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in a new episode of the successful series of hgtv celebrity iou, he will exchange in his guitar for a sledgehammer to express his great gratitude to his. disambiguation – books send back here. if you are looking for other meanings, see books (disambiguation.) disambiguation – if you are looking for other meanings, see book (disambiguation.) ancient
books bound and loved ones in the library of the merton college in oxford. this voice is part of the biblioteche series of the ancient libraries of the near east ancient library of assurbanipal library of alessandria archive of tell leilan library of pergamo bayt al-Hikma dar al-Hikma Roman Empire: first libraries Roman libraries of the city of roma libraries
provincial library library of celso villa of papiri book: from the roll to the codex library of Constantinople library of cesarea maritime libraries of late antiquity this box: see • disk. • mod. william caxton shows his production to king Edward iv and queen consort. a book is a set of sheets, printed or manuscripts, dimensions, bound together in a certain
order and arranged by a cover. [1] the book is the most widespread vehicle of knowledge. [2] The set of printed works, including books, is called literature. books are therefore literary works. a book is called monograph, to distinguish it from periodicalsmagazines, newsletters or newspapers. A shop selling books is called bookstore, term which also
indicates the furniture used to store books. The library is the place used to store and consult books. Google estimated that at 2010 approximately 130 million different titles were printed. [3] With the spread of digital and Internet technologies, printed books have been accompanied by the use of electronic books, or e-books. [4] Etymology of the term
The Italian word book comes from the Latin liber. The word originally meant "cortex", but since it was a material used to write texts (in the book scribuntur litterae, Plauto), then by extension the word assumed the meaning of "operative". A similar evolution according to the Greek word βιβλίον (biblìon): see the etymology of the term library. In
English, the word "book" comes from the ancient English "bōc" which in turn originates from the Germanic root "*bōk-", word related with "beech" (beech). [5] Similarly, in Slavic languages (e.g. Russian, Bulgarian) "буква" (bukva—"letter") is related to "beech". In Russian and Serbian, another Slavic language, the words "букварь" (bukvar) and
"буквар" (bukvar), respectively, apply to school textbooks that assist elementary school students in learning reading and writing techniques. The first Indo-European language scriptures could have been carved on beech wood. [6] In a similar way, the Latin word codex/code, with the meaning of book in the modern sense (relegated and with separate
pages), originally meant "wooden block". History of the book European Library Production Levels from 500 to 1800. The key event was Gutenberg's invention of mobile printing in the 15th century. The history of the book follows a series of technological innovations that have improved thestorage of text and access to information, portability and
production cost. it is linked to economic and political contingencies in the history of ideas and religions. from the invention in 1455 of the gutenberg character print, for more than four centuries the only true mass medium was the "printed word". [7][8] writing is the condition for the existence of text and book. writing, a system of constructive signs
that allows to transmit and store information, began to develop between the vii and the iv millennium BC in the form of mnemonic symbols then become a system of ideograms or pictograms through simplification. the oldest forms of writing were therefore mainly logographic. later the syllabic and alphabetical writing (or segmental) emerged. )
antiquity when writing systems were invented, those materials were used to record information in the written form: stone, clay, tree bark, metal sheet. the study of these inscriptions is known as epigraphy. Alphabetical writing emerged in Egypt about 5,000 years ago. the ancient Egyptians used to write on the papyrus, a plant cultivated along the
river nile. the terms were not separated from each other (continuous scripture) and there was no punctuation. the texts were written from right to left, from left to right, and also so that the alternative lines were read in opposite directions. the technical term for this type of writing, with a pattern reminiscent of the grooves drawn from the plow in a
field, is bustrofedic. tablets the same topic in detail: tablet (support.) a tablet can be defined as a robust physical medium suitable for transportation and writing. clay tablets were things that the name implies: flattened and easy dry clay pieceswith greased inscriptions by means of a stylus possibly moistened for prints written. They were in fact used
as a means of writing, especially for the wedges, throughout the Bronze Age and until the middle of the Iron Age The wax tablets were wooden axles covered by a thick layer of wax that was engraved by a stylus. They were used as normal writing material in schools, in accounting, and to take notes. They had the advantage of being reusable: wax
could be melted and reformed a "white page". The custom of bonding together several wax tablets (Roman pugillares) is a possible precursor of modern books (i.e. codex, codex). [9] The etymology of the word codex (wooden block) presupposes that it could result from the development of wax tablets. [10] Roll The same topic in detail: Rotulus.
