A False imprint of Libri De Re Rustica, attributed to Giacomo Mazzochi, printed by Martin de Keyser

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Title page from Libri De Re Rustica featuring the ownership inscription of Charles Killigrew (1655-1725).

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The colophon attributing the work falsely to Giacomo Mazzocchi.

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Front cover of Libri de Re Rustica, bound in speckled calf.

The smallest book in the acquisition is a compilation of agricultural works by different classical authors that was commonly printed together during the 16th century under the title, Libri De Re Rustica. The book compiles the writings of Marcus Porcius Cato, Marcus Terentius Varro, Lucius Junius Moderatus Columella, and Rutilius Taurus Aemilianus Palladius.

This edition was printed in 1528 in Zurich and is attributed to Giacomo Mazzocchi, an accomplished printer from Rome. Mazzocchi had aided in publishing an edition of this work by the Aldine press in 1514, and the 1528 edition likely used it as a reference. However, this book was not printed by Mazzocchi, since it was printed in 1528 and he disappeared during the Sack of Rome in 1527. Fernanda Ascarelli and Marco Menato attribute the book to Merten de Keyser, a French printer that worked mainly in Antwerp and printed William Tyndale's translation of the Bible in English as well as many other works by Protestant writers.

False imprints were a common occurrence in the early history of publishing. A lack of copyright law and the difficulty in tracking down false imprints made it easy for printers to produce works attributed to different printing houses depending on their needs. Legendary printers like Aldus Manutius, who had printed Libri De Re Rustica earlier, were often copied as their renown and reputation were well known, guaranteeing that editions bearing their names would sell. 

False imprints were often also used when the work was bound to be received unfavourably by the authorities. During the Reformation, the first Roman Index was introduced, banning certain books and even the entire works of certain authors from being printed or possessed in an attempt to limit the spread of Reformist literature.

In the case of this book, it was likely produced as a safe book to print with the assurance that it would sell. De Keyser was not opposed to printing controversial works, as his career shows, but to keep a business running your stock must sell. As it contained the works of classical authors and served as a sort of handbook on agricultural knowledge, Libri De Re Rustica was unlikely to offend and quite likely to appeal to a broad audience.