{"id":7136,"date":"2026-09-30T19:33:18","date_gmt":"2026-09-30T19:33:18","guid":{"rendered":"https:\/\/primolevicenter.org\/printed-matter\/?p=7136"},"modified":"2026-09-30T20:14:19","modified_gmt":"2026-09-30T20:14:19","slug":"meet-anna-publisher-in-venice-600-years-ago","status":"publish","type":"post","link":"https:\/\/primolevicenter.org\/printed-matter\/meet-anna-publisher-in-venice-600-years-ago\/","title":{"rendered":"Meet Anna, Publisher in Venice 600 Years Ago"},"content":{"rendered":"
\nSilvia Ronchey, published in Italian in La Repubblica<\/em> (02\/01\/26) and reprinted with permission from the author. Translated by Faiz Azfar<\/a>\r\n\t \t\t
\n

Silvia Ronchey is an Italian author, Byzantinist, and professor in the Department of Humanistic Studies at the Universit\u00e0 degli Studi Roma Tre in Rome, Italy. She received her doctorate in Byzantine Philology from the University of Florence and completed her paleographical training at the Libraries of the Monastery of St. John the Theologian in Patmos and of the Greek Orthodox Patriarchate in Alexandria, Egypt. She conducted extended research at the Centre de Recherches d\u2019Histoire et Civilisation de Byzance of the Coll\u00e8ge de France in Paris and the Dumbarton Oaks Institute of Byzantine Studies in Washington D.C., where she collaborated with Alexander Petrovich Kazhdan.<\/p>\n

Ronchey is the author of many publications on Byzantine literature, history, and civilization. Her collaboration with James Hillman resulted in several television interviews and three volumes. Among her publications available in English, are: Hypatia. The True Story<\/i>, Berlin \u2013 Boston: De Gruyter, 2021; S. Ronchey \u2013 P. Cesaretti (eds.), Eustathii Thessalonicensis Exegesis in canonem iambicum pentecostalem<\/i>, Berlino \u2013 New York, De Gruyter, 2014. <\/span><\/p>\n<\/div>\n<\/div>\n

The first female publisher in history was named Anna. We are not speaking of Anna Rugerin, the printer from Augsburg, nor of Anna Fabri, her colleague in Stockholm, but of Anna Notaras Paleologina. Few know of her, but by her own choice. The desire to conceal her name was a matter of noblesse oblige<\/i> of a Byzantine exile – a name which embodied the highest nobility of the empire that had collapsed behind her. <\/p>\n

The Notaras were the most aristocratic and powerful family of the kingdom of Paleologhi. The Grand Duke Loukas Notaras, Anna\u2019s father, was prime minister to the last Emperor, Constantine XI, whom they say Anna was destined to marry and thus become empress, had he survived the Turkish siege of 1453. This did not come to pass, nor did Anna\u2019s father survive: he died, they say, by suicide, after witnessing before his very eyes the massacre of his three sons and the deportation of his youngest to the harem of Sultan Mehmed the Conqueror.<\/p>\n

Yet before this occurred – before the city fell, and Byzantium was finished (if it ever truly was) – Kyr Loukas had sent away his most intelligent daughter, entrusting her not only with a portion of treasures from his palaces, but with the family\u2019s capital: foreign deposits, essentially Genoese and Venetian securities based on investments in Italian commercial enterprises of which her grandfather, Nicola, had already acquired shares and loans. So grand were his connections and his fortune that Anna\u2019s father held honorary citizenship not only of Genoa but of Venice too. <\/p>\n

It was through the use of these offshore accounts that the young Byzantine, first under Bessarion\u2019s eagle\u2019s wing and later completely independently, financed cultural and religious ventures that would make Venice the preferred destination of Greek refugees and defectors, the so-called graeculi<\/i>. There she settled after her passage to Italy and a few initial misadventures; there she channeled her interests and utilized not only her financial resources but also the political determination she had inherited from her father to unite the community of exiles and preserve their memory. <\/p>\n

In 1479, it was estimated that the Greek residents in the Republic numbered between four and five thousand. Many of them were soldiers, the stradioti<\/i> (from the Greek stratiotes, <\/i>\u201csoldier\u201d), who had entered the service of the Serenissima<\/i> to fight, in the name of their lost homeland, the Turkish enemy. Many of them would go on to attain high ranks in the service of the city which nevertheless bore glaring responsibility for the fall of Byzantium. This political trauma and a sort of collective sense of guilt had fueled, at least amongst its cultural elite, a yearning to keep alive the memory of Byzantine civilization and knowledge, annihilated by history; so alive that it became almost a kind of transference.<\/p>\n

