1540 BARBARO ON BLUE PAPER 1540 BARBARO ON BLUE PAPER | Page 4

Introduction
The worldly adventure of Aldus Manutius ended in Venice in 1515, but his
innovations would have become his new life: after his death, Manuzio's dynasty
perpetuated his literary and editorial project, of which the book was the main symbol.
Aldus’ dream was to build an “open” library that could spread the precious heritage of
classical culture. Aldus became the first modern editor, a model that future
generations of printers took as an example. While on the one hand the book was
becoming popular, on the other hand, it had to maintain that delightful balance
between aesthetic beauty and ethical content.
A useful message of the company's improvement was transmitted by an elegant object
of harmonious proportions, printed with great care: this goal encouraged him to
anticipate the most sophisticated printing and marketing techniques with brave
innovations that became the milestone of the Aldine press: Italics, pocket size and
printing on blue paper.
He created one of the first logos of the story, the famous “anchor and dolphin",
accompanied by the slogan FESTINA LENTE, which became Aldus’ life style.
The two major innovations introduced by Aldus were the italic type (1500) and the
pocket size (1501), which revolutionized the history of the book, consecrating Aldus at
the same time as Renaissance geniuses Durer, Michelangelo and Leonardo. Thanks to
these innovations and strategies to support them, within the newly born book world,
a vortex of positivity and enthusiasm was created, which Aldus fed with wise
diplomacy. He succeeded in gaining the consensus of political and cultural
personalities who, appreciating the texts and beauty of the Aldine editions, became
his clients by supporting the press: Emperor Massimiliano called him "his family";
Lucrezia Borgia became his testamentary executive; Jean Grolier was a great admirer
and
supporter,
buying
many
copies
of
the
same
edition.