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HISTORY OF PRINTING.

the custom of binding books in silver, with co- loured inlaid ornaments up to tbis year. This library contained four splendid folio volumes, the text of the tevm penetential psalrm, which exhi- bit extraordinary proof of the skill of the writer, musician, painter, and bookbinder. Of each of these artists there is a portrait, the name of the binder is Caspar Bitter. The books are bound in red morocco, variegated with colours, and se- cured with clasps ; every thing about them is square, firm and complete, and stamps Caspar Riffer as one of the most skilful artists of the sixteenth century. — DibdirCs Bib. Tour.

During this century, the superiority of the bookbinoers of France, over those of England or fiay other country, may be chiefly attributed to the steady and continued support of her kings and wealthy men ; their excellence was so gener- ally acknowledged that they were sent to most parts of Europe ; in the libraries of which, many of their works still remain to prove the judgment of their employers and the skill of the workmen. Of these early French artists, Gascon, Desseuil, Pasdeloup, and Derome, occupy the first rank.

Gascon is considered to have been the work- man who bound the greater part of the libraries of Hennr II. already mentioned at page .326 ante. Desseuil equally excelled in the fineness of his binding, and the elegance of his finishing. Pas- deloup and Derome were cotemporaries, and fully bore out the reputation of their prede- cessors. The estimation the bindings of the above artists are held in, is fully shown by the prices given for many works of small value, for their being coated by them. Of the latter, may be cited the notice upon Goutard, wherein the editor explains himself thus, " the books described in this catalogue are in part bound by the celebrated Derome, the phemtx of binders.

1574, April 6. Died, Paul Manvtics, the third son of the elder Aldus, born at Venice, in 1512, was in no respect inferior to his father in learning and typographic skill. We have already noticed, (page 218, ante.) that upon the death of Andrea d'Asola, his two sons, Francesco and Frederico, were in partnership with Paul Manu- tius. Their works are dated tn tedibus hteredam Aldi ManutiiRomani et Andrea Aiolani Soceri. The direction was confided to Paul Manutius. The productions of this firm were very numerous till 1536, when misunderstandings arose which terminated in a dissolution of partnership in 1540, from which time Paul Manutius conduct- ed the printing alone for himself and his brothers. The works executed after 1540, are usually sub- scribed Apud Aldi Filitu, or Apud Paulum Ma- nutium Aldi Filium. The reputation and skill thus acquired, gained for him, in 1556, the direction of the printing office of the Venetian academy, and in 1562 he was invited to Rome, to direct the printing office of the Vatican. — During his residence at Rome, Uie presses he had leit at Venice were not inactive ; uiough his two brothers, Manutio and Antonio, by no means cordially co-operated with his labours, and caused him much anxiety, especially Antonio. Having

been a second time banished from Venice, Anto- nio erected, by Paul's assistance, a printing office at Bologna, with the Aldine device, whence a few wonts issued in the years 1556 and 16&7. Paul Manutius died at Rome, leaving one son, Aldus the Younger, who died in 1597, and a daughter, who was married. Notwithstanding- the variety and extent of his tjrpographical con - cems, Paul Manutius found leisure to compose numerous works, particularly valuable commen- taries on Cicero, and four treatises on Roman antiquities ; all of which are distinguished by the purity and elegance of their style ; and so studi- ous was he of Ciceronian elegance, that (as Scioppius is said by Morhoff to report) he some- times spent whole months in revising and finish- ing a single letter.

1574, Maif 10. Queen Elizabeth issues on tbis day her royal theatrical licence under seal, for the performance of stage plays.*

So late as this year the Chester Mysteries continued to be performed. The old English Mysteries and Moralities, the first produce of our national dramatic genius, were long destitute of any division either into scenes or acts. In Parfre's Mystery entitled Candlemas Day, or the Killing of the Children of Israel, wntten in 1512,t there are neither scenes, acts, or even stage directions. The Morality of Hyeke Scomer, printed in the reign of Henry VlII. is, in like manner, without either stage directions, or any division into acts or scenes. In the Mo- rality of Lusty Jitventus, published in the reign of Edward Vl. there are stage directions, but still no mention of acts or scenes. The earliest of the Moralities which assume the regular dramatic shape are not more ancient than the

of players in England, we will, therefore, introdooe the license enffre: " Elizabetta, by the grace of Ood, qaeen of England, tie. To all Justices, mayors, sheriff^ baiuOk, head constables, under constebles, and all otbtx oor officers and ministers, greeting. Know ye, that we of our especial grace, certain Icnowledge, and mere motion, have licensed and authorised, and by these presents do license and authorise our loving subjects, James Burbaget John Perkyn, John Lanhum, William Jahnaon, and Robert Witson, servani* to our tnuty and wetl-beloeed cousim mmd counsellor, the Earl of Leicester, to use, exercise, and occupy the art and faculty of playing comedica, tngedie*. irterlndes, 8ta|;e-playii, and such other like as they have already used and studied, or hereafter shall use and study, at welt for the recreation of our toring subjects, as for smr solace and pleature, when we ghalt think good to see llkem ; as also to use and occupy all such instruments as tiiey already practised, or hereafter stiali practise, for and during our pleasure; and the said comedies, tragedies, in- terludes, and stage-plays, togetlier with 'their music, to show, publish, exercise, and occupy to their best com- modity, during all the term aforesaid, as well within the liberties and freedoms of any our cities, towns, borough^ fcc. whatsoever, as without the same, throughout oar realm of England. Wllltng and commanding you, and every of you. as ye tender oar pleasare, to pomit and suffisr them herein without any lets, hinderanoe, or mo- lestation, dmlng the time aforesaid, any act, statute, or grochunation, or commandment, heretofore made, or ereafter to be made, notwithstanding ; provided that the said comedies, tragedies, interludes, and stage-idays be, by the Master of our Rnelsfor the time heing, hefors seoM und allowed; and that the same be not pnlmshed or shown in the time of common prater, or in tile time of great and common plague in our said city of London."
 * As this is the first estsblishment of a regnlar compuiy

t First printed in Hawkins'* Origin of the EngHA Drama.

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