Pietro Bembo (1470-1547), scholar and critic, was one of the most admired Latinists of his day. The poems in this volume come from all periods of his life and reflect both his erudition and his wide-ranging friendships. This volume also includes the prose dialogue Etna, an account of Bembo's ascent of Mt. Etna in Sicily during his student days.

Pietro Bembo (1470–1547), a Venetian nobleman, later a cardinal of the Roman Catholic Church, was a celebrated Latin stylist and was widely admired for his writings in Italian as well. His early dialogue on the subject of love influenced the development of the literary vernacular, as did his Prose della volgar lingua (1525). From 1513 to 1521 he served Pope Leo X as Latin secretary and became known as the leading advocate of Ciceronian Latin in Europe and of the Tuscan dialect within Italy. He was named official historian of Venice in 1529 and began to compose in Latin his continuation of the city's history in twelve books, covering the years from 1487 to 1513. Although the work chronicles internal politics and events, much of it is devoted to the external affairs of Venice, principally conflicts with other European states (France, Spain, the Holy Roman Empire, Milan, and the papacy) and with the Turks in the East.

Carol Kidwell's lavishly illustrated book is the first full-length biography of Renaissance Cardinal Pietro Bembo. Her extensive use of translations from Bembo's 2,600 letters, including exchanges of love letters with Lucrezia Borgia, provides a picture of personal life in the brilliant, turbulent years of the Italian Renaissance. Bembo, a Venetian patrician and man of letters, had a close association with the printer Aldus. He enjoyed a rich life with illicit love affairs in the courts of Ferrara, Urbino, and finally Rome, where he was appointed Latin secretary to Leo X. Ten years later, ill and bored, Bembo left Rome for Padua with Morosina, the young sister of a Vatican courtesan. To guarantee a living he took vows of chastity, poverty and obedience in the aristocratic order of St John of Jerusalem, and then started a family. Bembo was active in education in Padua; and his great achievement was to have helped create a common language for Italy through the revival of medieval Tuscany in his poetry and prose. Appointed official historian of Venice, after Morosina's death he became a cardinal. An open mind, coupled with staunch support of the established church during the troubled years of the reformation, made him an asset to the papal curia. At the time of his accidental death in Rome in 1547 he was considered a likely successor to Paul III.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Pietro Bembo (1470-1547), a Venetian nobleman, later a cardinal of the Roman Catholic Church, was the most celebrated Latin stylist of his day and was widely admired for his writings in Italian as well. His early dialogue on the subject of love greatly influenced the development of the literary vernacular, as did his Prose della volgar lingua (1525). From 1513 to 1521 he served Pope Leo X as Latin secretary and became known as the leading advocate of Ciceronian Latin in Europe and of the Tuscan dialect within Italy. He was named official historian of Venice in 1529 and began to compose in Latin his continuation of the city's history in twelve books, covering the years from 1487 to 1513. Although the work chronicles internal politics and events, much of it is devoted to the external affairs of Venice, principally conflicts with other European states (France, Spain, the Holy Roman Empire, Milan, and the papacy) and with the Turks in the East. The History of Venice was published after Bembo's death, in Latin and in his own Italian version. This edition, in a projected three volumes, makes it available for the first time in English translation.

If history remembers Lucrezia Borgia at all, it is as a woman of extravagant vices whose name has become synonymous with political intrigue and poison. Cardinal Bembo is remembered primarily as the namesake of a popular typeface. But as this book of letters reveals, there was real substance, and real faces, to both of them. Borgia, a child bride who was ruthlessly exploited for political advantage by her three husbands, proved to be a girl of surprising resilience and cunning, anything but a monster. Pietro Bembo, the learned and (as demonstrated here) surpassingly gentle scholar, was the perfect product of the Renaissance. The covert love affair they conducted over sixteen years under the nose of Borgia s ruthless brother, Cesare, was as dangerous as it was impassioned and their letters, which provide a unique record of life during the Italian Renaissance, are a testament both to a relationship of rare beauty and to a feudal society of strict boundaries, dark dynastic drives, boundless political ambition, and extraordinary gallantry. Set in (what else?) Monotype Bembo, illustrated with the charming and delicate wood engravings of Shirley Smith, this elegant paperback will be a memorable gift for modern lovers.