It was Bessarion, after all, who \u2013 fifteen years after the fall of Constantinople \u2013 described Venice as \u2018alterum Byzantium\u2019, \u2018the second Byzantium\u2019. More and more children and grandchildren of those Greeks would go on to enlist in the military expeditions that the Serenissima<\/i> waged against the Turks throughout the fifteenth century and the century following, until the Battle of Lepanto. All this contributed to Anna\u2019s strength. <\/p>\n

She facilitated the founding of the Greek ethnos <\/i>confraternity, for whose worship the Church of San Giorgio on the Rio dei Greci was built – thanks in part to his bequest – and which today still preserves amongst its treasures the three ancient, magnificent icons that she brought from Constantinople. She fought for the freedom of Orthodox worship and secured it, first in her own home, then in the church. Even today the San Giorgio dei Greci complex – comprising the cathedral church, the adjoining museum, and the Institute of Hellenic Studies, as well as serving as the seat of the Orthodox Archdiocese of Italy \u2013 remains a global center for philhellenism. Most of all, Anna fought to spread Byzantine culture through books. She inherited this challenge from the recently deceased \u201cEastern\u201d Cardinal Bessarione, who dedicated his life to collecting Greek manuscripts. In doing so, she also honored her father\u2019s memory, reviving the knowledge of the empire he had served; she ensured Byzantine books would not merely survive but be reborn and multiply through the tool her mentor recognized for its immense communicative potential: the printing press. Anna not only maintained and enriched in her residence a vast library, but also became a publisher, the first and greatest of the \u201cWestern\u201d Annas who until today are considered the first female printers (who were in fact merely typesetters, like the various widows of printers who would, for varying lengths of time, carry on the businesses of their deceased husbands). Anna Notaras\u2019 role was if anything more akin to that of Charlotte Guillard, the sixteenth-century publisher of the Soleil d\u2019or<\/i> in Paris\u2019 Latin Quarter. She financed and directed – with the ineffable discretion of anonymity which only the study of her will has revealed – the pioneering printing house of Kalliergis, a Cretan who had established in Venice a press dedicated exclusively to the printing of Greek works, at a time before Aldus Manutius\u2019s reign had yet begun. <\/p>\n

\"\"<\/a>

Patriarch Sergius I is depicted at the center of the battlements, leading the defense of Constantinople.<\/p><\/div>\n

Unlike the German Anna and the Swedish Anna, the Byzantine Anna used a proxy, her manager Nicola Vlastos, and did not sign the colophons of books whose publication she decided on, financed, and oversaw. Only once in the final colophon of the famous Etymologicum Magnum<\/i>, published by Kalliergis\u2019 printing house, is there mention of the \u201cmost illustrious and modest Lady Anna, daughter of Loukas Notaras, former Grand Duke of Constantinople,\u201d and this is because, as paleographers have shown, some of the stunning decorations on the title pages and initial letters were modelled on elaborate embroidery specially created by Anna and her granddaughter and collaborator, Eudocia.<\/p>\n

 <\/p>\n

Anna\u2019s \u201cmodesty\u201d, underlined in this description, consisted first and foremost in ensuring that her role remained undisclosed. Yet it was she herself who secured the authorization to print and the imprimatur of the Venetian Senate – an institution with which she always dealt as an equal, armed with the courtly titles she had inherited alongside her financial holdings (Hermeneutinam, echoing the Byzantine court title of [Di]ermenuetes or Interpreter, Megadoukisa, the feminine form of Grand Duke). <\/p>\n

An entry in Marin Sanudo\u2019s diary dated 8th July, 1508 reads: \u201cToday a Greek lady who had lived in this city died in San Zulian. She was the daughter of a man of high rank in Constantinople during the reign of the Emperor Palaiologos. She was over a hundred years old and died a virgin. She was wealthy.\u201d It is probably not true that Anna passed the age of a hundred (nor perhaps that she was a virgin). But it is highly likely that her image as a hieratic old woman – whom we cannot help but imagine dressed in the traditional, austere attire of Byzantine ladies – must have been etched like an icon in the memory of the Venetian nobles and citizens, unchanged for many years. This solitary woman, immensely wealthy and highly authoritative, possessing extraordinary influence over the Venetian government, must have embodied in the Venice of that time the very symbol of Byzantium’s auctoritas<\/i> and its civilization. <\/p>\n

In this sense we can argue not only, as Sanudo did, that she was over a hundred years old, but that she was well over a thousand. This unyielding ambassador of defeated Hellenism was the female phantasm of ancient Constantinople, destroyed by the Turks, though not without the shared blame of the Venetians. This publisher and lace-maker was indeed perhaps the Shakespearean revenant of their guilt. For this reason, perhaps, she was feared, respected, and protected by them in a way Constantinople had failed to. <\/p>\n

<\/div>\n

Image: Lazzaro Donati, La signora  <\/span>dal Ventaglio<\/em>, 1959. Schwarz editore<\/p>\n","protected":false},"excerpt":{"rendered":"

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