Bibliographical Society of America

superseded by more explicitly ar:d critical efforts. The

Term Catalogues, which started m i668, occasionally separated plays
from other kinds of books, and individual sale catalogues of plays con-
tinued to appear well into the eighteenth century.
75
The fact that the
critical activities of Langbaine and his contemporaries were directly in-
debted to the catalogues produced by the book trade does demonstrate
how crucial these prior efforts were, and would continue to be.
76
The
catalogues of booksellers have much more to tell us about the operation
of the book trade. But it is clear that by classifying plays separately, and
by doing so publicly - a crucial step which the trade had not taken
before - seventeenth-century booksellers transformed printed drama
into a distinct generic field that has continued to influence how we
think of, and indeed constitute, the category of early modern drama.
75. See Edward Arber, ed., The Term Catalogues, 1668-1709A.D. (London: Pri-
vately printed, 1903-6). Plays are sometimes classified separately, but also appear
grouped together with poetry. On sale catalogues of plays, see Pollard and Ehr-
man, 154-5.
76. A useful overview of play catalogues can be found in Carl J. Stratman, Dra-
matic Play Lists, 1591-1963 (New York: New York Public Library, i966).
The Authority of Presence: The Development
of the English Author Portrait, i500-1640
1
SARAH HowE
H
ow authorship comes to be culturally constructed has long preoc-
cupied literary critics, particularly in the field of Renaissance
studies. Yet the most visible sign of the "rise of the author" - the print-
ed author portrait - has received relatively little critical attention. Dis-
cussion has been confined to a few celebrated examples, invariably of
poets, read in isolation from others.
2
This study fills the need for a his-
toricized account of the English author portrait's early development. I
treat it as a bibliographical phenomenon that varies over time and ac-
cording to the type of work in which it appears. Roger Chartier has
explained author portraits as an "expression of an individuality that
1. I would like to thank Gavin Alexander, Raphael Lyne, and Jason Scott-War-
ren for their bibliographical teachings and generous advice, which have guided me
from the earliest stages of my research.
2. Wendy Wall, The Imprint of Gender: Authorship and Publication in the English
Renaissance (Ithaca, NY: Cornell University Press, i993), 74-83; Leah S. Marcus,
Unediting the Renaissance: Shakespeare, Marlowe, Milton (London: Routledge,
i996), 180-224. An exception is Peter Burke's chapter "Reflections on the Frontis-
piece Portrait in the Renaissance," in Bildnis Und Image: Das PortTait Zwischen In-
tention Und Rezeption, ed. Andreas Kastler and Ernst Seidl (Koln: Bohlau, i998),
i50-62, whose focus is mainly on European portraiture. See also Ruth Mortimer,
"The Author's Image: Italian Sixteenth-Century Printed Portraits," Haroard Li-
brary Bulletin 7 (1996): 7-87 [with an introduction (3-6) by G. Thomas Tanselle].
No dedicated bibliographical survey of the English author portrait exists.
Sarah Howe (Christ's College, Cambridge, CB2 3BU, United Kingdom) is writing a
Ph.D. thesis on literature and the visual imagination in post-Reformation England.
PESA 102:4 (2008): 465-99
Bibliographical Society of America
gives authenticity to the work."
3
ln doing so, he gives voice to two pre-
vailing assumptions: that they are the window to a personalized subjec-
tivity and are straightforwardly authenticating of the work in which
they appear. My research shows that these characteristics are carefully
constituted, rather than inherent. Critical narratives about the rise of
the author, including Foucault's seminal account of the "author-func-
tion,'' need to be qualified by attending to the material specificities of
books.
4
Short of a complete survey of every work listed in the STC, some
kind of sampling method is a prerequisite of a study of this kind. By
searching the English Short Title Catalogue (ESTC) for the physical
description "portrait" and selecting the relevant results, I have generated
a sample of author portraits from which to chart their historical devel-
opment.5 Such a methodology raises inevitable questions about its rep-
resentativeness.6 While I am fully aware of its potential limitations, my
research gives a suggestive insight into the changing face of authorship
between the early days of printing and the mid-seventeenth century.
Leah Marcus has drawn attention to the difficulties that "sophisticated"
3. Roger Chartier, The Order of Books: Readers, Authors, and Libraries in Europe
between the Fourteenth and Eighteenth Centuries, trans. Lydia G. Cochrane (Cam-
bridge: Polity, 1994), 52.
4. Michel Foucault, 'What Is an Author?" in Modern Criticism and Theo1y: A
Reader, ed. David Lodge (London: Longman, 1988), 202-3.
5. These sampled works are listed in the appendix. I refer to them by number
through the course of the paper.
6. Since my survey's coverage is by no means complete, it relies on its selection
being randomized. This, in turn, depends on the source of the ESTC notes that
flag the presence of portraits. In correspondence with Simon May of the ESTC
and British Library, I ascertained that these notes derive from the cataloguers who
edited the STC entries to ESTC cataloguing standards. Their sources of informa-
tion were threefold: (1) the microfilm set Early English Books, i475-1640; (2) re-
ports from holding libraries; (3) the books themselves (based on information from
the British Library, Folger Shakespeare Library, Huntington Library, and others).
Since the ESTC's scope is too broad for it to provide a detailed bibliography of
every work, no attempt was made to be systematic in the logging or description of
plates. However, the presence and subject of any portraits may have been described
in a note "dependent on the cataloguer and other circumstances" (Simon May,
private e-mail correspondence, dated Sth March 2007). There is, therefore, no guar-
antee against hidden biases in the sample arising out of the individual habits of
compilers, or the holdings of the major collections on which the notes were based.
The English Author Portrait, 1500-1640
copies pose for this field (that is, books whose portraits have been added
subsequent to publication).
7
However, the painstaking process of con-
sulting multiple copies to establish a portrait's integrity has enabled me
to see that physically altered texts provide some of the only evidence we
have for early modern readers' responses. Tell-tale stubs and neatly-cut
holes, or portraits' migration through individual copies, testify to the
reader's active use and consumption of them. Though ephemeral and
difficult to trace, the printed author portrait - sent along with letters,
pasted to walls, individually sold - had a life apart from books. Within
books, it develops alongside other paratextual strategies such as the bio-
graphical preface which, according to Foucault, condition a type of
reading governed by the limiting figure of the author.
8
As this study
shows, early modern authorship is negotiated within the nexus of tech-
nical, literary, and readerly agencies that comprise print culture.
