https://teca.unibo.it/ <p><strong>TECA – ISSN 2240-3604</strong> is an open access scholarly journal dedicated to book and library disciplines, as well as to the history of writing, of the book, of reading and of libraries; furthermore, it is also focused on the history of typography and publishing.</p> en-US teca@unibo.it (Paolo Tinti) ojs@unibo.it (OJS Support) Thu, 09 May 2024 13:02:05 +0200 OJS 3.2.1.4 http://blogs.law.harvard.edu/tech/rss 60 https://teca.unibo.it/article/view/17788 <p>During the Middle Ages, confraternities of blind people began to emerge in many Italian cities. Later recognised by local authorities and the Roman Church, they ensured that blind people were aided in case of poverty, sickness or death, also providing formal permission to beg on the street and other designated places. These special privileges existed alongside indulgences granted to those (whether visually impaired or sighted) who attended religious functions celebrated by the blind on particular days. This article analyses how these blind individuals used a variety of printed material to promote such indulgences, as well as other activities of their confraternities within and outside their cities.</p> Laura Carnelos Copyright (c) 2023 Laura Carnelos https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/17788 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/17837 <p>The article presents an unpublished cycle of choir books written and illuminated at the end of XVI Century for the Benedictine Abbey of Santa Maria del Monte, believed to be lost. The volumes were taken from the Abbey during the suppressions of religious orders, eventually being forgotten in the storage of the Biblioteca Malatestiana. The production of liturgic books in the late Renaissance is studied on the basis of the documents in the State Archive and the signatures of scribes and artists hidden in the pen flourished initials. A new artist is discovered, Ignazio da Otranto, co-authoring these books with his confrere Serafino. The relationships between this cycle and others in the Benedictine Roman Province during the XVI^th and XVII^th centuries are investigated, throwing light on the exchanges among the Cesena Abbey and the Abbeys in Ravenna, Subiaco and Farfa.</p> <p> </p> Beatrice Alai Copyright (c) 2023 Beatrice Alai https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/17837 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/18091 <p>Leopardi's didn’t neglect properly editorial and book aspects of his literary work. In this context, it becomes significant to conduct in-depth research aimed at reconstructing the author's publishing habits. In his <em>Epistolario</em>, Leopardi talks to printers, publishers and cultural organizers, but also with friends and relatives, recipients of recounts and comments on some episodes of his experience in the world of printing. Through letters it is possible to identify the peculiar position of Leopardi as a writer within the Italian publishing and tipographical scene.</p> Elena Santin Copyright (c) 2023 Elena Santin https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/18091 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/18132 <p>This essay reconstructs the history of Giulia Napoleone's art books, small volumes in single copies with poems transcribed by hand and illustrated with various techniques: a exercise which began in 1963 and which the public was able to get to know for the first time during the 2017 exhibition at the Central Institute of Graphics (Istituto Centrale per la Grafica), following a major donation from the Artist. These books testify to the special relationship that Giulia Napoleone has always had with poetry, a source of inspiration and reciprocity even for larger works, such as pictorial cycles or monographic exhibitions, which go beyond the book form. At the same time, these small private books are also seen as germinal cells of the larger books, printed in a limited number of copies by reputable international art publishers, and distinguished by an iconographic apparatus including unique engravings which vary from copy to copy.</p> Marco Vitale Copyright (c) 2023 Marco Vitale https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/18132 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/18135 <p>In 1792, in Rome, the Dutch collector Thomas Hope commissioned the first exclusively illustrated edition of the <em>Divine Comedy</em> to the English artist John Flaxman. The first publication, limited and for private circulation, was distributed by the engraver Tommaso Piroli’s workshop in July 1793, and Hope, holder of the rights, forbade the printing of further copies. However, in 1802, Piroli repurposed the engravings from Flaxman’s illustrations for a new edition which was distributed throughout Europe, immensly successful as evidenced by the editions of the <em>Comedy</em> in the first 19th century in which they were included. The collaboration between Flaxman and Piroli, their relationship with Hope and the history of this illustrated <em>Comedia</em>, born from a rigorous neoclassical theory on the relationship between poetry and art, establish themselves as a living testimony of Dante’s reception between the 18th and 19th centuries through a study of the dynamics in book market.