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The Folio Format in Premodern European Culture a Dissertation University of Nevada, Reno Speaking Volumes: The Folio Format in Premodern European Culture A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English by Ian H. De Jong Dr. Eric C. Rasmussen/Dissertation Advisor May, 2019 Copyright by Ian H. De Jong 2019 All Rights Reserved THE GRADUATE SCHOOL We recommend that the dissertation prepared under our supervision by Entitled be accepted in partial fulfillment of the requirements for the degree of , Advisor , Committee Member , Comm ittee Member , Committee Member , Committee Member , Graduate School Representative David W. Zeh, Ph.D., Dean, Graduate School i Abstract The history of the premodern book has for decades been built largely upon the evidentiary model of the case study: inductive reasoning extrapolates general narratives from specific data. The advent of digital cataloguing is stimulating the diversification of evidentiary models, including the spread of quantitative study of large populations. This “quantitative turn” reveals hitherto unguessed-at conclusions about international exchange, book-users’ habits, and conventions of material discourse. It also calls into question some of the critical narratives which have emerged from the case-study mentality. This type of study has been and is being undertaken in a variety of channels, with intriguing results. However, quantitative methods have not yet been applied to study of format distributions and incidences in premodern books. This lack permits the survival of suspect critical narratives about the folio format, in particular—attaching descriptors like “prestigious” or “high-status” to folios. In this dissertation, I define, describe, and analyze a large dataset of folios printed between 1455 and 1623, both to fill this gap in critical format studies and to complicate narratives of folio prestige. This study illuminates a number of intriguing methodological and historical conclusions. For instance, it appears that late medieval printers frequently (though not exclusively) used the folio format to print first editions of classical authors. This practice seems to have shifted throughout the sixteenth and seventeenth centuries; by 1623 the folio was more likely to be a collective repository for works previously printed in smaller formats. In addition, folios could contain any length of work, not merely large, putatively prestigious texts. Slender folios deploy reference technologies and illustrations about as ii frequently as do bulky folios; this suggests that visual and referential elements, often considered “lavish” or “extraneous,” presented both in expensive and inexpensive folio volumes. Methodologically, this study depends on in-person archival research, drawing attention to the gaps in the transmissive affordances of digital facsimiles. It also demonstrates the value of indiscriminately selected, large datasets based on format, serving as a model for future quantitative research into the contents, materiality, and inclusions of premodern format. iii Acknowledgements This project would have been wholly impossible without the support of a Dissertation Fellowship awarded by the Bilinski Educational Foundation. The funds permitted me to spend productive time engaging with folio collections in far-flung archives, including the British Library in London, the Shakespeare Birthplace Trust in Stratford-upon-Avon, the Bodleian Library in Oxford, the Newberry Library in Chicago, and the Harry Ransom Humanities Research Center in Austin, Texas. The course release allowed me to spend full days reading, researching, processing data, writing, and revising. I generally tend to procrastinate by teaching; without a teaching schedule, I had no excuse for not finishing this dissertation. The Bilinski Dissertation Fellowship has transformed my approach to research; without the generosity of the Bilinski Educational Foundation, I would be a radically less efficient, effective researcher. In a different way, I am equally indebted to the members of my dissertation committee, all of whom offered generous encouragement and trenchant criticism when needed. As chair, Eric Rasmussen has been unfailingly gracious in his criticism and lavish with his time—even when I couldn’t tell “Connor” and “Connors” apart. His commitment to my professional and intellectual development, coupled with his care for my personal well-being, make me proud to call him a friend as well as a mentor. Ashley Marshall’s astounding work ethic and intentional approach to writing are a constant inspiration. James Mardock’s boundless energy and passion for early modern literature have taught me the value of eager intellectualism. I’ve already begun imitating Dan Morse’s painstaking attention to