From low and fairly consistent numbers throughout the sixteenth
century, the number of books containing author portraits undergoes an
explosion after around i610 (Fig.i).The upsurge far exceeds the overall
rate of increase in the number of books being published (Fig. 2). In an
attempt to provide larger and thus more precise figures for the sixteenth
century, I turned to Luborsky and In gram's A Guide to English Illustrated
Books, 1536-1603, using their index to generate a control group.
9
Their
data show a very similar profile to my earlier sample, with the same
7- Marcus points out that Arthur Marotti's reading of Herbert's 1633 Temple de-
pends on a frontispiece portrait inserted from a later edition ( Unediting the Renais-
sance, 259 26n). In order to establish whether the books in my sample were origi-
nally published with their portraits, I have examined all copies (unless extremely
numerous) held in the British Library (EL) and Cambridge University Library
(CUL). In every case, I have also consulted the document images available on Ear-
ly English Books Online (EEBO), whose records I searched in concert with those
of the ESTC.
8. See Kevin Pask, The Emergence of the English Author: Scripting the Life of the
Poet in Early Modern England (Cambridge: Cambridge University Press, 1996),
10-13. The lives of Classical authors such as Livy (1600) (no. 19) and Ovid (1626)
(no. 43), which face their portraits, are a feature that later extends to contemporary
writers. For example, Arthur Lake's 1629 Sermons (no. 49) prominently advertise
their inclusion of"the life and vertues of the A VTHOR."
9. Ruth Samson Luborsky and Elizabeth Morley Ingram, A Guide to English Il-
lustrated Books, i536-1603, 2 vols. (Tempe, Arizona: Medieval and Renaissance
Texts and Studies, 1998).
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Fig. y Data from Luborsky and Ingram: No. of editions containing author
portraits/Total editions printed x 100 =Percentage ratio, plotted by decade.
slight peak in the i56os and 7os,followed bya lull from i580 to i610 (Fig. 3).
The dramatic change that takes place during the second decade of the
seventeenth century demonstrates the need for my survey of the period
immediately following that covered by Luborsky and Ingram.
The sudden rise of the author portrait was partly contingent on a
technological change, as woodcutting gave way to copper engraving (Fig.
4). Engraving was a skill that spread to England only in the final de-
cades of Elizabeth's reign, with an influx of craftsmen fleeing religious
persecution in the Netherlands.
10
The dip from 1580 to 1610 marks a
hiatus where the woodcut was out of favor, but the new technique, with
its greater ability to represent light-effects and details of texture, had yet
to become widespread. In the preface to his Orlando Furioso (1591),J ohn
Harington observes that its illustrations were "cut in brasse" by workmen
living "in this land this manie yeares." However, Harington's portrait for
that volume (no. 18) is the only engraving to appear in Fig. 4 before 1610,
suggesting how rare an adornment engravings still were in the final de-
cades of the sixteenth century. Harington continues his preface by dismiss-
ing other English publications, whose "figures are cut in wood, & none in
metall, and in that respect inferior to these ... the more cost, the more
10. See Antony Griffiths and Robert A. Gerard, The Print in Stuart Britain,
1603-1689 (London: British Museum, i998), i3-17.
The English Author Portrait, 1500-1640
47
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worship."
11
He hints that the driving factors behind the shift to engrav-
ing - and by implication, the author portrait's growing popularity - Were
aesthetic preference and the prestige attached to their cost of production.
The change in medium altered the physical positioning of portraits
within books. Woodcuts were more embedded, because they could be
printed from within the form e. The positioning of woodcut author por-
traits is far from normalized; they appear in the title-page (no. i), on its
verso (nos. 2, 8, 12), in the midst of the preliminaries (nos. 7, i9), or at the
work's end (nos. 4, 5, i7), and may occur repeatedly within the same book
(no.17). They face other paratexts designed to evoke authorial presence,
such as a letter (no. 9) or "Pneface of the Author" (no. 7), as though the
portrait were intended to speak that textual trace (Illus.1). It is only with
the advent of engraving that portraits are fixed into the position of fron-
tispiece. Because of the necessity of printing them on a separate, rolling
press, engraved portraits are usually the verso (recto blank) of the book's
opening leaf 1
2
This is most commonly an inserted singleton (m_v), or a
bifolium, where the portrait is conjugate with an engraved title-page,
printed in one roll of the press. This positioning became so powerfully
engrained in expectation that one can see the reader or binder attempt-
ing to standardize early examples. In copies I saw of two different works
by John Florio (both in early seventeenth-century calf bindings), the
portrait leaf had been removed from its place at the end of the prelimi-
naries and re-bound to face the title-page.
13
This technical consideration has the effect of separating portraits out
from text: a separation that lends force to the portraits' accompanying
epigrams, which commonly instruct the reader to look away from the
picture and to the written work for the author's true likeness. Here the
paratext itself encourages the text/paratext division for which Jerome
McGann criticizes Genette.
14
The frontispiece portrait faces the work
11. John Harington, Orlando Furioso in English Heroical Verse (London: Richard
Field, i591), sig. Air.
12. Stephen Orgel notes that the publishers of Shakespeare's First Folio were
"making trouble for themselves" by incorporating the engraved portrait into the
letterpress title-page ("Original Copies," Word and Image 19 [2003]: 116).
13. John Florio, Queen Anna's New World of Words (no. 21; CUL Bb*.2.11[C]) and
Essays Written in French by Michael Lord of Montaigne (no. 22; CUL Ely.b.40).
14. Jerome McGann, The Textual Condition (Princeton, NJ: Princeton Universi-
ty Press, 1991), 10. See Gerard Genette, Paratexts: Thresholds of Interpretation
(Cambridge: Cambridge University Press, i997).
The English Author Portrait, 1500-1640
473
;
.. ---- -.--... .. -----. ..... ..,...,,_--=-"""'
474
Bibliographical Society of America
like a source from which it flows. It physically enacts Foucault's account
of how the author-function creates a figure that is outside and antecedes
the text.
Author portraiture, I propose, was partly designed to allay the anxi-
eties of readers about publishers' interventions in printed texts. This
function is particularly evident in the ubiquitous genre of the depreca-
tory portrait epigram. For the rhetorically attuned minds of early mod-
ern readers, the relationship of an author to his book was codified in the
figure of metonymy. According to one definition offered by the rhetori-
cian Abraham Fraunce, metonymy is "when the Autor &inuentor is put
for the things by him inuented."
15
The portrait epigram typically begins
by highlighting the author's bodily presence, conjured by his picture,
before shifting that metonymic identification onto the "soul" of the text
itself. This rhetorical move is deftly made in the epigram for the portrait
to Sir Walter Raleigh's Instructions to his Son (1632) (Illus. 2):
Braue Raleigh's outward figure heere you finde:
But the great worth and sharpenesse of his minde
No tablet can containe; no paynter's skill
Expresse; seeke that from his owne matcheless quill.
