Frühe Quellen der Commedia dellarte (German Edition)

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Manoscritti e antiche stampe della Raccolta di Livio Ambrogio. Catalogo della Mostra , Roma , no. Parker, Commentary and Ideology. Dante in the Renaissance , Durham-London ; S. Bellomo, Dizionario dei commentatori danteschi. Entro e oltre l'antica vulgata , Roma ; A.

Boschi Rotiroti, Censimento dei manoscritti della Commedia. Mazzucchi, Boccaccio editore e interprete di Dante. Atti del Convegno internazionale, Roma ottobre , Roma ; E. Complete with the replacement leaves, see below but the volume evidently originally included at the beginning sixteen leaves with the Eclogues an erasure on fol. Twenty-five quires one quire of 10 leaves presumably lost. Ruled with dry point. Catchwords written vertically from top to bottom in the inner margin of the last page of each quire a system of catchwords which the scribe Nicolaus Riccius used in his earliest manuscripts.

Text written in brown ink in a formal humanist script, signed in the colophon on fol. At the beginning of each work titles in red capitals fols. Thirteen smaller gold initials on square panels of vinestem decoration, and for the argumenta fifteen three-line gold initials on blue, green and pink grounds patterned with white and yellow, and with curly outside edges in ink. On the replacement fol. Contemporary Florentine dark brown goatskin over wooden boards, panelled in blind with fillets and borders of small knotwork tools and roundels, star-shaped central panel of intersecting squares.

Spine cross-hatched; four original metal clasps, leather straps replaced; edges with traces of gilding and gauffering.

In a modern slipcase. A fine, wide margined manuscript. Outer blank margin of fol. Some cursive page headings, additions and corrections written by the scribe, a few notes in a later humanistic hand e. The manuscript contains the complete text with the replacement leaves, see above of Virgil's Georgica , and Aeneis. The volume evidently originally included at the beginning sixteen leaves with the Eclogues an erasure on fol. The Hornby Manuscripts , Part i , London , lot , and pl. A fine illuminated manuscript of the works of Virgil. It contains the four books of the Georgica , with the four-line argumenta to each book, and the twelve books of the Aeneis with an argumentum consisting of ten to twelve lines before each book except the first.

The codex was written by the scribe who in the colophon signs himself 'Nicolaus riccius spinosus vocatus' the epithet 'spinosus' means 'prickly' in English; 'Riccio' is the Italian for hedgehog , i. Riccius was one of the humanist scribes most closely associated with the pre-eminent bookseller or cartolaio Vespasiano da Bisticci ca.

Riccius copied twenty-four manuscripts for Vespasiano, and his hand is found in several classical manuscripts transcribed for the Medici — among them the famous, and almost contemporary Vergilius Riccardianus — and for Federico da Montefeltro, Duke of Urbino, as the codex of Bracciolini's Opera , copied in about Biblioteca Vaticana, Urb.

The quality of the parchment used for the present Vergilius and the exquisite white-vine initials decorating the volume — closely resembling those executed in the Florentine workshop of Apollonio di Giovanni for the ms Riccardianus — indicate that this manuscript was commissioned by an important patron.

The handsome blind-tooled binding is characteristically Florentine, and very similar to some of those made by Vespasiano da Bisticci for the Duke of Urbino. Wardrop, The Script of Humanism. Abbey , New York , no. His Poetry through the Ages , London ; L. Un primo censimento , Firenze , i , pp. Certoni Baiardi - G. Lo stato, le arti, la cultura , iii , Roma , pp. Proceedings of the Seminar in the History of the Book to La biblioteca di Federico di Montefeltro , Milano , pp.

Studies in Memory of A. Quires generally of 8 leaves except 6 , 15 6 , 18 2 with the major part of the full-page miniatures added on single sheets. Early pencilled foliation on the upper right corner used here. Ruled in red ink. Written in black ink in a regular letter bastarde. Capitals touched in yellow, one- and two-line initials in burnished gold on red and blue grounds with white tracery, panel borders on every page in designs of flowers and fruit with gold leaves and acanthus sprays, fourteen full borders and large initials, thirteen small miniatures with full borders comprising twelve seven-line miniatures and one five-line historiated initial, fourteen full-page miniatures with full borders, the miniatures in arched compartments.