professional and critical detail, as well as his commitment to ethical mentorship. Louis Niebur and Rob Gander have set a high iv standard for professionalism, critical integrity, and kindness—a standard I can only hope to meet someday. Current and former faculty and graduate students at the University of Nevada, Reno have supported, challenged, and pushed me. Jessica Nakamura continues to inspire me to be deliberate, professional, caring, and above all creative in my approaches to teaching and research. Phil Boardman and Dennis Cronan showed me why ignoring the Middle Ages is a really foolish idea. Kathy Boardman and Ann Keniston opened my eyes to new-to-me critical methodologies. Peter Picetti, that Renaissance man, has hashed and rehashed folio questions with me until he’s probably sick of ‘em (not that he’d ever show it). Thanks, too, to Brendan Johnston for Coffeebar “work” times, Leslie Anglesey for modeling relentless efficiency in the face of trial, Lee Olsen for much-needed perspective early on, Karen Norwood and Elisabeth Linn for their enthusiasm for medieval wackiness, and Landon Lutrick, Andy Ross, and Jonathan Villalobos for their aid with the Bilinski application. Colleagues from other institutions have been similarly helpful. The folks in the 2018/2019 Newberry Dissertation Seminar for Scholars of the History of the Book in Premodern Europe have provided an excellent sounding-board for my research, pointing out what doesn’t make sense and what I’m not seeing. Jeremiah Coogan has been particularly helpful in thinking about reference technologies, and Michael Johnston’s insights on the project’s shape have directed my thinking in useful ways. Adam Hooks has been especially generous with his time and energy. So, too, has Aaron Pratt, at the Harry Ransom Center; his willingness to drink beer and grumble about critical v commonplaces was stimulating critically and personally. Bart Van Es asked insightful questions, as did Jim Marino and M. J. Kidnie. I had the great good fortune to sit under the teaching of people who cared. Sarah Wadsworth, M. C. Bodden, John Curran, and John Su were key influences in my scholarly nascence. Particularly formative were classes I took, and conversations I shared, with the late Diane Hoeveler. Formidable, fiercely intelligent, unflinchingly feminist, incredibly courageous, ethical, kind, and professional, Dr. Hoeveler shaped my future course as a scholar and a person. I miss her greatly. Teachers at Concordia were similarly influential. Brian Harries taught me how to love the premodern, and continues to mentor from afar. Sally Canapa, another wonderfully formidable mentor, refused to let me rest on my laurels—her work ethic is an inspiration to this day. Lori Woodall put up with my nonsense over and over and over again, and gave me kicks in the butt when I needed them. Tom Wilmeth did not suffer fools gladly, or at all, which was another essential part of my scholarly development. Years later, I finally understand why David Eggebrecht and I clicked: he treated me as an equal, and that gave me a taste of what collegiality could be. In terms of collegiality, the Endless Seminar of Legend has been ever-present throughout the shifting fortunes of this project. I especially appreciate the opportunity to talk about my research with the group at Great Tangley Manor, including Eric, Peter, Karen, Elisabeth, Maria McMillen, Lara Hansen, Mike Morse, Vicky Hines, and Elsa. The Endless Seminar of Tennis has been equally motivational, if not more so, for prompting me to leave the carrel and exercise. Thanks to Maria, Elisabeth, and Elsa (and, it seems, Peter now too)! Team 4 (Gabriel, Lauren, Scooby, Amelia, Jeff, and Elsa) has vi provided a different sort of diversion—not least in helping me understand the importance of putting salt on everything. The same goes for Alpaca Punch, Kora, Ragú, and Eldeth, despite their apparent constitutional inability to avoid conflict. Similarly, old friends and new at Mount Rose have offered encouragement and hospitality at key moments; Andy Preston, Adam and Gina Gustavson, Vern Gazaway, and Joe Horvath have been particularly considerate. I’m fortunate to have conducted this research and written this dissertation in the context of loving, thoughtful families. My father and mother, Brian and DeLou, brought me up to work diligently, ask hard questions, and always track down the answer. Their generosity, encouragement, and optimism has sustained me from afar. My brothers, too, have been faithful friends throughout this process, even though their academic achievements are already outstripping mine. James and Jenette Ochsner have been as important, opening their home on countless occasions and providing exactly what I need—be that a library back-room for focus,
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