#monumentaal

[njoypicturesfotografie]

🌟 Stap in de nostalgie! 🌟

Het prachtige Centraal Station in Den Bosch met zijn iconische perronkappen is een waar juweeltje! 🏛️✨ Laat je betoveren door de charme van het verleden en geniet van de sfeer terwijl je wacht op je trein. Want wie zegt dat wachten niet leuk kan zijn? 🚉😉

[twafordizzy]

Kapuscinski: 'wat ons met de Ander verbindt'

bron beeld: diariovivo.com Ryszard Kapuscinski (1932-2007) was reisjournalist en schreef een aantal reisboeken die monumentaal mogen worden genoemd. Aan het einde van zijn leven verzamelde hij een zestal lezingen die gaan over de ontmoeting met de Ander, de vreemdeling. De Pool beschouwde de ontmoeting met de Ander als een universele en fundamentele ervaring. Conflict, oorlog en geweld zijn…

[cuties-in-codices]

"guide to the construction of letters"

pages from the "model book of calligraphy", vienna, originally created by georg bocskay from 1561-62, illuminated and expanded by joris hoefnagel, c. 1591–96

source: Getty Museum Collection, Ms. 20 (86.MV.527), fol. 143r-147r

[uwmspeccoll]

Typography Tuesday

We return to our facsimile of a 16th-cnetury calligraphic manuscript, Mira Calligraphiae Monumenta, or Model Book of Calligraphy, written in 1561/62 by Georg Bocskay, the Croatian-born court secretary to the Holy Roman Emperor Ferdinand I, and illuminated 30 years later by Flemish painter Joris Hoefnagel for the grandson of Ferdinand I, Emperor Rudolph II. The manuscript was produced by Bocskay in Vienna to demonstrate his technical mastery of the immense range of writing styles known to him. To complement and augment Bocskay's calligraphy, Hoefnagel added fruit, flowers, and insects to nearly every page, composing them so as to enhance the unity and balance of the page’s design. Although the two never met, the manuscript has an uncanny quality of collaboration about it.

Our facsimile was the first facsimile produced from the collection at the J. Paul Getty Museum in Los Angeles. It was printed in Lausanne, Switzerland by Imprimeries Reunies and published by Christopher Hudson in 1992. 

View another post from Mira Calligraphiae Monumenta,

View more Typography Tuesday posts.

[thetremblingroofbeam]

rip.

[orpheusterminals]

#kingshitofturdtown by Iason Ragnar Bellerophon

[thefollyflaneuse]

Monumenta Romana and the Belvedere, Waldeshare, Kent

In the 1720s Sir Robert and Lady Furnese erected a vast garden building at Waldeshare Park, their seat in Kent, which became known as the Belvedere. 300 years later a diminutive structure, the Monumenta Romana, has appeared in its shadow (more…) “”

[arthistoryanimalia]

For #FrogFriday + #DragonflyWeek:

Joris Hoefnagel (Flemish, 1542-1600) & Georg Bocskay (Hungarian, d.1575)

Common Pear, Lake Demoiselle, Moor Frog, and Hyacinth: Mira calligraphiae monumenta, Ms. 20 (86_MV_527), fol. 75

1561–1562; illumination added 1591–1596

Watercolors, gold & silver paint, ink

16.6 × 12.4 cm (6 9/16 × 4 7/8 in.)

Getty Museum collection

[chadlesbianjasontodd]

Sexualization extended to images of reading, too. Many of the paintings and prints produced by Moronobu and his contemporaries, for instance, depict not “respectable” women but courtesans in the act of reading (see figure 4), and in many scenes the implied narrative is that reading gives way to sex, for in many a shunga scene books lie scattered about the floor. Sometimes the woman portrayed reading is clearly stated not to be a courtesan, but is nevertheless shown in a situation of intimacy (see figure 2). Even the most sober didactic works were not immune to treatment of this sort. A particularly apposite example is an erotic parody of Onna daigaku. This inevitably anonymous and undated piece, entitled Onna dairaku 女大楽(Great Pleasure for Women) and probably published in the 1720s, includes a scene in which a woman’s reading is interrupted by a man who is genitally stimulating her from the other side of the kotatsu. Here the very act of reading is invaded by the fantasies of the erotic tradition.

peter f. kornicki, "unsuitable books for women? genji monogatari and ise monogatari in late seventeenth-century japan," monumenta nipponica vol. 60 no. 2

[rozieramati]

Mira Calligraphiae Monumenta by Georg Bocskay 

[lilk0408]

in monumenta we have the casino

Imagine... Wynncraft Gacha Game...

