[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-323792-105":3,"detail-sidebar-cat-0-en-105":81,"doc-detail-323792-en":130},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":74,"head_meta":76,"extra_data":78,"updated_unix":80},105,"en","the-printed-book-of-the-renaissance","The Printed Book of the Renaissance","","Quarterly library newsletter issues research and developments around Renaissance print culture, highlighting new acquisitions, conferences, and institutional projects. A review article presents James G. McManaway’s discussion of a Cambridge University Press collection of 1947 lectures about type, illustration, and ornament in disseminating Renaissance culture. It outlines how humanists shaped scripts, how publishers differentiated Roman and Gothic type, and how illustrated “picture books” contrasted with learned disdain for vernacular editions.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/literature/","Literature",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/the-printed-book-of-the-renaissance/323792/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/the-printed-book-of-the-renaissance/323792.png","ImageObject",300,407,{"name":42,"@type":43},"Logic","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-22","2026-09-21",true,{"@type":52,"interactionType":53,"userInteractionCount":55},"InteractionCounter",{"@type":54},"ViewAction",9,{"@type":57,"mainEntity":58},"FAQPage",[59,65,69],{"name":60,"@type":61,"acceptedAnswer":62},"What is the core focus of the review article?","Question",{"text":63,"@type":64},"The review centers on how type, illustration, and ornament helped disseminate Renaissance culture, drawing on lectures collected by Cambridge University Press.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"How did Renaissance humanists influence book scripts?",{"text":68,"@type":64},"Early humanists such as Petrarch copied and shaped letters to pay tribute to classical Latin, inventing humanistic Roman script distinct from monastic bookhand.",{"name":70,"@type":61,"acceptedAnswer":71},"Why were illustrations and vernacular editions treated differently by learned readers?",{"text":72,"@type":64},"Vernacular editions with illustrations were often scorned by the learned, while Renaissance culture valued illustrated “picture books” with explanatory letterpress.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},323792,1790943029,{"code":4,"msg":82,"data":83},"success",[84,88,91,95,100,105,110,115,119,122,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},"Story & Novel",90,"story-novel",{"id":26,"doc_module":4,"doc_module_name":25,"category_name":29,"show_sort_weight":89,"slug":90},80,"literature",{"id":33,"doc_module":4,"doc_module_name":25,"category_name":92,"show_sort_weight":93,"slug":94},"Exam",70,"exam",{"id":96,"doc_module":4,"doc_module_name":25,"category_name":97,"show_sort_weight":98,"slug":99},5,"Comic",60,"comic",{"id":101,"doc_module":4,"doc_module_name":25,"category_name":102,"show_sort_weight":103,"slug":104},6,"Technology",50,"technology",{"id":106,"doc_module":4,"doc_module_name":25,"category_name":107,"show_sort_weight":108,"slug":109},7,"Healthcare",40,"healthcare",{"id":111,"doc_module":4,"doc_module_name":25,"category_name":112,"show_sort_weight":113,"slug":114},8,"Research & Report",30,"research-report",{"id":55,"doc_module":4,"doc_module_name":25,"category_name":116,"show_sort_weight":117,"slug":118},"Religion & Spirituality",20,"religion-spirituality",{"id":117,"doc_module":4,"doc_module_name":25,"category_name":120,"show_sort_weight":117,"slug":121},"World Cup","world-cup",{"id":123,"doc_module":4,"doc_module_name":25,"category_name":124,"show_sort_weight":123,"slug":125},10,"Lifestyle","lifestyle",{"id":127,"doc_module":4,"doc_module_name":25,"category_name":128,"show_sort_weight":96,"slug":129},19,"General","general",{"code":4,"msg":82,"data":131},{"doc_id":79,"user_id":132,"nickname":42,"user_avatar":133,"doc_module":4,"category_id":26,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":55,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":117,"language":139,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":12,"update_tm":143,"read_time":144},1099513958762,"https://ap-avatar.wpscdn.com/avatar/1000023916a998db790?x-image-process=image/resize,m_fixed,w_180,h_180&k=1784791008015729253","# RENAISSANCE NEWS\n\nA quarterly newsletter published by Dartmouth College Libraryfor the American Council of Learned Societies  \nFREDERICK W.STERNFELD,editor  \nJosEPHINE WATERS BENNETTRAY NASH  \nAddress the editor,Posto fice Box 832,Hanover,New HampshireAnmual subscription:domestic $1.00,Canada and foreign $I.25  \n\n| VoL.III   | SuMMER I950   | No.2   |\n| --- | --- | --- |\n\nPRINTED BOOK:A REVIEWpage 