12 - CHARTIER (Alain). The Rules of Master Alain Charetier (below the initial L:) All carters, whether skilled or unskilled, who wish to haul goods correctly without error must take from Master Alain Charetier’s fine rules, set forth truthfully in this book (at the end). Here end the tales, sayings, and ballads of Master Alain Chartier. Printed in Paris by Pierre le Caron, bookseller, residing in Paris on Rue Quiquêpoit under the sign of the white cross or at the palace near the first entrance gate. Paris, Pierre Le Caron, n.d. (circa 1490). 2 parts in one folio volume, Gothic type, 134 folios of 40 lines in 2 columns, morocco. La Vallière, spine with 5 raised bands, decorated and inlaid with a monogram; covers adorned with a Renaissance-style design in red and green inlaid morocco and gilded thread. gilded, lined with red morocco with fine dentil work, ciphers at the corners and a coat of arms in the center, red moiré endpapers, gilded edges (Hardy - Mesnil - Marius Michel, gilder).

CHARTIER (Alain). The Rules of Master Alain Charetier (below the initial L:) All carters, whether skilled or unskilled, who wish to haul goods correctly without error must take from Master Alain Charetier’s fine rules, set forth truthfully in this book (at the end). Here end the tales, sayings, and ballads of Master Alain Chartier. Printed in Paris by Pierre le Caron, bookseller, residing in Paris on Rue Quiquêpoit under the sign of the white cross or at the palace near the first entrance gate. Paris, Pierre Le Caron, n.d. (circa 1490). 2 parts in one folio volume, Gothic type, 134 folios of 40 lines in 2 columns, morocco. La Vallière, spine with 5 raised bands, decorated and inlaid with a monogram; covers adorned with a Renaissance-style design in red and green inlaid morocco and gilded thread. gilded, lined with red morocco with fine dentil work, ciphers at the corners and a coat of arms in the center, red moiré endpapers, gilded edges (Hardy - Mesnil - Marius Michel, gilder). A PRECIOUS INCUNABULUM EDITION OF THE POEMS OF ALAIN CHARTIER. “SA BELLE DAME SANS MERCY” INSPIRED JOHN KEATS TO WRITE ONE OF HIS MOST BEAUTIFUL POEMS. INCLUDES “LA BALADE DE BON CONSEIL” BY FRANÇOIS VILLON. This is one of the first three editions, all published by Pierre Le Caron around 1489–1494; this one is undated but bears the second address (on Rue Quiquêpoit) with Le Caron’s name printed in the title page. It is rightly believed that the dated edition preceded the other two, but all are equally extremely rare. This beautiful two-column Gothic edition comprises 66 folios for the first part (including one blank folio), which contains the prose works, and 68 folios for the second part, which contains the poetic works. ORNAMENTATION: On the title page, a magnificent grotesque letter engraved on wood in the first state with two heads (see Mac Farlane, no. 6) ILLUSTRATION: 3 woodcuts, one of which is repeated (a2r and A1r); the first, on A1v, depicts the Dauphin—the future Louis XI—at the Court of Burgundy: all the figures are wearing the Order of the Golden Fleece. This engraving was previously used for the *Cent Nouvelles* printed by Vérard in 1486 (see Davies, Fairfax Murray, I, no. 407, p. 593); the second, on a2r, depicts the author on his bed surrounded by “Entendement” and “Metencolie”; a large genealogical chart of the Kings of France on k5v (a perfect illustration of the effectiveness of the Salic Law and the exclusion of Edward III of England), A1r: a repetition of the engraving found on a2r (though the speech bubbles remain empty in this second proof). At the end, the printer’s mark, Le Carron. A poet and diplomat from Bayeux, considered in his time to be the “father of French eloquence,” Alain Chartier likely died in 1430, reportedly at the age of 48. He served as secretary to the Dauphin and later to King Charles VII at the court of Bourges. “In the fifteenth century, no one enjoyed greater literary renown than Alain Chartier. No French poet up to Ronsard was more admired by his contemporaries. While the extent of this fame may surprise us, we must admit that Alain Chartier left all his 16th-century predecessors far behind” (L. Foulet). A SUPERB COPY, FROM THE LIBRARY OF MASSENA, PRINCE OF ESSLING, AND BONDED WITH HIS COAT OF ARMS (circa 1875, gilded by Cuzin père). It subsequently passed into the famous Huth Library, whose bookplate it bears. G. Bechtel, *Catalogue of French Gothic Prints 1476–1560*, C-273 – Goff C-426 – HC 4910 – GW 6559 - A. Tchemerzine, Bibliography of First Editions and Rare Books by French Authors, II, pp. 282 and 287 - D. Hillard, “Histoires de L,” Revue française d’histoire du livre, nos. 118–121 [2003], pp. 89–90 - J. MacFarlane, *Antoine Vérard*, London, 1899 - E. J. Hoffman, *Alain Chartier*, Geneva, 1975, p. 287.