Egyptian papyrus illustrating the god Osiris and the weight of the heart. The papyrus, made of material often similar to the paper that is obtained by weaving together the stems of the papyrus plant, then beating it with a tool similar to the hammer, was used together in Egypt to write, perhaps already during the first dynasty about, although the first
evidence comes from the books of the king Neferirkara Kakai of the 5 Egyptian dynasty (2400 BC).[11] The tree barks, such as Tilia, and other similar materials, were also used.[12] According to Herodote (Storie 5:58), the Phoenician meanings brought in Greece the writing and the papyrus to the X century or the 9th century BC. The Greek word for
papyrus as writing material (biblion) and book (biblos) comes from the port indicated by derived Phoenicianwas used by Latins with the same meaning as volumen (see below also the explanation of Isidoro of Seville.) Whether it is made of papyrus, parchment or paper, the subsequent developments in the dominant librarian form of Hellenistic, Roman,
Chinese and Jewish culture. The codex format stabilizes in the Roman world in late antiquity, but the roll persisted much longer in Asia. Code The same topic in detail: Code (filology.) In the 6th century, Isidore of Seville explained the current relationship between codex, book and roll in his work Etymologiae "A code consists of numerous books, while
a book consists of a single volume. The code name has been given metaphorically, with reference to the codes that are to the trunks, the trees or the vines, almost to say caudex, that means precisely trunk, for the fact of administering a large number of books, that make, so to speak, the branches."[14] Modern use differs from this explanation. A code
(in modern use) is the first store of information that people recognize as a book: Uniform size sheets tied somehow along one of the edges, and usually held between two covers made of a more robust material. The first written mention of the code as a book form is made by Martial (see below) in his Apophoreta CLXXXIV at the end of his century,
where he praises its compactness. However, the code never gained much curiosity in the Hellenistic corrupt world, and only within the huge Christian community. [15] This randomly very rooted change over the centuries III and IV, and the reasons for the adoption of the code model are multiple: the format is cheaper, as both sides of the writing
material can be used, and it is portable, searchable, and easy to hide. Christian authors can also avoid distinguishing their writings from pagan texts on writing.history of the book continues to develop with the gradual transition from the roll to the codex, moving from the Near East of the II-II millennium BC to the first Byzantine period, during the 4th
and 5th century AD, when the spread of Christianity and monasticism fundamentally changed the course of the librarian history. Until the 2nd century AD, all patrimonies were preserved in the form of succession (or scrolls), some of parchment, but the majority of papyrus. Upon the arrival of the Middle Ages, about half a millennium later, the codes -
of foggia and construction in all similar to the modern book - they understood the scroll and were composed mainly of parchment. The roll directed to be used for documents and the like, writings of the sort that are ordered in tabs or archives, but the codex had supremacy in literature, scientific studies, technical manuals, and so on, writings of the
sort that are placed in libraries. It was a change that profoundly influenced all those dealing with books, from casual reader to professional librarian. The first references to the codes are found on Martial, in some epigrams, such as the one of the Book XIII published in the year 85/86 d.C.: (LA) "Omnis in hoc gracili Xeniorum turba libello / Constabit
nummis quattuor empta libri. / Quattuor est nimium? Poterit constare duobus, / Et faciet lucrum bybliopola Tryphon.» (IT) «The series of Xenia collected in this agile book will cost you, if you buy it, four money. Four kids? You can pay them two, and Trifone the libraio will make us his gain anyway." (Martial XIII.3.1) Even in his distics, Marziale
continues to quote the codex: a year before the above, a distic collection is published in order to accompany donations. There is one, which bears the title "Le Metamorphoses di Ovidio su Membranae" and dice: (LA) "OVIDI METAMORPHOSIS IN MEMBRANIS. Haec tibi, multiply us quae structa est mass table, / Carmina(IT) "THE METHOD OF
OVIDIO ON parchment. This mass consists of numerous sheets contains fifteen poetic books of the Nason" (Martial XIV.192) The ancient book The book object underwent over considerable time comes from the material and structural point of view. The oldest book specimens were in the form of volumen or roll and mostly handwritten on papyrus.
