Schatzkammer Allerhand Versalien (1601/1995) Paulus Franck Facsimile edition created by Joseph Kiermeier-Debre and Fritz Franz Vogel as part of the boxed set Alphabets Buchstaben Calligraphy, published by Ravensburger Buchverlag (1998). Hardback. H275 x W255 mm, 80 pages. Acquired from Antiquariat Terrahe & Oswald, 14 March 2021. Photos: Books On Books Collection.
One element not extolled by the editors is the printing from woodcuts. The quality of the woodcuts can be better appreciated by looking at the scanned original available from the Bayerische Staats Bibliothek (BSB). Conveniently, the site BibliOdyssey has downloaded the letters and provided additional links. At his Type Design Information Page, Luc Devroye also reproduces Franck’s ornate letters from the 1601 manual as well as from a later volume produced by Paul Fürst (better known for his print “Der Doctor Schnabel von Rom“) and printed by Christoph Gerhard in 1655.
Nobson Newtown (1998) Paul Noble Paperback, H17 x W120 mm, 32 pages with foldout map. Acquired from Marcus Campbell Art Books, 13 March 2021. Photos: Books On Books Collection.
With Nobson Newtown, Paul Noble extends the tradition of alphabetical architecture to full-scale city planning and landscape architecture. Some of Antonio Basoli’s 19th-century designs — for example, the letter A — display a letter-shaped built environment, as does Steven Holl’s The Alphabetical City (1980), but in seaside Nobson Newtown, the buildings spell out words, and the mapped habitation (although without any depiction of inhabitants) rests on a founding myth as bizarre and misanthropic as its current civic arrangements.
In addition to a map of the town and the environs, Nobson Newtown includes a key to its alphabetical and typographic building blocks, which are, of course, rendered in Nobfont. Easy legibility is not a characteristic.
The Museum Boijmans Van Beuningen commissioned a film from Noble exploring Nobson Newtown, insightfully characterized as “an ever-incomplete inner landscape of the person building the town”.
The Palace of Typographic Masonry (2018) Richard Niessen Paperback, perfect bound. H300 x W215 mm, 348 pages. Acquired from Wordery, 29 March 2021. Photos of the work: Books On Books Collection. Displayed with permission of Richard Niessen.
Website, perforated poster, exhibition and paperback, The Palace of Typographic Masonry occupies its place in the Books On Books Collection unlike any other work. The book itself is a shape shifter. Its size competes with those of museum catalogues. In fact, the Palace of Typographic Masonry is like a museum, so much so that it requires a tour guide, which is one shape the book takes. With its nine departments (Sign, Symbol, Ornament, Construction, Poetics, Play, Order, Craft and Practice), it is like a working museum of graphic design, and Dirk van Weelden, our tour guide, often hands us off to departmental “staff” for a lecture or overheard interview.
Given the guided-tour premise, the page layouts strangely, or perhaps appropriately, disorient. On almost every page, at almost every turn, we are rubbernecking and twisting to follow text that appears in a typewriter font on sheets and cards that seemingly have been stuck to a black surface with masking tape, photographed and then printed. Some of the text-bearing cards wrap from the recto page to the verso, leading the reader to think that perhaps the pages are on Chinese fold sheets. A card or sheet may be displayed complete on a page, but the next page may show its edge as if an overlapping photo had been taken. On some pages, the items overlap like a collage. At times, the effect is one of moving down a corridor of blackboards that are covered with notices and captioned photos on white, green and fluorescent orange paper. At other times, the page contains multiple cards as if lying on a flat surface — much the same as objects might be arranged in gallery glass cases — and in different orientations so that the book has to be turned clockwise or anti-clockwise to read each item — much the same as having to walk around a glass case to look at each object in it.
Interspersed glossy sections showcase projects illustrating or responding to the text or the department. For example, Slovenian graphic designer Nejc Prah delivers variations on Masonic tools for Symbols; Paris-based Fanette Mellier, on grid-based design for Poetics; and the Amsterdam-based studio Moniker, “board game cut-ups” for Play. While these sections fit their context in the book, their content and “slippery floor” substrate ratchet up the sense of disorientation. Museum visitors easily tire, and they can be bored in some departments.