Contemporary Flemish blind-stamped panels, two on each cover, depicting the Annunciation beneath a gothic canopy with a border of flowers and figures of dragons, eagles, etc.

Die Commedia dell’arte im Theater des Jahrhunderts

Rebacked, baroque silver clasps added, and engraved with the initials 'D. Manuscript in fine fresh condition, with very wide margins. Minor scratch across part of the miniature on fol. Hours of the Virgin, Use of Rome: These are the subjects of the seven-line illuminated initials the initials on fol.

John the Baptist; fol. A luxurious Flemish Book of Hours, in exceptional condition: The manuscript was likely produced in Bruges, as suggested by the style of illumination and the prominent Calendar inclusions of the major feasts of St. Donatian 14 October , the patron saint of Bruges, to whom the city's cathedral is dedicated, and St. Basil 14 June , whose relics were venerated in the church of St.

Basil in Bruges, now the Chapel of the Holy Blood. The manuscript is decorated with fourteen full-page miniatures, inserted at relevant sections of the Hours, mostly accompanying the Hours of the Virgin and based on well-established iconography. The miniatures are especially notable for their delicately posed human figures; the sense of depth in the landscape backgrounds; the townscapes painted in blue, green, red, grey and pink; the height of the architectural compositions; and the careful execution of floral motifs and borders.

The style, along with the intense, distinctive colouring, closely recall the work of one of the most successful and prolific manuscript painters of the Low Countries: Willem Vrelant, a native of Utrecht who was active in Bruges from until his death in Vrelant also worked for the Burgundian Court — and especially for Charles the Bold, Duke of Burgundy, in and — and specialised in the production of Books of Hours. Even today we still have some hundred manuscripts decorated by him or his close associates [ It is not easy, however, to distinguish between the work of Vrelant, the apprentices and collaborators including Vrelant's daughters who were active in his workshop, and his numerous followers and imitators.

From a textual point of view, the present manuscript also bears similarities to the Hours of Mary of Burgundy, preserved in the National Library in Vienna cod. Both manuscripts include a section for the Mass of the Virgin, in which the text is illustrated with a full-page miniature depicting the Virgin and Child enthroned against a cloth-of-honor and flanked by two angels, one of whom carries a lute for a description of the Livre d'heures de Marie de Bourgogne , see B.

Ruled in light brown ink. Text written in a small but clearly legible hand showing the influence of humanist script. Rubrics in red, astronomical symbols in faded purple, two-line initials in simple blue, or red and blue, with contrasting penwork, blank spaces for capitals. Contemporary suede leather over pasteboards, circular marks scored into boards showing places of lost metal bosses. Covers worn and rubbed, a few wormholes, corners damaged. Manuscript in very good condition, slight fingermarks to the lower outer corner of a few leaves, some small stains.

Astronomiae kalendarium, cum tabulis astronomicis ab anno. Canon de aspectibus planetarum, carmen followed by five astronomical symbols ;. Cognitiones naturarum secundum nativitates. Secundum Quidonem Bonactum in tractatu planetarum ; apparently unrecorded;. Ascendentia civitatum et provintiarum [sic] atque regnorum que et feliciter et infortunate disponunt ;.

Dispositio Galienis [sic] physici infirmantium ; apparently unrecorded. Ten pages of diagrams illustrating the phases of lunar and solar eclipses for the years , two parchment leaves with four full-page diagrams, one a volvelle middle ring wanting , others an 'Instrumentum horar[i]um inequalium' with a list of planetary bodies, a 'Quadrans horologii horizontalis' and a 'Quadratum horarium generale' with designations for latitude and longitude.

Two pages of calculatory diagrams with text in red and purple ink and two further volvelle diagrams on either side of a paper leaf, a series of near-contemporary calculation numbers added down the side of one diagram. Guglielmo Libri which will be Sold by Auction by Messrs. An important testament to the history of astronomy in Turin during the fifteenth century.

This precious miscellaneous manuscript was likely written and illustrated for Frater Antonius de Lanceo, an Augustinian monk at the monastery of San Cristoforo, in Turin, as his ownership inscription attests. In Pope Sixtus IV summoned him to Rome to consult on the calendar reform, which would only come into effect in , six years after Regiomontanus' death in the papal city in July The Calendarium gives information on lunar and solar eclipses for , as well as the length of days and signs of the zodiac and planets.

