Gabriele Simeoni
“La vita et metamorfoseo d’Ovidio” figurato & abbreviato in forma d’epigrammi. Lione: Giovanni di Tornes, 1559. 8.vo
Marca tipografica al frontespizio, in ciascuna carta delle Metamorfosi, il testo, stampato in carattere corsivo, è incorniciato da un’ampia bordura costituita da grottesche, figure mitologiche, motivi fitomorfi e illustrato con vignette al dorso. I magnifici legni sono di BERNARD SALOMON (c.ca 1506-1561).
Typographic mark in the title. In each paper of Metamorphoses, the text, printed in italics, is framed by a wide border containing grotesque mythological figures, plant motifs and illustrated with woodcut vignettes.
petit in – 8°. Brunet, IV, 287245 pp. ch. et 29 ff. n. ch. caractères italiques. Premier tirage de l’édition italienne donnée par Jean de Tournes.Les belles fig. des Métamorphoses, chefs-d’oeuvre du petit Bernard, sont au nombre de 188, chacune de 42 x 53 mm., accompagn. de 2 quatrains, dans des grotesques encadrements de style parfois érotique.
PRINTED MATTERS
In 1455, a new era begins for that slice of humanity that uses the roman characters for writing. In that year Johan Gutenberg published in Mainz, using the technique of printing with movable letters in metal types alloy, a Bible in 42 lines per page, and printed 180 copies after three years of work: the first modern book for Europe.
In China, this technology had already been developed by Bi Sheng in 1041, during the Song Dynasty. This section of Barnum is dedicated to books printed with Gutenberg’s technique, replaced only more than four centuries later by linotype and offset.