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Veronae impressum anno dni. Of the 96 woodcuts in this edition 95 are copied with some reduction from those of the edition see No. It will be noted that the inscription which heads the preface is copied from that which in the edition was left to be supplied in manuscript. Capitals, including one of twelve lines on sig. Bound in original boards covered with stamped leather, rebacked ; remains of clasps.

Rome, Stephan Plannck, 13 March, C Finite sunt contemplationes Reuerendissimi patris domini lohannis de Turrecremata. Posite et depicte de ipsius mandato in ecclesie am bitu sancte Marie de Minerua. Impressu per honorabilem uiru Magistru Stephanu Planck Alemanum. Anno dni Mcccc Ixxxiiij. Type 6 gothic mm. This is the third edition, with 33 out of 34 of the original woodcuts, of the first illustrated book printed in Italy with movable type, i.

Bonaventura and other writers. Cardinal Turrecremata or Torquemada, the author of the present work, was Abbot of the Monastery of S. Scolastica at Subiaco, where Sweynheym and Pannartz set up the first presses in Italy. The first edition of his Meditationes was printed at Rome, 31 December, , by Ulrich Han, a native of Ingolstadt and citizen of Vienna, who had perhaps already produced there his edition of the Epistles of S.

That the Cardinal entrusted this book to Han rather than Sweynheym and Pannartz suggests that the removal of the latter firm from Subiaco to Rome may have been the result or cause of a quarrel with the Benedictines. As we are twice informed, the woodcuts are based on certain frescoes, no longer in existence, which by the Cardinal's order had been painted on the walls of the Church of Santa Maria de Minerva at Rome, and they retain a large pictorial effectiveness despite the clumsy coarseness with which they are cut.

Strength or grace may still be traced in a few individual figures, e. Old leather with vellum back and comers added. Venice, Erhard Ratdolt, 2 August, Quanto latua memoria et alto ingegno vaglia ne larithmetica hai mostrato nel presente volume compilato petro borgo date veneto degno. Questo e apresso de tuti vn chiaro segno che no hai perso iltuo tempo passato hauendo enoi eposteri donato desi preclaro etanto vtile pegno. Ma limpressor de augusta Errardo experto di lopera presente stampatore degno e non di mediocre laude certo Che tanto aqueste scientie a messo amore che ha cum sua arte nobile atuti aperto quanto habi elsuo intellecto gran valore Ese pur qualche errore fusse nele figure ritrouato agran difficulta sia imputato.

Nela inclita citade venetia a 9orni. Types 4 and 9 gothic 76 and mm. Smith, in his Rara Arithmetica, writes of this book as 'the second com- mercial arithmetic printed in Italy ' more elaborate than the Treviso arithmetic', and of ' far greater influence on education '. The text is decorated with two large ornamental capitals B and P and many smaller ones. Vellum with paper boards. Venice, Erhard Ratdolt, 22 January, Anno salutifere incarnationis Millesimo quadringentesimo 1 octogesimo quinto mensis lanuarii die uigesima secunda.

Types 8, 10 roman 91, gothic 68 mm. With forty woodcuts of the constellations and seven of the planets, all from Ratdolt's edition of a, also a three-quarter page diagram of a planisphere. Numerous large and small woodcut capitals. The text is printed in roman type instead of gothic, the small 68 gothic being only used in the diagram on The colophon is preceded by the first set of vefses of Sentinus in the edition of a, of which the last couplets are quoted under No. The second set, in which he praises Santritter, and those of Santritter himself in praise of Ratdolt are both omitted.

Bound in old sheepskin. Venice, Erhard Ratdolt, 31 January, Types 6 and 10 gothic 76 and 68 mm. Large and small woodcut capitals. Collaterale dello Serenissimo Re Don Ferando. The Woman married to a Robber. Type I gothic 99 mm. The Apologus takes the form of a prose paraphrase of the fable, the Tropologia picks out its moral, the AUegoria enlarges on this, and the Exemplaris Confirmatio gives an historical example. In the case of the fable illustrated in the facsimile the commentator, instead of pointing out that kings have a way of examining citizens by torture, breaks forth into a panegyric on Alfonso and Ferando of Naples, not quite germane to his text.

The book is illustrated with 87 woodcuts, of which 23, one of them full-page, belong to the Life of Aesop and the rest to the Fables. In his ' Wood Engraving in Italy ' the late Dr. The figures, especially those of the animals, are powerfully drawn, their attitudes and movements lifelike; and the human heads are massive, with a striking and energetic expressive- ness in the features. The outlines are firm and sharp ; there is considerable mastery of perspective in the disposition and graded shading of the backgrounds.

We find, in the general aspect of these Aesop woodcuts, something which reminds us of the earliest productions of copper engraving in Germany.

Every one of the designs is surrounded by a rich border composed of separate pieces of framework which are frequently repeated in various combinations. The upper portion of each is an arch filled in with ornamental details in white upon a black ground, somewhat Saracenic in style, and enclosing representa- tions of the triumphs of Hercules executed with remarkable power.

The first leaf of the part comprising the fables is decorated with a border of that kind, occupying the full size of the page, in which figures of angels appear floating within festoons of intertwining foliage. The peculiar foreign look of these illustrations, and especially of the decorative borders, appears to result from the mixture of diverse artistic elements.

