A relation of some yeares travaile into Afrique and the greater Asia, especially the territories of the Persian monarchie, and some parts of the orientall Indies and iles adiacent...

A Relation of Some Yeares Travaile, published in 1634, represents the genre of travel literature that emerged as English colonial expansion accelerated in the subsequent decades. The author, Thomas Herbert, offers a comprehensive and detailed account of his travels through Persia, East Africa, and nearby islands, meticulously documenting his observations. The book is particularly notable for its exploration of foreign cultures, languages, and traditions, but also due to its depiction of regions that were largely unfamiliar to his contemporaries in England at the time.

Background: Author, Dedication, and Genre

Author

Thomas Herbert was a historian and courtier to King Charles I. This book was initially part of a diplomatic mission led by Sir Dodmore Cotton to Persia.However, following the mission's failure due to Cotton's death, Herbert continued to travel and gather information across the region. He then went on to publish his observations in 1634 which was later expanded and republished in 1638. The second edition became a significant success and was quickly translated into Dutch and French, indicating the book's widespread appeal and impact on the European audience.

Dedication

In the dedication section of the book, Herbert recognizes Philip Herbert, the 4th Earl of Pembroke. Philip was a prominent figure at the English Court under James I, known for his intelligence, craftiness, and bad temper. He rapidly ascended in English society after his early introduction to court life. King James I grew a liking to him due to Philip’s passion for hunting. Philip had a strategic marriage to Susan de Vere which linked him to the powerful Cecil family, thereby furthering his courtly influence. Philip wasn’t very active from a political standpoint, serving as a Member of Parliament for Glamorgan and later becoming Lord Chamberlain under Charles I. Notably, however, Philip was very involved with the arts, sponsoring prominent characters like Shakespeare and Van Dyck. Philip carefully navigated court politics and made significant cultural contributions that left a lasting impact on the English aristocracy. He died in 1650.

Genre

In Literature, Travel, and Colonial Writing in the English Renaissance, Andrew Hadfield highlights the multifaceted role of travel writing during the late 16th and early 17th centuries, emphasizing its link with political and ideological movements of the era. Travel writing not only served to document geographical and cultural information but also acted as a medium for political commentary and advocacy for colonial expansion. Authors like Thomas Herbert used their narratives to influence England's political landscape, promoting ideas that aligned with their beliefs. Travel writing was instrumental in reevaluating personal and national identities. These writings challenged cultural assumptions by introducing readers to the “magnificent other.” Illustrators, like William Marshall, enhanced these works with engravings that complemented the texts' “grandeur.” In the 16th and early seventeenth-century travel writing wasn't strictly defined. Many of these writings often exhibited a Eurocentric view, evaluating and judging foreign cultures through European standards. This strongly influenced political and cultural attitudes toward colonization and interactions with non-European societies.

Important Characters in the Creation of the Book:

Printers

William Stansby

William Stansby was an influential printer in early Stuart London, born on July 8, 1572, in Exeter as the third of fourteen children to Richard Stansby who was a master cutler. His journey in printing began when he was an apprentice to John Windet at the age of eighteen. After gaining his freedom from Windet, Stansby continued working at his master’s shop at the Cross Keys until Windet's death in 1610. He then took over the shop and became a master printer himself. His business acumen quickly developed as he navigated through complicated guild regulations. Despite some challenges, Stansby's press was highly regarded, as evidenced by his involvement in high-profile projects and the continuous operation of his printing house until his death in September 1638. His interactions with notable contemporaries like Richard Bishop, who purchased his printing materials, and William J Butler, from whom he acquired copyrights, underscored his pivotal role in the London book trade.

Jacob Bloome

Jacob Bloome, also recorded under variations like Bloom or Bloome, was an apprentice to Ralph Mabbe in 1611 before eventually succeeding him. The variability in the spelling of Jacob’s surname, similar to the listings of Mabbe as Mabb, suggests that there were common inconsistencies in record-keeping of the time. Bloome’s career spanned several trades, including book selling, cartography, and the sale of maps. His family background, with connections to bookbinding and step-relations like George Edwards Sr, further situates him within a network of print and book trade professionals.

Engraver: William Marshall

William Marshall was an early English engraver active between 1617 and 1649, primarily known for his contributions to the literary and historical significance of the works he illustrated rather than the artistic quality of his engravings. Marshall was part of the first generation of native-born English engravers at a time when the field was dominated by Flemish and Dutch artists associated with prominent figures like Rubens and Van Dyck. Although considered an "uninspired plodder," Marshall's work is historically and biographically important due to the significant literary figures and immortal books he was associated with. He had the distinct privilege of engraving frontispieces for renowned authors and their works, such as Sir Thomas Browne’s Religio Medici, Herrick’s Hesperides, and the Eikon Basilike. Marshall also created portraits from the life of notable individuals like John Milton and John Donne. His contributions helped lay the groundwork for a burgeoning British school of engraving, which flourished in artistic achievement in the subsequent generation with engravers like William Faithorne and David Loggan. Despite his prolific career, little is known about his personal life, underscoring the enigmatic nature of his legacy in the annals of English art history.

A Group Effort

The creation of this book was a meticulous and complex process. Thomas Herbert needed to specify the fonts, sizing, spacing, and ornamental styles to both Stansby and Bloome. He also needed to plan the layout for the woodcut engravings, integrating them seamlessly within the text. This is where William Marshall's expertise was crucial; Herbert had to convey the landscapes, animals, foliage, and people he encountered during his travels for Marshall to illustrate accurately. Producing this book was a challenging endeavor and required careful collaboration among many different subjects.

Physical Analysis

Substrate and Binding

The book is bound in what appears to be its original leather binding, likely made from cow or sheep’s leather, showing centuries of wear with expected cracking and peeling yet still in great condition. The spine features an engraving of the author’s last name and an abbreviated title, with small ridges indicating the binding method. The pages, made from linen, resemble an old dollar bill and are crumpled and discolored with a slightly funky, moth-ball aroma. Despite minor restorative efforts by Penn, such as gluing and cleaning to preserve the binding and contents, the leather and the very intact flyleaves remain largely original. An interesting aspect of the book is the frontispiece, which is crafted from a different type of paper than the rest, as indicated by marginal differences in the width of two striating lines observed under a flashlight, suggesting the paper was sourced from elsewhere.

Platform

The book is printed on broadside paper in folio format. Each sheet is folded once and then stacked on top of each other. A consistent watermark, depicting what appears to be fruit, grapes, and spherical objects on a scale, is present on nearly all pages. The watermarks have been carefully documented in a vast database. In the database, we can see many of the ornamental head-piece’s Stansby used. For example, in the epigraph, Stansby uses one with a wolf’s head in the middle which matches the database. We can also compare many of the ornamental large letters from the book that matches exactly to the ones used in the book from the database

Navigation

This book is a collection of observations about specific regions, documenting customs, language, and geographical features. It is designed for readers to easily navigate through sections of interest rather than reading from front to back. Each paragraph is summarized in the margins with bold one to two-word descriptors, allowing readers to quickly scan and choose whether to delve deeper into the text or continue browsing other sections that catch their interest. This format invites readers to explore the book in a nonlinear fashion, focusing on topics that specifically interest them.