The Foundations of Science and Religion in Dante's Debt to Aristotle

Total Page:16

File Type:pdf, Size:1020Kb

The Foundations of Science and Religion in Dante's Debt to Aristotle THE FOUNDATIONS OF SCIENCE AND RELIGION IN DANTE’S DEBT TO ARISTOTLE By JONATHAN WRIGHT, M.D. PLEASANTVILLE, N. Y. ALTHOUGH a recent Italian reviewer culture, knowledge, science and refinement in Scientia admits that the throughout the whole continent of Europe. A—civilization of Europe had its So strong and so universal was the religious Ax. rejuvenescence, in the first stages, prejudice, especially following the crusades from the darkness of the Middle Ages given for many hundred years, that this historical it by Islam, he thinks this is grossly exag- fact was obscured and ignored by the gerated and an unjust view as to the Italian historians of Europe. The reaction against Renaissance. This complaint from a patriot this perverse lack of candor by Christian is perhaps to be viewed with lenity, but that writers may be said to have begun before the Italian Renaissance, properly defined, rather than after the first publication, in was a somewhat later and more complicated 1852, of Renan’s essay on Averrhoes.1 The result of the infiltration of oriental thought, nephew then sat on the throne of France, some three or four hundred years earlier, but it was the great Napoleon who had car- can scarcely be denied. As to the germina- ried the eagles and scientists of France to tion of philosophy and science in the Egypt fifty years before. There the latter Dugento and Trecento, the pre-Renaissance opened their eyes not only to the fancy that of learning, there certainly can be no doubt. forty centuries looked down on them from At the time of the birth of Dante, at least the tops of the pyramids, but to the fact by the time of the death of Saint Thomas that somewhat less than a thousand years (1274), not directly due to criticisms and after the fall of Rome, the science, the comments that arose among ecclesiastics literature and the culture of the Arabs had both Christian and Mohammedan, it was taken the place of the Roman and the Greek, true, nevertheless, that the philosophical at Alexandria. It cannot be doubted that they thought of the pre-Renaissance was greatly reflected on its introduction at that time stimulated. In this the name of Ibn Roschid into their own country, but it was Renan or Averrhoes, as we know him, is preemin- who made it clear to the world. By the time ent. Through Averrhoes and the opposition (1258) the Mongols had shattered the in intellectual problems which he excited power of the Arabs in their homeland and in Thomas Aquinas, Albertus Magnus and had sacked and burned Bagdad, the great their followers, calling for a mental activity awakening in Europe was under way, with hitherto strange to the Middle Ages, this which the Nestorians and the Jews had at philosophical thought came into promi- their very start inoculated the fierce fol- nence. Through these men, Averrhoes, the lowers of the prophet. Arabian, primarily stirred up a European It seems to have needed the brilliant antagonism and Aristotle came into his own exaggerations of Draper in 18642 to bring again. the fact fully home to the consciousness of It has long been known to all those whose the writers of European history for Renan’s learning was sufficiently large to interest far more temperate and evenly balanced them in the history of thought that it was 1 Renan, E. Averrhoes et 1’Averrhoisme. Essai the Arab conquest of the southern fringe historique. Caiman-Levy, Paris, 1884. of Italy and of the better part of Spain for 2 Draper, J. W. History of the Intellectual Develop- eight hundred years which began and spread ment of Europe. Bell & Daldy, Lond., 1864, 2 vols. and better authenticated research had to to conquer the infidel in battle, the priest- wait thirty years for its republication and hood tried to convert them by gentler means expansion. By that time Draper’s work and and this opened another path to Arabian the work which it stimulated had made the influence when these cowled men returned era of Arabian science familiar, at least, to home unsuccessful, but even before this the academic circles. Since then Berthelot, and eastern tales had drifted in. There was in our day Holmyard and Sudhoff are only a extant in the eleventh century a manu- few among many, who have illuminated the script which was translated from the San- subject. It is not possible to go into this skrit into what was then modern Greek; here, but as a Consequence, perhaps, a this was a collection of Hindu tales about Catholic priest in Spain has brought forward animals that talked like men, which before a topic less familiar to