The epigram deconstructs the portrait's aura of authorial presence in
order to transfer it to the "work itself" According to the opposition set
up here, the author's image is mediated through a "paynter's skill," but
his text comes, direct and unadulterated, from "his owne ... quill." The
printed text is presented as having the same, physical immediacy as a
manuscript in the author's own hand - minus any of the intervening
agencies of publishers, compositors, printers, or proof-readers. As a
book's opening leaf and thus the one most vulnerable to damage or loss,
the frontispiece portrait is at once prominent and expendable. It fills an
absence identified in the work, yet is simultaneously considered super-
fluous to it.
Author portraits also helped to efface the stigmatizing association of
print with merchandising. The portrait for Michael Drayton's Poems
(1619) (no. 30) lifts their author into the iconographic realm oflaureate-
ship (Illus. 3). The inscription around its inset oval frame is at pains to
emphasize Drayton's lofty status as poet ("POET..tE") and gentleman
i5. Abraham Fraunce, The Arcadian Rhetoric (London: Thomas Orwin, i588),
sig. AJ'.
The English Author Portrait, 1500-i640
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Illus. 2: Sir Walter Raleigh, Sir Walter Raleigh's Instructions to His Son, and to
Posterity (London: Benjamin Fisher, i632), 8, STC 20642. Reproduced by
permission of the British Library.
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Illus. 3: Michael Drayton, Poems (London: John Smethwick, [1619]),
2, STC 7222. 3. Reproduced by permission of the Syndics of
Cambridge University Library.
The English Author Portrait, 1500-1640
477
(".f\.RMIG_ERI'?: both counts the debasing connotations
f rnarketmg his works. At the same time however, as Harington con-
the engraved portrait's separable value and cost to produce para-
doxically underlined the status of book as commodity. Author portraits
are generally associated with larger formats (Fig. 5). Expensive, prestige
folios such as Drayton's are over-represented, given their relative scarci-
ty in printers' outputs. However, the 1630s saw the growing association
of author portraits with religious works in duodecimo, which aligned
themsdves with the bibliographical presentation of portable prayer books.
Their Protestant divines are portrayed interrupted in self-referential
acts of reading or writing, a common motif of author portraiture. The
self-consciousness and materiality of the format are underlined by the
fact that the depicted book is often itself a duodecimo (Illus. 4). In the
portrait for his Saints Submission (1638) (no. 83),John Preston is depicted
keeping his place in a tooled and ribboned duodecimo volume. In this
way, the reader holding Preston's book mirrors the author himself, bring-
ing them together in a typically bibliophilic form of Protestant piety.
Edward Hodnett lays the agency behind such iconographical deci-
sions firmly with the publisher, who determined the portrait's design
and commissioned the artist.
17
Chartier, by contrast, parallels the author
portrait's rise with the "control exercised by the writer over the form of
publication of the text."
18
At one extreme are posthumous productions
dominated by the publisher; at the other is the rare insight that the
Elizabethan music master Thomas Whythorne gives us into an author's
role in determining the look of his portrait. In his Autobiography (c.1576),
Whythome describes the process of designing the woodcut portrait
appended to his songbooks of i571 and i590. Like children, Wythome
reasons, his books should bear his name and image: "I could do no less
than set in every one of them their father's picture or counterfeit, to repre-
sent unto those who should use the children the form and favour of their
parent."
19
However, it cannot be assumed that the close involvement of
16. Compare Wendy Wall's discussion of Drayton's portrait in The I mprint of
Gender, 82-3.
17. Edward Hodnett, I mage and Text: Studies in the Illustration of English Litera-
ture (London: Scolar, 1982), 27.
18. Chartier, The Order of Books, 53.
. i9. Thomas Whythorne, The Autobiography of Thomas Whythorne: Modern Spell-
ing Edition, ed. James Marshall Osborn (Oxford: Oxford University Press, i962),
i75-80. The woodcut portrait for Whythorne's Cantus and Bassus (1590) is no.17.
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STC zoz66. Reproduced by permission of the British Library.
Bibliographical Society of America
authors such as Whythorne or Harington with the production and il-
lustration of their books was the rule in early modern England. The
possibility of self-fashioning coexists merchandising
strategies beyond his control. In the words of David Scott Kastan, the
evocation of authorial presence is often a "simulacrum devised to indi-
vidualize and protect the publisher's property."
20
Fig. 6 paints a picture of a small pool of engravers working for a large
number of competing publishers. It also illustrates a developing dis-
course of ownership amongst artisans, who, with the advent of engraving,
began to sign their plates. In the seventeenth century, certain publishers -
William Stansby, Adam Islip - recur as producers of author-portrait
volumes. Of particular interest is the partnership ofJohn Sudbury and
George Humble, whose shop in Pope's Head Alley was the first special-
ist print dealership. On their in-house rolling press they printed the
penmanship manuals of Billingsley (no. 28) and Gething (no. 32), and
the lavishly illustrated atlas of John Speed (no. 58).
21
In general, howev-
er, nonspecialist publishers would commission one or two plates and
extensively reprint them to recoup their investment. It is possible to
trace portrait plates or blocks passing from one publisher to another
through successive editions of an author's works.
In the sixteenth century, a single publisher was instrumental to the
author portrait's introduction into England. John Day was known for
harnessing foreign expertise to produce sophisticatedly illustrated vol-
umes such as Foxe's Actes and Monuments (1563). According to the en-
tries in Luborsky and Ingram's Guide, Day was responsible for more
than half of the books containing author portraits printed during his
forty-year career.
22
His death in i584, when we see his stock of woodcuts
pass to other printers (nos. i7, 20), perhaps contributed to the form's
20. David Scott Kastan on the growing prominence on his works' title-pages of
Shakespeare's name ("Print, Literary Culture, and the Book Trade," in The Cam-
bridge History of Early Modem English Literature, ed. David Loewenstein and Janel
M. Mueller [Cambridge: Cambridge University Press, 2002], 115).
2i. See Leona Rostenberg, English Publishers in the Graphic Arts, i599-1700: A
Study of the Printsellers and Publishers of Engravings, Art and Architectural Manuals,
Maps and Copy-Books (New York: Burt Franklin, i963), 1-8.
22. See Hodnett on Day's links with foreign craftsmen (Image and Text, 27-38).
Day was also the original publisher of Whythorne's Songes (1571), the first of the
songbooks to feature his woodcut portrait. Whythorne may have been encouraged
to include it in light of Day's back-catalogue.