From the 2nd century B.C. compares a new type of writing support: parchment. In the ancient world he did not enjoy much luck due to the high price compared to the papyrus. It had the advantage of greater resistance and the possibility of being produced without the restrictions imposed by the warm climate for the growth of the papyrus. The book
in roll form consisted of sheets prepared by papyrus fiber (phylire) arranged in a horizontal layer (the layer which then received the writing) overlapped to a vertical layer (the opposite face). The sheets so formed were glued to each other sideways, forming a long strip that could have two sticks (umbilical) on which they were rolled. The writing was
tied to columns, generally on the side of the papyrus that presented the horizontal fibers. There was no fuss about the parchment cutouts, however, their form was similar to that of the books in papyrus. The black inks used were a base of black smoke and arabic rubber. From the 2nd century AD onwards a new form of book begins to spread, codex or
code both in papyrus and parchment. The old roll librarian form disappears in the librarian field. In a very different form, however, remains in the archival context. In the Middle Ages there are some innovations: new ceramic iron inks and, from the middle of the 13th century, paper. The very low price of this material, obtained from rags and therefore
more abundant than the parchment, favors theBut we must wait for the second half of the fifteenth century to meet the acceptance printing process attributed to an invention of the German Gutenberg. This means, allowing the acceleration of the production of copies of texts distinct to the spread of the book and culture. The word membrane, literally
"hair", is the name that the Romans gave to the codex of parchment; the gift that the above-mentioned distics had to accompany was almost certainly a copy of the complete work of Martial, fifteen books in the form of code and not of roll, more common in seda' epoch. Other his distics reveal that among the gifts made by Martial there were a copy of
Virgil, Cicero and Livio. Martial's words give the distinct impression that such editions are something recently introduced. The code originated from the wooden tablets that the ancients used for centuries to write notes. When there was need for more space than a single tablet, the scribes added more, stacked one above each other and tied together
with a rope passing through the previous holes drilled on one of the margins: so he got a " notebook." "Tacinians" were found containing up to ten tablets. Over time, luxury models made with ivory tablets instead of wood were also available. The Romans called these tablets with the name of codex and only much later this term acquired the meaning
that we currently give them. At one point the Romans invented a lighter and less bulky notebook, so inclusive wood or ivory with parchment leaves: They put two or more sheets together, bend them in the middle, wash them along the fold, and pass us into a cord to hold them (re) tied. The passage was short from using two or three sheets as a
notebook to raise a certain amount together to transcribe extended texts - in other words, creating a codex in the very sense that we use today.[16]and Romanesque to the Romanians goes the merit of having completed this essential step, and must have done a few decades before the end of the century AD, since since then, as the martial journals
appear, the editions of common authors in codex format became available in Rome, even one more. Please. roma was the center of books book trading in Latin, it can certainly be concluded that the production of such editions originated from this city. the great advantage that they spread compared to the rolls was the capacity, advantage that arises
from the fact that the external facade of the roll was left in white, desert. the code had written the facades of each page, as in a modern book. (la) «Quam brevis inmensum cepit membrane maronem! ipsius vultus first table gerit.» (it) «How small is the parchment that collects all virgilio! the first page bears the face of the poet." (martial XIV.186) So it
becomes martial in one of his epigrams: the heeneid alone would have required at least four or more times. the codes he was talking about were made of parchment; in the distics that accompanied the gift of a copy of Homer, for example martial describes it as made of "heart with folds." but copy were also fattened with papyrus sheets. in egypt,
where the papyrus plant grew and was the center of its manufacture for writing material, the codex of such material was of course more common than the parchment: Among the thousands of Greek and Latin scripts found among the Egyptian sands, about 550 are codes and just over 70% of these are made of papyrus. 16 It is also assumed that the
papiraceous code was common outside the egitto. when the Greeks and the Romans only had a roll to write books, the papyrus was preferred rather than parchment. It is therefore logical to believe that the same thing is oata for the codex when this becomesEgyptian findings allow us to trace the gradual gain of the roll by the code. made his
appearance in Egypt not long after martial time, in the early century AD, or perhaps even before, at the end of the century. his debut was modest. to date, 1.330 fragments of Greek literary and scientific writings were found, dating back to the first and second centuries; are all on roll, except slightly less than twenty, just 1.5%, on subparagraph. in the
third century the percentage increases from 1.5% to about 17;% clearly the codex getting success. to 300 AD the percentage rises up to 50% - a replacement with the roll which is reflected in certain representations that represent a man holding a roll to another holding a code. [17] within 400 AD it reaches 80% and in 500 to 90.% the roll still had
several centuries before it, but only for documents; that people read for pleasure, edification or education was practically all on subparagraph. [18] papyrus and parchment the same topic in detail: papyrus and parchment. Egyptian findings also shed light on the transition of codex from papyrus to parchment. in theory, in egypt, land rich of papyrus
plant, the papiraceous code should reign supreme, but it was not like this: the code of parchment clothing in the area at the same time as that of papyrus, in the eleven century AD relatives the eleven codes of the bible dated in that century were papiraceous, about 18 codes of the same century with pagan writings and four of these are in parchment.