The miniatures of an old illuminated manuscript, probably one of Sicilian origin, may have furnished a model adapted and worked out in their own fashion by German designers and wood engravers then resident in Naples. There is no afllinity whatever between the Aesop illustrations and the woodcuts which appear in any other Italian book of that period [compare, however, the cut in the Arte dell' Astrologia of Granollachs, Naples, c.

Their execution reminds us rather of the Strassburg school of wood engraving, while a certain coarseness in the rendering of the faces, and the peculiar waviness of outline which marks the drawing of the bodies and limbs, especially in the designs of the Life of Aesop, recall the German school of copper engraving which is usually treated as a single group, under the name of the Master "E.

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The lines are clear and firm, and there is no trace of the uncouthness which usually disfigured wood engraving before the last decade of the fifteenth century. Its publisher, Francesco Tuppo, was a Neapolitan jurist, who gave commissions to various printers for several law books and also for another illustrated book, an edition of the Philocolo of Boccaccio, This Aesop was probably printed for him by the firm of partners styling themselves ' Germani fidelissimi ', but Dr.

Lippmann's belief that the woodcutters were Germans receives no confirmation from this, as the ' Germani ' one or both were probably Dutchmen, Joh. Tresser and Martin of Amsterdam. The woodcuts seem to show strong Spanish influence. Somnium Scipionis et Saturnalia. Brescia, Boninus de Boninis, 15 May, Type 3 roman iii mm. Besides a few diagrams there is a woodcut map of the world on sig. The map is circular with the ocean running right round the circumference, on the outer side of which are printed four underlines ' Refusio Oceani ab Occidente Oriente in Septentrionem Austrum '.

Across the middle of the circle stretches a broad belt of sea labelled ' Alueus Oceani ', above and below which are two continents of equal size. In the upper continent are Europe, Asia ending with India and Africa, the latter only extending to the south as far as the end of the Red Sea. Beneath the Alueus Oceani lies the other continent divided into three zones, marked respectively ' Perusta ', ' Temperata Antipodum nobis incognita and ' Frigida '.

The same divisions are marked in the case of the upper continent, but only ' Frigida ' and ' Perusta ' are so labelled. In the earliest manuscripts the names of Macrobius are variously given as Macrobius Theodosius and Theodosius Macrobius, with or without the addition of Ambrosius, for which Aurelius was a later substitute. He lived in the 4th and 5th centuries, and may have been Lord Chamberlain and the dedicatee of Avienus.

It is now chiefly valued for the fragment of the De Republica it preserved. The Saturnalia, or Christmas holiday talks, range over a medley of subjects, including the Saturnalia themselves, the learning of Virgil and his borrowings, luxury, sumptuary laws, and physiology. When this book appeared printing had been in progress at Brescia for a dozen years, but for the first ten of these the output was very small. In Boninus de Boninis, the printer of this book, and also Angelus and Jacobus Britannicus began work, and production was substantially quickened.

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Brescia experiments in book illustration, which here appear on a humble scale, subsequently became much more ambitious, but at their best are curious rather than successful. Modern half-pigskin over old boards. Brescia, Boninus de Boninis, 27 October, i Colophon within architectural frame: Type 4 roman 8a mm. The other cuts are simple frames. Several grammatical tracts pass under the name of Valerius Probus. Among how many grammarians they should be divided seems still uncertain.

In his preface the author traces the practice of using abbreviations to the members of the Roman senate who by common consent denoted certain words by their first letters. Venice, Bernardinus Benalius, 15 December, i CAd magistratum Bergomensem in omnimoda historia nouissime congesta Cronicarum Supplemen- tum appellata Prologus. C Fratris lacobi philippi Bergomensis ordinis fratruj Eremitarum diui Augustini: Supple- mentum Cronicaru3 appellata.

Liber primus feliciter incipit. C Ac sic demu deo auxiliate t fauete supplemeti chronicajj ia tertio terminu pona: Perfectuj ate t b'nuo castigatu attj auctuj p me opus fuit Idibus octobris: Types i, 2 roman 80, gothic mm. Quentell at Cologne about , and numerous small cuts of cities, and ornamental capitals. The author was born at Solto near Bergamo in , became an Augustinian in 1, and was subsequently Prior of Imola and of Forli He died at Bergamo, The first edition unillustrated of his Supplementum was the first book printed by his fellow townsman, Bernardinus de Benaliis of Bergamo, in August, A second edition in and this of i from the same press seem both to have been revised by the author, who gives his progressing age in the successive colophons.

In the edition printed by Bernardus Rizus the author section of this colophon of i is retained, so that the book was no longer personally supervised. Brescia, Boninus de Boninis, 31 May, Types 3 and 4 roman and 82 mm. Reichling, who describes this edition from No. Nevertheless he calls the first leaf of quire ' a ' leaf 9, whereas if there be a title this leaf must be either 10 or II. With 68 full-page woodcuts in black-ground borders. This is thus the most pre- tentiously illustrated ' Dante ' of the 1 5th century. As in other editions the designs are rendered monotonous by the repetition of the two figures of Dante and his guide, not only in each cut, but sometimes in different parts of the same cut.

