A Risky Enterprise: E Aldine Edition of Galen, the Failures of the Editors
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Renaissance Receptions of Ovid's Tristia Dissertation
RENAISSANCE RECEPTIONS OF OVID’S TRISTIA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Gabriel Fuchs, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Frank T. Coulson, Advisor Benjamin Acosta-Hughes Tom Hawkins Copyright by Gabriel Fuchs 2013 ABSTRACT This study examines two facets of the reception of Ovid’s Tristia in the 16th century: its commentary tradition and its adaptation by Latin poets. It lays the groundwork for a more comprehensive study of the Renaissance reception of the Tristia by providing a scholarly platform where there was none before (particularly with regard to the unedited, unpublished commentary tradition), and offers literary case studies of poetic postscripts to Ovid’s Tristia in order to explore the wider impact of Ovid’s exilic imaginary in 16th-century Europe. After a brief introduction, the second chapter introduces the three major commentaries on the Tristia printed in the Renaissance: those of Bartolomaeus Merula (published 1499, Venice), Veit Amerbach (1549, Basel), and Hecules Ciofanus (1581, Antwerp) and analyzes their various contexts, styles, and approaches to the text. The third chapter shows the commentators at work, presenting a more focused look at how these commentators apply their differing methods to the same selection of the Tristia, namely Book 2. These two chapters combine to demonstrate how commentary on the Tristia developed over the course of the 16th century: it begins from an encyclopedic approach, becomes focused on rhetoric, and is later aimed at textual criticism, presenting a trajectory that ii becomes increasingly focused and philological. -
Italian Books
Italian Books I Philobiblon Rome London New York In collaboration with Govi Rare Books, New York Italian Books I Spring 2019 Preface We are very pleased to present Philobiblon’s new publishing initiative Italian Books, a series of numbered catalogues devoted to the important place of Italian culture on the world stage. The catalogues will feature manuscripts, documents, printed books, engravings, drawings, and artist’s books produced in Italy, as well as Italian books printed outside the country, translations attesting to the impact of Italian culture abroad, including volumes finely bound by sought-after Italian binders, and those once owned by great protagonists of Italian book collecting. Together these selections will illuminate a journey into the multifarious Italian book world in the broadest and richest sense. After all, the history of the book itself is a fascinating narrative, an uninterrupted medley of fruitful cultural transfers and the migration of ideas. In this regard, Italy has always represented a unique crossroad among cultures, the custodian of ancient past, as well as the gateway between Western and Eastern worlds, whose academies, art collections, libraries, printing houses, and bookshops have provided, over the centuries, fertile meeting grounds for generations of scholars, bibliophiles, and connoisseurs. In the first decades of the twentieth century, two international exhibitions paid homage to the Italian book. The Mostra Storica dell’Arte della Stampa in Italia opened in Leipzig in 1914 and presented the magnificence of Italian book production from the fifteenth to the eighteenth century. The splendid Exposition du Livre Italien followed in Paris in 1926, mounted at the Bibliothèque Nationale and the Musée des Arts Décoratifs. -
From the Aldine Press to Aldus @Sfu Showcasing Simon Fraser
FROM THE ALDINE PRESS TO ALDUS @ SFU Showcasing Simon Fraser University Library’s Aldines Online by Alessandra Bordini MA, University of Siena, 2007 Project Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Publishing in the Publishing Program Faculty of Communication, Art and Technology © Alessandra Bordini 2017 SIMON FRASER UNIVERSITY Spring 2017 Creative Commons Attribution-ShareAlike 4.0 International Public License approval name: Alessandra Bordini degree: Master of Publishing title of project: From the Aldine Press to Aldus@SFU: Showcasing Simon Fraser University Library’s Aldines Online supervisory committee: John W. Maxwell Senior Supervisor Associate Professor and Director Publishing Program, Simon Fraser University Mauve Pagé Supervisor Lecturer Publishing