Aldine style - Revision history

Adminsuzy at 21:04, 13 July 2022

2022-07-13T21:04:23Z

Adminsuzy at 21:01, 13 July 2022

2022-07-13T21:01:11Z

Adminsuzy at 21:00, 13 July 2022

2022-07-13T21:00:30Z

Adminsuzy at 00:46, 14 December 2020

2020-12-14T00:46:36Z

Adminsuzy at 00:45, 14 December 2020

2020-12-14T00:45:36Z

Adminsuzy at 23:34, 13 December 2020

2020-12-13T23:34:17Z

Adminsuzy at 20:38, 13 December 2020

2020-12-13T20:38:38Z

Adminsuzy at 17:59, 13 December 2020

2020-12-13T17:59:32Z

Adminsuzy at 03:58, 11 October 2020

2020-10-11T03:58:11Z

Adminsuzy at 19:21, 10 October 2020

2020-10-10T19:21:44Z

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 |InScheme=Etherington
 |Equivalent URI=https://cool.culturalheritage.org/don/dt/dt0075.html
 }}
 {{Concept translation

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 |NoteOrQuote=The ornaments used by Aldus and other early Italian printers were of solid face, Arabic in shape, without any shading whatever. They undoubtedly preferred this solid ornament because it gave strong color and richness to the page, and for this reason it has retained favor with printers even to our time. The binder's Aldine ornaments are copies in shape and design from the early printers, and have the same especial feature of solid face ; hence, when worked brightly in gold on leather, no style of ornament he uses presents a stronger or richer effect. The ornaments were generally used by the early printers independent of gouges or curved lines, by a repetition of the same ornament forming very effective borders and bands. In the binder's published examples of this style the composition of the design is generally a diamond and square, with semicircles in double outline intersected and the ornaments displayed in the corners and centers, but less formal designs have been made in flowing scrolls with the same style of ornament. This style of design is most appropriate for early printed books, and the binder will err in giving its true character if he mixes any shaded ornament with it.
 |source=Matthews, William. Modern Bookbinding Practically Considered: A Lecture Read Before the Grolier Club of New York, March 25, 1885, with Additions and New Illustrations. New York: Grolier Club, 1889. Internet resource.
 }}
 {{Context
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 {{Concept relation
-|label=Styles
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 |label=Styles and terms of Italian origin
 }}

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+{{Context
 {{SchemeInfo
 |InScheme=Etherington
 |Equivalent URI=https://cool.culturalheritage.org/don/dt/dt0075.html
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 |label=Styles
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 |relation=skos:Collection
 |label=Styles and terms of Italian origin
 }}
 {{Concept translation

← Older revision		Revision as of 00:46, 14 December 2020
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−	''"The ornaments used by Aldus and other early Italian printers were of solid face, Arabic in shape, without any shading whatever. They undoubtedly preferred this solid ornament because it gave strong color and richness to the page, and for this reason it has retained favor with printers even to our time. The binder's Aldine ornaments are copies in shape and design from the early printers, and have the same especial feature of solid face ; hence, when worked brightly in gold on leather, no style of ornament he uses presents a stronger or richer effect. The ornaments were generally used by the early printers independent of gouges or curved lines, by a repetition of the same ornament forming very effective borders and bands. In the binder's published examples of this style the composition of the design is generally a diamond and square, with semicircles in double outline intersected and the ornaments displayed in the corners and centers, but less formal designs have been made in flowing scrolls with the same style of ornament. This style of design is most appropriate for early printed books, and the binder will err in giving its true character if he mixes any shaded ornament with it."'' [[Citation reference::Modern bookbinding practically considered]] {{#scite: Modern bookbinding practically considered\|citation text=Matthews, William. Modern Bookbinding Practically Considered: A Lecture Read Before the Grolier Club of New York, March 25, 1885, with Additions and New Illustrations. New York: Grolier Club, 1889. Internet resource.}}

