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                  <text>The Rare Book Collection includes  over 14,000 printed books from the 15th to the 20th centuries which cover subjects such as medicine, law, literature, philosophy, natural sciences, geography, science, architecture, history, arts, etc. The collection includes books published in Europe and America, but there is also a significant collection  of Canadiana, including periodicals.</text>
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                <text>Quae hoc volumine continentur : Ad Marinum Sannutum epistola qui apud Graecos scripserint metamorphōseis. Aldo priuilegium concessum ad reip. literariae utilitatem. [...] Ouidii Metamorphoseōn libri quindecim Ovidii Metamorphoseon libri XV</text>
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                <text>This is likely a 20th century rebinding of a work stemming from 500 years earlier. This binding most likely dates to the first half of the 20th century and is stamped “e stato rilegato da Campari e De Marco, Modena”: the book has been bound by “Campari et De Marco” in Modena, a city in Northern Italy.</text>
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                <text>Archives and Special Collections, University of Ottawa [PA 6519 M2 1502]</text>
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                <text>Venetiis, In Aedib. Aldi., mense octobri</text>
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                  <text>The Rare Book Collection includes  over 14,000 printed books from the 15th to the 20th centuries which cover subjects such as medicine, law, literature, philosophy, natural sciences, geography, science, architecture, history, arts, etc. The collection includes books published in Europe and America, but there is also a significant collection  of Canadiana, including periodicals.</text>
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                <text>Divini Platonis Opera omnia,</text>
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                <text>The binding of this work has been elaborately blind-stamped with a number of decorative tools. Note the manuscript waste visible at the top of the spine; again, materials were reused wherever possible to add in the binding process, especially in areas that would not be visible to the customer, such as the inner covers. The lighter calf juxtaposed with darker areas would suggest that this binding was originally dyed a darker brown and there has been either a fading or reversion back to the original colour due to sunlight exposure and/or the mere passage of time.</text>
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                <text>Archives and Special Collections, University of Ottawa [PA 4280 .A5F5 1557]</text>
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                <text> Lugduni, A. Vincentium</text>
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                <text>Ambrosii Calepini Bergomatis Dictionarium copiosissimum : ex variis lingue utriusq[ue] authoribus: summa cura studioq[ue] premagno congregatis latinis: grecis: tum etiam peregrinis quibusdam vocabulis</text>
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                <text>Here we see the remnants of the leather straps that would have served to keep the book closed. More often than not, these fragile closures have not stood the test of time.</text>
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                <text>Polybii historici de primo bello Punico</text>
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                <text>This book is a post incunabula and was printed in 1512. It shows with more abundance, almost exaggeration, the use of printed ornamental initials of different sizes and formats.</text>
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                <text>Polybius</text>
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                <text>Paris, Venundantur ab Ascensio et Joanne paruo</text>
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                <text>This shows us a variation in the rendering of roman numerals. Using a format scholar Paul Lewis calls “deep parenthesis”, an “I” flanked between by both a forward facing C and an upside down, backward facing C, would represent “1000”. And “I” before a backwards, upside down C would represent “500”, offering us an alternative to what was generally rendered as ML.</text>
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                <text>Mondo Simbolico Formato d’imprese Scelte</text>
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                <text>The printer’s device of Nicolo Pezzana (162?-170?) recalls that of the Giunta printers where Pezzana carried out part of his apprenticeship in Venice and which he ended in 1657. Without an inscription or personalized device, this mark depicts a fleur-de-lys printed in red, ensuring that clients from his former shop would recognize him. This mark also serves to function as a sign of continuity between Pezzana and his masters. &lt;br /&gt;</text>
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                <text>L’ambassadeur et ses fonctions</text>
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                <text>Visible is the printer’s mark of printer and bookseller François l’Honoré (1673?-1748?), originally from the town of Sedan, Alsace. Initially basing himself in Den Haag where he collaborated with Etienne Foulque, he subsequently set up a printing shop in Amsterdam with his brother Jonas, his father-in-law, and eventually his son, Zacharias. He had a prolific career as printer and bookseller.</text>
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                <text>Ioannis Iouiani Pontani Opera omnia soluta oratione composita</text>
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                <text>This image displays yet another example of a register of signatures, with the colophon appearing just be- low. Here we see the beauty and finesse of printed text as realised by Aldus Manutius, The italic font, the spacing of characters and the precise nature of the impression gives this colophon a strikingly modern appearance.</text>
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                <text>Pontano, Giovanni (1429-1503)</text>
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                  <text>The Rare Book Collection includes  over 14,000 printed books from the 15th to the 20th centuries which cover subjects such as medicine, law, literature, philosophy, natural sciences, geography, science, architecture, history, arts, etc. The collection includes books published in Europe and America, but there is also a significant collection  of Canadiana, including periodicals.</text>
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                <text>Bartoli da Saxoferrato Prima super Infortiato</text>
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                <text>The pages that serve to form the inner boards of this work are actually composed of printer’s waste (printed sheets that could not be used by the printer or binder in a final copy). Boards of this nature were created by gluing several sheets of paper together, offering a lighter form of cover than the boards of thick wood which were generally used in this era. Here we see a sheet that has come straight from the printer’s press; it has not been folded or cut into a gathering, allowing us to infer it is printer’s waste and not something salvaged from a previously bound book. This sheet was probably from a “trial run” of the printer’s; the first printings from an imposition would be verified in order to see that no typographical or other errors were to be found in the setting of frame of type. Anything that did not pass would be recycled. </text>
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                <text>Archives and Special Collections, University of Ottawa [KJA147 .B37 1535] </text>
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                <text>Lyon, Jehan Petit</text>
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                <text>This image depicts the bookplate of Bernard Coleridge, 2nd Baron Coleridge. If the name Coleridge sets off the ringing of bells, it should, as Bernard’s grandfather was the nephew of famed English Romantic poet Samuel Taylor Coleridge (1772-1834). While it cannot be proven that the book was handled by the famed poet, an inscription the inner flyleaf does say “bought in Padua” in 1814, which was during Samuel’s lifetime. The bookplate depicts what is surely the Coleridge’s family library in Chanter’s House, Devon, England. </text>
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                <text>Archives and Special Collections, University of Ottawa [PQ 4476 .A86 1486]</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>Impressi in Venesia per Pelegrino di Pasquali &amp; Domenico Bertocho bolognesi</text>
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