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  5. Catalog Record: A Platonick discourse upon love | HathiTrust Digital Library

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24 February 1463 - 17 November 1494

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Gardner Edmund G - AbeBooks

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About Giovanni Pico della Mirandola.

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Giovanni Pico della Mirandola. Books by Giovanni Pico della Mirandola. When Dwiggins took over the Erasmus title page assignment, he also supplanted Cleland as the preferred artist for The Merrymount Press. Dwiggins got to work on the assignment in December and on January 4, sent off a sketch to Updike for his critique. In the accompanying letter, he wrote,. Can the matter to go in the panels be set up to see how big they will need to be? It was necessary to shorten the lily ornament, —does this make it too squatty? Can any way be managed to get more vertical room for the ornament, e.

Are the moldings too heavy? They will need to be rather open, will they not, to go with the previous title designs? Updike provided his critique eleven days later, a lengthy description of how Dwiggins could fix the design. The label for the spine presented little trouble as Updike allowed the title to be simplified to The Defence of Poesie, etc.

Pico della Mirandola, Count Giovanni (1463–1494)

Title page design by W. Label for spine of The Defence of Poesie, etc. But who was to do which books in the new series was not entirely clear. Frame designed by W.

Cleland agreed to contribute to the new series and surprisingly, given his previous struggles with Updike over payment, said that price did not matter. It is necessary to keep down expenses; but if you do not think you could do this for this sum I had much rather you would not undertake it, than to do it, and think the reward beggarly.

In response, Updike urged him to do the Pico della Mirandola, which Cleland accepted. The one with the little altar and flames upon it I like immensely and very gladly accept.

For instance the ornament at the sides of the tablet does not seem sufficiently severe. It is a little flowery and a good many points I think could be suppressed with advantage. Then again the little people who hold up the standard;—I think it would be much more effective if they held up the trophies on poles and not fronded stalks, and again if you made your center bowl into a fountain with jets of water ascending I think it would be improved. You may say that I am pulling everything to pieces but I like the design in many ways so much and it is so well adapted for what I want for the fourth volume that I think it would be too bad to have the time which has been put into it wasted.

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  • The first design, the one that Updike liked immensely, became the title page frame for A Platonick Discourse upon Love while the latter became the subject of an extended back-and-forth between the two men. Cleland agreed to revise the second drawing according to the points raised by Updike and several weeks later Updike returned the drawing to him with extensive annotations.

    A Platonick discourse upon love;

    Frame by T. Pen and ink sketch by T. November See A to touch moulding. The design lay fallow for over a year. He also designed the spine label at some point between then and December when the book was published. Design by W. On the last day of , Updike wrote to Cleland, asking him what had happened to the title page design for the Galateo. He was willing to use the second design that he had so heavily marked up if Cleland did not have time to revise it as he had promised. Cleland quickly replied that he did not like the old design and did not have time to fix it as requested.

    Instead he offered to make a new, simple design that he hoped Updike would like. On January 9, he sent it out.

    And with it, the sometimes tangled relationship between Dwiggins and Cleland. Frame design by T.


    Catalog Record: A Platonick discourse upon love | HathiTrust Digital Library

    A final note. See pp. II, pp.