Vespasien

Vespasien — marelibri

Roman coin. Denarius. - THE ALDUS-COIN

réf. 62084Rome AD 79-80. 18 mm. diameter. Dolphin entwined around anchor on one side and Draped bust of Tutus turning right on the other side. An excellent near mint specimen. 305 g. Obverse: IMP TITVS CAES VESPASIAN AVG P M laureate head rightReverse: TR P IX IMP XV COS VIII P P dolphin coiled around an anchor.RIC 26a RSC 309. Good specimen of the beautiful and rare coin that inspired Aldus Manutius' famous printer's device the dolphin-and-anchor the most famous logo in the history of book printing and the trademark of the Renaissance. The Aldus coin is the only book- or printing-related ancient coin in existence.Aldus Manutius the most famous printer of all times had been given a copy of the Titus coin with the dolphin-and-anchor logo on the verso as a gift by Pietro Bembo. He was extremely taken by the magnificent logo that in Roman times by Titus Vespasian had been used to illustrate the proverb "Festina lente" "make haste slowly" and was so inspired by it that he began using it as his printer's device at the very beginning of the 16th century. Before it appears as his printer's device for the first time he used it as an illustration in one of his most magnificent books Colonna's "Hypnerotomachia Poliphili" 1499.In his "Adagiorum Collectanea" the collection of classical proverbs that he kept revising throughout his life Erasmus Roterodamus had composed a lengthy essay on the "festina lente" proverb which intrigued him immensely. Erasmus traced the motto back to the emperor Titus Vespasian who had minted a coin with the emblem i.e. the present coin and had the rare opportunity to inspect that very coin - namely that which belonged to his printer Aldus Manutius who had been given it by the great Italian scholar Pietro Bembo. The second edition of Erasmus' "Adagiorum Collectanea" was published by Aldus in Venice in 1508 and Erasmus subsequently praises his printer to the skies in the course of explaining "festina lente". Erasmus explains the motto as such: "the circle as having neither beginning nor end represents eternity. The anchor which holds back and ties down the ship and binds it fast indicates slowness. The dolphin as the fastest and in its motions most agile of living creatures expresses speed. If then you skillfully connect these three they will make up some such principle as "Ever hasten slowly" and adds that by claiming it as his own recognizable and marketable emblem Aldus gave "fresh celebrity to the same device that was once approved by Vespasian". Not only is it "most familiar it is highly popular among all those everywhere in the world to whom sound learning is either familiar or dear." Erasmus seems to also suggest that the device had perhaps become too popular: "the city of Venice with its many claims to distinction has none the less become distinguished through the Aldine press so much so that any books shipped from Venice to foreign countries immediately find a readier market merely because they bear that city's imprint."And he might have been right. In fact the Aldine press was so successful and renowned and Aldus' printer's device as taken from the Titus Vespatian coin so incorporated a symbol of elegant correct printing and higher learning that it was imitated by printers all over Europe. By using the dolphin-and-anchor device other printers although much inferior would benefit from the authority and prestige of the Aldine press. In spite of Erasmus' attempts to make the public aware of this by praising the efforts of Aldus and opposing them to "those common printers who reckon one pitiful gold coin in the way of profit worth more than the whole realm of letters" publishers kept using the Aldus device for centuries. Aldus Manutius Grolier Club: no 129RIC 26a RSC 309. unknown

Herman H. J. Lynge & Søn A/S · Danemark15 000,00 DKK≈ 2 006,79 €

CALLIGRAPHY TYPOGRAPHY Amphiareo da Ferrara, Vespasiano (ca 1490 - ca 1563)Biblio.com

Opera di Frate Vespasiano Amphiareo da Ferrara. nella quale s'insegna scrivere varie sorti di lettere

