Printers' Marks: A Chapter in the History of TypographyG. Bell & Sons, 1893 - 261 páginas |
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Términos y frases comunes
adopted ALDINE ANCHOR Aldus Antwerp appears arms artist Basle beautiful Bible books printed bookseller brothers Cæsaris Caxton chapter Chiswick Chiswick Press COLARD MANSION Cologne COLOMIES colophon copied cross decorative device DULSSECKER earliest early printers edition elaborate Elzevir employed engraved Estienne fifteenth folio François Froben Fust and Schoeffer Geneva German Giunta Greek Guillaume Hamont Henry Henry Pepwell illustrations initials interesting issued Jacques Jean Johann John Kerver large number Latin latter Leeu Leyden Lyons Mark we give Marnef Martin Messrs Michel monogram motto Nivelle notable number of books occurs original Paris partnership Paul's Churchyard Pierre Plantin Pré printed books printer Printer's Mark printing-press published punning reference Regnault Rembolt reproduced Richard Grafton Robert ROBERT COPLAND scroll Sébastien Sébastien Gryphe serpent shield Simon De Colines sixteenth century Strassburg surname Thomas tion title-page Treveris typographical Unicorn Venice Wéchel whilst William William Caxton woodcuts Wynkyn de Worde
Pasajes populares
Página 84 - Folio, pp. 123 ; dedication, pp. 6 ; with the device of a pelican and its offspring rising from the flames, round which is this legend: "Pro Lege Rege et Grege: Love kepyth the Lawe, obeyeth the kynge, and is good to the Commonwelthe.
Página 235 - ... to sedition and disobedience against us, our crown, and dignity, but also to the renewal and propagating very great and detestable heresies against the faith and sound Catholic doctrine of Holy Mother, the Church...
Página 210 - words of art" as he calls them, which Philemon Holland, a voluminous translator at the end of the sixteenth and beginning of the seventeenth century...
Página 70 - Martin's Parish, in the rents of the Bishop of Norwich, near Charing Cross; nut he sometimes calls it/'besyde the Duke of Suffolk es Palace, "—"In the Duke of Suffolkee rentes," or «in the felde besyde Charynge Crosse in the bysnlion of Norwytche rentys.
Página 21 - ... the most important and interesting phases of the subject is the motif of pictorial embellishments, but he confesses "both the precise origin and the object of many marks are now lost to us." He adds, "It will not be necessary to enter deeply into the motives which induced so many of the old printers to select either their devices or the illustrations of their marks from Biblical sources, and it must suffice to say that if the object is frequently hidden from us to-day the fact of the extent of...
Página 183 - Hic Theodoricus jaceo, prognatus Alosto; Ars erat impressis scripta referre typis. Fratribus, uxori, soboli, notisque superstes, Octavam vegetus PR^ETERII DECADEU. ANCHORA SACRA manet, gratœ notissima pubi: Christe, precor, nunc sis ANCHORA SACRA mihi.
Página 12 - is generally supposed to be an allusion to the Reformation, as well as a pun on his name ; tradition has it, however, that Day was accustomed to awake his apprentices, when they had prolonged their slumbers beyond the usual hour, by the wholesome application of a scourge, and the summons :
Página 69 - Bounde with olde quayres, for age all hoorse and grene; Thy mater endormed, for lacke of thy presence ; But nowe arte losed, go shewe forth thy sentence. And where thou become so ordre thy language, That in excuse thy prynter loke thou haue, Whiche hathe the kepte...
Página 3 - ... one particular group of designs now reproduced is but a single type selected out of many. As we have already seen, modern experts in bibliography cling with cheerful confidence to the fallacy that imprints upon title-pages are merely trade signs for the identification of the printers. " Shorn of all romance and glamour which seem inevitably to surround every early phase of typographic art, a printer's device may be described as nothing more or less than a trademark.
Página ix - This subject is in many respects one of the most interesting in connection with the early printers, who, using devices at first purely as trade-marks for the protection of their books against the pirate, soon began to discern their ornamental value and, consequently, employed the best available artists to design them.