Initiale - Catalogue de manuscrits enluminés - IRHT Initiale est un catalogue informatisé de manuscrits enluminés du Moyen Âge, principalement de ceux qui sont conservés dans les bibliothèques publiques de France, hors Bibliothèque nationale de France. >> Lire la suite Ce catalogue, en cours de constitution, est établi sous la responsabilité de la Section des manuscrits enluminés (SME, olim SSI) de l’Institut de recherche et d’histoire des textes (IRHT). >> Lire la suite Initiale fournit, dans les limites de l’avancement du catalogage : l’état du recensement des fonds par l’IRHT ; des notices de manuscrits contenant une identification sommaire des textes, la datation, l’origine, la provenance, l’attribution éventuelle à un artiste, et une liste de références bibliographiques ; des notices d’enluminures (représentations ou ornements) ; des fiches bibliographiques augmentées, s’il y a lieu, de renvois aux notices de manuscrits recensés dans Initiale.
Italian writing masters and calligraphers of the 16th and 17th centuries This aims to be a list of the names of all the calligraphic writers, mostly professionals, working in Italy between 1501 and 1700, whose names have been recorded. Places of origin and of work and dates of birth and death or of professional activity (fl) appear in parentheses thus: (Bologna, Roma fl 1560–85). The principal sources listed as References at the end are in square brackets, thus: [Johnson]. Alternative spellings of names are separated thus: Badesio / Badessi / Badeschi.
Medieval manuscripts blog As the British Library's major exhibition Magna Carta: Law, Liberty, Legacy draws to a close — it's been an amazing 5 months — we'd like to take this opportunity to showcase some of the key British Museum loans in the display. The Library and the Museum have a long, shared history and a very close working relationship; and so we were absolutely delighted when the British Museum so kindly agreed to lend us some amazing objects for our exhibition. We're very grateful to our counterparts in the Departments of Coins and Medals, Prehistory and Europe and Prints and Drawing for making this possible. It's another great example of collaboration between two national institutions (here's another blogpost about the loans from The National Archives). Magna Carta: Law, Liberty, Legacy would not have been the same without these key loans from our friends at the British Museum. Julian Harrison, Co-curator, Magna Carta: Law, Liberty, Legacy
The Crystal Goblet by Beatrice Warde The Crystal Goblet by Beatrice Warde Excerpt from a Lecture to the British Typographers’ Guild Imagine that you have before you a flagon of wine. You may choose your own favorite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in color. You have two goblets before you. Humanist minuscule The evolution of minuscule Latin script Humanist minuscule is a handwriting or style of script that was invented in secular circles in Italy, at the beginning of the fifteenth century. "Few periods in Western history have produced writing of such great beauty", observes the art historian Millard Meiss. The new hand was based on Carolingian minuscule, which Renaissance humanists, obsessed with the revival of antiquity and their role as its inheritors, took to be ancient Roman: "when they handled manuscript books copied by eleventh- and twelfth-century scribes, Quattrocento literati thought they were looking at texts that came right out of the bookshops of ancient Rome". The humanistic term litterae antiquae (the "ancient letters") applied to this hand was an inheritance from the fourteenth century, where the phrase had been opposed to litterae modernae ("modern letters"), or Blackletter. Petrarchan reform
Renaissance Liturgical Imprints: A Census (RELICS) We are interested in global questions about worship in Renaissance Europe. Our definition of liturgy, often a topic for spirited discussion, is rather loose; when in doubt about a particular book, we include it. We wish to portray here the European books of ritual for the several Catholic churches and also books for Protestant and Jewish faiths during the tumultuous generations before 1601. Parker Type History In honor of Mike Parker, we present a tribute to honor his work and share stories from colleagues. With contributions from David Berlow, Roger Black, Matthew Carter, Frank Romano, Cherie Cone, and more. ➝ Fontbureau.com/MikeParker
The Fell Types modern revival fonts realized by Igino Marini using iKern < The Fell Types The digitization of the Fell Types began in 2000. Three books were used as source: Stanley Morison: “THE ROMAN ITALIC & BLACK LETTER bequeathed to University of Oxford by Dr. JOHN FELL,” Oxford University Press, 1951Stanley Morison: “JOHN FELL The University Press and the ‘Fell’ Types,” Oxford University Press, 1967Horace Hart: “Notes on a Century of Typography at the University Press Oxford, 1693-1794,” Oxford, The Clarendon Press, 1970 The first and second are printed using the original types on modern paper. Most of the samples are taken from them. The Renaissance Letter Half gothic/semi-humanistic When the German printing capital, Mainz, was sacked in 1462 many printers fled to new locations, most to Italy. There they fashioned their work to follow the Renaissance movement and the Humanistic handwriting influences. Two German print refuges were Conrad Sweynheym and Conrad Pannartz, (thought to have been associated with Gutenberg's business partner, Schoeffler) who set up the first press in Italy at the Benedictine Monastery of Subiaco.