Tag Archives: venice

Who owns what you create?

I’d like to zoom ahead a few centuries for just a minute. Last post was about the brilliant type designer Francesco Griffo and how ownership of his creative output was taken away by the Venetian Senate. Naturally, he was bitter. Griffo did everything right: he worked hard to become skilled; he discovered what his customers wanted and delivered it; what he created was in short supply so he should have been able to command a respectable price for it. But Griffo couldn’t make a buck from his own type designs because his ownership of them was taken away.

Let me put in a plug here for the Graphic Artists’ Guild. In the late 1970s GAG lobbied the United States Congress to enact law that made everything an artist creates the sole property of that artist, unless the artist transfers ownership to somebody else through a contract. You can see how huge that was. Before 1978, an artist protected his creations by applying for a copyright or else a patent through the Patent Office. It cost you money to establish ownership of your own stuff. Now your creativity belongs to you from the moment you create it. Anybody else trying to claim it needs to show a contract you signed. No contract means the artist owns it. If you wonder why I’m unapologetically pro-America, this is one of the reasons. In the USA an artist’s intellectual property is protected by the law of the land.

I sought out my pal Fred Carlson’s (Fred was GAG’s president 1991-1993) input on this. Here’s what he added—

I always like to note that the US Constitution itself protects the intellectual property of its citizens, acknowledging the USA as the worldwide leader in copyright assignment to benefit creators—even Jefferson (who invented quite a few items in his lifetime!) saw the need for this:

US Constitution, Article 1 Section 8, clause 8 (in the whole article describing the creation of Congress)

“Section. 8. The Congress shall have the power to…”
Clause 8 “…promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries;”

This recognized the positive impact of assigning ownership to inventors, writers, artists, who could then exploit the work for the profitable and regular distribution through the economy of their valuable intellectual property.
It created such things as Patent offices, copyright offices, etc. For a lot of the modern world these concepts dating to 1787 are still unknown and often disrespected.—Fred

https://www.wilsongunn.com/history/history_patents.html
https://graphicartistsguild.org/
https://graphicartistsguild.org/the-code-of-fair-practice-for-the-graphic-communications-industry/
https://www.archives.gov/founding-docs/constitution-transcript
https://carlsonstudio.com/

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Francesco Griffo

Francesco Griffo

Manutius got type-design-superstar Francesco Griffo to cut type for his lowercase/minuscule Greek letters. Greek minuscules had been developed by the monks in those old scriptoria to save some space on the page. Griffo redesigned them as italics so they would take even less space. He did the same for Hebrew and Roman lowercase. When you look at the examples in the links below, you’ll see that the capital letters are still in their old form—only the lowercase letters are italic.

A page of the polyglot Bible. Looks like only the Greek got lowercase italics. Why are there blank spaces at the top-left of columns 2 & 3 but top-right of the first column? http://www.griffoggl.com/en/biografia/

I give some links below here and yesterday’s post to Griffo’s beautiful work. One of my favs is the polyglot Bible: 3 columns on every page in Hebrew, Greek and Latin. The guy was cutting those tiny letters in steel by hand and they’re perfect. Really, go look. Griffo’s designs for italic type are beautiful—and they’re useful. Italics take less space on a page, so books can be smaller and less expensive. Manutius was selling a ton of books thanks to Griffo’s italics. Here’s the ugly part: Manutius didn’t want any other publisher to have Griffo’s italic type. In 1502 Manutius went to the Senate of the Venetian Republic who granted him a 10-year protection—only Manutius could use Griffo’s italic type designs. I’m not talking about the physical metal type—I mean the design, the creative idea, the ‘intellectual property.’ So Griffo didn’t own his italics anymore, because he couldn’t sell them to anyone else. He should have been able to make a fortune from them, but Manutius owned ‘em. Welcome to the 1500s graphic design business, Francesco. Disappointed and disgusted, Griffo left Venice soon after that.

http://www.griffoggl.com/en/biografia/
http://www.griffoggl.com/en/corsivi/

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Aldus Manutius

Aldus Manutius

The brains behind all this innovation was one guy: Aldo Manutio, or Aldus Manutius in Latin. Latin & Greek weren’t completely abandoned by the early book publishers. Manutius was a scholar who spoke several languages and made it his mission to use his printing press to publish some beautiful editions of the classics (Hebrew, Greek & Latin lit)—while keeping his books affordable enough that the college crowd could afford them.



