Adobe Aldine

A contemporary interpretation of the humanist book types

developed at the Aldine Press at the turn of the ��th century

by Robert Slimbach

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Adobe Aldine is a new variable font family from Adobe based on the roman,
italic, and Greek types that Francesco Griffo cut for the illustrious Venetian
publisher, printer, and scholar Aldus Manutius beginning around ����.
Among the many typographical and editorial innovations that Aldus
introduced at the Aldine Press, his De Aetna roman font is one of his most
significant achievements. This single type essentially formalized the appear-
����� ������ ance of the modern bookface and remains as fresh today as in the past,
inspiring numerous interpretations throughout the years.

Adobe Aldine is Adobe’s latest adaption of a classical type from the past
tailored for modern digital work environments. As a variable font with
language coverage for Latin, Greek, and Cyrillic, the family gives designers
the ability to create custom fonts in any combination of weight and optical
size. Designed with on-screen usage in mind, the family provides designers
a coordinated system of highly readable typefaces that are suitable for a
range of text and display applications.

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The Early Roots of Adobe Aldine

My interest in the Aldine types arose soon after I began designing type
in the mid-����s. What initially piqued my interest were the early roman
types that are modeled in large part on the humanist manuscript hands of
the period. This connection between calligraphy and type was to become
a foundational element in my development as a type designer. I began prac-
ticing various styles of calligraphy in an effort to gain a deeper understand-
ing of how letters are formed using a broad-edge pen or flat brush and their
relationship to contemporary type forms.

Aldus’s De Aetna roman font in stood out to me as an exquisite example of

an early book face. It appeared so modern, even though it was cut before
the end of the fifteenth century. It is hard to believe that such a refined and
elegant typeface existed so early on. Previous Venetian style romans—the
most notable being Nicholas Jenson’s roman type of ����—possess a rugged
and earthy beauty, but also retain a distinct period feel. In comparison,
Aldus’s roman type has timeless appeal, balancing aesthetic beauty with
practical utility.

Aldus Manutius adopted the

dolphin and anchor as his pub-
lisher’s device as early as ����.
This symbol is connected with
the phrase festina lente, meaning
“make haste slowly,” indicating
urgency of execution combined
with attentiveness to design.

De Aetna by Pietro Bembo was the first Latin literary text to be published by Aldus
in ����/����. He commissioned the punchcutter Francesco Griffo from
Bologna to cut a roman font specifically for this edition. Aside from the uncom-
monly good printing, which is crisp and clear, the pages are unadorned and beauti-
fully set, letting the quality of the type take center stage.

I also admired contemporary Aldines, such as the Monotype Corporation’s

Bembo, designed under the supervision of Stanley Morison in ���� and
Giovanni Mardersteig’s Dante from ����; each of which are unique inter-
pretations rather than direct copies of the historical models. Both designs
were developed to adhere to the unique technical requirements of hot
metal typesetting and letterpress printing, for which they are ideally suited.
Soon after Bembo was introduced, it become an instant modern classic and
remains a popular choice for setting printed books. Other contemporary
Aldines have followed, each displaying the personal mark of their designer.

The Aldine types continue to inform my design philosophy and type design
practice. Minion (����), one of my earliest type families, is a contemporary
take on the core principles of the Aldine type classification.

Aldus Manutius and the Aldine Press

By the end of the sixteenth century, not long after the introduction of
mass-produced printed books from movable type by Johannes Guten-
berg, Aldus Manutius, also called Aldo Manuzio, helped usher in the con-
cept of the modern book. In ���� he founded the Aldine Press in Venice.
With a staff of scholars and craftspersons, the press published ��� editions
consisting primarily of ancient Greek and Roman classical texts, as well as
works from contemporary authors. Through his many technical, design,
and editorial innovations, he developed a new standard for book produc-
tion which helped shape the book trade throughout Europe.

For his publications, Aldus wanted typefaces that reflected the spirit of
the humanist handwriting used in manuscripts. He commissioned the
Aldus Pius Manutius,
punchcuter Francesco Griffo to cut a collection of Greek, Latin, and italic
illustration in Vita di Aldo types which he used throughout the rest of his career.
Pio Manuzio (����).

While the legacy of the Aldine Press continues to inspire current gener-
ations, in their time, the Aldine types remained popular for a relatively
short period. By the middle of the ��th century, the elegant French
oldstyle types of Claude Garamond and others began to dominate the
European bookmaking trade. Modeled largely on the De Aetna roman
font, they helped usher in the golden age of French typography, which is
characterized by printed volumes that are ornate and richly arranged.

