EARLY VENETIAN PRINTING ILLUSTRATED EARLY VENETIAN PRINTING ILLUSTRATED Aldvspsvs-Manvtnsi^ i ?^i.;,?r'j| ^Vl^''V:lfcLflVw'•^-'•^' v^lli'lf■iJ^a- rious characteristics of siie, type and or- namentation, is thus, not merely a trade specimen, but also an historical and artist- ic docimient, agreeing in character with the arts of design, the social customs and the literary tastes in vogue at the period in question. The early German printing, with its rigid and angular types and its Gothic ornaments, is perfectly suited to an age and to a country still mediaeval, and the Italic type of Aldus Manutius is equally suited to the calm and elegant classical character of the art of the Re- naissance. Volumes with wide margins., large type and eccentric engravings tell of the pompous magnificence which found favour in the seventeenth century and of which that century has left so many spe- cimens in our libraries. We therefore cannot but deephy reg- ret-jvithout, however pretending to assmne the office of censor — that in our days books are sent out, even from the most celebrated printing offices, xvithout that characteristic mark of national typography and without those true and peculiar forms of art which should always accompany the work of the printer, just as it should that of the author. Anyone who has a keen sense of what is beautiful and appro- priate feels offended at the sight of a book of which the typographical form is out of harmony in its literary constitution ; and how displeasing to the eye is the reproduction of ornaments and vignettes of foreign style in works of a distinctly 8 national character. It is now a general models. On the other hand, the craftsmen custom among publisher to introduce vig- of the present day cannot be compelled to jtettes, often more or less artistic, but la- make special researches in libraries in ken from foreign works, the blocks being order to study the work of their great pre- acquired at third or fourth hand and at a decessor. Our present intention is to tneetthis low price, sometimes even by weight, to want,by offering to the public a book which spare them the trouble of new and origi- may serve as a pattern to the printer and as nal illustrations for their books. Hence arise confu- sion of style, want of har- mony in the xvork and gen- eral debasement of the ty- pographical art jphich our early printers held in such high esteem. How many publishers have there not been in Italy who in preference to their mere personal interests have studied the dignity and ad- vancement of the printer's art, and have maintained it on an equal footing with the other arts of design. Authors who have written on the Venetian Press. FuLiN R. — Documenti per servire alia storia delta Tipograjia Veiie- ^iaiia — Venezia, 1882. Castellani C. — La stampa in Ve- necia, dalla sua origine alia morte diAldo Manu^io, seniore. — \'enezia, F. Ongania, 1889. Due DE RivoLi — Etude sur les li- vres a figures venitiens de la fin du XV Steele et du commencement du XVI. — Paris, 1889-90. Idem — Bibliograpliie des livres a figures venitiens de la fin du XV Steele et du commencement du XVI, I46(j-i325 — Paris, 1892. Horatio Brown — The Venetian Printing Press. An Historical Study. London, 1S91. Arte Italiana Decorativa e Indu- striale - Anno I, pag. 84 — Venezia, F. Ongania, 1891. a document to the student; a book which may help to re- new the beauty of typogra- phy by collecting by trust- worthy methods of repro- duction examples of the founts, ornaments and vi- gnettes xvhich adorned the most highly priced ancient books. We begin with the origin of printing in Italy and take Venice as the first city. Such a publication , entirely new and original , will gratify and assist those printers among us who love their art, and those intelli- The noble works of those old craftsmen, gent bibliophiles who are students of the particularly of the Venetians, supplied ma- artistic industries, the ancient glory of terialfor the historical monographs ofFu- Italy. The low price of the book, consider- lin, Castellani, the Due de Rivoli, Brown ing the importance and value of the ma- and others, which are valuable for study terial, will enable it to be widely diffu- but almost useless for practical purposes, sed, and to produce those fruits which the The history of the art of printing cannot publisher predicts and which the Art of serve as a model to printers, except when Printing has a right to expect in a period it is amply furnished jvith specimens of of culture and tearing such as this, ancient work to be used as patterns and Ferd. Ongania. ^ N. B. — The Publisher begs to give notice that his principal object being to exhibit the decorative portion of printed books, he has considered it convenient to add for the completion of some of the pages, a few capital letters and ornaments from works of secondary importance, but of the same period and by the same printer. A few frontispieces have been reduced from their original size to meet the requirements of the present volume. THE ART OF PRINTING AT VENICE DURING THE ITALIAN RENAISSANCE ^ PRINTING WAS introduced into Ve- nice by John of Speyer, in the year 1469, and the first book which he printed was the Epistola' ad familiares of Cicero: « Primus in Adriaca formis impressit aenis Urbe libros Spira genitus de gente Joliannes, » he says at the end of this edition. In the same year 1469 John of Speyer published the Storia naturale of Pliny, in a great folio volume, a stupendous typographi- cal work (i) and a second edition of the Epistolce ad familiares. He then began to print the work of S. Augustine De Ci- vitate Dei, but was unable to complete it, as he died suddenly at the end of that year. His brother Windeiin having finish- ed and published this work in 1470, recorded in the colophon how death had cut short his brother's work, and an- nounced his own succession, adding that he was not inferior to his brother in the art and that he had taken up his residence in Venice. « Vindelimux adest iusdem frater et arte Non minor, hadriacaque morabilur urbe. (2) The press of Vindelinus was most active; in the year 1470 alone he publish- (il The Councillors who signed the privilege grant- ed to him for five years, (i8 September 1469I recognized this by saying: n liiipressit Epistolas Ciceronis et nobile opus Plinii De Naturali Historia in niaximo numero et pulcherima litterarum forma. » (2) As will be perceived this verse is >too short by a foot. ed seventeen works, then from that year up to 1477 editions of Latin and Italian authors followed one another in large numbers, many being editiones princi- pes, as of the Latins: Virgil, Sallust, Mar- tial, Quintus Curtius, Priscian, Cicero De naiura deoriim and De officiis; of the Ita- lians: the Cauionieve del Petrarca and the Divina comedia de Dante Alighieri with the commentary of Benvenuto da Imola. The two printers of Speyer printed in a very beautiful round character made in imitation of the best Italian manuscripts and especially of the antiphonaries and other choral hooks of the churches of Ita- ly. Windeiin also cut Gothic type, having as early as 1471 published in fine gothic characters the work of Panormita : Pars secunda Lecturae in secundum librum Decretalium (Panzer III. p. 73, n. 35). In 1470 two other printers established a press in Venice, a Frenchman and a German, who afterwards became most celebrated : Nicholas Jenson of Somme- voire(Champagne)andCristopher Valdar- fer of Ratisbon. Jenson, a master in one of the French Mints (i) by applying the art of engraving coins to that of cutting types, formed a character known as round Roman, not very unlike that used by John and Windeiin of Speyer, but sornewhat more regular and elegant, such, in fact, (I) It is not certain whether of Tours or of Paris. 10 as became commonly regarded as the fi- nest character of its kind ever used by any printer of any nation. In 1470 Jenson issued four editions: Eusebii prcepavatio evangelica ; Rhetori- corum libri ad Herennium ; Justini Epito- matci; Ciceronis Epistolce ad Atticum (\)\ editions considered as so many master- pieces of the printer's art. He also cut Gothic type, especially for works of Canon law, the first printed being the Codex De- cretorum 1474, a large folio volume of 389 leaves; and this type was so fine that it was generally imitated, by other print- ers, both in Italy and abroad, being cal- led the Venetian or greater Gothic. For these things Jenson was deservedly pro- claimed, even by his contemporaries, the Prince of printers, and Pope Sixtus IV created him Count Palatine (2). He printed up to September 1480, the year of his death, having somewhat earlier entered into partnership with John de Colonia and others (3). Christopher Valdarfer printed in Ve- nice in 1470 and 1471", his first edition was the De oratore of Cicero, and it was most admirably printed. Bat among his various editions by far the most celebra- ted is that of the Decamerone di Boccaccio of which only three copies remain (4), of which only one is perfect, namely the one in the Spencer library (5). To the band of excellent printers who were at work in Venice in the first decade after the introduction of printing are to be added the already mentioned John de Co- lonia and John Manthen de Gerretshem, (i) As the month and day are not indicated in the colophons of these editions, it is not easy to say which was the first, but it is generally believed to' have been the Prceparatio evangelica. As to the edition of the Decor puellarum with date MCCCCLXI, about which there was so much discussion among bibliographers of the last cen- tury, it is now generally admitted that an X is missing in the date, and that, consequently, the edition must be ascri- bed to the year 1471. ul Perhaps more because he had printed many ec- clesiastical books and works of Canon Law, than for the excellence of his typographical productions. (3' Several editions even of 1481 and 1482, and there- fore posterior to his death, bear in their colophons: a In- dustria et expensis Johannis de Colonia, Nicolai Jenson, Sociorumque. » His will (7 September 1480) is given in full in: Castellani, La stampa in Venecia dalla sua origine alia morte di Aldo itanu^io Seniore, Venice 18S9, P. 85 etc. (4) The loss of almost all the copies' is believed to be principally due to the anathema pronounced by the Court of Rome against this work of Boccaccio. (5i Purchased by the Marquis of Blandford at the Roxburghe sale in London 1812, for L2,26o sterling, equi- valent to 56,5oo Italian lire. the former having printed from 1471 to 1482, the latter from 1473 to 1480; Erhard Ratdolt of Augsburg, who together with Bernard Pictor (Maler) of ,'\ugsburg and Peter Loslein of Langenzan (Langenzenn, Bavaria) as corrector, published the first books decorated with ornaments, borders and foliated initials. He printed from 1476 to 1480 in the above partnership, then alone from 148010 i486. The native print- ers of Venice did not fail to compete in this new art. As early as 1472 Filippo de Pietro(Philippus Petri or Philippus quon- dam Petri, Venetus) printed first in part- nership with Gabriello Pietro of Treviso, then alone. His founts rival in elegance those of the above mentioned printers. Printing was also carried on at that time in some of the monasteries as in that of the Franciscans (« nel beretin convento ») from whence appeared in 1474 the Opera chiamata Fiore de virtu. But Venetian typography owes its great fame still more especially to Aldus Alanutius; above all for his celebrated editions of the Greek classics. Born in 1450 in the little district of Bassiano near Vel- letri (i) instructed in Greek and Latin first in Rome by Gasparo Veronese and Do- mizio Calderino, then in Ferrara by Bat- tista Guarini; he came to Venice in 1489 with the intention of establishing a print- ing office to be chiefly devoted to the pub- lication of Greek works. Of these very few had been printed before that time, all of them in Italy in Milan, Vicenza, Venice and Florence. He therefore began by publishing in 1494 the Hero and Leander of Musaeus and the Galeomioinachia, another poem at- tributed to Theodorus Prodromus; books which were, as he said in the Greek pre- face to Musaeus, the precursors of the great sages of Greece (2). Indeed, in 1495 ap- peared the first volume of the works of Aristotle in most beautiful Greek charact- (i) He took first of all the name of Romano, then that of Pio out of homage to the princes Pio di Carpi, Al- berto and Leonello, who had been his pupils. In modern times he is called Aldus Senior to distinguish him from his grandson Aldus, son of Paul, hence called Aldus Ju- nior, who was himself a printer as his father Paulus Ma- nutius, the son of Aldus Senior, had been. (2I The editions of these two poems are without date, but were certainly printed before the Greek grammar of Lascari, which is the first among the editions of 1495. 1 1 ers (i) followed by four other volumes between 1495 and 1498. Then from year to year, up to February i5i5, the year of his death, there appeared from his presses almost all the most important works which Greece has transmitted to us, and it was apparent in all that the exquisite art of the printer was united to the profound know- ledge of the scholar: assisted however by a band of learned Italian and foreign hu- manists, whom he had been wise enough to collect around him, and to hold united in the bonds of an Academy (2). He also printed Latin and Italian works: in i5oi Virgil, m which for the first time is seen that slanting character which he called chancery and afterwards cursive or italic, cast by Francesco da Bo- logna, as Aldus himself states in some verses placed below the preface (3). Among the Italian editions that of the Canionitre del Pctravca i5oi, is the most notable, having been composed, as he af- firms in the preface, from the author's own manuscript; and that of the Divina come- dia, i5o2, the first edition in a small size ■ — the former editions having been all in folio — ornamented with the anchor, the typographical device which he had recent- ly adopted (4); and lastly, in 1409 the Ipiernlomachia di Polifilo, or La pugna di amove /;/ sogno di Polifilo (Francesco Colonna, the Dominican) an edition in which the splendour of the illustrations is matched by the excellence of the type. Aldus, however, was not the only one in Venice who was printing Greek books at that period. In 1498 Gabriele Bracci ot Brisighella (Brachius Brasichel- lensis) printed in partnership with others an ^sop in Greek and Latin. The edition of the Eiymologicon Magnum issued in and therefore they are to be attributed to 1494. See Re- nouard Atwales de I'lmprimerie des Aides, 1834, p. 258. (1) The fount of^ the character cut for Aldus and used in this edition of the Aristotle, had really also served for the editions of the two poems published in the prece- ding year. See the preceding note. (2) The list of Hellenic and humanistic scholars who were members of the famous Aldine Academy is given by Morelli in Aldi Pii Manutii scripta tria, dem'io edtta et il- lustrata. Bassani 1806. |3 Panizzi in his pamphlet, Chi era Francesco da Bologna? maintained that he was the famous Bolognese painter and goldsmith Francesco Raibolini, called Francia. U) it appeared for the first time in the first volume of the foetce cliristiani of June i5o2, whilst the Dante bears date August i5oi. 1499 by Zacharia Callergi of Rhetymno in Crete, at the cost of Nicholas Blastos, and under the editorship of Marco Musuro, is also noteworthy. It is a large folio vol- ume, sumptuously printed with borders and with large initials of every letter of the alphabet in red at the beginning. VV'hile Venice was collecting together all that was most celebrated in typogra- phy, movable metal types for printing fig- ured music were invented, and used there for the first time. Ottaviano de Petrucci of Fossombrone, an apprentice at the end of the fifteenth century in one of the printing houses of Venice, had the idea of also printing music (which up to that time had been printed from wooden blocks, intarolature) with movable types like those used for letters, and obtained a pri- vilege from the Signoria for his invention (25 May 1498). A few years after (i5oi- i5o2) the first music prmted by the new method appeared and consisted of: Canti B inimero cinquauta ; Harmonicce musi- ces Odhecaion. Thereupon several other Venetian printers began to print music: Lucantonio Giunta, Ottaviano and Giro- lamo Scoto, Melchiorre Sessa and Andrea Antico. But it seems that none of them adopted the system of Petrucci in printing music, for Francesco Marcolini, a celebra- ted printer and an admired writer, in a request to the senate (i July i536) drawn up to obtain a privilege for printing mu- sic, wrote: « It is about thirty years since the time of Ottaviano da Fossombrone, who printed music in the form in which letters are printed, and it is about 25 years since that method has been discontinued. Not only Italy but likewise Germany and France have tried to recover this system, and have been unable to do so. « The privilege was granted to him for ten years (i), and his first issue was: Intabo- latura di Liiito di Alesser Francesco di Milano Veneiia per Francesco Marcoli- ni, 1 536. But while Marcolini was renewing the art of Petrucci for printing music, the French printer Antoine Gardane came to (i) The request with the subsequent concession of the privilege was published for the first time in the work already quoted : Castellani, La stampa in Venecia, p. 83, etc. 12 Venice and founded a printing office which rapidly became the most celebrated and the most productive of musical works in all Italy. He likewise obtained from the Signona a privilege for ten years (i). On the death of Antoine the printing press was carried on by his sons Angelo and Alessandro. Music was also printed about that time, in Venice, by Ricciardo or Riz- zardo Amadino and Jacopo Valenti. II. Venice, the second city in Italy to re ceive the printing press (2) was, during the second half of the fifteenth century the chief and most important emporium of typographical productions. From 1469, the year in which printing was introdu- ced, up to the end of the century, more than 200 presses were at work in the city, and the volumes which were issued from them must have exceeded a million. But what renders the Venetian typography of that time most noteworthy and glorious is the quality of its productions. The cha- racters used by the printers of the first decade after the introduction of printing : John arid Windelin of Speyer, Nicholas Jenson, Christopher Valdarfer, John de Colonia, John Manthen of Gerretzhem, Philippus Petri and Erhard Ratdolt, are such models of regularity and elegance, that later printers may indeed have been able to imitate but never to surpass them. And in those early works the other cons- tituent parts of the book, the excellence of the paper, the symmetrical composition and justification of the text, the broadness of the margins and the clear and uniform impression, correspond to the beauty of the type. And, further, the books were ornamented with foliated initials, orna- ments and borders, and lastly with vig- nettes illustrating the text. From 1476 on- wards we find that in almost all the books the initials are artistically arabesqued or foliated, and sometimes ornamented with (i) Antoine Gardane was himself a musician; in the concession of the privilege appears: « Ad Antonio Gar- dano, musico francese, sia concesso quanto per la suppli- catione soa el domanda. » Cf. Brown, Venetian Printing Press, London 1891. p. 108. (il Although printing was done in Subiaco before it was done in Rome, n in venerabili Monasterio Sublacensi, » the few editions printed there by the two German printers, Sweynheym and Pannartz, are regarded as Roman for they removed shortly afterwards to Rome with their print- ing presses. Cf. Andififredi, Catatogus Romanarum editio- num saeculi XV, p. i. figures or emblems. It seems as though the printers would no longer suffer their printed books to be less beautiful than those in manuscript, in which the initials are usually in gold and colours. At