Geneva Bible - Format

Format

The Geneva Bible was the first English Bible to use verse numbers based on the work of Stephanus (Robert Estienne of Paris). It also had an elaborate system of commentary in marginal glosses. This annotation was done by Laurence Tomson, who translated (for the 1560 Geneva Bible) L'Oiseleur's notes on the Gospels, which themselves came from Camerarius. In 1576 Tomson added L'Oiseleur's notes for the Epistles, which came from Beza's Greek and Latin edition of the Bible (1565 and later). Beginning in 1599 Franciscus Junius' notes on Revelation were added, replacing the original notes deriving from John Bale and Heinrich Bullinger. Bale's The Image of both churches had a great impact on these notes as well as Foxe's Book of Martyrs. Both the Junius and Bullinger-Bale annotations are explicitly anti-Roman Catholic and representative of much popular Protestant apocalypticism during the Reformation.

The 1560 Geneva Bible was printed in Roman type—the style of type regularly used today—but many editions used the older black-letter ("Gothic") type. Of the various later English Bible translations, the next to use Roman type was the Douay-Rheims Bible of 1582 (New Testament) and 1609–10 (Old Testament).

The Geneva Bible was also issued in more convenient and affordable sizes than earlier versions. The 1560 Bible was in quarto format (218 × 139 mm type area), but pocketable octavo editions were also issued, and a few large folio editions. The New Testament was issued at various times in sizes from quarto down to 32º (the smallest, 70×39 mm type area). In the late sixteenth century it is likely that the Geneva New Testament cost less than a week's wages even for the lowest-paid labourers.

The 1560 Geneva Bible contained a number of study aids, including woodcut illustrations, maps and explanatory 'tables', i.e. indexes of names and topics, in addition to the famous marginal notes. Each book was preceded by an 'argument' or introduction, and each chapter by a list of contents giving verse numbers. Smaller-format editions might be unillustrated and lack the marginal notes, but some large folio editions had additional illustrations, such as one showing Adam and Eve, where Adam wears a typical Elizabethan beard and moustache.