Early Trials for Adobe Aldine

I began working on the roman design for Adobe Aldine in the mid-����s
as a background project. Working from photographic enlargements from
De Aetna, I cataloged several instances of each letter, then digitized the ones
that best revealed the form of the sculpted metal type. My initial results
looked encouraging, initiating a multi-year process to produce a contempo-
rary Aldine that unifies the more disparate aspects of Aldus’s roman type.

Characteristics of the De Aetna Roman

Aldus commissioned the punchcutter Francesco Griffo to cut a new roman

font specifically for his ���� printing of Pietro Bembo’s De Aetna. Of all
the types originating at the Aldine Press, the De Aetna roman font is surely
the best-conceived and most influential. While the earlier Venetian roman
types established the basic form of the roman alphabet, Aldus and Griffo
were able to further refine its form to its now-classic appearance.

The font consists of a modest set of lowercase and capitals, along with
minimal punctuation. The lowercase is particularly well-formed and thor-
oughly modern. The uppercase letters are somewhat uneven in quality, but
harmonize with the lowercase letters much better than the Venetian types.
They also better reflect the stately appearance of Ancient Roman square
capitals, which Griffo adapted to the rigors of typefounding. In addition,
the capitals are a measure shorter than the lowercase ascenders, which helps
to achieve a pleasing balance between the two cases.

The Aldine types are usually classified as Garalde (a portmanteau of the

names Garamond and Aldus). Even though the later French oldstyle roman
types borrow much of their form from the De Aetna roman, they differ in
significant ways. Whereas the De Aetna font retains more of the angular
transitions of calligraphic writing, the French types favor elegance over
utility, typically having rounder and softer letter shapes and more evenly-
bracketed serifs.

Another significant difference between the two type styles is the italic
associated with each. Most contemporary Aldines have adopted a modified
chancery italic, which is now the accepted Aldine italic form. On the other
hand, the French italics are highly sloped and possess a dynamic, “lacy”
appearance that is derived as much from the punchcutter’s inventiveness as
from current handwriting and italic type styles.

Design approach

While there are a number of modern-era Aldine revivals, I wanted to create

a fresh interpretation that is well-suited to the digital medium. Past reviv-
als range from stylized variations that use the original source material as a
jumping off point for expressing new ideas of what a contemporary Aldine
can be, to a more literal warts-and-all approach. As with the other revivals
I’ve produced for Adobe of classic designs from the past — such as Adobe
Garamond (����), Adobe Jenson (����), Garamond Premier (����), and
Adobe Kis (����) — my overarching intention has been to produce type
families that retain an air of authenticity by adhering to the source material
whenever practically possible, while adapting them to the technical de-
mands of the digital medium and modern sensibilities.

As with all hand-cut types, Aldus’s roman type contains subtle irregulari-
ties as a result of sculpting letters on the head of a small steel punch. These
naturally-occurring artifacts often contribute to the overall character and
visual appeal of a design. The degree in which one preserves these details in
BDET�� a modern interpretation will greatly impact the end result.
One of the distinguishing traits of
the De Aetna roman is the presence
of elongated foot serifs on a few of I was looking to produce a family that wasn’t overly-stylized through a
the letters. These stylish additions
add a bit of strength and vigor to
reductionist approach of outline construction: where form is defined by an
these forms. Because the long foot abundance of regularized repeated shapes and sharp edges. I instead sought
serif on the m and n can sometimes
cause awkward collisions with to give the type a naturalistic appearance. By initially drawing letters in
neighboring letters, variations with
normal length foot serifs are auto-
a free-form manner, than gradually reducing artifacts that were deemed
matically substituted where needed. unpleasant or unnecessary, I was able calibrate a level of activity that felt
right to me. To ensure the design rasterizes properly, it was also necessary to
maintain fairly consistent letter height zones and stem weights.

Filling in the Gaps

Considering that Aldus’s De Aetna roman font is comprised of only a single

weight of Latin lowercase, capitals, and minimal punctuation, numerous
characters needed to be created to the set to achieve a modern standard of
glyph coverage. I also felt it appropriate to include design axes for weight
and optical size. With the advent of variable font technology and the in-
creased use of automation in typesetting, it is critical that fonts have design
axes that can adapt responsively within flexible typographic environments.

As with most composition families, the regular text weight functions as the
core design to which all other weights and optical sizes are calibrated. With
the addition of italics and additional language coverage that includes Greek
and Cyrillic sets, it was imperative that the disparate elements that make up
the family harmonize properly and function as a single unit.