Program, Simon Fraser University Michael Joyce Supervisor Web and Data Services Developer SFU Library, Simon Fraser University date approved: January 25, 2017 ii abstract This report stems from a joint commemoration in 2015 of the fiftieth anniversary of the opening of Simon Fraser University and the five-hundredth anniversary of the death of pioneering Renaissance publisher and scholar Aldus Manutius. To mark these occasions, Publishing@SFU and SFU Library Special Collections joined forces to create a web-based resource comprising an outstanding selection of Aldines from the Wosk–McDonald collection, one of the largest such in North America. This report details the creation of Aldus@SFU, a prototype digital exhibition of the collection intended to be as widely accessible as possible on the Internet through ubiquitous technologies. Adopting a syncretic approach that emphasizes the continuous relationship between innovation and tradition, this report outlines and explores the key intersections between Aldus’ plan to popularize classical literature and the core mission of our project: to contribute to public knowledge by making SFU Aldines conveniently and freely available online via a flexible, mobile- optimized user interface. -
Angela Nuovo Aldus Manutius and the World of Venetian Publishing
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by AIR Universita degli studi di Milano Angela Nuovo Aldus Manutius and the world of Venetian publishing Whenever we undertake the study of Aldus Manutius (ca. 1450 – 1515) the feeling that we are dwarves standing on the shoulders of giants is unavoidable. This is not said for form’s sake, as centuries of scholarship on the subject have produced wonderful studies which are invariably stimulating, regardless of the times one rereads them.1 Yet, some questions regarding the factors responsible for Aldus` success amid the highly competitive world of Renaissance printing, remain only partially resolved. In this context, it is useful to reconsider the history of his activities from three different points of view: first, the Aldine firm as a centre of innovation, second, the reactions of his competitors to these innovations, and third, the extraordinary capacity of Aldus, the man and humanist, to construct a diversity of networks. Although Aldus has always been regarded as the prototype of the scholar-publisher, that is, the independent innovator who creates his own mission and goals and follows them enthusiastically, it is clear that much of his success resulted from his ability to form networks of agents stemming from a variety of social and economic strata, but all endowed with various types of expertise and skills and linked in a cooperative process of innovation. This process is what David Lane, the theorist of innovation, has called a series of generative relationships represented by groups, whose actions produce something which one of their members could not have produced alone: an unforeseeable outcome resulting from the interaction between two or more individuals.2 The roots of innovation 1 The standard point of departure is Antoine-Augustin Renouard, Annales de l'Imprimerie des Alde, ou Histoire des trois Manuce et de leurs éditions, 3e édition (Paris: Renouard, 1834) pp. -
Book Design, Typography, Authorship, Redaction and Publishing of Texts
In aedibus Aldi – Aldus & Co. by Andy Hadel 22 December 2008 Abstract “In aedibus Aldi” Aldus & Co. was the name of the press that brought substantial innovations to the nascent industry of printing at the end of the fifteenth century. Within two decades, the notion of how a publishing house and a publisher functioned became crystallized, if not in name, in practice, leading to new standards of book design, typography, authorship, redaction and publishing of texts. This study seeks to understand the actual technical, industrial and artistic transformations that were affected by Aldus and his cohorts. Further, the study seeks to frame the progress made in light of the great changes influenced by Humanism. Through his scholarship and personal rapport with collaborators such as Erasmus, the printed books of Aldus Manutius (the Latinized name of Teobaldo Mannucci) found new markets in cinquecento Italy and abroad that went beyond the traditionally closed manuscript culture from which they sprang. Indeed his books represent the revival of interest in the thought, writing and art of the ancient world. The printed books emanating from the Aldine Press in many ways are a catalogue of the accomplishments of the Renaissance as we know it. Outline of Text 1. Introduction 2. Book Design 3. Typography 4. Editing, Authorship and Publishing 5. Conclusion 6. References 7. Notes Introduction In 1469 the Venetian Senate granted a privilege to Johannes of Spires for a period of 5 years. He was wise to guard his monopoly because publishing wasn’t an easy business to start. First, texts were needed and the manuscript culture from which this early modern technology springs essentially resisted the idea of book printing. -