scientific men, yet this had played a considerable part in in its implications quite as important and Persian and Arabian literature for hundreds still more impressive than our present com- of years before it came to the attention of mon knowledge of the role of Arabian science Europeans who could read. These stories in the history of thought. It serves better in in the thirteenth century were translated forcing on our minds the realization of how first into Hebrew and then into Latin to Arabian influence penetrated and permeated make them accessible, however, this is a the minds of men of the Dugento in Italy. matter of slender historical interest to the I am referring to the work of Miguel Asin.3 modern ethnologist. Every continent has Dante, as he says, was midway in life’s known the tales told by Aesop and La journey when he set himself to write the Fontaine and Uncle Remus. They may go “Commedia” and that point in the poet’s back to the caveman but they spring spon- life marks the termination of the Dugento. taneously from all primitive men in contact By 1300 the leaven of Islam had made far with primitive nature. Our point of interest more than a beginning of its ultimately is the early entrance into a receptive primi- widespread influence on science and theol- tive Europe of currents of thought and ogy. Averrhoes had stirred the dead bones of forms of expression, which were oriental. scholasticism and ecclesiasticism into a These are the currents of other parts of life they had never known before without the ocean of Arabian influence which encir- acquiring among his own people, or at least cled Europe before Renaissance days with not for long, any paramount influence, but its crescent, but this book of Asin’s turns beyond the Pyrenees St. Thomas Aquinas our attention to something else. Miguel and Albertus Magnus and a hundred lesser Asin y Palacios is a professor of Arabic in men sprang to the defense of what they the University of Madrid. He wrote a book considered the real tenets of the Christian some time ago on the “Mussulman Church. The great Commentator had mis- Eschatology in the Divine Comedy.” Stim- understood or misinterpreted Aristotle or ulated and supported by the Duke of Ber- deliberately lied about him and in science as wick and Alva he has abbreviated and well as in religion the fight was on which was omitted his references and cut out the the most potent factor in the cause of the Arabic and other foreign texts and Mr. spread of Islamic influence. Doubtless long Harold Sunderland has translated it into before this the men of the pre-Renaissance, English and the Duke of Alva has written no doubt the men of the Middle Ages and an introduction and insists the work is of the Dark Ages too, had absorbed Eastern great value not only as an exposition of tales which have nothing to do either with Islamism, but as proving the profound and science or religion. As the crusaders failed unsuspected influence the latter had on the 3 Asin, M. Islam and the Divine Comedy. Tr. by conceptions with which the “Commedia” Harold Sunderland. John Murray, Lond., 1926. has supplied Christianity for five hundred influence on Provencal literature and the Dante’s day allowed him to give the ancient poetry of the troubadours. Dante was philosophers a tolerable quarter in Hell, but much attracted to it, so much so that in the Averrhoes, the “Grand Commentator” did “Purgatorio” he puts eight lines of it in not fare so well and Mahomet had a hot that tongue by the mouth of Arnaut Daniel. corner. Brunetto Latini, who for other and Much of the collateral and circumstantial far viler practices he placed there too, was evidence, which I have only alluded to, our nevertheless Dante’s teacher from whom he Spanish author, Asin, has left to one side might well have learned much of the Span- without even an allusion and on the other ish-Arabian religion and drunk deep thereby hand he does not lay sufficient emphasis on from their legendary literature. the liability that legends, common to Islam It is Asin’s task to let us see how parallel and Christianity, would be pretty sure to are the accounts we get from Dante and arise among primitive people which would from the Islamic Ibn Arabi and other closely resemble one another because of a Arabian authors. After reading all his evi- common origin in the Christian Gospel. dence and considering what he might have Moreover very many poets, in the history of added, which I have above intimated, any literature and religion, had led their heroes assertion that Dante did not at least know and their saints to Hell and even to Heaven the Mussulman’s fantasy, before he gave and brought them back again to tell what all shape to his own, is incredible.