Manutius built a reputation for accurate translations. He was a meticulous editor. And though his books were produced inexpensively, they are gorgeous to look at. Either he or a designer on his payroll composed pages using classic mathematical proportions that Pythagorus, the ancient Greek mathematician, dreamed up (more about that soon). Scholarly writers/translators started coming to Manutius because they knew they could trust him with their work.

The dolphin & anchor image is Manutius’ colophon, or printer’s mark.

Here are links so you can looks at these books:

https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/venice-early-ren/a/aldo-manuzio-aldus-manutius-inventor-of-the-modern-book
https://rarebooks.library.nd.edu/exhibits/durand/italian/manutio.html
https://en.wikipedia.org/wiki/Aldus_Manutius
For only $8,800 clams you can own a first edition from the Aldine Press: https://www.raptisrarebooks.com/product-tag/aldine-press-first-edition/

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…And we pass the savings on to you, our customer

The story so far: books were shooting out of the printing presses; they cost way less than hand-written manuscripts; they’re written in vernacular languages (that everybody spoke) rather than Latin (that hardly anybody spoke); the presses were located in Venice, Italy where people were making fat stacks of lire by trading with Asia and could afford fripperies like books.


Even so, merchants weren’t about to blow a month of profits on a thirty-nine-pound 14” by 17” three-volume copy of Dante’s Commedia even if it were cheaper than a manuscript. Beside costing a fortune, who’d want to lug it around?

Press sheet, folio, quarto, octavo.

So the Venetian printers came up with new ways to make books less expensive and more portable. First, they made books smaller so they’d need less paper. They folded a press sheet once (folio), twice (quarto), and again (octavo) until they got small, easy-to-carry pocket-sized books. Next, they made type skinnier so more words would fit on a page—it was called italic. Skinnier type means fewer pages/less paper. What else? You know how paperback books are cheaper than hardcover books? How about no-cover books? Venetian printers sold you a book as a package of loose leaves! There were book binders who would sew them up into a codex if you liked.

I’m kidding! This is just a joke! It’s likely these leaves were F&Gs—’folded & gathered’ into 16-page signatures. https://www.printindustry.com/Newsletters/Newsletter-194.aspx

http://gallery.lib.umn.edu/exhibits/show/celebratingvenice/printing

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Most Serene!

Okay, maybe not so serene. I did this image a while back for a Pittsburgh Public Theater production of an old commedia dell’arte play.

Venice, Italy was the place to be if you were in the printing business in the late 1400s—like Silicon Valley, California is today for the software industry. I was looking for reasons why everybody moved there, like religious persecution or something, but it looks like printers were attracted to Venice rather than driven there. Who can blame them? She’s an enchanting city. The locals call her la Serenissima—the Most Serene. Since the Middle Ages Venice had been a powerful trading port with her own navy. Venice was the western end of that network of overland and sea routes known as the Silk Road. Trade goods and wealth from all over Europe were exchanged for trade goods and wealth from all over Asia. All that bustling trade produced a rich merchant class with extra soldi to spend on luxury items, like books.

Italian Word of the Day: Soldi (money)

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The amazing fantastic clock of Piazza San Marco

In 1493, the Venetian Republic commissioned the clockmaker Giovan Paolo Rainieri, from the town of Reggio Emilia, to design and build a clock. This clock would be big and beautiful and expensive—a tower would be designed and built on Saint Mark’s Plaza to house it. It would face the lagoon and the sea beyond, so the whole world could see how prosperous was Venice.

If you visit Venice you can see the Rainieri clock. Its face is decorated in gold and lapis lazuli (a mineral you make blue out of—blue paint ain’t cheap); the hand tells what hour it is and the current zodiac sign; above the clock is a statue of the Virgin Mary and Baby Jesus (made of gilded copper); twice a year a mechanical angel and three wise men parade in front of Mary and tip their crowns to her; above Mary is the lion of Saint Mark with his paw on the Gospel (the statue of the praying doge isn’t there anymore); and at the top, every hour two bronze giants ring an enormous bell with their hammers.

The entire contraption from top to bottom used a verge and foliot escapement to regulate the gears.

https://www.atlasobscura.com/places/torre-dell-orologio-venice-clock-tower
https://en.wikipedia.org/wiki/St_Mark%27s_Clock

https://en.wikipedia.org/wiki/St_Mark%27s_Clocktower

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Maps, we need maps!

As we’ve seen, Venice was hopping with trade on the Mediterranean Sea and beyond. With their compasses and astrolabes and lightly-built galleons, Venetian traders traveled all over the known world. Likewise, traders from all over the world stopped in Venice. Compasses work best with a map, so Venice’s map-making (cartography) business was booming.