The First Printed Edition of the Greek Text of Aristophanes' Nine Comedies
The first printed edition of the Greek text of Aristophanes’ nine comedies, published by Aldus Manutius. Aristophanes. Comoediae Novem. Venice: Aldus Manutius, 1498. Folio, 13 inches x 9 1/16 inches (330 x 230 mm), 696 pages. The earliest printed texts of the ancient classics were almost exclusively Latin. Only toward the end of the fifteenth century was a programmatic effort made to bring the Greek classics into print. The campaign was led by Aldus Manutius (ca. 1450–1515), a sometime classical tutor, with the assistance of several Greek exiles, chief among them the Cretan scholar Marcus Musurus (ca. 1470–1517). Aldus was not the first to print books in Greek—editions of Homer, Theocritus, and Hesiod had already been produced elsewhere —but he did publish the first editions of some 30 classical authors. These editiones principes included the Greek texts of Aristotle (1495), Aristophanes (1498), Herodotus (1502), Sophocles (1502), Euripides (1503), Demosthenes (1504), Plato (1513), Pindar (1513), Pausanias (1516), and Aeschylus (1518). This editio princeps of Aristophanes includes a preface recommending the plays not as masterworks of literature but as a guide to conversation: a reader steeped in Aristophanes (the editors claimed) could not help but have learned to speak a pure and fluent Attic Greek. This stance was in perfect keeping with Aldus’s attitude to typography. His fonts imitated the swift cursive Greek in contemporary commercial use, with its many ligatures and abbreviations, rather than the formal uncial types of earlier printers. It was not always possible to gather together an author’s entire surviving work: this edition contains only nine of the plays. -
The Aldine Press
The Aldine Press 1495 – 1585 Two new books about the Aldine Press of Venice, written by Adam Mills, rare books specialist in Cambridge since 1980 Aldines at Harrow Aldines at Harrow, researched and A Discursive Catalogue compiled for Harrow School, is a discursive catalogue describing the hitherto overlooked Lionel Oliver Bigg Collection of 167 Aldine books held at The Old Speech Room Gallery, Harrow School. Printing & Publishing at TheAdam AldineMills Press Printing & Publishing at The Aldine Press 1495–1585 is an extensive handbook that, uniquely, covers the complete 90-year history of the press and its activities, bringing together material otherwise scattered in many different sources. Adam Mills Published by Adam Mills Rare Books Issued in matching bindings and layout, and available to be purchased either separately or together. www.adammillsbooks.com Printing & Publishing at The Aldine Press 1495–1585 Printing & Publishing at The Aldine Press An Introductory Handbook to the Life 1495–1585 & Work of Three Generations of the Manutius & Torresani Families Introduction: Setting the Scene The Manutius & Torresani Families SETTING THE SCENE 1 The Aldine Press • Their business & family partnerships 1495 – 1585 Introduction Furthermore, Egnatio wrote, Aldus The Aldine Press is often consideredAdam one of the most Millslived with the highest reputation among all men for honesty • Their lives & achievements in Venice & Rome important presses in the history of publishing. Aldus and scholarship ... Indeed, it is known that many important Manutius, who founded the press in Venice in 1495, was men came to Venice just to greet and see this man, and also the first to succeed in resolving the apparently intractable to shower him with gifts. -