[19] Moreover, some interesting information is provided by a letter from the time, found in an Egyptian village - a son writes to his father that "Deios came to us and there was more than six parchment codes. We did not choose any, but we collected eight more for which the died 100 drachmas in account.[20]» deios, apparently an outpatient libraio,
wanted to sell aof at least fourteen parchment codes, which interested a resident of the Egyptian village. The codex so much appreciated by Marziale had therefore made a lot of way from Rome. In the third century, when these codes became quite common, parchmentary codes began to be popular. The total number of current surviving codes sum
more than one hundred; at least 16 are parchment, therefore 16%. In the fourth century the percentage rises to 35% - of about 160 codes, at least 50 are parchment - and remains at the same level in the 5th century. In short, even in Egypt, the world source of the papyrus, the parchment code occupied a considerable market share.[16][20] The oldest
codes that survived outside Egypt date back to the fourth and fifth centuries of C. and are few - different for the Bible, some of Virgil, one of Homer and little more. They are all of parchment, elegant editions, written in calligraphy processing on thin parchment sheets. For such luxury editions the papyrus was certainly unsuitable.[16] In at least one
area, the Roman jurisprudence, the parchment codex was produced both in economic and luxury editions. Famous compilation titles, Theodosian Code promulgated in 438, and the Justinian Code promulgated in 529, ruling that the emperors wrote them on codes, surely of parchment since they were more lasting and more capacious and also of
excellent quality, since they were produced under the aegis of the emperor. On the other hand, relying on the notes of Libanius, intellectual of the 4th century that in his many activities made also the law teacher, it is appropriate that the text books of his students were parchment codes. The reasons were good: the parchment could resist various
mistreatments, the code could come quickly to refer to logic, decide and evaluate, and so on. The parchment used specificallyof low quality, with film so thick as to far bend the knees to the students carrying them. However, the weight was another important factor for out-of-class activities: they served for student struggles and books were used
instead of stones.[16][21][22 Middle Ages Manoscritti The same topic in detail: Manuscript. The development of communication technology: oral tradition, manuscript culture, press culture, was information. The fall of man Roman Empire in the 5th century AD saw the decline of the culture of ancient Rome. The papyrus became difficult to find due to
the lack of contact with Ancient Egypt and parchment, which for centuries had been held in the second floor, became the main writing material. The monasteries continued the Latin scriptural tradition of the Western Roman Empire. Cassiodoro, in the Monastery of Vivario (founded around 540,) emphasised the importance of copying the texts.[23]
casual, also Benedict da Norcia, in his Regula Monachorum (completed in the middle of the sixth century) promoted reading. [24] The Rule of St. Benedict (Cap. XLVIII,) which reserves certain moments to read, strongly influenced the monastic culture of the Middle Ages and is one of the reasons why the clergy became the greatest readers of books.
The tradition and style of the Roman Empire still prevailed, but the culture of the medieval book emerged. Irish monks introduced the spacing between words in the 7th century. They adopted this system because they read the Latin words with difficulty. The innovation was also inherited in the Neolian countries (such as Italy), although it did not
become common before the 12th century. It is felt that the insertion of spaces between words has favoured the passage from semi-vocalized to silent reading.[25] Before the invention and diffusion of typographical press, almost all books sold hand copied, themade them expensive and relatively rare. the small monasteries usually reached a few dozen
books, perhaps some sort of middle-sized ones. in Carolingian age the largest collections collected about 500 volumes; in the lower Middle Ages the papal library of avignone and the library of the Sorbona of Paris about 2,000 volumes. the most oated writing support in the upper Middle Ages, the parchment, or vellum (veal skin,) must be prepared,
then the pages were planned and lined with a pointed instrument (or a lead,) after which the text was written by scribe, which usually left blank areas for illustrative and columnative purposes. Finally, the book has been relegated by the binding agent. [27] the covers were made of wood covered with leather. dry parchment tends to assume the form it
had before the transformation, the books were equipped with claws or straps. In this period, ink types were differentiated, either prepared with soots and rubber, and later also with gall nut and iron sulphate. this given to writing a black brownish color, but black or were not the only colors used. notice texts written in red or even in gold, and different
colors oats for miniatures. Sometimes the parchment was all purple and the text was written in gold or silver (for example, the codex Argenteus).[28]See illustration in margin for the entire Middle Ages the written books copied mainly in the monasteries, one at a time. with the appearance of universities, the culture of the manuscript of the dominant
era to an increase in the demand for books and therefore a new system for their copying was tested. the books were divided into non-tied sheets (pecia,) which were altogether different Coptics; consequently the rate of production of library increasedThe system was managed by lay cartolai corporations, which produced both religious and profane
material. [29] In the first public libraries, books were often chained to a library or desk to prevent theft. These books were called chain books. This custom lost until the 18th century. See illustration in margin Judaism has kept the art of the scribe alive until today. According to the Jewish tradition, the Torah roll placed in the synagogue must be
