Silent printer Tolomeo Ianiculo. Book printed in the 16th century as a historical source?

The author of the article combined findings published in other articles, archival sources and bibliographical analysis of several printed books by the Italian humanist man of letters and diplomat Giangiorgio Trissino in order to dispel the doubts about the identity of Trissino\u27s printer Bartolomeo Zanetti who used the pseudonym Tolomeo Ianiculo to hide his real name when working with Trissino. Bibliographical analysis of material (non-textual) elements of some Trissino\u27s books available nowadays revealed that they were printed in a manner corresponding to Zanetti\u27s printing style. When printing Trissino\u27s works in 1529, Zanetti worked as a travelling and occasional printer without his own movable type, printing press and the possibility of regular supply of paper. All these circumstances were "imprinted" on his books, which allows us to "read" them historically. The author of the article was also interested in the reasons why Zanetti decided to reject the fame he could have shared with Trissino. At that time, printers were usually proud of their work as printing required the mastery of a more advanced technique than manuscript binding. In addition, printed items reached the masses, thus increasing printers\u27 fame and giving them the possibility of transcending their mortality, which was an important goal of a Renaissance man. The reasons for using a pseudonym were much deeper than in the case of Palladio - the pseudonym that Trissino assigned to the promising contractor Andrea di Pietro. They sprang from an environment imbued with espionage and conspiracy, with both characterizing Trissino and Zanetti\u27s lives and work during an intense period marked by war and political intrigues. Only when reading "between the lines", one can put together a feasible and meaningful mosaic out of seemingly unconnected and arbitrary fragments of empirical "facts". What the two protagonists had in common was the knowledge of Greek and acquaintanceship with Greek scholars and medical circles, interest in calligraphy and printing, as well as in all activities necessary for intelligence and other secret services. The real identity of Trissino\u27s printer can be inferred with great certainty from the book on poisons and antidotes that features Trissino\u27s signet and Zanetti\u27s real name. Having been created in the information centre of anti-Venetian alliances during a huge scandal (I segretari del 1542) whose main agent - the French Ambassador Guillaume Pellicier - had financed its publication, the book also confirms the suspicion that they were both involved in the intelligence service. Therefore it can be concluded that by using Trissino\u27s signet Zanetti wanted to protect himself as Venice had already forgiven the courteous man of letters and diplomat his pro-Habsburg sympathie