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This beautifully presented volume provides a historical study of the book in its relationship with the dissemination of new artistic ideas during the Renaissance.
The dawn of print was a major turning point in the early modern world. It rescued ancient learning from obscurity, transformed knowledge of the natural and physical world, and brought the thrill of book ownership to the masses. But, as Andrew Pettegree reveals in this work of great historical merit, the story of the post-Gutenberg world was rather more complicated than we have often come to believe. The Book in the Renaissance reconstructs the first 150 years of the world of print, exploring the complex web of religious, economic, and cultural concerns surrounding the printed word. From its very beginnings, the printed book had to straddle financial and religious imperatives, as well as the very different requirements and constraints of the many countries who embraced it, and, as Pettegree argues, the process was far from a runaway success. More than ideas, the success or failure of books depended upon patrons and markets, precarious strategies and the thwarting of piracy, and the ebb and flow of popular demand. Owing to his state-of-the-art and highly detailed research, Pettegree crafts an authoritative, lucid, and truly pioneering work of cultural history about a major development in the evolution of European society.
The commonplace-book mapped and resourced Renaissance culture's moral thinking, its accepted strategies of argumentation, its rhetoric, and its deployment of knowledge. In this ground-breaking study Ann Moss investigates the commonplace-book's medieval antecedents, its methodology and use as promulgated by its humanist advocates, its varieties as exemplified in its printed manifestations, and the reasons for its gradual decline in the seventeenth century.
The spread of printing to Renaissance Italy had a dramatic impact on all users of books. As works came to be diffused more widely and cheaply, so authors had to adapt their writing and their methods of publishing to the demands and opportunities of the new medium, and reading became a more frequent and user-friendly activity. Printing, Writers and Readers in Renaissance Italy focuses on this interaction between the book industry and written culture. After describing the new technology and the contexts of publishing and bookselling, it examines the continuities and changes faced by writers in the shift from manuscript to print, the extent to which they benefited from print in their careers, and the greater accessibility of books to a broader spectrum of readers, including women and the less well educated. This is the first integrated study of a topic of central importance in Italian and European culture.
Based on a survey of early printed books, Used Books describes what readers wrote in and around their books and what we can learn from these marks by using the tools of archaeologists as well as historians and literary critics.
Renaissance jewels are among the most alluring manifestations of an age that experienced the widening of horizons, from the Old World to the New. This volume overflows with luxurious imagery expressing the boundless creativity and spirit of the Age of the Renaissance. Yvonne Hackenbroch relates the tales of the jewels, the artists, and the patrons who commissioned them.
A sideways look at books that sheds light on the activities of authors, printers, and readers during the English Renaissance
In this detailed overview of the history of the handmade book, Avrin looks at the development of scripts and styles of illumination, the making of manuscripts, and the technological processes involved in paper-making and book-binding. Readers will have a greater understanding of ancient books and texts with More than 300 plates and illustrations Examples of the different forms of writing from ancient times to the printing press Coverage of cultural and religious books Full bibliography Reference librarians and educators will find this resource indispensable.
In both Vasari's life and in his Lives, prints played important roles. This volume examines Giorgio Vasari's interest, as an art historian and as an artist, in engravings and woodblock prints, revealing how it sheds light on aspects of Vasari's career, and on aspects of sixteenth-century artistic culture and artistic practice. It is the first book to study his interest in prints from this dual perspective.
In 1482 Francesco Berlinghieri produced the Geographia, a book of over 100 folio leaves describing the world in Italian verse interleaved with lavishly engraved maps. Roberts demonstrates that the Geographia represents the moment of transition between printing and manuscript culture, while forming a critical base for the rise of modern cartography.