Recommended publications
  • Century 100 Years of Type in Design
    Bauhaus Linotype Charlotte News 702 Bookman Gilgamesh Revival 555 Latin Extra Bodoni Busorama Americana Heavy Zapfino Four Bold Italic Bold Book Italic Condensed Twelve Extra Bold Plain Plain News 701 News 706 Swiss 721 Newspaper Pi Bodoni Humana Revue Libra Century 751 Boberia Arriba Italic Bold Black No.2 Bold Italic Sans No. 2 Bold Semibold Geometric Charlotte Humanist Modern Century Golden Ribbon 131 Kallos Claude Sans Latin 725 Aurora 212 Sans Bold 531 Ultra No. 20 Expanded Cockerel Bold Italic Italic Black Italic Univers 45 Swiss 721 Tannarin Spirit Helvetica Futura Black Robotik Weidemann Tannarin Life Italic Bailey Sans Oblique Heavy Italic SC Bold Olbique Univers Black Swiss 721 Symbol Swiss 924 Charlotte DIN Next Pro Romana Tiffany Flemish Edwardian Balloon Extended Bold Monospaced Book Italic Condensed Script Script Light Plain Medium News 701 Swiss 721 Binary Symbol Charlotte Sans Green Plain Romic Isbell Figural Lapidary 333 Bank Gothic Bold Medium Proportional Book Plain Light Plain Book Bauhaus Freeform 721 Charlotte Sans Tropica Script Cheltenham Humana Sans Script 12 Pitch Century 731 Fenice Empire Baskerville Bold Bold Medium Plain Bold Bold Italic Bold No.2 Bauhaus Charlotte Sans Swiss 721 Typados Claude Sans Humanist 531 Seagull Courier 10 Lucia Humana Sans Bauer Bodoni Demi Bold Black Bold Italic Pitch Light Lydian Claude Sans Italian Universal Figural Bold Hadriano Shotgun Crillee Italic Pioneer Fry’s Bell Centennial Garamond Math 1 Baskerville Bauhaus Demian Zapf Modern 735 Humanist 970 Impuls Skylark Davida Mister
    [Show full text]
  • Typestyle Chart.Pub
    TYPESTYLE CHART This is an abbreviated list of the typestyles available from 2/90. ADA fonts are designated with either one or two asterisks. Those with two asterisks comply with ANSI A.117.1 standards for enhanced readability of tactile signage elements. Use typestyle abbreviations in parentheses when placing an order. For additional fonts not on this list, contact Customer Service at 800.777.4310. Albertus (ALC) Commercial Script Connected (CSC) Americana Bold (ABC) *Compacta Bold®2 (CBL) Anglaise Fine Point (AFP) Engineering Standard (ESC) *Antique Olive Nord (AON) *ITC Eras Medium®2 (EMC) *Avant Extra Bold (AXB) *Eurostile Bold (EBC) **Avant Garde (AGM) *Eurostile Bold Extended (EBE) *BemboTM1 (BEC) **Folio Light (FLC) Berling Italic (BIC) *Franklin Gothic (FGC) Bodoni Bold (BBC) *Franklin Gothic Extra Condensed (FGE) Breeze Script Connecting (BSC) ITC Friz Quadrata®2 (FQC) Caslon Adbold (CAC) **Frutiger 55 (F55) Caslon Bold Condensed (CBO) Full Block (FBC) Century Bold (CBC) *Futura Medium (FMC) Charter Oak (COC) ITC Garamond Bold®2 (GBC) City Medium (CME) Garth GraphicTM3 (GGC) Clarendon Medium (CMC) **Gill SansTM1 (GSC) TYPESTYLE CHART (CON’T) Goudy Bold (GBO) *Optima Semi Bold (OSB) Goudy Extra Bold (GEB) Palatino (PAC) *Helvetica Bold (HBO) Palatino Italic (PAI) *Helvetica Bold Condensed (HBC) Radiant Bold Condensed (RBC) *Helvetica Medium (HMC) Rockwell BoldTM1 (RBO) **Helvetica Regular (HRC) Rockwell MediumTM1 (RMC) Highway Gothic B (HGC) Sabon Bold (SBC) ITC Isbell Bold®2 (IBC) *Standard Extended Medium (SEM) Jenson Medium (JMC) Stencil Gothic (SGC) Kestral Connected (KCC) Times Bold (TBC) Koloss (KOC) Time New Roman (TNR) Lectura Bold (LBC) *Transport Heavy (THC) Marker (MAC) Univers 57 (UN5) Melior Semi Bold (MSB) *Univers 65 (UNC) *Monument Block (MBC) *Univers 67 (UN6) Narrow Full Block (NFB) *V.A.G.