The First Italic Typeface

In presenting the first italic type to the world, Aldus wanted a font
that mimicked the informal humanist handwriting that was popular
at the time in Venice. He returned to Francesco Griffo to design and
cut his new style font in ���� which he used primarily as a stand-
alone type for setting entire pocket-sized books. While Aldus’s italic
font is quite beautiful when seen in the context of an early printed
book ­— ­printed letterpress on handmade paper with accompanying
illuminated decoration ­— ­it isn’t particularly well suited as a companion
italic to his roman font. Most notably, it is a very quirky design with an
irregular rhythm that doesn’t adequately harmonize with the roman’s
more refined appearance. The notion of a fully-realized type family
containing a full suite of weights, optical sizes, and extended language
Virgil (����) Aldus Manutius, coverage ­— ­along with accompanying italics ­— ­hadn’t yet been achieved.
printed on vellum and hand- It would be several more years before italics and extended glyph sets
coloured. were to become integrated components of a modern type family.

Aldus’s first italic ����. Ludovico degli Arrighi’s second italic typeface from ����.

A page from Ludovico degli Arrighi’s handwriting manual La Operina printed from
woodblock copies of his formal chancery cursive printed in ����. Arrighi was a papal
scribe and one of the premier writing masters of Renaissance Italy who also designed
two chancery-style italic typefaces modeled on his personal script.

A Companion Italic for Adobe Aldine

The journey to devise an italic that harmonized well with the roman was
a long and arduous process. In an effort to stay true to the Aldine source
material, I worked with Aldus’s italic font for quite a while in an attempt
to reign in its more unwieldy features. After several unsatisfactory trials,
I eventually abandoned this approach in favor of a modified formal chan-
cery style that is better suited to the design language of the roman. As
other designers have experienced who have used this approach, there is
no definitive chancery handwriting model that can be followed directly,
as the proportions and design parameters of chancery cursive are quite
different from those of a normal italic font. After producing several
trial designs, which included variations of styling, angle, rhythm, and
width—I felt I’d finally arrived at an italic that both harmonizes with the
roman and that is true to the historical roots of humanist handwriting.

Halogen Halogen
Lockwoode, Dansby. “Lessons from History, Culture, and Hearsay: Redferne’s Dilemma.”
Zephyr: A Journal for the Interdisciplinary Study of Literature ��, № � (����): ��–��.
Gattwood, Ezra. The Watcher’s Keeper, ����. Oil on Panel (Ambrose Art Museum, Cascade
Hill, ��). In West Coast Paintings from the Collection of the Ambrose Art Museum, by
Judith D. Langhelt. Cascade Hill: Northwest College of Applied Arts, ����, ��.

In mixed roman and italic settings such as bibliographies, italics are designed to harmonize
with the roman design while also standing apart from it. Italics can be used to highlight key
words and phrases within roman text, or as a stylistic choice in display settings. They can
also be used on their own as an alternate text style.

Designing the Greek Extensions

While contemporary trends in Greek type design continue to move

toward the Latinization of earlier Greek script styles, I felt it appro-
priate to present the Adobe Aldine Greek sets in their original script
form. While the energentic Greek types that Griffo cut for Aldus
have a certain charm, they are also highly idiosyncratic. It became
necessary to adapt and further formalize the Greek source material
so it would set well with the Latin. By normalizing its more eccentric
features and erratic letter heights, I was able to establish a more con-
sistent rhythmic flow throughout the lowercase.

ΑΒΓΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩ
αβγδεζηθικλμνξοπρσςτυφχψω
ΑΒΓΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩ
αβγδεζηθικλμνξοπρσςτυφχψω

�� �ε �ω �� �� �ο �ε �ω �� �ο �ε �ο �ω ��
�� �� �ε �� �� �� �ο �ω �� �� ��
�ε �� �ω �� ��ι �ε �� �� �ο �ω�ρ �μ �α ��
�� �ο �ω � � �

The Adobe Aldine Greek includes a stylistic set that enables an assortment of
supplemental ligatured Greek forms. In Greek handwriting, connecting strokes
between letters are a natural occurrence. Early Greek typefaces often included
common ligatured pairs in an effort to imitate manuscripts.

Aldus’s Greek Types

Between ���� and ����, Francesco Griffo cut four Greek types
for Aldus. One of the difficulties of replicating Greek manuscript
hands as printing type was its complexity. In its polytonic form,
a large number of accented vowels need to be added to the glyph
set. Punchcutters also devised elaborate sets of ligatured glyph
pairs in an attempt to imitate handwriting. Replicating these
complexities as type and hand-setting such a large number of
glyphs proved to be an arduous task for printers.

Aldus’s initial attempts at Greek type aimed to reproduce the

intricacies of a handwritten Greek script. With his fourth Greek
Florilegium Diversorum type however, he was able to greatly streamline the process by
Epigrammatum in Septem having Griffo cut an only partially ligated Greek based on his
Libros. Venice: Aldus Ma- own Greek handwriting. This new simplified Greek type was
nutius, November ����. highly successful and was copied throughout Europe.