Many of the designs, however, were evidently very vigorously sketched, but the cutting is never good and often wretched. Venice, Bernardinus Rizus, 19 July, C5 posto per Bartholamio miniatore suo affectionato e fidelissi-l mo seruo e prima il prohemio. Type 5 roman 89 mm. The cuts are taken from the Supplementum cronicarum, of which the first three editions were published by B. Benalius, and those of and a by Bernardinus Rizus of Novara. An earlier edition of the Formulario was printed by Petrus de Piasiis in September, i, and this bears on the back of its title cuts of ' Bresa de Lombardia ' and Ferrara.

The choice of Ferrara is explained by the dedication, and that of Novara in the present edition by the patriotism of the printer. The relevance of Brescia and Milan is less obvious. The author, Bartholomeo Miniatore, seems only to be known from the present book. Crimson morocco, blind tooled. Et per Benin Ragusino con lingegni sui con diligentia bene impresso fui Aesopus. Type 7 gothic loi mm. Perhaps by the same workmen as those of the Brescia Dante. It differs both in the setting up of the text and by the same woodcuts being found in different borders. No other copy has been registered.

A large fragment consisting of sigs. Contract cremonensia in planeta? Vranie quantu quantu debere fatentur Cuncta canopeo: Types 5, roman 81 mm. Lippmann as ' not unworthy to have been executed after some design of the elder BeUini ' , and numerous diagrams, some of them printed in black, yellow, and red, some pictorial, e. Whether Santritter may be credited on this evidence with the design of the frontispiece is perhaps doubtful.

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The identification of his temporary partner as a woodcutter is the more interesting since besides this he issued other illustrated books, a Fiore di virtu with a frontispiece of a rather grim-looking Friar in a Garden, the important edition of the Meditatione sopra la passione di Cristo, in which some of the blocks of the early Venetian blockbook reappear slightly cut down this with a certain 'Cornelius' , and in this same year , and also with Santritter, the De ente et essentiis of Thomas Aquinas, with a fine cut of a boy and a burning-glass.

In addition to the diagrams printed in red, black, and yellow a few are coloured by hand. With the book-plate of William Mitchell. Venice, Thomas de Blavis, 7 June, Scemma sphericum secundum Hyginij descriptionem. Anno salutifere incarnationis Millesimo quadringentesimo octogesimo octauo mensis lunii die septima Impressum est prsejlsens opusculum p Thomam de blauis de alexandria. Types 5, 6, 7 roman 84, gothic 70 and 61 mm. The woodcuts in this edition are bad copies, in reverse, of those by Santritter in Ratdolt's of As in that edition, the first set of verses by the editor Sentinus are reprinted, but his second set and those of Santritter naturally disappear.

The woodcut capitals are also copied from Ratdolt's. Storck a Milano ' occurs twice in this copy. He thus acquired it three years before the Dante of , q. Venice, Bernardinus Rizus, 18 April, 12 June, Impresso in Venitia con grade diligentia per Bernarjldino da Nouara nelli anni del nostro signore. Aprile [Register] a iiii. Finisse gll sonetti di Messer Francesco Petrarcha impressi in Venesia per Bernardino da noua-l ra nelli anni Mcccclxxxviii.

Imperante il Serenissimo Augustino barbadico. Tutti quanti sono quaderni. Types 6 and 7 roman iii and 76 mm. With six full-page illustrations, each enclosed in a border, showing a crowned head in a medallion, centaurs and their captives, dolphins, and other ornaments in white on a black ground. Of the designs Dr. In its technical execution, however, the engraving is somewhat deficient in smoothness and finish ; and we may conjecture that the cuts were imperfect reproductions of beautiful designs.

Petrarch only mentions Love as drawn by four white horses in a triumphal car. In 14th-century manuscripts a car was also given to Fame. In this and the later printed editions all the six personifications have cars, that of Love being drawn by four horses, Chastity's by two unicorns, Death's by two buffaloes, Fame's by two elephants, that of Time in this edition by two griffins, more usually by stags, while that of Divinity is here the car of false Divinity, drawn by two stags, shown as shattered from heaven, but in later editions is that of the Crucified preceded by the evangelists or their symbols.

How the convention grew up and became more or less fixed has not been discovered. The Prince d'Essling i. The first leaf in facsimile. From the library of the Royal Society with the book-stamp: Venice, Antonius de Strata, 25 October, Victor pisanus Magnifico ac singularis prudentiae uiro 1 Paulo pisano senator!

Hie codex auienii cotinet epigrama. Type 3 roman 82 mm.

In addition to these, however, there are three others showing much more delicate work, a map of the heavens on sig. The printer, Antonius de Strata, worked from to Augustinus de ciuitate dei 1 cum commento. Aurelij Augustini de ciuitate dei liber explicit: Augustinus de ciuitate dei cum commento. Types i, 2, and 4 gothic 75, , and 94 mm. Hain , Proctor On i'' is a large woodcut in two compartments. In the upper S. Augustine writes at a desk, robed and mitred, an angel on the left holds a book, on the right anothei angel holds a crozier ; in the lower compartment are two buildings set over against each other, on the summit of the one appear angels, on that of the other devils ; in front of the first is seated Abel with his sheep before him, in front of the other Cain.

The rest of the picture is commonplace. Comparison with the figure of Aaron in the Latin Bible published by Oct. Scotus on 8 August of the same year suggests that the same cutter and designer were employed for both books. Scotus was exclusively a scholastic publisher, and the instinct which led him to decorate these two books quickly died out.

