e-book Guicciardini (Script) (Italian Edition)

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Written by Marcella Stockstill, Ph. Bodman ," Studies in the Renaissance, Vol. The Medici Archive Project — www. Skip to main content. Search by date Search by date: Italian Renaissance Manuscript Collection. Add or remove collections. Home Italian Renaissance Manuscript Collection. Palla Strozzi reports on a skirmish near Genoa, June 4.

Lorenzo de' Medici writes to Pietro Vettori, Jan Angelo Poliziano writes to Lorenzo de' Medici, September Cardinal Giulio de' Medici writes to Paulo Victorio, Giovanni de' Medici writes to Bernardo dei Michelozzi, July Cosimo de' Medici writes to Francesco Sforza, June Francesco Guicciardini, autograph memorandum from Parma, May Select the collections to add or remove from your search.

Antiquities of the Institute for Antiquity and Christianity. Asian Library Digital Collection. Aztec Regalia by Javier Galvez. Boynton Collection of Early Claremont. Bulletin of the Institute for Antiquity and Christianity. Ceramics Highlights from the Williamson Gallery. Brown pebble cloth, sunned, with bottom half of lower joint split. Text all in Italian. Initial and final leaves blank. A fantastic item for any Bowie collector that can read Italian. Anno di edizione He collaborated with Gabriele D'annunzio.

Includes a numismatic appendix by Marchese Camillo Serafini. Highly skilled and expensive process, it cannot produce more than a limited number of impressions. It has been used for single-sheet prints and luxury portfolios, and since the s has been abandoned by all except a few small specialist firms. Substantial pattern book of designs for ecclesiastical whitework.

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A rich resource for church embroidery design. Contents are holding firm. The book is limited to copies, this being number Casa Editrice "Nemi" Del Dott. Overall a VG copy of a very scarce title: Rosini was a poet and Professor, who taught rhetoric at the University of Pisa for most of his life. Fine - Very well preserved copy showing very little wear. Fair - As with good only above but with other faults. Loving poem by G. Rare original sixteenth-century Edition, with. Full vellum binding with gilt-stamped spines with red leather labels.

Boards — good condition — vellum, stained and marked as usual.

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Paste downs — good condition. Major defects will be described. Poor - Really bad and possibly seriously incomplete. Glassene wrapper protecting binding.

Italian Renaissance Manuscript Collection

Silk cloth binding over boards with gilt blocked titles. Printed on light blue quality heavy weight paper. No author is attributed to title page, Worldcat entry states Giovanna Battista Gazola as author. In a uniform half crushed morocco binding with marbled paper boards. Very slight rubbing to paper boards. Slight rubbing to extremities and head and tail of spine. The illustrations and coats of arms are beautifully hand coloured. All nice condition as per my photos. Turin, —76 , 5: For descriptions of the earliest business scripts and the origin of mercantesca, see Armando Petrucci, ed.

Lino Leonardi, 4 vols. Florence, — , 4: How mercantesca spread out of Tuscany has not been studied closely. XV— XIX , ed. Merchants and Notaries adapted as book scripts as well. According to this in- terpretation, early signs of the independence of these two scripts within the Florentine littera cursiva appear soon af- ter and they become fully independent and separate in the course of the following half century.

I would like to propose a very different interpretation. Contrary to previous understanding, evidence indicates that merchants and notaries shared the same graphic cul- ture for a very long time; indeed, the numerous, close, and continuous similarities in their handwriting suggest consid- ering their graphic tradition as shared until at least There is evidence of both notaries and merchants experimenting, innovating, and developing several styles between the sec- ond half of the thirteenth century and the first years of the 2.

For a survey of the most recent Italian studies on this subject, see the bibli- ographies of Bertelli; and Marisa Boschi Rotiroti, Codicologia trecentesca della Commedia: I present here the main results of the research I conducted for my Ph. Otto Kresten and Franz Lackner Vienna, , — The variety of scripts that ultimately resolved into cancelleresca was adopted as the exclusive style of nota- ries during the first quarter of the fourteenth century.

Italian Renaissance Manuscript Collection

Mer- cantesca did not become the exclusive style of merchants until around the middle of the fourteenth century. My research in the history of Florentine cursive scripts from the middle of the thirteenth to the middle of the four- teenth century is based on a broad survey of documents gen- erated in Latin by notaries and in Italian by merchants.

The bewildering diversity encoun- tered here is due not only to the span of time and to the great number of scribes, but mostly to the richness of their graphic culture. Many notaries were able to employ differ- ent degrees of execution and style, and so more than a third of these notaries are represented by more than one exam- ple in this survey.

Notarial samples have been selected by examining the digital archive of the documents of the Diplomatico section of the Archivio di stato di Firenze, now online: Studi in onore di Luciana Mosiici, ed. The notaries who were able to write at different levels of execution were probably much more than a third. Surviving documents are only a small part of those produced.

Matteo di Biliotto, for example, wrote documents from to , but only four have survived: Merchants and Notaries The surviving texts written by merchants and business people are not so numerous. This study gathers 77 texts, representing both business and family matters written by Florentines up to and consisting of account books, cash-books, family books, letters, and simple notes.

Some texts were written by multiple scribes and some scribes wrote more than a single text. Altogether, I was able to iden- tify different hands. The majority of these texts have already been studied from linguistic and historic points of views. Seven texts are unpublished and unknown: All these documents are listed in the Appendix. For basic information about these texts, see Arrigo Castellani, ed. Lippo di Fede del Sega env.

