farfel_n01_074_033

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Status: Complete

33
May '76
Paris gift -

Georges Heilbrun
3 rue Git - le - Coeur
b. Venice - 1433
(d. 1527)

- from an incomplete volume with a
French hand dated 1612 +
signed F.D.

Franciscus Columna Hypnerotomachia Poliphili
Venice: Aldus Manutius, Romanus.
for Leonardus Crassus. Decm 1499 f0 Sale 1981 125.00 L

Goff C 767 HC 5501 GW 7223 IGI 3062. BMC V p. 561
Cop HEHL, Stan UL. (314x206 295x198mm)
234 leaves, 39-41 lines, 225x134mm e6 (of 8)
Types 115 R [inserted] in use from July 1499 onwards [end inserted]; 114 Gk; 82 R., first title, enata,
matter in guines q, r, + elsewhere. 39 woodcut initials
172 woodcuts by unknown artist 170 1 woodcuts. (168) (1st book - 151 cuts, 2nd - 17 cuts)

the author blended 3 conceptions in this book: the humanist
10 full page idea of the revival of classical culture, following the ideas on
architecture of L. B. Alberti, the old courtly conception of love,
+ the alchemical conception of the transmutatio of matter.
The language of this work is a north Italian dialect
interspersed with Latin + Greek words.

114 Gk - cursive text type. In use from Aug. 1496 to end of 1499

Though Aldus's merits as a fine printer have, like those of
Jenson + Plantin, been exaggerated, his influence upon the printed
book is certainly important. He began printing + publishing with great
S. Morrison energy in 1495, + before the end fo the century had printed some
37 volumes. His reputation, however, was made with books of smaller
format. Aldus, indeed, wrought a remarkable change in
printing + the Poliphilus is practically his last example of a
large book. In spite of the excellence of F. Griffo's roman
letter, the Poliphilus woes its reputation entirely to its cuts.

- the author has 2 main interests, the love story (heroine -
Polia) + the architectural setting to the characters. The
Poliphilus his all the elements that made for success in that age.
It is euphirstic, luscious, pagan in sentiment + crammed with
classical learning.

Warren Chappell - The special innovation of Aldus + Griffo, in the romans, was their use of the
calligraphic practive fo making the capitals shorter than the ascending
letters of the lowercase. This corrected one of the color problems of Jenson's
Types: a Tendency of the large capitals to be spotty in the Type mass.

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