Detail of Aldus’s simplified Greek typeface.

An Evolution toward Modern Cyrillic Typefaces

Ever since the origin of the Cyrillic alphabet in the late Middle
Ages, its form has continued to evolve throughout the centuries.
In the early eighteenth century, the Cyrillic alphabet underwent
a radical reform. Under a decree by Peter I of Russia, a new font
style was introduced that is known as Civil Type. It borrowed
much from Western transitional types of the time in an effort to
modernize and simplify its archaic features.

In the digital era—where trade and technology have made the

world a more connected and interdependent place—it has
become commonplace for designers to create new font families
that cover multiple writing systems. Most of these fonts are
designed to either harmonize with a specific Latin typeface or
adhere to a Western type classification such as oldstyle, transi-
tional, or neoclassical, in either serif or sans-serif variations.

As a result, there has been a rapid shift toward the Latinization

of most of the world’s scripts. The challenge for modern type
designers is to produce new style variations that harmonize with
Western fonts, while also staying true to historical tradition.

The application of humanist lettering principles to Cyrillic type

is a relatively new development. While most type styles have
their origin in a particular form of handwriting, modern Cyrillic
is largely a constructed invention from components of varied
origin. For this reason, Cyrillic often lacks the graceful stroke
transitions that are present in most other scripts.

Everyday Cyrillic handwriting gradually introduced new script

letter variations, which made it easier to write. Some of these
script adaptations of roman letters eventually found their way
into italic Cyrillic fonts — some of which are newly invented,
while others are taken directly from Latin italic fonts.

Adobe Aldine Cyrillic

Transitional styles of Cyrillic have dominated since the time of Peter

ДЛЉ
I, beginning in the early ��th century. The notion of an oldstyle
Cyrillic font style is a concept that is still evolving. Having already
produced oldstyle Cyrillic extensions for the Minion and Arno type

ДЛЉ families, Adobe Aldine gave me an opportunity to further refine my

approach to humanist Cyrillic design.

There are several key differ- It was important that the Cyrillic reflect the calligraphic qualities
ences between traditional and
present in the Latin design, in that the disciplined movements of the
humanist Cyrillics in terms
of detailing, letter propor- broad-edge pen are clearly present throughout each letter stroke and
tions and angle of stress. One oblique contour shape. Throughout the design process I often turned
key difference is the use of a to a broad-edged pen or ball point pen as a design tool. Writing out
triangular form of Д, Л, and Љ,
rather than the familiar tradi- passages of Cyrillic text helped me produce reference material that
tional trapezoidal shapes. informed the design that was being developed on the computer.

As part of the design process, early working versions of the roman and
italic Cyrillic fonts were reviewed by the native Russian designer and
teacher Maxim Zhukov, who provided valuable feedback.

АБВГДЕЖЗИЙКЛМНОПРСТУФХЦ
ЧШЩЪЫЬЭЮЯ
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АБВГДЕЖЗИЙКЛМНОПРСТУФХ
ЦЧШЩЪЫЬЭЮЯ
абвгдежзийклмнопрстуфхцчшщъыьэюя

Optical Sizes

Optically-adjusted point sizes vary from one another in several measurable

ways, including stroke contrast, letter width, stem weight, letter spacing,
and the proportional relationships between letter features such as x-height,
cap height, and the length of the ascenders and descenders. When properly
balanced, these subtle design differences can make a type more readable and
attractive at its designated point size.

Caption (8-pt) Optical size Optical size

Regular (��-pt) Optical size Optical size
Display (36-pt) Optical size Optical size
Adobe Aldine consists of six master designs that define the parameters for
interpolation within the families given design space. Variable font technology
allows designers to create a seamless progression of custom-generated font
instances using any combination of weight and optical size adjustment.

Adobe Aldine Design Space

Boldest 5pt Master Boldest 12pt Master Boldest Display Master

Bold Caption Bold BdSubhead Bold Display

Semibold Capt Semibold SemibdSubh Semibold Display

WEIGHT
AXIS
Medium Capt Medium MedSubh Medium Display

Regular Capt Regular RegSubh Regular Display

Lightest 5pt Master Lightest 12pt Master Lightest Display Master

OPTICAL SIZE AXIS

Above left: Adobe Aldine’s variable font �� allows for the creation of an almost limitless
number of custom font instances within the parameters of the design. Above right: Adobe
Aldine’s design space is defined by six hand-edited master designs (black dots). A familiar
array of pre-built font instances (red dots) is also available in the font menu.

