{"id":2160,"date":"2015-09-12T15:54:04","date_gmt":"2015-09-12T13:54:04","guid":{"rendered":"http:\/\/plumplumcreations.com\/?p=2160\/"},"modified":"2018-10-19T21:38:11","modified_gmt":"2018-10-19T19:38:11","slug":"la-storia-della-stampa-parte-2","status":"publish","type":"post","link":"https:\/\/plumplumcreations.com\/it\/2015\/09\/la-storia-della-stampa-parte-2\/","title":{"rendered":"La storia della stampa – parte 2"},"content":{"rendered":"

[vc_row][vc_column][vc_btn title=”Have you read the 1st part? If you haven’t read it, click here” color=”success” i_align=”right” i_icon_fontawesome=”fa fa-arrow-right” css_animation=”fadeIn” add_icon=”true” link=”url:https%3A%2F%2Fplumplumcreations.com%2Fit%2Fstoria-della-stampa-parte-1%2F|”][vc_column_text]In Venice, in the fifteenth century, the Republic of Venice is at its peak as territorial expansion, and it is a model and benchmark for the world because of its\u00a0opening to the religious philosophies, and it is a city ready to welcome all thoughts and trends guaranteeing press freedom.<\/p>\n

This is why\u00a0in that time\u00a0a large group of \u201cHumanist reformists\u201d comes to Venice, including Aldus Manutius<\/b><\/a> (in 1490), Marco Antonio Sabellico<\/a> (teacher of rhetoric and author of several works including prayers, writings about \u00a0topography and Venetian courts) and Francesco Colonna<\/a> (Dominican friar of the Venetian monastery of Saints John and Paul).<\/p>\n

The \u201cScuola dei stampatori e dei librai<\/b>\u201d (School of printers and booksellers<\/i>) met in the Dominican monastery of Saints John and Paul (the present hospital).<\/p>\n

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 <\/p>\n

On September 18th, 1469, the Senate recognizes that Johann of Speyer<\/a>\u00a0(German printer) have introduced and developed the art of printing in Venice, while the \u201cstatuto dei Librai e Stampatori\u201d (the statute of the Booksellers and Printers<\/i>) will be ratified only in 1567.<\/p>\n

In 1472 Filippo di Pietro is the first printer properly Venetian (active until 1482).<\/p>\n

In 1488 there are almost 200 printing houses in Venice.<\/p>\n

One of these is the printing house of Aldus Manutius<\/b>, not just a\u00a0typographer but a real publisher (the first in a\u00a0modern way), who prints 157 titles (even more than a thousand copies with the use of a hand press) between 1495 and 1501.<\/p>\n

The environment of his printing house becomes a real literary circle which includes the most outstanding humanists of Italy.<\/p>\n

The first studio of the printer is in Calle del Pistor, number 2343, near Campo Sant\u2019Agostin; then he moved onto San Peterniano, near what is now Campo Manin, in 1508.<\/p>\n

In 1499 Aldus Manutius publishes the \u2018Hypnerotomachia Poliphili\u2019<\/i>, a novel in prose accompanied by 172 xylographs and attributable to the Dominican Francesco Colonna<\/a>, who is one of the finest books of Italian Humanism.<\/p>\n

\"\"<\/p>\n

In 1502 he founded an academy, the \u201cNeacademia dei filelleni<\/i>\u201d or Aldina<\/i>, where it was required to speak in ancient greek; those who did not speak ancient greek had to pay a pecuniary fine.<\/p>\n

He wants to preserve the literature and the Greek philosophy to further oblivion, along with the great heritage of Latin literature, disseminating the masterpieces in printed editions.<\/p>\n

On November 14th, 1502, Aldus Manutius gets from the Senate the prestigious post of Official Printer of the Republic, thanks to his experience, talent and ability.\u00a0It is unanimously accepted that his trademark\u00a0(an anchor and a dolphin) refers to the motto \u201cFestina lente<\/i>\u201d\u00a0(more haste, less speed)\u00a0attributed by Suetonius to Octavian Augustus.<\/p>\n

Among the most significant contributions of Aldus Manutius to modern typography there is the final version of punctuation, the invention of\u00a0italics and the beginning of the paperback editions.\u00a0He was also the first to publish a catalog of his works and he has edited the first book with the pages numbered on both sides.<\/p>\n

At the end of the fifteenth century, many engravers in Germany, Holland and Italy reach highest quality results.<\/p>\n

The aquaforte etching (engraving on metal plate through the use of acids) was born as an autonomous technique in the early sixteenth century, although the chance to engrave\u00a0the metal with acids was known since the end of \u2018400.<\/p>\n

The famous German artist Albrecht D\u00fcrer<\/a>\u00a0(who begins as a wood designer for woodcuts) was one of the first to use the new aquaforte etching technique- a technique that has probably learned from the Venetian Luca Pacioli<\/a> (religious, mathematician and italian economist who attended the famous artists of the time ), during his trip to Italy.<\/p>\n