    [Show full text]
  • Phaser 4400 Laser Printer Features Guide
    Phaser™ 4400 Laser Printer Features Guide Copyright © 2002, Xerox Corporation. All Rights Reserved. Unpublished rights reserved under the copyright laws of the United States. Contents of this publication may not be reproduced in any form without permission of Xerox Corporation. Copyright protection claimed includes all forms of matters of copyrightable materials and information now allowed by statutory or judicial law or hereinafter granted, including without limitation, material generated from the software programs which are displayed on the screen such as styles, templates, icons, screen displays, looks, etc. XEROX®, The Document Company®, the stylized X, CentreWare®, DocuPrint®, and Workset® are registered trademarks of Xerox Corporation. infoSMART™, Phaser™, PhaserPort™, PhaserSMART™, and PhaserTools™ are trademarks of Xerox Corporation. Adobe®, Acrobat®, Acrobat® Reader®, Illustrator®, PageMaker®, Photoshop®, and PostScript®, ATM®, Adobe Garamond®, Birch®, Carta®, Mythos®, Quake®, and Tekton® are registered trademarks and Adobe Jenson™, Adobe Brilliant Screens™ technology, and IntelliSelect™ are trademarks of Adobe Systems Incorporated or its subsidiaries which may be registered in certain jurisdictions. Apple®, LaserWriter®, LocalTalk®, Macintosh®, Mac® OS, AppleTalk®, TrueType2®, Apple Chancery®, Chicago®, Geneva®, Monaco®, and New York® are registered trademarks, and QuickDraw™ is a trademark of Apple Computer Incorporated. Marigold™ and Oxford™ are trademarks of AlphaOmega Typography. Avery™ is a trademark of Avery Dennison Corporation. PCL® and HP-GL® are registered trademarks of Hewlett-Packard Corporation. Hoefler Text was designed by the Hoefler Type Foundry. ITC Avant Guard Gothic®, ITC Bookman®, ITC Lubalin Graph®, ITC Mona Lisa®, ITC Symbol®, ITC Zapf Chancery®, and ITC Zapf Dingbats® are registered trademarks of International Typeface Corporation. Bernhard Modern™, Clarendon™, Coronet™, Helvetica™, New Century Schoolbook™, Optima™, Palatino™, Stempel Garamond™, Times™, and Univers™ are trademarks of Linotype-Hell AG and/or its subsidiaries.
