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Bound in 17th c. vellum, likely a remboîtage (boards lightly soiled.) The text is in very good condition, on the whole rather fresh with mild cosmetic blemishes: the title and final two leaves lightly soiled and dusty, the blank verso of the last leaf more heavily. Occasional wear to the lower margin of some leaves. Early initials (F. O.) in ink on title with some shine through on the verso; two leaves with light ink smudges, blurred stamp on the third leaf. Scattered mild soiling and a few light stains, typical of these utilitarian manuals. Illustrated throughout with woodcut alphabets, writing samples, and rebuses. There is a full-page woodcut showing writing instruments (including ink.) Palatino s portrait is on the title verso. The Sessa cat device appears on the title page. With Palatino s full-page moth and flame device on the recto of the final leaf, with the motto from Petrarch: "et so ben ch io vo dietro a quel che m arde" (and I know too well that I go after what burns me.). Originally published in 1540 with the title,"Libro nuovo d imparare a scrivere" ("A new book for learning to write"), Palatino s writing manual became an immediate and popular success. Palatino presents examples of chancery, mercantile, and bastard hands, as well as regional and non-Italian styles (Spanish, German, French, Flemish, etc). There is an abundance of non-Roman alphabets and scripts, including Hebrew, Chaldean, Arabic, Greek, Egyptian, Syrian, and Cyrillic. The inclusion of cipher alphabets ("lettere cifrate") and a short tract entitled "Delle Cifre" ("On Cyphers") make the book notable for its contributions to the history of cryptography. Palatino also includes a playful rebus in verse and a page of "Lettera Mancina" (the mirror-writing made famous by Leonardo). The first edition was printed at Rome in August 1540 by Bernardo Giunta for the publisher Baldassare Cartolari. The second Cartolari edition (1543) and the third (1544) were printed anonymously for Baldassare s widow, Girolama. In 1545 Antonio Blado printed an expanded 1545 edition, which included 15 additional woodblocks and more exotic alphabets. In 1566 a new edition appeared, printed at Rome by the heirs of Valerio and Luigi Dorico, with a new preface by Palatino, who introduced numerous changes. It was the first to use the title "Compendio del gran volume de l'arte del bene et leggiadramente scrivere tutte le sorti di lettere et caratteri". This edition was copied and printed at Venice by Rampazetto for the publisher the publisher Alvise Sessa, who published a second edition in 1588. For these editions (1566, 1578, and 1588): "The content was transformed. All the illustrations of the chancery script were re-cut ex novo in the testeggiata style, that is, according to the reinterpretation of the chancery proposed by the Milanese Giovanni Francesco Cresci, a scribe for the Vatican Apostolic Library, in his Esemplare di più sorti lettere (Rome 1560). This new style was presented by Palatino as the Roman Chancery script in the form that is now current . Palatino kept Cresci's model in mind when crating the new images, but without adhering to it uncritically: the woodcuts are inspired by those of Cresci, but do not demonstrate a true application of that model of writing."(Pignatti, Dizionario Biografico degli Italiani, Vol. 80, 2014) The illustration of the instruments for writing: Palatino, following the example of the writing master Giovanni Antonio Tagliente (d. 1528), included a now famous and often reproduced full-page woodcut showing the tools for writing, and a chapter explaining how to make and use them. Palatino describes the making of ink, the proper construction, cutting, and tempering of the pen -including which feathers (goose) make the best quills for writing chancery script; the use of the compass, stylus, and mirror (to conserve one s eyesight), the making of varnish from powdered eggshells, and how to apply it (with a rabbit s foot), etc. For some reason. Codice articolo 5110
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