Only two manuscript copies of Regiomontanus' Calendarium are known to have come on the market in living memory: The latter seems to have once been preserved in the Lambach Abbey Austria ; it was later bought by Laurence Schoenberg and since has been held at Princeton University. Neither can be definitively dated to either before or after the first appearance of the Calendarium in print in , with respect to which the present manuscript differs only in the alterations to the Calendar and the later sequential placement of the Quadrans horologii horizontalis and Quadratum horarium generale diagrams.

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Both manuscripts might be copies of Regiomontanus now-lost original manuscript, which may have been circulated among friends or fellow astronomers. An in-depth study of the relationship between these early manuscripts and the printed text has yet to be undertaken, but it is clear that no such study can afford to ignore the present manuscript. The additional short texts copied in the last leaves are no less interesting and include a large number of astronomical writings, tabulae , and prognostica that apparently failed to be recorded in Thorndike-Kibre or elsewhere, as with the Cognitiones naturarum secundum nativitates.

Secundum Quidonem Bonactum in tractatu planetarum fols. During the copying of the present manuscript, Regiomontanus' Calendar was adapted to include Augustinian saints and exclude the German and Bohemian ones usually found in the work: Inscriptions discovered in two incunables now in the National Library of Turin confirm that San Cristoforo was the first Augustinian monastery established in the town, although it was destroyed by the French in Antonio de Lanteo, or Lanceo, may well have been an acquaintance of Regiomontanus, who traveled extensively throughout northern Italy between and , and later in and Later it caught the attention of Sir Thomas Phillipps — arguably the greatest manuscript collector to have ever lived — and more recently of Samuel Verplank Hoffmann, who studied and taught astronomy at Johns Hopkins University.

A member of both the New York Historical Society and the Grolier Club, Verplank Hoffmann intensively collected astronomical books and scientific instruments. His collection of astrolabes was acquired in by the Smithsonian Institution, and this fine manuscript — such an illustrious monument to the history of astronomy — was probably sold on 28 July , the date pencilled on the front pastedown of the volume.

His Life and Work , Amsterdam ; K. Februar , Wiesbaden , pp.

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Modern pencilled foliation used here. Written in brown ink, in a unique hand. Thirty-two wash drawings in brown ink heightened in white chalk biacca. Eighteenth-century brown morocco, covers within an elaborate gilt frame, cornerpieces. Smooth spine richly gilt. Lower joint damaged at the extremities. Preserved in a cloth box with morocco lettering-piece on spine. Manuscript in good condition, the ink has corroded several lines of text, paper eroded in places; all holes have been skilfully repaired. An interesting manuscript on grey-blue paper containing the earliest translation in Italian vernacular — made by the Dominican Leandro Alberti — of the Vaticinia pontificum , the mystical prophecies traditionally attributed to the Calabrian abbot Joachim of Fiore ca.

The Vaticinia may have had Byzantine origins, but by the late thirteenth century the prophecies were being disseminated by Joachimite disciples and were associated with his authorship. It is the most important apocalyptic work of the Middle Ages, and the manuscript was widely circulated.

The text of the Vaticinia pontificum was produced in two stages. The older set consists of fifteen prophecies, substantially Latin translations of the Greek Oracles composed by Leo the Wise which had been in circulation since about the time of Pope Benedict XI's death in In the second half of the fourteenth century, another fifteen similar prophecies were produced.

From the early fifteenth century onward these two series, along with their related images, commonly circulated together, the more recent series generally placed before the older one to keep the future predictions further from the present. Each prophecy follows a canonized scheme composed of four elements: In the Bolognese Dominican Leandro Alberti — the well-known author of the popular Descrittione di tutta Italia see no. Alberti's edition appeared in print in Bologna in July under the title Ioachimi abbatis Vaticinia circa apostolicos viros et Ecclesiam Romanam , and is his first published work.

The booklet was issued from the press of Girolamo Benedetti simultaneously with the Italian vernacular edition of the text Prophetia dello abbate Ioachino circa li Pontifici et R. Both editions had obtained the imprimatur from the Inquisition, despite the nature and content of the prophecies bordering on the fringes of heresy and the occult. The Bolognese edition of the Prophetia dello abbate Ioachino is illustrated with thirty woodcuts which only partially follow the traditional illustrative apparatus found in the manuscript tradition of the Vaticinia as they are lacking the names of the popes depicted in the emblematic images.

