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	<title>Comments on: 1.07 Illustrating Terence</title>
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	<description>Making and Marketing Schoolbooks in Italy, 1450-1650</description>
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		<title>By: Paul F. Gehl</title>
		<link>http://www.humanismforsale.org/text/archives/96/comment-page-1#comment-290</link>
		<dc:creator>Paul F. Gehl</dc:creator>
		<pubDate>Sun, 23 May 2010 01:43:24 +0000</pubDate>
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		<description>Further on this style of select-moment illustrations, See S.K. Heninger 1994 (full citation at section 1.04 para 4), 44-46.</description>
		<content:encoded><![CDATA[<p>Further on this style of select-moment illustrations, See S.K. Heninger 1994 (full citation at section 1.04 para 4), 44-46.</p>
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		<title>By: Paul F. Gehl</title>
		<link>http://www.humanismforsale.org/text/archives/96/comment-page-1#comment-275</link>
		<dc:creator>Paul F. Gehl</dc:creator>
		<pubDate>Wed, 28 Oct 2009 12:36:14 +0000</pubDate>
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		<description>It should be noted that the tradition of illustrating the classics, both in original-lanugage editions and in translation, remained much stronger in Northern Europe than in Italy through most of the early modern period. Italian humanists in this regard were more conservative and text-oriented than comparable humanists north of the Alps. A good example of Northern humanist love of illustration is Sebastian Brant (1457-1521), on whose career in print, see especially the contributions of Vera Sack in &lt;em&gt;Sebastien Brant, 500e anniversaire de La Nef des Folz, 1494-1994, Das Narren Schyff... &lt;/em&gt;(Basel, Christian Merian, 1994), esp. pp. 82-108,</description>
		<content:encoded><![CDATA[<p>It should be noted that the tradition of illustrating the classics, both in original-lanugage editions and in translation, remained much stronger in Northern Europe than in Italy through most of the early modern period. Italian humanists in this regard were more conservative and text-oriented than comparable humanists north of the Alps. A good example of Northern humanist love of illustration is Sebastian Brant (1457-1521), on whose career in print, see especially the contributions of Vera Sack in <em>Sebastien Brant, 500e anniversaire de La Nef des Folz, 1494-1994, Das Narren Schyff&#8230; </em>(Basel, Christian Merian, 1994), esp. pp. 82-108,</p>
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		<title>By: Paul F. Gehl</title>
		<link>http://www.humanismforsale.org/text/archives/96/comment-page-1#comment-104</link>
		<dc:creator>Paul F. Gehl</dc:creator>
		<pubDate>Mon, 06 Apr 2009 10:56:37 +0000</pubDate>
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		<description>Not really, since I do not read them as teasing the reader to look for the fun in the plays. They seem more mnemonic in function. The scenes chosen seem to represent those in which there is a significant change in the number of characters on stage, or entrances of new characters.</description>
		<content:encoded><![CDATA[<p>Not really, since I do not read them as teasing the reader to look for the fun in the plays. They seem more mnemonic in function. The scenes chosen seem to represent those in which there is a significant change in the number of characters on stage, or entrances of new characters.</p>
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		<title>By: MQuinlan</title>
		<link>http://www.humanismforsale.org/text/archives/96/comment-page-1#comment-93</link>
		<dc:creator>MQuinlan</dc:creator>
		<pubDate>Sun, 05 Apr 2009 19:19:52 +0000</pubDate>
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		<description>Are they also like movie trailers?</description>
		<content:encoded><![CDATA[<p>Are they also like movie trailers?</p>
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