By Stanley Boorman
The leading edge paintings in layout, typography, and content material of tune printer and writer Ottaviano Petrucci (1446-1539) grew to become the normal wherein all following printers measured themselves. He created the defining second whilst Italy took the lead in publication printing within the Renaissance.
This e-book is a bibliographic learn of the output of the Petrucci presses, laying emphasis at the expert occupation of Petrucci. It contains a specific research of approach and house-style, studying the industry forces that drove Petrucci's publishing judgements, and gives a close catalogue of variants and copies.
Stanley Boorman has made a learn of the output of Petrucci's presses for 25 years. This long-awaited contribution to the sector of bibliography may have an viewers either in tune and in infrequent booklet bibliography.
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Additional resources for Ottaviano Petrucci: A Catalogue Raisonne
Thus, if this law represents a codiﬁcation of practices of the preceding decades, it seems probable that any printer would have had to be in Venice ten years before setting up shop, and perhaps ten years before his application for a privilege. For Petrucci, this would point to 1491, or perhaps 1488. The eight-year modiﬁcation of the right to practice in trade as a citizen could also be seen as pointing to 1490, eight years before Petrucci’s application. 32 In practice, any foreigner could practice a trade or act as a merchant in Venice from the moment he arrived, although he could not be a master in a craft (indeed he might not be admitted to the craft guild or mystery), nor could he trade abroad.
52. 1). The bibliography at the end of the present study does not set out to be comprehensive of all writings on Petrucci, but its extent does give some idea of the number of scholars who have materially contributed to the advance of research. 53. Gallico, “Laboratorio”, pp. 190–93. 54. Sartori, Petrucci, p. 38. The number is expanded to 206 in Sartori, “Nuove”. 55. Even since this introduction was written, I have heard of, and incorporated, seven more copies. 56. See Mariani, Ottaviano; Gialdroni and Ziino, “New Light”; and Gialdroni and Ziino, “Ancora”.
It is even more unlikely that he could foretell the prospect for future volumes until after this one had gone on sale. And yet it seems likely that this volume was planned as the ﬁrst of a series, given the use of the letter A at the end of its title. However obscurely the title was constructed—in its mixture of Greek and Latin—the letter was large, dominating the page. Petrucci had had this letter cut, in a form and style that was not convenient for use anywhere other than on a title page,50 and had even had letters B and C cut in the same style.