On Aldus' Scriptores Astronomici (1499)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archivio istituzionale della ricerca - Università degli Studi di... Certissima signa A Venice Conference on Greek and Latin Astronomical Texts edited by Filippomaria Pontani On Aldus’ Scriptores astronomici (1499) Filippomaria Pontani (Università Ca’ Foscari Venezia, Italia) Elisabetta Lugato (Biblioteca Nazionale Marciana, Venezia, Italia) Abstract The Scriptores astronomici veteres were published by Aldus Manutius in Venice 1499. This book represents the most ambitious humanist attempt to reconstruct ancient astronomical wisdom by presenting the original texts of ancient authors. As such, the volume raises several questions. What is the rationale of Aldus’ selection? What do we know about his manuscript sources and the edito- rial process? What is the history of the incunable's remarkable illustrations (most notably those in Firmicus’ books 2 and 6, and in Germanicus’ Aratea)? How does this edition fit into one of the most dificult periods of Aldus’ Venetian enterprise? This paper attempts to tackle some of these issues. Summary 1 Contents and Ordering. – 1.1 A Miscellany. – 1.2 A Bilingual Book. – 1.3 An Illustrated Book. – 1.4 From Latin to Greek, from Astrology to Astronomy. – 1.5 Relationship with Earlier Printed Editions. – 1.6 ‘Technical’ Texts and Exegesis. – 2 The Sources of the Edition. – 2.1 Firmicus Maternus. – 2.2 Manilius. – 2.3 The Aratea. – 2.4 Leontius Mechanicus. – 2.5 Aratus. – 2.6 Ps.-Proclus. – 3 Towards a General Assessment. – Appendix: Francesco Negri. Keywords Astronomy. Manuscripts. Incunables. Classical Tradition. Editorial Technique. Aldine Press. Book Illustration. Illumination. Italian Humanism. -
{Download PDF} Pietro Bembo on Etna the Ascent of a Venetian
PIETRO BEMBO ON ETNA THE ASCENT OF A VENETIAN HUMANIST 1ST EDITION PDF, EPUB, EBOOK Gareth Williams | 9780190272296 | | | | | Pietro Bembo on Etna The Ascent of a Venetian Humanist 1st edition PDF Book Roman Portable Sundials Richard J. Van der Kolk Paperback, 4. Rome's Holy Mountain Jason Moralee. Be the first to write a review. No ratings or reviews yet. Graduate students, researchers, faculty. Forgot password? Sign in with your library card Please enter your library card number. Please, subscribe or login to access full text content. Recently viewed 0 Save Search. This work is cast in the form of a dialogue that takes place between the young Bembo and his father Bernardo himself a prominent Venetian statesman with strong humanist involvements after Pietro's return to Venice from Sicily in Index of Latin Words. Username Please enter your Username. Choose your country or region Close. Sign in. Qty: 1 2. General Index. Brand new: Lowest price The lowest-priced brand-new, unused, unopened, undamaged item in its original packaging where packaging is applicable. The main exhibits are the portrait medal Pietro commissioned in the early s from the eminent Valerio Belli, and two portraits of Cardinal Bembo by Titian. See details for additional description. This book is centered on the Venetian humanist Pietro Bembo , on his two-year stay in Sicily in to study the ancient Greek language under one of its most distinguished contemporary teachers, the Byzantine migr Constantine Lascaris, and above all on his ascent of Mount Etna in Pietro Bembo on Etna The Ascent of a Venetian Humanist 1st edition Writer This book is centered on the Venetian humanist Pietro Bembo , on his two-year stay in Sicily in to study the ancient Greek language under one of its most distinguished contemporary teachers, the Byzantine migr Constantine Lascaris, and above all on his ascent of Mount Etna in Users without a subscription are not able to see the full content. -
Gennadeion Notes, Ii
GENNADEION NOTES, II INCUNABULA IN THE GENNADIUS LIBRARY Bata ue`v, aAAX&apAo6a JOHN Gennadius' interest in incunabula was strictly subordinated to the general program of his collection, and he made no effort to acquire books merely for their rarity or early date. As compared with, say, the five thousand or more " cradle- books " in the Huntington Library, our holdings are very modest indeed. Never- theless, a recent survey made for inclusion in the forthcoming Third Census of Incuna- bula in American Libraries-we were not represented in the 1940 Census-revealed that our collection is, happily, somewhat larger than had been assumed, and demon- strated afresh (if this were needed) its high quality and distinctive interest. A detailed listing will be included in the projected catalogue of incunabula and of sixteenth- century editions of Greek classics in the Gennadeion. Meanwhile, a brief account of the