Baron et al. 2007

Baron, Sabrina Alcorn, Eric N. Lindquist, and Eleanor F. Shevlin. Agent of Change: Print Culture Studies after Elizabeth Eisenstein. Amherst: University of Massachusetts Press, 2007.

3. On the Threshold: Architecture, Paratext, and Early Print Culture, by William H. Sherman (67-81)

dialogue between Eisenstein and Genette on paratexts

architectural elements of title pages -- entering into the space of the book

Herbert, "Church-porch" (77)

frontispiece was primarily and architectural term in 16c

4. Moving Pictures: Foxe's Martyrs and Little Gidding, by Margaret Aston (82-104)

"The large volumes of gospel harmonies so laboriously created at Little Gidding were a new form of handmade book, which combined printed letter-face and engraving to produce texts with extraordinary trompe l'oeil effect. This unique hybrid perhaps still awaits its due in the history of bookmaking. That it had any connection with Foxe's celebrated work has not hitherto been suspected." (83)

LG "seems indeed, like their founder, to have embraced Foxe's martyrology as second only to scripture" (85)

Table of the First Ten Persecutions of the Primative Church - included in A&M from 1570 edition on (see Loades 1997, Watt 1991)

• big fold-out image; "at risk for that very reason. It was all too inviting an object for domestic decoration and has often disappeared from surviving copies of the book." -- 7th edition of 1632, printers lost a block and published only the first two, "but by then it was possible for readers to buy independent reproductions of the print" (85)
• used in 1635 New Testament concordance of Little Gidding (87)

"The first Gospel concordance initiated by Nicholas Ferrar was designed as a form of productive employment that would directly benefit the community's daily services. The book was arranged in 150 chapters or headings that were 'said over' at the allotted hours and days of each month as the family gathered for prayer, so that the whole was repeated twelve times a year." (90)

1631 volume at Bodleian -- companion to Houghton copy, made to replace that volume as the King borrowed it? But also has Charles I's annotations? (91)

prints in Ferrar's collection are "almost without exception the works of Continental printmakers (from the late sixteenth century on), some in duplicate or triplicate, and a few still in the sewn gatherings in which they may have been purchased. Some which have details carefully snipped out tell where the 'knives and scissors' have done their work." (100)

Foxe print "was definitely an odd man out among the sophisticated illustrations on hand in the Concordance Room" (100) -- simplistic English technique and naive figure drawing would have consorted ill with the refined details they singled out elsewhere" (100-101) -- proves Foxe's capicity "to play a role alongside scripture itself" (101)

"This very indulgence in the visual, as if it as the glory of the book and what made it so fat and rich, was open to criticism. Perhaps it was difficult to resist the temptation of doing the utmost for the king's aesthetic delight." (101)

"The Ferrars were clear bout the role of illustrations in extending and extrapolating from the text. As the 1635 title page explains, they had added 'Sundry Pictures expressing either the Facts themselves or their Types and Figures or other Matters appertaining thereunto,' and in the 1635 book these 'other matters' seem to have been allowed particularly generous freedom of expression." (101-102)

Ferrar's debt to Jansen (102)

"It seems that the recipient of the volume (expressly prepared for one set of eyes and hands) was being given special treatment to help him meditate on the gospel texts. The workers in the Concordance Room never lost sight of the royal user whose private thoughts and reflections would come to rest on their collocation of words and images. They surely knew that he (if not they themselves) was untroubled by images in places of prayer and was accepting of their role in scriptural study." (102)

"This labor-intensive form of bookmaking simultaneously undermined the apparent stability of print and remodeled it with the help of script. The combined deconstruction (in the word's original, literal sense) of printed texts and sets of engraved images, yielded fresh meanings for both on pages that were essentially hybrid forms. Slicing up texts and images to reassemble them in a new context conferred a new life and meaning which, if not at variance with the original from which they came, had a fresh voice." (103)

changing context of Foxe image "by selection and rearrangement, removing individual images from their corporate context and impressing them to serve a gospel argument. Foxe was sublimated into the scriptural design." (103-104)

this page "shows, then, something of the ability of the printed page to move between different worlds. Theimage, printed as woodcut or engraving, with or without accompanying explicatory words, moved readily from study to cottage wall, from individual meditation to shared viewing or corporate discussion, from closable book to tearable poster." (104)