![]() ![]() The city had already become the centre of the European book trade: with its close connections to nearby universities, its trade networks, and its cosmopolitan community of scholars, including many Greeks exiled after the fall of Constantinople, it was the ideal place for what he wanted to achieve. He stated many times that his goal was to make available in print the classic texts of the ancient world which so excited Renaissance humanists.Īldus' printing career began in Venice in 1495. After a successful career studying and teaching in Italy, he turned to an entirely new occupation as a publisher at the age of 40. Aldus, however, was first and foremost a scholar. Of Aldus' predecessors in Venice, for instance, Nicholas Jenson was a metalworker, and Erhard Ratdolt came from a family of woodcarvers. Many of the early printers, like the goldsmith Johann Gutenberg, had a background in the crafts necessary for the technological aspects of printing. '… a professional who printed his own works or had some hand in the editorial content of the books that issued from his press, either as editor, commentator, or translator moreover, he was thoroughly trained in the classical languages and printed classical and Biblical texts from manuscripts that he himself edited, emended, or translated into Latin from Greek, occasionally writing commentaries on them finally, he is someone whose reputation in typography is as great today as is his renown in scholarship.' (Fletcher, 'New Aldine Studies', p.19) ![]() Poster by Agustina Fernandez (2013).Aldo Manuzio (Aldus, as he was usually known, from the Latin form of his name) was the first and most celebrated of the scholar-printers of the Renaissance, a role defined by H George Fletcher as follows: 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. 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. 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 ![]()
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