Figure Styles

Adobe Aldine contains several figure styles that were designed to harmonize
with specific letter cases such as the capitals, lowercase, small caps, and Cyril-
lic small caps. The regular tabular lining figures are set as the default style, as
they perform adequately well with any combination of glyphs. These auxiliary
figure styles can be very useful when fine-tuning documents to look their best.

Figure Styles

Open 1234567890 Country

Regular Figures (Fitted and Tabular)

Insoluble ���������� mystery Oldstyle Figures (Fitted and Tabular)

SEARCHING ���������� GLANCE

Capital Height Figures

����� ���������� ������ Small Cap Figures (For Latin and Greek Sets)

ДЪЛБОЧНА ���������� НОЩ

Cyrillic Small Cap Figures

Ornaments

Typographic ornaments are decorative devices that can be used to call atten-
tion to specific information or to create divisions between areas of text. They
come in many forms and can be used either individually or repeated as decora-
tive lines and patterns. Additionally, they can serve as a stylistic extension of a
typeface, often reflecting a historical period or the personality of the designer.

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Sample Art

In addition to the array of text documents that I prepare for evaluating

kerning, letterspacing, and the optical calibration of weights and optical
sizes, I also like to compose real-world sample layouts as part of my reviewing
process. Sample art can also help designers determine how a font might suit a
particular typographic task. The following examples show a few of the many
ways Adobe Aldine can be used.

Contents

CZ Contributors
Acknowledgments
Introduction
vii
xi
xiii
David Thompkins

� Augmented Reality, Holography and Artificial �

Intelligence in Science Education
Peter Ian Shaw

� Conceptualizing ���� to facilitate creativity ��

Darfinn Follesdal
� Developing a Research Program in Science ��
Education for Advanced Students
Ulrich Colton

� Unraveling on the Origins of Geometry ��

Samantha Marley

� Science Education in a Changing World ��

Jessica Delaney

� The Relationship between Science and Religion ���

in Science Education Program.
Colossal Zenith Michael Cummings

Desert Libraries of Timbuktu

Manuscripts from the J. D. Abrams Collection
Aiden Sanford Memorial Library
July �� through September ��, ����
Sponsored by the Arts Council of Silicon Valley

Brutalism:
Its Historical Significance and Enduring Influence

Brutalist architecture is an architectural style that emerged

during the ����s in the United Kingdom, among the reconstruction
projects of the post-war era but commonly known for its presence in
post-war communist nations. Brutalist buildings are characterised
by minimalist constructions that showcase the bare building mate-
rials and structural elements over decorative design. The style com-
monly makes use of exposed, unpainted concrete or brick, angular
geometric shapes and a predominantly monochrome colour palette;
other materials, such as steel, timber, and glass, are also featured.
Descending from the modernist movement, brutalism is said to
be a reaction against the nostalgia of architecture in the ����s. De-
rived from the Swedish phrase nybrutalism, the term “new brutalism”
was first used by British architects Alison and Peter Smithson for
their pioneering approach to design. The style was further popular-
ised in a ���� essay by architectural critic Reyner Banham, who also
associated the movement with the French phrases béton brut (“raw
concrete”) and art brut (“raw art”). The style, as developed by archi-
tects such as the Smithsons, Hungarian-born Ernő Goldfinger, and
the British firm Chamberlin, Powell & Bon, was partly foreshad-
owed by the modernist work of other architects such as French-Swiss
Le Corbusier, Estonian-American Louis Kahn, German-American
Mies van der Rohe, and Finnish Alvar Aalto.
In the United Kingdom, brutalism was featured in the design
of utilitarian, low-cost social housing influenced by socialist princi-
ples and soon spread to other regions around the world, most no-

�� ��

BRIAR ROSE GAL LERY

Zueignung Reception

Ihr naht euch wieder, schwankende Gestalten,

Die früh sich einst dem trüben Blick gezeigt.
4 Offices �.�–�.��
Meeting Rooms �–�
Workspaces A–G
3
Versuch ich wohl, euch diesmal festzuhalten?
Fühl ich mein Herz noch jenem Wahn geneigt?
� Ihr drängt euch zu! nun gut, so mögt ihr walten, Conference Hall
Stairs
Wie ihr aus Dunst und Nebel um mich steigt;
Mein Busen fühlt sich jugendlich erschüttert
Vom Zauberhauch, der euren Zug umwittert.

2
Ihr bringt mit euch die Bilder froher Tage,
Print Room
�� Und manche liebe Schatten steigen auf; Elevators
Gleich einer alten, halbverklungnen Sage
Kommt erste Lieb und Freundschaft mit herauf;
Restroom
Der Schmerz wird neu, es wiederholt die Klage
Coffee
1
Des Lebens labyrinthisch irren Lauf,
��
Chillout Room
Und nennt die Guten, die, um schöne Stunden
Vom Glück getäuscht, vor mir hinweggeschwunden.