the same time the frontispieces, title or first pages began to be adorned with orna- ments, borders or cornices, in architectur- al or fantastic designs, printed on a black or white ground or coloured in red. The first to use woodcuts as decora- tions in printed books were the aforesaid Erhard Ratdolt and his partner Bernard Pictor [i). The Calendario del iMonteregio (Johann Miiller of Konigsberg) 1476, has its title enclosed on three sides by a border, in an admirable style : from two vases to right and left spring twisted branches with spiral foliage, which going up to the top surround a circle intended for a shield. The text is illustrated by mathematical diagrams delicately engraved. About 1477 Ratdolt and Bernard Pictor published the Appianus,Z)^ bellis cii'ilibiis Romanorum, and the work of Coriolano Cepione Dal- mata, Petri Mocenici Imperatoris gesto- riun libri tres ; both these editions have an arabesque border on the first page, designed with great taste and finely en- graved. In 1480 there appeared from the press of Ratdolt (no longer in partnership with Bernard Pictor) the Fasciculus tem- porum of the Carthusian Werner Role- wink : it has some views of cities and buildings, among which is the ducal pal- ace; in 1482 came the Poet icon Astrono- fnicon of Hyginus wherein appeared, per- haps for the first time in Italy, polychro- (i) It is a tolerably well-founded opinion that Rat- dolt's partner, Bernard Pictor, executed the designs of the decorations (V. Passavant Peintre-graveur, i. i35) while the engraving is said to have been done by a workman brought from Germany, where the art of wood engraving was already flourishing. Cf. Lippmann, Italian Wood en- graving in the Fifteenth Century London 1888, p. 66, En- glish Edition. i3 matic figures or prints in various colours. It was reprinted by the same Ratdolt in 1485. More noteworthy is a small quarto volume containing the works of the Flor- entine Jacopo Publicio; Oratorice artis epitomata, Ars memorice, Ars epistolan- di, published in 1482. The Ars memorice has a curious al- phabet, the letters are enclosed in white circles on a black ground, each letter being accompanied by an emblem designed to impress it on the memory; at the end of the volume is a table divided into 25 squa- res, corresponding to the 25 letters of the alphabet, and in each square there is a bird or a fish or some other emblematic animal. Ratdolt having thus issued the first editions with various woodcut ornaments, is considered as the initiator of the deco- ration of books (i). Somewhat later the custom of illu- strating the text with vignettes was intro- duced (2). The first specimen of this de- corative art as applied to books or of (i) The Due de Rivoli in his important and valuable work, Bibliographie des livres afignres venitiens p.XXllI etc. makes the decoration of books begin with John of Speyer, that is to say in the very year of the introduction of print- ing, and adduces as a proof the Pliny of 1469, which, he says, is adorned with a woodcut border on the first page. And still earlier Delaborde (le Vicomte Henri Delaborde La gravure en Italic avant Marc Antoine, i452-i5o5, Pa- ris 1882: forming part of the Bibliotlieqiie internationale de I'art, p. 252) had placed the origin ot Venetian wood- cutting in the year 1471, the year m which the Valerius Maximus was printed by Windelin of Spejer, since he had found some woodcuts in a copy of this edition. I think that the two illustrious writers must have taken for engravings belonging to the impression and contemporaneous with it, those which were afterwards added for the ornamentation of the particular copies which they examined. The Mar- ciana library possesses two copies of the Pliny and two of the Valerius Maximus and thev are all without woodcuts. And, indeed, Kristeller, (La Xilografia vene^iana, in the Archivio Storico dell'arte, Anno V (1892) fasc. 11, p. g5 etc.), having examined furthet examples of works from the same press between those of 1409 and 1473, and having perceived that some have engravings, and others have not, comes to this conclusion: « The engravings were not printed at the same time as the types of the book, but were added later: the printers therefore have nothing to do with these engra- vings. » Such an opinion from a most competent authority seems to me to be final. But as the same cannot be said, respecting the engravings which adorn the first edition of Ratdolt, seeing that these really belong to the impression and are contemporaneous with it, we must needs acknow- ledge that this printer was the true initiator of the decora- tion of books ; and as a matter of fact, he is recognised as such by Brunet [Manuel du Libraire, etc, I, col. sSy), and by Lippmann , in his above-mentioned work, Italian Wood- Engraving, p. 69. (2) V. Lippmann, o. c. p. 63 etc. Due de Rivoli o. c. passim ; Due de Rivoli et Charles Ephrussi, Notes sur les Xylographes Vcnitien du XV et du Xvisiecle. Extr. from the Gazette des Beaux-Arts, III. 3ieme Periode (1890, p. 494 etc.i R. Fisher, Introduction to a Catalogue of the earty Italian Prints in the British Museum, London 1886, cap. X.K and .X.Xl « \'enctian Books of the fifteenth Cen- tury illustrated with Engravings », p. 3i3, etc. these illustrated editions is found in the Devote meditaiioni di S. Boiiai'eiilura, « Stampate in Venetia per Mathio di co- deca (Capo di Casa) da Parma, » 1489, This precious book contains eleven wood- cuts representing scenes of the Passion in a style distinctly Venetian. In the same year was primed Nicolai de Lyra Poslilla with 38 plates of biblical subjects, engra- ved, it would seem, by the same hands as the woodcuts of the Devote mcditaito- ni. These two books were, so to say, the precursors of one of greater artistic im- portance, the Italian Bible of Nicola Ma- lermi (a monk of S. Matteo di Murano, born in 1422), printed in 1495 by Giovanni Ragazo for the publishing house of Lu- cantonio Guinta. The frontispiece displays a great square in which are represented the seven days of the Creation, enclosed in a border of architectural design ; the text is intercalated throughout with small • vignettes, designed with extraordinary del- icacy, and almost all of them finely en- graved (i). In like manner the first page of the Sphaera miindi of Sacrobosco (John of Holy wood) 1490, by an unknown print- er, but « mandato et expensis Octav. Scoti Modoetiensis, » has the first leaf occupied by a square in which Astronomy is re- presented enthroned under a starry sky between Urania and Ptolemy; and it was perhaps executed from a design of Bellini the elder. The edition of the work of Beato Lo- renzo GiustinianoDe Vitamonastica, 1494, without a printer's name but perhaps by the brothers De Gregoriis, has on the first leaf the image of Beato upright in the act of walking towards a church, preceded by an acolyte; and is composed in the same manner as the picture of St. Lawrence by Gentile Bellini, painted for the church of S. Maria dell'Orto, afterwards S. Cristo- foro (now in the Academy, corridor n.° i3). It is an engraving in simple outline of im- posing eflfect. The same brothers De Gre- goriis published the Latin Herodotus in 1494. The first page has a magnificent pil- lared cornice printed in white relief upon a black ground; in the upper part, besides (i) Many of these vignettes are signed with a small b, a signature which recurs in other later engravings al- most continuously for about a century, and it has not yet been possible to give any definite interpretation of it. M the initial letter delicately arabesqued, He- rodotus is seen seated at a table, while Apollo is placing a crown of laurel upon his head. This is perhaps the finest exam- ple of decorative art applied to books in that period. Not less noteworthy however is the Italian Ovid of 1497, (a translation of the Metainorf hoses hy G\o\anni d\ Bonsignore of Citia di Castello), printed by Giovanni Rosso upon commission for Lucantonio Giunta. It is a small folio volume illustra- ted with 59 cuts in which the compositions are harmoniously arranged, the figures being well drawn in the manner of the School of the Bellinis (i). The brothers De Gregoriis already frequently mentioned - who were, indeed, at the end of the fifteenth and beginning of the sixteenth century the great produ- cers of illustrated books - published in 1495, in a folio volume, the Italian version of the work of the German physician, Jo- hann Ketham, (then resident at Padua) en- titled Fasciculus mediciuce together with a little treatise by Pietro da Montagnana, a Paduan doctor. This volume has five plates in outline which cover the entire page, executed with the greatest technical perfection, while the noble attitude of the figures, magnificently designed, would seem to show the hand of Gentile Bellini. The « Dialogo de la Sancta Cathe- rina Inipresso in Venetia per Mathio di codeca MCCCCLXXXIII a di XVII de maio », shows on its first page Saint Ca- therine enthroned, having on either side two kneeling saints ; at the top is God in glory between a saint and a cherubim. Other plates of equal excellence adorn the book. The fables of ^sop were illustra- ted in several Venetian editions from 1490 to 1493, all of them being in small quarto form. The illustrations passed from one edition to another; in that of 1493: « Ve- neiiis per ManJ'redum de Monteferato de Sustrevo, » has on the first page ^sop seated at a table, dictating to a scribe who stands at his feet, with auditor at the (0 The engravings in this Ovid, like those of many other works pubhlished at that time, are found reproduced in later editions, even during the first decades of the follow- ing century, it is not only evident that the blocks served for the reprints, but that they sometimes passed from one printer to another, or from one publisher to another. sides. Every fable is illustrated with little engravings elegantly designed. The Supplementum Chronicarum of Bergomensis (Giovanni Filippo Foresti of Bergamo,Augustinian friar) by Bernardino Benali 1493, contains views of the princi- pal cities of Europe and biblical pictures of the Old Testament, which render this book somewhat remarkable. The folio Terence of 1497 ^'y Simone de Luere, produced at the cost of Lazaro Soardi, has on the leaf behind the title: « Terentius cum tribus commentis videli- cet Donati Guidonis et Calp/iurtiii, » a large square in which Terence, crowned with laurel, is sitting under a canopy in the centre of a pillared hall; six commen- tators stand at the sides, that is to say be- sides the three already mentioned, Ascen- sio and Servio and a sixth who is un- known. Another picture is at the back of folio B. Ill in which the interior of a theatre is represented, the spectators are seated on benches looking at an actor who stands on the stage with his face towards them ; underneath are the words Colisevs sii'e Theatrum. The entire text is inter- calated with small woodcut vignettes. The Legende de sancti Cnmposte per el rererendissimo padre frale Jacobo Vo- ragine del ordine de /rati predicatori ar- civescovo di Genova, traducte de Latino in lingua vulgare pel venerabile misser don Nicholao de manerbi veneio del ordine comaldulense Abbate del monasterio del sanctn Mathia de Murano, were printed in 1494, by Matteo Codeca, on commis- sion for the publishing house of Giun- ta, and are all ornamented with engra- vings similar to those of Malermi's Bible. The kindred work: « Vita di sancti pa- dri /lisloriata, if is likewise intercalated with similar vignettes; but in this work^ after three leaves there is a large picture within a cornice, one of the most singular line engravings on wood. On a ground covered with verdure and flowers, under a trellis work, lies a martvr stretched on a bed, his arms are bound, and a woman is bending over him; here and there are portraits of other martyrs and other mar- tyrdoms. In 149 1 the Dii'ina commedia was produced in Venice in an illustrated edition by Bernardino Benali and Matteo da Parma ; it was ornamented with a large i5 plate to each cantica and a vignette to each canto. These engravings were reproduced in many later editions. For instance in that of 1497 " Impressa in Venetia per Piero de Zuanne di quarengii da palazago bergamasco. » The first illustrated Vene- tian edition of the canioniere del Petrarca is that of Bernardino da Novara of 1488. The engravings of the illustrations to the Trionfi are copied from those in the Flo- rentine edition by Botticelli. An edition still more remarkable fol- lowed in 1490; that of Pietro Veronese, in which the engravings are delicately shaded after the manner of those of the Florentine edition but more skilfully. Perhaps they are the most beautiful among the many which adorn the great fantastic work of that illustrious poet. But the illustration of books reached its highest point in the Ipnerotomachia di Polifilo, 1499 (V supra p. 7) And truly the numerous engravings which adorn this book mark the highest point to which the art of wood-engraving attained at the end of the fifteenth century in Venice, and such is the perfect execution of the drawing from which these engravings were made, that it may be reasonably believed that the hand either of Giovanni Bellini or of Jacopo deBarbari (i) is to be seen therein. It is certain that the wonderful en- gravings,combined with perfect typograph- ical execution, render this book one of the most admirable and precious that have ever issued from the presses of any printer (2). In the early years of the six- teenth century engraving as applied to the illustration of books took a new form. Having almost entirely abandoned linear or shadowless drawing the art turned to Chiaroscuro. Its inventor in Italy was believed to be Ugo da Carpi. And, indeed, in a request to the senate (25 July i5i6) he took the credit of being the inventor, asking a privilege for his invention. « I (i) The author of the famous colossal view of Venice. Lippmann (o. c. p. i36) believes that in general the des- igner of the numerous engravings which adorn Venetian books between 1460 and i5oo is Jacopo de Barbari. But wether he was a German or an Italian is stiil an unsolved problem. His surname was Walch and as there was a printer at Venice in 1479 named Georgius Walch, it is con- jectured that he was the father of Jacopo, who may have had the name of Barbari from a Venetian mother, and that he was born in Venice. (2) See Albert Ilg, Ueber den kunsthistorischen Wertli der Hypnerotomacliia Poliphili, Wien 1872 8vo. discovered a method, » he said « of print- ing in light and shade, a new thing never before attempted » (i). It is certain that the engravings which illustrate the texts of books about that time are almost all in chiaroscuro or shaded. That was the pe- riod in which a large number of breviar- ies, missals, offices of the Virgin and of the saints, were printed, whereby Venice became the emporium of ecclesiastical and ascetic books, just as at the same pe- riod the kindred production of Horce or Livres d'heiires formed a special branch of industry in Paris. Now the decorations of these Venetian impressions are gener- ally according to the Chiaroscuro meth- od, of which Ugo da Carpi declared himself the inventor. Several of these en- gravings bear the name of Hugo, but many others that of Giovanni Andrea (Zoan An- drea), to which the signature Z. A. cor- responds, and which perhaps denotes Gio- vanni Andrea Vavassori, called Guada- gnino or Vadagnino (2). This Giovanni Andrea published in 1 5 1 6 : Opera nova contemplatipa per ogni fidel Christiana^ on the system of the an- cient xylographic prints. It contains the series of the events in the Old and New Testament in wood-engravings and the textual explanations are likewise engra- ved ; it is in short a kind of Biblia pau- perum, similar to that which was so fre- quently produced before the invention of printing (V. Cicognara Catalogo ragionato di opere d'arte, vol. I, n. 1992). He pub- lished further La conversione di S. Maria Madalena et la pita de Laiaro et Maria in nttapa rima historiata, composta per Maestro Marco Rasilia da Foligno. In this book on the first page below the title, which is in black and red, Christ is seen preaching to a crowd of women who are seated, and men who are standing behind them. Under the stool upon which Jesus is resting are the words : « Sovan (sic) An- drea de Vavasori ». And this is perhaps (i) v. Fui.iN, Document! per servire alia storia delta tipografia Venc^iana, Ext. from the Arch, veneto, t. .XXIII p. I. 1882) p. log etc. (2) Cf. Fisher, Introduction to a catalogue of the early Italian Prints in the Britisli Museum, Mundon 1886, p. 47, where every notice respecting this draftsman, enj;raver, printer and bookseller is adduced and examined. Cf, fur- ther: Due de Rivoli et Charles Ephrussi, Zoan Andrea et ses liomonymes , Ext. from the Gazette des Beaux Arts 1891. i6 the only place in which Giovanni Andrea reveals his name. Later on in conjunction with his brother Florio, he printed aFor- midario di lettere amorose. The names of Zoan Andrea and Ugo da Carpi are also found in some spellmg books and books of calligraphy, e. g. in the Thesauro de scrittori, opera iniagliata da Ugo da Carpi (i523) and in the Regola di S. Benedetto, a stampata in Venetia per Maistro Andrea de Rota de Leucho, i525, avente Fimagine di S. Benedetto. » Benedetto Bordone, who styled him- self « miniator, » published in i528 at the house of Nicolo Zoppino the Libro nel quale, si ragioua di tutte le isole del mon- do; reprinted in i532 with the title Iso- larioj in which many islands are repre- sented in line engraving, especially those of the Archipelago ; a most remarkable work for that period. Printers devices were also the object of artistic ornament. The mark, general- ly, when it was not limited to the mono- gram, reproduced the sign of the book- seller's shop; thus that of Bernadino Be- nali represents S. Jerome with the lion by his side; that of Tacuino da Tridino has S. John the Baptist with the lamb at his feet; that of Benedetto Bindoni has the archangel Raphael with Tobias ; that of Nicolo d'Aristotele called Zoppino repre- sents S. Nicholas. Very fine indeed is that of Bernardino Vercellese, which stands in the middle of the first page of his edition of the Enneadi del Sabellico, 1 504. Carlo Castellani. ^ PRINTERS' MARKS. "> The earliest books printed at Venice have no mark; the first printers were satisfied by stating in tlieir colo- phon that the work proceeded from their own press. The first printer's mark appeared in the editions published in 1481 by a society of printers establislied in Venice towards the close of the life of Jenson, (who died in September 1480 (2). The head of this society was John de Colonia and its chief printer was Johann Herbert of Seligenstadt. Jenson entered the society and his name ap- pears in its colophons even after he was dead: « Exactum insigne ac praeclarum hoc opus ductu et auspitiis Joannis de Colonia, Nicolai Jenson, Sociorumque. . . huiusce au- tem operis artifex extitit summus in hoc arte magister Johannes de Selgenstat alemannus... Anno vero millesimo CCCLX.WI tertia nonas Aprilis; » appears in the colo- phon to the Rosarium Decretorum of Guido di Baysi. Be- neath the colophon is the mark, which is of remarkable simplicity and elegance; it consists of a white circle on a red ground crossed in the middle with a horizontal line from which rises an upright bar cut above the circle by two transverse lines so as to form a double cross; a white point appears in the lower part of the circle. (Vide fac- simile p. 45). It is not clear what such a mark can have signified; the obvious explanation seems to be that the circle standing for the terrestrial globe, and being sur- mounted by two crosses, the mark was the symbol of the Christian world and of the rule of Christianity over the universe (3). (I I Printer's marks are to be found reproduced chief- ly in the following works. Rothscholtz, Tltesaurtis sym- bolarum ataue, emblematum, id est iiisif^nia typof^raplio- rum ac bipliopolanim, Norimbergae 1730, fo 1. ; Orlandi, Origine c pt-ogrcssi delta .