Parmigianino<\/a> (1508-1540) was the first artist to understand the possibilities of the aquaforte etching, using it as a fast means of expression, full of warmth and vitality.<\/p>\n

The spread of the\u00a0aquaforte\u00a0etching technique frees the artist from the mediation of the artisan, who used to copy his design on wood or on metal plate, mixing together\u00a0the figure of the artist and the engraver.<\/p>\n

Year after year the\u00a0techniques already existing are improved and new ones are invented, which provide the artists more and more expressive possibilities, as the technique of aquatint<\/b> (which allows to create veiled painting on the plate, unlike the etching which allows to create lines), perfected by the French artist Jean-Baptiste Le Prince<\/a> in 1768.<\/p>\n

Among the artists who have used this technique we must\u00a0remember \u00a0Francisco Goya<\/a>, who\u00a0shows the enormous pictorial possibilities of the technical means.<\/p>\n

In the Italy of \u2018700 should be mentioned artists such as Tiepolo<\/a>, Canaletto<\/a> and Piranesi<\/a>\u00a0for their high quality works standing apart from the myriad of artisans reproducing works by great masters or detailed views.<\/p>\n

In the eighteenth century engraving it became almost exclusively a means to reproduce artworks and portraits and it is brought to a form of industrialization, with the birth of companies that use numerous engravers.<\/p>\n

The increasingly refined techniques turn\u00a0the incision to a mechanistic way, without\u00a0the beginning vitality and autonomy.<\/p>\n

In the late nineteenth century, with the birth and the emergence of photography, the etching with utilitarian and reproductive purposes almost disappears.<\/p>\n

From the twentieth century, thanks to artists who come to this ancient discipline with creative spirit, the etching has regained the dignity and freedom of speech that was a characteristic of the beginning of its history.<\/p>\n

Sources:<\/p>\n

https:\/\/it.wikipedia.org\/wiki\/Stampa<\/a><\/p>\n

https:\/\/it.wikipedia.org\/wiki\/Johannes_Gutenberg<\/a><\/p>\n

https:\/\/it.wikipedia.org\/wiki\/Libro<\/a><\/p>\n

https:\/\/it.wikipedia.org\/wiki\/Carta#Europa
\n<\/a>\u201cTecniche dell\u2019incisione\u201d Prof. Feo Marco<\/p>\n

https:\/\/it.wikipedia.org\/wiki\/Calcografia
\n<\/a>https:\/\/it.wikipedia.org\/wiki\/Aldo_Manuzio
\n<\/a>https:\/\/it.wikipedia.org\/wiki\/Niello
\n<\/a>http:\/\/www.venicethefuture.com\/schede\/it\/323?aliusid=323
\n<\/a>https:\/\/it.wikipedia.org\/wiki\/Acquatinta<\/a><\/p>\n

\u201cXilografia, Calcografia, Litografia\u201d Bruno Starita<\/p>\n

https:\/\/it.wikipedia.org\/wiki\/Luca_Pacioli#Rapporti_con_gli_artisti_rinascimentali
\n<\/a>https:\/\/it.wikipedia.org\/wiki\/Marco_Antonio_Sabellico
\n<\/a>https:\/\/it.wikipedia.org\/wiki\/Francesco_Colonna_(scrittore)
\n<\/a>http:\/\/www.treccani.it\/enciclopedia\/filippo-di-pietro_(Dizionario_Biografico)\/
\n<\/a>http:\/\/www.etimo.it\/?term=grafia
\n<\/a>https:\/\/it.wikipedia.org\/wiki\/Hypnerotomachia_Poliphili
\n<\/a>http:\/\/www.treccani.it\/enciclopedia\/francesco-colonna_(Dizionario_Biografico)\/<\/a>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_btn title=”Have you read the 1st part? If you haven’t read it, click here” color=”success” i_align=”right” i_icon_fontawesome=”fa fa-arrow-right” css_animation=”fadeIn” add_icon=”true” link=”url:https%3A%2F%2Fplumplumcreations.com%2Fit%2Fstoria-della-stampa-parte-1%2F|”][vc_column_text]In Venice, in the fifteenth century, the Republic of Venice is at its peak as territorial expansion, and it is a model and benchmark for the world because of its\u00a0opening to the religious philosophies, and …<\/i> read more<\/a><\/p>\n","protected":false},"author":3,"featured_media":2158,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[178],"tags":[164,205,196,207],"class_list":["post-2160","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-stampa","tag-acquaforte","tag-hypnerotomachia-poliphili","tag-stampa","tag-storia-della-stampa"],"yoast_head":"\nLa storia della stampa - parte 2 - Plum Plum Creations<\/title>\n<meta name=\"description\" content=\"A Venezia, nel XV sec., la Repubblica della Serenissima \u00e8 al suo apice come espansione territoriale, ed \u00e8 un modello e punto di riferimento per il mondo\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/plumplumcreations.com\/it\/2015\/09\/la-storia-della-stampa-parte-2\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La storia della stampa - 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