Sie hören nicht die folgenden Gesänge,

Fitness Room
Die Seelen, denen ich die ersten sang; Exit
Zerstoben ist das freundliche Gedränge,
�� Verklungen, ach! der erste Widerklang.
Mein Lied ertönt der unbekannten Menge,
Ihr Beifall selbst macht meinem Herzen bang,
Und was sich sonst an meinem Lied erfreuet,
Wenn es noch lebt, irrt in der Welt zerstreuet.

�� Und mich ergreift ein längst entwöhntes Sehnen

MELISSA NOLAN
Nach jenem stillen, ernsten Geisterreich,
Es schwebet nun in unbestimmten Tönen
Mein lispelnd Lied, der Äolsharfe gleich,

PROOFREADER
Ein Schauer faßt mich, Träne folgt den Tränen,
�� Das strenge Herz, es fühlt sich mild und weich;

(���) ���-����
Was ich besitze, seh ich wie im Weiten,
Und was verschwand, wird mir zu Wirklichkeiten.

Arnel Grant
������������

� � ������
��� ���-����
Amanda Rainier ���@�������.���
����������.���

J������� C������ C����� San Jose

OF NATURE AND SPIRIT

Japanese Woodblock Prints from the Real World and Beyond

�is exhibition of eighty-six Japanese prints from the Emerson collec-

tion features works by some of Japan’s most revered artists: Katsushika
Hokusai (����–����), Utagawa Hiroshige (����–����), Utagawa
Kunisada (����–����), Tsukioka Yoshitoshi (����–����), Kawanabe
Kyōsai (����–����), Yōshū Chikanobu (����–����), Yoshida Hiroshi
(����–����) and Kawase Hasui (����–����). These prints often display
idealized Japanese landscapes inhabited by supernatural beings, harken-
ing back to Japanese folk tales as well as their Kabuki adaptations from
the early 18th century. We hope to encourage a greater appreciation of
the Japanese natural environment and the ancient beliefs that continue
to inform Japanese culture today.

����������

Молчи, скрывайся и таи

И чувства и мечты свои —
Пускай в душевной глубине
Встают и заходят оне
Безмолвно, как звезды в ночи,-
Любуйся ими — и молчи.

Как сердцу высказать себя?

Другому как понять тебя?
Поймёт ли он, чем ты живёшь?
Мысль изречённая есть ложь.
Взрывая, возмутишь ключи,-
Питайся ими — и молчи.

Лишь жить в себе самом умей —

Есть целый мир в душе твоей
Таинственно-волшебных дум;
Их оглушит наружный шум,
Дневные разгонят лучи,-
Внимай их пенью — и молчи!..

Фёдор Иванович Тютчев

Sonnet ����

Who will believe my verse in time to come,

Увы, мои стихи все nрезрят, nозабудут,
If it were fill’d with your most high deserts?
Когда онu nолны твоuх достоuнств будут,
Though yet, heaven knows, it is but as a tomb
МЕНЮ
Xотя — то знает Бог  — онu лuшь гроб nока,
Which hides your life and shows not half your parts.
Где скрыта жuзнь твоя, хвалuмая слегка!
ПЕРВЫЙ КУРС
ОСТРОЕ СЕВИЧЕ ИЗ ЛОБСТЕРА
If I could write the beauty of your eyes
свежие сердцевины пальмы, гуакамоле,
Когда б я красоту твою восnеть бюл в сuлах
кокосовая заправка
And in fresh numbers number all your graces,
И nеречuслuть все достоuнства твоu,
The age to come would say ‘This poet lies: СА Л АТ ИЗ ПОЛЕВОЙ ЗЕ ЛЕНИ
Потомок бы сказал: “Oн лжет — nоэт любвu! засахаренные грецкие орехи, груша, горгонзола
Such heavenly touches ne’er touch’d earthly faces.’
Такuх нет между тех, чья участь — гнuть в в могиле!” ПЕРВОЕ БЛЮДО
ЧЕРНАЯ ТРУБА НАТЕРЛ А АХИ ТУНЦА
So should my papers yellow’d with their age козлобородник, маринованные лисички, соус из
И nерестанет мuр лuсткам моuм внuмать,
обугленных грибов
Be scorn’d like old men of less truth than tongue,
Как бредням старuков болтлuвюх, неnравдuвых.
And your true rights be term’d a poet’s rage
ФИЛЕ-МИНЬОН ТРАВЯНОГО ОТКОРМА
И те хвалы, что лuшь тебе nрuнадлежат, фиолетовый картофельный гратен,
And stretched metre of an antique song: шпецле из лесных грибов, песто из петрушки
Сочтутся за мечты, за звукu стоn uгрuвых.
ДЕСЕРТ
But were some child of yours alive that time, МА ЛИНОВО-ШОКОЛ А ДНЫЙ
Но еслu бы детей uмел ты не во сне, ХЛЕБНЫЙ ПУДИНГ
You should live twice; in it and in my rhyme.
бурбонская карамель, ванильное мороженое
То ты в моuх стuхах u в нuх бы жuл вдвойне.

