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                  <text>La collection de livres rares comprend près de 14000 livres imprimés et manuscrits datant du XVe au XXIe siècle.  Incluant des milliers d'ouvrages touchant différents sujets comme la médecine, le droit, la littérature, la philosophie, les sciences naturelles, la géographie, les sciences, l'architecture, l'histoire, les arts, la collection comprend des ouvrages publiés en Europe et en Amérique mais également des Canadiana. On y trouve en majorité des monographies mais également des périodiques européens et canadiens des 17e, 18e et 19e siècle.</text>
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                <text>Bartoli da Saxoferrato Prima super Infortiato</text>
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                <text>&lt;p&gt;&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;The pages that serve to form the inner boards of this work are actually composed of printer’s waste : printed sheets that could not be used by the printer or binder in a final copy. Boards of this nature were created by gluing several sheets of paper together, offering a lighter form of cover than the boards of thick wood which were generally used in this era. Here we see a sheet that has come straight from the printer’s press; it has not been folded or cut into a gathering, allowing us to infer it is printer’s waste and not something salvaged from a previously bound book. This sheet was probably from a “trial run” of the printer’s; the first printings from an imposition would be verified in order to see that no typographical or other errors were to be found in the setting of frame of type. Anything that did not pass would be recycled. &lt;br /&gt;&lt;br /&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Les pages qui servent à composer les plats de cet ouvrage sont en fait des retailles de documents imprimés. On collait ensemble plusieurs feuilles afin de créer un plat solide mais plus léger que les ais de bois, géné́ralement utilisées à la même époque. Ici, on peut voir une feuille imprimée tout droit sortie de la presse puisqu’elle n"a pas encore été pliée ou coupée pour former le cahier. Il s’agit probablement de pages d’essai. Souvent les premières pages imprimées permettaient de vérifier qu’il n’y avait pas de coquilles ou de problèmes avec la mise en page.&lt;/p&gt;</text>
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                <text>Bartolo, of Sassoferrato (1313-1357)</text>
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                <text>Archives and Special Collections, University of Ottawa [KJA147 .B37 1535] /Archives et collections spéciales, Université d'Ottawa [KJA147 .B37 1535]</text>
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                <text>Lyon, Jehan Petit</text>
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                  <text>La collection de livres rares comprend près de 14000 livres imprimés et manuscrits datant du XVe au XXIe siècle.  Incluant des milliers d'ouvrages touchant différents sujets comme la médecine, le droit, la littérature, la philosophie, les sciences naturelles, la géographie, les sciences, l'architecture, l'histoire, les arts, la collection comprend des ouvrages publiés en Europe et en Amérique mais également des Canadiana. On y trouve en majorité des monographies mais également des périodiques européens et canadiens des 17e, 18e et 19e siècle.</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;br /&gt;&lt;/span&gt;&lt;br /&gt;This image depicts the bookplate of Bernard Coleridge, 2nd Baron Coleridge. If the name Coleridge sets off the ringing of bells, it should, as Bernard’s grandfather was the nephew of famed English Romantic poet Samuel Taylor Coleridge (1772-1834). While it cannot be proven that the book was handled by the famed poet, an inscription the inner flyleaf does say “bought in Padua” in 1814, which was during Samuel’s lifetime. The bookplate depicts what is surely the Coleridge’s family library in Chanter’s House, Devon, England. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;br /&gt;&lt;/span&gt;&lt;br /&gt;On peut voir ici l’ex-libris sous forme de vignette de Bernard Coleridge, 2e Baron Coleridge. Si le nom Coleridge vous semble familier c’est que le grand-père de Bernard Coleridge était le neveu du fameux poète romantique Samuel Taylor Coleridge (1772-1834). Bien qu’on ne puisse prouver que ce livre soit passé entre les mains du célèbre poète, une inscription sur l’une des pages de garde indique « acheté à Padoue en 1814 », soit à l’époque où vivait Samuel Coleridge. La vignette est très certainement celle utilisée pour identifier les livres de la bibliothèque de la famille Coleridge à Chanter House, dans la ville de Devon en Angleterre.</text>
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                <text>Archives and Special Collections, University of Ottawa [PQ 4476 .A86 1486]/Archives et Collections spéciales [PQ 4476 .A86 1486]</text>
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                <text>Impressi in Venesia per Pelegrino di Pasquali &amp; Domenico Bertocho bolognesi</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt; &lt;br /&gt;&lt;br /&gt;Impossible de savoir qui se cachent derrère les traits de ces portraits à la mine ou même qui a pris la plume pour s’exercer au dessin. À voir les hauts de forme, il s’agit sans doute d’un dessinateur de la fin du XIXe siècle.</text>