Nearly everything Locatellus printed was published by him. Nicolas Trivet, the Dominican commentator, is now best remembered by the Chronicle from which Chaucer took his Man of Law's tale. Devote meditatione sopra la Passione del Nostro Signore. Venice, Matteo Codeca, 27 February, Finisse le meditatione del nostro signore iesu christo con li miste- rii posti in figura impresse in Venetia per Matheo di co de cha da Parl ma del.

Type roman 82 mm. II woodcuts about 80 x 80 mm. Arrest of Christ b 3, Christ before Pilate b 6 verso, the Scourging c i, the Crowning with Thorns c 2 verso, Christ bearing the Cross c 4, the Crucifixion d i verso, the Resurrection e 6. The cuts in this edition of are by the same two cutters who worked on the Malermi Bible of the next year.

One of them attempts shading, and his figures, more especially the faces, are blurred and indistinct ; the other works in very clean-cut outline, and though his knife occasionally slips is much the more successful. Thfese woodcuts reappear in the same printer's editions of 26 April, , 10 March, , II October, , and were imitated at Florence. Red morocco gilt by Cobden Sanderson. Venice, Petrus de Piasiis of Verona, 22 April, PER informatione e dechiariatione di questa tabula Questi sono tutti quaterni. Azo che tu elqual ne lopra dil glorioso petrar cha con minore difificulta possi ritrouare le hi- storie.

Types 6 and 7 roman and 80 mm. The six woodcuts illustrating the Trionfi in this edition are adapted with only slight modifications from a set of fine Florentine engravings on copper, the British Museum examples of which were originally inserted in a copy of the Petrarch of Women are walking instead of dancing.

In the Triumph of Love, Chastity holds a palm in her right hand instead of the left ; the car of Death proceeds from right to left instead of from left to right ; that of Fame has received some trifling ornaments on the front instead of being left in bare simplicity. But all the essential features of the engravings are reproduced, and the cutter has even copied to some extent the engraver's method of shading. He falls below his original most conspicuously in the hastier and less individual handling of the faces in the different crowds. But his work was very successful and was copied by subsequent illustrators.

The black ground of the border was probably suggested by that of the edition of There are no borders to the Florentine engravings, and the black and white borders to Florentine woodcuts only came into use in the course of this same year, Buonaccorsi, 28 September, Cotepla cor modan facto deuoto La passion del tuo dolce signore Chiedi pdono dituo aticho errore Dogni peccato et di malitia uoto.

Tauola terza della maggior parte de laudi. In the woodcut S. Giacopone kneels in an ecstasy of prayer, a closed book on the ground before him, a desk on his right: Virgin seated, crowned, upon clouds, in a mandorla upheld by four angels, while three winged cherubs' heads are at her feet.

Kristeller justly calls this ' the finest cut of the early grave style '. Instead of the usual Florentine border patterned in white on black, it is surrounded by a simple frame formed of triple lines. Until this year, , with the exception of a capital B no woodcut is known to have been used in any book printed at Florence, though it is probable that two cuts, one of the Crucifixion, the other a Pieta, found in a worn condition in Savonarola tracts printed by Miscomini in , may have been made for early Florentine books now lost.

On the other hand they may have been used originally as single cuts, not as book-illustrations.

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When the fashion of putting one or more woodcuts into small quartos was once started it flourished vigorously for at least the next ten years. It is noteworthy that the printer, Francesco Buonaccorsi, was probably a relation of the mother of Savonarola, some of the most beautiful Florentine woodcuts appearing in Savonarola tracts. Buonaccorsi himself 47 3 a priest.

He printed in all over forty books during the years , those of in partnership with Antonius Francisci de Alopa. Jacopo dei Benedetti of Todi 5 bom about , studied law at Bologna, and became a successful advocate. When was about 40 his wife Vanna was killed by the fall of a platform at a spectacle, and Sig. Jacopo he earned the affectionate augmentation Jacopone later on gave up all for religion, and partly to humble himself, partly because his mind was unhinged by his trouble, made himself a byword by his strange pranks. At the same time he composed many Laude or hymns, both in Latin 48 and Italian among others the Stabat Mater , and by virtue of these persuaded the Franciscans to receive him into their order.

He was excommunicated and imprisoned by Boniface VIII, but was released at the Pope's death in and survived him three years. Without the six leaves containing the 'Tauola terza '. Scotus,] 4 October, Nec n5 Georgii purbachii: I eorude motus planeta? Types 5, 6, and 10 roman 80 and With the woodcut of Astronomia, Urania, and Ptolemy, and numerous diagrams from the edition of by Hier. The alliance of Locatellus and Octavianus Scotus as printer and publisher began in and lasted into the i6th century, and was very prolific of text-books for university students, especially in the faculties of philosophy and medicine, for the latter of which knowledge of astronomy was still considered essential.

A laude et gloria del omnipotente Idio et dela gloljriosissima uergine Maria: Tabula de la seconda parte de de la Byblia. Type i roman 82 mm. This is the first and most important of the Venetian folios illustrated with small column cuts, measuring about 45 x 75 mm. Part i contains a frontispiece of six cuts, 56 X 57 mm. Sig bb 2 verso. Many of the cuts are signed. These cuts are all good, whereas many of the later cuts, more especially those illustrating the Gospels, are spoilt by the clumsy handling of an untrained workman, apparently the same who mangled several of the pictures in the Meditatione sopra la Passione del Nostro Signore of the previous year.