■itampa. Bologna 1722, (p. 228 etc); Tosi, Facsimile di alcune imprese di stampatori ita- liani, Milano i838; Ris-Paquot, Dictionnatre encyclope- dique des marques et monogrammes, Paris (1890), Vol. II, 4to. But upon this question of printers' marks the chief work to be consulted is that of Paul Kristellcr. /J(> italic- nischen Buchdnicker und Verleger^eichen bis t555. Sirass- burg, 1893. fol. |2| V. Castellani, La Stampa in Venecia dalla sua ori- gine alia Mortc di Aldo Manuzin Seniore. Venezia, Onga- nia, 1889; in which is shewn tlie exact period of .lenson's death and his will is quoted in extenso. (3) Farnetica il Delalain (Inventairc des Marques d'im- primeurs et libraires. Au Cercle de la librairie i88')-i887l says that this is the symbol of the church triumphant, and that the booksellers and printers used to place their books in this manner under its protection. This idea cor- responds neither to the form of the emblem nor to the views of that time, and still less to the views of the printers and publishers who preferred putting their pro- ductions under the protection of a privilege from the au- thorities of the place where the book was printed; though they sometimes added the Pope's privilege as well. The mark which is seen for the first time in the edi- tions of the firm of John de Colonia and partners, recurs in editions issued by other printers, not only of Venice but of almost all the other cities of Italy, from that time up to about the middle of the following century. It did not therefore remain the distinctive mark of that firm or of any printing office, but became, as it were, the general emblem of the typographic art, to the greater ornamenta- tion of the books, (i). As a matter of fact the early print- ers' looked upon themselves as artists; and the beauty of their type and the symmetrical arrangement of every part of their books rendered them worthy of such a title. As they sometimes adorned the first pages with ornaments or borders, and introduced initials remarkable fortheir exquis- ite engravings, and as they gave account of their work in colophons drawn up by eminent writers, frequently in verse, either Latin or Italian according to the language of the printed text, (2) so likewise they were desirous that a graceful mark artistically designed and coloured should present itself to the reader at the end of the book. But if from the beginning that mark was adopted as the common emblem of the printer's art, only a short time elapsed before it became appropriated to certain printers and publishers by the insertion of their initials. Andrea de Torresani and Bartolomeo de Blavis, who printed in partnership m 1483, used that mark in their editions of that year, but added their joint initials in the segments of the circle. The same was done by the Arrivabene and by almost all the other printers and publishers. But later on the mark lost its primitive simplicity : the circle indeed predominated, but it took various forms, principally the heart-shaped or oval. To the mark which was the emblem of the art jof printing in general, or which became distinct and indivi- dual by means of the initials, there was added later one that was entirely restricted to the printer or publisher. Marks of this kind which we may call personal, consist (r) It seems that John de Colonia made use '!of this mark for the editions which he had issued in Germany before removing to Italy, and, in that case, it would have been originally the mark of his press or of his publishing house, it has however remained the universal typographic mark or emblem, perhaps owing to the Christian conceit which it contained. (2) In general the colophons were made by the cor- rectors for the press who were always selected from am- ong the good writers. Antonio Cornazzano, Raffaele Zovenzoni, Nicola Ogni- bene called il Leoniceno, and other important learned and literary men of the period, were correctors for the press. i8 cither of a monogram, often artistically engraved, or of the arms of their native city, or of a design symbolic of their personal name. Lucantonio Giunta, a Florentine, used as his particu- lar mark the lily of Florence; Lichtenstein of Cologne used the imperial eagle, and Benedetto Fontana a fountain. And it is by these marks that we know the publisher of a book even when his name is not mentioned in the colo- phon. The printers usually introduced their names with the words n per » o arte et industria, » « industria et stu- dio, » and similar forms; and the publisher gave the m- formation that they had borne the expenses of the edition in the words : « iussu, » « impendio, n « ad instanza, » etc. But sometimes the colophon is silent respecting the name of the publisher, who then has recourse to the method of adding his own mark or the sign of his house or bookshop. Many of the editions which Lucantonio Giunta caused to be executed by the various printers of the city, (for it was only in later years that he had a press of his own) do not bear his name, but only the lily, either on the first or the last page of the volume, and it is by this we known that the edition was issued by Lucantonio. Allessandro Calcedonio of Pesaro caused a cons- iderable number of editions to be printed on his own ac- count, between 1493 and 1304 (i), but only in three did he have his name inserted ; they are known, however, by the mark, which is an angel. Some printers and editors adopted as their mark an emblem or svmbol, that is to say, a figure or image which might represent the sentiment or principle which governed and guided their work. The first who adopted a mark of this kind was I be- lieve Aldus Manutius the Elder, who adopted the anchor with the dolphin and the legend — « festina lente ; « mean- ing thereby that in order to obtain good results from one's work, it is desirable to act with rapidity, (represented by the dolphin), but at the same time with firmness and reflec- tion — (represented by the anchor), both qualities being united in the words « festina lente. (2). Besides the marks above described, it was customary to use the emblems or signs of the office, warehouse or shop, where the book could (I) \'. Fli.in, Dociimcnti per servire alia storia della tipografia Venc^iana /torn tJie Arclnvio Veneto, t. X.XIII, part". I. 1 1 882), n. 12, i5, 53,93, 107. 2I This axiom was attributed to Augustus, but the emblem is believed to have been taken from coins of Ti- tus, Vespasian, and Domitian. Aldus himself, when dedi- cating the Sfcra di Proclo (1499I to the princes of Carpi, said: c( Sum ipse mihi optimus testis, me semper habere comites delphinem et anchoram; nam dedimus multa cunctando et damus assidue.n The mark appeared for the first time in the Poetcv Christiatii veteres of June i5o2, then in the Dante of August i5o2; and from that time it be obtained.This practice ofgiving emblems or signs to shops, warehouses, offices and similar industrial e.-;tablishments was then usual in France, especially in Paris. When intro- duced into Italy the printers and publishers soon adopted it, and marks of this kind are found in editions from the end of the fifteenth century onwards, Bernardino Benali adopted S. Jerome as his sign, and mentions it in the Ser- mons ofS. Bernard (undated but printed at the end of the fifteenth century), saying: « Impresse in Venetia per Ber- nardino Benali in Merzaria : tien per insegna sancto Ge- rolamo. » Alessandro Bindoni's sign is Justice ; that of the Flo- rentine Girolami Biondi is the Phoenix; of Lorenzo Lorio da Portese, S.Catherine whith her weel ; of the Paganini, S. Peter; of Battista de Pederzoni of Brescia, an elephant and castle ; of Filippo Pincio da Caneto of Mantua, S. An- tony the Hermit; of the Rusconi, S. George; of Giovanni Antonio da Sabio and his brother, a Dragon ; of Torre- sani, a tower; of Bernardino de' Ferrari, called Stagnino da Trino, S. Bernard; of Giovanni da Trino, alias Tacui- nus, S. John the Baptist; of Antonio Zanchi of Bergamo the gate of the city of Bergamo; and of Bartolomeo de Za- nis of Portese, S. Bartholomew. Printers, who at first printed on their own account, in process of time printed only on commission either for publishers or booksellers; then the marks served to shew the share which others had taken in the edition rather than the work of the printer. But those printers who con- tinued at the same time to he publishers, or, in other words the publishers who had a printing establishment of their own, frequently put two marks, the one a general typographic mark, and the other that of their own office, placing the former on the first page and the latter at the end of the volume. This was done by Giovanni Battista and Melchiorre Sessa, whose particular mark is a cat with a mouse in her mouth; and by Giorgio Rusconi and his successors, who, while they do not fail to end the book with the ordinary typographic mark, place their own sign, that is to say, S. George, on the first page and below the title. But, in general, from the beginning of the sixteenth cen- tury, it began to be the custom to transfer the mark or sign from the last page to the first, -placing it near the title of the work; a position which it has ever since retain- ed and which it occupies even at the present day, whene- ver either editors or printers decorate their volumes in that manner. is found in all the editions of Aldus and his successors. Cf. Renouard, Annales de V iinpritnerie des Aides, third edition, 1834, page 34; but he is under the erroneous im- gression that the mark appeared for the first time in the ante. ^ WATER-MARKS. It' any one places the leaves of early Venetian books against the lii;ht he perceives an almost innumerable va- riety of signs or figures, which are, as is well known, the marks of the paper-mills where the paper \\'as made, (i) Such signs and figures are also called filigranes because they are the result of the net-work of metallic wires ar- ranged at the bottom of the mould which contains the pulp. It is said that Pace da Fabriano was the first to in- troduce into Italy, and to be exact, into his native city, the art of making paper with flax or rags; but it is not certain in what year this took place. There can be no doubt, however that the art was already known and prac- tised in the East as early as the XII or XIII century; for it is a fact attested by paper MSS of that period which still survive. (2' From the East it passed to the West, and first of all to Spain, where the manufactories of Xa- tiva , \'alencia and Toledo car- ried on a flourishing business. It appears therefore, that it was Pace de Fabriano who brought from Spain to the town of Fa- briano the art of making paper from flax or rags. Tiraboschi (Storia d. Letter, ital t. \', p. 901 believes that the paper-mills of Fabriano date from 1276, but the earliest documents in the civic archives of that city which have been ascertained to consist of flaxen paper, do not go further back tan 1297. A few years after Fabriano had commenced the ma- ll I v. Domenico Urbani, Sep^ni di cartiere antiche, Ve- nice 1870 a work containing ten plates, eight of which refer to Venetian printed books, one to water-marks in leaves of Paduan MSS of the XIV and XV centuries, and one to the designs of Paduan paper-mills. |2) Lambecius, Comment, bibl. Ccesarece, t. V p. 75, edit. KoUar, describes a paper MS existing in the Impe- rial Library at Vienna, of the jear logS, but this MS is not in flaxen paper but rather m paper made from bom- bazine or gossypium. But MS 54 class i of the Library of S. Mark (though it isseriouslv damaged by damp) contain- ing the gospels in Greek, and generally considered to be of the XII century, and certainly not later than the XIII, is of paper, and although the weaving of the paper has not yet been microscopically examined, still at first sight it presents all the characteristics of flaxen paper. nufacture of flaxen paper, this industry was started in Pa- dua and Treviso, doubtless with workmen who had prac- tised it in Fabriano. This must have been at the end of the XIV century; and first of all in Padua, so that this city must be considered as the second in Italy which exer- cised the art of manufacturing paper of this kind (v. Glo- ria, Territ.padovatiu, III, p. 1 10 . From Padua it was trans- ferred shortly after to Treviso on account of the copious currents of water in that dis- trict. (I) Everything conduces to the belief that the Venetian printers brought the paper for their books chiefly from the paper mills of Padua or of Treviso. The water- mark which is most frequently observed in \'enetian books is the balance in its many varia- tions of form both in the scales and in the supports. The bull's head also, with various convolu- tions of the horns, and with great variety in the figures which are placed between the horns, often occurs. Then too there is the fig- ure of the hat with various in- terlacings of the cords. Besides these watermarks the booksprlnt- ed at Venice show from time to time other figures, such as the imperial crown and the royal crowns, the glove, scissors, ladder, 'standard, shield of arms, castle, crescent, cross- bow, strung bow with its arrow, crossed arro^ifs, crossed swords; and the cross; and then, the horse, the bull and other animals. Now all these signs as water-marks are peculiar to the mills of Padua and Treviso. This cir- cumstance added to the fact of the close relations and easy communication between Venice and those cities strengthen the supposition that the Venetian printers brought the paper for their books chiefly from those mills. |i) Professor Bailo has discoursed eruditely on the papermills of Treviso, when publishing, on the occasion of the marriage of Brunelli Devlde, a letter of Monsignor Rambaldo degli Azzoni Avogaro (12th November 17731 in reply to one from Tiraboschi requesting information on the subject. ^ THE PRINTING OF MUSIC In Venice during the fifteenth century music was printed both plain and figured by the xylographic system, that is to say by means of blocks cut in relief. In the MS of the Discorso della musica antica e modema di Vincenjo Galilei, which is preserved in the library of the Liceo Mu- sicale of Bologna, there is a note in the handwriting of Ercole Bottrigari, a Bolognese musician and mathemati- cian of the sixteenth century, to this effect: «I possess Canzoni and Barzellette in books printed at Venice as early as 1480 >> but at the end of that century Ottaviano de Petrucci da Fossombrone, who is said to have been an apprentice in one of the printing houses in Venice, in- vented the printing of figured music with movable metal types, (i) Having obtained from the Signoria a privilege for his invention (25 th May 1498I (2) he published in the year i5oi, according to his own system, the Harmonicce musices Odhecaton. Petrucci continued to print music in Venice up to 009 (31 when he transferred his office to Fossombrone, his native town. Several other Venetian printers, contemporaries of Petrucci, either printed music or caused it to be printed, as for instance Lucantonio Giunta, Ottaviano and Girolamo Scoto, Melchiorre Sessa, Bernardino and Matteo de Vitali, and Andrea Antico the Istrian. But it appears that they limited themselves to the ancient or xylographic system, for Francesco Marcolini da Forli, a celebrated printer and an admired writer, de- manded and obtained from the Signoria of Venice a pri- vilege, dated I July 1 536, for printing music « by the me- thod in which letters are printed, and it is about 23 years since such work has been done and not only Italy hut also Germany and France have endeavoured to recover this (1) Respecting Petrucci and his invention consult An- thon Schmid, Ottaviano de Petrucci da Fossombrone der erste Erfinder des Musiknotendruckes mit bewe^lichen Me- tall-typen, Wien 1845, and Augusto N'ernarecci. Ottaviano de Petrucci da Fossombrone inventore dei tipi mobili me- tallici della musica nel secolo XV, Fossombrone 1881. (2) This privilege is given in full in thew ork already quoted : Castellani, La stampa in Venejia p. yS. (3| This last edition in Venice is : Tenori e Contra- bassi intabulati col Sopran in canto fi^urato per cantar e sonar col lauto. Libro I. Francisci Bossinensis opus .... ending: n Impressum Venetiis per Octavianum Petrutium Forosemproniensem Cum privilegio invictissimi Domini Venetiarum, quod nullus possit intabulaturam lauti im- primere sub penis etc. Die 27 Martii 1509. u method but without success » (il It appears then, accord- ing to Marcolini's statement, that the system of printing figured music with movable metal types n in the manner in which letters are printed » was kept^secret by Petrucci, and that he had taken it with him to Fossombrone without imparting it to anyone, and that consequently all those who printed music about that time did so according to the ancient xylographic sj'stem, and that, at last, Mar- colini had succeded in finding out the method by which Petrucci printed with movable metal types. However, this may be it is certain that Marcolini, as early as May i536, that is to say prior to the concession of the privilege, had published : Intabulatura de liuto ... di Messer Francesco da Milano 0 In Venezia per Francesco Marcolini da Forl'i. In la contra de Santo Apostolo ne le Case de Frati Crosacchieri ne gi anni (sic) del Signore MDXXXVl del mese di magio u, and it is quite certain that this music was printed from movable metal types. About this time Antoine Gardane, a French musician, came to Venice and established a printing press for mu- sic which rapidlj- became very active and celebrated. Gar- dane also perfected Petrucci's system, for while at first the printing of music was executed by means of rvvo impres- sions printing at the first the lines and the words of the text and register, and at the second the notes either upon or between the lines, Gardane discovered a method of printing it all at one impression and, nevertheless his printing is always admired for its exactness of execution and for the elegance and clearness of the types. His sons Angelo and Alessandro succeeded him and kept the press active until about the end of the century. At that time; the music presses of Ricciardo Amadino and Giacomo Valenti were also flourishing. By the in- dustry of these and of several other printers the production of music and of works relating thereto was very abundant in Venice throughout the sixteenth century, in fact to such a degree as to surpass that of every other city, not excluding even Paris itself. (i) This privilege granted to Marcolini is likewise given in full in the work already cited La stampa in Ve- necia p. 83 etc., which contains curious particulars respect- ing Petrucci's invention. C. Castellani. ^ CONTENTS Note by the Venetian Publisher The Art of Printing in Venice — C. Castellani Printers' Marks — Water-marks — C. Castellani The Printing of Music — C. Castellani Printing in Venice (fac-similes) Autograph of Aldus Manutius .... Bindings. — Text Page 7 n 9 n 17 n 20 n 31 n 32 n 217 INDEX — Wo7-ks illustrated. 1469 — M. T. Ciceronis Epistols ad farailiares. Johannes de Spira — Biblioteca Marciana . > — C. Plinii Secundi Historia natui-alis. lohannes de Spira. — Bibl. Marc 1470 — Francesco Petrarca, Sonetti e triomphi. Vindelino da Spira. — Bibl. Marc. » — Titi Livii Historiarum libri. Vindelinus de Spira. — Bibl. Marc. 1471 — lobannis Tortelli Aretini de Orthographia dictionum e Grsecis tractarum. Nic. lenson. — Bibl. Marciana » — Leonard! (Bruni) Aretini de Bello Italico libri quatuor. Nic. lenson GaUicus. — Bibl. Marc. 1472 — Caracoioliis Robertus de Litio, Sermones Quadragesimales. Franciscus Hailbrun. — Biblio- teca Marciana > — L. C. Lactantii Firmiaui De Divinis Institutionibus libri VII. Vindelinus de Spira. — Bi- blioteca Marciana 1473 — loannis de landuno Qusestiones super tres libros Aristotelis de Anima. Franc, de Hailbrun ef Nic. de Franckfordia. — Bibl. Museo Civico 1474 — Nicolai de Ausimo Supplementum SummEe Pisanell». Franc, de Hailbrun. — Bibl. Marc. 1475 — Diogenis Laertii Vitse philosophorura. Nicolaus lenson. — Bibl. Marc. .... 