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The Palaeotypography of the French Renaissance (2 vols.): Selected Papers on Sixteenth-Century Typefaces de Hendrik Vervliet

The Palaeotypography of the French Renaissance (2 vols.): Selected Papers on Sixteenth-Century Typefaces: Library of the Written Word / Library of the Written Word - The Handpress World, cartea 6

Autor Hendrik Vervliet
en Limba Engleză Hardback – 26 noi 2008
This collection of thirteen essays examines sixteenth-century type design in France. Typefaces developed during this period were to influence decisively the typography of the centuries which followed, and they continue to influence a great many contemporary typefaces. The papers' common goal is to establish the paternity of the typefaces described and critically to appraise their attributions, many of which have previously been inadequately ascribed. Such an approach will be of interest to type historians and type designers seeking better-documented attributions, and to historians, philologists, and bibliographers, whose study of historical imprints will benefit from more accurate type descriptions. The papers and illustrations focus on the most important letter-cutters of the French Renaissance, including Simon de Colines, Robert Estienne, Claude Garamont, Robert Granjon, Pierre Haultin, and also include a number of minor masters of the period.
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Specificații

ISBN-13: 9789004169821
ISBN-10: 9004169822
Pagini: 284
Dimensiuni: 210 x 297 x 41 mm
Greutate: 2.68 kg
Editura: Brill
Colecția Brill
Seria Library of the Written Word / Library of the Written Word - The Handpress World

Cuprins

VOLUME I

Preface

Introduction
Abbreviations and Conventional Signs
Old English and French Names for Body Sizes

Early Sixteenth-Century Parisian Roman Types
Conspectus of Types
Table 1: Roman Types by Body Size

Simon de Colines, Punchcutter; 1518–1546
Conspectus of Types
Table 1: Colines’s Types by Letter Family and Size

The Printing Types of the Young Robert I Estienne; 1526–1530

Robert Estienne’s Printing Types
Conspectus of Types
Table 1: Estienne’s Types by Family and Body Size
Table 2: Estienne’s Types by Year of First Occurrence

Garamont’s Canons: Roman Type Design in Sixteenth-Century France

The Young Garamont: Roman Types Made in Paris in the 1530s
Conspectus of Types
Table 1: Types in Order of First Occurrence
Table 2: Types Classified by Punchcutter

Roman Types by Robert Granjon
Conspectus of Types
Table 1: Granjon’s Romans by Date
Table 2: Granjon’s Romans by Body Size

Printing Types of Pierre Haultin; c. 1510–1587
Conspectus of Types
Table 1: Haultin’s Typefaces in Order of Date and Place of First Appearance


VOLUME II

Early Paris Italics; 1512–1549
Conspectus of Types
Table 1: Types by Body Size

The Italics of Robert Granjon
Conspectus of Types
Table 1: Granjon’s Italics by Style
Table 2: Granjon’s Italics by Body Size

Greek Typefaces of the Early French Renaissance: The Predecessors of the Grecs du Roy
Conspectus of Types

Greek Printing Types of the French Renaissance: The ‘Grecs du Roy’ and Their Successors
Conspectus of Types
Table 1: Greek Types by Body Size
Table 2: Greek Types by Date of First Appearance

Cyrillic & Oriental Typography in Rome at the End of the Sixteenth Century: An Inquiry into the Later Work of Robert Granjon; 1578–1590
Conspectus of Types
Table 1: Types in Order of First Occurrence

List of Typefaces Cited or Discussed
References
Index

Notă biografică

Hendrik D.L. Vervliet, Litt.D. (1955), University of Leuven, was formerly Librarian at the University of Antwerp and Professor of Book History at the University of Amsterdam. He has published a number of works on humanism, bibliography and book history.

Recenzii

"There is no other comparable corpus of material on the subject."
Stephen Rawles, University of Glasgow
H-France Review, vol. 9 (July 2009), No. 98.

"Vervliet's Palaeotypography of the French Renaissance provides an extraordinary wealth of information for students of the history of printing types, bibliographers attempting to date, localize or identify the printers of books or ephemera, designers seeking historical models for inspiration, typophiles taking pleasure in the beauty and functional quality of letterforms, and economic and cultural historians trying to understand the manufacture and distribution of printing types, so intimately bound to the intellectual, political, religious and economic development of the western world. It [...] demands the revision of every general history of printing types that has ever been written.
John A. Lane. In: De Gulden Passer, No. 87, Issue 2 (2009).