu! O meekest Jesu! O most sweetest Jesu! I pray thee
that I may have true confession, contrition, and satisfaction ere
I die; and that I may see and receive thy holy body, God and man,
Saviour of all mankind, Christ Jesu without sin. And that thou wilt
my Lord God forgive me all my sins, for thy glorious wounds and
passion. And that I may end my life in the true faith of all holy
church, and in perfect love and charity with my even[19] Christians
as thy creature. And I commend my soul into thy holy hands through
the glorious help of thy blessed mother of mercy, our lady Saint
Mary, and all the holy company of heaven. Amen. ¶ The holy body of
Christ Jesu be my salvation of body and soul. Amen. The glorious
blood of Christ Jesu bring my soul and body into the everlasting
bliss. Amen. I cry God, mercy! I cry God, mercy! I cry God, mercy!
Welcome my Maker! Welcome my Redeemer! Welcome my Saviour! I cry thee
mercy with heart contrite of my great unkindness that I have had unto
thee.

O thou most sweet spouse of my soul, Christ Jesu, desiring heartily
evermore for to be with thee in mind and will, and to let none
earthly thing be so nigh my heart as thou, Christ Jesu; and that
I dread not for to die for to go to thee, Christ Jesu; and that I
may evermore say unto thee with a glad cheer, my Lord, my God, my
sovereign Saviour Christ Jesu, I beseech thee heartily take me,
sinner, unto thy great mercy and grace, for I love thee with all my
heart, with all my mind, with all my might, and nothing so much in
earth nor above earth as I do thee, my sweet Lord, Christ Jesu. And
for that I have not loved thee, and worshipped thee above all things
as my Lord, my God, and my Saviour, Christ Jesu, I beseech thee with
meekness and heart contrite, of mercy and of forgiveness of my great
unkindness, for the great love that thou showedst for me and all
mankind, what time thou offerdst thy glorious body, God and man, unto
the Cross; there to be crucified and wounded, and unto thy glorious
heart a sharp spear, there running out plenteously blood and water
for the redemption and salvation of me and all mankind. And thus
having remembrance steadfastly in my heart of thee, my Saviour Christ
Jesu, I doubt not but thou wilt be full nigh me, and comfort me both
bodily and ghostly with thy glorious presence, and at the last bring
me unto thy everlasting bliss, the which shall never have end. Amen.

The only EXISTING COPY known is in the library of Earl Spencer, where it is bound up in a copy of Caxton’s “Pilgrimage of the Soul.” It is in perfect condition, and measures 11 × 8 inches.

NO. 58.--THE FABLES OF ÆSOP; OF AVIAN; OF ALFONSE; AND OF POGE,
THE FLORENTINE. _Folio. “Emprynted by me William Caxton at
Westmynstre . . the xxvj daye of Marche the yere of oure lord
M CCCC lxxxiiij.”_

COLLATION.--~a b c d e f g h i k l m n o p q r s~ are 4ns, the last two leaves of ~s~ being blank. In all 144 leaves, of which two are blank.

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

TYPOGRAPHICAL PARTICULARS.--There is no title-page, unless we call the great cut of Æsop by that name. The type is of two sorts, No. 3, used in three places at the beginning of the work for headings, and No. 4*, in which is the whole text and the head-lines. The lines, which measure 4⅝ inches, are fully spaced out, and in those few pages where there is no woodcut there are 37 or 38 lines. There are head-lines and folios throughout, except in sig. ~n~, which has folios only. Woodcut initials are used throughout, and on the verso of sig. ~a ij~ is a large floriated ~A~, afterwards used in the “Order of Chivalry.”

The first recto of sig. ~a~ is blank. Upon the verso is a large woodcut (4⅝ × 6¾ inches), of Æsop, surrounded by the subjects of his fables, with the word ESOPVS at the top. On the second recto, which is signed ~a ij~, the book commences with the following title, in large type, No. 3--

~ℂ Folio ija
ℂ Here begynneth the book of the subtyl hystoryes
and Fables of Esope whiche were translated out
of Frensshe in to Englysshe by wylliam Caxton
at westmynstre Jn the yere of oure Lorde . M .
. CCCC . lxxxiij .~

~Jrst begynneth the lyf of Esope with alle his fortune
~F~ how he was subtyll/wyse/and borne in Grece / not ferre
fro Troye the graunt in a Towue named Amoneo /
whiche was amonge other dyfformed and euylle shapen / For~

The whole is finished by an epilogue, written by Caxton himself, which begins on the recto, and concludes on the verso of sig. ~s~ 6.

