Andrew Maunsell | |
|---|---|
 Anatomie of the Minde | |
| Died | 1595 |
| Nationality | British |
| Occupation(s) | Bibliographer and publisher |
Andrew Maunsell (died 1595) was a British bibliographer and publisher.
Andrew Maunsell | |
|---|---|
| Anatomie of the Minde | |
| Died | 1595 |
| Nationality | British |
| Occupation(s) | Bibliographer and publisher |
Andrew Maunsell (died 1595) was a British bibliographer and publisher.
Maunsell was at the beginning of Elizabeth's reign probably a member of the Drapers' or Grocers' Company, but as early as 1578 he undertook, in addition to his other business, the publication and sale of books, although he did not join the Stationers' Company (Arber, Stationers' Reg. ii. 28). On 6 November 1578, he obtained a license to publish a work entitled, ‘The State of Swearinge and Swearers’ (ib. p. 340), and until 1595 he was busily occupied in selling or publishing books, chiefly theological (cf. ib. pp. 381, 402). In 1583 he joined with H. Denham, T. Chard, and W. Broome, in bringing out in folio a translation by Anthony Martin of Peter Martyr's ‘Commonplaces,’ and he undertook the publication of many works by Archbishop Bancroft's well-known chaplain, Thomas Rogers. He at first dwelt at the sign of the Parrot in St. Paul's Churchyard, but by 1595 had removed to Lothbury. His device was a pelican with its offspring, rising out of the flames, which was formerly employed by Richard Jugge, and his motto was ‘Pro lege, rege, grege.’ He took a genuine interest in his profession, and finding the need of a general catalogue of English printed books, set about preparing one. Nothing quite similar had been previously attempted in England, although Bale had made efforts in the direction in his ‘Scriptores.’ Maunsell designed a catalogue in three parts, the first embracing divinity, the second, science in all its branches with music, and the third, literature, including logic, law, and history. The entries were arranged under authors' surnames, but many general headings, like ‘Sermons’ or ‘Music,’ were introduced, and gave the work something of the character of a subject-index. The first two parts were alone completed, and both appeared in folio in 1595. The first part, entered on the ‘Stationers' Register’ 8 May 1595, was entitled ‘The First Part of the Catalogue of English Printed Bookes: which concerneth such Matters of Divinite as have bin either written in oure Tongue or translated out of some other Language, and have bin published to the Glory of God and Edification of the Church of Christ in England. Gathered into Alphabet and suche Method as it is by Andrew Maunsell … London, printed by John Windet for Andrew Maunsell,’ fol. This is dedicated to Queen Elizabeth, and there follow the dedication addresses to the members of the Stationers' Company, and to ‘the reverend divines and lovers of divine books.’ Maunsell warns the latter that he has omitted the works ‘of fugitive papistes’ or printed attacks on the existing government. Both defects are supplied in manuscript by a contemporary in a copy of the catalogue in Trinity College Library, Cambridge. The continuation of the catalogue was called ‘The Seconde Parte of the Catalogue of English printed Bookes eyther Written in oure own Tongue or translated out of any other Language: which concerneth the Sciences Mathematicall, as Arithmeticke, Geometrie, Astronomie, Astrologie, Musick, the Arte of Warre and Nauigation, And also of Physick and Surgerie, London, by James Roberts, for Andrew Maunsell,’ 1595. The dedication, addressed to Robert Devereux, second earl of Essex, is signed ‘Andrew Maunsell, Bookseller,’ and there follow letters to the ‘professors’ of mathematics and physic, and to the Stationers' Company and booksellers in general. Francis Meres makes familiar reference to Maunsel's catalogue’ in his ‘Palladis Tamia,’ 1598. The promised third part failed to appear, probably owing to Maunsell's death late in 1595. The ‘Catalogue’ of William London of 1658 ultimately superseded Maunsell's labours.
Another Andrew Maunsell or Mansell, apparently the elder Maunsell's son, was admitted to the freedom of the Stationers' Company on 6 Dec. 1613 (Arber, iii. 684), and on 4 May 1614 obtained a license to publish ‘A Fooles Bolt is soone Shot.’
The earliest texts of William Shakespeare's works were published during the 16th and 17th centuries in quarto or folio format. Folios are large, tall volumes; quartos are smaller, roughly half the size. The publications of the latter are usually abbreviated to Q1, Q2, etc., where the letter stands for "quarto" and the number for the first, second, or third edition published.
Anthony Munday was an English playwright and miscellaneous writer. He was baptized on 13 October 1560 in St Gregory by St Paul's, London, and was the son of Christopher Munday, a stationer, and Jane Munday. He was one of the chief predecessors of Shakespeare in English dramatic composition, and wrote plays about Robin Hood. He is believed to be the primary author of Sir Thomas More, on which he is believed to have collaborated with Henry Chettle, Thomas Heywood, William Shakespeare, and Thomas Dekker.
