Thesis (Ph. D.)--University of Texas at Austin, 1987. / Vita. Description based on print version record. Includes bibliographical references (leaves 227-233).

"It is delightful to read for pleasure and information at the same time, but only rarely does the reader find material that satisfies him equally on both counts. Too often is presented 'more matter with less art' or form with too little substance. A happy combination conducive to both pleasure and instruction, however, may be found in The Colophon, A Book Collector's Quarterly. This magazine, which for thirteen years provided readers with entertaining articles concerning bibliography, book illustration, and fine printing, was able to survive the depression, yet was unable to be continued during the period when the nation was preparing for war. A detailed consideration of its history and an evaluation of its contents is the burden of the paper, a project which would seem appropriate in the training of a librarian in that the evaluation and selection of magazines is a part of almost every librarian's duties and is of as much importance as the selection of books"--Introduction. / "May, 1958." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Agnes Gregory, Professor Directing Paper. / Includes bibliographical references (leaves 87-89).

In this thesis I analyze the Dutch frontispiece to Francois Valentijn?s 1726 book Oud en Nieuw Oost Indien and demonstrate that it is a significant artistic statement, original in its rich and imaginative iconography and emblematic program. I describe and explain the image and its iconographic program and emblematic structure. I compare the frontispiece to many other Dutch frontispieces and artworks that likewise feature the four continent allegories and other iconographic elements. I demonstrate the ways in which the frontispiece superbly and comprehensively summarizes and visualizes the text, which is the primary purpose of frontispieces. I also show how the image emulates early eighteenth-century Dutch culture by reflecting the period?s nostalgia for Golden Age styles and subjects. In conclusion I clarify the way in which the image functions emblematically and explain the twofold meaning of the emblem and proving that the image is exceptional and unique within the context of the historiography of Dutch frontispieces.