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                <text>Who is hiding within the lines of these two portraits in pencil done by an unknown hand? Another caricature is to be found on the verso of the endpaper. While we today might not dream about doodling on the endpapers of an 18th century book, this little scibbler didn't seem to have any qualms holding him back.</text>
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                <text>Archives and Special Collections, University of Ottawa [JN2304. A434 1734]</text>
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                <text>William Morris (1834-1896), product of an upper-middle class upbringing of the 19th century, was actually a socialist with a great reverence for the skilled craftsman whose output was a product of labour done by hand, rather than that of mass-produced mechanization. Disgruntled with the uniform and shoddy artistic production of the Age of Industrialization of the London of his time, Morris looked back to the artists of the past for inspiration. A true Renaissance man if ever there was one, Morris was involved in almost every branch of the Arts : textiles, metal work, furniture making, architecture, stained glass, decorative arts, painting, literature, and indeed, book production. As with his other endeavours within the Arts, Morris turned to the pre-mechanized age for inspiration with book printing: the era of the hand-press. Morris founded the Kelmscott Press in 1891. All aspects of Kelmscott Press books were produced by hand : the paper, the binding, the pressing of an edition, and the fonts. Morris designed the fonts used at his Press himself, with Chaucer (designed for his magnum opus “The Kelmscott Chaucer”, Golden (designed for his printing of Voraigne’s Golden Legend) and Troy being his most famous. </text>
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                <text>Moralia Hieronymi ab Hangesto, philosophi, sacraéque theologiae professoris</text>
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                <text>Many hands and many quills have annotated this work by Jerome de Hangest, a theologian hailing from Compiègne and a contemporary of Erasmus. The marginalias annotation, as is the text itself, are in Latin, which would indicate a certain amount of erudition on the part of the text's readers.</text>
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                <text>Archives and Special Collections, University of Ottawa [BJ 1240 .H36 1519]</text>
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                <text>Parisiis, Venundatur ab Joanne Parvo sub lilio aureo in via Jacobea</text>
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                <text>Diui Thomae Aquinatis, ordinis praedicatorum, viri &amp; vitae sanctimonia, de sacraum literarum peritia praeclari In omnes beati Pauli apostoli epistolas commentaria [...]</text>
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                <text>This item shows the printer’s device of Jean Petit (14.. - 1533). Petit was a very prolific printer, and was said to have printed one-tenth of all books printed in Paris from approximately 1493-1530, that is, about 1000 titles. Petit also collaborated with a number of other printers, where they might print their works at his studio or he at theirs. Noted collaborations were with Josse Bade (1461-1535) (or Badius) and Thelmann Kerver (14...-1522). Petit’s device varies over time, but it is usually depicted as a shield containing his initials held up by two heraldic animals: usually lions, as is the case here; Archives and Special Collections has an example where the device is held up by two monkeys.</text>
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                <text>Archives and Special Collections, University of Ottawa [BS 2649 .T477 1541] </text>
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                <text>Parisiis, Ex officina honesti viri Oudini Petit, sub signo Floris lilij, via ad Diuum Iacobum</text>
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                <text> Viennae Pannoniae, per Hieronymum Vietorem expenfis Leonardi I Lucae A lantfae fratru</text>
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                <text>Robert Estienne (1503-1559) was the second son of printer Henri Estienne. After his father’s death in 1520, he collaborated with his older brother François and Simon de Colines (whose printer’s device we see in another item on display in this cabinet). Estienne was renowned for being one of the most erudite of his century, notably being named royal printer for Hebrew and Latin. Robert’s device is that of a serpent wrapped around an olive tree, alluding, most likely, to the tree of knowledge. However, there is a more personal meaning hidden within the device, perhaps something of an “in joke”, the Estienne printing shop was on Rue St-Jean-de-Beauvois in Paris, “at the sign of the Olive”. The motto contained within the device reads “Noli altum sapere, sed time” (“Be not high-minded, but fear”), a quote which stems from St. Paul’s Epistle to the Romans. </text>
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                <text> Le Francophile, pour très-grand, très chrestien, très-magnanime &amp; très-belliqueux prince Henry Auguste IIII, roy de France &amp; de Navarre, contre les conspirations du roy d'Espagne, du pape &amp; des rebelles de France</text>
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                <text>The endleaves of this book house a text on the wars of religion which occurred during the reign of Henri IV, specifically on the war that was titled the “Guerre des trois Henri” in 1585. The text speaks primarily of the Huguenots.</text>
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                <text>Theocriti, Bionis et Moschi Carmina bucolica graece et latine</text>
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                <text>This exquisite example of a mark of ownership is not even that of a book owner but that of a bookseller in Glasgow, Scotland, who had this item for sale in their shop. This practice ensured that this item could be traced back to its original point of sale after leaving the shop’s shelves, and the connection back to booksellers James and Andrew Duncan could not be better indicated!</text>
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                <text>Edinburgi, Eprelo academic, veneunt apud Gulielum Blackwood; Londini, Apud Longman, Hurst, Rees et Orme</text>
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                <text>Le Nouveau Testament de Nostre Seigneur Jesus Christ, traduit en François selon l'edition Vulgate, avec les differences du Grec</text>
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                <text>This book offers a typical example of the classic formula of “promise” and “reward” that one regularly finds in books of the 15th and 16th centuries. The phrasing varies as per the personality and humour of the owner and how much value he assigns to his book. Certain owners promise blessings or rewards to those who return his property in cases of loss, as is the case here with citizen Jean-Baptiste Fortin le Jeune, who will “pay a reasonable reward”. Others seem more vindictive, promising eternal damnation to anyone who dares to not return his property.</text>
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                <text> A Mons, Chez Gaspard Migeot, à l'enseigne des trois vertus,</text>
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                <text>ARSC_RB_BS21281672</text>
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