Progenitus Spira formis monumenta Maronis Hoc Vindelinus scripsit apud Venetos. Laudent ergo alii Polycletos Parrhasiosue Et quosuis alios id genus artifices: Ingenuas quisquis Musarum diligit artes In primis ipsum laudibus afficiet: Nec vero tantum quia multa uolumina, quantum Quod perpulchra simul optimaque exhibeat. M.CCCC.LXX. Wendelin of Speier these records of the art Of Maro now to Venice doth impart. Let some of Polycletus praise the skill, Parrhasius, or what sculptor else you will; Who loves the stainless gifts the Muses give Will pray that Wendelin’s renown may live; Not that his volumes make so long a row, But rather for the grace and skill they show. 1470. The colophon to the Petrarch claims credit for the restoration of a true text, a point on which the scholars of the Renaissance were as keen, up to their lights, as those of our own day, and which is often emphasized in their laudatory verses as the one supreme merit: Que fuerant multis quondam confusa tenebris Petrarce Laure metra sacrata sue, Christophori et pariter feruens Cyllenia cura Transcripsit nitido lucidiora die. Vtque superueniens nequeat corrumpere tempus En Vindelinus erea plura dedit. The songs that Petrarch to his Laura made With many a doubt obscure were overlaid: Now, by Cristoforo’s and Cyllenio’s care, Than day itself their text shall shine more fair. Lest by corrupting time they still be tried, Wendelin these printed copies multiplied. In 1471 Wendelin, or his correctors, lest their inspiration should be too hard worked, invented a simple couplet which would apply to any book equally well. Impressum formis iustoque nitore coruscans Hoc Vindelinus condidit artis opus. Printed from forms, with modest splendors bright, This Wendelin designed to give delight. This is found in the “Apophthegmata” of Plutarch, the “Memorabilia” of Valerius Maximus, the “Singularia” of Pontanus, the “Aureae Quaestiones” of Bartolus de Saxoferrato, etc.; and must have been a welcome second string in case of need. Nevertheless, when a second edition of Sallust was called for, Wendelin’s private poet was equal to the occasion, producing the quatrain: Quadringenta iterum formata uolumina nuper Crispi dedit Venetis Spirea Vindelinus. Sed meliora quidem lector, mihi crede, secundo Et reprobata minus antea quam dederat. The verses are so incredibly bad, not merely in their entire disregard of quantity, but in grammar as well, that it would be pleasant to reproduce the peculiar iniquity which makes their charm. What the writer meant to say was something to the effect that: Wendelin of Speier to Venice now once more Of printed Sallusts hath given hundreds four. But here all’s better, all may trusted be: This text, good reader, is from errors free.