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Here you can Sed posuere consectetur est at lobortis. Donec ullamcorper nulla non metus auctor fringilla. Maecenas sed diam eget risus varius blandit sit amet non magna. Donec id elit non mi porta gravida at eget metus. Praesent commodo cursus magna, vel scelerisque nisl consectetur et.

            
              <header>
  <p>Full disclosure: this page is an excerpt from an article on <a href="https://ilovetypography.com/2019/06/16/machiavelli-typographic-prince">ilovetypography.com</a>, including all content, images, attributions etc. I'm using it as a test scenario for practicing CSS, as the original was created using a clever combination of floats but is an ideal candidate for CSS Grid; if you are interested in the content or any other element then please <a href="https://ilovetypography.com/2019/06/16/machiavelli-typographic-prince">view the original article</a> (it's a lot more interesting).</p>
</header>
<article>
  <p>The ‘exclusive’ papal protection granted to Blado was shortly thereafter extended to the famed Florentine family of printers, <a href="http://www.copyrighthistory.org/cam/tools/request/showRepresentation?id=representation_i_1531a">the Giunti</a>.§ The original handwritten papal privilege granted to the Giunti firm survives in the formerly ‘secret’ Vatican archives. The privilege states that as Blado had already sold most of his copies of Machiavelli’s books (i.e., his <a href="https://en.wikipedia.org/wiki/Discourses_on_Livy">Discourses on Livy</a>), and that the Giunti family also had the backing of Machiavelli’s heirs, then it was deemed only fair to extend printing rights to the Giunti. It is also worth mentioning that seldom were such privileges awarded freely out of apostolic benevolence. They were often very expensive but would be seen as investments by those who sought them — and the Giunti family were among the richest printers in Italy.</p>
  <img class="grid-mid" src="https://ilt-typography.netdna-ssl.com/img/2019/06/prince-machiavelli-second-ed-giunti-rome-1523.jpg">
  <aside class="grid-right">
    <p>Actual page from the papal <em>privilege</em> granted in 1531 to the Giunti:</p>
    <img src="https://ilt-typography.netdna-ssl.com/img/2019/06/giunti-papal-priv-1531.jpg">
    <p class="grid-right">Source: <a href="http://www.copyrighthistory.org/cam/tools/request/showRepresentation.php?id=representation_i_1531a&pagenumber=1_1&imagesize=small">Primary Sources on Copyright (1450-1900)</a>.</p>
    <p>Giunti’s title page for the second edition of <em>The Prince</em>. <a href="https://www.ustc.ac.uk/editions/839314">Eight copies</a> have survived. Photo courtesy of <a href="https://gallica.bnf.fr/ark:/12148/bpt6k852526w/f1.item">The National Library of France</a>.</p>
  </aside>
  <p>With the papal <em>privilege</em> in hand, the next and second edition of <em>The Prince</em> was published by the firm of Bernardo Giunti in Florence in May of the same year, 1523.</p>
  <p>The above title-page for Bernardo Giunti’s Florentine edition of Machiavelli’s <em>The Prince</em>, bears the familiar Giunti fleur-de-lys supported by two cherubs, with the motto ‘Nil candidus’ (‘nothing fairer’) on the plinth. This edition, like the earlier Roman edition by Blado was published in one volume along with several other short pieces (The Prince is a relatively short work), including the biographical sketch, <em>The Life of Castruccio Castracani</em>.</p>
  <blockquote>
    <p>“The first method for estimating the intelligence of a ruler is to look at the men he has around him.”</p>
    <footer>
      ― <cite>The Prince</cite>, chapter 22
    </footer>
  </blockquote>
  <p>The Giunti were shrewd and especially quick to pick up on new and potentially profitable trends. Bernardo’s father Filippo (1450–1517) had been quick to imitate or plagiarize the new small-format, italic-type Aldine editions for which Aldus appears to have successfully <a href="http://www.copyrighthistory.org/cam/tools/request/showRecord?id=commentary_i_1503">sued</a> Filippo Giunti. And although the out and out forgeries ceased, Filippo continued to use italic typefaces. Perhaps the most notable feature of the Giunti italic used for typesetting the Florentine edition of <em>The Prince</em> is its oversized ampersand. Note too that the italic lowercase is paired with upright capitals, as were almost all italics until the late 1530s. (see <a href="https://amzn.to/2XElWn9"><em>Typographic Firsts</em></a>, p. 52).</p>
<p>The Giunti were shrewd and especially quick to pick up on new and potentially profitable trends. Bernardo’s father Filippo (1450–1517) had been quick to imitate or plagiarize the new small-format, italic-type Aldine editions for which Aldus appears to have successfully <a href="http://www.copyrighthistory.org/cam/tools/request/showRecord?id=commentary_i_1503">sued</a> Filippo Giunti. And although the out and out forgeries ceased, Filippo continued to use italic typefaces. Perhaps the most notable feature of the Giunti italic used for typesetting the Florentine edition of <em>The Prince</em> is its oversized ampersand. Note too that the italic lowercase is paired with upright capitals, as were almost all italics until the late 1530s. (see <a href="https://amzn.to/2XElWn9"><em>Typographic Firsts</em></a>, p. 52).</p>
  <aside class="grid-right-offset">
    <img src="https://ilt-typography.netdna-ssl.com/img/2019/06/giunti-papal-priv-1531.jpg">
  </aside>
  <p>The Giunti were shrewd and especially quick to pick up on new and potentially profitable trends. Bernardo’s father Filippo (1450–1517) had been quick to imitate or plagiarize the new small-format, italic-type Aldine editions for which Aldus appears to have successfully <a href="http://www.copyrighthistory.org/cam/tools/request/showRecord?id=commentary_i_1503">sued</a> Filippo Giunti. And although the out and out forgeries ceased, Filippo continued to use italic typefaces. Perhaps the most notable feature of the Giunti italic used for typesetting the Florentine edition of <em>The Prince</em> is its oversized ampersand. Note too that the italic lowercase is paired with upright capitals, as were almost all italics until the late 1530s. (see <a href="https://amzn.to/2XElWn9"><em>Typographic Firsts</em></a>, p. 52).</p>
</article>
            
          
!
            
              * {
  box-sizing: border-box;
  font-family: sans-serif;
  line-height: 1.4rem;
}

:root {
  /* Columns */
  --left: ;
  --mid: 28rem;
  --right: ;
  --full-width: calc(3 * var(--mid) + 4rem);
}

body, html {
  margin: 0;
  padding: 0;
}

header {
  width: 100%;
  background-color: lightblue;
}

article { 
  display: grid;
  grid-gap: 0 1rem;
  width: 100%;
  grid-template-columns: 10rem 18rem 28rem 18rem 10rem;
  grid-template-rows: auto;
  justify-content: center;
}

img {
  max-width: 100%;
}

article > p, .grid-mid {
  grid-column: 3;
}

.grid-right {
  grid-column: 4;
}

.grid-right-offset {
  position: relative;
}

.grid-right-offset > * {
  position: fixed;
}

p + p, p + aside {
  margin-top: 0;
}

blockquote {
  grid-column: 1 / -1;
  max-width: var(--full-width);
  margin: 0;
  padding: 3rem;
  background-color: #f1bd68;
  color: #ffffff;
  font-size: 2rem;
}

blockquote p, blockquote footer {
  max-width: 40rem;
  margin: 0 auto;
  line-height: 3rem;
}

blockquote p {
  font-style: italic;
}

blockquote footer {
  margin-top: 1rem;
  font-size: 0.75rem;
  color: #e8dbaf;
}
            
          
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