In ad 1450, in a monastery in Venice, there lived a monk named Fra Mauro (Brother Mauro). Fra Mauro was an extraordinary cartographer and his map is the one you see pictured here. It’s about 6 feet across.

It’s not easy to recognize all the continents right away, because he drew it with North at the bottom. We’re used to seeing North at the top of maps. I’m not sure when it became standard practice to put North at the top. Over at the extreme right, you can see a little compass-rose with North pointing down. As you work your way left from there, you’ll see Spain and Portugal, the Straits of Gibraltar where Europe almost touches Africa, and the Mediterranean Sea where the boot of Italy is kicking up rather than down. The shapes of Africa and Asia are difficult to recognize, too. It would be a while before cartographers could accurately survey land masses. Africa is in the upper-right. Asia takes up almost all the the left half of the map.

The New World—the Americas and Australia—hadn’t been discovered yet.

Here’s an article about Fra Mauro, with some close-ups of his map.

More miles per galleon!

The magnetic compass appeared in Europe sometime in the late ad 1100s. No doubt compasses were traded along the Silk Road.

The compass was being used in the West at the same time Venice’s sea-trade flourished. Before the compass, sea-travel was limited to the few uniformly sunny months—June through September. The rest of the year sailors stayed home because they had no way to navigate. Let’s stop for a second to appreciate what was happening. China had the compass for centuries and used it to achieve spiritual harmony—chi—when they built houses or arranged furniture and gardens. The compass slowly moved west along the Silk Road—possibly it was thought of as a novelty item.

Meanwhile back in Venice and Genoa and other Mediterranean sea-faring towns, the merchants can only make money when the sun’s shining. They’re pacing back and forth and tearing their hair out because they have these new, flexible, easily-steerable ships; they have the merchandise; they have the sailors—but their ships can’t leave port for eight months out of the year because it’s cloudy!

Then, suddenly, miraculously, the compass drops into their laps. What do they do? They seize on it! They exploit it! Now mariners can go to sea, trade and make money all year round.

You’re probably thinking, “Hold on, Manders. What about that astrolabe-thinghy you were going on about a few posts earlier—how come sea-farers didn’t use that to navigate?” I have to admit, that’s a good question. Here’s the answer: If you can’t see the Sun or the stars, you can’t navigate with an astrolabe. The compass points North even when it’s cloudy. With it, the Venetians could find their way no matter the weather.

This is what happens when you have a free market. People want to trade, make money. When a new piece of technology comes along they figure out how to exploit that technology. A similar thing happened in the last few decades with the internet. The US military invented the internet for its own communications, but the business world seized it and transformed it into the world wide web.

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La Serenissima

Saint Mark’s winged lion statue on top of a granite column in the Piazza San Marco in La Serenissima—’the Most Serene’ is Venice’s nickname.

Okay, maybe it wasn’t as simple as “the Ottoman Empire closed the Silk Road.” After all, why wouldn’t the Ottomans want to do business with European merchants?

You remember that Marco Polo and his family were merchants from Venice. Venice was perfectly situated for trade—right on the shores of the Adriatic Sea; and close to the westernmost end of the Silk Road by land.

Venice was a city of smart cookies. Her city government made trade deals with other governments both east and west. Venice had on-again-off-again deals with the Ottomans. Her merchants became rich and brought money into Venice. Her government built ships and rented them to merchants so just about anybody could get in on the trading business. Her shipwrights revolutionized ship-building: instead of building the hull first and then installing the ribs and braces, they built the ribs first and then nailed planks to them. Venetian ships were lighter, more flexible and well-suited to the Adriatic and Mediterranean Seas.

The Venetians created a trade monopoly—nobody else could play. She maintained a navy to protect her sea-trade routes which were hers exclusively. It may have happened that the Ottoman Empire was in direct competition with Venice as she became a powerful republic. That may have been a reason for the Ottomans ending trade with the west.

It may also be that other European cities wanted to get in on sea-trade action but were unable to break Venice’s monopoly. The upshot was that with new, speedier ships, merchants were looking for different ways to do business. That meant finding new and different trade routes that weren’t controlled by Venice or the Ottomans.

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https://www.britannica.com/place/Ottoman-Empire

http://www.theworldeconomy.org/impact/The_Venetian_Republic.html
https://en.wikipedia.org/wiki/Battle_of_Lepanto

If you ever have the chance to visit Venice—go. It’s probably the loveliest place I’ve been.

Image

Caravan Comedy #1,385