pleased both Catholic traditionalists and Protestant inno-
vators.
The second edition of 1552 went further towards
Protestantism, dropping the word “Mass,” for example.
But in 1553 the Catholic Mary I abolished the Prayer Book
altogether, restoring Latin Masses. It returned in 1559,
under Elizabeth I’s Protestant regime (see ELIZABETHAN
SETTLEMENT). This version effectively reproduced the
1552 text, although its Edwardian antipapism was moder-
ated. Although banned during the Puritan-dominated
years of 1645–60, subjected to numerous later changes
(the last major revision was executed in 1662), and largely
replaced by modern-language services in the 1970s, the
Book of Common Prayer remains a permanent reflection
of Anglican principles and practices. Superb reprints of
every major edition are accessible on the Internet.
Book of Concord See CONCORD, BOOK OF
book trade The distribution of printed books was able to
follow patterns established by the commercial production
and sale of multiple manuscript copies of texts in demand.
Trade fairs, such as those of Frankfurt (originally two a
year) and Lyons (four a year) existed before printing, but
they were developed as useful centers for printers, pub-
lishers, and booksellers to meet. In 1498, for example,
Anton Koberger of Nuremberg was already ordering 100
copies of a book from Milan to be delivered to his repre-
sentative at Frankfurt. For two centuries Frankfurt was
the major market-place for book dealers from Holland,
Switzerland, France, and Italy, as well as Germany, though
the censorship imposed there in 1576 sent Protestant pub-
lishers off to establish an alternative center in Leipzig.
Printed catalogues helped to publicize books available
at the fairs; individual publishers or printers issued them
from the 1560s and joint ones were compiled by the fair
organizers from 1590 in Frankfurt and 1594 in Leipzig.
Hopeful predictions of publication dates were as common
then as now, for in 1653 James Allestrye, an Englishman,
complained that “it is a very usual thing for the book-
sellers of Germany to send the titles of their books to be
put in the catalogue before they are printed, so that at pre-
sent they are not to be had.” Even so, the choice was wide,
for 22,000 books were listed between 1564 and 1600. The
fairs were also appropriate places to buy and sell type or
engage illustrators, translators, editors, or even authors.
Latin remained the predominant language of the
printed book until at least 1500, so the market for books
was effectively an international one from the start, and the
size of editions printed in trading centers like Venice grew
to reflect the demand for them. As German craftsmen be-
came printers in other countries, they naturally turned to
German merchants to sell their products elsewhere. Bar-
rels of books packed in sheets followed trade routes all
over Europe, with the reputations of the greatest printing
houses, like those of ESTIENNE, FROBEN, or PLANTIN, being
just as widespread. The growth of vernacular printing in-
evitably restricted the distribution of the books con-
cerned, although, in the hands of publishers such as the
ELZEVIRfamily, books in the main European languages
were not necessarily printed in their native countries.
Even CAXTON’s first book in English was actually printed
in Bruges.
See also: PRINTING
Further reading: Lisa Jardine, Worldly Goods: A New
History of the Renaissance (New York: W. W. Norton,
1998).Bordone, Paris (1500–1571) Italian painter
Bordone came from a noble family at Treviso and was
probably a pupil of TITIANand of GIORGIONEin Venice. Al-
though there is very little originality in his pictures Bor-
done had a very successful career and was regarded as
highly as Titian for the quality of his work and its rich col-
oring and chiaroscuro. An excellent portraitist, he re-
ceived commissions from many parts of Europe, including
the royal houses of Poland, Austria, and France, and he
was knighted by King Francis II of France. He also painted
mythological pictures such as his Daphnis and Chloe (Na-
tional Gallery, London) and religious works, which in-
cluded frescoes and numerous easel paintings, many still
in Treviso. His Fisherman presenting St. Mark’s Ring to the
Doge (Accademia, Venice) features a characteristically at-
tractive architectural backdrop.Borgia, Cesare (1475/76–1507) Italian soldier and
nobleman
The second son of Rodrigo Borgia (Pope ALEXANDER VI)
and Vanozza Catanei, Cesare was carefully educated and
destined for the Church. His father made him archbishop
of Valencia (1492) and cardinal (1493), but Cesare re-
nounced holy orders after his brother’s death. As part of a
deal made between Alexander VI and LOUIS XIIof France,
Cesare became duke of Valentinois and married (1499)
Charlotte d’Albret, a sister of the king of Navarre. With his
father’s support Cesare began to conquer a state for him-
self in central Italy (1499–1503), making rapid advances
in a successful military campaign and winning the title of
duke of Romagna (1501). The model state he established
was admired by many, and Cesare partly inspired MACHI-
AVELLI’s concept of the prince. Alexander’s death (1503)
ruined Cesare. He was imprisoned by Pope JULIUS II, re-
leased, and imprisoned again in Spain. In 1506 he escaped
to Navarre and died at the siege of Viana, fighting for his
brother-in-law.
Further reading: Sarah Bradford, Cesare Borgia: His
Life and Times (London: Weidenfeld, 1976; new ed.
Phoenix, 2001).6622 BBooookk ooff CCoonnccoorrdd