L'Italo-Americano

L'Italo-Americano THURSDAY, JUNE 28, 2018 www.italoamericano.org 6 NEWS & FEATURES TOP STORIES PEOPLE EVENTS FRANCESCA BEZZONE I t was 1455 when Johannes Gutenberg put to work his latest invention, movable type, to print the first book in the Western world, an edition of the Bible. In the far East, printing had been a com- mon enough practice since the 11th century, but Gutenberg's creation was a game changer. He was the first to understand the importance of making books more readily and quickly avail- able, although one wonders how aware he may have been of the immense cultural shift his cre- ation was to have on the world. Even though the invention of movable type per se belongs to a fellow German, Italy had an essential role in the development and diffusion of the art of print- ing in Europe and in the world: indeed, as early as the 1480s, Italy was considered, along with Germany, the most important quality printing pole in Europe and it was also the first European country to adopt Gutenberg invention: the first book printed outside of Germany was prepared by two German experts in the monastery of Santa Scolastica in Subiaco, probably called over by Cardinal Niccolò Cusano, who was of German origins: it was 1467. The first texts printed were a Latin Grammar for children and Saint Augustine's De Civitate Dei. Venice became the main centre of Italian printing, with specialists joining its ateliers from all over Europe. These were the years of Aldo Manuzio, who started his printing career in Venice in 1494. It is in this universe made of culture, art and skills that the Gri- fani Donati printing atelier was born, more than two centuries ago. The company is both wit- ness and emblem of an art form Italy has mastered since its begin- nings, and of that idea of con- duzione familiare, family busi- ness, that means so much to the Made in Italy concept. Seven generations of typographers, their art and skills proudly maintained and carried on by Giovanni Otta- viani, heir to a craft that defined - and still defines - his own city, Città di Castello, second most important printing centre in the country after Milan. The Grifani Donati printing atelier is the only one in the world to be managed by a family active in the business for so long, a true jewel of tradi- tion and art. We of L'Italo Amer- icano had the pleasure to have a chat with Giovanni, who explained to us more about his family business and why the art of printing remains so relevant, even in todays' technological world. "Typographers Francesco Donati and Domenico Carlucci arrived in Città di Castello at the end of 1799 from Assisi" he tells us, "Their aim was to create a printing atelier in the rooms above the old church of San Paolo (13th century), which used to be a convent first and then a prison. Our workshop stood out immediately for the quality of its book printing and artistic work, reason for which it would receive orders even from neighboring towns. "After Carlucci's death, the activity was carried on by Donati, who was the one to intro- duce the Bodoni typeface in Città di Castello in 1817. In 1842, he started printing Bishop Giovanni Nuzi's Le Memorie Ecclesias- tiche e Civili di Città di Castello, a monumental work divided in 28 installments; he did so using a wooden printing press. When Francesco Donati passed away, the business was inherited by his son Biagio and then by grand- son, Giuseppe Grifani. Then, the company became known with the name Grifani Donati. Giuseppe left it to his son in law Alberto Ottaviani, husband of his daughter Elisabetta. Their work was continued by their own children, Mario and Italo. "Myself and my wife Adriana are in charge of the print shop today, and continue a long run- ning family tradition. We are the seventh generation, and the eighth is ready: our children Milos and Alberto Maria already work with us every now and then." Our chat goes on, focusing on the fascinating techniques used in the art of printing. "We use three methods: typography, engraving and lithography. Typography is also called relieve printing, because the movable type is in relief. The text is first 'com- posed,' then printed with presses. We can print anything this way, from business cards (5X9 cm), to posters (70X100 cm). "Engraving is the opposite, because characters are hollowed out and it's used especially for artistic printing. The matrix is usually made in copper or zinc and engraved directly with specif- ic instruments such as burin, dry- point and berceaux. Engraving con also be indirect when it is not made by the hand of the engraver, but by the action of specific chemicals. In this case, the matrix must be cleaned and shined first, then treated with vernicetta, a mixture of bitumen, beeswax and turpentine. Once dried, this layer is engraved with a drypoint to show the metal underneath. After this, the matrix is immersed in a specific acid mix, then washed and dried to be inked with a spat- ula. The surface is then cleaned and ready to be used for printing with an engraving press." After such a fascinating description, it comes natural to ask about the link between art and printing. Giovanni is adamant that "the ties between art and printing are strong. Indeed, print- ing is, by definition, 'the Art of Printing.' It is considered a minor artistic form, but all that has been printed around the world through- out the ages is vivid witness to the love and passion of Man for it. Xylography, engraving and lithography are particularly artis- tic, because they bring together artist and printer, creating an indissoluble artistic union." The history of this art, in the words of who, like Giovanni and his family, has been making it for generations, becomes as enchanting and poetic as a novel, because prints made with tradi- tional methods can be 'told' just like a story: "take lithography, invented in 1798 by Aloisio Senefelder: it is incredibly enthralling, almost miraculous. With this method, the chemistry of stone (98.8% calcium carbon- ate) changes thanks to the acidify- ing action of gum Arabic that, once spread on the stone and on the drawing to be reproduced, will chemically change the matrix: in graphism, it turns it into calcium stearate, which accepts ink but refuses water. In offset printing, it becomes calci- um nitrate, accepting water but refusing ink. If you saw it, you would appreciate this technique even more." Italy, we saw, has been one of the first countries to embrace printing, making it an important symbol of the country's artistic and commercial abilities: but what is the role of Italy in the industry today? Giovanni is clear about it: "Italy is a leader in the quality printing sector even today. There are artists who still produce their work using direct techniques. Milan is the first edi- torial pole in the country, fol- lowed by Città di Castello, with its 130 printing businesses. And considering the worrying- ly disposable nature of today's goods and, unfortunately, even of art, we asked Giovanni what he believes to be the role of an activity like his, based on tradi- tion and skills, on the unicity and value of art. Certainly that of keeping alive a form of art that meant so much for the history and artistic identity of our country, especially in Città di Castello: "If we know that Città di Castello is the second most important print- ing pole after Milan, we clearly have to protect these techniques and methods, by maintaining them alive and strengthening them. In the end, they have been giving work and prestige to our country for centuries." Typographers Francesco Donati and Domenico Carlucci arrived in Città di Castello in 1799 and their activity is still flourishing today. Foto © Grifani Donati "Words of art:" the history and soul of the Grifani Donati printing ateliers

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