MANUSCKIPTS. 28 MANUTITIS. Italian masters oi ilie Foiitaineblcau group. The brt-akiiig iluwii of tlic ti'tlinic-al ilillVrfmcs be- tween tlip larger forms of painting and illumina- tion was at this time helped by the work of such artists as Fra Hartolommeo della Porta, who practieed both branehes. Henceforth illu- mination ceased to count in the history of art. In the reign of Louis XIV. the art became ex- tinct, ending in the styh' called ciDiiahii yria, a kind of monochrome in which the lights are white or gold, and shaded so as to emulate bas-reliefs. OniE.r.l,. Among Oriental nations the Persians, Hindus, and Chinese have illuminated manuscripts of great beauty, with ligured compositions, while the branches of Mohammedan art stricter than the Persians have contined their illuminations to ornamental work, as in the mediii>val works of the schools of Cairo and Damascus, mainly repre- sented by magnificent Korans. The best works were produced during tlie comparatively brief period between the tliirteenth and sixteenth cen- turies. The style of these illuminations is de- scribed under Indi.x Akt: Mouaiimeu.x Art; etc. BiBLiocR.PiiY. There are very good chapters in such general historic works as Woltmann and Woermaim. Ilistori/ of I'aiiitiiig (J^"g. trans., Xew York. 1880) ;'hut for full details, see such works as V. J. Aud>ley. (liiide to the Art of llltiniinutinri and Missul Painting (London, 18C2) : and .J. V. Bradley. Dictionary of Minia- turists (London, 18S7-S',il. A recent special treatise is 0. E. Warnvr. I Hinniniitcd Mannscripls (London, 1000), in the "I'ritish iluseum Series." In its special branch, J. O. Westwood, Facsimiles of the Miniatures and Ornaments of the Anr/lo- Sa.Ton and Irish Manuscriptsi'i.ondon. ISfiSKhas never been displaced, and the general historic treatment in .T. Labarte. Uistoii-e des arts indus- triels (Paris. IS(itl) . remains excellent. So is the handbook in the French series of Quantin. Lecoy de la Marche, Les manuscrits et la miniature (Paris, 1884). Good German works are: Tik- kanen. Die Psaller-Illustrationen ini Mittelalter ( Helsingfors, 1895 seq.): Kobell. Kunslrolle Mininturcn und Initialen aus Handsehriftcn des '/. his 16. Jahrhunderts (2d ed.. Munich, 1H!12). MANUTIUS, raft-nii'shi-iis. The Latin name of a famous family of Italian printers. TEon.M.no M..Nri(l. better known as Ai.iio .Ma.mzio (Aldus Manulinsi, was liorn at Scrmoncta. near Rome, in 14.50. Having studied Latin at Rome under Gasparino da Verona and Greek at Ferrara under Guarino da Verona. Manuzio went in 14S2 to live at .lirandola with his old friend Giovanni Pico. I'ico got Manuzio a [ilace as tutor to his nephews, .lberto and Lionel lo Pio. princes of Carpi. .Mberto supplied the funds with which the great press was founded. Manuzio. or .ldn. to u.se the name now most familiar, settled in Venice in 1490. and .soon publisheil the undated Hero and Leandcr of Mis.t>vis, the (lalenmyo- ninchin. and the Greek Psalter. In 149.5 the first vidume rif .ristotle appeared. Xine comedies of .Vristophanes followed in 149S. Thueydides. Sophocles, and Herodotus came out in 1.502; Xenophon's [lilhnies and Euripides appeared in 1.503, Demosthenes in 1504. In 1513 Philo was i-sui'd. and Pindar. Hesychius. and .tlien.TU.s came out in 151 t. .Mdo's press now devoted itself to printing Latin and Italian works, including tlu' fUrine Comedy. These works (1495-1514) were jirintcd with Aldine types, a style said to have been copied from the liandwriting of Pe- trarch. Italic type was invented by Aldo, as is shown by his Monitum of March 10, 1503. re- printed in Renouard (vol. iii.). Italics were soon a(lo[ited by Lyonese printers. Apparently the tirst book thus printed at Lyons was issued in 1501. Aldo was an ardent hu- manist. He loved the books that he printed and wished to make not only them but his manuscripts accessible to many. Symonds roighly estimates the current price of Aide's pocket series of CJreek, Latin, and Italian classiesi begun in 1501, at two shillings a vol- ume. The live volumes of Aristotle were worth about £8. Thus Aldo's books were cheaper than those of modern publishers, who have hardly sur- passed him in ([uality at their best. In 1499 Aldo had wedded Maria Torresano of Asola. Her father. Andrea, a celebrated printer, jointed Aldo, and Asolanus came to be printed along with Aldus on the title pages of Aldine editions. On February 6, 1515, Aldo died, leaving three sons to help carry on his business. — Pai^lcs JIaxitii'.s (15»12-74). born in Venice. June 12, 1512. took up in 1533 the task which had mean- while lieen done mainly by his grandfather. Andrea Torresano. Paolo set up his own firm and de- voted himself mainly to the Latin classics. He skillfully edited Cicero's Letters and Orations, and published his own Latin version of Demos- thenes. In 1501, at the invitati(m of Pius IV., he went to Rome, where he was to have 500 ducats a year and enough to defray the cost of his press. The profits were to be equally divided between Paolo and the Camera Apostolica. Aldo seems to have fared well imder Pius IV.. but the coldness of Pius V. compelled him to leave Rome. He went back, however, and died there in 1574. His partnership with the Pa])acy was more favorable to theological writers than to classic literature. — Aldu.s Manutiu.s. the younger (1547-97). son of Paolo, was born February 13. 1547. and died in Rome, October 28, 1597.' At the age of nine his name appeared on the title page of the Elet/anze della linfiua toseana e latina. In 1501, whether with or without help we do not know, he produced a work on Latin spelling. Ortho- firuphiir Uatio. Avhich he completed with an Epitome Orthofiraphiw in 1575. both highly valu- able books. In 1572 Aldo married Francesca Liicrezia, daughter of liartolommeo Giunta, grandson of a (iiunta who had established a famous Venetian press. This was a lucky alli- ance, for the Aldine press had been steadily de- clining, while the other was growing richer. In 1574 his father's death in Rome made .Mdo the younger head of the (irm. His commentary of the Ars I'lietiea of Horace (1570) maintained the family's traditional blending of good printing and scholarship. As a professor of belles-lettres Aldo went to Bolccua (1585). and thence to Pisa (15871. There he printed Alberti's comedy Philndn.rius. and attributed it strangely to Lcpidus. In 1588 he went to Rome and again turned to ]U'inting. with Clement VIII. as his patron, tintil his death. Consult: Schfick, .ildus Manutius tnd seine Zeitfiennssen (Berlin, 1802) ; Goldsniid. .1 Itihliririrnphieal f^keteh of the .ldine Press at Venice (Edinburgh. 1887) ; and Omont. Catalogue des lirres grecs ct latins imprimis par .llde Manucc (Paris, 1892). See Aldi.ne Editions.
