Piccola Anto (Italian Edition)

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Bindoni and Pasini's edition of the Orlando Furioso. Antonio Ricci i6 gran volume in piccola e Si manigevole forma'': This was the first time that ihQ Furioso was given a paratextual apparatus, and it marked the beginning of a much-imitated editorial practice; over the course of the sixteenth century this practice would eventually see the text submerged by notes in the margins, by commentary preceding and follow- ing each canto, and by extensive critical material before and after the poem.

The paratexts in the Bindoni and Pasini edition are relatively brief, but they represent a significant source for the early reception of the Furioso, since they reflect and enact the well-defined marketing strategy thatBindoni and Pasini had developed in response to the book's intended public. A brief outline on the Furioso's history in print will provide the necessary context for the discussion to follow.

The differ- ences in format also involved other important divergences: This typology, which held true well into the s, was not absolute.

As in previous editions in this format, there are no illustrations to the cantos, but a woodcut showing a hand with scissors above two serpents appears on the title-page, and a woodcut portrait of Ariosto is found at the end of the book. Both were copies of blocks first used in the definitive Furioso printed by Francesco Rosso in Ferrara in , and other editions of the poem with their own copies of these blocks had already appeared.

Bindoni and Pasini themselves had used still another portrait cut in their and editions. Supplementary material de- signed to aid readers had long been a feature of editions of classical texts, and more recently it had been used in editions of vernacular works such as those of Dante, Petrarch, and Boccaccio, but this was its first appearance with the Furioso? As Brian Richardson explains in Print Culture in Renais- sance Italy, the constant increase in book production during the s resulted in greater competition among Italian publishers, especially those who served the "less experienced readers" 91 who bought editions of vernacular texts.

With the rise of literacy, these readers were growing in numbers, and their needs and expectations, in particular those of the "younger and female readers and the less well educated" 91 , were not being sufficiently met by the books produced at the time. In an attempt to attract this growing sector of the market, editors were hired to provide paratextual material designed to assist readers in reading and interpreting the texts they bought.

Aggiuntovi una breve espositione dei luoghi difficih. The privileged position of the title-page also renders it instrumental in establishing the typographical identity of the book, and here too the partners proved efficient. The legibility and clarity of the rela- tively lengthy title-page text is ensured by setting it in two sizes of roman capi- tal letters and a smaller italic font, and by organizing it around the central woodcut illustration showing the serpents device.

This balanced layout also gives further emphasis to the illustration, which already constitutes the visual center of gravity on the page. In this way, the title-page gives a distinctive and bold 'face' to the book, setting it apart from other titles in a bookshop and drawing to it the customer's eye. Their calculated strategy is evident throughout the paratextual material their editor prepared.

On the verso of the title-page is printed the letter to the book's dedicatee, Gasparo Spinelli, Dolce's cousin and gran cancelliere of the King- dom of Cyprus. Alv In claiming that this Furioso is "more correct" and "easier to use" than other editions, Dolce is not only extolling the distinctive features of the octavo, he is also drawing attention to his own role in creating those features. Taking up 1 1 pages of close-set type, it is the longest paratext appended to the edition.

It is directed against Ariosto's detractors, as its full title makes clear: He then proceeds to list the criticisms commonly moved against Ariosto - regard- ing his choice of title, his language and style, his imitations, and the additions he made to the last revision of the Furioso - and to refute each one in turn. Nevertheless, it is of fundamental impor- tance in the history of Ariostan criticism: The "Apologia" is of equal importance in that it makes explicit Sindoni and Pasini's marketing plan, as is evident in several passages which deviate from Dolce's stated intent.

For example, he devotes several lines to praising Ariosto's Satire and his comedies: In keeping with this program, Dolce uses his "Apologia," ostensibly a criticaldefence of the Furioso, as a vehicle to advertise the other Ariosto titles in Sindoni and Pasini's catalogue, titles which would have likely appealed to readers of the poem.

