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donatello
illustrated is the David cast in bronze for cosimo de’ medici, mid-15c, by donatello [donato di niccolò di betto bardi]; now standing in the bargello.
text from john addington symonds’ Renaissance in Italy / the Fine Arts [henry holt & co, new york, 1888, p138]. set in monotype blado—for details of type & composition vide ‹is a rose a Rose?›.
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It’s Fine Press Friday!
This week we present Poem Upon the Lisbon Disaster, by Voltaire (François Marie Arouet), illustrated with original wood engravings by American printmaker, illustrator, and wood engraver Lynd Ward, and translated by the American poet Anthony Hecht from the Pléiade edition of 1961. It was designed by Michael McCurdy at the Penmæn Press and set by Michael Bixler in Monotype Blado for the French text and Poliphilus for the English. McCurdy hand-printed the book on Ragston paper with assistance from Evelyn Clarke, and the book was bound by Robert Burlen and Son in Lincoln, Massachusetts in 1977 in three separate versions, totaling 500 assorted copies.
intellectual club
stanley morison, Early Italian Writing-Books, david r. godine, boston, 1990, p33. set in monotype poliphilus—vide ‹poor poliphilo›. the fleuron is digital reissue of monotype’s recutting [english monotype 287] of «Granjon’s flower on Bourgeois», which was first seen in 1555 [15 in: hendrik d. l. vervliet, Granjon’s flowers, oak knoll press, new castle (del), 2016, p45].
is a rose a Rose?
opening line set in digital reissue of monotype poliphilus—vide ‹poor poliphilo›. body set in digital reissue of monotype blado; small-caps from poliphilus roman are fitted to the blado italic to attain period compositional style—renaissance typographers sought to recreate scribal custom; they adapted the scripts of humanist scribes. blado is the 1923 recutting [english monotype 119] of antonio blado’s larger italic adapted from the 2nd italic of ludovico degli arrighi da vincenza, & first shown in the Apologi IIII of petrus collenucius, printed by arrighi, rome, 1526 [stanley morison, A Tally of Types, cup, 1973, p53]. «It originated in Rome in 1526 but it was the Vita Sfortiae of Paolo Giovo printed by Antonio Blado in 1539 that served as the basis for the recutting in 1923.» [ibid., p60]. (2nd illustration.) separator is a line of monotype digital reissue of their recutting [uk monotype 280]—vide ‹granjon arabesque?›.
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