handwritten on parchment and therefore a printed book is not allowed, although the congregation can use printed prayer books and copy of the Hebrew Bible can be used for study outside the synagogue. The Hebrew scribe (sister) is quite respected within the observant Jewish community. In the Islamic world Even the Arabs produced and bound
books during the Islamic medieval period, developing advanced techniques of Arabic, miniature and tied-up calligraphy. A number of cities in the medieval Islamic world were home to Jewish production centres and book markets. Marrakech, in Morocco, had a street called Kutubiyyin, or "book retailers", on which in the 12th century more than 100
bookstores appeared; the famous Koutoubia Mosque is so called because of its location in that street. [16] The medieval Islamic world also transited a reliable copy reproduction method in large quantities known as "control reading", in contrast to the traditional method of the scribe which, alone, produced a unique copy of a unique manuscript. With
the control method, only "authors authorized copying, and this was done in public meetings, where the copyist read the text loudly in the presence of the author, which then certified it as precise". [30] With this controlled reading system, "an author could produce a copy more than one reading date and, withor more readings, more than one hundred
copies of a single random book be easily produced. "[31] Xilography In xilography, a low relief of a whole page carved on wooden tablets, ink and used to print copies of that page. This method originated in China, during the Han Dynasty (before 220 BC), to print on textiles and subsequently on paper, and was widely used throughout East Asia. The
oldest book printed with this system is the Diamond Sutra (868 AD). This method (called "integration" when used in art) capable in Europe in the early fourteenth century was used for producing books, gaming cards and religious illustrations. But creating a whole book was a long and difficult task, requiring a hand-carved tablet for each page, and
tablets often crept if kept over a certain time. The monks or others who wrote them, were paid fragrantly. [16] Mobile and nightmare characters The same topic in detail: Mobile print and Incunabolo. The Chinese inventor Bi Sheng made mobile terracotta characters around 1045, but there are no surviving examples of his print. Around 1450, in what
is considered as an independent invention, the German Johannes Gutenberg invented the mobile characters in Europe, along with the metal casting mould for each of the letters of the Latin alphabet. [32] This invention made books less laborious and less expensive to produce and more widely available. Printing is one of the first and most important
forms of production in series. The first printed books, single sheets and images that were created before 1501 in Europe, are known as nightmares. "A man born in 1453, the year of the fall of Constantinople, could look back from his 50th year of a life in which about eight million books wereprinted, perhaps more than anything the scribes of Europe
produced since Constantine had founded his city in 330 AD[33]» Gallery of images Folio 14 Vergilius romanus containing a portrait of the author Virgil. From not the bookcase (capsa,) the leggio and text written without spaces in rustica capitala. Page of the Codex Argenteus. The author and scribe Burgundy Jean Miélot, depicted in his Miracles de
Notre Dame, the fifteenth century. Read with chained books, Malatestiana Library of Cesena. A cloister of the 15th century. Note the worked cover, corner studs and clamps. Chosen teachings of Buddhist essays, the first book printed with mobile metallic characters, 1377. Bibliothèque nationale de France. Modern and contemporary age Steam
printing machines became popular in the 19th century. These machines can print 1,100 sheets per hour, but printers were able to set only 2,000 letters per hour. The monotype and linotype typographic machines were introduced in the late 19th century. They could set more than 6,000 letters per hour and a full line of characters instantly. The
centuries following the XV saw a gradual development and improvement of both the press and the conditions of freedom of press, with a progressive relaxation of the restrictive consequences of censorship. In the mid-20th century, European librarian production had risen to over 200,000 titles per year. In the second half of the 20th century computer
technology has decided with the spread of books in electronic format, then denominated eBook or e-book (from electronic book) , a revolution as it has evidenced the library Nick Carr from the characteristics of the printed paper or: The page's fixedness, the reliability of the edition, the object's reliability, the complexity of the realization, is changed to
the page's fluidity, the fluidity of the edition, the fluidity of the container,of growth. [34] In 1971[35] the Gutenberg Project was launched by Michael S. Hart, the first library of electronic versions freely reproducible to printed books. The use of eBooks instead of printed books has spread only at the beginning of the 21st century. [36] Book formats The
same topic in detail: Paper size. Printed books are produced by printing a pair of appearances on a sheet of paper. The size of the sheet has changed over time, depending on the capacity of the presses. The printed sheet is then properly folded to get a sheet or score of multiple progressive pages. The various markings are relegated to obtain the
volume. The opening of the pages, especially in the brossura editions, was usually left to the reader until the 1960s, while now the markings are drawn directly from the typography. In ancient books the format depends on the number of folds the sheet undergoes and, therefore, on the number of cards and pages printed on the sheet. In modern books
the format is given by the height in centimeters, measured at the forehead, within a minimum and a maximum conventionally established. [37] Pocket book The same topic in detail: Pocket book. The term "tascant" refers to the book is a commercial book and identifies economic books printed in sixteenth, whose diffusion, starting from the last
nineteenth century (but especially in the second half of the twentieth century), allowed has a remarkable decline in prices. Substantially - both for format, and for economics - it finds precedent in the history of the book before the press, already from ancient times (the "book that stands in a hand": in the Greek world encheiridion, in the Latin world
