{"id":"01KG8B0T1D6S8D68WTEK5GW4AT","cid":"bafkreieyayv5fbejvd5lx4fm6vwyulgo5bzi2ax4lxdt7bzefsntr5st54","type":"file","properties":{"cid":"bafkreif6psbz2mbmejjgroirxfwz4amyitm6t4slazbz5xyuuku2txobm4","content_type":"image/jpeg","filename":"02_venus_and_adonis_1905_facsimile_page_0051.jpg","height":2400,"key":"pdf-page-1769806521478-0siawa6o3ae","label":"02_venus_and_adonis_1905_facsimile_page_0051.jpg","page_number":51,"pdf_type":"born_digital","size":630482,"text":"VENUS\nAND\nADONIS\n45-\neditions o^\nVenus\nand Adonis^\nand\nm\nfront of\nthe shaft\nin\nthe\nfirst\nedition of\nLucrece\nj\nthe inner\nbeading\nof\nthe\noval\nframes\nalso\ndiffers.^\nThe\ndevice assumes quite\na\nnew\nform\nin\nthe\nthird\nedition of the\nVenus\nof\nlyp^:\nthe\npattern\nis\nsimplified\nand\nfar\nmore roughly\nengraved/\nThe ownership of the copyright of Shakespeare's Venus William\nand Adonis underwent a third change in the author's lifetime owntr'ofthe\nin the summer of i79<^, just two years to a day after <^opy\"ght,\nHarrison acquired it. Harrison, who was advanced in age, {\"^^^Peb.\nappears to have reorganized his business in that year. He ^^' '^'7.\nmoved from his old premises, the White Greyhound in\nSt. Paul's Churchyard, to a house, on which he bestowed\nthe same sign, in Paternoster Row, and he made over his\nformer house, with some important items of his stock there,\nto another prominent stationer, William Leake. On June 2f,\nir9(^, the transaction, so far as it bore on Shakespeare's Venus\nand Adonis^ was duly entered in the Stationers' Company's\nRegister thus :—\n[lypc^] 2y lunij.\nAssigned\nouer\nvnto\nhim\n[i.e.\nWilliam Leake]\nfor his\ncopie\nfrom\nmaster harrison\nthelder, in full\nCourt holden\nthis\nday.\n\"\nThe\nUicrece\npattern\nof\ni^p^\nis\nmore\nfrequently met\nwith than\nthe\nVenus\nof\nIT5)5-+-\nThe\nVenus pattern\nof i^c??-^\nappears\nin Field's issue in\ni')Vj6\nof\nSir\nJohn\nHarington's\nA\nneiv\ndiscourse\nof\na\nstale\nsubject called\n<\nThe\nMetamorphosis\nofAjax\n'.\nOf\nthe\nLucrece\npattern,\na\nrough\ncast\nfigures in Vautroilier's edition\noi\nEssaies of\na\nFre7zt}se^\n1^84;\na\nfine\nimpression was\nset\nby\nField\nbefore\nPuttenham's\nArte\nof\nEnglish\nPoesie^\n1585,,\nand\nthe\nfirst\nedition\nof\nthe\nsecond\nvolume\nof\nSpenser's Faerie\n^eene, which\nField printed in\ni^^6\nfor\nWilliam\nPonsonby.\nThe\ngeneral\nscheme\nof the\ndevice\nwas\na\ncrude adaptation\nof\nthe\nfamous Aldine\nanchor, entwined with\na\ndolphin. Antoine\nTardif,\na well-\nknown\nsixteenth-century printer of\nLyons, fashioned\na\nnew\ndevice of\nan\nanchor with a dolphin within a heavily\nornamented\nscroll\nand bearing\nthe\npunning\nmotto,\nFestina\ntarde. The arrangement\nof\nTardif\n's\ndevice and motto\nresembles that adopted by\nVautrollier\n(cf.\nL. C.\nSilvestre's\nMarques\nTypo-\ngraphiques^ Paris, iS^^-^J;,\nNo.\n505,).\nVautrollier's\nand\nField's\nmotto\nis\ncommon.\nSpenser, in his\nShepheards Calender\n(1^75)),\nadopted\nas\n<\nColin's\nemblemc\n' the Italian\nwords Anchora Speme\n(i.\nc.\nHope\nthe anchor).\n^ See facsimile on p.\n6^0.","text_extracted_at":"2026-01-30T20:55:21.478Z","text_extracted_by":"pdf-processor","text_has_content":true,"text_source":"born_digital","uploaded":true,"width":1632},"relationships":[{"peer":"01KG89K4X0DM39SSQK43XXG34R","predicate":"derived_from"},{"peer":"01KG89JREDR8WY5QQGYR5FZRDY","peer_type":"collection","predicate":"collection"}],"ver":2,"created_at":"2026-01-30T20:55:22.413Z","ts":"2026-01-30T20:55:25.324Z","edited_by":{"method":"manual","user_id":"01KFFH6ETXGRVD10WPNP3007D6"}}