    [Show full text]
  • Simon Garfield
    Simon Garfield PROFILE BOOKS Just My Type.indd 3 23/6/11 16:25:12 JUST MY TYPE: This paperback edition published in A BOOK ABOUT FONTS 2011 © 2010, 2011 Simon Garfield. First published in 2010 by All rights reserved. No part of this Profile Books, 3A Exmouth House book may be reproduced in any Pine Street, Exmouth Market form without permission from the London, EC1R OJH publisher except for the quotation of brief passages in reviews. Printed and bound in Great Britain by Clays, Bungay, Suffolk The main chapters of this book are typeset in Sabon MT 11/15pt. The paper this book is printed on is Sabon, a traditional serif font, certified by the © 1996 Forest was developed in the 1960s by Stewardship Council A.C. (FSC). It Jan Tschichold, a Leipzig based is ancient-forest friendly. The printer designer. Its story is told on p 251. holds FSC chain of custody Interspersed with the chapters are a SGS-COC-2061 series of ‘FontBreaks’, which are set in Univers 45 Light 9.5/15pt, except for their initial paragraphs, which appear in the font under discussion. Univers is a Swiss font, designed in 1957, the same year as its SGS-COC-2061 compatriot, Helvetica. Their story is told in Chapter Nine: What is 352pp it about the Swiss? But, being a book about fonts, Just My Type also A catalogue record for this book is samples more than 200 other fonts, available from the British Library. ISBN 978-1846683022 from Albertus to Ä. eISBN 978-1847652928 Design, layout and font wrangling by James Alexander of Jade Design (www.jadedesign.co.uk).
    [Show full text]
  • Standard Fonts List Used for Poster Creation
    Standard Fonts List used for Poster Creation Please use any of the fonts listed below when designing your poster. These are the standard fonts. Failure to comply with using a standard font, will result in your poster not printing correctly. 13 Misa Arial Rounded MT Bold Bodoni MT 2 Tech Arial Unicode MS Bodoni MT Black 39 Smooth Arno Pro Bodoni MT Condensed 4 My Lover Arno Pro Caption Bodoni Poster MT Poster Compressed Abadi Condensed Light Arno Pro Display Book Antiqua ABCTech Bodoni Cactus Arno Pro Light Display Bookman Old Style ABSOLOM Arno Pro Smdb Bookshelf Symbol 7 Adobe Calson Pro Arno Pro Smdb Caption Bradley Hand ITC Adobe Calson Pro Bold Arno Pro Smdb Display Britannic Bold Adobe Fangsong Std R Arno Pro Smdb SmText Broadway Adobe Garamond Pro Arno Pro Smdb Subhead Brush Script MT Adobe Garamond Pro Bold Arno Pro SmTest Brush Script Std Adobe Heiti Std R Arno Pro Subhead Calibri Adobe Kaiti Std R Baskerville Old Face Californian FB Adobe Ming Std L Bauhous 93 Calisto MT Adobe Myungjo Std M Bell Gothic Std Black Cambria Adobe Song Std L Bell Gothic Std Light Cambria Math Agency FB Bell MT Candara Albertus Extra Bold Berlin Sans FB Castellar Albertus Medium Berlin Sans FB Demi Centaur Algerian Bernard MT Condensed Century AlphabetTrain Bickham Script Pro Regular Century Gothic Antique Olive Bickham Script Pro Semibold Century Schoolbook Arial Birch Std CG Omega Arial Black Blackadder ITC CG Times Arial Narrow Blackoak Std 1 Standard Fonts List used for Poster Creation Please use any of the fonts listed below when designing your poster.