Suggestions for some of the cuts were taken from the large pictures in the Low German Bibles printed at Cologne by Quentell about But whether using his own ideas or Prologue to Judith. Niccol6 Malermi, the translator, was born in , and entered the monastery of S. Michele in Murano, near Venice, in , His Bible was printed by Vindelinus de Spira the following year, and had already passed through several editions before this illustrated one of , which greatly increased its popularity.

Wanting a a i supplied in facsimile , b , aa4 and 5, AA 7, and MMp 6, the last leaf supplied in facsimile. Quires GG and F-L remargined. The offending illustrations to Genesis xxxix and Numbers xxv have been partly obliterated. Repetitio Vituli de heredibus. Venice, Johannes Hamman dictus Herzog, 19 October, Expletum est presens opusculum Impres- sum Venetijs: Anno Millesimo quadringente-j simononagesimo.

Types i and a gothic and mm. The colours, though rather crudely applied, serve their purpose, and take colour printing at Venice a step beyond its application to purely astronomical diagrams by Ratdolt. With manuscript notes and an ornamental capital C in blue. Philippi Calandri ad nobilem et studiosu5 luliajlnum Laurentii Medice de arimethrica opusculu. Type 3 gothic 81 mm. Bellfortis, ; 35 smaller cuts, 25 and 35 mm. The Pythagoras cut is rather weak, the little illustrations to the problems charming; the more elaborate ornamental borders, e.

C 3 verso , belong to a bad school of ornament, but are good of their kind, and foreshadow the work of Tory. Two of the four little heads which form corner-pieces to C 3 recto must be early work either of the designer or the cutter of the illustrations to the Epistole ed Evangelii of i' Of Calandri nothing seems to be known. Of his book Mr. Smith writes in ' Rara Arithmetica: Indeed Calandri gives only the " a danda " method, omitting the galley form, and is therefore fully a century ahead of his time. BenaHus and Matheo Capcasa, 3 March, II Registro de questa opera.

C-P 30a leaves, numbered Types 9 and 10 roman and 81 mm. Three full-page woodcuts, at the beginning of the three parts, that to the Purgatorio used twice, with 97 small cuts illustrating the second and subsequent cantos of each part. Three large ornamental capitals and numerous smaller ones. Of this edition Dr. Lippmann writes rather severely: It is not unlikely that they were based upon good designs, but the tiny figures lost in the execution whatever merit they had possessed, and are deformed by clumsy angularities.

The engraver had evidently not been trained to work within such narrow limits. The argument of each canto is certainly indicated by the illustrations ; but nothing more than this could be expected under such restrictions of space. Of artistic power there is naturally no manifestation whatever. In these little Dante cuts the cramping effect of the limited space is increased by the designer having borrowed from the Florentine and Brescia editions the mediaeval trick of repeating the same figures two or three times within the same cut to indicate their movements.

Thus in the present picture we first see Dante and his guide entering the City of Lucifer by the portal, which the Demons one of whom now greets them submissively had shut against them, then Dante in conversation with Farinata, and then both he and Virgil gazing into the tomb of the heretic pope Anastasius II , of whom legend says that he died while arguing against the Double Procession of the Holy Ghost. There is room for all this in the full-page Brescia woodcut see p. Impressum Venetiis per Christoforum de Pensis de mandelo. Anno Domini nostri Ie-l su christi.

Type a roman loi mm. On an old fly-leaf is the inscription ' Ego hieronimus Scanifeus? Cancione dello excellentissimo poeta. This edition has no title-page and no frontispieces to the three parts ; it is illustrated throughout by cuts, 82 x 82 mm. Venice, Giovanni Ragazzo for Lucant. Giunta, 7 December, Virorum illustrium uitse ex Plutarcho Grsecho in latinum uersae: Vene- tiis im- Ipress3e per loannem R- igatium de Montefer rato Anno salujltis. Type i roman 81 mm. Two woodcuts, the first of Theseus and the centaur, a fine design very well cut ; the second in the corner of which is a capital P Cymon on horseback and also in prison.

Below the colophon is the inscription contractions expanded: Thus the book belonged to the musician Gafori, the author of No. Manuscript side-notes to the life of Pompey appear to be in the same hand as the inscription about the price. Venice, Bernardinus Rizus, 15 February, Opus preclarum Supplementum chro- lnicharum vulgo appellatum: C Ac sic demu deo auxiliante t fauete supplemeti Chronicha: Ixxxxij die decimoquinto Februarij: Types 13 and 14 gothic 80 and mm.

The edition of i see No. In Bernardinus Rizus or Ricius took over the book, and added an additional large scripture cut of the Tower of Babel and substituted some much better plans of cities, those of Rome, Venice, Genoa, and Verona being especially notable. To the present edition he added a frontispiece of the six days of Creation from the Malermi Bible and also a small cut of the ark from the same source.

The frontispiece and first page of text are enclosed in a border, also used in the Legendario di Sancti of December, , showing at the top mermen, at the foot putti supporting a shield, pressing grapes, Sec, and at the sides highly decorated columns. Venice, Christophorus de Pensis, 12 October, Questo Libro fu facto in Venesia i per Christopholo da mandelo. Tutti sono qua- derni ecetto m che e qnterno. Type 4 roman 80 mm. Essling , Two small woodcuts: Bonaventura printed by Benalius and Codeca, s. John Climacus was an Abbot of Mount Sinai, who died in Delia vita monastica No.

