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In Venice, printed maps, travel accounts, historical treatises, news pamphlets, even fiction and poetry, massively drew on reports, dispatches and military surveys, in sum the entire circuit of discursive practices and written communications within which Venetian trade and colonial bureaucracy operated. In this respect, the aforementioned dedication of Rosaccio's work to the bailo in Constantinople confirms the links between the Venetian printing industry and the Republic's diplomatic network in the east Mediterranean.

In fact, the title of his book, Viaggio da Venetia a Costantinopoli , directly refers to the journeys of Venetian diplomats to the Ottoman capital and recalls the diaries which their secretaries and retinue members composed about these travels. Still, although most printed isolari claimed to use authoritative sources based on cumulative experience, it should be remembered that publishing was not only meant to serve disinterested learning.

It was also a commercial enterprise which operated within a highly structured system of patronage and was motivated by a range of economic, social and political concerns. Island books were in fact marketable commodities, which, of course, made the world more readable, but in doing so, they still had to combine description with a good deal of invention.

Moreover, experience is not an unproblematic form of knowledge, but is always pervaded by ideological assumptions and mediated through representational conventions and techniques. In addition, their illustrated itineraries created an imaginary geography of colonial peripheries and remote trade routes which solidified the distance and difference between what was close to Venice and what was oltremare. Coronelli's Isolario provides another typical example of the active involvement of island books in the making of Venetian imperial imagination.

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Please review our Terms and Conditions of Use and check box below to share full-text version of article. Abstract During the early modern period, island books isolari were among the major print genres by which the Venetian reading public learned about the Mediterranean and the New World. Antonio: And sowing the kernels of it in the sea, bring forth more islands! Shakespeare, The Tempest II. Although the book was only a translation of the Thaumatographia naturalis Amsterdam, written by the Calvinist doctor and natural philosopher John Jonston, Serpetro presented the text in a significantly new form.

Using a mnemotechnical model, perhaps inspired by the Fondaco dei Tedeschi , the warehouse of German merchants in Venice, he divided his marketplace of marvels into porticos, loggias and shops in which numerous extraordinary phenomena were displayed. Figure 1 Open in figure viewer PowerPoint. Figure 2 Open in figure viewer PowerPoint.

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Extranet Login. All rights reserved. Verified reviews from real guests. How does it work? Sign in and leave a review. Check-in Date Check-out Date. But the material aspect also had to be cared for. Therefore he insisted that each volume had to contain two plates 71 , while Bemporad had previously proposed one 72 , that must have seemed appropriate for very thin volumes of , maximum 36 pages.

Bemporad himself had proposed a cardboard binding 76 and the result is particularly fine volumes, in spite of their thinness.

The cover was designed by Ezio Anichini in Art Nouveau style a second version, with a freize-like decoration on the cover, was designed by Marina Battigelli 77 , as well as the opening freize on the first page; internal plates were by Fabio Fabbi. The price varied from 60 to 80 liras depending on the thickness of the volume Ill. Olga Contini Levi, Via delle pere cotte n. On the contrary, such publications were conceived by experts employed by publishers, as the correspondence between these two protagonists of the publishing industry can attest.

Des origines au fascisme , Caen, PUC, , p. Galimberti, Walter Manfredini ed. Le biblioteche popolari durante il fascismo , Milano, FrancoAngeli, , p. On his successor Leo Pollini and the change of direction see Ibid. Gabriele Turi, Firenze, Giunti, , p.

History and Bibliography of the Inscriptions

Annali , vol. IV, ed. Corrado Vivanti, Torino, Einaudi, , p. Quoted from the Oscar Mondadori special edition Milano, Mondadori, p. See also documents quoted by Silvia Assirelli, Paradigma Bemporad. The contract signed by Fabietti corresponds to this amended version. ASG, f. Underlining in the document. Translation mine for all quotations. Page without number at the end of the text. Italics in the document. Riduzione a cura di Guido Santini, Firenze, Bemporad, , p. Luigi Settembrini, Ricordanze della mia vita. Seconda edizione con note a cura di E.

Fabietti, p. I, London, Palgrave MacMillan, , p. For a definition of collection see p. It is true that, as run over before, such books also represented libri di lettura , i. Nonetheless, an exam of other 19th century collection can shed light on the uncertain phenomenology of the series, as I have argued in Elisa Marazzi, Libri per diventare italiani, Milan, FrancoAngeli, , p.

Assirelli, Paradigma Bemporad , op.