collection, especially as it relates to classical studies, may be of interest to readers of Hesperia. The final tally now stands at sixty-two items,' of which three were not previously recorded in American ownership. The largest group, numbering twenty-seven, con- sists of editions or translations of classical Greek texts. Seventeen volumes relate in one way or another to Turkish affairs and the consequences of the Fall of Constanti- nople, nine are Renaissance Greek grammars or manuals (one of which, since it includes the work of two anlcient grammarians, iS also tabulated above), and the remaining ten are miscellaneous. Perhaps the most striking feature of the Gennadeion incunabula as a group is their superb condition. -
The Erasmian Pronunciation of Greek and Its Precursors,- Jerome
The Erasmian Pronunciation of Greek I and its Precursi •CVJ '<T> CO ? Jerome Aleai .CO Aldus Maiiuti\i&^V Antonio of Lebri:??a-^'/ >, A LECTURE BY INGRAM m WATER, M.A. KEGirs PROFESSOU OF GREEK AST) STrDEXT OF CHRIST CIllRCU IV THE rNIVEIlSITY OK OXIORD LONDON HENRY FROWDE OXFORD UNIVERSITY PRESS WAREHOUSE AMEN CORNER OXFORD: IKi High Street 1908 I'ricc One S/u/iifii>- mi Digitized by the Internet Arciiive in 2010 witin funding from University of Toronto httpy/www.arcliive.org/details/erasmianpronunciOiClbywa The Erasmian Pronunciation of Greek, and its Precursors OXFORD : HORACE HART PKINTKR TO THE UNIVERSITY The Erasmian Pronimciation of Greek and its Precursors Jerome Aleander Aldus Manutius Antonio of Lebrixa A LECTURE BY INGRAM BYWATER, M.A. REGirS PROFESSOR OF GREEK AKD STUDEN'T OF CHRIST CHURCH IN THE UNIVERSITV OF OXiORD LONDON HENRY FROWDE OXFORD UNIVERSITY PRESS WAREHOUSE ^ ^ AMEN CORNER ^ \' ^ ' OXFORD: IKi High Street y^ 1908 > (f jRead as a jJiMic Lecture in the Hall of Exeter College, on May 20, 1907. THE ERASMIAN PRONUNCIATION OF GREEK, AND ITS PRECURSORS How was Greek pronounced in the great classical period of the language ? The question lias been before the world for some 400 years ; and it is still, so to speak, a burning question—one discussed even in our own day with a degree of heat and acrimony which seems strangely out of place in a matter of historical inquiry. We all know that the pronunciation of most modern languages is believed to have changed in various ways in the course of centuries. But Greek is often supposed to be a favoured exception ; the pronunciation of it is still thought by many to have remained much the same for more than 2000 years, though the language has confessedly undergone no inconsiderable mutations in other respects, in its vocabulary, its grammar, its structure and general complexion. -
Aldus Manutius Venice
EXHIBITIONS Aldus Manutius Venice by XAVIER F. SALOMON A HANDWRITTEN INSCRIPTION on the front- ispiece of Gregorius Nazanzienus’ Carmina, published in Venice by Aldus Manutius in 1504 as part of a series of volumes of ancient Christian poems, proudly proclaims: ‘I belong to Erasmus, and I will not change my master’. This copy of the book was owned by the celebrated Dutch humanist Desiderius Erasmus, who had lived in Venice in 1507–08, where he collaborated with Manutius on a new edition of his Adagia.1 Notwithstanding the scholar’s pride in owning the volume, the book did change hands. A second inscription reads: ‘I belonged to Erasmus, and I changed my master’. The book’s second owner was another humanist, Martin Lipsius, who commented the volume’s change of ownership: ‘Indeed I have not changed, for 76. Portrait of a man (Jacopo Sannazaro?), by Titian. a friend is a second self’. Books published by c.1514–18. Canvas, 85.7 by Aldus Manutius were considered works of art 72.7 cm. (Royal Collection, in themselves and were highly sought after. It London; exh. Gallerie is easy to understand why, when looking at the dell’Accademia, Venice). impossibly elegant single surviving copy of De Re Rustica, printed entirely on blue paper and published by Manutius in 1514 (Fig.75). Books Sannazaro – displays in the splendid portrait families in Carpi and in Mirandola, he such as these were passionately collected in by Titian (Fig.76) from the Royal Collection. moved to Venice in 1489. The forty-year-old sixteenth-century Europe, and owners often The copy of the Carmina (no.74), together Aldus established a partnership with Andrea chose to hold them in their hands when with the blue De Re Rustica (no.66) and Torresano and started printing classic texts.