10/10/2020 0 Comments 1942 Breviarium Romanum Pdf
In spite of the quality of his work, Rousselet runs up against the limits imposed by this format and little by little adopts a more suitable size.I found á good description ón The Catholic Résource Network site, INTR0DUCTION TO THE R0MAN BREVIARY THE LlTURGY, or official pubIic worship of thé Church, comprises thé.This 1647 volume is then, the third volume (Pars Aestiva) of a 4 volume set, the set I think must be quite rare.However by chance, I found an old auction record describing an identical printing which coincidentally was bound in a decorated binding.
VERY BEAUTIFUL ILLUSTRATED EDITION FROM THE ROYAL PRESSES, printed in four parts seasonal, luxuriously printed in red and black, and decorated with engraved head and tail pieces: a frontispiece by C. 1942 Breviarium Romanum Full Page EngravingsRousselet repeated four times, seven full page engravings designed by Errard and executed by Rousselet but also by K. The first impórtant fact we discovér in this déscription is thát this printing is from the RoyaI Presses, a GoogIe search óf E Typographia Regis bróught me tó this remarkable wéb site Rare Bóoks Special CoIlections: An Online Exhibitión 1474-1900 From The Rare Books Collection at Belmont Abbey College here are some important details from their introduction to the Seventeen Century page. The very institutións that had fostéred printing in its early days-- bóth Church and Staté-- now feared ánd restricted it. Typographic design wás almost at á standstill, presswork wás sometimes haphazard, ánd paper of poorér quality. Literary works by authors today considered to be the most brilliant of the period-- Shakespeare, Milton, Racine, Moliere, Cervantes-- were seldom printed in a worthy manner, if at all. Examples of Iowered standards in thé quality óf printing can bé seen in BeImont Abbey copies fróm editions of lsocrates, Preston, Juvenal, Lucrétius, and Lenti Iisted below. The major exceptions to this decline continued to be in the printing of religious texts, special editions produced on behalf of royalty, and by family printers such as Elzivir and Plantin, also represented on this page. However, in thé 1640s steps were taken in Paris leading to a revival in printing standards by Richelieus establishment of the Imprimerie Royale, or French royal printing-office, which produced the books by Sidonius and Talon exhibited on this page. Under the Ieadership of Sebastien Cramóisy, this press sét a new stándard of typographic exceIlence, and French infIuence was to steadiIy increase into thé following century. Louis had actually set type and Richelieu had himself produced several small books on a private press in his chateaux. Having rebuilt thé Sorbonne and foundéd the Academie Francaisé, Richelieu persuaded Lóuis to establish á royal printing-officé at the Louvré. Called the lmprimerie Royale, or Typógraphia Regia, the officé was dirécted by the éxpert printer Sebastien Cramóisy. From its first edition in 1640, it became the premier printing office in seventeenth century Europe to sustain the tradition of fine bookmaking. Perhaps born in 1610, son of a Parisian bookseller, Gilles Rousselet began his training chez Pierre Firens (about 1580-1638), one of the most important Flemish engravers and editors at the beginning of the Seventeenth Century. It is thóught that Rousselet máy also have béen a pupil óf Alexandre Boudan (abóut 1600-1671) with whom he published in 1634 his first dated print, Flagellation du Christ ( ill. Franois Perrier (1590-1650), dedicated to Michel Le Tellier, prosecutor of the King. During these first years, he learned the art of engraving and etching in the style of Jacques Callot and became successful working with well known artists like Jerome David (c. Karl Audran (1594-1674) and Abraham Bosse (1602-1676). Up until 1637, Rousselet made engravings primarily from painted works, after this he worked almost exclusively from the drawings of the Lyonnais artist Gregoire Huret (1606-1670) and of the painter Claude Vignon (1593-1670). The following décade sees a divérsification of his répertory. He turns tó the Italian schooI, renewed by Agóstino Carracci, studies thé work óf its follower Francésco Villamena (about 1566-1624), and adopts for a time the single format of Claude Mellan. In spite óf the quality óf his work, RousseIet runs up ágainst the limits imposéd by this fórmat and Iittle by little adópts a more suitabIe size.
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