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First and Otherwise Notable Editions of Medieval French Texts Printed from 1742 to 1874: A Bibliographical Catalogue of My Collection.

By William Cole.
Cole & Contreras, 2005.

Price 75€ (inc. shipping WORLDWIDE)

First and Otherwise Notable Editions of Medieval French Texts Printed from 1742 to 1874: A Bibliographical Catalogue of My Collection

By William Cole.
Cole & Contreras, 2005.

The first bibliography of first and other early editions of Old French texts.

"Old French" refers to the language written (and presumably spoken) in northern France (and Anglo-Norman England) until the beginning of the 14th century. It was a thriving literary language, producing great epics (the chansons de geste), romances (including those of Chrétien de Troyes), lyric, fabliaux, fables, hagiography, verse and prose chronicles, drama, etc.

By the time printing arrived in France in the mid-15th century, Old French had long disappeared, having been replaced by Middle French. Logically enough, early French printers focused on the current language, and the Old French texts slept in their manuscripts, apparently consigned to the dustbin of history.

During the Enlightenment, however, a few French intellectuals began to appreciate the importance of Old French literature. In 1742, Levesque de la Ravallière published the works of Thibaut de Navarre. This was the first printed edition of any Old French text. A smattering of texts appeared during the second half of the 18th century and the first few years of the 19th century, but it was not until about 1820 that the first real flowering began. Between 1819 and 1874 virtually all of the important Old French texts appeared in print for the first time: epics like the Chanson de Roland, Aliscans, and Raoul de Cambrai; romances by Chrétien de Troyes, Gautier d'Arras, and Raoul de Houdenc; short verse works by Marie de France, perhaps the greatest woman writer of all time; historical fiction by Wace; all of the important early texts relating to Tristan and Isolde; and hundreds of others.

This intellectual movement was incredibly important for many reasons. For one thing, the Western world suddenly rediscovered the fascinating culture of medieval France. Many of the texts are great literature, and many others shed a fascinating light on medieval manners and daily life. For another, the principles of philology - which up until that point had been the exclusive province of Hellenists and Latinists--had to be adapted for the first time to modern languages. The textual editors involved—including Francisque Michel, Paulin Paris and his son Gaston, Achille Jubinal, Immanuel Bekker, A.J.W. Jonckbloet, Le Roux de Lincy, Thomas Wright, and many others, are still remembered. Finally, out of respect for these texts (and because of the small market for them), the editions were usually very small (sometimes as few as 30 copies) and luxurious, and many of the the finest printers and publishers in France, England, Germany and other countries - including Didot, Bulmer, Crapelet, Pinard, Whittingham, and Jouaust - experimented with hierarchical editions, exceptional typography, and exotic papers: in its totality, this proved to be an important precursor of the fine press movement that was to arise later in England.

Yet despite the undeniable importance of these editions, no bibliography of them has ever appeared - until now.

The book includes:

1. A scholarly introduction;

2. A catalogue of 130 editions of medieval French texts. The catalogue is extremely detailed: the average entry runs to over 500 words. Each entry includes a title-page transcription, format, exact page size, information regarding the kind or kinds of paper used and the number of copies printed (with large-paper copies discussed in detail), an exact account of each plate (what the plate depicts, whether in color, whether lithographic or intaglio), collation, detailed page-by-page summary of contents, scholarly observations and notes relating to all aspects of the publication, a detailed description of the copy at hand (including provenance), and cross-references to 20 other relevant bibliographies (including both general bibliographies such Brunet, Graesse, and Vicaire and more specific bibliographies such as Bossuat and Gautier). The catalogue is organized chronologically, according to date of publication.

3. Nine separate indices: authors, titles, editors, publishers, printers, places of publication, collections (i.e., the series in which some of these publications appeared), provenances, and binders.

4. A detailed bibliography of bibliographies;

5. 13 full-page title-page facsimiles. They are of such high quality that by looking at them you can easily tell whether the page depicted was printed on laid paper or wove paper.

Since the book is the catalogue of an actual collection, it can delve into such areas as provenances and bindings. Among the former owners of books in this collection are a friend of Benjamin Franklin's, the man who developed the golden retriever, the man who threw the most infamously extravagant party in history, a friend of Proust's who was a model for a major character in "A la recherche du temps perdu", various noted bibliophiles, scholars, and polymaths, a school headmistress who wrote lesbian erotica on the side, and Prince Eugène de Beauharnais. In three cases, the copy described was the editor's own. Among the fine binders represented are Capé, Clarke, Duru, Hardy, Holloway, Thouvenin, and Trautz-Bauzonnet.

This book is an absolute must for anyone interested in medieval literature, 19th-century printing, and/or the progress of philological methodology.



"My marveling congratulations...an incredible achievement. I feel absolutely overwhelmed both by the riches of the exquisite collection and by the meticulous perfection of the catalogue, which is in itself and in its own right a thing of beauty."

Per Nykrog, Smith professor emeritus, Harvard University, and one of the world's most eminent scholars of medieval French literature.



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4to. Set in Bodoni types. Printed on acid-free Torras wove paper.Wraps printed in red and black on fine, heavy Arches buff wove paper.

EDITION LIMITED TO 300 SIGNED AND NUMBERED COPIES, signed by the author.

A scarce and important reference for anyone interested in literature, the history of printing, and/or the history of philological methodology.