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                <text>A Paris, au bas de la rue de la Harpe, de l’imprimerie de la veuve d’Houry, au Saint-Esprit</text>
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                  <text>La collection de livres rares comprend près de 14000 livres imprimés et manuscrits datant du XVe au XXIe siècle.  Incluant des milliers d'ouvrages touchant différents sujets comme la médecine, le droit, la littérature, la philosophie, les sciences naturelles, la géographie, les sciences, l'architecture, l'histoire, les arts, la collection comprend des ouvrages publiés en Europe et en Amérique mais également des Canadiana. On y trouve en majorité des monographies mais également des périodiques européens et canadiens des 17e, 18e et 19e siècle.</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Issu des classes sué́rieures et instruites de Londres, William Morris (1834-1896) était un socialiste, grand amateur du travail manuel ré́alisé avec patience par les artisans, en réaction à l’industrialisation de la société londonienne de la seconde moitié du XIXe sècle. En véritable humaniste de la Renaissance, il s’est intéressé à̀ tous les arts : textile, métallurgie, fabrication de meubles, architecture, verrerie, arts décoratifs, peinture, littérature et bien sûr à la production des livres. Morris a fondé la Kelmscott Press en 1891 avec laquelle il allait produire des livres entièrement fabriqués à la main : le papier, l’impression, les caractères d’imprimerie, la reliure, etc. Il a d’ailleurs créé lui-même plusieurs polices de caractères dont les plus célèbres sont la police Chaucer créée spécialement pour l’édition des œuvres de Chaucer et le Golden, pour son édition de la Légende dorée de Voraigne.</text>
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                <text>Archives and Special Collections, University of Ottawa [HX811 1516. E893 1893] /Archives et collections spéciales, Université d'Ottawa [HX811 1516. E893 1893]</text>
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                <text>Moralia Hieronymi ab Hangesto, philosophi, sacraéque theologiae professoris</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;br /&gt;&lt;/span&gt;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.&lt;span style="text-decoration:underline;"&gt;&lt;br /&gt;&lt;br /&gt;Français&lt;/span&gt; &lt;br /&gt;&lt;br /&gt;Plusieurs mains et plusieurs plumes ont annoté cet ouvrage de Jérôme de Hangest, un théologien originaire de Compiègne et contemporain d'É́rasme. Les annotations comme le texte lui-même sont en latin, ce qui témoigne d’une certaine érudition de la part de ses lecteurs.</text>
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                <text>Archives and Special Collections, University of Ottawa [BJ 1240 .H36 1519]/Archives et collections spéciales, Université d'Ottawa [BJ 1240 .H36 1519]</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>Parisiis, Venundatur ab Joanne Parvo sub lilio aureo in via Jacobea</text>
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              <elementText elementTextId="974">
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                <text>Book/Livre</text>
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                <text>ARSC_RB_BJ1240.H361519</text>
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                  <text>La collection de livres rares comprend près de 14000 livres imprimés et manuscrits datant du XVe au XXIe siècle.  Incluant des milliers d'ouvrages touchant différents sujets comme la médecine, le droit, la littérature, la philosophie, les sciences naturelles, la géographie, les sciences, l'architecture, l'histoire, les arts, la collection comprend des ouvrages publiés en Europe et en Amérique mais également des Canadiana. On y trouve en majorité des monographies mais également des périodiques européens et canadiens des 17e, 18e et 19e siècle.</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>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Cet ouvrage de Saint-Thomas d’Aquin montre la marque de Jean Petit (14..-1533), un imprimeur prolifique qui est réputé avoir imprimé le dixième des publications produites entre 1493 et 1530 à Paris, soit près de 1000 titres. Petit aurait également collaboré avec plusieurs autres imprimeurs, dont Josse Bade (1461-1535) et Thelmann Kerver (14..-1522). La marque de Jean Petit a varié au fil du temps, mais la plus courante représente les initiales de Petit inscrites sur un bouclier soulevé par deux animaux. Ces animaux sont le plus souvent des lions comme c’est le cas ici, mais on trouve aussi parfois des singes, comme on le voit dans un autre ouvrage de notre collection.</text>
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                <text>Thomas, Aquinas, Saint (ca.1225-1274)</text>
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                <text>Archives and Special Collections, University of Ottawa [BS 2649 .T477 1541] /Archives et collections spéciales, Université d'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>1541</text>