Florence, Antonio Miscomini, Type 5 roman 88 mm. Hain , Proctor 6 The title-cut shows a youthful teacher seated at his desk with a book before him, his right hand uplifted as if expecting an answer to some question put to a class of seven young Florentines.

One of the little masterpieces of quiet drama which give this decade of book- illustration at Florence its high rank. The cut occurs again in the Flores Poetarum Kristeller With the Syston Park book-plate. Modena, Dominico Richizola, c. C Pronosticatio in latino. C Rara t prius non audita: C Datum in vico vmbroso subtus quercuj Carl pentuli Anno domini. Kaledas Aprilis per peregrinum Ruth in nemoribus laljtitantem: Type i gothic 91 mm. The first conjunction of the planets here expounded was that which took place at 6. Lichtenberger was astrologer to the Emperor Frederick III, and had so much of a prophet about him that his prognostications have been taken as a plea for social and ecclesiastical reforms, as in this picture of the Sacrifice of Vanities long hair, long shoes, and games of chance which anticipated scenes which actually took place in Florence The Sacrifice of Vanities.

The first edition of his book was printed in Germany in , perhaps by Johann Zainer at Ulm, and another, with the same woodcuts, by Jacob Meydenbach at Mainz in June, This undated Latin edition by Dominicus Richizola Rocociola probably also belonged to , since an Italian version which closely resembles it, from the same press, bears that date.

The woodcuts are adapted from the larger and more vigorous, though ruder, pictures of the German editions. Types 23, 26 ; 24, 24'' roman 82 and no mm. A previous edition issued by the brothers De Gregoriis in Latin in 1 had been illustrated with six strictly professional designs only accidentally decorative: The four new illustrations are of a much more pictorial and decorative quality: In this the colouring is rather careless, the hand of the presiding physician being coloured red along with his dress.

But the figures are all strikingly good, and have been attributed by Dr. Lippmann to the school of Gentile Bellini. Venice, Johannes Rubeus, 11 February, Roman Ambassadors in Greece. Deche di Tito Liuio 1 vulgare historiate. Finite le Deche de Tito Liuio padouano historio-Hgrapho uulgare historiate c5 uno certo tractato de bellllo punico Stapate nella inclita cittade di Venetia per Zouane Vercellese ad instancia del nobile Ser luca 1 antonio zonta Fiorentino.

Types 3, 4 ; a last quire roman 79 ; gothic ; roman 83 mm. Three larger cuts 70 x mm. Of the smaller cuts those measuring about 55 x 70 mm. They are fairly good, but a little stiff. The numerous still smaller cuts, many of them signed b, or. The illustrations to the books of Maccabees are freely drawn on and often with so little incongruity that it is only by their smaller size that they attract attention. Other cuts fit their new places much less happily. Ecclesiasticus i , the temptations of Capua are represented iii. Wanting the first leaf. Florence, Antonio Miscomini, i March, Adi primo di marzo.

Type 3 roman mm. Title-cut of two chess-players watched by a king and four other bystanders, iia x mm. This is repeated on the last page, above two eight-line stanzas of verse. The fact that in this position the measurements are a couple of millimetres more has been alleged as a proof that for one of the cuts a cliche was used ; the slight difference is, however, more probably due to the paper having been worked with different degrees of dampness. Thirteen other wood- cuts about 73 X mm. Jacobus de Cessolis was a French Dominican of the 13th century. Chess had then been played in Europe for at least two centuries.

The earliest printed handbook to it is the second part of the Repeticion de Amores y Arte de Axedres of Ramirez de Lucena Salamanca, c. Like the Guldinspiel of Ingold, another Dominican Augsburg, , and Le liure du roy modus et de la Royne racio lequel fait mencion comant on doit El Taverniere et Albergatore. The book was, nevertheless, very popular, and in the 15th century was printed in six different languages.

From the collection of W. Mitchell with his book-plate. Conlessionale Curam illius habe. C Tractato uolgare difrate Antonino arciuescouo di Firenze che e intito- lato Curam illius habe. Type 4 roman 86 mm. Antoninus, the son of Nicol6 Pierozzi, was born at Florence in , entered the Dominican convent at Fiesole, became Archbishop of Florence in , died in , and was canonized in i X mm.

Florence, Antonio Miscomini, 28 June, Augustine writing at a desk, besides which rests his mitre. Miscomini had previously used this in an undated edition. Milan, Philippus Mantegatius, 15 July, Impresso nella inclita citate de Milano nel Anno dalla salutifera natiuitate del nostro H Signore lesu Christo Mille quatrocento 1 noranta tre a di quindeci de lulio per Maestro Bernardo Bellincioni. Philippo di Mantegazi dicto el Cassano Alle spese de gulielmo di rolandi di sancto nazaro grato aleuo del Auctore del Opera.

Tabula breue sopra la presente opera. Types i and 2 roman no and 83 mm. The author sits in front of his book, one leg crossed over the other, his left arm resting on it and the hand supporting the chin, while his right arm, bent akimbo, rests on his hip. Belinzone had died at Milan two years before these Rime were printed.