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-{{Term}}
 {{SchemeInfo
 |InScheme=Etherington
 |Equivalent URI=https://cool.culturalheritage.org/don/dt/dt0075.html
 }}
 {{Context
 |language=en
 |NoteOrQuote=The ornaments used by Aldus and other early Italian printers were of solid face, Arabic in shape, without any shading whatever. They undoubtedly preferred this solid ornament because it gave strong color and richness to the page, and for this reason it has retained favor with printers even to our time. The binder's Aldine ornaments are copies in shape and design from the early printers, and have the same especial feature of solid face ; hence, when worked brightly in gold on leather, no style of ornament he uses presents a stronger or richer effect. The ornaments were generally used by the early printers independent of gouges or curved lines, by a repetition of the same ornament forming very effective borders and bands. In the binder's published examples of this style the composition of the design is generally a diamond and square, with semicircles in double outline intersected and the ornaments displayed in the corners and centers, but less formal designs have been made in flowing scrolls with the same style of ornament. This style of design is most appropriate for early printed books, and the binder will err in giving its true character if he mixes any shaded ornament with it.
 |source=Matthews, William. Modern Bookbinding Practically Considered: A Lecture Read Before the Grolier Club of New York, March 25, 1885, with Additions and New Illustrations. New York: Grolier Club, 1889. Internet resource.
-}}
+}}{{Term}}
 {{Concept relation
 |label=Styles

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 |Part of speech=noun
 }}
-''"The ornaments used by Aldus and other early Italian printers were of solid face, Arabic in shape, without any shading whatever. They undoubtedly preferred this solid ornament because it gave strong color and richness to the page, and for this reason it has retained favor with printers even to our time. The binder's Aldine ornaments are copies in shape and design from the early printers, and have the same especial feature of solid face ; hence, when worked brightly in gold on leather, no style of ornament he uses presents a stronger or richer effect. The ornaments were generally used by the early printers independent of gouges or curved lines, by a repetition of the same ornament forming very effective borders and bands. In the binder's published examples of this style the composition of the design is generally a diamond and square, with semicircles in double outline intersected and the ornaments displayed in the corners and centers, but less formal designs have been made in flowing scrolls with the same style of ornament. This style of design is most appropriate for early printed books, and the binder will err in giving its true character if he mixes any shaded ornament with it."'' {{#scite: Modern bookbinding practically considered|citation text=Matthews, William. Modern Bookbinding Practically Considered: A Lecture Read Before the Grolier Club of New York, March 25, 1885, with Additions and New Illustrations. New York: Grolier Club, 1889. Internet resource.}}
+''"The ornaments used by Aldus and other early Italian printers were of solid face, Arabic in shape, without any shading whatever. They undoubtedly preferred this solid ornament because it gave strong color and richness to the page, and for this reason it has retained favor with printers even to our time. The binder's Aldine ornaments are copies in shape and design from the early printers, and have the same especial feature of solid face ; hence, when worked brightly in gold on leather, no style of ornament he uses presents a stronger or richer effect. The ornaments were generally used by the early printers independent of gouges or curved lines, by a repetition of the same ornament forming very effective borders and bands. In the binder's published examples of this style the composition of the design is generally a diamond and square, with semicircles in double outline intersected and the ornaments displayed in the corners and centers, but less formal designs have been made in flowing scrolls with the same style of ornament. This style of design is most appropriate for early printed books, and the binder will err in giving its true character if he mixes any shaded ornament with it."'' [[Citation reference::Modern bookbinding practically considered]] {{#scite: Modern bookbinding practically considered|citation text=Matthews, William. Modern Bookbinding Practically Considered: A Lecture Read Before the Grolier Club of New York, March 25, 1885, with Additions and New Illustrations. New York: Grolier Club, 1889. Internet resource.}}
 {{Concept translation|language=en|label=Aldine style|status=preferred}}
 {{Concept translation|language=de|label=nach Art der Aldinen}}

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 }}
 ''"The ornaments used by Aldus and other early Italian printers were of solid face, Arabic in shape, without any shading whatever. They undoubtedly preferred this solid ornament because it gave strong color and richness to the page, and for this reason it has retained favor with printers even to our time. The binder's Aldine ornaments are copies in shape and design from the early printers, and have the same especial feature of solid face ; hence, when worked brightly in gold on leather, no style of ornament he uses presents a stronger or richer effect. The ornaments were generally used by the early printers independent of gouges or curved lines, by a repetition of the same ornament forming very effective borders and bands. In the binder's published examples of this style the composition of the design is generally a diamond and square, with semicircles in double outline intersected and the ornaments displayed in the corners and centers, but less formal designs have been made in flowing scrolls with the same style of ornament. This style of design is most appropriate for early printed books, and the binder will err in giving its true character if he mixes any shaded ornament with it."'' {{#scite: Modern bookbinding practically considered|citation text=Matthews, William. Modern Bookbinding Practically Considered: A Lecture Read Before the Grolier Club of New York, March 25, 1885, with Additions and New Illustrations. New York: Grolier Club, 1889. Internet resource.}}
 {{Concept translation|language=de|label=nach Art der Aldinen}}
 {{Concept translation|language=it|label=stile Aldino}}
 {{Concept translation|language=es|label=estilo Aldino}}