PARADISE LOST. A POEM IN TWELVE BOOKS

London: Miles Flesher for Richard Bently [sic], 1688. Fourth Edition, First Folio Edition, First Illustrated Edition. 328 x 205 mm. (12 7/8 x 8"). 2 p.l., 1-219, [1], 219-250, 151-196, 297 [pagination error]-343, [1] pp., [3] leaves (subscriber list).
Early 19th century calf, neatly rebacked, with most of the original spine laid down, covers with gilt-ruled border and numerous decorative rolls in blind, framing a central blind-stamped centerpiece, raised bands, compartments densely tooled in blind and ruled in gilt, deep red morocco label with gilt titling, all edges gilt. FRONTISPIECE PORTRAIT OF THE AUTHOR by Robert White after Faithorne AND 12 STRIKING ENGRAVINGS, each placed at the beginning of a book of "Paradise Lost." Pastedown with bookplate of Kenneth Rapoport; verso of portrait with ownership signature of Reverend John Colson (1701-69). Coleridge 93b; Shawcross 347 and 348; Hofer 16; "Wither to Prior" 607; Pforzheimer 720; Wing M-2147; ESTC R15589. ◆Original spine somewhat dried, pitted, and abraded, edges a little worn, but the binding stoutly restored now and not unpleasant. One plate torn at bottom edge and expertly repaired on verso, another plate with a couple of small stains in center, other trivial imperfections, but quite appealing internally--bright, clean, and fresh, with ample margins, with rich impressions of the engravings, and (atypically) without foxing.

This is a pleasing copy of the first--and arguably best--illustrated edition of Milton's magnum opus. After the third printing of "Paradise Lost," Milton's widow sold all further claims to the work to her husband's printer/bookseller, Samuel Simmons, for £8. The publication bargains continued when Simmons then transferred all his rights to the poem in 1681 to Brabazon Aylmer for £25, and Aylmer subsequently sold half interests to Jacob Tonson and Richard Bentley, who together produced our sumptuous fourth printing of 1688--the first edition to appear in folio format and the first with illustrations. Most of the plates here were designed by a major artist, John Baptist Medina (1659-1710), a painter of Spanish origin who made his career in England and Scotland and was knighted for his talents. Medina, who was deeply influenced by the works of Rubens, did portraits, landscapes, and historical paintings, and the present illustrations are composed with sophistication and artistry on multiple levels. All but two of the 13 plates here are engraved by Michael Burghers, a Dutch-born artist who worked mainly in Oxford. Hodnett says in his "Five Centuries of Book Illustration" that the 1688 Tonson Milton is "the earliest serious effort to illustrate an important work of English poetry," and in his work on Francis Barlow, he says our book is "the only major English literary work with important engraved illustrations in the 17th century." John Harthan, in "The Illustrated Book," says that the plate facing the opening of the text is "one of the most forceful of English 17th century illustrations." The first folio Milton was important in other ways, too: it was one of the first English books to be financed through subscription, bearing the names of more than 500 subscribers, including Dryden and Sir Paul Rycaut. This strikingly illustrated--and consequently popular--folio printing went a long way toward helping to establish the reputation of Milton, whose "Paradise Lost" was relatively unknown when Tonson issued his edition and whose poem then appeared in more than 100 editions during the 18th century (more than twice the number of editions of Shakespeare's plays). "Wither to Prior" notes that Tonson "seems to have considered this publication his crowning effort, for in his portrait, painted by Kneller, he holds the book conspicuously in his hand.".