Misplaced Pages

#420579

30-496: The library was opened to the public on September 18, 1752. It was willed by Abbot Francesco Marucelli , (died in Rome, 1703), as a library of general knowledge open to a wide audience, as indicated by the inscription on the facade: "Marucellorum Bibliotheca publicae maxime pauperum utilitati". The core of the collection derives from the library of Abbot Francesco. Funded by the income of various abbeys, Francesco lived in Rome, where he

60-431: A million volumes, including 490 incunabula and 7,995 cinquecentine, 2,927 manuscripts , and 69,345 personal letters and papers of interest. It contains nearly 53,000 etchings, and 3,200 drawings from the 16th-19th centuries, and 9,000 librettos of melodrammas, and numerous series of journals and newspapers. Among its treasures are the papers of the anatomist Francesco Redi , the naturalist Giacinto Cestoni , and some of

90-679: A single volume of a multi-volume work as a separate item, as well as fragments or copies lacking more than half the total leaves. A complete incunable may consist of a slip, or up to ten volumes. In terms of format , the 30,000-odd editions comprise: 2,000 broadsides , 9,000 folios , 15,000 quartos , 3,000 octavos , 18 12mos, 230 16mos, 20 32mos, and 3 64mos. ISTC at present cites 528 extant copies of books printed by Caxton , which together with 128 fragments makes 656 in total, though many are broadsides or very imperfect (incomplete). Apart from migration to mainly North American and Japanese universities, there has been little movement of incunabula in

120-487: Is Schedel's Nuremberg Chronicle ("Liber Chronicarum") of 1493, with about 1,250 surviving copies (which is also the most heavily illustrated). Many incunabula are unique, but on average about 18 copies survive of each. This makes the Gutenberg Bible , at 48 or 49 known copies, a relatively common (though extremely valuable) edition. Counting extant incunabula is complicated by the fact that most libraries consider

150-536: Is much higher, estimated at 125,000 in Germany alone. Through statistical analysis, it is estimated that the number of lost editions is at least 20,000. Around 550,000 copies of around 27,500 different works have been preserved worldwide. Incunable is the anglicised form of incunabulum , reconstructed singular of Latin incunabula , which meant " swaddling clothes", or " cradle ", which could metaphorically refer to "the earliest stages or first traces in

180-442: Is now used to refer to books printed after 1500 up to 1520 or 1540, without general agreement. From around this period the dating of any edition becomes easier, as the practice of printing the place and year of publication using a colophon or on the title page became more widespread. There are two types of printed incunabula: the block book , printed from a single carved or sculpted wooden block for each page (the same process as

210-506: The Hypnerotomachia Poliphili printed by Aldus Manutius with important illustrations by an unknown artist. Other printers of incunabula were Günther Zainer of Augsburg , Johannes Mentelin and Heinrich Eggestein of Strasbourg , Heinrich Gran of Haguenau , Johann Amerbach of Basel , William Caxton of Bruges and London, and Nicolas Jenson of Venice . The first incunable to have woodcut illustrations

240-620: The UK , the term generally covers 1501–1520, and for books printed in mainland Europe , 1501–1540. The data in this section were derived from the Incunabula Short-Title Catalogue (ISTC). The number of printing towns and cities stands at 282. These are situated in some 18 countries in terms of present-day boundaries. In descending order of the number of editions printed in each, these are: Italy, Germany, France, Netherlands, Switzerland, Spain, Belgium, England, Austria,

270-1009: The woodcut in art, called xylographic ); and the typographic book , made by individual cast-metal movable type pieces on a printing press . Many authors reserve the term "incunabula" for the latter. The spread of printing to cities both in the North and in Italy ensured that there was great variety in the texts and the styles which appeared. Many early typefaces were modelled on local writing or derived from various European Gothic scripts, but there were also some derived from documentary scripts like Caxton 's, and, particularly in Italy, types modelled on handwritten scripts and calligraphy used by humanists . Printers congregated in urban centres where there were scholars , ecclesiastics , lawyers , and nobles and professionals who formed their major customer base. Standard works in Latin inherited from

