Volume II Part 10 (1/2)

Subjoined to the copy just described is another work, thus ent.i.tled:

SECRETO SOLO e in arma ben amaistrato Sia qualunqua nole essere inamorato.

Got gebe ir eynen guten seligen mogen.

The preceding, line for line, is printed in a large gothic type: the rest of the work in a small close gothic letter. Both pieces, together, contain sixty-three leaves.

COMMEDIA DE CELESTINA. ”_Vendese la presente obra en la ciudad de Anuers_,”

&c. 18mo. _Without Date_. I suspect however that this scarce little volume was _printed_ as well as ”_sold_” at Paris.

MILLES ET AMYS. ”_A Rouen chez la Veufue de Louys Coste_.” 4to. Without Date. The frontispiece has a wood-cut of no very extraordinary beauty, and the whole book exhibits a sort of ballad-style of printing. It is executed in a roman letter, in double columns.

OGIER LE DANOIS. ”_On les vend a Lyon_, &c.” Folio. At the end is the date of 1525, over the printer's device of a lion couchant, and a heart and crown upon a s.h.i.+eld. It is a small folio, printed in a neat and rather brilliant gothic type, with several wood-cuts.

GALIEN ET JAQUELINE. ”_Les n.o.bles prouesses et vaillances de Galien restaure_,” &c. 1525, Folio. The preceding is over a large wood-cut of a man on horseback; and this romance is printed by the same printer, in the same place, and, as you observe, in the same year--as is that just before described.

HUON DE BOURDEAUX. Here are four editions of this Romance:--to which I suspect fourscore more might be added. The first is printed at _Paris_ for _Bonfons_, in double columns, black letter, with rude wood-cuts. A fine copy: from the Colbert Collection. The second edition is of the date of 1586: in long lines, roman letter, approaching the ballad-style of printing. The third edition is ”_A Troyes, Chez Nicolas Oudot_, &c. 1634.”

4to. in double columns, small roman letter. No cuts, but on the recto and reverse of the frontispiece. The fourth edition is also ”_A Troyes Chez Pierre Garnier_, 1726,” 4to. in double columns, roman letter. A very ballad-like production.

LES QUATRE FILZ AYMON, Two. editions. One. ”_a Lyon par Benoist Rigaud_, 1583,” 4to. The printing is of the ballad-kind, although there are some spirited wood-cuts, which have been wretchedly pulled. The generality are as bad as the type and paper.

MABRIAN. &c. ”_A Troyes, Chez Oudot_, 1625,” 4to. A vastly clever wood-cut frontispiece, but wretched paper and printing. From the _Cat. de Nyon_; no.

8135.

MORGANT LE GEANT. ”_A Troyes, Chez Nicholas Oudot_, 1650, 4to.” A pretty wood-cut frontispiece, and an extraordinary large cut of St. George and the Dragon on the reverse. There was a previous Edition by the same Printer at Rouen, in 1618, which contains the second book--wanting in this copy.

GERARD COMTE DE NEVERS, &C. 1526, 4to. The t.i.tle is over the arms of France, and the text is executed in a handsome gothic letter, in long lines. At the end, it appears to have been printed for _Philip le Noir_. It is a very small quarto, and the volume is of excessive rarity. The present is a fine copy, in red morocco binding.

CRONIQUE DE FLORIMONT, &C. At ”_Lyons--par Olivier Arnoullet_,” 4to. At the end is the date of 1529. This impression is executed in a handsome gothic type, in long lines.

TROYS FILZ DE ROYS. Printed for ”_Nicolas Chrestien--en la Rue neufue nostre Dame_,” &c. Without date, 4to. The frontispiece displays a large rude wood cut; and the edition is printed in the black letter, in double columns. All the cuts are coa.r.s.e. The book, however, is of uncommon occurrence.

PARIS ET VIENNE:--”_a Paris, Chez Simon Caluarin rue St. Jacques_.” Without date: in double columns; black letter, coa.r.s.ely printed. A pretty wood-cut at the beginning is repeated at the end. This copy is from the Colbert Library.

PIERRE DE PROVENCE ET LA BELLE MAGUELONNE. 1490. 4to. The t.i.tle is over a large wood-cut of a man and woman, repeated on the reverse of the leaf. The impression is in black letter, printed in long lines, with rather coa.r.s.e wood-cuts. I apprehend this small quarto volume to be of extreme rarity.

JEHAN DE SAINTRE--”_Paris, pour Jehan Bonfons_,” &c. 4to. _Without date_. A neatly printed book, in double columns, in the gothic character. There is no cut but in the frontispiece. A ms. note says, ”This is the first and rarest edition, and was once worth twelve louis.” The impression is probably full three centuries old.

BERINUS ET AYGRES DE LAYMANT. At bottom: sold at ”_Paris par Jehan de Bonfons_, 4to. _No date._ It is in double columns, black letter, with the device of the printer on the reverse of the last leaf. A rare book.

JEAN DE PARIS. ”Le Romat de Iehan de Paris, &c. _a Paris, par Jehan Bonfons_, 4to. _Without date_. In black letter, long lines: with rather pretty wood-cuts. A ms. note at the end says: ”Ce roman que jay lu tout entier est fort singulier et amusant--cest de luy douvient le proverbe ”_train de Jean de Paris_.” Cest ici la plus ancienne edition. Elle est rare.” The present is a sound copy. There are some pleasing wood-cuts at the end.

CRONIQUE DE CLERIADUS, &C. ”_On les vend a Lyon au pres de nostre dame de confort cheulx Oliuier Arnoullet_. At the end; 1529. 4to. This edition, which is very scarce, is executed in a handsome gothic type, in long lines.

The present is a cropt but sound copy.

GUILLAUME DE PALERNE, &C. At bottom--beneath a singular wood-cut of some wild animal (wolf or fox) running away with a child, and a group of affrighted people retreating--we read: ”_On les vent a Lyon aupres Dame de Confort chez Oliuier Arnoulle_.” At the end is the date of 1552.

---- Another edition of the same romance, _printed at Rouen, without date, by the widow of Louis Coste_, 4to. A mere ballad-style of publication: perhaps not later than 1634.--the date of our wretched and yet most popular impression of the Knights of the Round Table.