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end-of-century decline. Day modelled his output of reformist authors
(including Thomas Becon and Matthew Parker) on Luther, Melanch-
thon, and other European radicals, who used the printed author portrait
as a polemical tool. Cut by artists of Durer and Cranach's calibre, the
numerous portraits of these European reformers circulated as a medium
of religious and political self-definition among the holders of alba ami-
corum at Continental Protestant universities.
23
During the course of my
research, I noted four portraits that had been pasted into sixteenth-
century volumes after their initial publication. All four were the works
of prominent Reformation writers or theologians: William Tyndale (no.
3), John Bale (no. 6), Pierre Viret (no. i4), and Philipp Melanchthon
(no. i5). Although such interventions by readers are difficult to date,
they provide suggestive evidence that these portraits were circulating
within radical Protestant networks before coming to rest in the volumes
I surveyed. The first verisimilar author portrait ever to appear in an
English book is the woodcut, in the German realist style, appended to
John Bale's Comedy Concerning Three Laws (1548?) (no. 5), printed under
a false colophon during his exile in Wesel. The earliest author portraits
in Protestant England were most likely colored by ideological associations.
Foucault suggests that the author-function does not affect all dis-
courses in the same way: a religious polemic constitutes its author
differently to a poem, for example. The subjects that most frequently
contain author portraits are, in descending order, religion, poetry, histo-
ry, and science (Fig. 7).
24
The link between author portraits and say,
penmanship manuals, classical translations, or collected works could all
be fruitfully explored, but I will focus here on the changing status of
scientific authority.
According to Foucault, early modern scientific texts (cosmology, med-
icine, natural philosophy, geography, and so on) were particularly reliant
on an author-figure as a guarantee of their status. By the seventeenth
23. See Larry Silver, "The Face Is Familiar: German Renaissance Portrait Mul-
tiples in Print and Medals," Word and Image i9 (2003): i4-17.
24. In organizing these books into generic categories, I have erred on the side of
inclusivity. Thus, the category "religion" contains works as diverse as sermons, po-
lemical tracts, psalm commentaries, and Bible translations. My categories inevita-
bly do some violence to Renaissance conceptions of genre and its fluidity. Reli-
gious poems, for example, are catalogued under "poetry" rather than "religion." To
denote each work more precisely, however, would fragment the data to the extent
that patterns would no longer be recognizable.
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century, a reversal had taken place, as they began to be received "in the
anonymity of an or redemonstrabl.e


of scientific tracts was published with author portraits m the mid-six-
teenth century (35 percent of such works in Luborsky and Ingram). Por-
traits of physicians or cosmographers will often include the instruments
of their particular science, such as calipers or armillary spheres. How-
ever, many portraits of scientists do not differ markedly from those of
poets: the portrait to Thomas Hill's A Contemplation of Mysteries Con-
taining the Rare Effects and Significations of Certain Comets (1574?) (no.
12), surrounds its author with a laurel wreath similar to Drayton's. By the
seventeenth century, the number of scientific texts containing portraits
had significantly declined and changed in makeup: all three for 1620-39
are atlases, which probably reflects the combined specialization of print-
producers like Sudbury and Humble in portraits and maps.
The case is different again for poets. Leah Marcus has argued for the
memorializing function of poets' portraits: "before the 1630s and 1640s,
if a reader encountered a frontispiece portrait attached to a volume of
poetry, he or she could be reasonably certain that its author was de-
funct."26 According to Marcus, William Marshall's notorious frontis-
piece for Milton's Poems .. . 1645is exceptional for depicting a living writ-
er. My survey does not bear out her assertion. In fact, portraits ofliving
authors gradually gave ground to posthumous ones (Fig. 8) . There is
actually a slight bias in my data towards the posthumous, since they
include later re-uses of plates first cut during an author's lifetime. Nor does
Marcus's theory stand up to a focus on poets alone, since living and
posthumous portraits are fairly evenly balanced across the period (Table 3) .
Marcus's posthumous/living distinction needs to be deconstructed,
since portraits published during authors' lifetimes often proleptically
anticipated their deaths. The physical fragility of portrait leaves - in
stark contrast to the enduring stone or metal structures which frame the
sitters - is arguably itself a kind of vanitas moti
27
An obvious example
is the monument-like frame surrounding Robert Bolton's image in his
Last and Learned Work of the Four Last Things (1639) (no. 85), a volume
25. Foucault, 'What is an Author?" 203.
26. Marcus, Unediting the Renaissance, i99.
27- I saw numerous portraits where readers had traced through the outlines, in
ink, onto the page's reverse, evincing a fascination with the thinness and transpar-
ency of the paper itself, and the mechanical reversibility of its image.
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preoccupied with its author's mortality (Illus. 5). Yet owing to the Re-
of an.cl death, the
function of portraits is not necessanly tied to posthumous publication.2s
In Foucault's terms, the author "assume[s] the role of the dead man in
the game of writing."
29
On a visit to Ariosto's tomb in i580, Montaigne noted that his effigy
was "a little fuller in the face" than the Orlando Furioso frontispiece
8
.3o
The problem oflikeness, closely linked to artistic style, is the most chal-
lenging to analyze from a bibliographical point of view. I can only touch
here on the vast changes in artistic representation that take place over
the period of my survey. The earliest portraits, of Alcock and Skelton,
make no attempt at realism, functioning as avatars of authorial presence
(Illus. 6).
31
Indeed, Alcock's title-page "portrait" is actually a recycled
image of St Nicholas from de Worde's earlier printing of the Legenda
Aurea (1493).
32
However, the problem of distinguishing likeness from
generalized type does not disappear as visual sophistication increases.
William Marshall's fictional portrait of the ancient British monk Gildas
(no. So) engages a visual and verbal rhetoric of verisimilitude (it calls
itself the writer's "Vera effigies,'' or "true likeness"), which upsets our
conceptions of both likeness and historical fidelity (Illus. 7).
33
Printed portraits are framed by texts that establish their reference to
the sitter. Statements of name, age, or rank effectively engage in a truth
28. Jonathan Goldberg, Writing Matter: From the Hands of the English Renais-
sance (Stanford: Stanford University Press, 1990), 224-5.
29. Foucault, ''What is an Author?" 198.
30. Michel de Montaigne, journal de Voyage, ed. Francis Rigolot (Paris: PUF,
1992), 75. Cited in Peter Burke, "Reflections on the Frontispiece Portrait in the
Renaissance," 154
3i. The question is not strictly one of continuity with the Middle Ages, as de-
bate over the "verisimilitude" of Chaucer's "Hoccleve portrait" demonstrates. See
Lois Bragg, "Chaucer's Monogram and the 'Hoccleve Portrait' Tradition," Word
and Image 12 (1996): 140 14n.
