Edmondo De Amicis – L’infermiere di Tata – Audiobook – Audiolibro – MP3 – Lettura di Valerio Di Stefano

La mattina d’un giorno piovoso di marzo, un ragazzo vestito da campagnuolo, tutto inzuppato d’acqua e infangato, con un involto di panni sotto il braccio, si presentava al portinaio dell’Ospedale maggiore di Napoli e domandava di suo padre, presentando una lettera. Aveva un bel viso ovale d’un bruno pallido, gli occhi pensierosi e due grosse labbra semiaperte, che lasciavan vedere i denti bianchissimi. Veniva da un villaggio dei dintorni di Napoli. Continua la lettura di Edmondo De Amicis – L’infermiere di Tata – Audiobook – Audiolibro – MP3 – Lettura di Valerio Di Stefano

Edmondo De Amicis – Il piccolo scrivano fiorentino – Audiobook – MP3 – Lettura di Valerio Di Stefano

Faceva la quarta elementare. Era un grazioso fiorentino di dodici anni, nero di capelli e bianco di viso, figliuolo maggiore d’un impiegato delle strade ferrate, il quale, avendo molta famiglia e poco stipendio, viveva nelle strettezze. Suo padre lo amava ed era assai buono e indulgente con lui: indulgente in tutto fuorché in quello che toccava la scuola: in questo pretendeva molto e si mostrava severo perché il figliuolo doveva mettersi in grado di ottener presto un impiego per aiutar la famiglia; e per valer presto qualche cosa gli bisognava faticar molto in poco tempo. Continua la lettura di Edmondo De Amicis – Il piccolo scrivano fiorentino – Audiobook – MP3 – Lettura di Valerio Di Stefano

Oscar Wilde – Printing and Printers

(Pall Mall Gazette, November 16, 1888.)

Nothing could have been better than Mr. Emery Walker’s lecture on Letterpress Printing and Illustration, delivered last night at the Arts and Crafts.  A series of most interesting specimens of old printed books and manuscripts was displayed on the screen by means of the magic-lantern, and Mr. Walker’s explanations were as clear and simple as his suggestions were admirable.  He began by explaining the different kinds of type and how they are made, and showed specimens of the old block-printing which preceded the movable type and is still used in China.  He pointed out the intimate connection between printing and handwriting—as long as the latter was good the printers had a living model to go by, but when it decayed printing decayed also.  He showed on the screen a page from Gutenberg’s Bible (the first printed book, date about 1450-5) and a manuscript of Columella; a printed Livy of 1469, with the abbreviations of handwriting, and a manuscript of the History of Pompeius by Justin of 1451.  The latter he regarded as an example of the beginning of the Roman type.  The resemblance between the manuscripts and the printed books was most curious and suggestive.  He then showed a page out of John of Spier’s edition of Cicero’s Letters, the first book printed at Venice, an edition of the same book by Nicholas Jansen in 1470, and a wonderful manuscript Petrarch of the sixteenth century.  Continua la lettura di Oscar Wilde – Printing and Printers

Oscar Wilde – Sculpture of the Arts and Crafts

(Pall Mall Gazette, November 9, 1888.)

The most satisfactory thing in Mr. Simonds’ lecture last night was the peroration, in which he told the audience that ‘an artist cannot be made.’  But for this well-timed warning some deluded people might have gone away under the impression that sculpture was a sort of mechanical process within the reach of the meanest capabilities.  For it must be confessed that Mr. Simonds’ lecture was at once too elementary and too elaborately technical.  The ordinary art student, even the ordinary studio-loafer, could not have learned anything from it, while the ‘cultured person,’ of whom there were many specimens present, could not but have felt a little bored at the careful and painfully clear descriptions given by the lecturer of very well-known and uninteresting methods of work.  However, Mr. Simonds did his best.  He described modelling in clay and wax; casting in plaster and in metal; how to enlarge and how to diminish to scale; bas-reliefs and working in the round; the various kinds of marble, their qualities and characteristics; how to reproduce in marble the plaster or clay bust; how to use the point, the drill, the wire and the chisel; and the various difficulties attending each process.  Continua la lettura di Oscar Wilde – Sculpture of the Arts and Crafts

Oscar Wilde – Mr. Morris or Tapestry

(Pall Mall Gazette, November 2, 1888.)

Yesterday evening Mr. William Morris delivered a most interesting and fascinating lecture on Carpet and Tapestry Weaving at the Arts and Crafts Exhibition now held at the New Gallery.  Mr. Morris had small practical models of the two looms used, the carpet loom where the weaver sits in front of his work; the more elaborate tapestry loom where the weaver sits behind, at the back of the stuff, has his design outlined on the upright threads and sees in a mirror the shadow of the pattern and picture as it grows gradually to perfection.  He spoke at much length on the question of dyes—praising madder and kermes for reds, precipitate of iron or ochre for yellows, and for blue either indigo or woad.  At the back of the platform hung a lovely Flemish tapestry of the fourteenth century, and a superb Persian carpet about two hundred and fifty years old.  Mr. Morris pointed out the loveliness of the carpet—its delicate suggestion of hawthorn blossom, iris and rose, its rejection of imitation and shading; and showed how it combined the great quality of decorative design—being at once clear and well defined in form: each outline exquisitely traced, each line deliberate in its intention and its beauty, and the whole effect being one of unity, of harmony, almost of mystery, the colours being so perfectly harmonised together and the little bright notes of colour being so cunningly placed either for tone or brilliancy. Continua la lettura di Oscar Wilde – Mr. Morris or Tapestry

Oscar Wilde – Arts at Willi’s Room

(Sunday Times, December 25, 1887.)

Accepting a suggestion made by a friendly critic last week, Mr. Selwyn Image began his second lecture by explaining more fully what he meant by literary art, and pointed out the difference between an ordinary illustration to a book and such creative and original works as Michael Angelo’s fresco of The Expulsion from Eden and Rossetti’s Beata Beatrix.  In the latter case the artist treats literature as if it were life itself, and gives a new and delightful form to what seer or singer has shown us; in the former we have merely a translation which misses the music and adds no marvel.  Continua la lettura di Oscar Wilde – Arts at Willi’s Room