designs in early title-pages The early printed books did not have title-pages. The slow development of this feature after the invention of printing is accounted for by the reason that in this respect, as in others, the first printed books were modelled in imitation of the illu- minated missals, and it was not deemed necessary in the mediaeval books and manuscripts to have a title-page, the scribe of the olden time merely recording in a note or label fastened to the end of the volume the name and description of his work; so this habit was continued for a long time by the early printers. This note or ending was called a Colophon. Printers' devices, which were generally of an heraldic char- acter, were commonly seen on the title-pages, some of which were very elaborate and finely designed. The famous printing house of Aldus at Venice had a device of an anchor with a dolphin twined around it, and the motto "Propera tarde" or "Festina lente" (Hasten slowly). It was from the printing press of Aldus in 1499, that the celebrated book called Poliphili Hypnerotomachia, "The Dream of Poliphilus, " was issued. It is a finely illustrated book, consisting of classical compositions of figures and processions, many architectural designs, orna- mental letters, emblems, and devices, all of which are executed in outline and printed from wood blocks. A renaissance border, from a woodcut which appeared in an edition of "Herodotus" printed at Venice in 1470, has a rich and delicate design which is extremely effective in white on a black ground, and is artistically appropriate to the decoration of the page, much more so than the later French and German work in borders and title-pages, which was usually of an ex tremely heavy character. Shaded designs of an architectural kind, such as friezes, col- umns, basis, and pediments, with corpulent figure decoration and heavy mouldings, were compositions which in the latter end of the sixteenth and during the seventeenth centuries took the place of the earlier light arabesque scroll-work of the Italian school, which revelled in the beauty of purer outline and in flat treatment of black and white. james ward
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