A second edition of Leandro's translation was published in Venice in by an anonymous printer employing a different set of woodblocks, including two additional illustrations not belonging to the traditional Vaticinia series. The first illustration is here painted on the verso of the first leaf and shows a friar at a desk — evidently Joachim of Fiore — preaching to his confreres.

The second illustration depicts an unidentified monk with a halo giving a book entitled Vitae Patrum to four monks on his right, as well as an untitled book to four nuns on his left in contrast, in the Venetian Prophetia both books are entitled Vitae Patrum. The subsequent thirty illustrations belong to the traditional Vaticinia series, but — as in the aforementioned printed editions — the scheme is composed of only three elements: In this manuscript, however, the sequence of emblematic illustrations does not always follow that found in the Venetian publication. The mottos and the mystical prophecies accompanying each illustration are substantially identical to those included in the publication of , with a few minor orthographical variants.

Flore , composed likewise by Alberti fols. Both printed editions of of are of the greatest rarity, and extant copies can be counted on one hand.

Movements periods

The Bolognese as well as the Venetian Prophetia dello abbate Ioachino were apparently printed in a limited number of copies, a feature which might explain the enduring manuscript circulation of this prophetical work during the age of printing. A Study in Joachimism , Oxford ; D. Millet, Il libro delle immagini dei papi. Storia di un testo profetico medievale , Roma ; F. Giacchino da Fiore e il Gioachimismo attraverso la storia , Bari ; A.

Leandro Alberti e l'ambiente umanistico a Bologna. Libro de estudios , Madrid ; R. Atti della giornata di studi per Albano Biondi , Verona , pp. Foliation in pencil, corresponding neither to the number of leaves nor their respective position within the album. Twenty-two miniatures in full colour with occasional use of gold and silver. One miniature with a paper flap fol. Headings written in gold, in a regular antiqua capitalis hand. Mid-twentieth-century dark blue morocco, signed by the Italian binder Bernasconi. Title lettered on the spine, inside dentelles.

Three paper flyleaves at beginning and end, marbled pastedowns and first flyleaves. In a modern marbled slipcase. Most miniatures in fine condition, only minor rubbing, two miniatures fols. The album is composed of twenty-two miniatures, painted on the recto of each leaf versos blank. While the first two miniatures fols. A fascinating manuscript containing twenty-two fine, full-colour miniature drawings of Italian costumes for men and women of different social ranks, scenes of local life, ceremonies, and characters from the Commedia dell'Arte.

1. Alighieri, Dante (1265-1321)

Twelve of these drawings depict Venetian scenes or dress, suggesting the album may have been executed in the Veneto region, particularly in Venice or Padua, leading centres not only for manuscript production and publication, but also for fashion and the trading of textiles. At that time, the vogue to buy similar drawings or miniatures from print shops or booksellers, or to commission a personalized costume collection from local artists, was widespread among foreign travellers in Venice and other Veneto cities like Padua. In the age of pre-Grand Tour travels, such albums provided a sort of 'book of memories', illustrated with scenes from local life, especially its ceremonies and dress.

These albums were thus produced according to a traveller's individual preferences, and the drawings were rarely signed by the artists. Notably, such travel albums, and particularly those produced in the Venetian milieu, often included representations of courtesans in addition to drawings of noble or wealthy women. Another group might be said to form around rather cheeky representations of courtesans. Two such illustrations are of especial note.

The first is a drawing of a woman dyeing her hair blond, an allurement closely associated with Venice, as attested by Titian's nudes. The second shows a courtesan — ironically juxtaposed with a widow — with a moveable flap for a skirt. This conceit derives from Bertelli's Diversarum nationum habitus , though the flap is lacking in many copies of the printed book. When the flap is lifted, the woman is seen to be essentially naked, wearing only a pair of stockings with fancy ribbons and some high-heeled shoes.

The remaining miniatures show various figures in a seemingly arbitrary order, including some depicting figures from the Commedia dell'Arte, which are of the greatest interest. Developed in sixteenth-century Italy, the Commedia dell'Arte is a type of theatre characterized by improvised dialogues based around plot outlines and featuring a set of stock characters. Harlequin is the darling of the audience: Isabella is most often the beautiful girl whose adventurous path to a happy union with her beloved forms a central plotline.

