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Champ fleury revisited: some of Tory's sources reconsidered

Champ fleury revisited: some of Tory's sources reconsidered JOSÉ BOUMAN & FRANS A. JANSSEN Champ fleury revisited: some of Tory's sources reconsidered Many a bookhistorian has heaved a deep sigh when studying Tory's famous let- ter book Champ fleury:' how can one possibly extract concrete information from its superabundance of symbolism, allegory and mythology, which is related to the Neo-Platonic and Pythagorean background of this work?2 The present arti- cle intends to highlight a few aspects of this background, which, far from being superfluous, is essential to the message of the book. For a long time his biographer Bernard clouded the real significance of Tory and his Champ fleug in the history of printing. Only fairly recently has Johnson been able to correct this image.3 Tory hardly influenced French typography, he was not a punchcutter, he was not a printer of any importance (the typogra- phy of Champ fleury, if indeed printed by him, is quite unimpressive). He was, however, a woodcutter and as such he introduced the Italian style, with which he had become acquainted during his Italian travels, into French book decora- tion (the initials and woodcuts in Champ fleury are his). Although all his designs in Champ fleury are clearly intended for stonecutters http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Quaerendo Brill

Champ fleury revisited: some of Tory's sources reconsidered

Janssen, Frans A.; Bouman, José
Quaerendo , Volume 26 (1): 37 – Jan 1, 1996
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Publisher
Brill
Copyright
© 1996 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0014-9527
eISSN
1570-0690
DOI
10.1163/157006996X00025
Publisher site
See Article on Publisher Site

Abstract

JOSÉ BOUMAN & FRANS A. JANSSEN Champ fleury revisited: some of Tory's sources reconsidered Many a bookhistorian has heaved a deep sigh when studying Tory's famous let- ter book Champ fleury:' how can one possibly extract concrete information from its superabundance of symbolism, allegory and mythology, which is related to the Neo-Platonic and Pythagorean background of this work?2 The present arti- cle intends to highlight a few aspects of this background, which, far from being superfluous, is essential to the message of the book. For a long time his biographer Bernard clouded the real significance of Tory and his Champ fleug in the history of printing. Only fairly recently has Johnson been able to correct this image.3 Tory hardly influenced French typography, he was not a punchcutter, he was not a printer of any importance (the typogra- phy of Champ fleury, if indeed printed by him, is quite unimpressive). He was, however, a woodcutter and as such he introduced the Italian style, with which he had become acquainted during his Italian travels, into French book decora- tion (the initials and woodcuts in Champ fleury are his). Although all his designs in Champ fleury are clearly intended for stonecutters

Journal

Quaerendo – Brill

Published: Jan 1, 1996

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