Early Images
Before there were photographs there were etchings or engravings. These were pictures cut into a hard object, like wooden block or a metal plate that could then be coated with ink and used to print multiple copies of the image. When talking about printing books these were used for full page images such as frontispieces. They could occasionally be used to include an author's picture, but most books were still printed without them. The exceptions were usually religious texts and some collections of poetry that were published after the author had died. In a few other cases if the author's image was included it was as a part of a large whole picture.
One exception was the engraved picture of John Milton seen to the left. It was commissioned by Humphrey Moseley, the publisher of a collection of poems by Milton. "Moseley believed that showing off his living authors in classical poses—often wearing Laurel wreaths—would elevate their work, their personas (and, probably, Moseley) to the high status as England’s dead literati."
The picture, as far as Milton was concerned, was a wreck. What was supposed to show him as an energetic young man instead looked lopsided and middle-aged. When his publisher insisted on using it anyway, Milton took the liberty to add the Greek text below the picture. As neither his publisher, nor the engraver, could read Greek neither of them questioned the content of the text and it went to print unchanged.
"“Looking at the form of the original, you could say, perhaps, that this likeness had been drawn by a rank beginner; but, my friends, since you do not recognize what is pictured here, have a chuckle at a caricature by a good-for-nothing artist.” (Trans. David Masson, The Life of John Milton, 1965.)"
As amusing as the story is, it is extremely interesting to note the beginnings of the modern idea of using author photos as a marketing ploy by Milton's publisher. By including these pictures, which had previously be confined to an elite literary group, he was trying to connect himself to that idea of status and quality. In short, by adding the images of his authors he expected more copies of the book to sell.
As mentioned above, where an author might not be granted a whole page to himself, the publisher might still include the author in the art of the frontispiece. A great example of this trend is seen to the right. Published in 1621, Anatomy of Melancholy was a highly educated, scholarly work of its time. During that time period the human body was believed to function through the influence and balance of four humors. One of these was Melancholy and the text was about the ways an inbalance of Melancholy could have on the human body.
This theme is exemplified by the images that make up the frontispiece. Some of the typical maladies and physical effects are shows, along side some ways to treat those issues. In the center of the lower half, directly under the center square containing the title and author information, is the picture of the author himself. Again, fitting in with the theme of a serious, scholarly work, the author is drawn looking serious. He is holding the tool of his trade, in this case as book, and is dressed in serious, formal clothing.
All of these trends can still be seen with quite a bit of prevalence in our modern author photos. How many pictures can you find with an author holding a book, a pen, sitting at a desk, or near a type writer? Female authors have more variance in clothing, simply because female fashion has so many more choices for formal wear, but many male authors are wearing a suit or a button down dress shirt. No matter the era, to make an author look serious and credible the formula remains the same.
Published just 32 years after Burton's Melancholy was Edward Chisenhale's Catholic History (1653). The frontispiece for this book shares many of the basic parts as Burton's, but in a very different tone. Chisenhale, a staunch believer in the Church of England, was outspokenly anti-Catholic. His book then, being titled Catholic History, was pointed satire and a jab at the Catholic Church in general.
It goes without saying that the engraving in his book would bear that same theme. The main figure in the center is the author himself, offering his book to a pair of clergymen, presumably from the Church of England. Off to the right are the Pope and several followers who are being spoken to by The Devil (in the far right, middle). He is saying 'Famalia mea' or My family.
If that is not a blatant statement of what the reader can expect to find within the book, then I don't know what could be considered as such. The inclusion of the author's image, in this case, isn't so much about drumming up business as it is about the author clearly claiming ownership of the contents and result of his book. He knows what kind of controversy he is courting and is making a firm choice to thrust himself fully into the middle of it. A modern comparison would be a book with a strong political stance that has the author's picture as the front cover, clearly taking ownership of their statements.
References:
As a Lute out of Tune: Robert Burton's Melancholy. (n.d.). Retrieved April 1, 2015, from
http://publicdomainreview.org/2013/05/01/as-a-lute-out-of-tune-robert-burtons-melancholy/
Chisenhale, E. (n.d.). Collection object details. Retrieved April 1, 2015, from http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3067667&partId=1
Engraving by William Marshall. (n.d.). Retrieved April 1, 2015, from https://www.dartmouth.edu/~milton/reading_room/1645_title/frontispiece.shtml
Miller, J. (2013, December 10). A Picture Says It All Or Does It? Judging an Author by Their Photo. Retrieved April 1, 2015, from http://www.thedailybeast.com/articles/2013/12/10/a-picture-says-it-all-or-does-it-judging-an-author-by-their-photo.html
It goes without saying that the engraving in his book would bear that same theme. The main figure in the center is the author himself, offering his book to a pair of clergymen, presumably from the Church of England. Off to the right are the Pope and several followers who are being spoken to by The Devil (in the far right, middle). He is saying 'Famalia mea' or My family.
If that is not a blatant statement of what the reader can expect to find within the book, then I don't know what could be considered as such. The inclusion of the author's image, in this case, isn't so much about drumming up business as it is about the author clearly claiming ownership of the contents and result of his book. He knows what kind of controversy he is courting and is making a firm choice to thrust himself fully into the middle of it. A modern comparison would be a book with a strong political stance that has the author's picture as the front cover, clearly taking ownership of their statements.
References:
As a Lute out of Tune: Robert Burton's Melancholy. (n.d.). Retrieved April 1, 2015, from
http://publicdomainreview.org/2013/05/01/as-a-lute-out-of-tune-robert-burtons-melancholy/
Chisenhale, E. (n.d.). Collection object details. Retrieved April 1, 2015, from http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3067667&partId=1
Engraving by William Marshall. (n.d.). Retrieved April 1, 2015, from https://www.dartmouth.edu/~milton/reading_room/1645_title/frontispiece.shtml
Miller, J. (2013, December 10). A Picture Says It All Or Does It? Judging an Author by Their Photo. Retrieved April 1, 2015, from http://www.thedailybeast.com/articles/2013/12/10/a-picture-says-it-all-or-does-it-judging-an-author-by-their-photo.html