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                <text>Ciceronis eloqventiae parentis epistolae breviores, odoci Badii Ascensii conficiendarum epiftolarum compendium, Michael Alchouer Patauien lectors</text>
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                <text>&lt;p&gt;&lt;span style="text-decoration:underline;"&gt;English&lt;br /&gt;&lt;/span&gt;The eloquence of Cicero appears to have wildly inspired a number of readers. However, in one case, someone seems less inspired by the art of discourse than infused with a burining desire to go Spear-fiching. If the messy and free-spirited penmanship on this post-incunabulum of 1516 seems sacrilegious to our eyes, it cannot be denied that it is also a great source of wry amusement. &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;Cet ouvrage de Cicéron semble avoir grandement inspiré son lecteur. Toutefois, c’est moins l’art de discourir qu’une envie soudaine d’évasion à la pêche au harpon qui semble avoir eu raison de son cœur. Si la plume griffonnant sur un post-incunable de 1516 nous semble aujourd’hui un véritable sacrilège, on ne peut qu’esquisser un sourire en s’imaginant le jeune étudiant de rhé́torique d’une autre époque.&lt;/p&gt;</text>
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                <text> Viennae Pannoniae, per Hieronymum Vietorem expenfis Leonardi I Lucae A lantfae fratru</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Robert Estienne (1503-1559) était le second fils de l’imprimeur Henri Etienne. Après la mort de son pè̀re en 1520, il a collaboré avec son frère aîné François et Simon de Colines. Il est reconnu comme l’un des plus éminents savants de son sè̀cle. Il fut nommé́ imprimeur du roi pour l’Hébreu et le Latin. La marque de Robert Estienne représente un serpent enlaçant un olivier. Si l’arbre fait penser à l’arbre de la connaissance, le clin d’œil à l’enseigne d’Estienne « au signe de l’Olivier » a sans doute joué sur ce choix. La devise « Noli altum sapere, sed time » est tirée de l’épître de Saint-Paul aux Romains et signifie « Ne t’abandonne pas à l’orgueil, mais crains ».</text>
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                <text>Archives and Special Collections, University of Ottawa [PC 2645 .L3 E78 1539] /Archives et collections spéciales, Université d'Ottawa [PC 2645 .L3 E78 1539]</text>
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                <text>ARSC_PR_PC 2645 .L3 E78 1539</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>&lt;span style="text-decoration:underline;"&gt;Anglais&lt;/span&gt; &lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt; Les pages de garde de ce livre contiennent un texte sur les guerres de religion qui ont eu cours avant le règne d’Henri IV, au moment de la guerre dite des trois Henri. On y parle principalement des Huguenots.</text>
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                <text>Maillard, André</text>
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                <text>Archives and Special Collections, University of Ottawa [DC 122 .M25 1592]/Archives et collections spéciales, Université d'Ottawa [DC 122 .M25 1592]</text>
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                <text>[Paris?], s.n.</text>
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                <text>Theocriti, Bionis et Moschi Carmina bucolica graece et latine</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Classical texts, authors and classical languages formed the majority of texts printed in the early days of printing. While this item is not as old as its counterparts in the Collection, it does display, very richly, the elaborate Greek fonts that would have been designed by typefounders. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Les classiques grecs et latins, ainsi que leurs traductions ont été les plus populaires au cours des premières années de l’histoire de l’imprimerie. Bien que cette édition ne soit pas très ancienne (1779), elle montre la richesse, la diversité et la qualité des caractères d’imprimerie produits par les fondeurs.</text>
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                <text>Archives and Special Collections, University of Ottawa [PA 4442 .A2 1779] /Archives et collections spéciales, Université d'Ottawa [PA 4442 .A2 1779]</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1779</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="908">
                <text>Archives and Special Collections, University of Ottawa /Archives et collections spéciales, Université d'Ottawa </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="909">
                <text>Book/Livre</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="910">
                <text>Latin </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="911">
                <text>Text/Texte</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="912">
                <text>ARSC_PR_PA 4442 .A2 1779 </text>
              </elementText>
            </elementTextContainer>
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        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="9">
        <name>Imprimeurs</name>
      </tag>
      <tag tagId="8">
        <name>Printers</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