“Delightful.” —Mary Norris, The New Yorker A page-turning, existential romp through the life and times of the world’s most polarizing punctuation mark The semicolon. Stephen King, Hemingway, Vonnegut, and Orwell detest it. Herman Melville, Henry James, and Rebecca Solnit love it. But why? When is it effective? Have we been misusing it? Should we even care? In Semicolon, Cecelia Watson charts the rise and fall of this infamous punctuation mark, which for years was the trendiest one in the world of letters. But in the nineteenth century, as grammar books became all the rage, the rules of how we use language became both stricter and more confusing, with the semicolon a prime victim. Taking us on a breezy journey through a range of examples—from Milton’s manuscripts to Martin Luther King Jr.’s “Letters from Birmingham Jail” to Raymond Chandler’s The Big Sleep—Watson reveals how traditional grammar rules make us less successful at communicating with each other than we’d think. Even the most die-hard grammar fanatics would be better served by tossing the rule books and learning a better way to engage with language. Through her rollicking biography of the semicolon, Watson writes a guide to grammar that explains why we don’t need guides at all, and refocuses our attention on the deepest, most primary value of language: true communication.

This book is centered on the Venetian humanist Pietro Bembo (1470-1547), on his two-year stay in Sicily in 1492-4 to study the ancient Greek language under one of its most distinguished contemporary teachers, the Byzantine émigré Constantine Lascaris, and above all on his ascent of Mount Etna in 1493. The more particular focus of this study is on the imaginative capacities that crucially shape Bembo's elegantly crafted account, in Latin, of his Etna adventure in his so-called De Aetna, published at the Aldine press in Venice in 1496. This work is cast in the form of a dialogue that takes place between the young Bembo and his father Bernardo (himself a prominent Venetian statesman with strong humanist involvements) after Pietro's return to Venice from Sicily in 1494. But De Aetna offers much more than a one-dimensional account of the facts, sights and findings of Pietro's climb. Far more important in the present study is his eye for creative elaboration, or for transforming his literal experience on the mountain into a meditation on his coming-of-age at a remove from the conventional career-path expected of one of his station within the Venetian patriciate. Three mutually informing features that are critical to the artistic originality of De Aetna receive detailed treatment in this study: (i) the stimulus that Pietro drew from the complex history of Mount Etna as treated in the Greco-Roman literary tradition from Pindar onwards; (ii) the striking novelty of De Aetna's status as the first Latin text produced at the nascent Aldine press in the prototype of what modern typography knows as Bembo typeface; and (iii) Pietro's ingenious deployment of Etna as a powerful, multivalent symbol that simultaneously reflects the diverse characterizations of, and the generational differences between, father and son in the course of their dialogical exchanges within De Aetna.

A biography of Vittoria Colonna, a confidante of Michelangelo, the scion of one of the most powerful families of her era, and a pivotal figure in the Italian Renaissance Ramie Targoff’s Renaissance Woman tells of the most remarkable woman of the Italian Renaissance: Vittoria Colonna, Marchesa of Pescara. Vittoria has long been celebrated by scholars of Michelangelo as the artist’s best friend—the two of them exchanged beautiful letters, poems, and works of art that bear witness to their intimacy—but she also had close ties to Charles V, Pope Clement VII and Pope Paul III, Pietro Bembo, Baldassare Castiglione, Pietro Aretino, Queen Marguerite de Navarre, Reginald Pole, and Isabella d’Este, among others. Vittoria was the scion of an immensely powerful family in Rome during that city’s most explosively creative era. Art and literature flourished, but political and religious life were under terrific strain. Personally involved with nearly every major development of this period—through both her marriage and her own talents—Vittoria was not only a critical political actor and negotiator but also the first woman to publish a book of poems in Italy, an event that launched a revolution for Italian women’s writing. Vittoria was, in short, at the very heart of what we celebrate when we think about sixteenth-century Italy; through her story the Renaissance comes to life anew.

The main literary dispute of the Renaissance pitted those Neo-Latin writers favoring Cicero alone as the apotheosis of Latin prose against those following an eclectic array of literary models. This Ciceronian controversy pervades the texts and letters collected for the first time in this volume.