~swere of a good preest and an honest / And here with J fy-
nysshe this book / translated & emprynted by me William
Cax-‖ton at westmynstre in thabbay / And fynysshed the
xxvj daye ‖ of Marche the yere of oure lord M CCCC
lxxxiiij / And the ‖ fyrst yere of the regne of kyng Rychard
the thyrdde~

The woodcuts by their treatment evidently came from the hands of the artist who had previously illustrated the “Game of Chess.” It is perhaps impossible to decide whether they are of Flemish or English origin. The woodcut on p. 288 represents Æsop beaten by his master.

Caxton himself tells us at the beginning of the book that it was a translation of his own from the French. It is rather remarkable that although the fables of Æsop, in French, were found in all the great libraries of the fourteenth and fifteenth centuries, and as many as three or four different copies in some, yet none apparently have descended to our time. No trace of an English translation previous to that of Caxton has been discovered, and he must therefore have the credit of introducing these fables to his countrymen in the English tongue. They were reprinted in London, with scarcely any alteration, for nearly two centuries. Whether translated from a manuscript, or an early French printed edition, it is now impossible to say.

This is a very rare book: the only perfect copy known was devised by Mr. Hewett, of Ipswich, to King George III, and is now in the Royal Library, Windsor. Imperfect copies are in the British Museum and at Oxford.

NO. 59.--THE ORDER OF CHIVALRY. _Quarto. Without Printer’s Name,
Place, or Date. Translated by Caxton and presented to Richard
III. (1483-5.)_

COLLATION.--~a b c d e f~ are 4ns, ~aj~ being blank; ~g~ a 2n, with the last leaf blank; in all 52 leaves, of which two are blank.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type is No. 4*, but two headings at the beginning of the work are in type No. 3. The lines, which measure 3⅛ inches, and of which there are 26 to a full page, are fully spaced out. Without folios or catchwords. Initial letters cut in wood are used.

Commencing with a blank leaf the work opens with a short preface, on sig. ~a ij~, the first four lines being in type No. 3. The Text begins thus:--

~ℂ Here begynneth the Table of
this present booke Jntytled the
Book of the ordre of chyualry
or knyghthode~

The Text ends:--

~vertuouse dede / And J shalle pray almyz-
ty god for his long lyf & prosperous wel-
fare / & that he may haue victory of al his
enemyes / and after this short & transitory
lyf to haue euerlastyng lyf in heuen / whe-
re as is Joye and blysse world without
ende Amen /~

The date of printing, which was in the reign of Richard III, must have been between June 26th, 1483, and August 22nd, 1495. The “Order of Chivalry” has no connection with “L’ordene de chevalerie.” Dibdin, in the _Typ. Ant._, and Moule, in _Bib. Herald._, both err in this matter.

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

NO. 60.--CHAUCER’S CANTERBURY TALES. _Folio. Second Edition, with
Woodcuts. “By William Caxton.” Without Place or Date. (1484?)_

COLLATION.--~a b c d e f g h i k l m n o p q r s t~ are 4ns, with ~a j~ blank; ~v~ a 3n, ~aa bb cc dd ee ff gg hh~ are 4ns; ~ii~ a 3n; ~A B C D E F G H J K~ are 4ns; ~L~ a 2n. In all 312 leaves, of which one is blank.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type of the Text is No. 4*, the heads being all in No. 2*. The lines in the prose portion are spaced to an even length, and measure 4⅞ inches. 38 lines to a page. Without catchwords or folios, and almost without punctuation. Space left for the insertion of initials.

This second edition, Caxton tells us, was printed six years after the first. Having fixed the year 1477-8 as about the date of the first, that will give about 1484 for this.

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

~Prohemye~
~Rete thankes lawde and honour / ought to be gy-
uen vnto the clerkes / poetes / and historiographs
~g that haue wreton many noble bokes of wysedom
of the lyues / passios / & myracles of holy sayntes
of hystoryes / of noble and famous Actes / and
faittes / And of the cronycles sith the begynnyng
of the creacion of the world/vnto thys present tyme/by whyche~

The proheme, which is an excellent and indubitable specimen of Caxton’s own composition, and reflects as much credit upon his disposition as upon his literary abilities, finishes on the verso of sig. ~a ij~--

~after thys short and transitorye lyf we may come to euer-
lastyng ‖ lyf in heuen / Amen~

~By Wylliam Caxton~

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

~Han that Apryll wyth hys shouris sote
~w~ The droughte of marche hath percyd the rote
And bathyd euery veyne in suche lycour
Of whyche vertue engendryd is the flour
Whanne Zepherus eke wyth hys sote breth~

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

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

~be one of hem at the day of dome that shal be sauyd / Qui
cum ‖ patre et spiritu sancto viuit et regnat deus / Per omnia
secula ‖ seculorum AMEN /~

The verso is blank.

REMARKS.--The wood-cut illustrations appear to be by the same artist that was engaged upon Æsop. The wife of Bath is represented on page 293.