C loanni gerson uulgare: The title-cut shows Christ holding the cross in the left hand, while from the right blood streams into a chalice Kristeller, Fig. Until far into the i6th century all editions of the De Imitatione printed in Italy and there were a great number both in Latin and Italian were attributed to him, as were also the editions printed in France. The volume must have passed early in the i6th century into English ownership, as there is an uncom- pleted inscription of that date on the vellum end leaf, ' thus be my '.

And give myself to thee. Venice, Manfredus de Bonellis, 17 August, Accii zuchi summa campanee veronesis viri eru ditis- simi in Aesopi Fabulas interpretatio per rhy lthmos in libellum zucharinum inscriptum c6texta foeliciter incipit.

Impressum venetiis per Manfrejldum de monteferato de sustreuo M. Tauola de le predite Fabule.

Type 2 gothic 80 mm. A reprint of the same publisher's edition of 31 January, The first illustrated Aesop printed at Venice, that completed 20 November, , by Bernardinus Benalius, although some of the pictures may have been suggested by the Verona edition of , by the architectural arrangement of its page clearly shows the influence of Tuppo's Naples edition, and the present series of woodcuts commissioned by Manfredus de Bonellis continues the same tradition in the title-cut. The illustrations to the sixty-six fables are mostly well drawn, and there is grace as well as humour in that of the Thief s Marriage here shown, though as usual the artist has been too lazy to represent the rejoicing crowd which caused the philosopher to comment on its indifference to the risk of a plague of thievelings.

Further reprints were issued by Manfredus in , , and , so that his venture must have been very successful. Modern black morocco, gilt centre. Wanting the first quire. Ferrara, Andrea Bellfortis, 3 September, Opus preclarissimu consumatissimucj introductoriu 1 in astronomiam explicit quod peritissimus Astrono- moru5 Alfraganus edidit. Et heremitaru huius tem poris decus: Impressum Ferrarie arte t impensa Andre galli viri impressorie artis peritissimi.

Anno 1 incarnationis verbi. Types 4 and 5 gothic and 83 mm. In the woodcut on the Hermit, as a pupil, is drawn on a smaller scale, cp. Alfraganus Al Farghani was an Arab astronomer of the 9th century. He was read by Dante and his works were published at Amsterdam in Arabic and Latin in Florence, Morgiani and Joh.

C Prolago dellibro intitolato Efructi della lingua composto da frate Dome nico caualcha da Vico pisano dellor- dine de predicatori. Adi quatro di septembre. Types i and 2 roman and gothic mm. The title-cut of Christ in a mandorla had previously been used in the same publishers' edition of Bettini's Monte Santo di Dio, along with two other cuts, all three being copied from the copper engravings in the edition of that work of Cavalca was a Tuscan Dominican who died in Anuli per eum compositi super astrologiam utilitates.

C Hec sunt Beatissime pater anuli astronomici puncta peregregia una mecum ad S. Nee mirum si grama tice methas qui hebreus sum latinitatis expers nonunq. Summa uerum auctoritate tua interposita a cunctis pa ttule agnoscerentur. Parce precor rudibus que sunt errata latine Lex hebrea mihi est: Type a gothic 87 mm. The address to the Pope, which forms the colophon of the book, is worth Englishing: May you lay aside all disdain and receive them, as hope encourages, with a smiling countenance. Nor is it any wonder if a Hebrew such as I am, with no scholarship in Latin, should sometimes have overstepped the bounds of grammar.

In my unwillingness that the useful should be made of no effect by the useless, I preferred to offer to your Holiness roses in a cheap basket rather than nettles or tares in a precious one, so that such useful discoveries as have been made for the advantage of your Holiness and of the whole state, and to the praise of the Artificer of all things, should not be passed over on account of unusual collocations of words, but by the interposition of your authority should be plainly recognized by all.

Mayr, 18 February, Die uero xviii, mensis Februarii. Type 3 roman 1 10 mm. Though the number of repetitions detracts from its merits, this is one of the neater and more effective of the few illustrated books printed at Rome. Ochsenbrunner seems to be only known from this book. In a later edition T he is spoken of as ' veteribus tantum aetate inferior '.

Herodoti Halicarnasei patris historiae traductio e graeco in latinum per uirum eruditissi lmum Laurentium Valensem. Type a6 roman no mm. Mark's, after stating that he had been asked by Greg, de Gregoriis to correct the blunders of previous editions, thanks Rubeus for hospitality shown to him when he came from Rome to Venice. The woodcut on the first page of text represents Herodotus being crowned by a very herdsmanlike Apollo. The upper cartouche in the full-page border represents a faun about to slay a goat ; the lower of which Prince d'Essling only says ' il serait bien difficile d'expliquer le sujet de la composition ' has clearly to do with the legend of Cybele and Attis, though the details of the interpretation due to a friend of the present cataloguer have not yet been fully worked out.

In a letter to the 'Athenaeum ' of 37 March, , Mr. William Bell Scott suggested that the letters S. Unfortunately his work as a niellist is said to bear no resemblance to that in this border, and all that can be claimed for the theory is that the letters fit his name, that no other interpretation has been found for them, and that the border is so far in the niello style that it is in white on black.