1476 — Petri de Abano Conciliator ditferentiarum philosophorum. Gabriel de Tarvisio. — Bibl. Marc. » — loh. de Monteregio Calendarium Bern. Pictor, P. de Loslein, Erh. Ratdolt. - Bibl. Marc. > — C. Plinio Secondo, Istoria natur. tradotta di lingua latina in florentina per Cliristophoro Landino. Nic. lenson. — Bibl. Marc 1477 — Appiani Alexandrini Romanarum Historiarum libri IV. Bern. Pictor, Erh. Ratdolt — Biblio- teca Marciana » — Coriolaiius Cepio Dalmata, P. Mocenici Imp. gestorum libri tres. Bern. Pictor, Erh. Rat- dolt. — Bibl. Marciana » — Corpus luris civilis, Digestum vetus. — lacobus de Rubeis. — Bibl. Marc. » — Statuti et Ordeni de I'inclyta citti de Venesia. Philipo de Piero. — Bibl. Marc. 1478 — Breviarium iuxta ritum Romanse Curiee. Nic. lenson. — Bibl. Querini Stampalia » — Pomponius Mela, De situ orbis. Franciscus Renner de Hailbrun. — Bibl. Marc. 1479 — Biblia Latina. Nic. lenson. — Bibl. Marc. 1480 — lacobus de Voragine, Legendse Sanctorum. Ant. de Strata de Cremona. — Bib. Museo Civ. 1481 — lustiniani Imp. Institutiones. Nicolaus Catalanus de Benedictis. — Bib. Museo Civ. » — Guidonis de Baysio Rosarium Decretalium. Nic. lenson. — Bibl. Marc Page 33 » 34 » 35 . 38 » 39 . 40 » 41 . 42 . 43 » 44 . 45 :> 46 . 47 » 48 . 49 . 62 . 54 . 55 . 57 . 59 . 60 . 61 » 62 > 63 22 1482 — Alexandri (de Villa Dei) Grammaticum Opus, interprete Lud. de Guaschis. Sine iyp- — Bibl. Marciana P»ge 64 65 66 67 71 72 73 74 > — lohannes de Sacro Busco, Opusculum Sphasricum. Erh. Ratdolt. — Bibl. Marc. . > — Hygini Poeticon Astronomicon. Erh. Ratdolt. — Bibl. Marc. » — Pomponii Melse Cosmographia Geographica. Erh. Ratdolt. — Bibl. Marc 1483 — Biblia Latina. lohannes Herbert de Seligenstat. — Bibl. Marc 1484 — (Wernerus Rolewinck), Fasciculus temporum. Erh, Ratdolt. — Bibl. Marc. 1485 — Missale Romanum. Petrus Cremonensis dictus Veronensis. — Bibl. Museo Civ. , _ P. Terentii Afri Comcedise cum Commento Donati. Simon Bevilaqua. — Bibl. Marc. 1486 — lacobi Philippi (Foresti) Bergomensis Supplementum Chronicarum. Bernardinus de Bena- liix. — Bibl. Marc. 1487 — Bartolomeo Miniatore. Formulario di Epistole volgari. Bernardino de Novara. — Biblio- teca Marciana 1488 — lohannis Tortelli Commentarii de Orthographia dictionum e Grsecis tractarum. And. Catha- rejisis. Bibl. Museo Civ. 1489 — Officium B. M. Virginis. Andreas de Torresanis de Asula. — Bibl. Museo Civ. 1490 — Triomphi di Messer Francesco Petrarca. Pier Veronese. — Bibl. Marc > — losephi ludaei Historiographi libri lohannes Vercellensis. — Bibl. Museo Civ. . > — Marco Antonio Sabellico, Croniche. — Libreria F. Ongania » — Missale secundum morem S. Rom. Ecclesise. loh. Bapt. de Sessa. — Bibl. Marciana . > — lohannes de Sacro Busco. Sphaericum opusculum. Octavianus Scotus Modoetiensis. — Bi- blioteca Marciana . 1491 — Augustini Datti Scribae Senensis Elegantiolae. Baptista de Sessa — Bibl. Museo Civ. > — loannes Climachus vel Schala paradisi. Matieo da Parma. — Bibl. Marc. » — Diomedes, de Arte Grammatica. Christophorus de Pensis de Mandelo. — Bibl. Marc. 1492 — lacobus Philippus Bergomensis, Supplementum Chronicarum. Bernardinus Rictus de No- varia. — Bibl. Marc. > — Albubather, de Nativitatibus. Aloysius de contrata s. Luciae Venetus. — Bibl. Museo Civ. > — Vita della B. V. Maria. Giovanni Rosso da Vercelli. — Bibl. Museo Civ. 1493 — Tito Livio Volgare. Zuan Vercellese ad istanza di Luca Ant. Giunta. — Bibl. Marc. » — Cantalycii loh. Bapt. Epigrammata. Matthceus Capcasa Parmensis. — Bibl. Marc. . » — .Sliu* Donatus. Rudimenta Grammatices. Guilelmus Tridentis cognomento Anima mea. — Bibl. Marciana > — Esopo , Le favole volgarizzate da Accio Zucco. Manfredo de Monteferrato de Sustrevo. — Bibl. Marciana 1494 — Dialogo de la Seraphica Vergine s. Catherina da Siena. Matheo di Codeca da Parma. — Bibl. Marciana ............... > — Lucas de Burgo Sancti Sepulchri, Summa de Arithmetica. Paganino de Paganinis da Bre- scia. — Libreria L. S. Olschky > — B. Lorenzo Giustiniano, Dottrina della Vita monastica. sine tip. — Bibl. Marc. » — Lucianus, De Veris narrationibus. — Siinon Bevilaqua Papiensis. — Bibl. Marc. > — Leonardo (Bruni) Aretino, Opera intitolata I'Aquila. Pelegrino de Pasquali. — Bibl. Marc. » — Herodoti Halicarnassei Historiarum libri IX. lohannes et Gregorius de Gregoriis fratres. — Bibl. Marciana » — Lucas de Burgo Sancti Sepulchri , Summa de Arithmetica, Paganino de Paganinis da Bre- scia. — Libreria L. S. Olschky 1495 — lohannes de Ketham, Fasciculus medicina. loh. et Greg, de Gregoriis frat. — Bibl. Marc. > — Aristophanis Comcedise novem. Aldus Manutius Romanus. — Libreria L. S. Olschky > — Antonii Corsetti Siculi Tractatus ad status fratrum lehsuatorum confirmationem. loh. et Greg, de Gregoriis. — Bibl. Marc. > — T. Livii Patavini Decades. Philippus Pincius Mantuanus. — Bibl. Marc. . , t — loh. Ant. Campani Opera. Bernardinus Vercellensis mandato And. Torresani de Asula. — Biblioteca Marciana > — Marsilii Ficini Epistolae. Matthaeus Capca.^a Parmensis. — Bibl. Marc 1496 — Marco Polo da Venezia, De le maravigliose cose del mondo. lohannes Baptista de Sessa. — Bibl. Marciana » — S. Thomae Aquinatis, Commentarii in Aristotelis libros de Anima. Utino Papiense. — Bi- blioteca Marciana 75 77 79 80 81 82 83 84 86 86 87 88 89 90 91 92 94 95 96 98 100 10*2 103 104 105 107 108 110 112 113 115 117 118 119 2S 1496 — lohannes de Monteregio, Epitoma in Almagestura. loh. flamman de Landoja dictus Her- izog. — Bibl. Marc page 121 1497 — Etymologicura Magnum. Z icharinx Calliergi, smnptibux yic. Blasii Cretensis. — Biblio- teca Marciana > 123 > — Psalteriura. Aldus Manutius. — Bibl. Marc » 127 > — loh. Serapionis Practica, seu Liber de simplici medicina. Bonetus Locatellus mandato Oct. Scoti. - Bibl. Marc 129 > — Ovidio Metamorphoseos volgare. lohanne Rosso Vercellese ad instantia de Luca Ant. Giunta. — Bibl. Marc. . ' .132 » — Dante Alighieri, La divina Oomedia col comento di Uristoforo Landino. Piero de Zuane Quarengi. — Bibl. Marc. > 133 • — P. Terentii Afri Uomoedias. Simon da Lucre. — Bibl. Marc » 136 » — lulii Firraici Materni de Xativitatibus Hbri VII. Simon Papienses dictus Bevilaqua. — Biblioteca Marciana > 137 li98 — Marci Autonii Sabellici Enneades ab orbe condito. Bernardinus et Mathaeus Veneti. — Biblioteca Mus. Civ » 138 » — Bibbia Malermi. Simon Bevilaqua. Libreria L. S. Olschki > 140 » — Transito di Sancto Hieronymo. Manfredo di Monferrato. — Bib. Querini Stampalia . > 142 » — Libro d'el maestro e J'el discipulo. Manfredo di Monferrato. — Bibl. Marc. . . . > 143 1499 — lulii Firmici de Nativitatibus. Aldus Manutius. — Bibl. Museo Civ > 144 » — Hypnerotomachia Poliphili. Aldus Manutius. — Bibl. Marc > 146 » — Missale Romanum. Geori/ius Arrivabene. — Bibl. Marc. ........ 153 » — Statuta in Leges municipales Reipublicw Vincentinte. Simon Bevilaqua. — Bibl. Mus. Civ. » 1.57 1.01,0 — Graduale sanctse Romanae Ecclesise. Mandato et impensis Lucantonii Giunta. — Libre- ria L. S. Olschki 158 » — Epistole devotissime de sancta Catharina de Siena. Aldo Manuzio. — Bibl. Marc. . . » 160 • — lacopo de Barber!. Pianta di Venezia. — Museo Civ > 161 1501 — Albertutio Vesputio Fiorentino, Novo Mondo con veduta di Venezia. Zorzi de Rusconi. Bibl. Marc .164 1502 — Dionysii Areopagitse Caelestis Hierarchia. laccuinus de Tridino. — Bibl. Marc. . . . 166 1503 — Breviariura monasticum secundum Ordinem Caraaldulensem. Bernardinus Benalius. — Biblioteca Museo Civ 166 > — Francesco Petrarcha, Sonetti e Canzoui. Alhertino de Lissona. — Bibl. Museo Civ. . » 167 » — Aboul-Hassan-Ali, Liber in judiciis astrorum. Joh. Baptista Sessa. — Bibl. Marc. . . 168 » — Philippus Bergomensis, Supplementum chronicarum. Albertinus de Lissona. — Biblioteca .\iarciana 169 1504 — loh. Archiepiscopi Cantuarensis Perspectiva communis. loh. Bapt. Sessa. — Bibl. Mus. Civ. » 171 1506 — Phil. Bergomensis, Supplemeutum supplement! Chronicarum. Georgius de Rusconibus. — Bibl. Museo Civico 172 1509 — Prisciani Grammatica. Philippus Pincius — Libreria L. S. Olscky > 173 1511 — Missale Romanum. Bernardinus Slagninus. — Bibl. Serainario 174 » — Specchio delta fede. Pietro Quarengi — Bibl. Marc 175 » — Plauti ComosdisB XX a Bernardo Saraceno emendatte. Lazzarus de Soardis. — Libre- ria. L. S. Olschki .176 » — Hortus Sanitatis. Bernardinus de Benaliis. — Bibl. Marc 177 1512 — Dante Alighieri, Divina comedia. .Stagnino. — Bibl. Museo Civ 178 » —Libro del Per. grino. Manfredus Bonus de Montis Ferrato. — Bibl. Marc. .... 179 » — M. Fabii Quintiliani Oratories Institutiones. lohannes de Rusconibus. — Bibl. Marc. . » 180 1513 — De recta paschatis celebratione Octavianus De Petrucci Forosemproniensis. — Bibl. Marc. > 181 » — Missale Aquileiense. lacobus Pentius de Levedo. — Bibl, Seiniuario ...... 182 1514 — Ambrosii Leoiiis de Nola patria. loh. Rubeus Vercellensis. Bibl. Marc 183 1515 — Apooalypsis lehsu Christi. Alessandro Paganino. — Bibl. Marc » 1.S4 1516 — Plutarchi Vitae, Guarino Veronensi iiiterprete. Melchior. Sessa et Petrus de Ravanis Socii. — Bibl. Museo Civ > 1,S6 » — Strabo, De situ orbis. Graece _ Aldus Manutius. Bibl. Mare > 187 1517 — Euclidis Megarensis Elementorum libri, Barthol. Zamberto iuterprete. loh. Taccuinus de Trino. — Libreria L. S. Olschki 188 1518 — Omiliario quadragesimale. Bernardino Vitali. — Bibl. Museo Civ » 191 . — loh. de Voragine, Legendario de Sancti. Nicolb e Domenico Dal GesU, Biblioteca Marciana > 193 . — Giovanni Boccaccio, II Decamerone. Augusto de Zanis de Portesio. — Bibl. Marc. . . » 197 24 1518 — Cyriffo Ualvaneo. Alessandro de Bindoni. — Libreria L. S. Olschki Page 198 1519 — Officium B. M. Virginis. Lucas Antonius de Givnta. — Bibl. Marc 198 1520 — Pamphilo Sasso Modenese, Sonetti, Capitoli, Ecloge. Guglielmo Fontana da Monferrato. — Bibl. Museo Civico » 199 » — Missale Romanum. Lucantonio de Giunta. — Bibl. Marc » 200 , Auli Flacii Persii Satyrse. Bernardinus de Viatiis de Lixona. — Libreria F. Ongania . » 201 1521 — Dante Alighieri, Amoroso Convivio. G. A. de Lerlio. — Bibl. Marciana . . . . » 202 ^ — Missale Romanum. Gregor'uis de Gregoriis. — Bibl. Museo Civ. » 203 , Publii Francisci Modesti Ariminensis. iJerraordmus de Vitalis Venetus. — Bib. Museo Civ. » 205 — Music a. 1503 — Odhecaton. Ottaviano Petrucci da Fossombrone. — Bib. Capitolare di Treviso ...» 206 1523 — Pietro Aaron Fiorentino, Thoscanello della musica. Bernardo e Matteo de Vitali. — Biblioteca Marciana 208 1539 — II terzo libro dei madrigali. Antonio Gardane. — Bibl. Marciana » 210 — Frontispieces mid pages with illuminated borders. 1469 page 33, 34 - 1470, 35, 36, 37, 38 - 1471, 39, 40 - 1472, 41, 42 - 1473, 43 - 1474, 44 - 1475, 45 - 1476, 46 - 1478, 57, 58 — 1480, 61 — 1481, 62, 63 - 1485, 73 — 1488, 79 - 1490, 82. — Frontisjneces and pages with engraved borders. 1476, pages 29 — 1477, 49, 51, 52 - I486, 75 — 1487, 77 - 1489, SO - 1490, 81, 83, 84, 85 — 1491 , 86, 1492, 89, 90, 91 - 1493, 92, 94, 95, 96, 97 — 1494, 98, 102, 103, 104, 105, 107 — 1495, 108, 112, 113, 115, 116 -- 1496, 121, 122 — 1497, 123, 124, 125, 127, 132, 183, 134, 137 — 1498, 142, 143 - 1499, 144, 154, 156, 157 — 1501, 164 — 1502, 165 — 1503, 166, 167, 168, 169 — 1504, 171 — 1506, 172 — 1509, 173 - 1511, 175, 176, 177 — 1512, 178, 179. ISO — 1513, 181, 182 — 1514, 183 — 1515, 184 - 1516, 186, 187, 188, 189 — 1518, 191, 193, 194, 195, 197, 198 - 1519, 198, 199 - 1520, 200, 201 — 1521, 202, 203, 205 — Musica: 1503, 206, — 1523, 208, 209 — 1539, 210, 211. — Details of ornamentes and figures. Pages 28, 29, 30, 31, 47, 65, 68, 70, 72, 74, 85, 87, 90, 94, 96, 97. 98, 99, 100, 1 )1, 102, 104, 105, 106, 108, 109, 112, 117, 119, 121, 128, 135, 136, 140, 141, 144, — Poliphilo Aldo: 145, 146, 147, 148, 149, 150, 151, 152 — 154, 160, 161, 162, 163, 165, 167, 16S, 170, 173, 177, 178, 18J, 185, 187, 18S, 191, 192, 195, 196, 197, 198. 199,202,204,211,216. — Italo-Gothic Characters. A. pages 34, 47, 49, 59, 64, 66, 69, 71, 76, 78, 79, 81, 84, 85, 88, 91, 92, 93, 94, 95, 96, 97, 98, 99, 101, 102, 106, 112, 114, 116, 117, 118, 122, 129, 130, 132, 135, 137, 139, 140, 141, 142, 143, 144, 147, 153, 155, 157, 160, 165, 167, 168, 170, 171, 173, 175, 178, 181, 184, 185, 186, 187, 191, 192, 199, 202, 204, 206. B. » 34, 69, 71, 72, 78, 89, 93, 94, 95, 97, 112, 117, 130, 135, 137, 139, 141, 143, 155, 156, 157, 165, 173, 175, 178, 181, 183, 185, 190, 192, 202, 204, 206, 210. C. • 34, 50, 59, 65, 66, 69, 71, 77, 78, 79, 81, 84, 90, 91, 93, 95, 96, 97, 98, 99, 101, 102, 112, 114, U7, 119, 120, 129, 130, 132, 133, 135, 137, 139, 140, 141, 142, 144, 147, 153, 155, 156, 157, 160, 165, 168, 170, 173, 178, 181, 185, 186, 190, 191, 192, 195, 204, 206. D. » 34, 50, 53, 55, 59, 64, 65, 66, 69, 71, 73, 77, 78, 79, 81, 84, 87, 89, 90, 91, 93, 95, 96, 97, 99, 100, 101, 103, 106, 112, 117, 118, 119, 120, 130, 132, 135, 137, 139, 140, 141, 142, 143, 144, 153, 155, 156, 157, 160, 165, 168, 170, 171, 173, 178, 181, 185, 186, 190, 191, 192, 202, 204, 206 E. . 34, 47, 59, 66, 67, 69, 71, 73, 76, 78, 81, 84, 85, 86, 89, 90, 91, 93, 95, 96, 97, 98, 99, 102, 103, 106, 112, 117, 120, 129, 130, 131, 135, 137. 139, 140, 141, 142, 143, 147, 157, 160, 165, 173, 175, 178, 181, 185, 186, 187, 190, 191, 192, 196, 202, 206. F. . 34, 47, 69, 71, 78, 81, 84, 90, 91, 93, 94, 95, 96, 97, 98, 99, 103, 112, 116, 117, 118, 120, 130, 131, 132, 135. 137, 139, 140, 141, 143, 147, 155. 160, 173, 175. 178, 181, 185, 186, 190, 192, 202, 206, 210. G. . 34, 66, 69, 71, 78, 84, 86, 91, 92, 93, 95, 96, 97, 99, 112, 114, 130, 131, 133, 139, 141, 143, 144, 153, 165, 156, 181, 190. 192, 206. H. • 34, 59, 64, 66, 66, 67, 71, 77, 78, 81, 84, 91, 92, 93, 95, 96, 97, 98, 99, 103, 112, 116, 117, 118, 120, 131, 132, 134, 135, 137, 140, 141, 142, 144, 155, 157, 170, 171, 173, 175, 178, 185, 191, 192, 199, 202, 206, 210. 25 I. pages 34, 50, 53, 66, 67, 69, 71, 75. 78, 79, 84, 85, 86, 89, 91, 92, 93, 95, 96, 97, 98, 99, 102, 103, 106, 112, 116, 117, 118, 119, 120, 129, 130, 131, 132, 133, 135, 137, 140, 141, 142, 144, 147, 155, 157, 170, 171, 173, 175, 178, 181, 185, 186, 188, 191, 192, 193, 199, 202, 204, 206, 210. L. . 34, 47, 50, 53, 59, 65, 66, 69, 71, 76, 77, 78, 79, 81, 84, 91, 93, 95, 97, 98, 99, 100, 102, 112, 114, 117, 120, 130, 131, 132, 135, 137, 140, 141, 142, 145, 147, 155, 156, 157, 167, 168, 171, 173, 175, 178, 181, 185, 186, 190, 191, 192, 195, 199, 202, 206. M. . 34, 65, 66, 69, 71, 72, 76, 78, 84, 86, 87, 91, 92, 93, 95, 96, 97, 98, 99, 102, 112, 114, 117, 119, 130, 131, 135, 137, 139, 140, 141, 143, 147, 155, 168, 170, 173, 1 78, 181, 185, 186, 187, 191, 192, 199, 202, 206, 210. N. . 34, 59, 65, 66, 69, 70, 71, 74, 78, 81, 84, 91, 93, 94, 95, 97, 102, 106, 112, 113, 114, 117, 119, 120, 130, 131, 134, 137, 139, 140, Ul, 143, 144, 147, 157, 165, 170, 173, 178, 181, 185, 186, 190, 191, 192, 202, 204, 206. O. . 34, 59, 65, 66, 67, 70, 71, 73, 78, 86, 90, 91, 93, 94, 95, 96, 97, 98, 101, ia2, 103, 106, 114, 117, 118, 119, 120, 130, 131, 135, 137, 139, 140, 141, 147, 156, 157, 160, 173, 175, 178, 181, 183, 186, 190, 191, 192, 199, 204, 206. P. . 34, 51, 64, 65, 66, 70, 71, 72, 73, 78, 81, 84, 85, 86, 89, 91, 93, 94, 95, 96, 98, 99, 101, 102, 112, 114, 117, 118, 119, 120, 129, 130, 131, 132, 135, 137, 139, 140, 141, 142, 143, 144, 145, 153, 155, 157, 158, 160, 168, 171, 173, 175, 178, 181, 183, 185, 186, 190, 191, 192, 195, 199, 202, 204, 206, 210. O. • 34, 52, 53, 64, 65, 66, 67, 71, 78, 81, 84, 85, 86, 87, 90, 91, 93, 94, 96, 96, 97, 98, 99, 101, 112, 114, 117, 118, 120, 130, 131, 132, 135, 137, 139, 140, 141, 142, 143, 157, 170, 171, 173, 175, 178, 185, 186, 190, 191, 192, 194, 202, 206. R. . 34, 50, 66, 70, 71, 72, 73, 78, 84, 86. 93, 94, 96, 97, 99, 102, 103, 106, 112, 117, 122, 130, 131, 139, 140, 141, 147, 153, 155, 156, 157, 160, 173, 178, 181, 186, 192, 202, 206. S. . 34, 50, 59, 64, 65, 66, 70, 71, 73, 76, 78, 79, 81, 84, 86, 87, 93, 94 96, 97, 98, 99, 101, 102, 103, 106, 112, 114, 117, 118, 119, 120, 130, 131, 133, 139, 140, 142, 143, 147, 156, 167, 160, 167, 171, 173, 176, 178, 181, 183, 185, 186, 188, 189, 191, 192, 195, 202, 206, 210. T. . 34, 47, 59, 65, 66, 70, 71, 72, 78, 89, 92, 93, 95, 96, 97, 98, 106, 112, 120, 130, 131, 133, 139, 140, 142, 143, 147, 153, 155, 157, 171, 173, 178, 185, 186, 187, 188, 191, 192, 199, 202, 206. U. . 72, 97. 119. 155, 156, 171, 173, 175, 178, 191, 192, 202. W. . 34, 64, 65, 66, 70, 71, 73, 74, 77, 78, 79, 81, 84, 87, 91, 93, 95, 96, 97, 99, 106, 108, 112, 116, 117, 118, 130, 131, 135, 140, 143, 167, 16), 168, 170, 183, 185, 186, 188, 195, 206. Y. . 111. X. > 34, 70. Z. . 34, 66, 73, 112, 130, 131, 243. — Qreek Characters. Pages 110, 111, 123, 124, 125, 126, 127, 128, 187. — Ser^ies of Venetian Printers' Marks. 1470—1482 — Nicolaus Jenson, Gallicus — page 63. 1471—1487 — Johannes de Colonia (loh. Agrippinensis, Joannes de Colonia) — 63. 1473-1487 — Nicolaus de Frankfordia. — 212, 16. 1477-1491 — Thonias de Blaviis Alexandrinus. — 212, 6. 1479-1485 — Bartholameus de Blaviis Alexandrinus. — 212, 12, 13. 1480-1508 — Andreas de Torresanis de Asula. — 80. 1480-1489 — lohaimes Lucilius Santiitter de Fonts Salutis — 212, 18. 1480-1500 — Octavianus Scotus Modaetiensis. — 85, 129, 212, 2. 1480—1501 — loannes et Gregorius de Gregoriis de Forlivio. — 106. 1480-1514 — Bernardinus de Vitalibus Venetus — 138, 191. 1481-1514 — Baptista de Tortis. — 212, 1, 3, 6. 1482-1495 — .\latheus de Codeoa (Capo de Casa) Parmensi. — 94, 117. 1483—1494 — Peregrinus de Pasqualibus Bononiensis. — 212, 78, 213, 35. 1483-1486 — Andreas de Bonetis de Papia. — 212, 11. 1483—1488 — lohannas Antonius de Biretis de Papia. — 212, 15. 1483-1606 — Bernardinus Stagninus de Tridiuo ex Monteferrato. — 212, 4, 9, 10, 14, 17, 213, 19, 20, 21, 22, 23. 1484—1501 — Bernardinus de Benaliis Bergomensis. — 76. 1484-1493 — Dionysius de Bertochis Bononiensis. — 213, 24, 25, 30. 1485 — Andrea de Soziis. — 213, 36. 1485-1492 — Bernardinus Rizus. — 89. 1486-1492 — Andrea de Calabris Papiensis. — 213, 32. 26 1485-87 — Hannibal Foxius Parmensis. — pages 213, 34. 1485-1499 — Guilelmus de Cereto (de Piano) de Tridinus ex Monteferrato, dictua Anima Mea. — 313, 27. 1485-87 — Simon de Gabis dictus Bevilaqua Papiensis. — 74. 1485-1501 — Georgius Arrivabenus (de Kivabenis) Mantuanus, Dictus Parens. — 153, 156. 1485-1490 — Franciscus de Madiis. — 213, 33. 1485-1486 — Gabriel de Grassis de Papia. — 213, 28. 1485-1509 — Paganinus de Paganinis Biixianus. — 101. 1486-1514 — Bartholomaeus de Zanis de Portesio. — 214, 50, 51, 215 73. 1487-1501 — Johannes Hamman de Landoia (Landau) dictus Hertzog. — 122. 1487-1500 — Johannes Emerich de Udenheim — 213, 26. 1488-1500 — Theodorus de Ragazonibus de Asula dictus Bresanus. — 213, 29. 1488-1492 — Bernardinus de Goris de Cremona. — 213, 31. 1489-1501 — Lucas Antonius Giunla Florentinus. — 98, 200. 1490 — Matheo Vesconte de Sancto Canciano. — 84. 1490-1509 — Johannes Baptista de Sessa Mediolanensis — 84, 118, 171. 1490-1501 — Philippus Pintius de Caneto Mantuanus. — 114, 173, 214, 53. 1490-1501 — Lazarus de Soardis de Saviliano. — 214, 38, 40. 1491 — Nicolaus de Ferrariis de Pralormis — 214, 41. 1492—1501 — Johannes de Cereto de Tridino. — 165. 1494 — Perrinus Lathomi de Lotharingiis — 214, 55. 1494-1508 — Aldus Manutius Romanus — 152, 187, 215, 71. 1495-1505 — Benedictus Fontana — 214, 44. 1495-1601 — Jacobus Pentius de Leucho — 214, 48, 53. 1496 — Otinus Papiensis de Luna. — 119. 1497-1501 — Petrus Liechtenstein Coloniensis — 214, 45, 54. 1498-1501 — Antonius de Zanchis Bergomensis. — 214, 49. 1499 — Johannes Paep Budensis librarius — 214, 46. 1499-1509 — Zacharias Calliergi Cretensis. — 126. 1500—1509 — Octavianus Petrucius Forosemproniensis. — 207. 1500-1501 — Georgius de Rusconibus Mediolanensis. — 214, 37, 42, 215, 66. 1500-1501 — Alexander Calcedonius quondam Ludovici Pisaurensis mercator — 214, 39. 1503 — Urbanus Kaym. — 215, 60. 1506 — Melchiorre Sessa. — 215, 61, 62, 67, 68, 72. 1506 — Jacobus Laconius Pedemontanus. — 215, 57. 1507 — Alexander de Bindonis. — 198. 1508 — Mcol6 d' Aristotele de Ferrara detto il Zoppino. — 215, 59, 63, 65. 1509-1519 — Wendelinus Winter et Michael Otter. — 215, 70. 1509 — Julianus de Castello. — 215, 58. 1511 — Johannes Miier. — 215, 56. 1514 — Laurentius Orius de Portesis. — 215, 75. 1515-1527 — Cesare de Arrivabene. — 215, 69. 1516—1520 — Johannes Oswalt civis Augustensis. — 214, 47, 48. 1516—1536 — Johannes Antonio fratres de Sabio. — 202. 