МОСКОВСКИЙ МУЗЕЙ ЕСТЕСТВЕННОЙ ИСТОРИИ

Федор Достоевский Серия Авалон-Классика

* ЧАСТЬ ПЕРВАЯ *

ПРЕСТУПЛЕНИЕ В начале июля, в чрезвычайно жаркое время, под вечер, один моло-

И НАКАЗАНИЕ дой человек вышел из своей каморки, которую нанимал от жильцов

в С-м переулке, на улицу и медленно, как бы в нерешимости, от-
правился к К-ну мосту. Он благополучно избегнул встречи с своею
хозяйкой на лестнице. Каморка его приходилась под самою кров-
лей высокого пятиэтажного дома и походила более на шкаф, чем
на квартиру. Квартирная же хозяйка его, у которой он нанимал эту
каморку с обедом и прислугой, помещалась одною лестницей ниже,
в отдельной квартире, и каждый раз, при выходе на улицу, ему не-
пременно надо было проходить мимо хозяйкиной кухни, почти
всегда настежь отворенной на лестницу. И каждый раз молодой
человек, проходя мимо, чувствовал какое-то болезненное и трус-
ливое ощущение, которого стыдился и от которого морщился. Он
был должен кругом хозяйке и боялся с нею встретиться. Не то чтоб
он был так труслив и забит, совсем даже напротив; но с некоторо-
го времени он был в раздражительном и напряженном состоянии
похожем на ипохондрию. Он до того углубился в себя и уединился
от всех, что боялся даже всякой встречи, не только встречи с хозяй-
кой. Он был задавлен бедностью; но даже стесненное положение
перестало в последнее время тяготить его. Насущными делами сво-
ими он совсем перестал и не хотел заниматься. Никакой хозяйки,
в сущности, он не боялся, что бы та ни замышляла против него.
Но останавливаться на лестнице, слушать всякий взор про всю
С новым годом
Иван Морозов И Алина Гусева ��

Ιλιάδος Ραψωδία Α: ΙΛΙΑΔΟΣ ΡΑΨΩΔΙΑ ΠΡΩΤΗ.

Μεταφρασθείσα εις δημοτικούς στίχους Την έχθραν ψάλλε την κακήν, θεά, του Αχ�έως·
'Πού έφερε τους Αχαιούς αναρίθμητους πόνους·
Και εις τον άδην έρριξε πο�αίς ψυχαίς ανδρείαις
Ηρώων· και τους έκαμεν αυτούς φαγί των σκύλων,
Κι' όλων των όρνιων κ' η βουλή τελείωσε του Δία.
Από τι δα εμάλωσαν, κ' εχώρισαν τα πρώτα
Ο δοξασμένος Αχι�εύς, κ' ο βασιλεύς Ατρείδης;
Και ποιος θεός τους έβαλε εις λόγια να μαλώσουν;

Ο υιός του Διός και της Λητούς· αυτός τον βασιλέα

Ωργίσθη· και 'ς το στράτευμα κακήν σήκωσ' αρρώστιαν.
Και οι λαοί εχάνουνταν· γιατί ο βασιλέας
Ατρείδης τού ατίμασε τον ιερέα Χρύσην.
Ότ' ήρθ' αυτός εις τα γοργά των Αχαιών καράβια,
Δια την θυγατέρα του να την ελευθερώση,
Άπειρα λύτρα φέροντας, βαστώντας και 'ς τα χέρια
Το στέμμα του Από�ωνος με το χρυσόν το σκήπτρον.
Και παρακαλεί ολουνούς τους Αχαιούς· και πλέον
Τους δυω Ατρείδας του λαού αρχιστρατήγους πρώτους.

Ατρείδες, είπε, κι' Αχαιοί ευμορφοκνήμιδ' άλλοι·

Οι θεοί οπού κατοικούν τα δώματα τ' Ολύμπου,
Να δώσουν, να πορθήσετε την πόλιν του Πριάμου,
Και 'ς την πατρίδα σας καλά να κατευοδοθήτε.
Την κόρην λύστε μ' την γλυκήν, και πάρτ' αυτά τα λύτρα.