    [Show full text]
  • Download Typetalkdec2017.Pdf
    Found Type / Part 1 research 1 / 12 / 2018 Serif Aa Garamond Regular Sans serif Aa Franklin Gothic Book cap height ascender height x-height Aaxtg baseline Helvetica / 190pt cap height ascender height x-height Aaxtg baseline Baskerville / 190pt regular semibold bold Baskerville light regular ultra bold Gill sans 1928-32 condensed medium extended Futura 1927 Helvetica Neue Ultra Light Helvetica Neue Thin Helvetica Neue Light Helvetica Neue Regular Helvetica Neue Medium Helvetica Neue Bold Helvetica 1957 apex ascender counter ear stem AatgkQ horizontal stroke arm or crossbar leg terminal loop tail Baskerville Key characters a a single storey double storey Futura Gill Key characters e e oblique cross bar horizontal cross bar Centaur Garamond Key characters g g g single storey double storey double storey Futura open loop closed loop Meta Gill Key characters A A A pointed apex flat apex concave apex Futura Bembo Garamond Spur A spur only appears at the end of a curved letter-form G G G without spur horizontal spur vertical spur Meta bold Albertus Serifa Key characters Q Q Q Tail dissecting bowl long tail short tail Futura Baskerville Albertus Key characters R R straight leg curved leg Futura Didot Fraktur Gutemberg Bible, Germany,1455 2014 Humanist Garamond 15th century The Fleuron Beatrice Warde 1926 Garamond Brighten the corners 2015 Garamond Rational Didot 1784 - 1811 Reid Miles, Blue Note Records 1964 Inscribed & Engraved Trajan 1989 Jonathan Barnbrook, 2013 Albertus 1940 Pentagram 2011 Albertus / Gill Sans Humanist Sans Gill Sans 1928 Ministry of Food, 1945 Gill Sans Peter Saville, 1981 Gill Sans Gill Sans Extra Bold Neo-Grotesque Sans Helvetica 1957 Emil Ruder, 1960 Univers 1957 McCann Erickson Helvetica 1969 / 1971 Mark Farrow, 1997 Helvetica Aa Aa Aa Garamond Regular Didot Regular Cooper black Aa Aa Aa Baskerville Regular American typewriter Rockwell Q K rDidot Gill sans Rockwell O A J Cooper Black Garamond Bodoni.
    [Show full text]
  • The Visibility and Legibility of Roman Typefaces: a Review with Blur Simulation
    The Visibility and Legibility of Roman Typefaces: A Review with Blur Simulation * Rachapoom Punsongserm Faculty of Fine and Applied Arts, Thammasat University, Pathum Thani, Thailand Abstract Background According to our previous study, Thai Typefaces (Part 1): Assumption on Visibility and Legibility Problems, we examined underlying stages in the visibility and legibility matters of the Thai typefaces where the results have provided the assumption for developing the glyphs of the Thai universal design font (UD font). However, studying the visibility and legibility of Roman letters has still been a necessity, as it represents the international language. Developing high visibility and high legibility of the Roman typeface is requisite for supporting the Thai UD font as well. Methods The current study qualitatively initial tested the tolerance of Roman characters under blurred conditions. We applied seventy Roman fonts in the form of 'The Internal Relationship of Letters in the Feature Comparison Theory' in the same x-heights as stimuli, which simulated the low visual acuity at different blur levels. Results The simulated condition suggests significant advantages and disadvantages of each Roman type concerning visibility and legibility. The results improved ideas and possible solutions, which may assist with the approach of designing high-performance Roman letterforms that contribute to the Thai UD font as a Roman character set. Conclusions In order to improve the visibility and legibility of the Roman letterforms toward a UD font, the current pilot study conducted an investigation via blurred Roman types. The study revealed the advantages and disadvantages of several Roman letterforms, which suggest approaches to developing the Roman characters actively in low visual acuity conditions.