1518 — Nicol6 e Domenico Dal Gesu. — 194, 195, 196. 1524 — Johannes Franciscus et Johannes Antonius fratres de Rusconibus. — 215, 64. 1524 — Battista de Pedezzani Brixianus. — 215, 74. 1539 — Antonio Gardane. — 211. — Water-marks on paper p-inted at Venice. Scales. - Pages 35 3, 4, 38 1, 39 6, 40 1, 42 1, 4, 43 3, 48 1, 5, 7, 55 1, 59 8, 61 2, 63 1, 64 2, 5, 67 4, 6, 76 3, 10, 12, 84 1, 97 2, 98 1, 108 I, 115 3, 120 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 129 1, 138 3, 142 5, 144 3, 152 2, 159 1, 2, 170 3, 189 1, 3, 198 1, 203 1, 206 1. Bulls Head. - Pages 33 1, 38 2, 39 1, 44 2, 46 1, 48 lOj 12, 16, 53 1, 55 4, 56 5, 6, 59 1, 10, 14, 60 4, 5, 61 3, 65 2, 67 3, 68 1, 76 2, 77 1, 84 2, 85 1, 93 3, 94 i, 108 2, 114 1, 115 2, 133 1, 134 1, 152 1, 157 1, 189 2, 207 1. Hat. - Pages 59 3, 76 1, 13. 79 2, 85 2, 87 2, 115 1, 118 1, 122 2, 123 1, 170 2, 206 2. Imperial and Royal Crown. — Pages 46 2, 58 3, 59 4, 60 1, 64 1, 67 5, 93 1, 152 3. Glove. — Pages 56 9, 119 2, 142 4, 210 1. Scissors. — Pages 34 2, 41 2, 77 2, 198 2. 27 Standard. — Pages 144 2. Ladder. — Pages 142 1. Lily. - Pages 33 2, 64 3, 123 2, 134 3. Spectacles. — Pages 58 5. Bell. — Pages 48 4, 65 1, 86 2. Coat of Arms. — Pages 40 2, 59 9, 139 6. Castle. — Pages 42 3, 50 3, 4, 59 7, 90 1, 119 3. Crescent. — Pages 76 7. Bent Bow and Arrow. — Pages 42 2, 45 3, 58 2, 76 y, 194 1. Crossed Arrows. — Pages 34 1. Swords. — Pages 77 3. Column, — Pages 40 4, 54 2, 59 11, 131 2. Cherub. — Pages 45 2, 138 1. Cross. — Pages 48 13, 61 1, 67 2, 76 5, 6, 8, 87 1, 134 2, 142 3. Head. — Pages 67 1, 72 1. Horse. — Pages 60 3. Unicorn. — Pages 59, 2, 60 2. Lamp. — Pages 122 1. Crowned Lion. — Pages 56 3, 66 2. Eagle. — Pages 48 3, 14. Duck. — Pages 79 1, 93 2, 120 5, 210 2, 3. Anchor. - Pages 47 1, 50 1, 2, 66 1, 138 2, 142 2, 170 4. Pear. — Pages 39 5, 63, 2. Geometrical signs. — Pages 39 2, 56 8, 58 1, 76 11, 97 1. Three Hills. — Pages 41 1, 48 6, 92 1, 138 5, 181 1. Wheel and the Carrarese Crest. — Pages 48 9, 58 6, 59 12. Horn. — Pages 48 11. Bull. — Pages 67 7, 76 14. Lion. — Pages 64 4, 76 4, 114 3, 157 2. Dragon. — Pages 35 1, 39 3, 55 3. Flower. — Pages 40 3, 48 8, 98 2, 138 4. Axe. — Pages 39 7. Cock. — Pages 55 2. Initials. — Pages 43 14, 44 1, 45 1, 54 1, 59 6, 73 1, 128 1, 160 1. Siren. — Pages 58 4. Various. - Pages 35 2, 39 4, 8, 43 2, 3, 46 3, 48 2, 15, 59 5, 13, 86 1, 3, 103 1, 114 2, 119, 1, 4, 183 1, 202 2, 207 3. — Bindings of Venetian books of the XV and XVI centuries (facsimiles). Pages 217, 218, 219, 220, 221, 222, 223, 224, 225, 226, 227, 228. ^ MCCCCLXXXVI Augustino Barbadico Duce Venetiarum Regnante impressum fuit hoc opus feliciter. ^ Humberto I. Italiae Rege Impressum fuit hoc opus Venetiis. Anno MDCCCXCV. The Lion of S. Mark (from headings of books sec. XV-XVl). IMPRE.SSIO LIBROKVM. ^ ^ A B c D £ F C H 1 K L M N O P O R S T V X V ^^ ^ z * ^^ S^ /^^^^ J^p EK 3 k _aj^ J^f ■ ^^^^ ^5^ 1^ ) ' ^ C^^aieucdaitae fie^a Printing in Venice (FAC-SIMILES) ./ . \'l'^^' P''rrit>k^C*^tru>yie^ t^TU> tulu^H^ fcT^^ ^jfe^*»^ >>7 O^t^jS/X'^/V Autograph of Aldus Manutius VENEZIA M.CCCC.LXVIIII 33 ^\.^in..a Go osiuii officio ac pocius pieucc crga te cptcris GtifTacio ^1?; '*^?iM e»nnibas ;mihi ipfc lumg fatiftAcoTanti cni rnagnitudo J -it luoi; crga mc mcnto2^:ur cu tu nili pkcffci re de n->c no -^ tOTiquiclh ego quu ';on ricm m caufa tua cfFicio; mtam ttuhi ccaccrbam piitc. In catifa t>?c fut Hamon-ns Regis JLce:rtu3.Trtcpccuianosoppugaat. Kcs.igtt'pcorciecrcdi^ V • rrs per -ijuos ciun cu adcras agcbatur.Rcgts raisG fi qui furicq ucik q p;ii ;: imaf omncs rem ad Pompcfum dctcrn uoIunt.Scnatus rclic;ionts cilurium non rcligionc (ed inaliuolcntia &C illms rcgip hrgitiors iuidiacomprobitPomptiu'bc hoitari 5c orarcfi^' iatnlibcriusaccularc ti rro'' ncrc ut magnain Ih^imjam tue;ut ;«o acfiilii'.rtus.Sed plane ncc precious nrls iiecadmo'uionibui nris rcUqt locu.Niincu in iccnoncauotidiano Kum in iensitu pab ra Oc cgst caulair. < uam : ut ncq^ cloqucU:?. ^naiorc quitq ne^^; graui' face ncq; iludio ucc coutcmt :.ricagc!"c potueric Cii funia tcftificationc tuo^ m 'cofFicio^ &:amoris erga t: fui. MarccUinu tibi cfie ^ratu fcis. Is bac regis r.rufa cxccpta ceteris '•. rebus Cc iccrriinu tui ccfenfcrc u fore ortcndit. Qucd ^ ille latrc nift ahcjuid firmius fucrit: focictace uitiorum i-|eliniet. Res eft aut r^ll^v' tribunitiis: aut priuatis confilns munienda. Nam ifti duo uix funt digni : ~~'"' qutbus altcn ctianamrnlten colTut anarum taScrnarum fundamcnta credas. Te ut dixi rcroocul is. Ego uos ad.iiii.k?Jcu.uidcbo: tuosc^ oculos criam fi tc ueniens m medio foro uidero:duTuauubo..JP;'Ieama.V.dc. Primus in Adriaca fbrmis impreffit acnis Vrbe Libros Spira gcnitus dc ftirpc lobames In rcliquis fitquanu uidcs fpes Ied:or habcnda Quom Labor nic primus calami fuperaucri; J^^^',^^B| mrnns.Saccrcft ):t'i;rnus'.nncnruj :::itsi totonmo 'acra ip{ctotiim inhnif'us ac tiii.to Limiii«-.Om'invin ic:^certus^ fimlis '.f.ctm fcxfi i -•ti.TcuncIa -om' plexus m & T df Tiq; rc2J iL-iur; opus ^"^ r v ipQ raiii' ra.turorcrt:mcnfiiramc.us;r)n)o^ucrdirr. ag-iufTc atq* j>clerc auf:)* . Ah 3s ruri u , c.-i-r^l-cnc hmc 'liiTipn jiirhi- dat3inun''cnil';Jc> :k- iiciiflev.ia.xj'.'.siuttori'' ^"srr. 'C;^ 'j'-iirascti^i oportf rct.Aul ii unaomn*i nicubiicat tv'K> u'jii? 1o.cs foil JcinqsluiiA-^-.cccjtTactumi:! nc •?< mmcnO &'inuiuci.^'^i'nlvdc»3 i^fiiu' c..dfni autftioc [crr.p in ttrmino ccgtutOPi* oc:u'"fura Jrfuxri,- d'l; j Krtr.i:-. A.jrf; l^jc ■.nnins ratiirj omi^rtihc; pofii. .»u"i-'nan.Non iliud i 'cm ■ i , Mci'i-is ritittll!!^^! cinrio orcfcmmopc.'Citurorefl: i-^ccl-'.' rurcrcgrcc'ic;.c-.-.i;tU'''-"j r.icriuo.u>r»i'j< t.< (jLnc i.-.ir- I'int nota u iciujn e\tt:ta ouifi 'jri-o mcnfun.;" iitius ic, jofT.r igcrcqui t.ui nc'cra'-iac be ..iits poflui: w.cftrt cjuj mriciy.s ij-lc n /.- (.apist. j3f *oim.i unirdi OrniSii";Cuis ir I'^ctji-otlii . brcni'ix'^'t>-''^i''' c'^^ no.-.f i inpnmis &crr<';r,r-,» <-'n- mortahutnc-iiiemappc'ilaniioin b?d&3iroinneurey ..iocentno'Tc.li^ c|iiu rilis livTiiM oil^us fui p.\r.ibu.: 'jeii:,!! jni '.fc jc li.^i iu'apoller.-.ni cfttfcquciii'iidit- cicolif.r.pt nuiUw cv^cllf i.cir.-.ie'J:a'iriAtiniur>'i'-)d'i lis^fi;- i...i£ibus fcnties pre cuu.-.clmuLii'iinaorubkii'iiueiU me.. 4ppar<:bil:j7.liiapi!t'Tir;'acfl.Sciiocu!-'i if a.icii^ba one y lOr.ncx'JS iTifduifci-ciuacuj;te- rvirm- -•jmu' CTaercin sb., - ■< ^■*J!tr'j'l .ooiitfiguta. D^ tTft'tu. njtiji . HAncergotorTiatntru-.-t>^iv-!Oix.iiTli-; C\oiCLi>>et occal IS b?ndaul'ia»ii rcf'.qucreanfn 'me ' ^u-;:Oi ulcolenrumuarmtaoi!ef»^-?de>i antcmciisrotaia LCitigincifudiu fcnitusnc niuidr fa>-.!edL\critn.non bcn-i ■■ m.igis ~i circarriartoi: '"iriul TJTuicus Ijdei: fuolqu - ioiuc[ntninrbcs./\nd'ila«iCjiii..'iin ?• tnevedbil' I'.au'ta f.gimur luxiadiebus nof^ilitfc^itac'cu; l.-.Uaf mundu!? e'Te n ahum rc.ii>:cuncbaif iinprpPiiNti: uigiiunluLru:(i r>.7 . uam lubnci' corpus .tiucd cbiifTimiquidt -.uw^offi dive ju3r.a:T: mceuciidLUE rci-.ciiitui^ 't vptbus •■• ru.Tiet;.- cciitur«s, fnor.rtntupditcir.rantarcltigie^ : Prcte tva u !iif ^-^^ ^ alibi abbr.litterf tiguta oC ctndidiove mcdioM'upcr U'-rtice L^iir rr.iriitlu.> dfllt'r f TJ v^iiuJi-n; 5C<.->nrsaiuj^«.ririfiiii moi'or Na'PO'Jt C_ ' r* !t'..i t- apr elhuviuni<.i?riJ^v. nos- pcr'eola.iMohiiai o>n^Cin '^^x•i d'ab.ccplai.. iij-iunctc« d j«',r.u5;u irtcioi^r :>aioddL-=p'or.rculoqu' L!;iii:""4 uxat m ;;ii.a'i.-!lu'ir''io>i ntcise-guacdai cbc jbe uoitr? occl"»i dotin.^ mi U<^3,*o tempo non mi p&rci t/a iVu i (paro rontra coipt daniov pc/o nifrnda ! ferur rcn:n:a fofpcjto ^nOo: i-jr.t'c? guai nel commune dolor nncom»nor del tutto dUarmato 6<:aperta Uuia pergliorrbi -xlcore cbe di lagnmc Ton facli ufcio &c uarc i^v pero al mio parer non li fu honore-^ ftnr me deTaetta tnquello flato a uoi armatA non monftrar put larco^ '470 B VENEZIA M.CCCC.LXX 3? ELTEMPO CHERIlsf>IOVA imicifofpiri pcrla dolce memoria Jicjuelgiorno cbc fu principio a fi lungWt martiri Gu jHoIc ahauro lunoSC Ultrocomo fcaldaua &: la fanciullacli titone corica gelata al fuo ufato foggiorno A- mor glifdegni i\ punto 5c k Aagione ncondocflo maucano al chmfo loco ouogni fafcio il cor lafTo nponc I uifralerbc gia delpiangctfioco uinto dal fonno uidi una gran luce etdentroafl'ai dolor con breucgioco V i<^i un uicilorjoro &fommo dace pur cbomun di color cben campidocho triumpbal carro a gran gloria conduce 1 o cbc gioir di tal uifta non foglio pcrlo fecolnoiofo mcbio mi trouo uoto dogni ualor pi en dogni orgoglio L abito in uifta (i leggtadro be nouo mirat Icuando glioccbi graui fie {\mchi cbaltro dile^o cben parar non prouo Q uattro defirier uie piu cbe ncue biancbj foprun canro di foco un gaizon crudo ebon arco in nian 6C con faette afiancbi 1 F t « 38 L'ARTE DELLA STAMPA T^X.TVti.'PA'rAV-IKT H[SXQKiCt.A:B.VF B E,.CON DITA. DB. PMAL.IL.PM?. IkCTTi i IACTVRVSNE3JMOPERAEPR.Eau: Ifia'pritnotdiourbis tcs populi romr.nt perCripfcnm: Incc faas fcioincc fi tiarn.dicerc aufim. Qmppe qui Joun uctc'rcin: turn uulg:iam efTt tcm.uideain: dum inoui icmpcr Criptcrcs aiit m rebus ccrrius .tlfaturos I ^liquid fc: lut (cribendi arte rudem uetuflarem (iipc / I nturos aedunt. Vtcunque crit: lUuatii tamen rerum gcflaniin memonae pnncipw wnarum populi pro uirili parte & T\\c ipfum ccnfuluifle. Etfi intants frriptoraTn turba trea 6mi in obfcuro fit : nobiljtjtc: ac magnitudme ecrum: quino mini officicnt mec; me cofifckr. res eft prjctErea: SC imircnfi opens: ut que fupia (eptingenctfiniuiTi annum rcpcraiiir:& quae ab ex^glHsprot«!fcl initns CO creucnt:utiam magnitudme labor 5C fua.ac Iceerjtii^m plcitlq; baud Jubito qutn pnmr origincsrfic prox'ucriginibiis -minus pxtbituta dolupuns fmt feltinantjbus ad bee noua:quibu8 wmpriJcm praf ualcnospopuli uires fc ipff conficiunt. Ego contra bocquoqilabcrisprcmifi pctam: ut meacofpoiku iTuiommiquaenoftrapcrtorannos uiditactisi tantilpet a;rtc dum pnuailh toa mctcrcptto:aucrtaOtsexperscurp:quf fcribenrisiminu-.ctfino flcrdiaurbtumauguftjor> fiiciitH Etfi curpcpulo Iiccre opcrtet confccrarc engines fuas.etaodeosrd' tcrre auiilcres eabc'Ji^lonacftpopuloromanoiuicunj (umti:conaitoti£:juc fuiparentem Mactem ponlfimuin fcrat; t.im boc gentrs buiranf padantur ^uo ?rurr!0: q impcriiim patiuntur. Scd bpzfic bis fjTn«lia:u6auiq;a«adueri3 aut ^nmata erunt. baud equidem in magno ponam diCrimme. Ad if la mibi pro (cquifqueacritcrimcndatanimum:quf uitatqui mores fticnnrrpcrquos t]Trcs:quibu{q;artibus domi: milititque.&' partum&auctum nnperiurnfit. labcnte deinde pauhtrm di£ciplina: uelut diftidcntis primo more* iequatui onmio.DeirK^e uc magis: magi(que lapfi fmt: turn ire cocpcfinr piydprtes: donee a<3 ber fempora; quibus nsc uitta noftra: nee remedj* pari poiTo^iius pu-ucnrum eft. Hof tllud eftprecipue inccgnitionciey falubneuc frugifoz* omnis te cxemptidocumenta m lUuftri pofita mcnumento mtucri. Indc tibi tueyi'.e raoublicequod imitere: capias . inde feodum mceptu : licdum cdtil / So O-' VENEZIA MXCCC.LXXI 39 I OANNISTORTELLIIARilETINICOMMENTARlORVM GRAM MATICORVM DE ORTHOGRAPHIA DICTIONVM E GRAECIS TRACTARVM PROOEMIVM INCIPIT AD SANCTISSIMVM PATREM NiCOLAVM QVINTX^M PONTIFICEM MAXIMVM. OEPERAMOLIMBEATISSIME pacer Nicolae.v.rummc ponnfex com.'' mentaria quaedam gramma rica conderct qbus omnem litterariam antiquitatem & orthographiae rarione hirtoriis pro poetarum c necflere conabar:^futuru: mnii fludiofis linguae h ab aiiis {Ludiis ncgociifc interceprus iWn prorfus t que longo tempo is abiice Sednupercumapud Aia ma: oppidum ex aens ro! fecefTilTszea abfoluere qu corum rogatu conatus fut opus magnum uanum 3c difTufum.^a C^ ■^~'- Y/( U ran(ftitaci a qua ueiut foute omma mea bona fluxerunt : dedicarc y i47'-yv 40 L'ARTE DELLA STAMPA m^ LEONARD! ARETINT DE BELLO ITALICO ADVERSVS GOTTHOS . TSI LONGE IVCVNDP/S MI hi faiCtdC Icahx fcehatacem q clades referre:camen quia tepora fic tulenit fequemur 5: nos fortune mutabilita'- tern Gottho^qj inuafionemrSiibellij quo Italia tota pene euerfa fuic : in his hbris cJefcribemus . Dolorofam ^fedto materiara: fedprocognirioneillo^temporumnecefTanam.Neqj enim Xenophontem athenicnfem fumo ingenio uirti cum obfidionetn Sc famem ac diruta moenia athenarii defcripfit non dolenter id feofTe reor : Scnpfit tamen quia utile pucabat tllasi rem memoriam nondepcnrc. Neqj Liuius nofler cum urbem romam a Gallis capta 8C mcendiis confta^ratam refert minote meretor Uude: q cu.P. Acmihi tiiiiphu illu prseclaru de Macedonibus aut.P. African! uidlorias cnatTac. Hiflorix quippe eft: ta^fperas qaduerfas res monimcntis littera^i madare. Itaque optanda quidem meliorafunt : fcribenda uero qUcBCunqj cdtigerint.Me certe hacc ipfa fcnbentem qq multa pro ffgulari amore meo crga patriam cocurbit: timen ilia ratio conrolatur:^ etfi res tunc maxime ad/ uerfas Italia perpeffafuitjad extremum tame fupatrix extemaru gentium noftrarii ad ufqj ascate terra vn^nc^ potentiflima remanfic .Guitatefque in ca ornatiffime magnis opibus magnac^ autftbntatc uiguevt ha(ftehusj hodieoj uigcnC:quarum gloria & fpetium longe latec^ extendicurtut non tarn fgemifcendum fit pro his qua: tunc acdderunt q laztadu .Ceu Herculc magni 'abores eelebratiore fecere q fj nunq tarn periculofe laborair&:. /^ l—i i '47'-B VENEZIA M.CCCC.LXXII 4' y^ .^Sl"] iS2^^: ri':T*-i> U.:. vV? m^ S^cre toeolcgie magilirj r.wcno Licr< eipi^uii preconiscelebei'rmi f/atrisRo' otrrti'de Litio crdiris Mi,)oi; moteiT^r's opusquadiaaefimalc putififumurr quod de benitentia didtum eft Felieiter inapir. ^Dominica inSeptuagerinia-De facilitatebono^opeij feu bene opeiandi opt' qua peccacores ad pniam redije Jebeiu. Sermo.i. Vltifuntuocatipauciuero eleeni bee uerba IVIi:;Ki. XX.C.& i euagelio bodieino.Propt' nimia camate fui 5 dili git deusronaiecreatura nodsdnit uocitaiemireiospitores poft *J Lpfum atoj ruina peccati ut ad t-u redeaiicp pniani. Monet- eosSi expeclacpiademFrifaria niFcila modisactiabic & a!li Lit iltosuc nodelpent fedcurra'tcoridencadfontc clementiefuePlencij ueio reoiigucrenuutojobedireuoci ei? fuauinimeexiilimantescpa bona in gbus oinitctes exercen oportet no loiu difficilia & dura fed olo impofiibilia. Quo t-rrore firmato in coix menre iiceiicii imatc pleueradi lufcipiiit indieicKdete^ i:or?s tiunt-Q^uaript' exjftiaui re f luctuofilluni facete fi apuero qnta lit ad bn cperandum recleoj uiaendiimiacilitasod fuamras- V nde iboc fermoiiead ex^ cicanda corda dura peccato^i tjuos deus uocat ut p peritent iam elecfloij- numo ro afcribanf de facilitate bo noi^opeTjeio uerba fa6}rurus<^uoriia fapieiitifTini/ mundi redemptor t tberaate lamppbfito explicit maniferte tarditatem renir tcntiuip. qbu9 falusefle non potelr afferens muicosfoieuocatos eleccos uero Dauccs.Q^uia pauci funt fortes amnio ad uirtutumqpa,aggredienda.qbusf • litatea(n:uumuirtubfoz>cndendam dnximaximepropt' tria. Primo ppc cam origialem . m~QX taci'e eft unicuiqu opars bonum propd caufa Scdb opt adiutonu dinaie. crigmalemcjue ell hcminis uoianraslibera que Tertio^pc' p.ijiu erernale non cogitur. Caplm.i. P R;moondo facile effeuniciiicioparibonuppt camoiiginaleNam u ledlecofideremVunde e g-aliq bom alia mali finciionulli redte nonl?i uero^niciofiuime uiuat inueniemV pfecfto id puenire ab uniufcuiVa^ libero ar birrio &. fpontanea uolucate.Hoc afferut oes fapientes fiue plii fiue farnfu Vn At1.\>.erb!coij..c.t>il.ait.Iufi:uopan onme lioiutaiiu e.Et in.iii.etbi.c.iii. \fitt9 uolunrariu e &nibilminus& malitianoIuntariu'C.Etibide.Btusinqr nlPsno^ lens eft .Et Seneca li'de morib? ait. Omne peccatu a£iio ctiolutan'a. Et idem" ad Lu'cillu.Valentior omni fortuna aius e&l in utracij pteraiperesfuas ducit btccjjac roiferc uite fibi ci cftEtSaluftiu;- in lugurtio.Duxatcj impacoruite j^-L <^3; m 1 .y M ■-^1 5i^^^^V^ Ferdinando Ongania Editore '472 -A 42 L'ARTE DELLA STAMPA m M h.j.-*f^ ,v '.1>J^^ LCoelit hiitxntii Firmiani diuinaru innitutionu aiuerfusgcn tcs liber primus dcfalfa religionead Coftanrinu iinpatorem. Quanti fit 8^ fuerit fempcr cognt tio ueritatis^& cy nee fine rcHgioe fapientia-.nec tne fapieniia ut probanda religio. Ca-primum i,»-^r-^ .^vT.!! ^gj^Q gr g^^gjignij inggnJQ uiri cu fefc dorfhinf pe-- } nitus dedidinentrquicauid labovis potent impcdi: , i cotemptis ojnnibus putlicis 8C priuatis adlionibus: f\ ad inquirendg ueritatis ftudium contulcrunt: exifli-' r mantes multo cfic ptjdarius humanaru diutnarucp ^ feruntiinueftigareacfcircrationc:5inftruend!§.opi bos antcumulandis bonoribus inbfrere.Quibus rebus quonia tragi les terrfnfqifunt:& ad foltus corporis pertinet cultum.nemomelior nemo iuflior eft'ici potefl.Er.int qutdem illi ueritatis cognitiSc dig/ nifrimi:quam fcJrc t^ntopere cupiucrunt.atq; ita ut earn rebus amui bus anteponerent . Nam &C abieciffe quofdam res tarniliires fuas &C rcnannafTe unincrris uoluptatibus conftat:ut folam nudamqi ainute nudi expcduiqi fcquerctur.tantum apud eos uirtutis nome 6C audto/ rjtis ualuit u: in ca omnc fummi boni premium prcdicaret.Sed neq; aiepo funt id quod uolebant:& opcrain fimul atqjindudriam perdi detunt:quia ucritas idert arc.uium fummi dei qui fecit omnia.ingc nio ic ptcjpriis non potcH fenfibus comprcbendi. alioquin nihil itf r dcum bominemq; dinarct:fi coliHa & difpoGtiones illius maieflatis f tctnj > ogititio aflequeretur bumana . Quod quia iieri non potint: ut bomini per fctpfum ratio diuina i.otcfceret: non eftpaffus bomi' ncm dcus lumen i.ipientif requurntcm diutius obcrrare:.ic fine ullo Jaboris f ftertu uagari per tcncbras incxtrtcabiles:3pcruit oculoseins aliquandc- ii notioncm ueritatis munos fuum fecitrut 6c bumanii fa/ pientiair. null.i cfTe monnntet ; &C cirann ac uago iiiam confequcdj immortalitatis oftendetct . Verum quoniam pauci utuntur hoccj/ URi bencficio ac munercrquodobuoluta tn obfcuro ucritas latet:eaq< uel contemptui docilisefiiquuidoncis affcrtoribus cget:uelodio in/ dodtisobinfitam fibiaufteritatemiquanatura bominum procliuis in uitii pati non poteft.Nam quia uirtutibus amaritudo permixta e uitia uero uoluptate condita funtnlb oftenfrbac delmiti leruntur in prcccps:ac bonorum fpecie falfi mala pro bonis ampktJluntur. Sue currendum cffc bis erroribus crrdidi:ut S>C dcxSti ad ueram fapietiam dirigantur:& idodli ad ueram rcligionem Quj profeiTio multo mc/ liorrutilior ; gloriofioi:putada c.q ilia oratoria i qua iiu uerf3ti;no ad uirtutem fed plane ad argatammaluin iuuenes erudiebamus.Multo quippe nunc rcc!tius de prjceptis c?!eiiibus differamns : quibus ad 3 '472-B VENEZIA M.CCCC.LXXIII 43 ■ •-IfSri®"*'-'*'-','^; ^^m^m^^m. k? m '^- Reftrm'mmcri'jjtennna )Jcn bom natuali? liil'eru ry' (upiditas.led 3d falfatxurt i nto: adducit.Ooen'iir nfc lanoe in/. &iat pljs pino - ttbiiro:^ I; toil tnplicit lint ^ piuilii .t'.in tons ocnsmcoi pm\sfi aic. tn bona aiccui") ^ moi fiint Ihetif 1 uinurcs 1^ fola fuiu nature ipliltois. ajpiopatum 7 inpteftate h>is psfitu I .ujlia ant I'oiu fui bona aic.n e^noui rr i^coipKis. oacnoia no.ga talia nofiit i ptate bois ltd foinmcq ipfo<;e oiis.et lx< equod die ^liuB m BE bona foituna. Sine bcia c):tfn<^;ibiis q9 dnj cfV fojtuna noonnjjit eife li-licc. Cui ctiaj ocoidat C>o€ti1 2 tfofobu6c.d.iii plena rbinic. 81 fna foter ij amifilTc oqicri-iiullo mo gdidiiTcB hxcs oiumccrraii; talu inei lut lutl . lamu'.c onaj ccjjnoftnt.mecnaaur.meabnuedifedunr. ii^ec CTia bona coipKis flit nanita bonatoisci niii'int hoi ajpiopara fed mulne alns ihec£na,8ota ante; ute bona cui'tmoi eft ipfa pl;ia fut t ptefbaiJ bo's po(TtaTfibia[pccpta.Ctboccq: es -i IcfO' tes. fi-aiitfapiens tu C!> un')t*us in biinnocoiprf Ian t3S.vt in ^da;atia fic dices. i5i Diues es lauda fbimna.ri linns 1^ lauda natuta.A ant bon'i lauds teiplii! qfibonaaiefititinpoteltate hois polka t aitapnopatj. etqaintboiviaicpbia cpnapalil lop unit oonn i \xxii -ipBOtii' ipa phu ouenient pot trfmlii.lnfh mi ai .In qto qdc uecb lioctil bMuit ouotanjit.-(i2imoc'ni ta jitipfi'lad pWaj nstucaleinclinanoneT alfedii . z° nnqit iplilab ipa ertonea o-uiatiom- 1 ipjdim ctii. "iJiimu qde tangitdiDirit.Tnff'.'.n.mmntobominriucttboi ;natuorif(nacupidiii(V,TcSn<<>dep-^'.iU|ubdu 8ed ad fella teuil ex\ m adduo't "JJ^Timi cnim noli inotrfatcjc ouoto . pJiocj: hois o:igiali im- pfcljionf . 