32. Edward Hodnett, English Woodcuts, 1480-1535 (London: Oxford University
Press, 1935), i:34. Compare Lisa Jardine on the appropriation of St Jerome's ico-
nography in Erasmus's portraits (Erasmus, Man of Letters: The Construction of Cha-
risma in Print [Princeton, NJ: Princeton University Press, i993], 74/).
33. Compare the fictionalized engraving of Ovid, also by William Marshall, that
accompanies George Sandys' s translation of the Metamorphosis (London: William
Stansby, [1626)), STC i8964 (no. 43).
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The English Author Portrait, 1500-1640 489
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490
Bibliographical Society of America
claim, which contends against the portrait epigrams' denials oflikeness.
Conversely, a portrait that identifies itself only with an impresa-like
motto, such as that ofJohn Donne's Poems (1635) (no. 75), mimics the
social exclusivity of the portrait miniature. Addressing print culture's
extended audience, portraits that claim to be a "vera effigies" or "lively
portraiture" anticipate a reader in the position of Montaigne standing
before Ariosto's tomb: not equipped to judge likeness, only to compare
likenesses. As Montaigne observed, inconsistencies interrupt the illu-
sion of authenticity woven by these widely circulated printed images.
Similarly, the re-use or misplacement of portraits under different names
(as in the case of Alcock's "portrait") collapses the principle that defines
an individual by his dissimilarity from others. Printed author portraits
were not inherently authoritative, but staged their authenticity, for
readers who might be simultaneously enchanted and skeptical.
This paper indicates only the broad outlines of what may be drawn
from my research. It shows that the seventeenth-century boom in au-
thor portraiture, and thus the constitution of"authorship" itself, is close-
ly tied to the social and technical realities of the English book trade. Its
limitations (perhaps those of bibliography in general) reflect a lack of
evidence of the reader's role in shaping the material forms of texts. Dis-
cussions of author portraiture frequently resort to an eroticized dis-
course of the reader's "yearning for the real face of the poet."
34
However,
the question of whether an engraving creates, or responds to, such an
effect resists simplification. Nevertheless, my findings show some of the
ways in which the bibliographer's tools can cast fresh light on a question
that has animated critics and historians from Burckhardt onwards.
34. Adrian W. B. Randolph, "Introduction: The Authority of Likeness," Special
Issue on "Likeness in an Age of Mechanical Reproduction: Printed and Medallic
Portraits in Renaissance and Baroque Europe" ed. Adrian W. B. Randolph and T.
Barton Thurber, Word and Image 19 (zoo3): 3.
The English Author Portrait, 1500-1640
491
TABLE I
Data for Author Portrait Incidence Compiled from ESTC.
Plotted in Figs. i and 2.
No. of Editions Percentage ofTotal
Total No. of Printed with Editions with
Decade Editions Printed' Author Portraits Author Portraitst
1500-9 438 1 0.228
1510-19 591 0 0
1520-9 826 1 0.121
1530-9 1093 0 0
1540-9 1350 2 0.148
1550-9 1629 1 0.061
1560-9 1546 3 0.194
1570-9 2056 3 0.145
1580-9 2763 1 0.036
1590-9 3053 2 0.065
1600-9 4151 1 0.024
1610-19 4931 13 0.263
1620-9 5865 16 0.289
1630-9 6526 37 0.566
TABLE 2
Data for author portrait incidence compiled from Luborsky & Ingram index.*
Plotted in Fig. 3.
No. of Editions Percentage ofTotal
Total No. of Printed with Editions with
Decade Editions Printed' Author Portraits Author Portraits t
1530-9 1093 0 0
1540-9 1350 1 0.074
1550-9 1629 5 0.307
1560-9 1546 5 0.323
1570-9 2056 5 0.243
1580-9 2763 1 0.036
1590-9 3053 3 0.098
1600-9 4151 0 0
* Data generated by searching each year from 1500 to 1639 in the "Publication Year"
field of the ESTC, recording the number of results, then totalling their sum per decade.
t No. of editions containing author portraits/Total no. of editions published x 100 =
Percentage ratio.
* The chronological range ofLuborsky and lngram's study is 1536-16o3, so there is not
full coverage of 1530-9 and 1600-9, probably resulting in totals for those decades
lower than should be the case.
492
Bibliographical Society of America
TABLE 3
Volumes of Poetry Published with a Portrait of the Living Poet
or a Posthumous portrait.
Decade
1500-9
1510-19
Living (8)
1520-9 John Skelton, Goodly Garlande, 1523.
1530-9
1540-9
1550-9
1560-9
1570-9
1580-9
1590-9 John Harington (translator),
Orlando Furioso, 1591.
1600-9
1610-19 George Wither, Abuses Stript, 1615.
Michael Drayton, Poems, 1619.
1620-9
1630-9 John Taylor, Works, 1630.
Abraham Cowley, Poetical
Blossomes, 1633.
John Clavel,A Recantation, 1634.
George Chapman (translator),
Homer's Works, 1634?
Posthumous(?)
John Skelton, Colyn Cloute, 1545?
Lodovico Ariosto in Harington's
Orlando Furioso, 1591.
Thomas Overbury, Wife, 1616.
John Harington, Epigrams, 1618.
Ovid, Metamorphosis, 1626.
Homer's Works, 1634?
John Donne, Poems, 1635.
The English Author Portrait, 1500-1640
493
APPENDIX
'fhis appendix lists the author-portrait containing books that are the basis of
111
y I compiled it by searching the ESTC for the keyword "por-
trait" and s1ftmg the results to select only those depicting the work's author or
uanslator. When the search brought up subsequent editions of the same work,
or other works by the author that contain the same image, I have included them
as showing instances of the re-use of a portrait.
An asterisk(*) indicates a portrait that has been added subsequent to a work's
publication. These entries are not included in the statistical analysis.
1
. John Alcock, Mons Peifectionis (London: Wynkin de Worde, [1501]), 4,
STC 2Si. Woodcut, Air (incorporated into tp.).
2
John Skelton, A Right Delectable Treatise upon a Goodly Garland or Chaplet
of Laurel (London: Richard Faulkes, 1523), 4, STC 22610. Woodcut, A1v
(verso of tp.).
3*. William Tyndale, The New Testament (Antwerp: Martin Emperor, [1534]),
S
0
, STC 2S26. Engraving, portrait pasted onto singleton bound opposite
tp. in British Library C.23.a5
4. John Skelton, Here after Followeth a Little Book Called Colin Clout (Lon-
don: Richard Kele, [1545?]), S
0
, STC 22601. Woodcut, Dt.
