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                <text>This religious work was published in Québec City by Samuel Neilson (1800-1837) and William Cohen. Samuel Neilson inherited his printing studio from his father, printer John Neilson (1776-1848), who was the printer for the Gazette de Québec, and the most important source of printing, binding, bookselling and office supplies in Lower Canada. William Cohen was an employee of John Neilson’s printing house and would collaborate with Samuel Neilson until 1833. This work is displayed to show the techniques involved in printing music. In the earliest days of printing, when music had to appear within text, the musical passage was engraved by hand onto a metal plate and printed separately from the text. As musical works gained popularity, especially those devoted to sacred music, musical notes were cast into type.</text>
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                <text>Archives and Special Collections, University of Ottawa [M 2133 .P96 1825] </text>
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                <text>Aldus Manutius (1449-1515), active in Venice, was an Italian printer, credited for the invention of Italic type, as well as “pocket” format books (chiefly the octavo, which was easily portable, in contrast to the very large formats popular at the time). He was also said to have established the modern use of the semi- colon and revived the use of the comma. Manutius’ printing efforts were concentrated primarily on the texts of the Ancient Greek authors, such as Aesop, Xenophon, Theocritius and Homer, among others. Manutius first used his printer’s device in 1501. It depicts a dolphin wrapped around an anchor. This emblem would be copied by various dubious printers, hoping to piggyback on Manutius’ fame. </text>
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                <text> In aedib[us] Aldi accuratis- sime,|cmen[se] aug[usti] M. DII</text>
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                  <text>The Women’s Archives contain more than 170 archival fonds and collections related to the history of women in Canada, with particular emphasis on the feminist movement since the 1960s. Both individuals and grassroots organizations who worked to improve the political, social, and economic conditions of Canadian women are represented in this unique collection. </text>
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                <text>Les Amoureux brandons de Franciarque et Callixène : roman dramatique en cinq actes et en prose [...]</text>
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                <text>This title, dating the end of the 19th century, offers the viewer a fine example of “combed” marble. The colours chosen in this example, however, are unusual and demonstrate the limitless creativity that surrounded the manufacturing of marbled paper at this time. </text>
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                <text>J. Gay, Genève </text>
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                <text>Les gestes et faictz merveilleux du noble Huon de Bordeaulx […]</text>
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                <text>This exquisite binding in red morocco is a modern binding, probably dating to 350-400 years after the book was initially printed. Tooled and stamped in gilt, with elaborately gilded edges, this was a binding executed for someone with a love of luxury and a disposable income of note. Its interior also sports a spectacular endpapers with embossed gold, an image of which can be seen in image 15 in the “Printers and Marblers” frame. </text>
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                <text>Les Ordonnances et édicts du très chrestien roy de France Charles neufiesme du nom […]</text>
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                <text>Les prouinciales, ou, Les lettres écrites par Louis de Montalte : a un prouincial de ses amis, et aux RR. PP. Jesuites : sur le sujet de la moral &amp; de la politique de ces pères</text>
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                <text>Here we have yet another example of hand printblock paper. However, in contrast to the previous example, this is a relatively recent paper, a product of a highly mechanized process. We can see the regularity of the design and the uniformity of the colours. </text>
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