2° c% ipius cum fuo fm* ulriao -nunc- none.ir(Jitmum qdcm iftoy notaratlhisneibar twEtminanocn diaiMf nnte bcmma.iliiccuclu uno nob infinuat boni natucaf oncticuiatio.cuin fu Wit kjni ma^L CjSiio ^ pmu pj c)c bcmiius oiijiali igfe&oe. fil um'taiiTq; naoUs ipfe5io e nanJtaf ic!i natio t afficAis ad fuii (Ppiii pfe*- oncin{€t l^ dt qiS oiat pfis i piio pfiico? in fine 6j:nte cnfqdam dino t optio 7 ayetibili .1'. ipfa founa ud pfcflione.aliudqdimbuiconanuf.f. ipfa paatio jliud aataptii natu ee afl^riste 1 txti' yxnti ipm faJm ipffus natuci .Cipft maria u fgft fiibitcSihccfl-namralinptEaus. (Jiimociii eft ipri cJusi qjnim ad coipiu. z* quantum ad ani;na Chiamam ad cotpua.4i5(5am nafcinir puinc r:ib ir.iEftcb cfntatCTT^t B oaiaeH fibi iiictus aug' me nranua ipm pduc«s9b impfijiSa ^nic a J p- (iEa8mueladpfcaio:e.z°iia?ntindigc3xo!)x>n( ab tjwinreiis cottiipcnnto afcnfionc fXii iiaEi •InstradSiicotrma inliiico2p:-.ia alcifioiii-i;'. qutmadncdu bob?cctui3 it. Alns dttco ^,uc:d mcdn pcncis. ^ns lanam queadmcdn gcoiito Doles cite bis ttnudatos jxiujcit ^iTteqitum adaiamnalbcipnlTci^. piimoiMumadamniaj rni(inua.z* ^tum ad itcIC&ua.?Qiiancn td fe^ finunm uclaipeticiua.'r Beft-qucd Dicicpltie]pmo etliico^l^o .jcwn ft mp Bcpjccnt nd optia-lsitst lutt m bis qucdda inatuceqti I'cmpadDccfatuc •7 obuiat ciii-f jfpcotus fenfitiuus.tt *S ermin die z° etbico:; Dices. Sptun.fuinusiidOEleclationes. Tffn oiffiali''e(lrefiftcTCOciipicq;in;.ISCTinoB f ); pconcomnat. (fi°nalcit iinpttdrl quanmad aiam inirfleduia.7 B c(V qc> Picit pfius (" ceaia-d Qieftmpmaluiarmtioc liaittabuUiafa mqus mlMlcftccpivhi uel in(t!lcnprii.l£fn enam paulo «ntediat.itJcq;nMll'inanniib;aieinrdl£ailcri^ nstut) aut bac qua po (Tibilis uocatus c 7 nibl e aci>ieo;^qruncantcruuifelligcre.1^iirTiusaucei adus c puano ^iSbonis 7 16 eft naalit ipfechis Sed temo pcttiat p pbilof.ipbia; . pctt'ic t enim quantii adcoipus p ptiiam pclici ta Au.i 0 1'ctJm ISjonctcfenao lTii5ciclu'i.\7.attibo mecMicis .7niiCT.riflnifioi8cmfltum.ii8U!ganojisjticulpjia uenatio th3n;ia.modicina.<^cd qitum ad aism icnnbuauetiipeniiiia ffititppbiampiadicaac Quam cui'tmodi t inojalia,' J Jam Mmiii neftona noeftfpcailaiioisgiii.l'edutUiifiimusiiucjotU' oliutoiatplJS3°ctbicoii.l!iictu5auttqbnt«iii ptiat7eiUBopusbonnteddit urcnain oiaipfis ibia-m /pDuacum autad aiam itcllciiiua ghcit ppbiainfixcutoua vBcqtfoicitComttatoi"' naiaq-qiihohientpfci.ius inraenufprnitiin tikfibi jiunget intcUesH^aries uttb2m3.7 tiic ba bebu iKlifchi aneptii. 7 B eft ultia^fptas quam fpnabSt plxintcs in bac uiia. Doc idecnam oiat i^plojo octiui pliicoif dices . ^ b^ of fete equoce i.«bc>ioignoiate7ftedo gfaenas fpailanuis. A^natttigithois adpf)iaicjcei3;[ia6liipfeis atp^o^tuBcft relicicas q confiftit in fprculntione fci^m 6meu^ poreaa q i nob i ccfpconobilifTimi obieoi qucxi eft o.'ur-. fcc>m qp oiat pi UB pi.y.'. etbicoiffic.n.oiat.vlliovgccmatatifinuliriteUjc trtja neqqua gnapat fpciulande/'Jnqiiatacni^ .ptcnditlp:cub)ti7tclu^ta3 7gtem9jiSmtltfpe- culan 7 lirlices ec n paccides 6 lt6m?itf>'iUficiue fapia iicicaf. t rt r.ii almji fupma t t^txit (Inbilif' fimi Eli„Nii.e-V 0 a\ qiicd mck »■» tyi i*^ ti'je^ ccmftftti-.iqufadincdiitiiV**'*'^' Uafanou/ bilio^Tft«jEp.^l"'oito ^mui^jij-rfiWtagw Ooetilipbia ertonea oeumiione ■vipL-dimennif 7 i(Va OTonca nsnario nob»t^ilit c;: mto.piio enic)Ljfuctudispuigne.2*cj:natutefttoulgaar nncu' pat'^pcei?opendiofitate apud Dt-ielToies cciusinoieutc.etgappcecei^abacbcis qiiotanones nimm m fuisquotis cepmic co::upra.aC(Pprei9Bmtateipler!rq;("uis tedfionib? valde oubia.ttdatariop ■^ Tup plecioeTdi3cs.ldcirco9H coem fimplicm ofeffoz^x'tilttarc ^j.a mibi oris cedent se- aeui D'i.t-1 lum^ etr.endata ad cocm qra^ none cediicc.ac ei9 Buitati ^ Bui^'talueco qo' vifu; fiicrit cjcpedive.addendo fuff le. «tcf additio cognofcariffeius pncipio A In fine CO 5 lira e>:cul->zo ponce", oictc fume alpbabcttdiccdinelequcndo.T ga- ijtapbcs m maiginifei p qtas notado pcft pnopiu caufl.lj m pfeta fuina oputet pn - '■^•'^■p.6t^pterpdiclabccop?fup iCiUu affiellari pocefV. 6 ^' "IVtvjv* ifuomonafteio l»'l-'*IVconfeae pcfuis fubdictspmatonfuta Touos -i):dinesminoies.onmofitfa/ cecdos-TmartTpofitafitafcdmrnojem pfidedojf .exteeta.T qlufi onngst '7. .AlienisautafertenonpSt. ej;wput.abbate6.li°(5t A .IbiofJQec abbatitoli'citum fit alhec^monafteriozii fiio:^ oueilis7jj oU aia ->uolauent7 in qs eccleliafncaT qfi epale iu^fdIa^>^neobQ■/ ncnc pma dcticalepterce tonfu ta.nift etg id opjtatex plcfio ptete fedi's tndulto. 6, i^bbasT glibetouentualisplat^cegce tkbjmonacrosfiigitiiios./l.^dde.T'eiec tos.ucin.c.nex:agandu,alFato. 5 ,6tad cLiuft? reduiS falua ojdinis oiTciplina .ex Oreguia.nevagadi. A .^f inciptt.ncte- li nDfi.tJide.T.apftafia ^1 §.z° 6 Ft? abbas psiTit licenate fu bdi'tcs fuos id aha ueligione. Bi" fm Monaldn. "jjot gdelicetiare ad equaleteligioneoe Dfen^ 111 capl'i. am no .ad fninoie co no pot.ac. i9-q.;.fi:atuim9,jz.q.2.fineexccptoe.lDe ?.ttio:ivoreligioeoictic.i.religio1>!§.p. A .'C): ibi oiois (x t colltgi 9.ad accioiem ptlitct'.arc.niricedetectngiiciaducam leuint^Biaogtegatoisxfitcafit. 6 .Ad epam qq; fi fubdit^eUgar.plat? licentiace potetia nore9rttoouentu.e^a elcc.fire' [igiorus.it"ine.li'b''6t A .Intelii'gefnam tuetitftda electio.no ancelcdioi tutu te. uticlc.fi'.e,f»elec.ubiof.Cii3ce(TaiehV ijiofo a fupioie fuo licentia ut eledioni uF ^uifioni fi qua be ipo Dtigerit tieii fun oa re plHc affenfii ambitiois vitio viix pacet nullt9e3e^iftep3irevolum9hiTnitai3. 6 ?lbbas \'^n9 no pot pfidc in oiucrfis mo nafterr:3.ejcCetcli^.to.c.vlc'.,intine. A Ibienaof. iQeqsiDiuetfismcnaftetTis >e^ '474 -A VENEZIA M.CCCC.LXXV 45 *>m^ « % 4-T1 LAERTII DIOGENIS VITAB HT SENTEN TIAE EORVM QVI IN PHILOSOPHIA PROBATI FVERVNT. HILOSOPHIAM A BARBA ris lina fupfifle plenqj autumat, Nanqj apud Perfas daruiite Ma' gos.Babylomis fmeafTynis cms rei prindpes fuifle Qialdxos rGym-' nofophiflas Indis Celtis feu Gak IfsDruidas&qui Semnotliei ap^' pellabantur:qu{ ut ait Ariftoteles tn MagicoSc Sotionm uigefitnoterao fuocelTionis libro; qjduunihumanici; luns peririlTimi: ac ptseterea religioni n\aMine dedm fuemnt Semnothei quocj appellari funt: Phcenicem mfuperfuiffe Ochum & thraca Xamolximj LjbyciLqj Atlancc, Ad hscEgyptii Nili fih'um. fuilTe Vul' camim: euniqj ipfum philofopliia: apeiuiffe principia. Porro ipfius rei Antirtires Saccrdotesacprophetasappel'' Ian folitos. Ab hoc autem ad Alexandmm Macedonum regein fluxilTeannosquadragmta Si. odromilia oiflingen'' tos fexagincacres.Quotototanpore foils defectus conri^ gi(Te irecentos fepoiagmtatres. Lunx autem ocTingeniros rngmcaduos.Emmuero a Magi 3 quomm.pnndpem.fui{re Zosoaftrem Perfen memoria; proditxim dt.Hermodotus quidem Platonicus m i ibro de difdplinis ufq? ad exddium. Tioix annos qumqi msha compurac:Xanthus uero Lydi^ us a Zosoaftre ufqj ad Xerxis tranfiitu. fexccntos enume' rat annos.Pofteum autem Magos plurimos fibi muicem fucceffine Hoftanas. Aftropfychos:Gobryas atqj pazaras: donee abAlexandroeuerfum eft Perfarum regnum» Sed hi profecto dum nefdunt gnxarorum recle fada. inuenta qj Barbaris applicant . Ab iis nempe non folum philofo^ phia uerii tdipfum quoqj hommu genus initio manauit- 1475 A 46 L'ARTE DELLA STAMPA CONCIIJATCR DIFFERENTIA RVW PKILOSOPHORV.V! : lu PRAECrPVB MEDICORX'M CLK lUSSIMI VnU PETRI DE ABA NOPATAVINI FELICITERIN- aPIT. PROLOGVS , ^fTluni !ti ti trinsna fliuf prncndcst znteA : Z)aiUo ue ro mcduoiU5 phi Icfopboinqjillii/ flrium (Cdiijcrc'o fcm(n!Uf pclin ftmoAsincfuo fcnlict.3tiu-iii' ^_^,_ -;— -^ Bed bcc JdififiC ei.lMVqoidcmpoKSTjf I'.ijunono ; pioptcr (onuna Hiiindam Jul iKnirjm.Uhi cDiulIiLxl f rimuuii nafu^ rjlc otiidti lum id uuBm i fdifiurnn cfnour'.O.iii'f ^m tAn:rn i:ci;u; c,rt.ii fmrt^ni * qti;.i u:i:cc u.ucnnr i ft (cnna.iindi ct flnifna lc;n«ido Diuc:c f :ooi:r8 (ft fJTc- hoi ut\' (Oj p («Wie ciii-r-Jdim:-." ci;r.MQ? p:c ^liitf Hpp^rur m.ni ' mscjoi diwi! (ii iiiar oppofiius.OiriK njnq; 4irirnal ntoiinv. txtiULiiinq? oaiiniM confoljnonfifirio . tflotni.x-ltlKiiJS ■;p£W!iocjiiida;amnic'l Lmn fm uirimrm pCiietum e.biconir. t^amodc (onfobtwn! quoq: fiiundo Btanrndo iHflHDisainniiim bcuioHi ORgrfg MMpcjUvn-Ti.- p.Minninciii'iMmimb'ni rjrn cnliniindt odidtruim »i (cieiidnm i]i:od bcoii'iu diw (O! tBifum tc:m::.«ui-.f I'ucK iHcp 1 (ditican ap (Wit ;:nuCiT:>vK)u-d autc fctaium p'aipue . ^Idlxjc i^^*v' wirK.mauM pdu'xicr; pjuorx") lUMuralircn'ihiis rra \*^23ar ua,(imu'q;i!np:DpoiROiiaf3pt ' nrt. tienirarrcn in pJopvTCionf eonim u;f ilfirr tniili J luotrfaenfiJapiTiaiirinKrra. i!ctus qi^oq- hcmm J (i!T!Ul»p K.f fianp ctb;ras iivrtuiibuc incilat piiiiopa ' litM »Uy5 inft§i!iros ccnfucnidiiw potTidcK iion bum . ^ii'dam raiiqi no Wnm io:pcrt:u^um -lantma n.*.!urfl le.'t lun; fcr iti.f c :tun«ni o^•^nJm taluim fimili t^ impcdicu.^m itr^cr.ut'raicni fo:c 04;niiaf:po(cnna« r.1 bif cppod'ia: ommncq; forturtium 1 i>-for!iininin: ■•rbrtvri'Orufr uflafurffoindo.in qui :T»i i^crcfrcpfi ' d}m nonulli .oii.s iiio pf ioann r 5c baiinid^nc bona fallin c^ima ta fortuna otlui -i p.'aua. Tlatn 1 (i n fdintaci mini/ n™ p;ffidiijir tjjo qiunio quali ui iibi 1 cjuando tf '" pcdu moditaf , ^dopcini> iiaq; ncnbus uinucfo c/ nitoii in TRifip af magi'e in poftcra uiia ac fduiiatf ;v> nrt ptrp■ Mt'idnn colt ;tcre occrnn e;t pjcblnimaiilxip una cum L>',_ fotioiiuninrtllcoumgCTiriD canninuFrutliKlu/lns uturiligiiriK iim binw . Qmo lumpe pbonim a<: moh :«nini cilTidit \n mtdidiia rcniintiir spparAnw ram fiic oiuiifi uMtno; p;cii;cnfi i!criat=n tcimnai il jj p:'?pii:rtpf^(i lI.o>:c ma'ui eppciiar* . Ipiiit^T t^uiiue l.iice puiabam.'ni p!fci£ .(J^nnnnuni ciebtntf opoiirn e^i^udir; i 'indignaf. at cal'us no fom\id:rt oncrgtnic^ inccniuii': . limine quidcm III rufaunidn p cpet in p;im'(iuis lo:c fdc:;ii6 ; bu qnoiv h mrdid na pmjr alia iuSidaiicr i.-itr lu.um O.Mcm in iit* fe pirabo |)anc>> ihrnwi-: in ixoiiim cnam avniratimt pidahcmc . finiuni nanq? iii^a pbilof-pbum omnvi in piiitia 1 minima tnnirjK . In quanin uiiq; piiina quifiM natuaimr ccmunia i ueiiii teilcdi mc di Kb); umiifqj pariK isicdian;. ilxoiia uidi'nf(! < 1 1 ipicnabi^K jddunos : qt'os ciiam cini i.i£oii con.iis'r t anfrribt;e ac ruc but if fonic Dt rniart li'c-imi ilmt. iuitrip irdicalf. ^n una quaq: fi milnrr ci*laoiii,iriJm iempcrqui.tuciiiuiini-o'iui p hr urruiiq: pam.- arguia iiuoripm aliquod ittlui n fmiiahitiirfiibd'.uidonemra'.cici.Viquando !i:«au' Mn liim i.-rmincri! B;:l'!i.in p;;nii!u>:ttaoluio. Si amdo qu'.diTn otiAJ £*■: ipio UT^ -ib n^'-'f pi i iciiws. /To no ntrirH,*^ cum eiuF monuip ofl^nfio . <^c tan itm qiiamini argumni:o2 1'oii'itt^. C^vx l^;iiiEads 3!no!t q:ia nil iictuflianbui' ama'sliuf (tarc'icemt lljodi ciuario . ■Jn pualxip autcin vjuar:iior wifcrcnfiis (iplicaho. ■inicftn5ut!cfiibfcnb".mp;.-pi.Tp!iniii . f((iind:int;IiUiiuii:quarti:mq;rucndoni. SufTicicnn'a ecicin qiKfh'onuinuniucralium . Uoiuam medicina eft rdcnita humani corpo , ri!> ut TanabiliK p:ocuranua.pe oia plena (la "Si_^'^ttmfcr!pnc.'€s qiudcni tupbiita- ui 1 rcli c^a portlt idctiriarum confideran . i^i trim quanni; cd M que ipfiuf: foiinfecs ucl inmnuca . Siauidein p;i uPMui quo i^ caufas f^Tinatf^ rAH, ;;alc':tfiuitn!e : U<1 finaltm . 6i oc» ad caufam rrfcrji'.;r (ormalt :au( iiniiicfalon leu particuUrnr > r!'n:;m eqndcm ca plinter cucn.diifl vaucv p<:f.(iic>.i:sipl'iu!': i ita oiuj tonfurguotficreii.mi;p:ima:fiucniodi fuq-lctijda. Si aaicm in iptci.ii-oicm ancndatiir ■ ad qii.innini ad ciup tc-tiim i.^\i ,»T miic (tJli.i Irii paritp; T id aiu rcfpe/ au iiUvlUnisiTiia qiiana uiie ;fi.tlu?rfi(^ qiiinu. quo riidam eft (fodium. Serf quia potuis aincliiaiewoi* pioli mate addadi dp nriiitatcn; m bis idqi obnceyi ■ omiHstur qucfiiit: duefita comunii ctcon ntiiufif F«rt;» mediant: ibco:ia:lpraaicc. ,il r#- kMJ O**'. 1476 -A VENEZIA M.CCCCLXXVI 47 % C^ s^ ^^^ QVerta opra da c^in paite c un libro doro Neil fu pill precioCi gemma mai Oil kaierdavio ; che trattacofe afai Con gran fadlita : ma gran lauoro >^!inumeroaufeo : erutciiiegnifuoro Delcnpti dil gran polo da ogni lai : QLiando ri lole : e luna edipfi fai : Qiiaiite rerre l*e rece a fto tbexoro. li! un mftafiti tu faj qual l^orafia : Qiiai fara hnno ; giorno : tempo : e mexe : Cht tucn poncf loit daftrologid . loannede monte regie quello texe ! Cogher cal frutco acio non graue ha In breuecempo: econ pocbi pcnexe . Cbi temecocal fpexe Scampa iiirtu. I no mi di impreHon Son qui da bado di rofii colon . Verjecijs. I 4- 7tf <2<^ip>) Bernardus pi'clor de Auguflra PccrusloHein dcLingtncen E: bardus racdolt de Augufta K^ 1476-B L ARTE DELL A S TAMPA OPVS NICOLA! lANSONIS GALLICL VENEZIA M.CCCC.LXXVII ref iCO'' P.Canjidiin Iibros Appiam'fbpbifcf Alexandn'ni a£ Ni'« laumquintu lummu poncificem Prsfacio incipicfeliafiime. Ppi'ani Alexandrini biftona feu ue^ ceru incuna:reu cemporu ini'quitace deperdica : & ueluci longo pofthmi-' nio ad nos redcunceopame:ac maxi me pStirex Nicolae qui'ntetuo nutu cuo«^ iVnpeno e gr§ca ladnam facere mfticui/ ut non modo apud noftros noca efletledulicas met oblequij: fed ad pofteros quoqp uiitutis tug fama tranliret.Quid entm dignius tuis niericis impendi poteft/q uc ij: qui in fequenu f uo bgcali'quandolegentcum gdiFiaoiuni magnitudinemomatu intuebunt": qusgtacenbrtracuoaufpv cio confcAa i'unti te Nicolau euni cUc intelligant: qui no mi' norem in recuperandis libns/ q in refti'tuendi's mcenibus buic urbi adbibuenscuram.Et^fcdlolicec ilia prgdara:& magna finc.'qu? manu & arteconlhnt; & a plurinus {ummo ingenio diligenciaf^parantui/prgrt.inrioiatamen babenda eiunt; qug ftudijs adiunda; monumencis quoqj reruancurhcteiai-u. Itaqj qui Pern Baiilicscontiguanidomum admiianc aceftruclam quadrato lapide: quiHadmiu' molcm uiaflim refticuta: qui deoru tcmplu ab Agrippacondicu i tefuffedii jcatenolcra : qui plura aba bicui cefluia ueruftati ni tua cari'cas admouifTct ■pi'as manus/ eoldeqnoc^ admuaiicoucnicc tocillufties libfos ad nostuaoperatraductos egrgcis;nectuamlapic!)tia nomen dignitate comcmoiationelaudis lu? immuncsprgtcrire: edi' non bujus tempons efle putcm uiitntestuas elegancion fhlo debicas in mediu pvoterfe boc lolu dixenm te bis rebus gettis afiecucum uc uems pi-g{ul digniflimus pnnceps hiberere.Sed lit ad Appranu redeam Doleoequide iumme pacer bis i Iibns Fcrdinando Ongania Editore '477 -A 5o L'ARTE DELLA STAMPA pJU] ,_J 1 ini LriTj r ^ '* I — r — ■ 111 I ■ ■ iM ^- 1 f 1 cf VENEZIA M.CCCC.LXXVII 5i Addiuum Altbnium hingonum 6l iituuCc^Sicih^ rec^em in litres ctui'hu bellovu ex /Vppnno Alexarv drino in lati'nu aaductos Pr^fariD mcipjc felicifllme. Arthoru regcm ut abAnnco accept mus fine munerc falurare nemo po-* reft. Ego ucro glonofidime rex cu m tuam uircuK bumanitaceij cofidcro cum c^ceras natur? dotes rqmbus in-' ccr^tatisnoftrf prindpes uel in pri' mi's illultn's es: fubhmc ingenium t fummi cancate; furamacontincntja i- nullaradone addudpofTum urnon pluns apud te fidem mca cflTe cxiftnmem q ullas opes. Qtiip' pecu te indi'gentibus & ucluti e naufr^rgio emerlts ^^ jgnous oiTerre uideam^ pias manus-Cjce^ ncc fine munere ad te ucni necuacuis(ucaiunc)manibus cua matcftaK (wn adoracurus . Nam cu piiores Appianilibros'Libycum: Syuum: Paitb'icu & Mtchndatidj Nioolaoquinto fumopcntifici'dum i bunia^ ni^ageretcgrgcocfanftulidem; Rehquosduihun^ bellorum comenC3nos:qu5 Senatus.'popululi^^romanus inuiicmgenic nundu edicos aut perfeclos a me ad qaera pouus m)ttcrcn\ q ad te iui(5ljlITme princeps/Hifpanis prriccr & Irahf noftrj dc ^ ■"V Anneus Seneca de regepartborum. Nicolajs p.ipa quia' Libycus. (tus. Syrius. Pattbicus. Mitbndatrc.us. Appjani Alexandnni ropbjfrcRomanoru liber ftnic quiCelcicus inicribaur. Ttaduc maximc apparet . Nam fi a z ^:^'r> V — \ _, '477 -B VENEZIA M.CCCC.LXXVII 53 NonuJl^ex Vcnetis ad muniaobeunda abi'nv pcracorceisdcrnaniJaca aberant. Hic impcrator inico nauiu numero ad url>e cendit. diftabac au'' cem millu paiTuu fexaginca : boraeracdici feic dedma.Iuc^ tota infec^ueti node/aduerfo uenco remigandof bora dici cema ad iittus uibi praxi ^ muclaflemappulic. Hinc Vidorem Soprantiu iegacu cum dece nauibus uc poitii oppidi capiac. mitnr. Stepbano Malipetro altero legato cu vc hquis nauahbus copijs/a parte conanecisurbem oppugnare lubec. Ecjuuibus madat ut proxjmu collem urbi pr^lidij caufa capiant. Omnes mo ^ net/eflentmemores pnibnj untutis.'pugnatun contra barbaru bofte/ imbellem/ atcp imparatu: prcligionecbnlhana; acmaieftate Vencti inv perij : oftendens urbem opulentiflima auro/ ar^ gento/prgaoiac^rupelledili refertam. quam fi caperenD diuitesdomu efle redituros atfin.iat. Omnes alaai ammo orationem Hnperatons ac-' cipiunt. Quibusdimiflis/ ipfc cum legato pon-' tihds/ ac regie duce m naui Tc continet : mde fi cjua neceftana poftea foret rubmiuiftraturus. Ecjuites ergo uelociffimo curfu omnia excur-' tunt.prsdam bominu/ ac pecoru agunt: dcindc farnil^s rcgcs conftitucbant. Venca ex cjualibet pacnaa fannluf modo mont^ & uirtutc prjftet; duccm fuumcreant. Nunc ego fummu immor' talemcy deu precor* uci Moccnicus impeno fuo rebus bene ac profperc-gcfbs rei.p. ftatu firma'' uit ; lea nunc ctiam princeps accR dux/ fuoduclu accf aufpicijs;Vcn«ttoruimpcnum longeI.Kec jMrnljaaiarinripit.- o^!'ve?^o I leges fadcf\i«runt.q>-po^emnt.ut.>C.dcuctc.{Q.ciia. A_|.t.n4:7 sites fficit ittfli,in prob&tn prui. b &^^^i-it c (T£fr[%ti7e^ bfa.i.qD dipC m mil . pit t»\lkf qiub fuent actot-.fi ne (dpOetDT.qr {ttlDe(anust' mcrito^enos i a«rdoro ' apj^cUai. (ufhcfi Uiasjtcohmup' '^♦vont'ic^tio 'rir(a,pfitfli»tfr;"iqttu ab iiqao rur. j.e. ^. btth;s ^d^.? u>6.rcdt:6irs.|.C'hifiicuiiibiiasrutim(uu];tnb quo ccnisttiir q? ftati rat (lie p«^|^ fittf mf^a. M dk i am .{ bonmis inmt5.|tel J^ prMit in actoM ? cbtisBt dico uis t toJlla^i appenen.!icn{/as di arebont 7 equi cr^^tioom b^ matron.^ hfc fbbfeit.nam w- O^^^ft^re* boc pot fcodUgi Wbn« mod!S,t>»*'"' '•** < Bi3 iM in |!mere.9 & eft ar«.<.ftitnlui finfts.ffite «rMt nS w«di o mitmtis fiiiita docima f; ^pbpnti. Sc£o btqiiS!«)etQ)K)cten0.iitpr(tonu ufldmk.fMttiraU tw.T tik ponttw pw ptoepto ^ ni -r cqiii.i.dus qi (A (quo % n)lEle.7 no 9 altiid eft S«n t(f tqnte «t bk.tftcaf qooddam bond 7fi:l«rt. t\ii<$ fcibnft ftctftfoe irt danda pwftened.Uc 7 noafe faidi/ «4tido ut.j.c.iiifoffa.ftccurfittd, m^JtoUmuo.i.ciuou&luntatf ierttuniii^.qitc cR Qtiuefuuffl cuKp tribtt^Ciir.ut.f -c mfticla.^.pHmo. 1 0irrtitemttr4'.do. o^3ffirftu.iirm motnmon^f.ut Jde ntu iifipii. ftmrg-. p^Satepenar. nutnAtqittsbo nad.atitra&lac l^larata.uc. Oqwmator.J} tc ub-7fiWft- C.dit4tQd3.[U toir.l.i.7, C ^QStt^Icte quod agirar-ccr toSum- r ^pwfeihtdu.f. jarw ftKd» qneraididac ff fpce.pwut dia lotapsaunt 1j3em.RO preut legSk.qua potts pomtur 7 ge ttUB.Rii no roacrtitur hn 3^.7-p.lj ddijm dkant pla. itr! IcjafTe y fpc9 f w pofitioiics dfceroitur nsfup (jbus 19 tree tat.tlamcoftsrctfpcoccir.fmitas. com fupfr Biujtotrac t^ \-}OCim.'i ft) per feruts 7 kbtns.Midc r^benduiitcoj 7£icit ad benr.^.infctuc.destuhrta «»iar , §.but«3. r 0^ol!!K)nc9kididimrion{8. ftpantCKUdfit abiUirfto'.dif (entete6:bonos nofolunutn penzi/tieT;:. ct'prmiof qg€)C bortationc cf5cerecoptcntc9 uera »wft faUor ' pbUofopbu itoAnmlaraiiffcctantea. ^tt^ ino ftodti ' do< ft pof trccTTpo biicti-f puace.