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From that point onward, the relationship between Bemporad and Fabietti seems to wear out: Surprised by such claims, Bemporad answers that the problem is exclusively of economic nature: The rest of the titles was going to be abandoned Fabietti was not offered the chance to discuss such decision, nevertheless this would have been useless, since, a couple of months later, the publisher announced his intention to definitively stop the collection Such statements allow us to suggest that school market still represented a relief valve for publishers, which also explains the persisting presence in the market of a number of paraliterary educational works.
The subtitle reveals that the series was born and conceived as a didactic tool, benefitting from the interest in school libraries, on which pedagogues and intellectuals had insisted since the previous century A study on the subsidiary activities for primary teaching in , insisted on how each classroom should be equipped with a small library, its books being purchased by the pupils themselves when possible , combined with a central school library financed by the municipality As a matter of fact, in this case, the word Bibliotechina [Small library], not only alludes to a metaphoric library given to the pupils, but proposes a complete collection to be offered to teachers and school administrations, so that they could feel guided in their purchase for school libraries.
Schools and school libraries were meant as a potential and useful customer for such volumes. And who better than Ettore Fabietti could conceive, for Bemporad, a collection responding to such expectations? You proposed some, but no one of them met my satisfaction. A new successful proposal was to come soon, in fact Fabietti wrote: The latter, as we know, was accepted by Bemporad.
Nonetheless, it was time to get to work, since the threat of competitors was around the corner: There would be no didactic purpose, even though the stories would inevitably contain examples of morality, edifying maxims, etc.
Actually the title pages contained a reading suggestion, i. Fabietti had actually expressed a doubt on giving such indication, since he had noticed that some texts were fitting various grades 64 ; at the same time, it was easier to find materials for the third than for the second grade Bemporad, however, decided to keep such distinction. Some texts were actually rejected because unfitting either grade, as in the following opinion by Fabietti: On the contrary, characters are all mean subjects and the story is the one of a misdeed.
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Vieri — and that is strange! In another occasion, the opinion is the same: But the material aspect also had to be cared for. Therefore he insisted that each volume had to contain two plates 71 , while Bemporad had previously proposed one 72 , that must have seemed appropriate for very thin volumes of , maximum 36 pages.
Bemporad himself had proposed a cardboard binding 76 and the result is particularly fine volumes, in spite of their thinness. The cover was designed by Ezio Anichini in Art Nouveau style a second version, with a freize-like decoration on the cover, was designed by Marina Battigelli 77 , as well as the opening freize on the first page; internal plates were by Fabio Fabbi.
The price varied from 60 to 80 liras depending on the thickness of the volume Ill. Olga Contini Levi, Via delle pere cotte n.
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On the contrary, such publications were conceived by experts employed by publishers, as the correspondence between these two protagonists of the publishing industry can attest. Des origines au fascisme , Caen, PUC, , p. Galimberti, Walter Manfredini ed. Le biblioteche popolari durante il fascismo , Milano, FrancoAngeli, , p. On his successor Leo Pollini and the change of direction see Ibid. Gabriele Turi, Firenze, Giunti, , p. E assieme con lui, cresce anche Sesto.
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