Nejc Prah‘s variations on Masonic tools and symbols. Photo: Books On Books Collection. Displayed with artist’s permission.
For example, the palace’s labyrinth of scripts — also reproduced separately on the perforated poster — is followed by a discussion of the revival of Tifinagh, the nearly extinct written language of the Tuareg in the Maghreb. The labyrinth presents thirty-six scripts in those varying orientations mentioned above and is wonderful in its breadth but also tiring — especially from the effort required by the font size and orientations. The story of Tifinagh’s revival and integration through typeface design is inspiring, usefully makes the point about the cultural conventionality of alphabets and more, but also makes for a long trek before our guide moves us along into the next department.
With the website for The Palace of Typographic Masonry, Richard Niessen aims for both a collective (imagined) building and an encyclopedic (digital) space, organized into those nine departments or frames. Contributors can add to the source collections or, within the departments and their subdivisions, create new rooms based on the source collections. One contribution particularly appropriate for the Books On Books Collection comes from Tony Côme: “The Typotectural Suites“. Here in one location, the visitor can find those “language towers, typographic islands, cities to decipher, plans in the shape of letters, encrypted walls, speaking bricks, habitable capitals” created by Johann David Steingruber, Antonio Basoli, Antonio and Giovanni Battista de Pian, Paul Noble and others.
The Departments of Sign, Symbol or Order could give more prominence to the role of numbers in the world of typographic masonry. Numerals do appear in the tables for Morse Code and International Maritime Signal Flags, but the visitor would not know that counting and numbers preceded writing and letters. Perhaps the curator could persuade the art historian and archaeologist Denise Schmandt-Besserat to contribute images of those clay tokens to which
The Mesopotamian cuneiform script can be traced furthest back into prehistory to an eighth millennium BC counting system using clay tokens of multiple shapes. The development from tokens to script reveals that writing emerged from counting and accounting. (Schmandt-Besserat, 2015)
Or perhaps the curator could persuade William Joyce to donate some clips from The Numberlys (2012) to the Palace source collection, even preferably some snippets of interactive code with which the visitor can help the five animated characters transform numbers into letters.
Universal languages are highlighted in an Annex, which has been compiled by Edgar Walthert. An update soon to come includes excerpts from Book from the Ground by Xu Bing. A link to Xu’s film The Character of Characters would make a useful addition. It will be interesting to see whether the Annex’s accompanying lecture covers the stir over a “post-text future” and whether typographic masons are returning full circle to pictographic language.
“Architecture“, Books on Books Collection, 12 November 2018.
Alfabeto Pittorico, ossia raccolta di pensieri pittorici composti di oggetti comincianti dalle singole lettere alfabetiche (“Pictorial Alphabet, a collection of pictorial thoughts composed of objects beginning with the individual letters of the alphabet”) (1839/1998) Antonio Basoli Facsimile edition created by Joseph Kiermeier-Debre and Fritz Franz Vogel (1998) as part of the boxed set Alphabets Buchstaben Calligraphy, published by Ravensburger Buchverlag. H275 x W255 mm, 144 pages. Acquired from Antiquariat Terrahe & Oswald, 14 March 2021. Photos: Books On Books Collection.
The Ravensburger Alfabeto pittorico is like a “Black Forest Cake” — a lot of ingredients. The recipe starts with Antonio Basoli’s design of monuments based on letters of the alphabet and his original Italian and French descriptions. To this, the chefs Joseph Kiermeier-Debre and Fritz Franz Vogel add German and English translations. Then, alongside Basoli’s inventions, they place reduced versions of Antonio and Giovanni Battista de Pian’s contemporaneous alphabetical/architectural fantasies. And sprinkled throughout, providing comparative context to Basoli’s career in Bologna as a professionally and academically recognized scenographer, there are dozens of reduced versions of lithographs of opera settings by the more renowned scenographers associated with Vienna, Milan, Venice, Naples and Munich. It is entirely a pudding in the spirit of Basoli.
Basoli creates densely illustrated scenes based on each letter of the alphabet. For each view, his goal is to incorporate the letter structurally or ornamentally in a central building, which in the most successful attempts would begin with the letter. For instance, the large A-shaped building is an orangerie (as in arancia for oranges). B hints at the Tower of Babel and the destruction of the Babylonian empire. C stands for catafalque (or “crypt”) and the Capuchin monks attending to a burial.