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The programmatic unity of this undertaking is apparent in the dedication of La Lena, addressed to Pietro Aretino, where Dolce speaks of the "pietosa fatica mia di haver dato in publico [ Alv ; its text is replete with errors, but his own edition is "non senza qualche mia fatica da infiniti errori espurgata" 1. The editor, there- fore, promotes the comedies using the same technique that he employs in the first dedicatory letter of the Furioso - decrying the textual shortcomings of other editions on the market and stressing the correcmess of his own.

In another digression, this one taking up almost a full page of the "Apolo- gia," Dolce weaves an extended tribute to the poetic virtues of Aretino, men- tioning several of his friend's works about to be printed or already out.

Nel tarderanno punto le molte occupationi; che di continuo gli sopragiungono, nello scrivere a diversi Principi, che l'honorano; che fra pochi giorni, com'io spero non mandi fuori il suo gran Volume hoggi col titolo d'Angelica [ Dolce, in what is a relatively brief text in which he endeavoured to limit his comments "per non accrescer il Libro" 1.

The edition's intended readers are identified in explicit terms. Near the end of the "Apologia," Dolce, having listed some of the paratexts that Pasini in- cluded in the edition, describes the "Dechiaratione di alcuni vocaboli e luoghi difficili dell'opera," printed on Aware of their cultural level, the publishers and their editor responded with tools designed to meet their needs, a response which was typical and which explains the success of the firm. As mentioned above, at the end of the "Apologia" Dolce commends Pasini, whose diligence has resulted in an edition with several useful features: First, Dolce identifies the advantages of the book's format, which allows Pasini to offer a lengthy text in a small and easily handled size "si gran volume in piccola e manigevole forma".

When he refers to the "Breve modo di trovar tutti i luoghi dall' Autore aggiunti," a list of the additions Ariosto made in the final version of the poem, he emphasizes the "marvelous ease" with which these can now be found.

In the brief note titled "Mapheo Pasini alii Lettori" and placed immediately before the two paratexts, the pubhsher writes: Perche adunque sono alcuni; i quali si dilettano di saper le cose dall'Ariosto aggiunte; senza fatica di legger tutto il libro: In Pasini's description of these paratexts - i. The list of additions and the "Tavola" are not the only means by which the pubhsher and his editor have responded to this perceived need.

The two paratexts are not simple lists of leaf references: More importantly, the notations and the two indices constitute a refer- ence system that enables readers to pinpoint passages quickly and easily. The different elements of the edition, therefore, are not disparate parts, but they function together as a carefully conceived whole.

The pubhshers were follow- ing a common promotional practice when they advertised the paratexts promi- nently on the title-page, in the "Apologia," and in the note to the reader, but it is also likely that they intended to make certain that the value of these features was communicated to potential buyers. The particular integration of text and paratext engineered by Dolce and the publishers was meant to serve the various strategies that they envisioned would be deployed to read the Furioso.

Since their presentation of the work was suc- cessful and often copied as will be seen below , this edition not only reflects their preconceptions, but it also reveals basic evidence of the ways in which the poem was actually read. The list of additions would have attracted those who knew the Furioso in an earlier version and wanted to read only the new material.

In other words, these paraiexts can help to overcome the discontinuity created by Ariosto 's frequent narrative breaks and constant shifts between multiple plot lines: It is precisely the reader who engages in this kind of personalized, selec- tive,and non-consecutive reading of the Furioso who encounters "fastidio" and "fatica" in turning over the pages of the whole book, a problem that a reader who follows an orderly, linear progress through the text does not experi- ence despite the book's bulk.