Closely related is the miniature entitled 'Charlatano' fol. Charlatans entertained with fantastic stories, often about illnesses and miraculous cures for which they held in stock a wide selection of 'medicine' on sale for the audience. Like the comedians they performed in city and town piazzas. Another aspect of the fascination with theatre and costume is illustrated by the masquerade fol.

The miniatures in the second part of the present album, among which the flagellants certainly stand out, present other strata of society: This last miniature shows the pair engaged in a round of mora , a popular Italian game in which two players simultaneously hold up one or several fingers, each player trying at the same time to predict the number of fingers shown by the other. Taken together, the miniatures, which may originally have belonged to a larger series, offer a cross-section of Venetian society at the beginning of the seventeenth century, as indicated by the fashion style.

With its faithful representations of costumes, typical traditions, and social habits, the album is a truly precious historical document. The focus on dress also relates to contemporary printed costume books, including Bertelli's Diversarum nationum habitus and the De Habiti antichi et moderni by Cesare Vecellio, which first appeared in Venice in and subsequently went through many editions. Both Bertelli's and Vecellio's works offer a veritable mine of information on clothing, textiles, and luxury goods such as jewellery. Similar albums are highly sought after by collectors for their rarity and the beauty of their visual representations.

Famous examples include the ms Egerton of the British Library, which was produced in Venice or Padua in the s, and the album known as Mores Italiae , held by the Beinecke Library ms , which was executed in the s for a foreign student matriculated at the University of Padua. Katritzky, The Art of Commedia: Cross-Cultural Perspectives , Oxford , pp.

Rippa Bonati - V. Costumi e scene di vita del Rinascimento: Costume and Life in the Renaissance , Cittadella , pp. Vitali, La moda a Venezia attraverso i secoli. Lessico ragionato , Venezia ; S.

Beautiful allegorical title leaf, surrounded by a cornucopia in the form of a garland, with richly festooned garlands draped over the upper portion of the frame. On the verso of the title leaf, introductory text held by three putti and a bust labelled 'Lorenzo In', an homage to the inventor of the game the bust reappears at a slightly different angle bearing the full 'Lorenzo Inventi' on fol.

The following leaves are finely illustrated with full-page and double-page ink drawings within elaborate frames, depicting — according the widespread iconography of fortune-telling books — kings, wheels of fortune, and prophets see below. Calligraphic text in a single hand, drawings most likely in two. Each leaf has been 'tabbed' and labelled in the outer right margin to facilitate game playing.

Seventeenth-century calf, over pasteboards. Covers within gilt frieze, spine divided into seven compartments by gilt fillets. Later endleaves, the original flyleaves preserved, bearing some essays with a compass. Under each wheel is a vignette with scenes of travellers, putti, castles, etc.

All drawings included here are within elaborate ornamental frames, surmounted by banderoles that identify the passage or figure depicted below. A very refined seventeenth-century manuscript containing the Libro della Ventura by Lorenzo Spirito, first printed in Bologna in — one of the most popular printed fortune-telling books of the Renaissance and here profusely embellished with high-quality ink drawings that beautifully exemplify the organic ornamentality of the Baroque. The manuscript text is copied from the printed edition nearly verbatim , as are the major figures and motifs kings and fortune wheels, for example thus allowing for standard game play.

However, the illustrations themselves are far more embellished and in the manner of the prominent Italian draughtsman and printmaker Stefano della Bella A prolific artist, della Bella was particularly well known for the vastness of his subject matter which ranged from wittily inventive ornamental plates, frontispieces, and illustrations for theatre productions, to present-day and historically bent scenes of the military arts and the royal court, to metaphoric representations of skeletons during the plague and a plethora of capricci.

Indeed, so varied was della Bella's work that he was even commissioned to produce four sets of educational playing cards for the young Louis XIV covering history, mythology, and geography. To get the free app, enter your mobile phone number. Would you like to tell us about a lower price? Commedia dell'arte, 12 Quellen im Literaturverzeichnis, Sprache: Aus diesem Kontext stechen zwei Quellen besonders heraus: Der Hochzeitbericht von Masimo Trojano, in dem u.

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