Setting a further standard of success, the artist populates each scene with people, activities, objects and symbols that begin with the designated letter. Around the orangerie, agricultural attrezzi (“implements”) are strewn, stone aquile (“eagles”) perch on the building, alms are being distributed by a man in Arab dress, trees beginning with the letter A forest the background and pop up from pots, and the whole setting evokes Arabia according to the 19th-century perception of the region encompassing “Persia, Syria, Egypt and Ethiopia”.
As Kiermeier-Debre and Vogel point out in the preface and afterword, this scene and many others reflect the time’s preoccupation with the Orient and antiquity from the not-too-distant Napoleonic campaign in Egypt (1798-1801) that spawned the archaeological industry of Egyptology. They also reflect the scenography arising from a half century’s operas such as The Escape from the Seraglio(1782), The Caliph of Baghdad (1800), Abu Hassan (1811), Ciro in Babilonia (1812), L’Italiana in Algeri (1813), Il Turco in Italia (1814), Semiramis (1818), Maometto (1820) and Belsazar (1836). Drawing attention to the alphabetical scenes’ evidence of the wide range of Basoli’s cultural, historical, mythological and religious insights, Kiermeier-Debre and Vogel rightly conclude that the work is as much an encyclopedic pictorial dictionary as abecedary.
The author who provided the original commentary on Basoli’s scenes was G.C. Lossada, an art historian. He, too, notes Basoli’s erudition, but on the artistic success of each scene, he swings between acclamation and deprecation. Here is his concluding paragraph on the letter C:
Despite the fact that the shape of the letter C, the theme of this picture, does not lend itself to the main object that is depicted, and the larger part of the building actually lies outside of the initial, such that the whole design could well exist without it, despite all this the perspectives and proportions are so well thought out that this picture can be acclaimed as one of the best in the collection. P. 110.
Equally balanced in their appraisal of Basoli, Kiermeier-Debre and Vogel rank him behind his contemporary scenographers such as Karl Friedrich Schinkel but rate his alphabetical architecture over that of Giovanni Battista de Pian. The latter may be a matter of color and taste. Even reduced, Pian’s scenes draw the eye over Basoli’s, and if the criteria for ranking include a consistency in integrating concept, subject, technique and material, Pian’s letters strain less in their achievement. The letter C certainly takes the cake for Pian.
Basoli does, however, gain a point over Pian with his concluding ampersand. As Lossada remarks, in recapitulating the alphabet and images emblematic of each letter, Basoli’s “&” is entirely a scenic etcetera. The ampersand can be viewed online with the complete alphabet, thanks to the Civic Museum of the Risorgimento in Bologna and also RMR Productions (video, 7 June 2014; accessed 5 April 2021). Neither replicates the clarity of the Ravensburger reproductions.
Top row: A, C and E from Alphabetto Latino Schizzato a Bena da Antonio de Pian, reproduced in Antonio Basoli:Alfabeto Pittorico 1839, edited by Joseph Kiermeier-Debre and Fritz Franz Vogel, published as part of the boxed set Alphabets Buchstaben Calligraphy by Ravensburger Buchverlag (1998). Hardback, sewn. H275 x W255 mm, 144 pages. Acquired from Antiquariat Terrahe & Oswald, 14 March 2021. Bottom row: A, C and E from Alphabetto Pittoresque (1842) by Giovanni Battista de Pian, reproduced in Ein Schmuckalphabet aus Wien“Alphabet Jewelry from Vienna” by Anton Durstmüller, published by Fachhochschule f. Druck (1973). Perfect bound with pages in Chinese fold. H245 x W220 mm, 72 pages. Acquired from Versandantiquariat K. Stellrecht, 22 March 2021. Photos: Books On Books Collection.