300-512: The 17th century. Michel Maittaire (1667–1747) and Georg Wolfgang Panzer (1729–1805) arranged printed material chronologically in annals format, and in the first half of the 19th century, Ludwig Hain published the Repertorium bibliographicum —a checklist of incunabula arranged alphabetically by author: "Hain numbers" are still a reference point. Hain was expanded in subsequent editions, by Walter A. Copinger and Dietrich Reichling , but it

330-891: The Czech Republic, Portugal, Poland, Sweden, Denmark, Turkey, Croatia, Serbia, Montenegro, and Hungary (see diagram). The following table shows the 20 main 15th century printing locations; as with all data in this section, exact figures are given, but should be treated as close estimates (the total editions recorded in ISTC at August 2016 is 30,518): The 18 languages that incunabula are printed in, in descending order, are: Latin, German , Italian , French , Dutch , Spanish , English, Hebrew , Catalan , Czech , Greek , Church Slavonic , Portuguese , Swedish , Breton , Danish , Frisian and Sardinian (see diagram). Only about one edition in ten (i.e. just over 3,000) has any illustrations, woodcuts or metalcuts . The "commonest" incunable

SECTION 10

#1732779684421

360-554: The Martelli and Bonamici families and the correspondence of Nencioni, as well as many other documents and manuscripts. The 19th century suppressions of convents also enlarged their collections, including most of their sixteenth-century incunabula . The late nineteenth-century English novelist George Gissing used the library on a number of occasions in early January 1889. In 1910, a law demanded that nearly all printed public works from Florence and nearby provinces also be deposited in

390-468: The Marucelli family. He purchased the manuscript collection of Anton Francesco Gori , and obtained the library of the naturalist Antonio Cocchi and a portion of the library of the antiquarian Filippo Stosch . The second librarian, Francesco Del Furia (1777-1856), held the post for the next fifty years. In the second half of the nineteenth century and the first of the next century by collections from

420-621: The Marucelliana. The edifice was built to house the library. A public contest to create the design had two main submissions, one by the Roman architect Alessandro Dori , and by the Florentine architect Giovanni Filippo Ciocchi . Dori had chosen Via Cavour as a main entrance, while Ciocchi chose a side street. A committee, which had access to the compelling wooden model, ultimately chose the less costly Dori model. Construction (1747–1751)

450-542: The Reading Room, as well as that of the access staircase. The main reading room has a bust of Francesco Marucelli (1749) by Pietro Bracci and a plaster portrait of Giacomo Leopardi (1885) by Adriano Cecioni . A portrait of Francesco Marucelli has been attributed to Davide Canoniche . At the base of the grand staircase there is a marble statue of Minerva , donated to the library by Giovanni Filippo Marucelli, bailiff of Malta. The library presently contains over

480-456: The details below. Request from 172.68.168.237 via cp1104 cp1104, Varnish XID 207564699 Upstream caches: cp1104 int Error: 429, Too Many Requests at Thu, 28 Nov 2024 07:41:24 GMT Incunabula An incunable or incunabulum ( pl. : incunables or incunabula , respectively) is a book, pamphlet, or broadside that was printed in the earliest stages of printing in Europe, up to

510-472: The development". A former term for incunable is fifteener , meaning "fifteenth-century edition". The term incunabula was first used in the context of printing by the Dutch physician and humanist Hadrianus Junius (Adriaen de Jonghe, 1511–1575), in a passage in his work Batavia (written in 1569; published posthumously in 1588). He referred to a period " inter prima artis [typographicae] incunabula " ("in

540-476: The first infancy of the typographic art"). The term has sometimes been incorrectly attributed to Bernhard von Mallinckrodt (1591–1664), in his Latin pamphlet De ortu ac progressu artis typographicae ("On the rise and progress of the typographic art"; 1640), but he was quoting Junius. The term incunabula came to denote printed books themselves in the late 17th century. It is not found in English before

570-526: The last five centuries. None were printed in the Southern Hemisphere , and the latter appears to possess less than 2,000 copies, about 97.75% remain north of the equator. However, many incunabula are sold at auction or through the rare book trade every year. The British Library 's Incunabula Short Title Catalogue now records over 29,000 titles, of which around 27,400 are incunabula editions (not all unique works). Studies of incunabula began in

