, Il Codex Florentinus del Digesto e il 'Fondo Pandette' della Biblioteca Laurenziana (con un'appendice di documento inediti)', Segno e testo, On this whole question, see the section 'Humansitic Jurisprudence' in Paul Grendler's The Universities in Renaissance Italy, vol.8, pp.99-186, 1986.
, The thick capital letters measuring 6 mm at the top of the title-page 'LAELII TAVRELLI' seem to indicate that this publication was printed by the Giunti in Florence
, Brief descriptions of these editions can be found in the Universal Short Title Catalogue's online database (www.ustc.ac.uk): Torelli 1542: USTC 859645
, , 1544.
, See also William Kemp, 'Les historiens latins chez Gryphe au début des années 1540, There is currently no full article on Ferretti in the Dizionario Biografico degli Italiani (henceforth, DBI), pp.341-356, 1545.
, Traduire de l'Italien pour « illustrer » le français ? La préface au 'Decameron' (1545) d'Antoine Le Maçon et ses enjeux, Journal of Medieval and Renaissance Studies, vol.4, pp.270-289, 1974.
, On Ferretti's interest in this work, vol.9, p.57
, , vol.27, p.149, 1980.
, Here we have an early attempt to describe metaphorically what could be called readability. In 1550, this same image was reused by Alciati when praising Torrentino's new types: dedication by Alciati to Giovio, p.106, 2008.
, Gabriele Giolito's imprints during the years 1542-43 were noteworthy because of his adoption of the large Basle italic [It 118] with forward leaning capitals, brought to Italy by Peter II Schöffer in 1541, used for titles and dedications (see Alberto Tinto, Il corsivo nella tipografia del Cinquecento, Studies in the Book Trade in Honour of Graham Pollard, p.125, 1972.
, On the Giolito establishment, see Angela Nuovo and Christian Coppens, I Giolito e la stampa nell'Italia del XVI secolo, 2005.
, , vol.132, p.178
, This transformation is studied by Valentina Sebastiani in the section of her recent book on Johann Froben, The Privilege of Publishing Erasmus, pp.1513-1527, 2018.
, Helbing & Lichtenhahn, 1953); and Peter Bietenholz, Der italienische Humanismus und die Blütezeit des Buchdrucks in Basel. Die Basler Drucke italienischer Autoren von 1530 bis zum Ende des 16, See the classic studies of Friedrich Luchsinger, Der Basler Buchdruck als Vermittler italienischen Geistes, pp.1470-1529, 1959.
, A Renaissance Printing and Publishing Family, pp.43-55, 2012.
, Traditional terms for body size or type height will be given in French and, the first time only, in Italian. For the traditional names of body sizes in Italian, see the table on p. 61 of Edoardo Barbieri's Guida al libro antico, 2006.
, 2010)-henceforth, Conspectus. The typeface itself is presented as n o 118 in the Conspectus, On Michel Du Boys, see pp. 40-41 of Hendrik Vervliet's French Renaissance Printing Types: a Conspectus
, , p.118
, The Italic Types of Robert Granjon', The Library, 4 th series, vol.21, p.262, 1940.
, , pp.260-271, 1970.
, See Hendrik Vervliet's 'Robert Estienne's Printing Types', The Library, 7 th series, vol.5, pp.105-148, 2004.
, Page taken from same scanned copy as in figure 1. But what if the proposition of Ferretti and of Gryphius had been accepted? How might the house of the gryphon have printed such a mammoth work? In an earlier article with Guillaume Berthon dealing with the penetration of Aldine Romans in Lyons during the 1540s, we did not examine closely the case of Gryphius. Yet he was one of the earliest Lyonese printers to purchase some of the new Parisian Aldine-style roman types, beginning with Granjon's Petit romain or Garamone roman type [R 65] in 1542. 27 Gryphius was, like Jean de Tournes, a faithful client of Granjon, buying early on a copy of the Saint-Augustin or Silvio italic, 1545, the Petit-romain or Garamone italic, p.1
, Le renouveau de la typographie lyonnaise, romaine et italique, pendant les années 1540, Gens du livre et gens de lettres à la Renaissance : actes du liv e colloque international d'études humanistes, pp.349-351, 2014.
, , p.325
, Gryphius's press in 1547); and p. 332, n o 6 (first seen in 1547), p.290
, of the Palaeeotypography, Vervliet also cites Jean I de Tournes (1547), Balthazar Arnoullet (1553) and Sébastian Honorat, p.219, 1563.
, , p.4, 2008.
, 221 and 223 et seq.) It has been attributed to Peter II Schöffer of Mainz, who worked frequently with Froben. Of this type, Daniel Updike has written that '[t]he massive and monumental sort of roman type which Froben used, often combined with splendid, rich borders and initials in close harmony with it, made books of great dignity and style, which scarcely miss-but none the less do lack-real beauty' (Printing Types: Their History, Forms and Use, Johann Amerbach and Johann Petri beginning in 1510 (Frank Isaac, An Index to the Printed Books in the British Museum. Part II, 1922.
, On the other hand, from the perspective of the Paris Aldines, Nicolas Barker has mentioned its 'clumsiness' ('The Aldine Roman in Paris 1530-1534', The Library, 5 th series, and fig. 80), vol.29, pp.186-214, 1974.