2ICONFERENCES24LIBRARIES26PROJECTS AND NEWS30HISTORYLITERATUREMUSIC  \nincluding I.Pope's Letter from SpainVISUAL ARTSConclusion of D.J.Gordon's Letter from Italy  \n# The Printed Book of the Renaissance\n\nBY JAMES G.McMANAWAY  \nCHOLARS who are familiar with Mr.Goldschmidt's Gothic andRenaissance Bookbindings and Medieval Texts and their First Ap-pearance in Print will come to the reading of The Printed Book of theRenaissance with the highest expectations,and will be amply rewarded.In a sumptuous volume whose excellent typography and beautiful illustra-tions are worthy of the text,the Cambridge University Press has collectedthe three lectures delivered at several fortunate institutions here and inEngland in I947 on the significance of Type,llustration,and Ornamentin disseminating Renaissance culture.My only regret is that the price ofthe book may keep it from the hands of those who need it most--studentsof the Renaissance who are remote from the great libraries and who thus  \ngiurando lipzonefi perlabocbaoel pzopbeta oicendo.aiuoiooiceelfignoze:iono voglio lamozte oelpeccatoze.Scguitaaduncbelbuomofctoantonioalqualeoifeeloiauolo.四Zntoniotu mai vinto:imperocbequandoiote voglio eraltaretutibumilj:zquandoioti poglio bumiliaretutieralti.Eofifacciaduncbeciaicbedunoofanoo infermocbefiač.  \nCSeguitalafiguraoellaquinta tentationeoemozienti oelaauaricia.  \nDomenico Capranica's Trattado del modo et arte del morire in Gratiadel omnipotente Dio,printed in Venice in 1536,by Vittor Ravani &Compagni,has recently been added to the Spencer Collection of TheNew York Public Library.Capranica was probably translator into Italianrather than originator or author.This edition,besides two woodcuts onthe title,contains eleven in the text,illustrating the temptations and in-spirations which pass by the dying man's sick-bed.(Contributed by KarlKüp,New York Public Library.)  \nhave few opportunities to see the manuscripts and books of which the booktreats.  \nWith geniality and wit and occasional irony Mr.Goldschmidt drawsfrom the storehouse of his rich and varied experience as bookseller,bib-liophile and scholar and by sharing his knowledge opens the door to a newunderstanding of several important aspects of the mind of Renaissanceman.  \nThe earliest humanists,among them Petrarch,were distinguishedcalligraphers;in copying sonorous Latin phrases from ancient manu-scripts,they paid conscious tribute to the golden words of Cicero andCatullus by shaping their letters in a manner as different as possible from'the workaday,current,spiky,\"monkish,\"bookhand'and thus inventedhumanistic Roman script.Later the publishers of printed books usedRoman type as a manifesto to proclaim ‘the spirit pervading the contentsof the book,'differentiating sharply between their humanist books andthe legal,theological and vernacular books for which Gothic type wassuitable.  \nA comparable distinction existed between the medieval story book inwhich text is accompanied by illustrations and the Renaissance editions ofthe Latin classics,not one of which before I493 contains any woodcutsor engravings.In time,unlearned readers—ladies who could not readLatin—were provided with vernacular renditions of many of the classics,and for educational reasons these and many school texts came to be pro-vided with illustrations;but such books were scorned by the learned.What the Renaissance approved was 'the picture book,the book of platesaccompanied by explanatory letter press.'  \nThis does not mean that humanists wanted their books unadorned.Following in the steps of the illuminators of the early humanist man","cbCaijiemUEOJ0tm","https://ap.wps.com/l/cbCaijiemUEOJ0tm","pdf",984052,"English","# The Printed Book of the Renaissance\n## Printed book review and lectures on type\n## Humanists, script, and Roman vs Gothic type\n## Illustrated editions and the culture of ornament\n## Battle between Ancients and Moderns\n## Acquisitions and historical texts","[{\"question\":\"What is the core focus of the review article?\",\"answer\":\"The review centers on how type, illustration, and ornament helped disseminate Renaissance culture, drawing on lectures collected by Cambridge University Press.\"},{\"question\":\"How did Renaissance humanists influence book scripts?\",\"answer\":\"Early humanists such as Petrarch copied and shaped letters to pay tribute to classical Latin, inventing humanistic Roman script distinct from monastic bookhand.\"},{\"question\":\"Why were illustrations and vernacular editions treated differently by learned readers?\",\"answer\":\"Vernacular editions with illustrations were often scorned by the learned, while Renaissance culture valued illustrated “picture books” with explanatory letterpress.\"}]","The Printed Book of the Renaissance | PDF",1789966206,31]