Two copies are in the British Museum, and one in each of the following libraries--Magdalen and Pepysian, Cambridge; St. John’s, Oxford; Royal Society, London; Earl of Ashburnham, and Earl Spencer. In the year 1858 I discovered a copy in the Library of the French Protestant Church, in a torn and dirty state, having been used for some time to light the vestry fire. I drew attention to its great value and interest, and it was doubtless saved from further mutilation. Some time afterwards it disappeared from the library altogether, and no one now knows what has become of it. For identification the following particulars are here given:--it wants all before sig. ~h~ 5; ~p~ 7; ~t~ 8 and ~v ij~; ~bb ij~; and ~dd~ 8; ~A j~; ~B iij~ and 4; and all after ~E~ 8. In the original binding. Torn, dirty, and ill used. Measurement, 10⅝ × 7¾. Autograph “·· Rawlinson A° 1717.” Also, “Ex dono · · · Bateman Bibliopola.”

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

NO. 61.--THE BOOK OF FAME. _Folio. “Emprynted by wylliam Caxton.”
Without Place or Date. (1484?)_

COLLATION.--~a b c~ are 4ns. ~a j~ being blank; ~d~ a 3n, ~d~ 6 being blank = 30 leaves, of which two are blank.

TYPOGRAPHICAL PARTICULARS.--There is no title-page. The type is entirely No. 4*. In the epilogue, which is the only prose part, the lines are fully spaced out, and measure 4⅞ inches. 38 lines to a page. Without folios or catchwords. Space left for the insertion of 2 or 3-line initials, with directors.

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

~The book of Fame made by Gefferey Chaucer~

~Od torne vs euery dreme to good
~g~ For it is wonder thyng by the rood
To my wyt / what causyth sweuenys
On the morowe / or on euenys~

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

~Thus in dremyng and in game
Endeth thys lytyl book of Fame~

~Explicit~

The epilogue immediately follows, the Text ending,

~J humbly beseche & praye yow / emonge your prayers / to
remem-‖bre hys soule / on whyche / and on alle crysten
soulis / J beseche al-‖myghty god to haue mercy Amen~

~Emprynted by wylliam Caxton~

The epilogue has considerable interest, as showing Caxton’s opinion of Chaucer, and is here given verbatim.

“J fynde nomore of this werke to fore sayd / For as fer as I can
vnnderstōde / This noble man Gefferey Chaucer fynysshyd at the sayd
conclusion of the metyng of lesyng and sothsawe / where as yet they
ben chekked and maye not departe / whyche werke as me semeth is
craftyly made / and dygne to be wreton & knowen / For he towchyth
in it ryght grete wysdom & subtyll vnderstondyng / And so in alle
hys werkys he excellyth in myn oppynyon alle other wryters in our
Englyssh / For he wrytteth no voyde wordes / but alle hys mater is
ful of hye and quycke sentence / to whom ought to be gyuen laude and
preysyng for hys noble makyng and wrytyng / For of hym alle other
haue borowed syth and taken / in alle theyr wel sayeing and wrytyng
/ And I humbly beseche & praye yow / emonge your prayers to remembre
hys soule / on whyche and on alle crysten soulis I beseche almyghty
god to haue mercy Amen”

REMARKS.--As will be seen by the list of Existing Copies, the printed text of Caxton is extremely rare; so is the reprint by Pynson in 1526. Manuscripts of this poem were, probably, even in our printer’s time, difficult to obtain. The copy used by him was certainly very imperfect. Many lines are altogether omitted, and in the last page Caxton was evidently in a great strait, for his copy was deficient 66 lines, probably occupying one leaf in the original. We know from his own writings the great reverence in which our printer held the “noble poete,” and we can imagine his consternation when the choice had to be made, either to follow his copy and print nonsense, from the break of idea caused by the deficient verses, or to step into Chaucer’s shoes and supply the missing links from his own brain. He chose the latter course, and thus instead of the original 66 lines, we have two of the printer’s own, which enable the reader to reach the end of the poem without a break-down. These lines are in the following quotation printed in italics; the entire extract being the first six lines of the last page:--

They were a chekked bothe two
And neyther of hym myght out goo
_And wyth the noyse of themwo_ _Caxton_
_J Sodeynly awoke anon tho_
And remembryd what I had seen
And how hye and ferre I had been

It should be noticed that Caxton has here printed his name in the margin to make known his responsibility to his readers. The “out” not having been hitherto noticed, the position of his name there has been a puzzle to all bibliographers, until explained by Mr. Bradshaw.

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

NO. 62.--THE CURIAL. _Folio. “Translated thus in Englysshe by
wylliam Caxton.” Without Printer’s Name, Place, or Date. (1484?)_

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