Renaissance Handwriting
Author | : Alfred J. Fairbank |
Publisher | : |
Total Pages | : 206 |
Release | : 1960 |
Genre | : Manuscripts, Renaissance |
ISBN | : |
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Author | : Alfred J. Fairbank |
Publisher | : |
Total Pages | : 206 |
Release | : 1960 |
Genre | : Manuscripts, Renaissance |
ISBN | : |
Author | : William Shakespeare |
Publisher | : |
Total Pages | : 188 |
Release | : 1885 |
Genre | : |
ISBN | : |
Author | : Samuel Aaron Tannenbaum |
Publisher | : |
Total Pages | : 232 |
Release | : 1967 |
Genre | : Alphabet |
ISBN | : |
"Designed to simplify the study of Elizabethan handwriting and printing, this notable volume will be welcomed in its new printing by many scholars and students now working in the field. Well received at its first publication in 1930 but unavailable for many years, The Handwriting of the Renaissance offers a comprehensive array of practical and historical information, including thousands of handwriting facsimiles"--
Author | : Jonathan Goldberg |
Publisher | : Stanford University Press |
Total Pages | : 372 |
Release | : 1991-11-01 |
Genre | : Literary Criticism |
ISBN | : 9780804719582 |
A Stanford University Press classic.
Author | : Steven W. May |
Publisher | : Oxford University Press |
Total Pages | : 289 |
Release | : 2023-08-14 |
Genre | : Literary Criticism |
ISBN | : 0198878001 |
English Renaissance Manuscript Culture: The Paper Revolution traces the development of a new type of scribal culture in England that emerged early in the fourteenth century. The main medieval writing surfaces of parchment and wax tablets were augmented by a writing medium that was both lasting and cheap enough to be expendable. Writing was transformed from a near monopoly of professional scribes employed by the upper class to a practice ordinary citizens could afford. Personal correspondence, business records, notebooks on all sorts of subjects, creative writing, and much more flourished at social levels where they had previously been excluded by the high cost of parchment. Steven W. May places literary manuscripts and in particular poetic anthologies in this larger scribal context, showing how its innovative features affected both authorship and readership. As this amateur scribal culture developed, the medieval professional culture expanded as well. Classes of documents formerly restricted to parchment often shifted over to paper, while entirely new classes of documents were added to the records of church and state as these institutions took advantage of relatively inexpensive paper. Paper stimulated original composition by making it possible to draft, revise, and rewrite works in this new, affordable medium. Amateur scribes were soon producing an enormous volume of manuscript works of all kinds--works they could afford to circulate in multiple copies. England's ever-increasing literate population developed an informal network that transmitted all kinds of texts from single sheets to book-length documents efficiently throughout the kingdom. The operation of restrictive coteries had little if any role in the mass circulation of manuscripts through this network. However, paper was cheap enough that manuscripts could also be readily disposed of (unlike expensive parchment). More than 90% of the output from this scribal tradition has been lost, a fact that tends to distort our understanding and interpretation of what has survived. May illustrates these conclusions with close analysis of representative manuscripts.
Author | : Marc Drogin |
Publisher | : Courier Corporation |
Total Pages | : 225 |
Release | : 1989-11-01 |
Genre | : Design |
ISBN | : 0486261425 |
Spirited history and comprehensive instruction manual covers 13 styles (ca. 4th–15th centuries). Excellent photographs; directions for duplicating medieval techniques with modern tools. "Vastly rewarding and illuminating." — American Artist.
Author | : Stanley Morison |
Publisher | : David R. Godine Publisher |
Total Pages | : 256 |
Release | : 1990 |
Genre | : Design |
ISBN | : |
Printed in letterpress, with 24 duotone offset illustrations, this book examines the calligraphy of the sixteenth century from Arrighi to Ugo da Carpi, from Tagliente to Celebrino da Udine. As always with Morison, it is full of surprises, for this was Morison s particular passion, and in the area of stylistic comparisons and close observation, Morison was an undisputed master. This is, then, not only the last major Morison text to be published, but also one of fundamental importance, covering the most important period (and the most beautiful examples) in the history of calligraphy.
Author | : Samuel Aaron Tannenbaum |
Publisher | : |
Total Pages | : 23 |
Release | : 1931 |
Genre | : Abbreviations |
ISBN | : |
Author | : Barbara Getty |
Publisher | : Continuing Education Press |
Total Pages | : 72 |
Release | : 1994 |
Genre | : Language Arts & Disciplines |
ISBN | : 9780876780947 |
Author | : Dina Rubina |
Publisher | : Glagoslav Publications |
Total Pages | : 481 |
Release | : 2019-11-14 |
Genre | : Fiction |
ISBN | : 1912894475 |
Leonardo’s Handwriting is a romantic morality tale, with an unconventional woman at its heart. Nature has given the heroine, Anna, the gift of clairvoyance, and it is this that determines her singular fate. The characteristic “left-handed mirror handwriting”, which in psychology came to be known as “Leonardo’s handwriting” (since that’s how the Renaissance genius wrote his notes), simply adds to the “weirdness” both of Anna’s personality and the twists and turns of the novel. Is the divine gift of prophecy a blessing or a curse? And how is it possible to withstand the burden of such an astonishing gift? This is also a novel about love: a strong, noble, tragic love, love, in short, that “is stretched to breaking point”. Here, as well as the classic love triangle, there is another character whose bizarre, platonic yearning for Anna resembles a call from the “mirror universe” that has entranced and attracted her since childhood. The reader must put together the pieces of this “mirror” puzzle of personalities and events in a storyline that falls into place and “comes into focus” like an image in a misted mirror—bit by bit. The events of the book become fully clear only in the very last paragraph.