reproduced here are the covers of the magazine of Franco Maria Ricci FMR, whose first issue came to light in March 1982 and that at the time, sold for subscriptions cost the equivalent of € 15.50 . 
was a magazine that could combine the elegance of the extreme form, a result of rigorous content prestigious collaborations.
The first issue contains a report about Drawn Sacred , anthropomorphic medieval reliquaries and a comprehensive service on the work of Luigi Serafini Codex Seraphinianus, with an enjoyable presentation of Italo Calvino trying to decipher the code.
universe that lives and Luigi Serafini describes, I believe that the written word has preceded the image: This meticulous cursive handwriting and agile, and (let's face it) very clear, that we feel always a hair's breadth from being able to read and yet eludes us in every word and every letter.
The anguish that this other universe gives us is not so much by its diversity from ours, because of its likeness: the writing so that might have probably produced in a language foreign to us but not impossible. Upon reflection, it occurs to me that the peculiarity of the language must not only alphabetic but Serafini syntax: things in the universe that evokes this language, which we see illustrated in the tables of his encyclopedia, is almost recognizable, but the connection between them to appear to us in shock, with unexpected combinations and relationships. The crucial point is this: writing serafiniana, if you have the power to evoke a world where the syntax of things is upset, it must contain, hidden beneath the surface of his indecipherable mystery, a deeper mystery concerning the internal logic of language and thought. The images of the existing overlap and twist their links, the turmoil of the visual attributes generates monsters, luniverso of Serafini and teratology. But there is logic in teratology, whose features from moment to moment we seem to see emerge and vanish, like the meanings of these words carefully penned in the pen tip. Just as the Ovid of the Metamorphoses , Serafini believes contiguity and the permeability of each area of \u200b\u200bexistence.
The transition from one form to another is followed step by step in the human couple in embrace, which gradually turns into cayman. And 'this one of the happiest inventions visual Serafini.
A magazine is unusual, preciously clever, witty and a bit 'exclusive: stuff of the past!
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