Pietro bembo de aetna serial#
Pietro bembo de aetna series#
Pietro bembo de aetna mac#

Far more important in the present study is his eye for creative elaboration, or for transforming his literal experience on the mountain into a meditation on his coming-of-age at a remove from the conventional career-path expected of one of his station within the Venetian patriciate. But De Aetna offers much more than a one-dimensional account of the facts, sights and findings of Pietro's climb. This work is cast in the form of a dialogue that takes place between the young Bembo and his father Bernardo (himself a prominent Venetian statesman with strong humanist involvements) after Pietro's return to Venice from Sicily in 1494. The more particular focus of this study is on the imaginative capacities that crucially shape Bembo's elegantly crafted account, in Latin, of his Etna adventure in his so-called De Aetna, published at the Aldine press in Venice in 1496.

This book is centered on the Venetian humanist Pietro Bembo (1470-1547), on his two-year stay in Sicily in 1492-4 to study the ancient Greek language under one of its most distinguished contemporary teachers, the Byzantine émigré Constantine Lascaris, and above all on his ascent of Mount Etna in 1493. Oxford Research Encyclopedias: Global Public Health.

Pietro bembo de aetna series#

The European Society of Cardiology Series.

Oxford Commentaries on International Law.

English Monotype also made Bembo Bold and Bembo Bold Italic. Morison attributed its success to the fact that 'it was inspired not by writing but by engraving not script but sculpture.' The italic is adapted from a 1524 typeface of Giovanni Taglienti, and has a natural grace of its own. This typeface is probably the most popular and successful of the numerous typefaces revived by Morison as typographic adviser to the English company. Punches were cut by Francesco Griffo of Bologna, the designer responsible four years later for the first italic types. It derives from the first roman type used by Aldus Manutius in the dialogue De Aetna, by Pietro Bembo, printed in Venice in 1495.

Pietro bembo de aetna mac#

Mac McGrew writes: Bembo was cut in 1929 by the English Monotype corporation under the direction of Stanley Morison, and shortly thereafter by Lanston Monotype in America.

Pietro bembo de aetna serial#

Other digital typefaces include fbb (2014, a free font by Michael Sharpe on the CTAN site), Bemtus (URW), Bamberg Serial (SoftMaker) and Bergamo (SoftMaker). Bitstream's Aldine 401 is a Bembo look-alike. Bembo Book was released by Monotype in 2005. You can find gifs in this link of the following: Bembo, hand-composition foundry type (Germany, 1963), Monotype hot-metal composition Bembo (England, 1973), Monotype composition Bembo (Germany, year unknown), Berthold photocomposition Bembo with long ascenders (Germany, 1985), Bembo-Antiqua Series 270 Monotype in all type sizes from 4 pt to 72 pt (Germany, 1966).įor digital versions, see Monotype Bembo. We offer here a few type specimens of former recuts of the Bembo which was used for the first time in the Latin book 'De Aetna' written by 'Petrus Bembus' (= Pietro Bembo). Ulrich Stiehl says: Bembo recuts sold today by Monotype, Adobe, and Linotype, have short ascenders (b, d, f, k, l) so that the spirit of freedom expressed by this Renaissance typeface gets lost. Stanley Morison made a metal version at Monotype in 1929.

The cursive is attributed to Giovanantonio Tagliente (1524). The original is by Venetian Francesco Griffo (1495), created for use in printing De Aetna by Cardinal Pietro Bembo. Historical typeface, loosely related to Garamond but with sharper serifs. TYPE DESIGN INFORMATION PAGE last updated on