Difference between revisions of "Aldine style"

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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.
{{#if: noun | ==noun== |  }}
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|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.
 
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<!--A style of bookbinding originated by Aldus Manutius but not restricted to the books printed by Aldus or his family. Aldine bindings, which were produced during the late 15th and early 16th centuries, were characterized by the use of brown or red morocco; by solid-faced ornaments with no shading (which were similar to those used in printing the text); and by title or author in simple panels in the center of the upper cover, which could be read while the book lay on a shelf or table. Early examples of the Aldine style were tooled in blind with an outer frame and a center ornament. Possibly because of the Greek binders Aldus employed, as well as the fact that gold tooling (probably) originated in the Near East, Aldine tools display definite signs of Eastern origin. Early Italian bindings convey a consistent feeling of the shape and proportion of the book, which is demonstrated by: 1) the use of border and panel as schemes of design; 2) a remarkable sense of the value accorded ornamentation; 3) the areas of leather left undecorated; and 4) restraint in the decorative detail with the result that it was always in proper subordination to the overall effect of the embellishment. See PLATE IV .-->
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|language=en
===Synonyms===
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|NoteOrQuote=Aldine bindings, which were produced during the late 15th and early 16th centuries, were characterized by the use of brown or red morocco; by solid-faced ornaments with no shading (which were similar to those used in printing the text); and by title or author in simple panels in the center of the upper cover, which could be read while the book lay on a shelf or table.
{{#if:  | [[]] |  }}
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|source=https://cool.culturalheritage.org/don/dt/dt0075.html
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|relation=HistoryNote
===Related terms===
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{{#if:  Aldine leaves | [[Aldine leaves]] | }}
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{{Term}}
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{{SchemeInfo
==Translations for "Aldine style"==
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|InScheme=Etherington
{{#if: Aldine style | * English: [[Aldine style]] | * English: (translation needed)}}{{#if:  | , [[]] | }}
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|Equivalent URI=https://cool.culturalheritage.org/don/dt/dt0075.html
 
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* Danish: (translation needed)}{{#if:  | , [[]] | }}
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{{Concept translation
 
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|language=en
* Dutch: (translation needed){{#if:  | , [[]] | }}
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|label=Aldine style
 
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|status=preferred
{{#if:  | * French: [[]] | * French: (translation needed)}}{{#if:  | , [[]] | }}{{#if:  | , [[]] | }}{{#if:  | , [[]] | }}
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|definition=A style of bookbinding originated by Aldus Manutius but not restricted to the books printed by Aldus or his family.
 
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|source=Etherington
* German: (translation needed){{#if:  | , [[]] | }}{{#if:  | , [[]] | }}{{#if:  | , [[]] | }}
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}}
 
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{{Concept translation
{{#if:  | * Italian: [[]] | * Italian: (translation needed)}}{{#if:  | , [[]] | }}{{#if:  | , [[]] | }}
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|language=de
 
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|label=nach Art der Aldinen
{{#if:  | * Latin: [[]] | * Latin: (translation needed)}}
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}}
 
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{{Concept translation
{{#if: estilo Aldino | * Spanish: [[estilo Aldino]] | * Spanish: (translation needed)}}{{#if:  | , [[]] | }}{{#if:  | , [[]] | }}{{#if:  | , [[]] | }}{{#if:  | , [[]] | }}
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|language=it
 
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|label=stile Aldino
{{#if:  | * Swedish: [[]] | * Swedish: (translation needed)}}{{#if:  | , [[]] | }}{{#if:  | , [[]] | }}
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}}
 
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{{Concept translation
[[Category: English]]
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|language=es
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|label=estilo Aldino
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}}
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{{Concept translation
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|language=en
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|label=Italian style
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|status=alternate
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|source=Etherington
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}}

Latest revision as of 17:04, 13 July 2022

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.

—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.

Aldine bindings, which were produced during the late 15th and early 16th centuries, were characterized by the use of brown or red morocco; by solid-faced ornaments with no shading (which were similar to those used in printing the text); and by title or author in simple panels in the center of the upper cover, which could be read while the book lay on a shelf or table.

https://cool.culturalheritage.org/don/dt/dt0075.html

Intro

Definition: en:A style of bookbinding originated by Aldus Manutius but not restricted to the books printed by Aldus or his family.

Related terms

Language code"Language code" is a predefined property that represents a BCP47 formatted language code and is provided by Semantic MediaWiki.Translated termSourceCitation textThis property is a special property in this wiki.StatusSkos:scopeNote
denach Art der AldinenCitation needed!
enAldine style1EtheringtonRoberts, Don., et al. Bookbinding and the Conservation of Books : a Dictionary of Descriptive Terminology. Library of Congress : For Sale by the Supt. of Docs., U.S. G.P.O., 1982.preferredA style of bookbinding originated by Aldus Manutius but not restricted to the books printed by Aldus or his family.
enItalian style1EtheringtonRoberts, Don., et al. Bookbinding and the Conservation of Books : a Dictionary of Descriptive Terminology. Library of Congress : For Sale by the Supt. of Docs., U.S. G.P.O., 1982.alternate
esestilo AldinoCitation needed!
itstile AldinoCitation needed!

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