Όμηρος
Σεβόμεν' τον μακρόχτυπον Από�ων' υιόν του Δία.

Διεθνές Κέντρο Δεδομένων

Ε�ηνική εταιρεία εκδηλώσεων και ερευνών

��

�����������

Τρομερό τρακτέρ
Ασμα �. – Ο εαυτός μας. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . �
Ασμα �. – Επιμύσεις. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ��
Ασμα �. – Προκήρυξη. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Ασμα �. – Μεγάλη Επίθεση. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Επιπρόσθετες σημειώσεις. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Μια Ωδή. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Το πρωί. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Μια Ωδή. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Για τον θάνατο της Ουάσιγκτον. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Οδηγίες για την ποίηση. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Ο Οράτιος ξεπέρασε. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Τραγούδι. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Οι λαμπρότητες του Ήλιου που δύει. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Ο ύπνος του αργού. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
«Μια απαλή απάντηση διώχνει την οργή». . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
« Έχοντας φαγητό και ρούχα, ας είμαστε ικανοποιημένοι». . . . . . . . . . ���
Συγκομιδή — Ασυγκράτηση. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Γρα μές που γράφτηκαν στο άλμπουμ μιας νεαρής κυρίας. . . . . . . . . . . . ���
Ο Ανεξάρτητος Αγρότης. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Η Τέχνη του Καλλιεργητή. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Μια Ωδή. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Το μάθημα του πολιτισμού. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Ενα τραγούδι. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Τα κακά της Μοχθηρής γλώσσας. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Φαιδρότητα. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Εγκώμιο των Εποχών. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Η Τέχνη της Τυπογραφίας. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Ο παλιός εργένης. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���
Θερμαντικός. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���

ΜΕΝΟΥ

ΟΡΕΚΤΙΚΑ
����∆� �������� ���
Φρέσκιες γαρίδες στο τηγάνι με σκόρδο, κρεμμύδι ϗ σάλτσα φρέσκιας
ντομάτας, με φέτα, φλαμπέ με ούζο

��������� ∆���� �� �������∆� ���

Μυζήθρα, κάππαρη ϗ φρέσκια ντομάτα, ελιές Μελιάς Καλαμάτας

������� �� ���� ���� ��� ����� ��������� ���

Καρυκευμένο με θυμάρι ϗ σουσάμι ϗ τυλιγμένο σε φύ�ο

ΚΥΡΙΟ ΠΙΑΤΟ
���� �������� ���
Αρνί σουβλάκια, σπιτικό τζατζίκι, κόκκινο κρεμμύδι, ντομάτα,
λαδολέμονο, πουρές πατάτας, πίτα

������� �� ������ �������� ��� ������� �����

�� �������∆� ��� ������ ���
Τρυφερό χοιρινό με σάλτσα λεμονιού ϗ ανάμεικτα λαχανικά

��������∆� ���
Σπαγγέτι, γαρίδες, μύδια, σπανάκι, τσίλι, σκόρδο, σάλτσα λευκού κρασιού

ΕΠΙΔΟΡΠΙΟ
��������������� �� ������� ��
Χρυσή τραγανή ζύμη καταΐφι τυλιγμένη γύρω από αφράτη αρωματική
κρέμα σιμιγδαλιού ϗ λουσμένη με σιρόπι

����������� ��������∆���� ��
Μπακλαβάς σοκολάτας με καβουρδισμένα αμύγδαλα ϗ φουντούκια
ϗ λιασμένα σύκα καλαμάτας με καρύδια ϗ κανέλα

Some sample art layouts use material from the Wikipedia articles “Hokusai’s “The Great Wave of Kanagawa”
����,” “Brutalist architecture,” “De Aetna ����,” “Ludovico Vicentino degli Arrighi,” and “Aldus Manutius”.
This material is released under the Creative Commons Attribution-Share-Alike License �.�.

Jerry Kelly supplied the following images: Manni, Domenico Maria.Vita di Aldo Pio Manuzio Insigne Restaura-
tore delle Lettere Greche, e Latine in Venezia… Venice: Giambatista Novelli, ����, Pindar.
[Odes]. Venice: Aldus Manutius and Andrea Torresani, ����, Virgil ���� Aldus Manutius, and Greek Anthology.
Florilegium Diversorum Epigrammatum in Septem Libros. Venice: Aldus Manutius, November ����.

Special thanks to the following individuals who contributed in part to the completion of this project:
Frank Grießhammer, Paul D. Hunt, David Lemon, Ernest March, Dan Rattigan, Ariadne Remoundakis,
Andrew Keith Strauss and Aurora Zeng.

Document design and layout by Robert Slimbach, January ����.