[mindblowingscience]

The quest for the ninth Dedekind number was a formidable challenge that spanned over 32 years. The calculations involved were so complex and involved such large numbers that it was uncertain whether D(9) would ever be discovered. But undeterred by the complexity and the enormity of the task, mathematicians continued their pursuit.

[uwmspeccoll]

Typography Tuesday

Sometimes, things in our collection still surprise me, even after 29 years. From our fairly sizable manuscript facsimile collection, I was surprised I had never encountered this little (5 X 7 in.) reproduction of a 16th-cnetury calligraphic manuscript, Mira Calligraphiae Monumenta, the first facsimile produced from the collection at the J. Paul Getty Museum in Los Angeles, printed in Lausanne, Switzerland by Imprimeries Reunies and published by Christopher Hudson in 1992. 

As the relatively new invention of printing came to dominate the production of books by the 1500s, the calligraphic inventiveness of scribes became prized for their aesthetic qualities rather than their production value. 

From 1561 to 1562, Georg Bocskay, the Croatian-born court secretary to the Holy Roman Emperor Ferdinand I, created this Model Book of Calligraphy in Vienna to demonstrate his technical mastery of the immense range of writing styles known to him. About thirty years later, Emperor Rudolph II, Ferdinand's grandson, commissioned the [Flemish painter] Joris Hoefnagel to illuminate Bocskay's model book. Hoefnagel added fruit, flowers, and insects to nearly every page, composing them so as to enhance the unity and balance of the page's design. -- Getty Museum Collection webpage.

Although the two never met, the manuscript has an uncanny quality of collaboration about it.

Today we only show 11 pages from the facsimile, but we hope to present more from this highly-inventive manuscript of calligraphic virtuosity in the future.

View more Typography Tuesday posts.

-- MAX, Head, Special Collections

[vulturesouls]

Pages from Mira calligraphiae monumenta, made in Austria, late 16th century

Getty Museum

[orpheusterminals]

Eye Can Sea Ewe by Iason Ragnar Bellerophon

[sad-girl-shit11]

Nempe est quod esse pār est: portenta tanta cōnspicis stupēns jamque immemor facta es tuī (et amābilest!). Jūcunda semper est hūmāna gēns! Quem vidēs, Māui ille sum; dumque exōrdior, resūme spīritum! Nam, sōlis īnstar, sciō esse impār rēctā nostrum vīsere jubar Quid tibī plūra? Namque nīl est, quod caelum, aestum, sōlem dō! Estō sēcūra: ferre nīl est mūnuscula ista sēmidīvulō! Hei! Prōfer quī caelum ferre potest tē vāgiente (quī vir hic est), noctis algōrem quī raptīs ignibus fugat (quī vir tē nunc spectat). Pol! Phoebōque vīnctō vestrīs (et nīl est!) papandī lūcem gaudiīs aurāque captā vestrīs — et nīl est! tetendī vēla nāvitīs. Istuc quidem - quid morer tē - nīl est: sola ēmersaque factaque rūs. At tū quidem parce - namque nīl est! - HA supervacāneīs honōribus: Et nīl est! Et nīl est! Nunc perpende singula. Ocelle, vōx sit aperta tibī mea: omnia tē ēdoceō phaenomena. Aestus, grāmen, solum quid nisi nostra crepundia sunt? Viscera condita vīperea facta cocos tibi frūgifera. Quidque restat? Ut mē metuās: sīs tibi tūta, cavē impediās. Vidēn haec cutis historiās monumenta monēre meās? Omnibus auctor ad īnfera ab altō hīc miniō miniātus in ignibu' saltō. Quidquid hoc est, quid plūra? Nīl est, tibī quod bona tanta ferō. Estō sēcūra, namque nīl est: perpende singula. Interim ipse eō. Dīcitō nunc vicissim "nīl est": nam nāve tuā egeō, ut hinc procul vēla dem - et nīl est! Ūnum invidet nātūra: nōn natō. Et nīl est! Et nīl est! Valētō!

:3

This honestly made my day