</p> Eleonora Guidi Copyright (c) 2023 Eleonora Guidi https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/18135 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/18150 <p>Antonino Mongitore (1633-1743) was a scholar and bibliographer, who trained at the Jesuit College of Palermo then he was ordained a priest in 1687. Fellow and founder of numerous academies, he was involved, mainly, in city history and hagiography. His <em>Bibliotheca Sicula</em> is a well-known bio-bibliographical repertory published in two volumes, the former in 1707, the latter in 1714. This paper originated from the finding in the State Archives of Palermo of the inventory of its library, full of 2775 editions, examined according to the quantitative method. An initial analysis of this document and the study of further sources allow us to broaden this Sicilian priest's cultural profile and interests.</p> Claudio Gino Li Chiavi Copyright (c) 2023 Claudio Gino Li Chiavi https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/18150 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/18306 <p>The paper provides copies descriptions of two incunabula printed in Venice and preserved at Municipal Library «Fratelli Pellegrini» in Borgo a Mozzano (Lucca, Tuscany): a <em>Divine</em> <em>Comedy</em> of 1493 (ISTC ic00614000; GW online 6972) and a collection of Cicero’s works printed in the year 1500 (ISTC ic00614000; GW online 6972). Both come from the ancient library belonging to the Pellegrini, one of the most powerful families since the XVII^th century, which accumulated an extensive library and archive. The paper also focuses the attention on Prof. Francesco Maria Pellegrini (1855-1927), who engaged in a careful reordering of his family library.</p> Davide Martini Copyright (c) 2023 Davide Martini https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/18306 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/18329 Maria Gioia Tavoni Copyright (c) 2023 Maria Gioia Tavoni https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/18329 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/19500 Paolo Tinti Copyright (c) 2023 Paolo Tinti https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/19500 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/18346 Carlotta Barranu Copyright (c) 2023 Carlotta Barranu https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/18346 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/18110 Beatrice Alai Copyright (c) 2023 Beatrice Alai https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/18110 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/19361 Davide Martini Copyright (c) 2023 Davide Martini https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/19361 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/19360 Davide Martini Copyright (c) 2023 Davide Martini https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/19360 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/18516 Damigela Hoxha Copyright (c) 2023 Damigela Hoxha https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/18516 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/18213 Giuseppe Lipari Copyright (c) 2023 Giuseppe Lipari https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/18213 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/18412 Jacopo Arnoldo Bovino Copyright (c) 2023 Jacopo Arnoldo Bovino https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/18412 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/14734 Chiara Reatti Copyright (c) 2023 Chiara Reatti https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/14734 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/19359 Davide Martini Copyright (c) 2023 Davide Martini https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/19359 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/18486 Maria Alessandra Panzanelli Fratoni Copyright (c) 2023 Maria Alessandra Panzanelli Fratoni https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/18486 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/19501 Paolo Tinti Copyright (c) 2023 Paolo Tinti https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/19501 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/18371 Anna Manfron Copyright (c) 2023 Anna Manfron https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/18371 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/18414 Silvia Cuppini Copyright (c) 2023 Silvia Cuppini https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/18414 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/19384 Roberta Cesana Copyright (c) 2023 Roberta Cesana https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/19384 Thu, 09 May 2024 00:00:00 +0200 https://teca.unibo.it/article/view/18416 Roberta Turricchia Copyright (c) 2023 Roberta Turricchia https://creativecommons.org/licenses/by/4.0 https://teca.unibo.it/article/view/18416 Thu, 09 May 2024 00:00:00 +0200