^ubUcu ins e q6 ad ftfltii rci rojiuitc fpec rat . ■^ritiatu q6 ad ftngutos' utjtitaic.fr.n.qucda pubkcu Ciidt.queda pnati. puMicdip in facf t'a' 7 facerdotib's? » ms g»ftratib5 coftftit.Jiu'iuatu t? mptjtij ■ eft (cUeau dl c«u5 £ :p Kanialib'pcepiie:' aut «cnri»u aot duilif>$^ (JJaiettwuralc c q6 namra^otg atm-.ib'M docn it.lfla ine tftnd ndffolu busna ni goima ,ppu ro ; Capitulo priinQ I 'Si lUttore rum h adiudor' del Ber.to niiTer Sadc j Marcho goijci-iacore del noftro ducato ; Lo qual 55 Jl per promeflicvdeij ceielhai gratia eanoidato:&C ' '477-D 56 L'ARTE DELLA STAMPA DO pfTumefe quefta e(ltt fta doluta de aicuna pfona ^Eancora a di U'tdi fmi h hotnli diccno parole idigas da effer rcceuute & eller au^ tececaci J caca cofaquaco e la uniuet fal.facuka dajcu in la qual la iufticia e rota da la piu parte da quefto mo p la uia cuorcuofa. Adi fopra fcripco m el grando configlio Confuetudine itiexccuno de le fnnc fopra gailaldi -ft^ Nuaiuic hec cofuetudo^ in ex'ecucioe Cnaa^ (upgaftaldib i nesfmegaftaldicef&pcoefeo^expellutrfpofdiioc mul COS pofedeces domoffiue pdta accq illoraudiat& mcelligac i] tirulo & lure pofidec ;^ meretur c6reft»6ej ^pterca faccitu iit^ uigore alicui? (ntie q no fit de domo predto Cue re pofefla ab ahq qrh tales fhtie ioc di^inite & aceq fiac audiGtur audiedi ;no podic ali^fde pofeflioe ahcm9 rei ta in hac ciuicace ^ extra expeili niTi pnus citetur & audtatur ab Cupra gaftaldionibus. M cccc Lxxvi adi xx oftubrio in ei grado configlio Sopra fl ^udegado de procuraton Le noto a tan cP qnto mometo fia il judegado nro cf pcufatori il ql folo judega tute fote de otrouerde Irql tJiuerfaliter judrga ialtri officf Si. ^udegadi del pala jo nfo m mo cbe la ma36 pte de ie litte ;portat2 fono judsgade al diSto officio & po e neceflario pueder t Ladara la pte che oitra cute altre utilita limicade ai judefi del dito officio hsuet debia idifti 3udefi de cadaua fncia a Icje terrainatio che ai diffto officio (era oteftade e che o^benderao da ducati *oo i pfo ducaco (JO :8iC qlle da ducatu ^oo i fufo ducari do de chadaua tncia no pofcdo palTar la fua cf ducati do.Ie fiitie fafte otra cocfla rie:go(jernac!o;c fornifo al d;do officio fcra oteftade hauer dcba difti^udefi due. ilo p ceto e no ohn&i. pche Ic cocfatie i^ no pono p la forma dcU leje noftre tuo fntie uoiijtane.sja dcchiarido che de qle cocrTari o coitenci ofefafllco el debito o dirao coe ifoleao dir f\2t rus ch? i qfto cafo ditt yidtCi no babiao cofa alcua.La eleftio ucrc di d fti 3ude(i dccetero Ce fc taci pet r ma de elcftio & p scru tinio del fercnifTio mifer io doxescofieriiSi caui de xl iquali judc (i fiao tenuti de jprouarfe di' anf \' u Ife pwcul toipo libus: furgamus omnca ocfvstz nocte qacramm pid: ITcut pzopbeta nouiin'i [ ^ o(fa-a0 pieces utaiuliaf:ruaq;de;cte ram pojjiga t : t cjcpiatoe fo^dibue: red (j dat polom5 fedibuMjfi qiuqs facrarif fimo.'buiue oict tcnipoie: bojia quieti^ pfallimu0:ooni0 bearie muncrct J[am nuc patcma clarita0:ie poftulamue aflfa n'm: abITt libido foujidane : omnifos ac 010 nojriuo.l]^ c feda fit uel luba'ca: co pago noftri cojpoao; p qua aucmi igni bus: ipfi crcmanur acriu0.O b boc re demptoz qucfnnua : m pzobra ma dilu fld.'uitc percnnw commoda:iiobie beni gnc confcrae.Qito canw actu ejulea: effccri ipfi cdibwtut prcdolamur cer inmmcloecanamua gloar. prdlapa I ta piiflTimc: pamqs compar unicc: cum =;fpiritu paraclrto:rcgna0 pa omw fccu ^,lum.ame* :^boctauapctecofteeuf(:^ •^ ad kalcndan oaobrie in oonu'm'cw t>ic Jbuefiibrcqiicnobf.Gim inuiutoab fe , qucntcdicitiir: !3d noa^mjitaioaum* i:j,jHdo2an' i>ny. qui feat noa. pe .'^atcbj'. jjs; St. j^ac furgcrea uigilonua dc6:fei jf /^il jipcr i pfalmie mediiemunaup airi' Plbuetotio One canainus ouldtcr bpn^ :■ 1X00, C«lt pio regi parttercanentcorcum ;, fiu'e fanctio mcreamur aulajiitffcdicc-' ij; "• U fimul 1 bcatam Ducere uiti If^reftct fffRicj «;; boc aobio odtae bcata : patris'ac nati: fev' " ■ paritcrqs fancti fpiritu0:cmu0 reboat iti ' omni gloaa mundo.rHmemi jn pamo 1 nocf.De aducntu aiit.'^bua ccce rtx cwd ', fufl.pe 3Qcat'' uir.pe. l^uare fromicrnLpe. ©onu'nc quid mulDplicati. pa. E>ominc nc i fiiroic. S>e pfalinirta. afittpbox Sermu eomino . Sub Dicta ant. dicuntur iidem pfalmi.Zcpozc pafcbali aiit. SUlcluia. iapia rniolutiie eft. £t fub dicta arit. di cunturpfalmitoriua pziminocLzficm al{|0 noc.rcru4tur idem odo. |£3Z^S uir jquinonabii'tinp IfilioinipioaimiT [ill Ilia peccatoni fnonftctin'rinca ' tbcdra pcftfletic no fedit. |@ed irt . Icgcoommiuolii _______ Itaeausr'rnegce me meditabitur die ac noae. t^;^ t erit ta (^lignii5 quod plantatii eft feme decur ,j^ fun aquarurquod fruaiim fuum oabiti teiiiporc fuo.Q t foliii eiue no defluct: , , ., 1 oLa quccuncR Yaciet profperabmtmr. ' f^ v. > onficimpiinonficfedtamppuluis quepjoifcitucntueafadeterre. X deo non refurguw impij in iudidorneqj pec catozeo in cofilio iuftoaim. (a' uoniatn nouit oomimio mam iuftow:i iter impi omm peribit. pfalitiue oauid. ,T£> P* ?fS* Ferdinando Ongania Editore . •478 -A 58 L'ARTE DELLA STAMPA - r. ra r\ (♦. -^ :'5 3*5 B» -rv >* M flu. * 'I -P" *■• 'r; tS o ^ 2 E k-3.t3 «§€■« §^ VENEZIA M.CCCC.LXXVIII 59 1 1 I478B 6o L'ARTE DELLA STAMPA CSn^ipit eph ficti taiaonfmiad paulmum pbun(koilfciiuuiebiflo:ieIibu0 J(apr5. i ll^ater am bioMtmnvhinm mifculapfcrenddm litrunuliruauilTTa0 Ifasqueapjindpio a?nicitiamfidc^ba tciQi]i(iddzvaeh& Ljmicitie nouapferc bant^ra.n.illa nccdTitudo e i cba'fti gliui no copulatarqua no vtiliiio rei familiane: ii pnm tm cojpo:^^ iton fubdola z palpas adu latiotfed dei timoK i diuina:? fcripmratJ fti di^ codlianr.llcgi'mue m reterib'bfftouj'tj quofdam lulfralTe pjouindaomouoradiilTc ppfos : maria nanfiffe ui eoe quoe e^: liba's noueranircom quocp viderct. ®ic pftbago ras manpbmcoa rateorfic plato egf ptu5 et arcbfti tarcn'niiclqj oza ualic q quoda ma gna grecia diab^t labonofilTinn: pagrauic ut qui atbeme manlier erat i pot&rciuufqj Doctrinad academic oymrndsi pfoimbantrA' crct peregii'v' arq? difdpulue malens aliena rerecudedirccre:q3 fua ipudet ingcrere. i^ niqg cu If as quafi toto o:be fugierci? pfeqmc captusapiratie Tvmundatustfrannocm deli'lfimo paruicducms captiuuF rincme et f uu6:tn qi pbilofophm maioz emete fe Mu "Md timm Uaimi hctco eIoquc?m'e fome ma nateni dcultimiebifpam'e galliaruqjfinfe' quofdavcmflrenobi'lea legimusetquos ad comcmplationcm (m roma non ta:cerat: vni us boia fama pdujcir. Sdabutt tila erai? inau ditu oibus (caAifft cdebbnduqs miraciilu: Mt urbe tanta iQrdfi aliud ejara m bem quae rem . 3ipolloniu(j fiuc lUe magus ut rulgus loquitur fiue pbilofopbus: utpftbagoa'd Jradtitrirram't pfao ptraJifiuitcaucafus: alba nos fcytbas maflagetas: opiilcnnffima idie rcgna pmeirauit: TadertremumlaaflTmo II A w grmnofopbiflas t fsanoMtmih iSurmc fam vidcrct i fabulo.^mjat ilk vir ubiqj qd difceretri femp ^fidcs fonpfc mdio: fieret; ^KTipfit (up boc pldflUme octo rolimw'nib* pbi!o(!ratus. CjnT 4*7^ ^'d loquar de fecoli boib'': cu5 apliie ^S-^aulus v'as decn'onic i magifter g^ g dc conTdmtia tami in fe bofpitis loqucba tur dicens : an cx:pmmctu qritis das qui in '' me loquitur cbaftus: p' damafcuj arabiaqs luftrataju ^ccndit bicrofolfmam m videra petrum:'zmafitapudettdieb''Qnded:' iboc .n.mj'ftmobebdoadiisiogoadis futur*ge tiijpzedicato: ff^riicnduB erat.iRurfumq5 p* annosquatmoidedm a/fumptobamabaT n'to qcpofuit cam aplis cuangdium: ncfoite i vacuum curreret aut aicurrmct. lE^bet nc Tag quid latenris encr^ riuc vods aa^z in aurddirc^>uli de auctoisoze traffiifa foaiTo nat.^ z dcbince en rbodi cjcularet z lega ilia dcmoftomisozatio: qua adiirasdi ba buaat:mirantibu0 cunOB atqj laudantibue fufpiranfaitriSuid 11 ipfam audiflTetif bdlias fua verba rdbnantcm* ^ni y4r7\Sc boc dicotcf fit aliqd i tm talerqd uT ,X_ ||pofli9ame~audia:udrdirdifccf5quo ardoi tuuf 1 dikaidi ftiidid ena abft^ nobif p fe ^bari debcat/Jngeniii &odIe ifiheooc to:e iaudabile cli HS^quid iucmanfed quid qucras confideram'.-^^dlis ccra z a foana dumfacikTcriiriartirinr'z plaftecdfent ma n'rtamen uirtute rotum eft quicqd ciTe pot . '^uludapo(lolu0 ad pedes gamalidis le gem moffi z ^pbetaa dididlTe fe gloziaturr ut arm3mrrpiritualib'teli0:poftea Doceret:> fi[denter.3[rma.n. me mflitie non camaiia (t fed poienfia dco ad ddiruciionem mnnisio vi fcfoa-Uii t tunc tegif Kber gend)8:in quo po/ ' nitnr oeniatio pmozu parentum .Xpe renCf>:i' nam recociltad fumns:': iUad tps rcpfitat ec defta a pafcba vfie ad penrecoften.ri^ tunc (e gf?jpod- vbipUne agjf oein]rftcrio biiius re eSaiiatoisXpeijegnnatoieefltpepjdtntie wcin quo cegrini -; in pugna fpmn (hmne < ^ciflndtps repilcat ecciiaaboctaua pence/ codec Vfi^adaduetuj.vn t cunckgunf^libzi regu 1 libji macbabco^rin ^bns oe molcipliv npngna agif:perqu4fptjaliapugna figuifu catur.ZccnpassutidqdcitatiacaUonivrcp ad feptna^cfima pni cim otitici fub tcpoje re conciliatof8;q6e(t templetitfe.ranataU vfc^ ad octaua epipbanicpartim tub tempoK ge- 8rinat6i8.f.ab octaua eptpbaie vfip ad reptu" «gefima.£f pot D 9cc(pf qGrupIcj:r2 fm atio.*pamo penes qtianto: tcpocoit'iinciio ntoi'K bfemoreferaf ad pnmir verad fd>m : tftaa ad tertitMUtamnnB ad qua< ru . £t ro appTopltois (atfe p^ Scio pence qruoi otei pwtta: vt noy rdwaf ad pmti. MTianc ad firfj: iiKridleaadteituin^perad quartn.liQoiit ^ fnent oeoiatio & renouatio:i n cccta po ttn«uidpSfti oia renom" tafunt:^dquc>dip9 idotcif t<^puB renoua ttonia.B potl •i':KCK uoua facio oiaJCdgru« c oiitcc aouenrue coinpuuco glotia pn:quatuo] ^^fus continet t vt Micros q(Utuo;aducrusoeugnci. 2.i(.aauc quadru akifitauueiituoitfTeccleiJgCtDupIici.f.ic.v ne'fadmdiciu:videf memoaa'facercrftct;;;! officio ipuic icpojis p!.t:>ic eft etia q; ieuiilid adacnt^parnme{lf;cultar6i9:igtinimcror) "Ham rone aductusiii came oicip ieiunium c]culta[dis.rotie aduciicuo ad iudi'ciu oicicur idimtoinero; js.£t ad boc innuedu; eccta ca tat (lie qqedi canticalctitie. i boc i)ptcfcccu puiine cognitoie. vji z rune in pciTi moserro.n.'s idolatrie cecidit.t io coaccus eft amareacoiccrc.'Uon oceft quiunpieat : fed quiiubeai.ocindelexaduenu iubcne m qua cofluicreii ol' iinpotcncia. 3bi>n. foUimoiido cfterudinu-i'cdnoapenatolibcratno-'necg aliqti.i grcn> ad bona adiutus. £t to coactutf cJl mutarcjjpofitfi ac oicercTloii oecft q iuf bcatifed qui iinplcat.Dppoitunc igit fili' oci VcnitquadobotnoDC ignojatia lipotentia conuicttis fiiif :nc ti aii vcnilTj botno fuie mc 1480-A 6£ L'ARTE DELLA STAMPA 7^ c 1.1^) T^rFI Bn noinicniiiioftn'Scru CbnllU^rbMnoqxballiiaw tiiu ilU5nopoiTaimpcrji\.ii!np:n(ianTJuiionc crcrcor . .olU.ii.ubi rvKimrtpqIibci admiilriuoi rctvi larax k rife ?muni]ra:c Dae 7 caibolirc ,rt!ir. fa-j iihi:' rniiii:ot.C.lJ 0lt.piC9n:.3frU. iOiKiiiiincnit.fi f auKiLDc onras i pita)U.vi«l.'oc'!f} cwilc^iurbonu : indiDS mc f dBKiopoiHito It qiioapozicuc))! I lio.iu {anMUj. gulkgrc^nobsi ^)o:cnamu(}iti; i;:'fiutip ingudue: iupidi:' ICQiim iuuoita xinmm- i»pcrjto.'tam InJicftilemiipn |i!liumarn1i9^e |:ciutim:''fcdi.lj am Icgib' opo; I'clTtarmataj III ntrunq; ion iljcUoniin' j CCKB.lf I tPJiis rcocp.i '^1 ^ifoiKibito^turo iilioiulhimni) j'bic.vdokipFjiiHms ifiic rtflkiiK port iplu m rc^navd Pf imiteu qn j trap (duii 7 lubJi U9gai!iacal£naptoaInKmmo:uii3iiKn.iulib.DccaCToccllj.vt.$.li ^aut-alua cft.$.fjainuf . ^c icLta vtaic ai;«l fditi.iifpq: iiifai 3d uom fiKccdstat. I fj[3ndnns.9 ^Ibo mi jnitias.Sixmfim; Ho:oi. ! i;u>.Tdli oaudjiur:«i.C.rc rcpul.jfciiru.fn m r^Samoiic luftioc: ut.f .cc mlti mrc in piin.toni Jo. i^^'uj}>Jc.r.iiium fium gTmiibmic lihm. '^5nap!i../^o:creacfa>batmipmimtp;ocnim:inquorcdJulc cwxi aiiaim:roalc:7 boiiuoUi.Srtcm' n'l Choi Stuiiij « jiliic.ni p bet lyiplf niaUuu i-cJdu 1106 aiitioe ot n^Liic pdicjrir'.n.vti lUc'cmdcni^iUiiiibiii-rcnpiuftiit.fr.q ifrin trcLpapilUiouifi 7 ibi lumj ,pmilcna:ut.f.,pt.^Boal.:cu ric tt cu fjcraniTuii j.-- to fti.anltapf.7<,iu.r.c.$.occs.:>oalc.n.faritg(ajiiJmb:Qiit(Tccip;i; Ixndiuii p bo( q; iplc lubtciiuuit potonli iir.odo fwli' i.lixoi . J6tiiiuo!«.i.bfir.m p:in.8cl ok i pp.-ic poiin-Ri iniia Tut ad c l<}ii'.ii>vlW{:.r.o((pbii>ii iddLiurpte IbnuK. 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L\nKi:7 ? iadi.,ppa'J>lii $.7 figdc.vbi puninir^ 1 I uiao! eri(bt:imti fetuminbottii bns'p.-diisjl'cdcriJipcTkg! twos' iTiiniitc? uiumiiunbuin''uiiiiiuu ReetpdUt; 7 fuium liiria rdigio rifTiniuu qj uujts boihtma mum pbato.'.^auomni'' urrac)? m.ini 015 iammiit'uicjilus rumjq; pxxiidc tu: aiinuauc''t)€opfcfirui9./E[txl licoe'qnulon fudoa-e nofh-os bar b-Jricc gct« Yub lug^ luirtra ocdu dt'cogiioiVur. •: iim Jfria" 1^5 alic illiiiimao(cp.vuuuic°pofttiiiutc po:iim TpjciJ iiortneuictovje acf leili iiuniuic p.x'Oitifiitmuii' oitu> ni roni jc noliroqj ad Jitcimpcno pA.i(i:llitiu'''>tdiiiiice ucropopuU Icgibtie lam a iibbii9p»niiuga{ie' mac iii C(p jfts^d ouip.nujtncra p 9 no.»ifj.ail5laao.$.alLinu[£r:. gd aiii lil pu.i neaic! 7n.Ti«aa1a!0j ntimiui p:cdKnv li.abua. c {JlftciiijiofaUnmG.110 que ficn rdiijiolu per lcatp;njt|>fc (ul raerc: rt.6.rc lc^7 (o.l.iejco. Jre no bie quamioi ,ppoiaoii3lu.r.aniia; \iiue^ umop n ao:ia:inuinpbiict. JiX Icijes^vfuo Ie^'i:cah1nie paUio:7 iiuv> ntigo. . r4^uo^\iriq5.rtirtan'uceipiinpemiulfaiiiacqdC'alb.nidcu^nofnraq!| c4|SiiiiiuviJcllciifummoUbo:c ' I C5^''i'''' 1"" ^'^ lescv:naiii uia nude \vulajinbu8 7 non roaiuoiDbua finpm ethxTiiquc m frau-ai^ju^'iHud in fi.acair':us. g ((^louhiciUiaXqao ad aniia.7 i;o ncc. bomim-a ltam3aiic:iio:u p:eteri I icriimX'uniuip.'cfaiiiuni.p.'OBidcnnalanu'os. I» J74l3x''iicic oeo.rco jranao rcfcnuiiius miuiipbii nioint obnncrc: n.C lie. rvoffp:fPKaftvi.i.inp!ir. 1 4\i& bdlieoo.iinod piaiicnm rncrjEWcendo %}ir.inq5 Tiaiii7cj|UncmH diiEiccndopMinoqualiKrfeblbuuarea.aniia.acair. ^It'arbanct barban fui 9 cnra roniaim uiipcnu fit 7 iivauiuc boftts. I l,ycjucte.r< nono. nlJXim afnca Tubqiu mulKptouuitiecorxKtur. jTib:o'jiiitic.(ie ;>iinii.£iMi afiica qi olic inuinaabiku p:o!Jiiiae. ^gter'i iduitci.adiin*: ^iaoiuronucj.umloll7c. ';t' tO-"''-''"^'' inu'.niif. viGoiuo 3 tcfc.nu.p:eft.nj' iltc ,puuinc p:iu9 ruenin: :> rwirici inipto:port rcSeriir. i polt ccn'i.yjitoe nchcri'ir'H l.vc iiiui; qfi oii Jicg-iqiTPic 6 poll u'la rcpo;; fpuu 7C.«.6.PC0(fi.p.t.px.a6i.lj. l<|)6ro TO. eilJj hue rtnt qualiicr I cllici oiri b.iba«.Tiiic qualiier Ic^'. (f|i>wfflul5aih5.f.anobia;7c«i>;noiU).7,pnnilMarce egiarcmrudenn lanux oeeuluni mf hqiioo mno.i.--. in pponendorocus in pwrnuluiando i l»^ST 1481 -A V.ENEZIA M.CCCC.LXXXI 63 ^^l uiCbafto i fcopo 0abincnfi . £imdo DC 3&atjl<> bonorac. 2(nfcidf jcoimefono cleii-' oie'ZcapdUn'aim ttcommdatioitf fiii vtrmfiT? bomrnfe fofpiiatc ac animi fiu loiai. : Dtbita coawftonc ancndat pi^feiio opoe. 3una ( bt>iiB Hmbaifuim. ©mine raoo fupcmc fomtit !?d tore' tK orattirc m CO rftqm eft ororn aput T aaao!.«. jciivii. lx.f.fcdcc6ira.auao ma|iubuK:aiJ. Sivbiidrj caput oe cftqaod d^ fuiidamcnta i Upie ajigulons ibt nuUu5 born opens cdihau fapcdificanpotdlvtoiai £>rc30.i.q.t. qi$ ']^auUin. 'Sid bonozcj crgoruinmctnnuatis ^ indioiduc vnitimi pans i filij iiccnoii fancn nuniuiie.z apoftoloaim pridpii! ^tcaoju! mci. ^ad kode i ad Habilitate} vmnafa lietcddicfpofc tT^afttquas Cbaftua oc' noftcr verc (Vdei rcODi fibi «mf ixiponfaiam i infaaam nrginc Icruat. xcvij. Duccdcfiewccquc enam irnjatur quatjurfluniuubiKJ pa radifLrtcolUgmir oc cofil'e.OLug.ccdcria. nccno ad laudc; tmcmonapatcnuiatw'.'cftrcqualargiloiaHuJoaij bono rum multia infiguin picdotauit co q- iplim fcccm wtutus opcrationc picdamin.bumdoaic pKditain.aiaii9dijjntcm p3ecm.DilTcnlioiii;3 1 rijaa i fcandaia pcaibai vt oc ipfa pafa9cb3t.l9u70.pifj.si.D)raa>iu^ibinpmt. £go qui too' liirw canoiiia pufi^iee inc rcpiito iniintnu 'Z puifuf mi'uffiaaue ad tanu onera (uppoitanda. Coiiftfue camoi CK mdltfljia largitatt illme qui oat onmibue afftuetcr I no impxipi.rst.i.q.ii-'Ppio-'Qiuwt.Stperioatmi'Scgoid imf>leboiUud.€iuic(iac3kuloriiniptooc abln fojpiccCit glLi mnndar labia impafcain billoacc itoiai. wi.q.t. in rotpoins.tn fLnon auiditatclaadia confccfoidc. fed ibm' UtefcminadcveniatiB. xnaf.q.liimtnc Dccretoa.ad meinoaam rcducai0 ^ nemo noiotur ribiloU.ar.ad bpcnij.q.i.in Fchpturid.ui xa paii.Ct ficut plnic iioiut wflra pauniitae gctmuni do tlDi aitcflaiur quofdd aUoquetce in hcc verba . "t^olo vos ignourc frotrcB.qiua palrca nolVi oiiiea Tub iilibc fiicrot. Dccoitlar».oi.iiii.iictqiJc vr vcftra paicnuias foli pancipio wntatie Digncf aflcri bcrc quod Iihsoao balbuticntui (aot oiftTtas.'Z paliiignas infamiiiloquinirraTatc.n.iiii.q.iij.iiifi.^.rcdobiicif.'Ra 1 omnie mundaia (aaiua filfo (ibt raidicatpiocpunopa (urn qui Ibluo pMuenit 9c p:anidaia tniutanc. cr cuuie fi utdanatriunipbamuo fiquavtrat inctfabilia piomulga^ inu8.9d cniuo laudc Dcfiat omiuo caro cum fu iiicompx' boiTibilts.Tt in concilio Ic^igencrali.ciE dc funima. tnm.z Meaho.ct Scd ^uie in opettbufbommo nil Aat adco bonum aul licitum cut non poITu aliqua pcrmaca UTOgait vt f'iia poteft coili^niij.q.v.DC ooidciidto.in fl Da ide paiCT qui atautt boucm ^ifc crcauit t ailia5.n.n3ii.q.iiij> qui fctondit came Xamenquiaingeniolum maun alitcr od oilmen non poteft pcrucniraveritatie nift boc altcrius cnTcnt lima p:auitatie.vt fecundn £>!eg . tranfumpaiie fcri i>itaj-.vtj.q.i. f. aimautcm.iuxtapiin. intra filentuxlauftra tcdudi ncfeimus.vti.q.i. ibt aduium ad compu cotamuu? oonfidattcracccdo.vbicatoai palm rauoioje feu oppofi'' Oonibua Dcfcnfabo: cofidenp cp liber tanto (it graobt t tc cepabzqnantoomnipcncDoctomaftipnlatiorabue pftat (ftefloudioLQri@ucmliqoidicanipumad(«ftrc pa(erra talis ^ita Difpofuioccrtiosuin rofarium nnncupaa'.vt ft cut rofa inia cdtroe lk)ies oborut psnopatiKic nofter oer tamihis campus picemincatimaaiiJa opulculacompofu* tmodcmis.mquofiipflttualibuscauiriAradiciiufl gt^iiit ttifcutiatur a palea. vuuim a fecc Dciixabuur. zcoloajin loi nonumt fccnunb'' no attcntis meo ludioo Tela \cftncapdUm'. vtg ba c&liaboju q fomiis ibactnita.in cdo poiTitis CO ange Us coUoQin.3(nter quos ui (iituro uidicio voe ixqniram. %iKn.boc au raum eft (iue eiu.dc (ofc,Ditij|.raKra.in (i, m 1481 B 64 L'ARTE DELLA STAMPA 1482 -A VENEZIA M.CCCC.LXXXII 65 Fociicon $(ftr6nomicort i^pa&^tiUlUmmii ^^\ici\e0hcipit.^ fec^midi'?fpb|rae'sicvtirittrq5parnaoeclaratl6e £iber|\ I^Jinuia ')|b2obcnitum. 3^gintn6.XH>.^abio IfblurimamSawreitt 1 Mi ^ 1 6i l€ Studio grammaiicg art^)5 inductumo folu vcr'fuu moclcfatcb nc qi^a pauci^uidcruf.fed billoiia ru3 quoqy^wietatc'tqua fcientia re rom gfpkif pi^rtare vidcorqu^ facf Uus etia fcriptte ^pisjfpicrpotelt: ocfideras potius fciciitei^^ibci-a/ Icm tudice:Xamctiaomasfeejccr citatus: 7lioif)iuU(8etia f^ifs in bis rcbVcdpatus e(Te vi(^: lie nibil ill adolcf^entia labo:afle bice vcn-z impcriloju iudicio ocfidig fubirc crime: b^ vclut rudimcto fcjcntif nirus:fcripfiad te:116 vt ipcrito monftras fed vt fdcntif/ imii comoncns: Spb^re ftguraiioti^icircijlomqj qui i ea fut no tationc't ? qug ratio fucrit vt no iqutspanib^iwDidCTent'jprste/ rca terrg marifq} biffinitione:^ qu? pajtce cioatipn babitan^:vk maltis luftifq^ oc caofis bominibus carcre vviem&i^i^kwo/^ VENEZIA M.CCCC.LXXXII 67 ei^c»nDom( Oib€\h€ Cofmosrapbiideo^repbia: ll&zifciaiu quct|5 ejc oionyfio tbaiaXonicenli oe fim OJbis interbietatjp. I^omponij ^^dtaeocoib.slitu Hiberpiinms. KbisfituraDicm afgrcdiot impc/ dilurn o|>us « facund^ mfnime ta / par f onOal cniin fete ex gcntiu lo cozuniq5 nom'nibusr? co7um per/ plexofatfs oidt«€:qu€m perfcqui Ionise magic q^bcnigna nifltcria Ikrum afpif i t JS©!S^tii^i!S3ll "^ pjccium oper? aifcndeiitiii ab/ C— -— ^it.rfiH folu-at.Dlediiiauteir.alus pluraet cyactios . 'ilanc autan vt qatq^ ermn darifTima c nrictini ac pmo quidem:qu§ fit foimci totius:qu§ marlme paftfS.quo fingul? mo dofintiv^jbabJtctitGjcpcdiam.-JD^flderurfus ows omnium ct littojivt intra orflaiqs funtratq^ vt ea fubit^c clwumliilr pelagiw; .^ddihs quf ill nahra re^ionum iiicolaruinq^ immoianda fuiit, 3dquofaciliu9rciripo(Tiralq5a«lpi paulcattms fuiinna repe/ DfSmdi in quattuoi partes ^lu if io. Of3"f tSitnr boc [qirfcquid €ft : cui moudi ccliq} no/ men indidi'mus; vrium id eft: z viio ainbitu hcsin/ claq3 ampleiriliir. partibusottVeit. 23"d€foloaiur OM£nsnQncupatur:jHitouiis.quo ocnurrgilur oc/ adeiis vd occafu3:qua Dcoirrit m«rtdies. ab aducr tetur. 1 i X ^^pv -JBl T^B^^^^^^d 1 1482-D 68 L'ARTE DELLA STAMPA VENEZIA M.CCCC.LXXXII 69 70 L'ARTE DELLA STAMPA FieuialocorOfictoiiitciii-Cix'Salijecollfilcsjp ccn«0 locil inacmo < jiiinibcc ODjjari fttjlhnueitl. VENEZIA M.CCCC.LXXXIU 7> 'ncipi£ cpifloU beati E >icron fmi ad ip auU terum &« ommbiuj Diume brftoue ti :tulais ifUtcri^mmonue tua mlblmunufcula^fS fcrcnft, eciulit (tmul :? fuautni !nad Ifao.q ipiuipiotaniiqriaa fide 4>bace lam fidci ^ vererw amuirif noua ^firrcbant-^cra-n. ilia neufCitudo efl ijcpi glunno copulara;qttain no vdhrae rei fafntlian0.n(5 pnria rm coipo^r nd fBdola -t patpae adulatioifj ^a hmot 7 oiuma^; fc^turap fhjdiaoriKant.legim' in v>ctcrt& bifto n)a.qoofdi iDllrafTc 4)ouuia3.no»oe adi|lTe po palbe.mana rrarij ffc vt coe qaos ex Ubxifi nour rat.coza quotp vidcret . ^icpftbagoiae mepbi ncop vmee'Sic plato^g^ptii i arcbfta tarennu: ea(R oifiralicq quondamag grcciaoiccbai :la bcmoruTime paguitvt q atbct3 mgf erat t potcs . cniufi^ Doariaf acbadamic g^mnafia pfbnabac jAcrct pwria' atqj Oifcipulnsrmalee alicna vere TDude oil«^ (na impudcrcr ingcrg. «3cni etiir'ai t>pbam3ici3c^fit ftp B bu0pbiloflraius« O'lltd loqr oc ft j0 V33 ekoic cif\ rann in Je ann:pu!itntu qri^ei' mafcu:3rabiacB luftra; iVtvidcrct pct^:'znuiU teof .n.myfteno bebdi gcntiu 0dicaroz uidrtu annos qtuczdcci alTurr Init cu aplts euangcltu. aut cnaimflct.lfe5 ncfa pocia aa'-z in aures oii fiifa fom^'Ibnat.Jsiri t cf< ret 7 Icgcref ilia ocniofl CD babucrar:inirannb' pirans air: ^uid fi ipfs barefbnantem:' ^ n wofTieamcaa J P^ardoztunsir iWp tc^an oebcat aoic laudabilc c.'Won pfidcramus.dfeollis c cria (1 artiftap 7 Dlafte e> rum c qcqd ciTe pot.lp* «iaUeli3 lege moffi -z p vt armaf fpiiahb' telia Srma.n.nfcmilihe n6 &C0 ad Dertrucnone mi; ftmctcs z 0C3 altirudin fcia3 i>cu7 capnuaree o dii rpo:-! pati JBmgare tbcu fcrtbit ab infantw taf ad Ihidiu Icctoiq n« ci p impde.s man''p)bf cetera^ virmtes epitq 72 L'ARTE DELLA STAMPA _ 2 "-' •• -* Q^gojolurmiklirgfcgfmpnoabulitifcneeil rj bflbcbUlum* we.