HAPPY FIRST DAY OF SUMMER! ☀️ In these candids by Olow-Anderson, Kate is enjoying some much needed relaxation time on the steps in Venice during SUMMERTIME (1955) filming - SUMMERTIME also opened in New York on this day in 1955 ❗️ • #summertime #firstdayofsummer #katharinehepburn #venice #italy #italian #venetian #ny #film #movie #actress #1950s #classic #classicfilm #nap #relaxation #perolowanderson #olowanderson (at Venice, Italy) https://www.instagram.com/p/CQZjXuVncKx/?utm_medium=tumblr
first illustrated is a setting of alfred forbes johnson’s statement regarding nicolas jenson’s rotundas, from his Type Designs [3rd ed., andre deutsch, london, 166, p17]. johnson capitalised Rotunda but not roman: for systematic capitalisation & to improve setting color i have set both lower-case. set in bruce roger’s centaur, roger’s neo-venetian homage to jenson. for more on centaur vide‹livius andronicus›. line finisher is digital reissue of monotype’s recutting of «Granjon’s flower on Bourgeois» (1558) [cf. hendrik d. l. vervliet, Granjon’s flowers, oak knoll press, new castle (del), 2016, p61].
second illustration is facsimile of the final page from the Super Tertio Sententiarum of john duns scouts [johannis de colonia & nicolai iençon, venice, 1481]; plate 17 in theodore low de vinne’s Notable Printers of Italy during the Fifteenth Century [the grolier club, new york, 1910, p77]. the page is set in one of jenson’s small rotundas & concludes with colophon¹ & jenson’s device. «The type of the text is a Black-letter on 10 point body that may be accepted as a design approved by Jenson even if all punches were not cut by his own hand.» [ibid., p76]. the third illustration shows enlarged section of composition. i am amazed that there has been no digital revival of a jenson rotunda!
¹ translation given by de vinne: «Printed at Venice by the order and at the expense of John of Cologne, Nicolas Jenson & Company. In the year of our Lord fourteen hundred and eighty one. To God the praise.» [A Treatise on Title-pages, the century co., new york, 1902, p24].
Giovanni Battista Tiepolo, also know as Gianbattista or Giambattista Tiepolo (Venice 1696 - 1770 Madrid), Angel with Crown of Azucenas, 1767-1769, Museo del Prado
One of the greatest artists of the Renaissance, Tiziano Vecellio, otherwise known as Titian, died on this day in 1576 in Venice. Here are two portraits of Cardinal Filippo Archinto [ (1) @metmuseum (2) @philamuseum ]
I feel very lucky to have access to these two remarkable portraits of the same man, the exceptional politician and clergyman, Filippo Archinto, so close to home. I was enthralled as soon as I saw the unusual portrait with a translucent curtain obstructing the Cardinal’s face at the Philadelphia Museum of Art. If one isn’t already in love with Titian, this portrait alone could make one a convert. So, who was this mystery man Titian depicted so enticingly…
According to the Met Gallery Label:
The Milanese Filippo Archinto was a remarkable politician and cleric active in the mid-sixteenth century, supporting Saint Ignatius Loyola and attending the Council of Trent. He was painted by Titian when in Venice as papal nuncio between 1553 and 1556. Archinto was confirmed as Archbishop of Milan but local intrigue worthy of the stage kept him from his chair and he died in exile in neighboring Bergamo. Titian’s sober yet painterly portrait of Arcinto shows him at the height of his power in the mid-1550s. A related version in the Philadelphia Museum of Art depicts the cleric covered with a white veil, an unusual addition that may refer to the trials of is later life.
guys… it was an out of body experience. i’ll post updates about it tomorrow, but omg it was the best!! had great seats, great experience, and even got out on time!! no complaints whatsoever, allegiant stadium!! much better than so-fi