600-495: The letters of Antonio Vallisneri . The collection includes the "Luigi Beuf" Italian Cryptogamic Herbarium, with nearly 3000 independent samples of dried cryptogams . 43°46′39″N 11°15′27″E  /  43.7775°N 11.2575°E  / 43.7775; 11.2575 Francesco Marucelli Too Many Requests If you report this error to the Wikimedia System Administrators, please include

630-591: The medieval tradition formed the bulk of the earliest printed works, but as books became cheaper, vernacular works (or translations into vernaculars of standard works) began to appear. Famous incunabula include two from Mainz , the Gutenberg Bible of 1455 and the Peregrinatio in terram sanctam of 1486, printed and illustrated by Erhard Reuwich ; the Nuremberg Chronicle written by Hartmann Schedel and printed by Anton Koberger in 1493; and

SECTION 20

#1732779684421

660-414: The mid-19th century. Junius set an end-date of 1500 to his era of incunabula , which remains the convention in modern bibliographical scholarship. This convenient but arbitrary end-date for identifying a printed book as an incunable does not reflect changes in the printing process, and many books printed for some years after 1500 are visually indistinguishable from incunables. The term " post-incunable "

690-439: The printed book evolved fully as a mature artefact with a standard format. After about 1540 books tended to conform to a template that included the author, title-page, date, seller, and place of printing. This makes it much easier to identify any particular edition. As noted above, the end date for identifying a printed book as an incunable is convenient but was chosen arbitrarily; it does not reflect any notable developments in

720-401: The printing process around the year 1500. Books printed for a number of years after 1500 continued to look much like incunables, with the notable exception of the small format books printed in italic type introduced by Aldus Manutius in 1501. The term post-incunable is sometimes used to refer to books printed "after 1500—how long after, the experts have not yet agreed." For books printed in

750-400: The site for the library on Via Condotti. He also donated his own books and appointed Angelo Maria Bandini as first librarian, a post he held for the fifty years. Alessandro died before the construction was complete. The original collection numbered about 6000 manuscripts, in all disciplines. Bandini established the first alphabetic catalogues of the works, by author and by title. Mare Magnum

780-485: The year 1500. Incunabula were produced before the printing press became widespread on the continent and are distinct from manuscripts , which are documents written by hand. Some authorities on the history of printing include block books from the same time period as incunabula, whereas others limit the term to works printed using movable type . As of 2021, there are about 30,000 distinct incunable editions known. The probable number of surviving individual copies

810-483: Was Ulrich Boner 's Der Edelstein , printed by Albrecht Pfister in Bamberg in 1461. A finding in 2015 brought evidence of quires , as claimed by research, possibly printed in 1444–1446 and possibly assigned to Procopius Waldvogel of Avignon , France. Many incunabula are undated, needing complex bibliographical analysis to place them correctly. The post-incunabula period marks a time of development during which

840-536: Was directed by Dori; and by the late eighteenth century, space appeared tight. Currently, the complex has expanded beyond the original premises, into the adjacent Palaces Della Stufa and Pegna, and the ground floor of the Palazzo Fenzi Dardinelli . The wooden model of the Library is on display, 104 cm high, 55 wide and 135 long. The model is detailed complete with the interior plans, including

870-595: Was expanded to 111 volumes. Bandini concurrently served as the librarian for the Biblioteca Laurenziana in Florence. In 1776, the suppression of the Jesuits , brought their large collections into the library, consisting of more than one hundred and fifty works, including a dozen manuscripts. In 1783, Bandini brought into the collection the drawings and prints of Francesco di Ruberto , and also those of

900-565: Was sometimes consulted as an expert in the Canon Law. His only publication, was a bibliographic compendium in fifteen volumes, Mare Magnum , of the contents of his library and or those of his acquaintance. The building was commissioned by the grandson of the founder, Alessandro Marucelli (died 1751). Also a bibliophile himself, Alessandro expanded the entries in Mare Magnum to 24 volumes, and fulfilled his grandfather's will by selecting

#420579