Books and their makers during the Middle Ages : $b A study of the conditions of the production and distribution of literature from the fall of the Roman empire to the close of the seventeenth century, Vol. IIPutnam, George Haven
History
Books and their makers during the Middle Ages : $b A study of the conditions of the production and distribution of literature from the fall of the Roman empire to the close of the seventeenth century, Vol. II
Putnam, George Haven
Books -- History -- 400-1450; Copyright; Freedom of the press -- History -- To 1500; Manuscripts; Printers
In the edition of _Horace_ prepared by Lambinus, the editor says,
in the epistle dedicatory addressed to Charles IX.: “The University
of Paris was then [in the time of Francis] equally destitute of
sound philosophy and of elegant learning. The poets, historians, and
philosophers of ancient Greece were scarcely known by name, and ...
scarcely a single professor was acquainted with even the rudiments
of Greek or Hebrew, or was capable of teaching Latin in its genuine
purity.” Erasmus writes, in 1529, to some friends in the _Collége
Royal_, encouraging them to persevere in their efforts to raise the
standard of liberal scholarship in France, and referring to the
progress of the College of Louvain, which had recently been instituted
through the munificence of Busleiden, a simple canon of Brussels, and
for the general organisation of which Erasmus was largely responsible.
The original purpose of the college (which became, in the next century,
a headquarters for Catholic theology) was the prosecution of Greek,
Hebrew, and Latin.
It was in connection with the _Collége Royal_, and as, in fact, an
essential part of his great scheme for the development of higher
education, that King Francis instituted the _Imprimerie Royale_, with
its appendage of _Typographus Regius_, an arrangement which was at
the time unprecedented in the annals of literature. “By an apparatus
which nothing less than princely munificence could have provided,” says
Greswell, “the admirable productions of classic genius and taste, and
particularly those of Greece, were now to be given to the public with
a beauty of characters and an exquisiteness of technical perfection
to which no typographer had ever yet attained or even in imagination
aspired.”[15]
The fonts of Greek type which came later to be known as _Characteres
Regii_, were cast under the direction of Claude Garamond, from designs
furnished by Angelus Vergetius, of Candia, whose Greek penmanship was
so singularly beautiful as to have been selected as the pattern for
Garamond to follow. Vergetius was appointed by the King to a post in
the new college, as the King’s _Escrivain en Grecque_, with a stipend
equal to that of the professors.
Public-domain text, read in full here on John Shaqi.
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