As is evident, Dolce had understood the implications for readers of a funda- mental and problematic characteristic of the text. In later decades, critics sought to justify and seek solutions to ihe Furioso's lack of continuity on theo- retical grounds, or they used it to attack the poem. The publishers and their editor here moved to remedy it with their indices and marginal notations - a bibliographical solution involving the paratexts and typographical elements such as the layout i. It is true that their motivation was primarily commercial, and that their intention was to make a product that readers would purchase, but it is also apparent that their understanding, or at least Dolce's, of their readers' habits was rather sophisticated.

The paratexts, and were founded upon a clear awareness of the their integration with the text, various reading practices they were meant to support. It is the use which read- ers made or wanted to make of the Furioso that governed Dolce and Pasini's decisions regarding the edition, and the paratexts were devised in order to be useful to readers. This principle of practical utility and function was a manifes- tation of the economic forces that shaped publishing, but it implied an under- standing of the modes of reading applied to the Furioso.

Dolce's paratexts exploited the edition's fundamental physical characteris- tic, its size: Their product was innovative; it possessed a distinct advantage over its competitors on the mar- ket, and it was commercially successful. This edition introduced a formula for printing the Furioso in octavo that was copied by all successive editions in this format for several years. There are some divergences, which is inevitable consider- ing the number of printers involved: The success of the Bindoni and Pasini formula lasted until Giolito introduced new models for the typographic presentation of the Furioso with the quarto and the octavo he pubUshed in and , respectively.

Previous models were rendered obsolete by the success of these editions, and Bindoni and Pasini did not print Ariosto's text after The Bindoni and Pasini edition illustrates the significant role played by pub- lishers and editors in the diffusion and reception of literary texts in sixteenth- century Italy. Bindoni and Pasini chose a specific market for thtii Furioso, and then, with the assistance of Dolce, they ascertained the cultural preparation and reading habits of the buyers they had targeted.

These factors guided them in choosing the typographic characteristics and presentation of the edition, and in determining the structure and content of the paratexts. The book is both the result and the expression of their intentions, and by examining it as a material artefact, as a bibliographical fact, those intentions can in large part be recov- ered.

Bindoni and Pasini operated in the highly competitive world of the Venetian publishing industry; hence they were motivated primarily by the eco- nomic imperatives basic to producing a commodity that consumers would pur- chase. But if a book is a commodity, it is also a text, and its buyers are also readers. The partners needed to consider and to respond to the textual nature of their product and to tailor it to meet the needs of their readers, but the book itself, once produced, affected the ways in which these readers responded to the text.

As a consequence, the octavo partakes of the dynamic fundamental to the nature of all books: The response of Dolce and the publishers to the perceived demands and tastes of their intended reader- ship proved to be successful, and the innovative presentation of the Furioso they designed was much imitated in the s. We can be certain, therefore, that these books and their paratexts were in fact used to read the Furioso, and that they effectively conditioned its reception.

Transcrip- tions are in quasi-facsimile: A bar used over vowels to indicate an abbreviation has been ren- dered here as an umlaut i. Abbreviation symbols are shown in their actual form, i. The various forms of the long s, some with a descender and others without one, are all given with de- scenders. Ludovico Ariosto, Orlando Furioso. Venezia, Francesco Sindoni e Maffeo Pasini.

Aggiuntoui I vna breue efpofitione dei luoghi difficili. I Haffi la concefjione del Senato Veneto per anni diece. I AleJJandro B indoni. I I i' O penJaua benigni L ettori [ I aggiiito troueraJJe notato in margine No uo, e Ttinuera detta aggiunta fin al. I loco doue , li I trouera notato fuora in margine Vecchio. I Nel C anto nono a carte. I ncomincia la prima giunta: I che fempre trouaraJJi pofto in mar gine I il nome di quello che. I fi vorr d leggere. I A I Angelica a carte 2. I [device of the Bindoni and Pasini firm, showing Tobias and the archangel Raphael, 50 x 38 mm; see Zappella 1.

The italic font used to print the two dedicatory letters on Alv and 2H4v lacks its own set of capitals; roman capitals are used instead. The type initials at the head of the cantos have an average height of 5 mm.