5. John Bale, A Comedy Concerning Three Laws (W esel: Nicolaum Bamburg-
ensem [i.e., Dirik van der Straten], i538 [i.e., 1548?], S
0
, STC 12S7. Wood-
cut, G2r.
6*. John Bale, The Vocation of John Bale (Rome [i.e., Wesel?]: [Hugh Single-
ton], i553), S
0
, STC 1307. Woodcut, leaf bound in opposite tp. in Bodleian
Library copy.
7. William Cuningham, The Cosmographical Glass (London: John Day, i559),
2, STC 6119. Woodcut, A3v
8. Thomas Becon, The Pomander of Prayer (London: John Day, i56i), S
0
, STC
i746. Woodcut, Aiv (verso oftp.).
9. Lanfranco of Milan, trans. John Hall, A Most Excellent and Learned Work
of Chirurgerie, Called Chirurgia Parua Lanfranci (London: Thomas
Marshe, i565), 4, STC i5192. Woodcut portrait of Hall, hv.
lo. Becon, Thomas, The Principles of Christian Religion (London: John Day,
i569), S
0
, STC175. Woodcut, A1v (verso oftp.).
11. Thomas Becon, The Pomander of Prayers (London: John Day, [c.1570]),
16, STC1747.7- Woodcut, A1v (verso oftp.).
12. Thomas Hill, A Contemplation of Mysteries Containing the Rare Effects and
Significations of Certain Comets (London: Henry Denham, [1574?]), 8,
STC134S4. Woodcut, A1v (verso oftp.).
1
3 Petrus Ramus, trans. Rollo Macllmaine, The Logic of the Most Excellent
Philosopher P. Ramus Martyr(London: Thomas Vautroullier, 1574), 24, STC
i5246. Woodcut, mv (facing tp).
494
Bibliographical Society of America
14
*. Pierre Viret, trans. John Brooke, The Christian (London:
Thomas East, 1579), 4, STC 24776. Woodcut, leafbound m opposite tp. in
Bodleian copy.
1
5*. Philipp Melanchthon, trans. Richard Robinson, A Godly and Learned As-
sertion in Defence of the True Church of God, and of His Word (London: Tho-
mas Dawson, i580), 4, STC17790. Engraving, mounted portrait pasted to
*iv in Harvard University Library copy.
1
6. Thomas Becon, The Sick Man's Salve (London: John Day, i582), go, STc
i762.5. Woodcut, Aiv (verso of tp.) . Repeat of portrait in no. io.
i7. Thomas Whythome, Cantus. OJDuos, or Songs for Two Voices (London:
Thomas Este, the assigne of William Byr, i590), 4, STC 255g3. Woodcut,
appears twice in volume: G2v (verso of final leaf) of CANTVS and G2v
(verso of final leaf) of BASSVS.
ig. Lodovico Ariosto, trans. Sir John Harington, Orlando Furioso in English
Heroical Verse (London: Richard Field, i591), 2, STC 746. Two medallion
portraits, of Ariosto and Harington, incorporated into the engr. tp.
Thomas Cockson, engraver.
i9. Livy, trans. Philemon Holland, The Roman History (London: Adam Islip,
i6oo), 2, STC16613. Portrait ofLivy: woodcut,
20. Thomas Becon, The Sick Man's Salve (London: Company of Stationers,
i610), go, STC 1769.5. Woodcut, A1v (verso of tp.). Repeat of portrait in
nos. io and i6.
2i. John Florio, Queen Anna's New World of Words, or Dictionary of the Italian
and English Tongues (London: Edward Blount and William Barret, i6n),
2, STC i1099. Engraving, a singleton after binding ,1-6. William Hole,
engraver.
22. Michel de Montaigne, trans. John Florio, Essays (London: Edward Blount
and William Barret, i613), 2, STC igo42. Portrait of translator: engraving,
A6v. Repeat of portrait in no. 21. William Hole, engraver.
23. George Wither, Abuses Stript, and Whipt: Or Satirical Essays (London: Francis
Burton, i615), go, STC 25g96. Engraving, mv. William Hole, engraver.
24. James I, King of England, Works, ed. James Montagu (London: Robert
Barker and John Bill, 1616), 2, STC i4344. Engraving, mv. Simon van de
Passe, engraver.
25. Aaron Rathbome, The Surveyor (London: W Stansby for W. Burre, 1616), 2,
STC 2074g, Engraving, )4r (recto of final leaf). Simon van de Passe, en-
graver.
26. Thomas Overbury, Sir Thomas Overbury his Wife (London: Laurence
L'Isle, i616), go, STC i8909. Engraving, Agv (at end of dedicatory verses,
facing opening of main text). Simon van de Passe, engraver.
27. Joseph Hall, Meditations and Vows, Divine and Moral (London: Henry
Fetherston, 1616), i2, STC126g3. Engraving, A1v.
The English Author Portrait, 1500-1640
495
ill Martin Billingsley, The Pen's Excellency, or, The Secretary's Delight (Lon-
. don: John Sudbury and George Humble, i618), obl. 4, STC 3062.2. En-
graving, A2v. ,William Hole, engraver.
i
9
. Sir John Harington, The Most Elegant and Witty Epigrams (London: John
Budge, l61g), 8, STC i2776. Engraving, A1v (facing letterpress tp.)
30
. Michael Drayton, Poems (London: John Smethwick, [1619]), 2, STC7222.J.
Engraving, A2v (verso ofleaf following tp.). William Hole, engraver.
31
. :Michael Drarron, John Smethwick, i620 [1619]), 2, STC
7223. Engraving, A1 (verso of different letterpress tp.; now conjugate with
engr. tp.). William Hole, engraver.
32
. Richard Gething, Calligraphotechnia, or The Art of Fair Writing Set Forth
(London: John Sudbury and George Humble, i619), obl. 2, STC11803. En-
graving, fol. iv (facing engr. tp.).
3
3. John Davies, The Writing Schoolmaster, or The Anatomy of Fair Writing
(London: Roger Daniel, [1620?]), obl. 4, STC 6344.3. Engraving, m v (verso
of first tp., incorporated into engr. tp.). Plate in State I, with misspelling.
34. James I, King of England, Works, ed. James Montagu (London: Robert
Barker and John Bill, i616 [i.e., i620]), 2, STC14345. Engraving, mv. Re-
peat of portrait in no. 24. Simon van de Passe, engraver.