    [Show full text]
  • Western Stamp & Engraving Company Select Font List
    Abadi MT Condensed Abadi MT Condensed Light Academy Engraved LET Abadi MT Condensed Abadi MT Condensed Light Academy Engraved LET Adolescence Albertus Extra Bold Albertus Medium Adolescence Albertus Extra Bold Albertus Medium Allegro BT AmerType Md BT Andale Mono Allegro BT AmerType Md BT Andale Mono Andy Angsana New AngsanaUPC Andy Angsana New AngsanaUPC Antigoni Antigoni Light Antigoni Med Antigoni Antigoni Light Antigoni Med AntigoniBd Antique Olive Arial AntigoniBd Antique Olive Arial Arial Black Arial Narrow Arial Rounded MT Bold Arial Black Arial Narrow Arial Rounded MT Bold AucoinExtBol AucoinLight AvantGarde Bk BT AucoinExtBol AucoinLight AvantGarde Bk BT AvantGarde Md BT Banjoman Open Bold BankGothic Md BT AvantGarde Md BT Banjoman Open Bold BankGothic Md BT Bauhaus 93 Bedini Beesknees ITC Bauhaus 93 Bedini Beesknees ITC Benguiat Bk BT Bermuda LP Squiggle Bermuda Solid Benguiat Bk BT Bermuda LP SquigBermuda Solid Bernard MT Condensed BernhardFashion BT BernhardMod BT Bernard MT Condensed BernhardFashion BT BernhardMod BT Bickley Script Blackadder ITC Blackletter686 BT Bickley Script Blackadder ITC Blackletter686 BT Book Antiqua Bookman Old Style Bookshelf Symbol 1 Book Antiqua Bookman Old Style ōōkṣḥəł şʸmbōł ¹ Bookshelf Symbol 2 Bookshelf Symbol 3 Bradley Hand ITC Bradley Hand ITC Braggadocio Bremen Bd BT Britannic Bold Braggadocio Bremen Bd BT Britannic Bold Broadway BT Browallia New BrowalliaUPC Broadway BT Browallia New BrowalliaUPC Brush Script MT Calisto MT Calligraph421 BT Brush Script MT Calisto MT Calligraph421 BT
    [Show full text]
  • Adobe® Font Name Reference Table (Fntnames.Pdf)
    ® Adobe® Font Name Reference Table (Fntnames.pdf) © 1997 Adobe Systems Incorporated. All rights reserved. ® Contents Typeface Trademark Symbols . 3 Introduction . 7 Font Name Reference Table . 11 Package 100 . 25 Package 200 . 42 Package 300 . 57 Package 400 . 74 Appendix A: Font Menu Name Revisions . 82 Appendix B: Trademark Attribution Statements . 91 Adobe Technical Support Technical Adobe ® Typeface Trademark Symbols The following list of trademark attribution symbols is arranged alpha- betically by family name. The name of the originating company (e.g., ITC) and prefixes such as “new” in names like “New Baskerville” were not used for alphabetizing. The trademark attribution statements are in Appendix B of this document. A Aachen™, Agfa®, Aja®, Berthold® Akzidenz Grotesk®, Albertus®, Aldus*, Alexa®, ITC American Typewriter®, Americana®, Amigo™, Andreas™, ITC Anna®, Antique Olive®, Apollo™, Arcadia*, Ariadne*, Arnold Bocklin*, Ashley Script™, New Aster™, Auriol*, ITC Avant Garde Gothic®, Avenir* B Baker Signet™, Balzano™, Banco®, Banshee™, Barmeno™, Berthold Baskerville™, Berthold Baskerville Book®, ITC New Baskerville®, ITC Bauhaus®, ITC Beesknees®, Bellevue™, Belwe™, Bembo®, ITC Benguiat®, ITC Benguiat Gothic®, ITC Berkeley Old Style®, Berliner Grotesk™, Berling™, Bermuda™, Bernhard Bold Condensed*, New Berolina™, Berthold®, Bickham Script™, Biffo™, Birch®, Blackoak®, Block Berthold®, Bauer Bodoni™, Berthold Bodoni®, Berthold Bodoni Old Face™, AG Book™, ITC Bookman®, Boton®, Boulevard™, Briem®, Bulmer™ C PMN Caecilia*, Caflisch Script®,
    [Show full text]
  • The Civilization of the Renaissance in Italy by Jacob Burckhardt
    THE CIVILIZATION OF THE RENAISSANCE IN ITALY By Jacob Burckhardt Translated by S. G. C. Middlemore, 1878 Edited by Candida Martinelli This free e-book was created and is distributed not-for-profit by Candida Martinelli of Candida Martinelli’s Italophile Site Images in this book are from Webshots.com 2 HE REATISE AND ISTORY IN ATIN PART I THE STATE AS A WORK OF ART.............5 T T , H L ....................149 ANTIQUITY AS THE COMMON SOURCE......................153 NTRODUCTION I ..............................................................5 NEO-LATIN POETRY..................................................157 DESPOTS OF THE FOURTEENTH CENTURY.....................8 FALL OF THE HUMANISTS IN THE SIXTEENTH CENTURY ESPOTS OF THE IFTEENTH ENTURY D F C .......................13 ..................................................................................167 THE SMALLER DESPOTISMS ........................................21 THE GREATER DYNASTIES ..........................................27 PART FOUR THE DISCOVERY OF THE WORLD THE OPPONENTS OF THE DESPOTS ..............................38 AND OF MAN.............................................................176 THE REPUBLICS: VENICE AND FLORENCE...................43 JOURNEYS OF THE ITALIANS......................................176 FOREIGN POLICY .........................................................60 THE NATURAL SCIENCES IN ITALY ...........................178 WAR AS A WORK OF ART ............................................65 DISCOVERY OF THE BEAUTY OF LANDSCAPE............183 THE PAPACY................................................................67
    [Show full text]
  • 20Th Century Type Designers
    . IZMIR UNIVERSITY OF ECONOMICS FACULTY OF FINE ARTS AND DESIGN Alessandro Segalini, Dept. of Communication Design: alessandro.segalini @ ieu.edu.tr — homes.ieu.edu.tr/~asegalini TYPOGRAPHIC DESIGN 2oth century Type Designers Frederic W. Goudy (1865-1947) Frederic W. Goudy (1865-1947) Goudy was the oldest, one of the most prolific and dedicated of the great innovative type designers Bruce Rogers (1870-1957) of the last century, his remained fonts place him among the handful of designers who have changed the look of the types we read. Born in Bloomington, Illinois, at the age of 24 moved to Chicago and began a series of clerking jobs, then set up a freelance lettering artist for a number of stores, and later Rudolf Koch (1876-1934) got a teaching position at the Frank Holme School of illustration as a lettering tutor. He was him- self becoming increasingly fired by craft ideals. Commisioned by the America Lanston Monotype William Addison Dwiggins (1880-1956) designed the typeface called 38-E after his early designs Camelot, Pabst, Village, Copperplate Gothic, Kennerly and Forum titling. On 1945 ATF cut and produced the face designed on 1915 now known as Goudy Old Style. Goudy had a native American immunity to the austere European view on typogra- Eric Gill (1882-1940) phy; his types are individual, always recognisable. Stanley Morison (1889-1967) Bruce Rogers (1870-1957) Rogers was a book designer whose attention to the minutiæ of his work led him occasionally to the Giovanni Mardersteig (1892-1977) design of type, at the point that his major achievement in this field, Centaur, has been described by Prof.
    [Show full text]
  • Display Week Sid 2018 Symposium
    DISPLAY WEEK SID 2018 SYMPOSIUM Audio Visual Submission Procedures and Guidelines for Oral Presentations PRE-SUBMISSION OF ELECTRONIC PRESENTATIONS THROUGH THE INTERNET Symposium authors are requested to read this material in order to properly upload their presentation slides in advance of the symposium. The system used is a web-enabled presentation delivery and management system that will allow symposium presenters the opportunity to upload their PowerPoint presentations directly to a SID 2018 presentation server prior to arriving on-site for the 2018 symposium. This pre-submission upload site will be live on May 1, 2018 and can be accessed from your web browser. Detailed instructions for uploading your presentation will be e-mailed to you two weeks before the site goes "live". The deadline for pre-submitting your presentation electronically will be May 21, 2018, the Monday prior to the start of the meeting. The pre-submission upload process of your presentation is broken into three parts: the Login, the Upload, and the Confirmation. 1. Login The e-mail notification referenced above will provide a URL, “unique identifier,” and password. This "unique identifier" and password will be queried against SID's database of presenters and if validated by the server, you will be sent to the Upload page. 2. Upload On this page, you will be presented with a "data grid" which displays information about when and where you are presenting. You will be asked to create a folder on your hard drive, name the folder according to our instructions and put your presentation and any accompanying files within it.
    [Show full text]