OLD FRENCH TITLE-PAGES

In the exploration of “Books and Bookmen,” the trajectory from the simplicity of early printed title-pages to the embellished and artistic designs of French title-pages is navigated with both historical insight and illustrative examples. Initially, title-pages were stark, offering minimal information, typified by Guido de Columna’s “History of Troy,” characterized by its nearly blank title-page aside from the title itself. The evolution towards more ornate title-pages in French literature began around 1510, with the incorporation of printer’s trademarks or illustrative woodcuts that reflected the nature of the book’s content. These illustrations not only added aesthetic value but also conveyed the themes and essence of the works they introduced.

“Les Demandes d’amours, avec les responses joyeuses” (1540) by Jacques Moderne and “Les dictz et complainctes de trop Tard marie” (1540) represent this transformation, showcasing a mix of humor, skilled craftsmanship, and thematic illustration on their title-pages. Jacques Moderne distinguished himself with his use of quaint devices that captivated the reader’s attention, while Galliot du Pre’s “Le Rommant de la Rose” (1529) and Alain Chartier’s poems represented an even higher level of artistic refinement in book design.

This period was marked by a flourish of creativity, illustrated by emblems, badges, and mottoes that became personal marks for printers and authors alike. Notable examples include Clement Marot’s “La Mort n’y Mord” and Jean de Tournes’s allegorical representations in his publications. This golden era of title-page artistry, spanning from 1530 to 1560, was characterized by an ingenious blend of design and typography that peaked in the decorative practices of the Elzevirs, who revitalized the art of the vignette.

The book also delves into the stylistic nuances of title-pages over time, showing how they mirrored the broader cultural and artistic trends. By the late 17th century, the works of Moliere presented title-pages that were not only decorative but also served as historical records, portraying the playwright and his characters in contemporary costumes.

In summary, “Books and Bookmen” offers an expansive view of how title-page design in French literature evolved from simplicity to elaborate artistry, reflecting not just the nature of the books but also the cultural and aesthetic shifts over centuries. This journey from the black-letter titles of the late 15th century to the high watermark of French decorative taste in the 17th century showcases the title-page as a crucial, evolving element of book design.