the pugillares, in the Middle Ages the bizarre book. Parts of a book In alphabetical order: Cards of guard The same topic in detail: It's about it. Sguardsmarbled paper with peacock eye in a book of 1735. The "guard cards", or looks, or looks, are the opening and closing cards of the real book, which materially connect the body of the book to the
blanket or ligature. Not being part of the markings, they are never counted as pages. Their practical usefulness is evident in cartoon books, or bound in canvas, leather or parchment, where to help keep the rigid blanket united to the book block. In the ancient book the looks, placed to protect the first printed pages or manuscripts of the text,
sovereignty to hold it together with the cover with spagues or fettucce passing in the pockets to the back; in the modern book is instead the gauze that combines the files to the cover. It is called "contraguard" the paper that is glued on individual "counterpiatto" (the inner part of the "piatto") of the blanket, allowing its definitive anchorage. The looks
are high of paper other than that of the interior of the volume and can be white, coloured or decorated with motifs of (in ancient books were marbled). In ancient luxury books, they can be in variable numbers, from two to four (rarely more), both at the beginning and at the end. In books in brossura and in the pamphlets the hidden looks, but there is
often a single guard card in the beginning and in the end. Colophon The same topic in detail: Colophon. The colophon or colophon, which closes the volume, reports the essential information on the printer and on the place and the date of printing. In the manuscripts it was constituted by the signature (or subscriptio) of the copyist or of the scribe, and
it contained data, place and author of the text; Later it was the final formula of the books printed in the 15th and 16th century, which contained, planned red ink, the name of the printer, place and date of printing and the banner of the publisher. He still survives today, especially with the finished wording of printing.or The same topic in detail: Cover
and Brossura. The parts of the book: 1) made; 2) overload; 3) counterguard glued to the blanket; 4) lip; 5) head cut; 6) front cut; 7) foot cut; 8) page equal or right 9) odd or left page; 10) fold of the sheet forming the file. As a rule, the files that make the book are kept together by an envelope called ""cover" or "cover", is the most part of the book often
rigid and illustrated. The oldest illustrated cover today covered the Strodus Consequentiae, a booklet printed in Venice by Bernardo da Lovere in 1484. [38] Seldom used until the whole eighteenth century (when the publisher sold the books untied or applied a simple cover of protection, which was then thrown by the tinder) became very popular from
the early nineteenth century, perhaps on impulse of the Brasseur printers of Paris. [39] In the ancient book it could be covered with various materials: parchment, leather, canvas, paper and made of wood or cardboard. It could be decorated with dry impressions or gilding. The storage of the two cartoons that make the cover is called a dish. The
dishes are slightly larger than the volume body. The part that protrudes over the edge of the sheets is called swallowing, or nail or case. It is also made in the markings (folded sheets) to facilitate the collection or assembly of a booklet. In the modern book, the blanket consists of two plates and a "back", for the so-called rigid covers ("book bindings" or
"Bradel" or "cartonate"), or from a cardboard more or less often than, properly bent along the back line, embraces the card block. In the latter case we talk about brossure and the nail is absent. Born with purely practical functions such as card block protection and permissionthe blanket assumes different functions and meanings over time, not least
aesthetic and representative. in the xix century the blanket acquires a prevalent promotional function. with mechanization and diffusion of the typographic industry other types of ligature and blankets are introduced, cheaper and suitable for automatic processing. the cardboard is spread in the xix century, preferred for economy, robustness and
resale of color. has long characterized the publishing for childhood and today, covered by an overcoat, compensated the distinctive trait of the major editions. modernly brossura is a binding system in which the files or markings are milled on the back side and the loose sheets are glued to a strip of canvas or plastic always to the back (called "brossura
milled.)" fins or stripes (commonly called "cover turns) are the internal folds of the cover or the overlay. before cover the "first cover" or "front cover" or "top cover" is the first face of the cover of a book. as a rule, reports the title and author. Fourth cover the "back cover" or "back cover" or "lower plate" is the last face of the cover, oata today for
promotional purposes. usually reports on the work and the author, as well as the isbn code and the price of the volume (if it is not indicated in the cover turn.) over cover or over cover the same subject in detail: Overloaded. books with a paper cover are usually covered by a cover. usually has the function of wanting the book, so it reports the essential
data of the work and is always in color and illustrated. overcover is printed, in most cases, only on the outside. I'll cutexternal margins of the book, that is, the surface presented by the sheets in a closed volume, are called cuts. they are called upper (or head;) the outer cut is said front (or concave;) the lower cut is called foot. From an industrial point
of view, the head cut is, with the seam, the most important side of a book as it determines the register of the printing machine. cuts can be natural, decorated or colored in various ways. In these latter cases, we talk about "color cutting," in the past oats to distinguish religious books or value from the remaining editorial production, using a sponge
filled with ananline inks (70-80 years of the xx century.) [40] since the end of the nineties later lead in lips with water-based colors. back the back or coast or rib of the book is the part of the cover that covers and protects the folds of the bundles, visible when the volume is cut place (eg on a shelving. ) reports high title, author, and book editor. ex