Both the pictorial cuts and the ornamental border are of the highest excellence. Dialogo della divina providentia. Codeca, 17 May, Dialogo de la diuina prouidentia. Venice, Matheo Codeca Capcasa for L. Giunta, 17 May, Dialogo de la seraphica uirgine sancta Cathe rina da siena dela diuina prouidentia. Impressa in uenetia per mathio di codeca da parma ad instantia de 1 maestro lucantonio de zota fioren tino de lanno del.

Types 3 and 9 roman and 82, mm. Numerous small ornamental capitals and some larger ones. This is a duplicate of the copy dated Mcccclxxxxiiii. The spacing in the ' ' copy is quite regular, whereas here there is a gap before the date. It would seem, therefore, that the numerals were pulled out of the forme by an accident, and that two of them were not replaced.

That the date ' ' is impossible is sufficiently proved by the dedication to Beatrice, wife of Ludovico Sforza, which she did not become till December, Venice, Johann Emerich, 9 June, Astrolabium planum in tabulis ascenl dens: Opus astrolabij plani in tabulis: Impressum vene- ltijs per iohanne Emericu de Spi- ra alemanuj: Anno salutis milIesi- mo quadringetesimo nonagesimo 1 quarto: Types 3 and 4 gothic 66 and mm. Imitated from the first edition published by Erhard Ratdolt towards the close ' vigesimo septimo Kalendas Nouembres '! Johannes Angeli, or Johann Engel, was a German astronomer who died in a.

Venice, Petrus de Quarengis, 17 June, Finit Petrarcha nuper summa diligetia a reuerendo P. Fran, philelpho alio luictissimo Philippo Maria duca di Millano. Impressi 1 Venetia p Piero de Zohane di quaregi Bergamascho. A Azo che tu. Types 4 and 5 roman 8a and mm. The date la January ' M. Ixxxxxii ' is usually treated as a mis- print for ' M. The colophon to the Trionfi runs nearly exactly as it does here, save for the misprint, and the probability is that Petrus de Quarengis used the edition of Codeca as his text, reprinting the colophon to the Trionfi, date and all adding a blunder , and that the date therefore does not apply to the present edition, which is accordingly arranged by the date of the Sonetti.

In this copy the Trionfi are bound after the Sonetti. Del mese di Zugno. Leaves numbered with errors ii-cccc ; leaves aio numbered with errors ii-cc. Types 3 and 4 roman 80 mm. In the foliation of Part i the numbers , aoi, are omitted; in that of Part ii the numbers The number of cuts in this edition appears to be the same as in that of , viz. The total number of cuts is thus , including a few repeats, as against in the edition of The too realistic cuts in Genesis xxxix and Numbers xxv have been omitted, and a few other cuts have dropped out.

Most of the fifty or more new ones are borrowed, with little care for congruity, from Giunta's illustrated edition of Livy. This is especially the case with the additional illustrations to the Epistles. Thus the cut at the head of Corinthians I is inscribed ' senatus Romanus ', and in the Livy will be found illustrating Decade iii, book 6, chap. Another 'Senatus' cut, illustrating Hebrews 4, is from Livy iii.

Piero Martire ', showing the Saint preaching and his martyrdom and thus clearly borrowed. The Livy cuts are easily picked out by their greater size, measuring about 50 x 73 mm. This edition also contains some 35 mm. This copy apparently found its way at an early date to England, as on a fly-leaf is written in a 17th-century hand the note ' Legend a aurea, enprynted by W".

Caxton, and on the back of the title the well-known distich ' Hie liber est in quo quaerit sua Dogmata quisque Atque in quo reperit Dogmata quisque sua '.

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Delia imitatione di Christo. Florence, Antonio Miscomini, i July, Adi primo di luglio. Hain 9 1 Title-cut of Christ holding the Cross, blood from His right hand dropping into a chalice. Trees and hills in the background. A different cut from Kristeller 16, used in the edition of 22 July, No.

Meaning of "festonatura" in the Italian dictionary

The border has two lamps as side-pieces; at the head the monogram of Christ with an angel kneeling on either side ; at foot a blank shield and eight birds. Large woodcut D and many smaller capitals. Woodcut and border dashed with colour. First Page of Text. Venice, Simon Bevilaqua, 12 July, Qui finisse le uite de Sancti padri uulgare historia- te e stampate ne lalma citta de Venetia per Simon diclo biuila- qua da pauia. Tutti sono II quaderni excepto u che terno [Device.

Type 8 roman 80 mm. Essling this copy. Numerous small column cuts, some from the Malermi Bible of , others signed Jf, i also turned round , as in the first illustrated edition of this work published by Giovanni Ragazzo for L. Giunta, 25 June, Venice, Simon Bevilaqua, 25 August, Impressum Venetiis per Simone beuilaqua papiese anno domini.

Type 5 roman Sum. The fine woodcut border, white on a black ground, is in the style of that of the Herodotus and assuredly by the same designer. The book is disfigured by the numerous misprints necessitating three pages of Errata, but the type and presswork are both rather good.

Doctrina della vita monastica. Doctrina del Beato Laurezo patriarcha della vita monastica. Proctor Venice, Misc. John Baptist and S. Start reading Il maxi libro dell'orto Italian Edition on your Kindle in under a minute. Don't have a Kindle? Try the Kindle edition and experience these great reading features: Share your thoughts with other customers.

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