.A remarkable, extra-illustrated copy of the first edition, the additional leaves from the second, of this important and rare Spanish calligraphic manual. The first 16 ll. comprise the text and the remainder a collection of elegant calligraphic plates illustrating the principal letter forms then current, such as Redonda, Bastarda (and both combined), Francesa, Grisa, De Libris and Antiquo. The autograph on the title may be that of the Spanish calligrapher Francisco Asensio y Mejorada (1725-94), who produced numerous engravings for calligraphic manuals, as well as working in the Real Biblioteca. .. . . ..We know little of Ignacio Perez (1574-1609), except that he learnt from his father, Juan, also a calligrapher, and worked in Madrid as an examiner of master-calligraphers. Arte de escrevir was his great work. It begins with an introduction on the nature of calligraphy, the proportion and shape of the letters, techniques for preparing and holding the pen, paper and ink. A table at the end summarises the main multiplications required for the proportion of letters and Roman numbers, and (from the second ed.) a table providing basic rules for the multiplication of reales and maravedis . The various woodcut tables, often signed and/or dated, reproduce dozens of texts exemplifying the most common handwriting styles, especially variations on Bastarda, in which lies his great merit, after the style of Francisco Lucas (Cotarelo, II, p.165): e.g., Bastardilla, Redonda y Bastarda, as well French letter, Redondilla Pequeña Asentada, Antigua Romanilla, Lettera Grifa, Letra Latina, etc., the last few being printed white on black. A charming writing manual, uniquely extra-illustrated, and one of the earliest produced in Spain... . . ..This copy includes all the plates attributed to the first ed. by Cotarelo y Mori. However, some are repeated, on different paper and with variations in page number and different woodcut borders. . . .Only BNE, Harvard, BL and Newberry copies recorded.
Related
Related
Related
Related