Robert Crowley, was a stationer, poet, polemicist and Protestant clergyman among Marian exiles at Frankfurt. He seems to have been a Henrician Evangelical in favour of a more reformed Protestantism than the king and the Church of England sanctioned. Under Edward VI, he joined a London network of evangelical stationers to argue for reforms, sharing a vision of his contemporaries Hugh Latimer, Thomas Lever, Thomas Beccon and others of England as a reformed Christian commonwealth. He attacked as inhibiting reform what he saw as corruption and uncharitable self-interest among the clergy and wealthy. Meanwhile, Crowley took part in making the first printed editions of Piers Plowman, the first translation of the Gospels into Welsh, and the first complete metrical psalter in English, which was also the first to include harmonised music. Towards the end of Edward's reign and later, Crowley criticised the Edwardian Reformation as compromised and saw the dissolution of the monasteries as replacing one form of corruption by another. On his return to England after the reign of Mary I, Crowley revised his chronicle to represent the Edwardian Reformation as a failure, due to figures like Thomas Seymour, 1st Baron Seymour of Sudeley, Edward Seymour, 1st Duke of Somerset and John Dudley, 1st Duke of Northumberland. Crowley's account of the Marian martyrs represented them as a cost mostly paid by commoners. The work became a source for John Foxe's account of the period in his Actes and Monuments. Crowley held church positions in the early to mid-1560s and sought change from the pulpit and within the church hierarchy. Against the Elizabethan Religious Settlement, Crowley was a leader in the renewed vestments controversy, which eventually lost him his clerical posts. During the dispute he and other London clergy produced a "first Puritan manifesto". Late in life Crowley was restored to several church posts and appears to have charted a more moderate course in defending it from Roman Catholicism and from nonconformist factions that espoused a Presbyterian church polity.
The Stationers' Register was a record book maintained by the Stationers' Company of London. This was a trade guild given a royal charter in 1557 to regulate the various professions associated with England's publishing industry, including printers, bookbinders, booksellers, and publishers. The company's charter gave it the right to seize illicit editions of published works and to bar the publication of unlicensed books, and allowed publishers to document their right to produce a particular printed work in the register, which thus constituted an early form of copyright law.
Humphrey Moseley was a prominent London publisher and bookseller in the middle seventeenth century.
John Benson was a London publisher of the middle seventeenth century, best remembered for a historically important publication of the Sonnets and miscellaneous poems of William Shakespeare in 1640.
Richard Field (1561–1624) was a printer and publisher in Elizabethan London, best known for his close association with the poems of William Shakespeare, with whom he grew up in Stratford-upon-Avon.
William Jaggard was an Elizabethan and Jacobean printer and publisher, best known for his connection with the texts of William Shakespeare, most notably the First Folio of Shakespeare's plays. Jaggard's shop was "at the sign of the Half-Eagle and Key in Barbican."
Henry Herringman (1628–1704) was a prominent London bookseller and publisher in the second half of the 17th century. He is especially noted for his publications in English Renaissance drama and English Restoration drama; he was the first publisher of the works of John Dryden. He conducted his business under the sign of the Blue Anchor in the lower walk of the New Exchange.
Thomas Creede was a printer of the Elizabethan and Jacobean eras, rated as "one of the best of his time." Based in London, he conducted his business under the sign of the Catherine Wheel in Thames Street from 1593 to 1600, and under the sign of the Eagle and Child in the Old Exchange from 1600 to 1617. Creede is best known for printing editions of works in English Renaissance drama, especially for ten editions of six Shakespearean plays and three works in the Shakespeare Apocrypha.
Robert Allot was a London bookseller and publisher of the early Caroline era; his shop was at the sign of the black bear in St. Paul's Churchyard. Though he was in business for a relatively short time – the decade from 1625 to 1635 – Allot had significant connections with the dramatic canons of the two greatest figures of English Renaissance theatre, William Shakespeare and Ben Jonson.
Philip Chetwinde was a seventeenth-century London bookseller and publisher, noted for his publication of the Third Folio of Shakespeare's plays.
Thomas Cotes was a London printer of the Jacobean and Caroline eras, best remembered for printing the Second Folio edition of Shakespeare's plays in 1632.
Andrew Crooke and William Cooke were London publishers of the mid-17th-century. In partnership and individually, they issued significant texts of English Renaissance drama, most notably of the plays of James Shirley.
William Leake, father and son, were London publishers and booksellers of the late sixteenth and the seventeenth centuries. They were responsible for a range of texts in English Renaissance drama and poetry, including works by Shakespeare and Beaumont and Fletcher.
William Stansby (1572–1638) was a London printer and publisher of the Jacobean and Caroline eras, working under his own name from 1610. One of the most prolific printers of his time, Stansby is best remembered for publishing the landmark first folio collection of the works of Ben Jonson in 1616.
Henry Lyte was an English botanist and antiquary. He is best known for two works, A niewe Herball (1578), which was a translation of the Cruydeboeck of Rembert Dodoens, and an antiquarian volume, The Light of Britayne (1588), both of which are dedicated to Queen Elizabeth I.
Thomas Heyes was the publisher-bookseller who published the first quarto edition of William Shakespeare’s Merchant of Venice, in London, in 1600. He traded from 'St Paul’s Churchyard at the sign of the Green Dragon’.
Thomas Vautrollier or Vautroullier was a French Huguenot refugee who became a printer in England and, briefly, in Scotland.
James Roberts, was an English printer who printed many important works of Elizabethan literature. F. G. Fleay says that "he seems to have been given to piracy and invasion of copyright".
This article incorporates text from a publication now in the public domain : Maunsell, Andrew (1894). "Maunsell, Andrew". In Lee, Sidney (ed.). Dictionary of National Biography . Vol. 37. London: Smith, Elder & Co.