The fact that the graphic substance of writing oscillates between text and image is a potential which writing carries in itself from the very beginning. Every graphic trace on the manuscript page relates to the conventions of time in a way that is determined by the scribe. This becomes particularly tangible when the conventions are deliberately and systematically broken and replaced by new ones on the basis of a concrete concept. By introducing the humanistic minuscule, a script developed on the basis of the historical model of the Carolingian minuscule, Poggio Bracciolini and his mentors and friends Coluccio Salutati and Niccolò Niccoli, created philologically revised copies of the texts of classical authors in what they called littera antiqua, the new old script. This paper wants to show how the conscious incorporation of elements of historical manuscripts and their transformation into a specifically humanistic product makes use of the graphical potential of script and mise-en-page in order to translate a humanistic discourse into SchriftBild.
University of Hamburg, Germany
Titolo del capitolo
Script as Image: Visual Acuity in the Script of Poggio Bracciolini
Autori
Philippa Sissis
Lingua
English
DOI
10.36253/978-88-6453-968-3.10
Opera sottoposta a peer review
Anno di pubblicazione
2020
Copyright
© 2020 Author(s)
Licenza d'uso
Licenza dei metadati
Titolo del libro
Poggio Bracciolini and the Re(dis)covery of Antiquity: Textual and Material Traditions
Sottotitolo del libro
Proceedings of the Symposium Held at Bryn Mawr College on April 8-9, 2016
Curatori
Roberta Ricci
Opera sottoposta a peer review
Numero di pagine
220
Anno di pubblicazione
2020
Copyright
© 2020 Author(s)
Licenza d'uso
Licenza dei metadati
Editore
Firenze University Press
DOI
10.36253/978-88-6453-968-3
ISBN Print
978-88-6453-967-6
eISBN (pdf)
978-88-6453-968-3
Collana
Atti
ISSN della collana
2239-3307
e-ISSN della collana
2704-6230