Medieval and Early Modern Prints

Estado de la cuestión de la imprenta incunable en Salamanca: imprentas e impresores y su producción en el siglo XV, entre ca. 1478 y 1500, inclusive. Para ello se han revisado los repertorios y catálogos bibliográficos,  monografías y artículos de revista especializados, tanto impresos como en línea, bases de datos y catálogos con noticias de incunables impresos en España. Se ha recogido la producción incunable salmantina, incluidas las obras de las que ya no hay ejemplar conocido, aunque sí constancia documental, las ediciones fantasma -que han sido eliminadas- y las que han pasado a ser consideradas post-incunables. Se analizan los talleres de la llamada "Imprenta anónima nebrisense", es decir, la imprenta de Alonso de Porras y Diego Sánchez de Cantalapiedra, hasta ahora conocida como “Imprenta del impresor de las Introductiones latinae de Antonio de Nebrija” o "Primera imprenta anónima de Salamanca"; así como la imprenta de Juan de Porras y Juan de Montejo, y la imprenta de Juan de Porras en solitario, hasta ahora conocida como “Imprenta del impresor de la Gramática castellana de Nebrija” o "Segunda imprenta anónima de Salamanca"; igualmente, se estudian: el taller de Juan de San Vicente y Rodrigo Escobar; la imprenta de Lope Sanz y Leonardo Hutz; y la actividad de Juan Gysser.

Entre la tipología de los colofones de los incunables impresos en Salamanca, el "Tractado de la vida y estado de la perfeccion" podría ser una edición contrahecha de la quizá publicada el 27 de abril de 1497 en el taller de Juan de Porras = Among the typology of the colophons of the printed incunabula in Salamanca, "Tractado de la vida y estado de la perfeccion" could be a counterfeited edition of that perhaps published on April 27, 1497 in Juan de Porras printing press.

Entre la tipología de los colofones de los incunables impresos en Salamanca, las Décadas de Tito Livio, editadas en el taller de Juan de Porras, estarían datadas según el cómputo del Anno Domini de la Encarnación al modo pisano, por lo que habría que adelantar en un año la fecha de su publicación. Se plantea igualmente la autoría de determinados colofones con una composición de data muy elaborada, como las primeras ediciones salmantinas de Antonio de Nebrija o La Cosmografía de Pomponio Mela comentada por Francisco Núñez de la Yerba. = Among the typology of the colophons of the printed incunabula in Salamanca, the Decadas by Tito Livio, edited in Juan de Porras printing press, would be dated according to the computation of the Anno Domini of the Incarnation in the Pisan model, so it would be necessary to advance in one year the date of its publication. The authorship of certain colophons with a very elaborate data composition is also proposed, like the first Salamanca editions of Antonio de Nebrija or the Cosmografia of Pomponio Mela commented by Francisco Núñez de la Yerba.

What motivated early modern collectors to mount their prints in albums and what was the purpose of compiling a comprehensive collection of print albums? To answer these questions is quite challenging, although albums have indeed served as most popular devices of print storage in early modern Europe. However, the changing pattern of both, print collecting and print conservation, have to a great extent led to their dissimilation. Fortunately, the print album collection of the Princes of Waldburg-Wolfegg has been preserved to this day and allows us an insight into its original compilation and intention. Under the aegis of Truchsess Maximilian Willibald (1604-1667), almost 300 print albums were compiled, mirroring his wide field of interest.
This talk intends to review the collection's encyclopedic overall structure and focuses on some exemplary albums to define their role as a visually operating 'archive of knowledge'. The concept of a print collection as 'image archive' can be traced back to the sixteenth century with the theory of collecting (Samuel Quiccheberg, 1529-1567), which also influenced collectors at the time of Max Willibald, for example the French abbé Michel de Marolles (1600-1681). Therefore, the Wolfegg collection can be perceived as a typical example for the era and may allow us to draw general conclusions about early modern print collecting.

**English abstract follows** Cette étude, qui porte sur l'ensemble des éditions de la traduction de Robert Gaguin (c. 1485-c. 1550), s'intéresse à la réception du récit de César. Ce travail est organisé en deux axes principaux : un examen des spécificités de la traduction de Gaguin suivi d'une présentation des éditions du corpus d'une part, et une analyse des deux principaux aspects sous lesquels ce texte est présenté (comme un récit épique ou un manuel humaniste). On constate, à l'issue de cette recherche, que les éditions de la traduction de Gaguin répondent aux attentes parfois contradictoires d'un lectorat varié : elles s'émancipent lentement du récit épique, associé aux « histoires antiques » à la fin du Moyen Âge dans les manuscrits comme dans les imprimés, pour s'orienter vers l'ouvrage savant. Ces changements sont à la fois formels (on passe d'une imitation des manuscrits enluminés à une reprise des formes des eleganti libretti, produits de l'humanisme italien) et révélateurs d'une conception différente du récit de César. L'attention des lecteurs se porte progressivement sur d'autres aspects du texte, et l'usage qui était fait des ouvrages évolue : si les premières éditions correspondaient plutôt aux goûts d'un Charles VIII amateur de récits chevaleresques, les dernières s'orientent vers un public ayant la curiosité intellectuelle d'un Philippe de Commynes.
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Title: "The reception of Robert Gaguin's translation of Julius Caesar's De Bello Gallico through its printed editions."

This thesis, which is about the editions of Robert Gaguin's translation of Caesar's De Bello Gallico as a whole (roughly 1485-1550), focuses on the reception of Julius Caesar's historical work at the end of the Middle Ages and the beginning of the French Renaissance. The thesis proceeds in two parts. The first part is a study of the characteristics of Gaguin's translation, followed by a review of its editions. The second part is a study of the two most common ways to display this translation: as an epic tale or as a humanistic handbook. It appears that these editions were designed to reconcile the contradictory needs and expectations of very different kinds of readers. On one hand, the publishers are gradually toning down the epic dimension associated to Ancient history at the end of the Middle Ages, in the manuscripts as well as in the printed books. On the other hand, they tend to emphasize the historical and geographical knowledge the translation contains. This evolution can also be observed through formal changes and is an evidence of the emergence of a new perception of the imperator's text. Indeed, the first editions, based on manuscripts' looks, are adapted to the taste of people who were fond of chivalric romance, like Charles VIII of France, whereas the last editions, taking the eleganti libretti produced by Italian humanists as an example, are designed to satisfy the intellectual curiosity of someone like Philippe de Commynes.