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PI ; mm Bibl. Reproductions of the serpents device and the portrait of Ariosto are found in Esshng 2. On the portrait block, see Mortimer 1. Both provide reproductions of the por- trait, and Mortimer also includes one of the device, but these are taken from editions of Ariosto's comedies printed by Bindoni and Pasini in The same blocks were used again for Bindoni and Pasini's octavo edition of the Furioso see n. The serpents device on the title-page is based on the original woodcut used in the edition printed in Ferrara by Francesco Rossi, where it is found on 1.

Traditionally believed to be Ariosto's answer to his detractors, the block of the impresa was in fact the property of the printer, although the author may have had a hand in creating it Fahy On the biblical sources of the motto "dilexisti malitiam super benignitatem," see Casadei , which stresses that both this and the "pro bono malum" motto which in this edition appears on 1. The portrait of Ariosto on 1. For a discussion of the cuts in the edition, and the question of their attribution and ownership, see Fahy, L'Orlando 16 and he lists extant copies of this edition on , and reproduces the portrait and the serpents device as Taw.

The import of the declaration "Hassi la concessione del Senato Veneto per anni diece" on the title-page is, therefore, not clear. In discussing this edition and this declara- tion, Fahy states: On the ques- tion of privileges, see Fahy , and the bibliographical references given therein; see also Trovato 68 and This edition, dated simply , was probably printed during or before the month of March - see note 24 in the main article. Nazionale Centrale Nencini F. Al, 2K3 and 2K4; Apostolica Vaticana Ferraioli V.

The following abbreviations have been employed: The partnership was active from to , and it produced, according to Menis, over editions. Francesco Bindoni was Pasini's step-son: For a general overview of the pubUshing success enjoyed by the Orlando Furioso m the six- teenth century, see Javitch , and.

Over the course of the century, editions of Ariosto 'swork were printed; this figure refers to the total number of full-text editions in Italian, was calculated by Servello using the data m the second and it edition of volume 1 of EDIT16, a recent and reliable union catalogue of several hundred Italian libranes. Servello also provides useful tables and graphs illustratmg the chronological and geographic distribution of Furioso editions to A more detailed statistical survey of these editions is provided by Pace, but her analysis is founded on a considerably less valid empincal base than ServeUo's, namely the Annali of AgneUi and Ravegnani.

Designed to pro- vide a single descriptive Ustmg of all editions of Ariosto's works up to the s, the Annali remains the only comprehensive bibhography of the subject; it is, however, out-of-date, incom- plete, methodologically deficient, and therefore fundamentally unreliable. For Genetle's notion of the term, see Paratexts. On Dolce and his work for this edition, see notes 18 and 19 below.

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My work on this edition is part of a larger bibliographical project on the pubHshing history of the Furioso in the first half of the Cinquecento. Probably recently the management has also changed, because we cannot confirm at all the rude staff service, as referred by Waiters were quite rude and not helpful when ordering. Tablecloths are neither changed nor cleaned! Pizza is clearly overcooked, too hot, the ingredients are barely decent Both the pizza, the calzone and the pasta here was very good, the dessert however was a weak spot. The pannacotta was still partially frozen and the caramel pudding was no good at all.

I recommend eating here, but take the dessert someplace else. All of your saved places can be found here in My Trips. Log in to get trip updates and message other travelers. Log in Join Recently viewed Bookings Inbox. Map updates are paused. Zoom in to see updated info. Italian, Seafood, Vegetarian Friendly. Is this restaurant good for local cuisine?

Les Amours d’Hippolyte

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Can a vegetarian person get a good meal at this restaurant? Is this restaurant family-friendly? Does this restaurant have tables with seating? Share another experience before you go. Write a Review Reviews See what travelers are saying: Reviewed July 21, via mobile. Overpriced for service and quality. Reviewed June 14, via mobile. Reviewed July 8, via mobile.

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