Father and son, Antonio de Pian (1784-1851) and Giovanni Battista de Pian (1813-57)) worked in Vienna during the 18th and 19th centuries. Born in Venice, Antonio came with his father to Vienna, where he became a court-appointed set designer and scene painter and was inducted by the Academy of Fine Arts in 1843. Giovanni Battista (or Jean Baptiste) was not as professionally or academically successful as his father, but his Alphabetto Pittoresqueportfolio outshines his father’s Alphabetto Latino Schizzato a Bena and rivals the earlier Alfabeto Pittorico by Antonio Basoli, the elder Pian’s Bolognese contemporary, who was also an accomplished scenographer as well as an internationally honored academic. All three artists’ portfolios are scarce, and as they represent the next link in the chain of complete architectural alphabets that began with Johann David Steingruber’s Architectonisches Alphabeth in 1773, it is fortunate that the facsimile works produced by Durstmüller and Kiermeier-Debre/Vogel are available and accessible.
Antonio de Pian’s architectural alphabet portfolio is the rarest of the four. With its frontispiece/title page and twenty-two letters (B, D, J and W are missing), the only copy resides somewhere in Vienna. Fortunately, all of the twenty-two appear in the Basoli facsimile produced by Kiermeier-Debre/Vogel in 1998. The brown-tinted lithographs of the elder Pian’s portfolio echo not only the Basoli portfolio’s monochromatic character but also its emphases on Near or Middle Eastern or Oriental settings and on antiquity. As Kiermeier-Debre/Vogel point out, the dual emphasis was ushered in by Napoleon’s Egyptian campaign (1798-1801) and also showed itself in opera’s subject matter during Basoli’s and the Pians’ lifetimes. Twelve of Antonio’s scenes have settings in antiquity or the distant past, and seven in the Near or Middle East. Fifteen are based in Europe.
Letters M, N, O and P by Antonio de Pian
The original of Giovanni Battista’s portfolio is less rare, coming up for auction at five figures occasionally in the last few decades. It, too, appears in the Kiermeier-Dobre/Vogel’s Basoli volume but more prominently than his father’s. Anton Durstmüller’s earlier Ein Schmuckalphabet aus Wien/“Alphabet Jewelry from Vienna”(1973) showcases Giovanni’s portfolio. With its Chinese-fold leaves and laid paper, Durstmüller’s book matches and enhances the warmth and color of Giovanni’s invention and the chromolithographs by the Viennese lithographers Leopold Müller, Johann Höfelich, and M.R. Toma. Giovanni’s use of the arch’s reflection in the water to form the letter O, Pian places himself firmly in his father’s and Basoli’s company regardless of any lack of appointment or honors.
The Chinese fold of pages in the Durstmüller volume; the letter O by Giovanni Battista de Pian.
Sixteen of Giovanni’s scenes have European settings; eleven are Middle Eastern (he has an extra S). Of these, at least nine represent antiquity. From Basoli to the elder Pian and to the younger, there is the subtle shift in their scenes from the Classical to NeoClassical to Romantic styles, reflected in the diminishing emphasis on antiquity and growing emphasis on rustic European scenes. Typographically (or really calligraphically), the shift is less subtle. With almost every letter, Basoli used or tended toward a slab serif letter shape with blunt tips and sloping brackets. The Pians, however, leaned toward block serifs and sharply curving brackets, as seen in the letters A, C and E, above, and the letter M, below.
Kiermeier-Debre/Vogel’s side-by-side presentation of the letter M by Giovanni Battista de Pian and Antonio Basoli, respectively. Photo: Books On Books Collection.
Basoli’s serifs do not vary with the scene’s region, which might have created anomalies but somehow that does not happen. Only with certain letters do the Pians vary their letters with the region. At the top here, the serifs in the elder Pian’s letters C and E reflect their different regional settings. Below, his two S’s, however, fail on this score. The block serif S belongs more with the antique Roman scene; the nearly sans serif S belongs more with the antique Egyptian scene. The more exotic the setting from a Western perspective, the more the block serifs present difficulties — as in Giovanni’s letter G (the Turkish pirates below decks appear fed up with it) and letter T (the Africans depicted are certainly looking askance at the architecture) below.
Basoli’s and the Pians’ use of slab serif letter shapes reflects both their theatrical profession and the period’s infatuation with the shape in advertising in newspapers and on posters. Slab serifs were called Egyptian serifs, not that those letter shapes appear anywhere in Egyptian antiquity, but neither do the Keith Haring-like figures on the flanking columns in Giovanni’s L scene. See Further Reading for the story of slab serifs and their moniker.
For more on the operatic and theatrical context in which Basoli and the Pians worked, see the entry for Antonio Basoli in the Books On Books Collection.