Indeed, no study that integrates and compares the handwriting of notaries and merchants has ever been un- dertaken, nor for the notarial tradition not only Floren- tine, but generally Italian has a large enough sample ever been studied. Hitherto only 22 texts 36 scribes in all have been examined for paleographical purposes, and their chronological distribution is irregular, the major- ity dating from the third quarter of the thirteenth century to the s and s.

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Florence, —67 , 1: The two greatest collections of notarial scripts are Vincenzo Federici, ed. Documenti per la storia del no- tariato italiano Milan, As for linguistic studies, the fundamental collection of specimens by Castellani, La prosa, stops in Indeed, it is transformations occurring in the period from the s on- ward that I find to be fundamental in establishing the origin and development of cancelleresca and mercantesca.

I will begin with a brief overview of the general features and differences between cancelleresca and mercantesca. I shall then present the main findings of my study, exploring both the unity and variety of these scripts, and then conclude with my reconstruction of the origin and development of cancelleresca and mercantesca. In cancelleresca descenders, looped or unlooped, have a long pointed shape see fig.

In mercantesca as- cenders, too, have round loops see fig. In mercantesca ascenders may also have a stroke on the Documenti, gathers examples of commercial documents, the majority from the Datini company of Prato from the second half of the fourteenth century and beginning of the fifteenth. To date, paleographers have con- sidered only documents already published in these books and in Castel- lani, Nuovi testi; Sapori, Mercatores; Sapori, Alberti; and Sapori, Peruzzi.

Irene Ceccherini left, which is round see fig. The g in cancelleresca may have various shapes; the lower bow is often traced in a triangular shape, which resembles loops on ascenders see fig. The g in mercan- tesca is stocky and round see fig. In cancelleresca the bodies of letters are narrow and small in relation to the ascenders and descenders, while in mercantesca the bodies are round and may have a shape compressed from above see figs.

In many cases the final strokes of c, e, r, t, and in some instances f, g, l, and a may extend horizontally, thus emphasizing the headline from which the letters seem to hang see figs. Finally, the s and f of mercantesca may be executed starting from the top, resulting in one or two round loops see figs. Petrucci, Breve storia, Florence, Biblioteca Riccardiana, MS , fol.

Apollonia benedettine , luglio 2 hand of notary Andreas filius Nerii Raynerii de Florentia. Prato, Archivio di Stato, D. The names of notaries are given in italics as they appear in the documents. In analyzing production fea- tures, paleographers frequently examine pen angle and the proportions and weight of letters in order to produce an objective description of a given script. Stylistic fea- tures are not susceptible to measurement and are often de- scribed subjectively in reference to the quality or beauty of a script.


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See Casamassima, Tradizione corsiva, A letter can be traced deliberately, with frequent lifting of the pen, or, conversely, currenti calamo, that is, in a cursive manner, without lifting the pen from the writing surface. The same twofold outcome is documented between succeeding letters, which can be isolated or, con- versely, linked by means of ligatures, either downward as after c, e, f, g, r, s, t or upward as after a, i, l, m, n, u.

Francesco Guicciardini: i Ricordi - Temi e pensieri

Atti del convegno Genova, 8—11 novembre Genova, , — Irene Ceccherini one or the other method almost exclusively. The result pro- vides a striking difference, as can be seen in two documents by the notary Bartholus Iacopi de Sexto see figs. It is very likely that those who had chosen to write in a deliberate manner wanted their documents to have not only a calligraphic appearance but also more dignity.

This might be the reason why this switch from formal to infor- mal execution is documented mostly in cases of notaries, as if the calligraphic care enriched the importance of their instrumenta. The mastery of writing in different sty- listic degrees is documented both in the thirteenth and in the fourteenth century. However, the frequency of rapidly executed scripts increased more and more from the end of the thirteenth century onward.

Bodies of letters, ascenders, and descenders Production and stylistic features are also affected by the space in which they are written and their function within that space. Two spaces are to be distinguished: Donato in Polverosa o a Torri benedettine , febbraio Michele badia, vallombrosani , agosto The variet- ies of the strokes within these two spaces differ in chrono- logical distribution. While those in interlinear space change over the course of time and therefore are significant from a diachronic perspective , the varieties of the strokes in the bodies of letters appear unchanged in the thirteenth and the fourteenth centuries.

This difference is important. Indeed, evidence suggests that these two spaces may be considered two separate layers of the writing process.

Ascenders and descenders I will begin by examining the strokes of letters in interlinear space, particularly the ascenders of b, d, h, and l, and the de- scenders of f, p, q, s, and r which in the thirteenth century was often below the baseline , as well as the lower part of g. The shapes of these strokes changed considerably over the course of time and it is possible to identify their transition from the thirteenth to the fourteenth centuries. Ascenders and descenders in the thirteenth century show close similarities not only in their proportions, but also in their shapes.

When scribes wrote with care, these similarities are stressed and exploited to the utmost, and they are clearly recognizable even in informal scripts. This aspect might be considered a sort of general assimilation and a common trend shared between both formal and in- formal scripts. This feature was extensively employed in the third quarter of the thirteenth century, remained fairly widespread in the s, and then started to decline when a younger generation of scribes succeeded see figs.