35. James I, King of England, Opera, ed. James Montagu, trans. Thomas Reid
and Patrick Young (London: Bonhamum Nortonium et lohanne Billium,
i619 [i.e., i620]), 2, STC 14346.3. Portrait of James I: engraving (see
ESTC for variant forms) . Simon van de Passe, engraver. Portrait of
Montagu, editor: engraving, 2mr in Folger Shakespeare Library copy
36. Sir Walter Raleigh, The History of the World (London: Walter Burre, i621),
2, STC 20639. Engraving, mr (incorporated into engr. tp.). Simon van de
Passe, engraver.
37 Sir John Hayward, David's Tears (London: John Bil, i622), i2, STC 12991.
Engraving, mv (conjugate with engr. tp.). Willem van de Passe, engraver.
38. Sir John Hayward, David's Tears (London: John Bil, 1623), 4, STC 12992.
Engraving, m v (conjugate with engr. tp.) . Repeat of portrait in no. 37. Willem
van de Passe, engraver.
39. William Shakespeare, Mr. William Shakespeare's Comedies, Histories, and
Tragedies, ed. John Heminge and Henry Condell (London: William
Jaggard, Edward Blount, John Smethwick, and William Aspley, i623), 2,
STC 22273. Engraving, incorporated into letterpress tp., an insert after Ai.
Martin Droeshout, engraver.
40. Thomas Scott, Works (Utrecht: s.n., 1624), 4, STC 22064. Engraving, 2n2r
(recto ofleaf following tp.). Crispijn van de Passe the elder, engraver.
41 John White, Works (London: M. Lownes and Richard Moore, 1624), 2,
STC 25389a. Engraving, mv.
Bibliographical Society of America
42
. Martin Billingsley, The Pen's Excellency, or, The Secretary's Delight (Lon-
don: John Sudbury and George Humble, [between i625 and i635?]), obt.
4, STC 3062.7. Engraving, A2v (facing tp.). William Hole, engraver.
43
. Ovid, trans. George Sandys, Metamorphosis (London: [printed by Williarn
Stansby], [1626]), 2, STC i8964. Engraving, A3v (facing "THE LIFE Op
OVID"). William Marshall, engraver.
44. George Carleton, A Thankfal Remembrance of God's Mercy (London: Rob-
ert Mylbourne and Humphrey Robinson, i627), 4, STC 4642. Engraving,
m v (facing engr. tp. on Air). Frederik van Hulsen, engraver.
45. Francis Drake, The World Encompassed (London: Nicholas Bourne, i628),
4, STC 7161. Engraving, mv (facing letterpress tp.). Portrait in two ver-
sions varying by copy. Version (1): by Robert Vaughan with English verses.
Version (2): anonymous copy with verses in Latin.
46. Sir Walter Raleigh, The History ofthe World(London: H. Lownes, G. Lath-
um, and R. Young, i628), 2, STC 20640. Engraving, nzr (incorporated into
engr. tp., following additional engr. tp. on mr). Simon van de Passe, engraver.
47*. Tobias Venner, The Baths of Bath (London: Richard Moore, i628), 4, STC
2464i. Engraving, recto ofleaf inserted after A1 in Bristol Public Libraries
copy. William Faithorne [the younger?], engraver.
48*.Richard Bernard, The Isle of Man (London: Edward Blackmore, 1629),
12, STC 1948.5. Engraving, later portrait inserted facing letterpress tp. in
Harvard University Library copy. Signed "E. Wright".
49. Arthur Lake, Sermons with Some Religious and Divine Meditat ions (Lon-
don, Nathaniel Butler: 1629), STC15134. Engraving, insert after (facing
engr. tp. on John Payne, engraver.
50. Thucydides, trans. Thomas Hobbes, Eight Books of the Peloponnesian War
(London: Henry Seile, i629), 2, STC 24058. Engraving, m' (incorporated
into engr. tp.) Thomas Cecil, engraver.
5i. Pierre Charon, trans. Samson Lennard, Of Wisdom (London: Edward
Blount and William Aspley, [1630]), 4, STC 5054. Engraving, mv (facing
engr. tp. on Robert Vaughan, engraver.
52. Sir John Hayward, The Life, and Reign of King Edward the Sixth (London:
John Partridge, [1630]), 4, STC i2998. Engraving, 1qv (facing opening of
main work, on verso of final page of epistle "To the Reader"). Willem van
de Passe, engraver.
53. John Taylor, All the Works of John Taylor the Water-Poet (London: James
Boler, 1630), 2, STC 23725. Engraving, mr (incorporated into engr. tp.).
Thomas Cockson, engraver.
54. John Davies, The Writing Schoolmaster, or The Anatomy of Fair Writing
(London: Michael Sparke, 1631), obl. 4, STC 6344.5. Engraving, mv (verso
ofletterpress tp., incorporated into engr. tp).
55*. Nathaniel Richards, Seven Poems Divine, Moral, and Satirical (London:
The English Author Portrait, 1500-1640
497
Roger Michell, 1631), 8, STC 21010.3. Engraving, leaf inserted opposite letter-
press tp. in Harvard University Library copy. Thomas Rawlins, engraver.
6"'.Richard Sibbes, The Bruised Reed and Smoking Flax: Some Sermons (Lon-
S don: R. Dawlman, i631) , 12, STC 22480. Engraving, m v, leaf inserted op-
posite letterpress tp. in Folger Shakespeare Library copy. William Marshall,
engraver. Portrait possibly taken from an example of no. 89 and pasted into
this earlier work.
57
. John Speed, The History of Great Britain (London: George Humble, 1631),
2, STC 23048.5. Engraving, (verso ofletterpress tp.). Salomon Savery,
engraver.
5
s. John Speed, A Prospect of the Most Famous Parts of the World (London:
George Humble, 1631), 2, STC 23040. Engraving, mv (facing letterpress
tp.). Repeat of portrait in no. 57. Salomon Savery, engraver.
59. Lancelot Andrewes, XCVI. Sermons (London: printed by Richard Badger,
1632), 2, STC 60J.5. Engraving, niv (facing letterpress tp.). John Payne,
engraver.
60.John Donne, Death's Duel, or a Consolation to the Soul (London: Richard
Redmer and Benjamin Fisher, 1632), 4, STC 703i. Engraving, A2v (facing
letterpress tp.). Martin Droeshout, engraver.
61. Sir John Hayward, David's Tears (London: printed by Richard Whittaker,
1632), 12, STC 12993. Engraving, mv (facing engr. tp.), repeat of portrait in
nos. 37 and 38; plate is in the altered state of no. 52. Willem van de Passe,
engraver.