libris the same topic in detail: ex libris. The "ex libris" is a leaflet that was (and is still) glued inside the cover of a book to indicate, with a heraldic coat of arms or a symbolic image, the owner. It often has a motto. strip in the modern book, the strip is the paper strip, applied transversally to the book cover, used to bring back advertising slogans
intended for a success of the book. absent in the ancient book. I address the same topic in detail: Front. the overview of the Galilean Dialogue (1632) the forehead is the equal page, usually the first (or the third) of a book, which presents the most complete information on the book itself. the first nightmares and manuscripts are not the forehead, but
they opened with a white paper with protective function. introduced at the end ofthe forehead had the form of an eyelet or an incipit, so he surrendered decorative elements like xylographic frames. In the seventeenth century, it cedes the decorative part to the anti-door, and it seems to you the indications of an advertising character referred to the
publisher, once reserved to the colophon. In modern times, the illustrations and part of the information have moved to the cover or overhead and other information in the front page. Nervi In the ancient book the "nervi" are the sewing supports of the bundles generally in rope, leather, snailed skin or, more recently, crack. The nerves can be left open
(and highlighted through the "staffing"), or hidden so as to get a smooth back. In the modern book the nerves are usually fake, supposed to imitate the aesthetics of the ancient book and give importance to the book. Eyes The same topic in detail: Eyelet (book). The eyelet (or eyelet) is a page with a title (often series or necklace) that precedes the
forehead. In books divided into several parts, you can have intermediate eyes.[41] Tables A book is often enriched with figure. If they are an integral part of the text, they are called illustrations. If they are out of text, i.e. they are printed separately and are joined to the book in a second time, they are called tables. They have a separate page
numbering from that of the text; are impressions on a special card, almost always a coated paper. [42] Value of the book The value of a book is not given by the sole cost of production, there is punishment to consider that the book is a work of ingenuity. As a creative good, the book reflects a identity value of social and collective nature, marking a
collective; you can consider a symbolic product[not clear]. The economic value which is given by the price to which it is sold on the market, i.e. by the attribution ofimportance, value by individuals or markets. The relational value is the link that the book is able to create between publishers, author and reader but also between titles of the same
necklace. The identity value allows the reader to identify and feel part of the story until he recognizes himself in the work itself. The cultural value of which the book is charged allows culture to take on different points of view. The status value can be both the author and the reader of the work, I have a bedroom or I did not have a certain book can
help create a certain reputation. Note The book is "a prism with six rectangular faces, composed of thin lamine of paper, which must present a forehead" Jorge Luis Borges, All the works, trad. Milan, 1984, p. 212. Amedeo Benedetti, Il libro. History, technique, structures. Arma di Taggia, Athens, 2006, p. 9. All 129,864,880 of you. Within Google
Books, 5 August 2010. Retrieved 15 August 2010. "After we exclude serials, we can finally count all the books of the world. There are 129.864,880 of them. At least until Sunday». ^ George Curtis, The Law of Cybercrimes and Their Investigations, 2011, p. 161 Book, Dictionary.com URL consulted on 5 June 2012. ^ Northvegr - Lingua Santa Lexicon:
B filed 03/11/2008 from the original (EN) "Paccagnella, L. 2010, Sociology of Communication, Bologna, Il Mulino, p. 84 "Rosengren, K.E, 2001, Introduction to the study of communication, Bologna, Il Mulino, ISBN 88-15-08248-4 p. 158 " Leila Avrin". Bernhard Bischoff, Latin palaeography antiquity and the Middle Age, Dáibhí ó Cróin, Cambridge,
Cambridge University Press, 1990, p. 11, ISBN 0-521-36473-6. Leila Avrin, Scribes, script, and books: the book arts from antiquity to the York Library, New York Library, New YorkISBN 978-0-8389-0522-7. Dard Hunter, Papermaking: History and technique of an ancient craft New ed. Publications 1978, p. 12 (EN) Leila Avrin, Scribes, Script and
Books, pp. 144–145. "Isidoro di Siviglia, Etimologie o origine, Torino, Utet, 2004. Book VI, chapter 13. ^ Cambridge's history of Early Christian literature, curators Frances Young, Lewis Ayres, Andrew Louth, Ron White. Cambridge University Press 2004, pp. 8–9 (EN) ^ a b c d e f g Lionel Casson, Libraries in the Ancient World, Yale University Press
(2002,) passim (EN) Raffaele Garrucci, History of Christian Art first in the eight centuries of the church (1873,) on L. Casson, op. cit. Ibidem, p. 127-28. ^ The first dates Only codes were used by Christians for far copy of the Sacred Scriptures and also for other religious writings. The eleven biblical codes of this period (six with the Septuagint and five
with parts of the New Testament) are subparagraphed. Cf. Colin H. Roberts and T.C. Skeat, The Birth of the Codex, OUP Oxford (1983,) pp. 38-44. ISBN 978-0-19-726024-1. ^ a b Citato da U. Hagedorn et al. Das Archiv des Petaus, Cologne (1969) nr. 30 (ted.;) See also Van Haelst, "Les origines du codex" pp. 21-23, on A. Blanchard (cur.) Les débuts
du codex, Turnhout (1989) (FR) . 105 of which 15 are Greek codes of parchment and 2 Latins of parchment; 4th century: 160 of which 56 in parchment; 5th century: 152 of which 46 in parchment. See also W. Willis on Greek, Roman and Byzantine Studies (1968), p. 220 (EN) Libanio, Orationes 4.18, 58.5 A. Norman on Journal of Hellenic Studies, 80
(1960) Leila Avrin. Writers, Scripts and Books, pp. 207-208. Theodore Maynard. Saint Benedict and his monks. Staples Press Ltd 1956, pp. 70–71 (EN) Paul Saenger, Space Between Words: The Origins of Silent Reading, Stanford University Press (1997) Martin D. Joachim, Historical AspectsCataloguing and classification, Haworth Press (2003), p.