1580réf. 5531Venice: Alessandro Gardano 1580. THIRTEENTH EDITION first printed in 1548. All editions are rare. Hardcover. Fine. Bound in 18th c. paste-paper over boards with a slim red morocco spine light wear to boards and spine upper joint starting corners bumped. A very nice copy preserving earlier endpapers with a 17th c. ownership inscription and a calligraphic flourish. The volume is overall very fresh with just a very light stain to the inner margin of the first few leaves light soiling to the title with two early ownership inscriptions and last leaf some scattered marginal soiling and a few small stains on two leaves. Illustrated throughout with 101 pages of woodcut alphabets and writing examples. An influential writing manual by the Franciscan friar and writing master Vespasiano Amphiareo who practiced and taught calligraphy in Florence before moving to Venice around 1518. In the introduction to the first edition of his book 1548 he tells us that he had already been practicing his craft for thirty years. The book showcases Amphiareo's "bastarda del frate" script which combined elements of the mercantile and chancery hands to produce a more fluid form that would serve the needs of both the chancery scribe and the merchant as well as non-professional letter writers. As the author writes in his dedication to Prince Francesco Donato the Doge of Venice "Having through my own art and industry newly devised a form and a character of handwriting called bastarda which like a mystical body of nature partakes of many styles of writing it seems to me that it may be equally suited to the chancery scribe because it is somewhat elongated and graceful and useful to the merchant because it is cursive and swift; and therefore to every other sort of person." The book first appeared in 1548 and went through no fewer than 18 editions-with the addition of two new scripts after 1572-up to the year 1620. In addition to the writing examples which occupy 101 pages Amphiareo includes instructions for making black blue red and gold inks; as well as instructions for making and holding a pen. Amphiareo's was the first writing book in oblong format designed to better reflect the dimensions of writing paper rather than the vertical format used by printers. In his letter to the reader Amphiareo explains how he developed his script: "For many years I had it in mind to find a form of letters so easy and quick that both chancery clerks and merchants could write it readily and that would fully serve them for letters and for keeping books. This inclination of mine was greatly spurred on by men of outstanding intellect in Florence at the time when I was pursuing my usual occupation in that most illustrious city. "There a certain mercantile letter with heavy strokes was in use not very unlike the Venetian mercantile. Since it was difficult and slow both to write and to learn I set myself to study and sharpen my wits so much that I adapted certain bodies and certain strokes of the one and the other letter. In the judgment of men of understanding my idea turned out gracefully. This letter which I named the Bastarda del Frate was so welcome and so praised that in the said city of Florence fathers would not have their sons learn any other letter. This proved a success both for them and for me since they learned to write with the highest excellence and I drew no small profit from it. Because my intention is to share with all the world the skill that God has given me and I cannot be bodily in more than one place I have had this present little book engraved at incredible expense to myself." In addition to the bastarda chancery and mercantile hands Amphiareo includes "a number of gothic hands: bollatica francesca rognosa etc. all in appropriate texts; a number of alphabets: ornate roman capitals signed in interlaced ciphers of the sort expounded by Palatino followed by a set of decorated roman capitals made up of twisted boughs or logs; a handsome set of gothic entrelac initials two to the page decorated with putti heads and the like; a decorated gothic set also two to the page; a set of simplified geometrically constructed minuscules round gothic based on Fanti's; and roman inscriptional outline capitals against horizontally ruled squares. "Amphiareo's choice of format was also a significant change. The books of his predecessors from 1514 until his own had all been vertical octavos apart from Tagliente's one perhaps abortive experiment in this format in 1525. Their layouts were modeled on book practice. Amphiareo's format showed off to best advantage his layouts inspired not by book pages but by epistolary practice. The letter of his day was generally written on a wide short sheet of paper or vellum folded after writing to produce an envelope - somewhat on the order of today's airletter form turned sideways. Amphiareo's pages suggest this shape quite successfully."Morison "On Some Italian Scripts of the XV and XVI Centuries" in "Selected essays on the history of letter-forms in manuscript and print" Vol. 2 Ch.8 p. 89 ff. Alessandro Gardano hardcover

Liber Antiquus · États-Unis9 800,00 $US≈ 8 738,30 €

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