62. Sir Walter Raleigh, Sir Walter Raleigh's Instructions to his Son, and to Pos-
terity (London: Benjamin Fisher, i632), 8, STC 20642. Engraving, A2v (Ai
blank, facing letterpress tp.).
63. Sir Walter Raleigh, Sir Walter Raleigh's Instructions to his Son, and to Pos-
terity (London: Benjamin Fisher, i632), 8, STC 20642.5. Engraving, A1v
(facing letterpress tp.). Repeat of portrait no. 6z.
64. William Shakespeare, Mr. William Shakespeare's Comedies, Histories, and
Tragedies, ed. John Heminge and Henry Condell (London: Robert Allot,
John Smethwick, William Aspley, Richard Hawkins, and Richard Mei-
ghen, i632), 2, STC 22274. Engraving, Air (incorporated into letterpress
tp.). Repeat of portrait in no. 39. Martin Droeshout, engraver.
65. Abraham Cowley, Poetical Blossoms (London: Henry Seile, i633), 4, STC
5906. Engraving, A1v (facing letterpress tp.). Robert Vaughan, engraver.
66. Sir Walter Raleigh, Sir Walter Raleigh's Instructions to his Son: and to Pos-
terity (London: Benjamin Fisher, i633), 8, STC 20642.5. Engraving, A1v
(facing letterpress tp.). Repeat of portrait in nos. 6z and 63.
67. Thomas Taylor, Christ's Victory over the Dragon: Or Satan's Downfall
(London: R. Dawlman, i633), 4, STC 23823. Engraving, Aiv (facing letter-
press tp.). William Marshall, engraver.
Bibliographical Society of America
6S. George Webbe, The Practice of Quietness (London: George Edwards
i6
3
3), 12, STC 25i67. Engraving, verso of singleton facing engr. tp. on x/
Thomas Slater, engraver.
69. George Abbot, A Brief Description of the Whole World (London: Willialb.
Sheares, i634), i2, STC 3i. Engraving, mr (incorporated into engr. tp.).
William Marshall, engraver.
70. John Clavel, A Recantation of an Ill-led Life (London: Richard Meighen,
i634), 4, STC 537i. Engraving, mv (facing letterpress tp.). Williarn
Marshall, engraver.
7i. Homer, trans. George Chapman, The Whole Works of Homer (London:
Nathaniel Butter, [i634?]), 2, STCi36z4.5. Portrait of Homer: engraving,
*ir (incorporated into engr. tp.). William Hole, engraver. Portrait of
Chapman: engraving, *iv (verso of tp., presence varies by copy).
72. Sir Walter Raleigh, The History of the World (London: G Lath um and R.
Young, [i634]), 2, STC 2064i. Engraving, n2r (engr. tp. on mr) . Simon
van de Passe, engraver.
73. Lancelot Andrewes, XCVI. Sermons (London: printed by Richard Badger,
[i635]), 2, STC 609. Engraving, m" (facing letterpress tp.). Repeat of por-
trait in no. 59. John Payne, engraver.
74. Hugh Latimer, Fruitful Sermons (London: Company of Stationers, i635),
4, STC i52S3. Engraving, mv (facing letterpress tp.). George Gifford, en-
graver.
75. John Donne, Poems (London: John Marriot, i635), S
0
, STC 7046. Engrav-
ing, mv (facing letterpress tp.). William Marshall, engraver.
76. Sir John Hayward, David's Tears (London: Richard Whittaker, i636), i2,
STC i2994. Engraving, mv (facing engr. tp.). Repeat of portrait in nos. 37
and 3S; plate is in the altered state of nos. 52 and 61. Willem van de Passe,
engraver.
77. William Hodson, Credo Resurrectionem Carnis: A Tractate on the Eleventh
Article of the Apostles' Creed(Cambridge: Roger Ball, 1636), 12, STCi3553.5.
Engraving, mv (facing engr. tp.) . William Marshall, engraver.
7S*. William Stirling, Recreations with the Muses (London: printed by Thomas
Harper, i637), 2, STC 347. Engraving (a couple of copies have portrait, but
it was not printed to accompany book). William Marshall, engraver.
79. John Sym, Life's Preservative against Seif-killing (London: R. Dawlman
and L. Fawne, i637), 4, STC 235S4. Engraving, mv (facing letterpress tp.).
William Marshall, engraver.
So. Gildas, The Epistle of Gildas (London: William Cooke, i63S), S
0
, STC
11895. Engraving, *i Y (facing letterpress tp.). William Marshall, engraver.
8i. Monsieur de la Serre Gean Puget), trans. Francis Hawkins, An A/arum for
Ladies (Paris, Nicholas de la Coste and Jean de la Coste, [i638]), S
0
, STC
204S7.5. Engraving, mv (facing letterpress tp.). John Payne, engraver.
The English Author Portrait, 1500-1640
499
:Murad IV, Sultan of the Turks, A Vaunting, Daring, and a Menacing Let-
si. ter (London: J. Cowper, i638), 4, STC i8286. Engraving, A2v (facing let-
terpress tp.).
8
. John Preston, The Saints Submission (London: Peter Cole, i638), 12, STC
3
202
66. Engraving, Aly (facing letterpress tp.).
84
. Richard Sibbes, A Fountain Sealed (London: Lawrence Chapman, i638),
12
0, STC 22496. Engraving, Air (incorporated into engr. tp.). William Mar-
shall, engraver.
85
. Robert Bolton, Mr. Bolton's Last and Learned Work of the Four Last Things
(London: George Miller, i639), 4, STC 3245. Engraving, mv (facing engr.
tp.). John Payne, engraver.
86. Desiderius Erasmus, Colloquiorum Desiderii Erasmi Roterodami Familiar-
ium OpusAureum (Landini: Milonis Flesher, 1639), S
0
, STCio453. Engrav-
ing, Aiv (facing letterpress tp.). William Marshall, engraver.
s
7
. John Donne, Poems (London: John Marriot, i639), 8, STC 7047. Engrav-
ing, my (facing letterpress tp.). Repeat of portrait in no. 75. William Mar-
shall, engraver.
88. Henry Montagu, Earl of Manchester, Manchester al Mondo Contemplatio
Mortis et Immortalitatis (London: Francis Constable, i638 [i.e., i639]), 12,
STC i8028.5. Engraving, m" (conjugate with engr. tp. on n2r).
89. Richard Sibbes, A Breathing after God (London: R. M[abb], i639), 12,
STC 2247J.Engraving, A2v (letterpress tp.). William Marshall, engraver.
90. Richard Sibbes, The Returning Backslider (London: George Edwards,
[1639)), 4, STC 22500.5. Engraving, fuY (facing letterpress tp.). John Payne,
engraver.