452. Bernhard Bischoff. Edmund Burke, Islam at the Center: Technological Complexes and the Root of Modernity, in Journal of World History, vol. 20, n. 2, University of Hawaii Press, June 2009, pp. 165–186 [43], DOI:10.1353/jwh. Retrieved August 26, 2017 (archived by the original url on December 4, 2017). Clapham, Michael, "Printing" in A History
of Technology, Vol 2. From the Renaissance to the Industrial Revolution, (curators) Charles Singer et al. (Oxford 1957), p. 377. Kevin Kelly, The Inevitable , (2016) The technological trends that will revolutionize our future,(2017),Milano , Il Saggiatore , trad. Alberto Locca , ISBN 978-88-428-2376-6 , p 85 Jeffrey Thomas, Project Gutenberg Digital
Library Seeks To Spur Literacy, U.S. Department of State, Bureau of International Information Programs, 20 July 2007. Archived from the original on 19 August 2007. ^ Ted Nelson Literary Machines: The report on, and, Xanadu Project concerning word processing, electronic publishing, hypertext, thinkertoys, tomorrow's intellectual... including
knowledge, education and freedom (1981), Mindful Press, Sausalito (Baia di San Francisco), California. Other editions: 1980-1984, 1987, 1990-1993 (Italian edition, literary machines 90.1. The project Xanadu, Franco MuzzioPadova 1992) "Encyclopedia Treccani". www.treccani.it. Retrieved 10 January 2018. ^ Copertina, in Dizionario biografico degli
italiani, Istituto dell'Enciclopedia Italiana. ^ Nereo Vianello, La citazione di opere a stampa e manuscript, Leo Olschki, Firenze 1970, p. 32. ^ An example is the school notebooks with red coloured edges, edited by the Cartiere Paolo Pigna. ^ "L'occhietto, ie a page that echoes a title (and possibly other information) but accompanying, on the rectum of
the previous card, a page with more complete data", extracted from the document Italian Rules of cataloguing (REICAT) by the Permanent Commission for the revision of the Italian rules of cataloguing, Rome, ICCU, 2009. The quotation of print and manuscript works, Leo Olschki, Florence 1970, pp. 25-26. Bibliography Volumi collected in the
Gambalunghiana Library of Rimini Lorenzo Baldacchini. The old book. ISBN 92-77-430-340-2 Lionel Casson, Libraries of the Ancient World, Milan, Bonnard (2003). ISBN 978-88-86842-56-3. Amedeo Benedetti, The Book. History, technique, structures. Arma di Taggia, Athens, 2006. ISBN 88-88330-29-1. Enrico Mistretta, L'editoria - a craft industry.
Bologna, Il Mulino, 2008. ISBN 978-88-15-11301-6. Umberto Eco and Jean-Claude Carrière, Do not hope to release books, Saggi Bompiani, 2009. ISBN 978-88-452-6215-9. Robert Darnton, Il futuro del libro, Milan, Adelphi, 2011. ISBN 92-78884592-88 Paola Dubini, Voltare pagina? The transformations of the book and the publishing, Pearson, 2013.
ISBN 978887871926599 Related voices Audiobook Bibliophilia Library eBook Editio princeps (First edition) Johannes Gutenberg Library (Negotium) Books Restder Art Book Miniature Papiro Review Typography Other projects Wikiquote Wikimedia Commons contains quotes on the Wikia dictionary book contains the lemma ofCommons contains
images or other files on the external book Book / Book (other version), in History Dictionary, Istituto dell'Enciclopedia Italiana, 2010. Book, on know.it, De Agostini. (IT, DE, FR) Book, on hls-dhs-ds.ch, Historical Dictionary of Switzerland. Book, on Encyclopædia Britannica, Inc. B. Fadda e M. Rapetti, History of the Book of Libraries, on peopleunica.it.
Digital Rare Books, on rarabooks.signum.sns.it. Archived from the original on 11 January 2012. Digitalization of rare books of the Scuola Normale Superiore - experimental prototype, curated by Signum Scuola normale superiore di Pisa Authority control Thesaurus BNCF 303 · LCCN (EN) sh85015738 · GND (DE) 4008570-3 · BNF (FR) cb119322951
(data) · BNE (ES) XX76243=Data) · NDL (EN, JA) 0057

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