THE POEMS OF JOHN FLETCHER 1579 – 1625
Selected, edited and with a preface by John Tremayne.The Stella Press, 2015.Printed and bound by The Fine Press Book Bindery, Finedon, Great Britain in a limited edition of 150 numbered copies. Super Octavo (197mm x 270mm), 113 pages, sewn. Typeset in Berthold Bodoni Old Face. Printed on Logan Book Wove 150gsm soft white acid-free paper made by Fedrigoni in Verona. Bound in quarter dark-blue Dubletta 3253 cloth and Tiziano Terra di Siena paper sides. Title-plate engraved by Paul Kershaw, printed in two shades of blue and set into front cover. Spine-label printed letterpress on matching Terra di Siena paper. Dark blue Merida Indigo endpapers. Engraved frontispiece-portrait of John Fletcher by William Marshall (1647).
Price: £ 35.00, Euro 50.00.
THE IMAGE OF CALABRIA IN ENGLISH LITERATURE
Too impenetrable, too inhospitable, too dangerous, too remote, Calabria remained unabsorbed into the route that well-connected English tourists, with their entourage of tutors, virtuosi, servants and assorted hangers-on, followed through the peninsula from the seventeenth century down to the Napoleonic wars. Yet some more adventurous English travellers had penetrated thither in Tudor times, as did the future translator of Castiglione’s Il Libro del Cortegiano, Thomas Hoby in 1549. A later traveller, George Sandys, Anglican poet and translator, wrote bluntly of Calabria’s twofold threat: brigands from within, Turks from without (1610). Both threats, plus the added one of earthquakes, would recur in the gothic fiction of the following century, as in Charlotte Smith’s Montalbert (1795). Calabria, indeed, ideally fulfilled the great object of the gothic novel, which was to have the heroine bundled aboard a coach and four and abducted to some remote and impervious region. Already recognized by the father of the English gothic novel, Horace Walpole (The Castle of Otranto, 1768), this gothic image of Calabria was elaborated by writers who hadn’t been there. Yet some of its constituent elements were corroborated by actual travel to the region: ‘Mrs Radcliffe and Salvator Rosa –, – costumes and character, – horrors and magnificence without end’: so wrote Edward Lear in 1852, epitomizing the image of Calabria. His journey through the region was to be abruptly terminated by political turmoil, in the wake of which all the ills of modern Calabria grew. After Lear came the two great post-Risorgimento English descriptions of Calabria, those of George Gissing and Norman Douglas; they are in some sense antithetical. The book ends with a long appendix comprising two descriptions of the 1783 earthquakes in Calabria: Sir William Hamilton and Richard Keppel Craven.
The Image of Calabria in English Literature is an 85-page large octavo book (197 x 270 mm). It has been typeset in Günter Gerhard Lange’s Whittingham, a typeface based on founts used by the Chiswick Press around 1840 and released by the Berthold type foundry in 2000. The printing and binding is by the Fine Press Bindery in Finedon, Great Britain. It is printed on superior paper (Logan Book Wove 150gsm Soft White acid-free paper made by Fedrigoni in Verona). The binding is in quarter maroon Dubletta cloth with blue William Morris willow-bough patterned boards. The book is sewn. It is printed in an edition limited to fifty numbered copies.
Price: £ 35.00, Euro 50.00.
THE STELLA PRESS published two new books in 2017-2018:
John Hayward: Elizabethan Historian 1564? – 1627. On the History of the English Nation and other Prose.
Edited and with an introduction by Peter Spring. This selection of Hayward’s prose in a number of genres – historiographical, political, military, biographical, confessional – is based on the first editions, and complemented with a checklist of John Hayward’s publications.
The first civil historian in England to write preferentially and exclusively in English, Hayward may not have founded the tradition of vernacular history in England, but he more than anyone helped to consolidate the use of the vernacular in historical studies and thus champion the transition from medieval chronicle to Renaissance ars historica.
The book in super-octavo format runs to 174 pages. It is typeset in Miller, a digital typeface designed by Matthew Carter in 1997, printed in the U.K. on Corolla Book Laid 140gsm paper made by Fedrigoni in Verona, sewn and bound in quarter cloth with marbled sides at the Fine Book Bindery. The edition is limited to 50 numbered copies.
Price: £40.00 / EUR 50.00
ROBERT BURTON: The Authors Abstract of Melancholy
Edited with a Preface by Peter Spring. A letterpress edition of the twelve-stanza poem that Robert Burton prefixed to his magnum opus, The Anatomy of Melancholy, first published in 1621, enlarged in successive editions between then and 1651. Usually printed as a single block of verse, as it is in Burton’s folio editions, herethe twelve stanzas are separated and superscripted with Roman numerals. Alternating between the blessings and ills of melancholy, the poem presents not two different and incompatible attitudes to life, but two antithetical moods that contend with each other in the same person and were distinctly present in the author’s own nature. The poem is followed by an Appendix with Anthony Wood’s Life of Robert Burton.
The poem is typeset in Romanée 16 pt, a serif typeface of austere but striking clarity designed by Jan van Krimpen in 1928 (roman) and 1949 (italic), the title-page in the same typographer’s Open Kapitalen fount. In super-octavo format, it is printed on W.S. Hodgkinson 150gsm handmade wove paper, sewn, and bound in quarter cloth with terracotta end-papers and marbled paper sides made by Jemma Lewis. There is an elegant printed paper spine label. Printed letterpress in the U.K. in a limited edition of 50 numbered copies.
£50.00 / EUR 60.00.