Thursday, March 20, 2014

Alphabet & Writing Copybook

'The Writing Pen: a new book containing several alphabets and various moral judgements as well as descriptive formulae, bills of exchange, maritime policies, waybills, and other trade writings in the current style, with a final table of Roman numerals' is an approximate title translation for this slender 18th century Italian volume for improving handwriting skills.

[Each image has been cropped back to the plate border from the full page 
layout, and most plates were rotated to get them nearer to true horizontal]



La penna da scrivere - Francesco Polanzani, 1768



La penna da scrivere - Francesco Polanzani, 1768 a



La penna da scrivere - Francesco Polanzani, 1768 b



La penna da scrivere - Francesco Polanzani, 1768 c



La penna da scrivere - Francesco Polanzani, 1768 d



La penna da scrivere - Francesco Polanzani, 1768 e



La penna da scrivere - Francesco Polanzani, 1768 g



La penna da scrivere - Francesco Polanzani, 1768 h



La penna da scrivere - Francesco Polanzani, 1768 i



La penna da scrivere - Francesco Polanzani, 1768 j



La penna da scrivere - Francesco Polanzani, 1768 k



La penna da scrivere - Francesco Polanzani, 1768 l



La penna da scrivere - Francesco Polanzani, 1768 o



La penna da scrivere - Francesco Polanzani, 1768 p



Francesco (Felice) Polanzani (1700-?1783) entered into an engraving apprenticeship in Venice under the tutelage of Giovanni Pitteri before settling in Rome in 1742. The following 20 years are regarded as Polanzani's most active professional years, with the majority of his engraving and etching output being modelled after paintings by the Masters (see, for instance, this web set at Thorvaldsens Musem in Denmark).

While in Rome, Polanzani became a friend - and/or student - of the renowned architectural illustrator, Giovanni Battista Piranesi. Polanzani is perhaps best remembered for his eccentric portrayal of Piranesi:
"In the famous portrait [1750], etched by Felice Polanzani but surely devised by the subject himself, Piranesi appears as the reincarnation of an antique bust looming over an ivy-covered slab of stone.." (ED Howe, 'The Art of Exaggeration' 1995)
'The Writing Pen..' (the book seen above) was designed by Felice Polanzani and published in Rome in 1768 by P&G Samonati. This copybook consists of a title page and nineteen engraved plates featuring alphabets and writing samples reflecting contemporary business and letter styles. It may have been aimed at clerks and office worker-types of the day, who could practice their handwriting using the commercial letter and fine cursive samples as models.

The founding curator of the Printing and Graphic Arts Collection at Harvard University's Houghton Library, Philip Hofer, assembled an impressive array of writing and penmanship manuals in the first half of the 20th century; including Polanzani book. So remarkable was his curatorial & acquisitional skills, that a book devoted to Hofer's legacy, the Hofer Collection of Writing Manuals, was published by Harvard University about a decade ago: 'The Practice of Letters: The Hofer Collection of Writing Manuals, 1514-1800' (1995) by DP Becker [Harvard UP].


Thursday, March 13, 2014

Zoological Atlas

'Atlas de Zoologie : ou Collection de 100 Planches' by Paul Gervais (1844) is a supplementary volume of illustrations, originally produced for a large French series on zoology published between 1816 and 1830. The original series featured 60 written volumes and another 10 or so volumes of illustration plates. The series title: 'Dictionnaire des sciences naturelles, dans lequel on traite méthodiquement des différens êtres de la nature, considérés soit en eux-mêmes, d'après l'état actuel de nos connaissances, soit relativement à l'utilité qu'en peuvent retirer la médecine, l'agriculture, le commerce et les artes...'.

{mouse-over for plate titles; all illustrations have been lightly background cleaned}


5. CIDARITE porc-epic 5.a. Une des longues epines du meme gros 6. C. diademe 6.a. Base de l'epine gros 6.b. Tubercule mamelonne gross 7. C. rayonne



1. ECHINOMETRE artichaut. 1.a. Le meme depouille 2. OURSIN pustuleux. 2.a. orifice des ovaires 3. OUR. melon de mer. 3.a. orif. des ov'es 3.b. portion du tet d'epouille montrant les ambulacres grossi



starfish



described in 1840s as Actinozoa (obsolescent term)



1. SIPONCLE villeux 2. SIPONCLE nu out BALANOPHORE



jellyfish



salamander



molluscs - gastropods or snails



6-legged insects



spider species



head of dodo



bird with elaborate head plumage display



bird of paradise with beautiful neck colouring



eagle



Cuscus species climbing on tree branch



shrew + numbat



koala + Tasmanian devil illustrations



large eared dog species and hyena



Paul Gervais (1816-1879) began his education in general science and medicine before specialising in palaeontology at the French Museum of Natural History in the 1830s. Soon after, Gervais was appointed to the Chair (later Dean) of Zoology and Comparative Anatomy in Montpelier in Southern France and later held professorships at the Sorbonne and the Museum of Natural History in Paris. Gervais published widely across palaeontological-related subjects including a noted supplement on French zoology/palaeontology for a series by renowned naturalist, Georges Cuvier. Gervais was one of the earliest scientists to consistently use the term dinosaur.

In a 26-page preview, Gervais provides classification details for all the species illustrated in the 'Atlas de Zoologie' (1844). The beautiful hand-coloured engravings were executed by gifted hands after designs by Prêtre, Meunier and Vaillant. It seems that one of the original editors of the enormous zoology series (1816-1830) died before this particular set of illustrations could be allocated among the supplementary volumes; thus, this later Gervais volume features some of the most curious and unusual species from across the animal world. Of particular note above (to me): dodo, koala, Tasmanian devil and Bird of Paradise.


 
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