£^ lu 9 icftimoniu Ebibw I oc niripfo;«Mrtimoniu Ebibao«nicpr.£ go ra I paft« bonSrtcDgnofeo me«6;t cogfcut me met ego fa t^arperitae « vira memo vctt ad pic?; nifi pmgJEgofomvifl8'?tifl cuftrmotf eo.Ajuitttf berodt'sra ■ detfttaccrdf o 5 11-^ s O ^ 9) •^ ^ a *^ iS illlli 5 ib>A UIUJ Uimjtq0»083?333ig'3JtPP3!3-". ^>ui aijpdf:o3n30i}3 i:oqjJV|03:sm;|!Ujiuoq ut«u)} aiu wiijOJ ^9}0 iPiuqsS u) 9J3pd ^dioj i lU5>PlK)(finbr3J3Uf!JtWo]tid v I jyicioi^dw? :npp30 B so? i ouiu 3JiioiML:a<|u|03 bn3y"w5iiduiyi:pwdi?j3tj8»»fmido»xj>36ti3 ^S;a,_-^ jiOdPlOtP^m U1 83»0 3n)W aOA onitU 083333?Q ■!3 « s s ^ ^ •o Oh 3 o B ■ 5. 'cr o S. s 3 «» Scripfitin deabfbtsu I", // Ivibcr gent \v J/ f5ta idu r| IDflttbe' I 1482-A VENEZIA M.CCCC.LXXXV 73 t»,^jtiOAdmitimman»n J7lracft;ismnosdclc>mii0 nmtotf /lMtniffa5# Jntrcatmt r»rgere.*63cca»rj:>jop«c»jdhr9 ~~^ ' ' ' 15jf IdiaaiftMS ftrafaiu^qwmojcreduhmtW!/ o9tKcof%jono quaint, i^biidamodergoc^ ^deantmetni odificutiitOtebondledinbuie' _^, m(ci\ndcKntm miwi. •iBonmcDmcfTanombas ^tBerfiQtMjrpfdat no pfbudciimr '£ai»obi0* ^Skqwnti^(smcti ^>potctwma5Ttiaiutttab mati^dti fc»m UiOtnuxtLob fmni^b^pecfa^nforn pert' ■ Ttliltorcpozc; BtWrteAiQ ^a)U8rema*eaimir;preacrbM^n^ce^fii^^ianati rispzcffysra gmtmmpitcotifn I uitati6dmpoft«ancw5t»aiH' fioncfontoieniaris^fliicftittjj Wtt ttfoft)t)efcfaiTwrtaX;gc?4d2 ardccntibosbommibijspjcrt P) br^nwrt'gCcrtiaofootat'^c ntwctcjcpccrattoiiaquciupor ckfte fiiout ©e^oiuj^ 22?^ Mfluentum'Bcrroozbt, t1fl5 iwr bcMotnadamttcrirmltu'tWi tntcdak>7;^movubmii,£ttuiic ma watibwfcfto. Scainda be uidebnr WiuboCf ocoicftrejfwti bfivcaxJCcrtiabcfancramartaj bccumpotdtarcma^aaniaic Fcrdinando Otigania Editorc '485 -A 74 L'ARTE DELLA STAMPA J TetentiusCum Duobus Coramentis tereaf.guodint«rdwn noo temae pr: quod habet fact&fa oecefnute. Temere parroenonena^aetertatPtbtipG hocdi fe notnioat : ut Degrneff rogue neptob narrare memeotaet aee none phormi awl aokt lacdlito. ^fcaxte quicg. ut dicit non tenx rnneqi per inaprudoitia ntur guic^id utik i An hoc diot nihil potefi tranfire temere quo utile fadura eft : qui me io gratiam fui habet. An qoicq pamphilus prae tfreat *. eroer ciu utoon reisuneret bomtm & Oam p-armenooisxjuod fibi utile fixritCoaf ' iJeniih>rdiauraCTetriaabeuDti.CFediniy pnKfesix^ftiensantehDtx:qaiiinoncoaueiut ferooMemertde fkere:bene 3ddidit impni denUMh coenKlS^rut bene Eaceret quod pm/ dtJnfsi^feefritClnsprudcnsqfcwijs antt/ ti>etoafecunduaviata irnpnidcoti ^'entem reddi? i3egoiflac pannenonc fecjuerctnemtfo sbonifecihodk Imprudens^ fcies ante hue dieuo^. Vos ualete SCplaudke caliiopius lecedu. Adh ludis R/)n3ams.Lado Poftuto 4 ComellonKTuIaaedilibusairmlibus.Eg osTurpio.L.AttfliufPra:n«ftmus.Modu •- cusGaadiitfbiisIparibus.coca graces Apj epfdIca3omenos»A(fta*iui«CFano.M,V'3 Rnis Comrtjentanonsn Ae!if Dcnati(up<^.P.TerentiiA&iCoWOcdittJ aQrasmloanms Calphumii fiipcr HeautonticnoronKaoo foektter. Cf™Pf«tlumVcneKi5pM:SimoneMdi(fhira5eujl4Qua;Ann6do*wwi^ ntenUsiK)ixaibn°naateuKJ^|>;iiKipcAugpfUQoB>ubadKO. '485-B VENEZIA M.CCCC.LXXXVI 75 Ibiimu^ Cr :Jrarf is '^•oH pbiTippi i3 trrjjomtnifie o«li»i6 fratroj £ycmifanim o&if ffl^tgofliafan omnfmodc bi ftoaa itouiiTiiuccongeth; H^upptcrnciicvm jCroiiiarU5appclldcaX.>bcr {mintitj fdKf.'craidpit. TH py ncipio crcauit r^cne cdum i: ter ram:tcrr3surQncrarinani6C»iC(wp ca"^ajbilio3oiani.aug^rdbmc:wbabcairrndcdmoocdui.oc<«"j?) d^aririiD0emundii0.;^teiribtlta$t>cro martmuseocue; r3 iiiuiidu) cfle confpicimii0:oa)ni 1^0 acdimue (Quod joiem dcus fecctir mandum nblb potio0 crcdimoe ^ tpfi oeo: 'Qbi immcB ipTom ^inimae." 1^u(i^ mrcrinK'rcfpondirjnoe mdiae cp in fcrtpiurieliincnc: Wx dipt pTopbc ac«i0:3npjinapiofccitocD0ccliiin'j:fcrra5: "fionqoid namiuncftnnbi iftcj)pt>craqiiandofec quunmrquoq; ciaangcliodqoifcmpcr wdcnf faaan patnevoiuntatc^ cba qu'.buB Oj fctapcr aiujuciant . itt p:oprcrca ex qe nraeerat ilk pjopbciaiqotoijcit t fcripflt-Jn P"" a'pio crwnit 0010 ccio) -r tcrraj Xcn a aui crat tnanis t ituompofus /ptifomiioqmppc flla materia crat quaj wr mbilo ccb6 fecit appcllata p:uTio cctum c terra;. fEt tMOiQdlin piincipiofwtcdiiHiT /crrajrno flila7nhoco«.fjf|:6otcircpo{aw:fw>txcUijpo(lcifcnbtairfiKf»i>:qu»dniodo5fifa • 486 -A 76 L'ARTE DELLA STAMPA !l i\\ i A I I I I VENEZIA M.CCCC.LXXXVII 77 '4 87 -A 78 L'ARTE DELLA STAMPA ^SB mm^^^asf/. ta M m. M \ms3^ »MM i^»//C '^^Mr ^^ ^ m f: r VENEZIA M.CCCCLXXXVIII OEPBIAM OLIM BEATISSIME PATER NICO bcvJliramepopfiex commairanaquadamgramniari o conierc-.^uibuscminem 1 itterarjaai anrivjuicatem & orthogniphix ranonancum c»purtunishi(tonispro poctarom dcdaianoc connoftcf conabar ajrofttturus fe nc DtHM iririliftudiolis lit^uac /atinarjccnniabaliii ftudliincgocufoj ftmJiaribus I'rcrraptul ilia prorfiu rcIinqucrc:atq;lbgorcporc3biiccrcmfusfu.Scdnuper ciSapud Alatrjum Campania oppidumex acnsromaiM moldba fccdBflrm'.ca aUblucn: nuorunda amicoru rogatu conaaufa»cficquoq« ad calccuixu^pcrduAi opujnu^gpuuariuBi&difiufumianiJilludtuarCujaita na quaudurionKomnia mrabona fJiucrunr.dedica ir<'<-onrtitu;;noti quidon ut inftituaonibusgrimaucis prtoaixq; hlftonunculismabcaacudo mdigeatiqui at/ icros dodnnis ofbiuaiafn mil>uarexfumnuin?cnii niononae^ felicitate prjtcdiu ;Scd ut in tua ilia bibli othrarquam oninium qua:fua-unt prxftantiflltnam compansab'qtiopadoclam liotrxroagnificenuaanmn cuivquincnnifi cLinnima "lin^itteru acditidil!]ae:& tcbus (;3rKrisaggrediens:uircs um ulq; t inguz crudiailttnos ex omuibus fe retemsudutiadiuiTutisquodbma^luniconuocaucmiquosuc mumpofTint cxcollcrcmgcaium: laudcai^Lbtpararc:80\lic[uidconftccrc:qucKlpoitcritadproddrcpofl"itmxvimispramiisafftMris^ noti tamen dtten-ebori&cpoaliquid pro mea paruitate niat bibfiocnea:offere,Quam cimccli ex cla nirymisalnflimamm down'aruni aiiftonbus fulcirccupis;quia tamcn ft: minora aliquando /aculca tODcceiTanacfuntinon dcdignabcnsproniafapientiact cnimquantisimpcnfis&funipubusquantaqi diligcnua philofophoguni atq; fummorum theologorum in latino adhibescuram in antiquorum noftrdrum operibcubn nonnullos ad diuciias coKraafque ttjundi panes pro re ftinaucris.-Quxaimmagnis»n rebus cJTcctris Don pigci ruahibliothcca n:poncre.&.'maxmie ii!os;qui dcgramm tilianornifi oratonsfunui fundamcnra ii'dcliccriaecait. :or eflcmrconipltuipofloit :n medium cxemplaaf iuliqodi aids negbgcnria in pom s oratonbus ST hifloric uiljaiiediancqueant:& caneris foculcanbui inccrpcan qua Obfninffima ex cuius jgnoracioncfafpiilinKBUidQ aumnt.Vnd cntmoun^ inter doAos conumaan pemu rirJEt utciufdearcispfefl'orcs:tjuin capceUu(lt:Iciuc ncos uin dodifluntruriginus muln nominis Roiiia; gr. txugraniaddsquiqillni^utfufnntjnagna audaria praq fcholara Occro pbft iabores fori fi-equcntabati Nigidiu Varronemoium tio<3ifli"iKnli Valenus ProDus fua^ate fdhuaTcrentiusJOGaurustttmponbus Hadnani'.ddqui optsiustemporcciufdcGelii multi, nominis gtatnarte tunj:J>eruium;Oiomedcm;Prifi:ianunr.Vicionnum:ut ^imaticos.Scd hos u^lut eius a? ciS profefTorcsfaci le trai rinustcmporibusGclluphilorophiMclarusdegraraatM (c^batrNonneetloage ante cuiti Antioteltsoium phi Q(;umiianus:&fto>coru fefiatut Pnfcianusipeoft⁢! lE^crc^orphinuset cximiusphfisiHonieK corticor bus bo foluaItiflimumpoeTQ:ien(un?:6huK ocatoiesf JlmUu ducesracultat^hacncceirana lu f£nierumiautfcribai»fteris t'o£i ^. Dne ct .iudi«c.$?.JftcLrtno:«c. JY^ £ii8 qui iter O?o. ^ \^ apoftohcos faccido ' tcefainuloeiuos poiiric.i U leu faccrdotali fccsfti oi / (jnitatc vigcne: pfta quelii niu6: vt coi: qiioqj pcrpc - 1 1110 agfiregcniur colonic. |r|£u8vciiiclar Oio. I V^" fiito: •z humaiiclalw (■oamatozuiiiim^clcnieii j ajtuiuvinrcpisrcsatiotd ciu?ffriptu; fiknia \}cccii cuiait-'ue r.mciie etue, &«>. "Y". ^gudateoiimiultte J> CI*: Uudatc euj m ur nmijifWVlilllSCl'. Ijaii date cij i vmtit>''a'': lauda tc cu f m multitufl incj ma gHinidinia ci \ J^&iidaic cix i fono tube:taudatc cu I pfalterio ■: cftbara.. jjaii date cu m tvmpano t ct^o ri):l3udaKciikl)o:di-j ct oigano» Ijaudatc cu j m cymbaijebn fonaiib*':lau date eu i cfntbah^ tubilati ojiis: ojt; fpfts laudcisn^. GFUqute. afi.iOioipint*'] faudei Dti5. ^.SudiUi vo ceDccclocicctemtbi. ^. a&ttniouui^irtnomo^iu [ tur.Sfi.jegofu,. £atic6 ; W^ £iiedicf^ jacbarie. ' ; Kj oiisDc'VracUqiVtfi . juu ct fccu rcdeptioncm plcli die, Qftercjrit co:nu falutie nODSoomo D^auid pucrtlUu^(aitlocut"cft posrc6ju;qma fclbfuiit ^pbctasciu'j. Salute e,r intmicis nfis : et oe nianu I ! nuczibo?amoJtiemcc:'r : nnbilargirtoigncnsgra' tiiTmifcncoidtamuisz i } Dcumctie rcquic c veiiiai: ccf lefie me pace z ?c«di' ainitnoPpcto^b'vitict gfajfcinpit'na.iQui VIUI0 I irc!tc.^dpma.X) cue I iii4duito:tuzc.G» lliapfi. hiOrapmaoU b^^ • ctiiecftiefueadpl wiu.-faifis lefttmoniie niul til accufatii:colapbtt; ivit/ I fiuntinanib'^ltgatu: vultui I DCi -^ipuuc lume ceii granot -^Hi^^m^m Iftar.rye" : ccaltabo: in ijoi i [buecf craliaboi m ten a. I X) f.s5 vjrtutu HObifcu: lu j fccptoz af oc'iacob, O io im.'Sii.aduuiabifeaoe I utjvultu f«o:ocu6 « medio I eriw conioucbif » 3". Si i yrf cutlctJtiu. pfalm". , Jo rmdameuci'imo f uuueleie-.Dilujit t>m po: 1 tas iVo'.rap oii tabcniacu ^ lnacob.6 liofa Dicta lut j ^tle:c^Hita6^>ei.iJi cmoi I croraabTbabY^^'""^^*^ tiume,© cceolic. ..£ne«| mm. i489-A VENEZIA M.CCCC.XC TRIVMPHVS FAME 8i Fcrdinando Ongania Editorc 1 490 -A 82 L'ARTE DELLA STAMPA .V; m^ .0 m. ^ ^ 105EPHIIVDEIMSTORIOGRAPHI VIRI CLARISSIM ANTIQ^VITATVM VIGINTI INQPIT FOELIQTER: N VM TR ADVCTOS:PER VENER ABlLEMPRESBYTi ILEIENSEM VIRVMDOCnSSIMVM. ■): ISTORIAM CONSGUBERE D£ am ncc eade uideo dufde fhidii cauQi utro pluhmum differercs.Ni qaida et omatu: & ex hoc gloria aucupa'rcsad Alii uero- UUs gratia refcrctcs: de qbus i opere code ultra uirrutc coa& funt 1 neceffitate iiimpafii funt.utea quibus pturc declaratione col]igerent:Multos iti occulto iaccntium inuirauinut hifte ^5- proferrccocm.Harumia^qnaspracdi TnSiam pronencrmit.Bdlum nan^ quod iter Romanos & nos i finis acceflerit;expCximento jpfc cognofccns naixare coadus fum confcripaone corrupunt. Prasfcns aute opus aflunipfi:crcdcs ctfa nibus apperiri. G>ntinebitita90inneniantiquit3temnoftrami hebraias btteris interpretatu.Dudum fiquidem cu bella cofcribc rint 1 inino iudd:&: qaibus fint ufi ibmuus;&.' per que legtflatore tateni aliaq; uirtutis continetiam nofcitur acangere;& giongis pi iiifDme uencrint ad certamina Romano^.Scd quonii igenserat plexus inipfo libro diuidens difponenfcj prindpia.at^ fiiicm cof taiu.Tempore nanqj procedente fecundum illud quod folet acd< quocp fcgnides tarditaSj fucceffit tanta atripiendi materia in ufu 2 noitra confuetuduic pegrinx.Erantaut qui me hiftcrix defidej Kpracdpue horum oiumepafrodirusuii qui uniuerfas guide d. rcrum gcftaj^ cognitione gauderet uti^jcum Si ipfc magnis rebu fetiSi icfmnibus mirabilemnaturae fortitudina& imurabilem m Huicceini uiro femper obcdiens qui utiliter & bene agemium a defidia ponus q optimo labore gaudcreiad hoc mc protlmisartn: di<3a 4unt no tranfitoric cogitas.-quia p haec & de noftra piolapf; & de Graxis fi quis coj^fare quae noltia font uoluerit.C5peri C c>i- '^-, §^ ^ im -^ I ^^ 'h 1490-B VENEZIA M.CCCC.XC 83 &D lifmMmM .v^ clxifclongmc txlpnnd pinfivcimk coiitrntimgilvfom copoikplo gcjBc fcrc/OarcboBiTtia pcr4DirtbQc>mfcotc lltCf7*E^i5?..l ■«Av' i4f>e-lan ipfi qu9tg aridi ieinniiKinculh fiat ncceiTe eft UcUfali igAurnii W Cfccronis wolumipa.quc clocj.jetiT parcfe mcntoap pclwrcrim paucaannot*tfonc dig^M U'ife lunttquibus fi utcmur uul^riu fcrniune afpc.nati ad cloqucntc ocaiio ne proximdw accedemus. Sed fame id in primfs gf(j admofrfdus fa quod rhtror diligentifTimus « infigars orator Fabius Qumtilianus de crationis partfbusdiccre cofuehftiNCT^ en-.m lfs« (unt otarotis qucda ueluii im mutabUi necrfliiatc coltifutsinec roganonibus ut idc di ccbat: tfcc plebifcitis faaa funt ifla prscepta. Sed utin ftatuis pidluris poematis cacJeriftp in cxordina'di qiicxp iiiri doquehs oratione plurimu fcmpfr dccorisac uenu ftatishabuil- uarictas. Atota\ifnoie iliaframi; )d p;cleii0 .:iovalcofe ctari coiiiicnnimhd taiinllnin oaj : quod, vclmibicf fotniiofraiidane iiinocnbiiu intcrcipere finornon finam oaolum . xi. betcraotciitarc tdponfTmnmi aggredi: quodicpeiimniiiinpiilfauitMoqmriclcli- cct aliqmd 111 laudibua i>irgims metna fupcr Uhi lecnoiic cuangclica: m'qtia luca rcfercnteocniinicc aununciationw con- iiiif fiir brfto:ia.Hd quod lineopiw tan. p:ic riruYacio?cuotioni. tcttioraiKtieiiangclij Scorn iucaiii. 3n illo nnf fue eft aiigflua gaonda toiaui rate) ga lilceutii notn na yaretb : fldvirsi- iicn* «<- fpofata; ^ wro oil Momcn iofq)boourul» quo(B vnc'tino: amboaiinq? gcnuecuuD ton:ac regiotuni prop.u^iioinuubueticfi giiat.tltgdboc:iC:uiarrcali(\nidboami ftpcniacnc pclitu (it:'incf;uaq;.SieiiHH *icctol«uc^ ' pa(Tcnbu»; fiiicpatrccdcrti cadit ftip ttr, I .impute cporc OHrancncuslgciirtt'liipflu uiu rcflufiv rcrbu;p;clcrtini u» laaa Or- ltc«:i;ivcrbi:1ll6puto:K>lcitaquirp(fiiia omnia iiipcnue in vi)rut>:ac celclli [insula i)ulfCdincrcduiid9nir>i»ritJi»cotli5ici»fe bfibcar ilptcioic: qui noueru lug^crentel re p(ira:o((U(KDe (JroDMi idtmo HTf tit< •4 9«-B 88 L'ARTE DELLA STAMPA. i -? m S3 ^is te»^^- P 'M i ^3- DIOMEDES ATANASIO SALVTEM DlCiT* m m m. m 5^'*^ff ^^, RTEM Meric latm{tatisrpimee|5cIoqucntfa mdgiftrl '^^^'l fubicujlf littera^i facilitcr pcudkncio formata liamax ^^v^'^^' cUritausihaccucognouJnc?:xcclletefacundia tua plu ?(\^l rimi faccrtldcfidetiomaUbctcr indulges fumo lludio .-yA^=>,^^] Iqtuttiediocmadtnodfulgcnumeiqlitas capetc patic hatjtrinodgeftahbeUodilucidecxpeditacermcemictedatgaiprosaU' riu meat^audltafcicti'acoplcf afe{ietiadencgatij e»Sane neqdcct icoghi. i«j;uitad3fuitnimiucollncU brcuitas- Eft»n» hicubratiois idulhialbu dijq} collatio tripartita ; ut fecudu truia aetatis gradati Icgcntiu fpatia le [ dbopbabiliUr ordiaU crime fi lixitari s cuadatitediu^ dcmulccaUquat gde in Itib?dmifi6ibus guispuula iiu'in ifingulisiua cotinec breuiwte ^sss f^i i ^ .^i£ BSi'<^' \4§i-G VENEZIA M CCCC.XCU 89 sf im 'S* .?/ Piinm^ ^imdi]i» < 0pii^ p^cdarum Bnppkmcntniii dno ^ i'.f>Hitm vnlgo jpptlLnani ; m omnimodshfkonH nejiifiimt:rongc(tti frotna 3«to ••1 -'biTippi Bcrgoiiian'iy ririigiortte LxTiTnuarjin Mui aii^iHhm Ofcono:cp {aurtif]linc i~Xyc cx3»ito muixL f dwcrcationcon^ iwcj (jiiirA/fcnlPp-i.Tum- 137 *•''''''' P'"'""^ ""^»?"' TR piincipio cvcMiit x>mo cc mill ei »»'»»»"»*,„c6poiUdSail>niu"iLx jicfipe j-^^^cap? Umbiira onmiuin . (aii^uiliiio icVuu) Vf b'.iUf viiLi^aiiiofrfiimrjic oci c.i^ i'.' .afeajiinjue cti inimdii6.3niii.'ibiliu5ViTom-j.riin!)ocIrocui<:rcdmun dism f)VccofpininuB:oCfe1t j.3>rf«(Wia qmppcilU marma a Jt quani oc iiii.iilo ofiia fait jppcl 'tvwit»tms'.i»ucl!H<:fiiiitcf}mp.'!)Kipic>fci;iccduinifjira^B', iiouquiaiatn ^j'fri!:i\dHu;iiWvcrtit>OhT»nanitfduinpol^arcnbifiirtJauiii)qucinadmodii5 h Iciiirii .11 beua ccnirdCTjiilt* eicJm'ibi dFc rnditfint robw:-: r jino«z frucrueir fb w;ijo.;ni.iumfont:(cdiiuuufdffiimr.5!"uuf.*oKr4aM£d;giipaiicipiofait Ccuscc ttmi r laTam^aaft fcmoi v ali c icrrc: oin jdtwf tiu«>i fnf'» >'tla cd^r «) re materia: frtJ cjiju V jTttj I .-Jill ^1 jc fr.rurimi dTe ciiuwr KtiMijuntt t ill a milcria cdum Tictta j!>p,.U 4»*ci5 to nw ;w.g foaciolam fa-ni jtii MTijju'ai u cannii^fti .^mduu) in p.irttt f \o w "linVi fift nwnTmw-t ah| p biioldpia tvxaruiit cbiuw qoiplt in codcm iiba) hk Shia- marc t larvni msoJ t<^t otmaa crium (^lUkjerartoroijiiui* ■>'\l^*t1»'3N»^^03#^'^^ ^^ f49--B VENEZIA M.CCCC.XCII 9' i4g2-C 92 L'ARTE DELLA STAMPA S^3?FPnn 5 ^ o|>tiirHHeDalKiirs . JLl^cc fine jHcquiTqU'iin nrc piTifusenr. fi am jjcnus 7 c^fuiu iVccictn auuicruHu^j figwam iR)isqueficamituipartlbUfc5 inHnuo. p 0410 mcdmn rcliquis quidcompccatoptimep^ndeni . ^tM^^^ni nonootcauictcfio nnlta inancf. ^r J c\0 kgasrltudmimi, ribi rudis ddncc IcciOJ rtin cckn Uudio viiccrc inultti poteo. 0£.ll7{ que pars cfl /ncnicu cH jieiiare cil »ioni«i :* i0 ma figmft =^ cat (ubitatma -r qitali'tatc piopita vcUommuncMuuni cafu . i\o^ mini quot atkidut ;* quinqsrquc/ S?pcciC0:i5cnus:li^iunau6 ::5'i SiuaM rflkifiis. Q iw^ fpccicv:'pn iiiitiiic:quarc:'qiiw a tmllo ocri«* uamr, Qiu'' fpcclch'DCiiuatiue: vnde DcruvR(iu;'a pocfis; cx"^^ £;^ncn5j!)iafcuUmrquarcr'tV:.p?c ponirur ci in occlinarionc vsiutn arncuUrcpiouomen bic OCui*^ 5cucri&'fenii>iini:quarc:'tl2 p:cpomieu oedmatio ne vnn arttculrirc.pnorne bcc. o ii«'' generic:' uciun: cji cf qi pic|)omcur ci in ocdniaticc vhil articulaix ^mcmcn boc. a d«u6 scnais.-'coiniiistqunrc :'q: pjcponir ei i«>cch*natio ne r>uo articuiaria .pttonitna bic •: bcc cjui^ gcnciie I'clsr Quare/qi p:cponif ci inocdinanonc rri^ ai ticularia ,pnoia bic t btc ■? boc, Qiu'^ cjeimis? pnulcuixjuare/ qj Tub vna voce t\*MP at ticulocdpwbendniif aolmalia vtriufqjfcru r\^ ;■:■?*.' in orra^ 1 I493-C 96 LARTE DELLA STAMPA m^^^mmmtm^mm^^mm^ .;^a.fe»fe->^K>^(^^^4<^' '/H '4»J.==^W'^S-Xfe>fe<^.r(^fe4ij>' 1493-]) VENEZIA M.CCCC.XCril 97 im rfv' ^v; M ^llsci^ ^^B Ferdinando Ongania Editorc 98 L'ARTE DELLA STAMPA Al nomr de iefu cl^tUto crucifixo & de Maria dolce Sc del gloriofo patriarchs Dominico* Ju Libro della dluina pr ouidenda compoUo in uulgarc dala Seraphica uer gine tanStz Chaterina da Siena faore del terzo ordine de fancflo^ Domi- nico eflfendo lei naentre che ditaua al foo fcriptore rapt; fo 6( abftractione dc mente.in quefto libro interuienc dio padre & ia aergine Chatcnna per mode de dialog parlare che interuienc tra doe perfone.EtUidTo fe coi fimi fecretl diuini . Come una aia Icuata dal defidcrio del honorc de idio i ximo cxercitadolt nda humile oradonerdapoi che heb CO dio de lanin» che e in charitadetdomado a cflTo dio EVANDOSIV^ nofpacioditen na anima anxictata bituata dc habic "degrandifTittio defi ^Icognofcimc xfcrio uerfo lohono-' per meglio cog re dc dio & la falute de dio ifi. perch / ddle anjtneiuenc ad to ftrquita lamo // exerdurfe par alchu de fecfuitare & i J 1 VJ '494 -A VENEZIA M.CCCCXCIV 99 lOO L'ARTE DELLA STAMPA 3 qmtita a^agnanimo t)ttca c fi tiobilr 1 q:c€\lit€ cofv d>e molti pbilofopbi p qfto Ibano giudicau aU fubftaha para: e co mdTacoctn-ru.iP^ocbcbano co^^oPnuro p vcr4modoalcuiiacofa in rei^tiatura fensa la no poterr aiftacper U qual €&(a ve lei kido (coUiutoDecoluicbcU noftrtfcnfi rc^b^^utrt crarnc.ndcbcpalrripiifcbi eanrtcbi pbrlofo pbt none lia copiofamc tc tractatorcttbeonca cptatKa,2^a^cbcloz 7)iai|;taalircpi noftri fono niolto obfcorue r>a niolti mate ap:cfi:c ale pzaticberulgahmaU appiicati:t»icbrm loto opationi molto variano:e cq gradi clabotio A af fanni nicttano in opa: ft vc nmri coino -oc inifa reivndc w Irt partado no inWdo fcno quato cbc aU pzanca c oparc fia 4ucfticro:mc fcolidoci fccodo tluoti;bt opottuniancota la tbcozicare caufa dc tale opare/i x^e nu men conio oe$eonietria.^a ptia acto mt)ofuo: cdtuidedola aeiafcun fuo ni^bxd •'494 -B VENEZIA M.CCCCXCIV lOI BtUaetbtptaZtndatat ^nartnt ' -' t 1 i *v m ^ I I02 L'ARTE DELLA STAMPA ^octrina t no puocbo ttik s qucUoio cbc noaamfte intrati fo n<»ncUa rcUgioneoei viufrc rcUcnofjrncnte. ^ompolira per l« riUcmcntnfimo ^onUgnio: Y^atrtJrcba JOcato :>taurm $o3uftiniano cella cc^egjnoiie oi &jn joigi ocSUga ;0cit* Etlbuomo io o; ^cacjcta. IncomincUd p:ologo» _ laoiirinabonitadcvolcn O^ ^f I |] fdopicmmclcmmct>c \J^ XJK -^ -^L. l?ifiioidcctiocricl?e3Cce ^ ^ ' TT r lemalepcrmiinocl?ee(ri JJ^ |^ j[^ ViUOnO in qUCfta ^^^^^j^ Xaurcmto -^amarcba t>d« vita TTleK^fa. tKnno.tfbXC£Clrtn:tii|.vniufa sla luce qf!a agcUcaops l;2qt).'le t qaaldq5 oocto c fcto potra cffcr cbara e DC grade vnli. 1 1 f be rMc andar p via vc pfectioe ad acgftar lamo: tJc'cflb funi €nobn:-7 porra fe ben cbutnar la vii cbiaiy e ludda t>c ;?tfplatt5f t vera pfecfoe ^dita wl '^jbatnarcba J6eato Xaurftio ^enc tunc w ks 3faft«uwn:laqaalc im^flione fo opiutj a.ric.r^c i0cto 1 2(0 vA t.nno fupza norato. Ziw omnipotcntt dco. ■MO'Gm '494 -C VENEZIA M.CCCC.XCIV io3 f-fc. vr.'- CLAPJSSIMI LVCIANI rHlLOSOPHIACORA TOR.ISDEVHRIS NARR.ATIONIBVSPR.O OEMIVM. OS ^^ athletarum ac eo ^ rum qui fummadiligcntia corpus cxercent ; no mo bo nachabi'tuduiis: accxcrciti'v onishfcroncm: ueySCeius qd magnam cxercuattonis ui'm habere arbitranrur : ncwiunqrqmiflriom'corporisacquiefccre* Idemlfaruftudiofisfierioportefccnfeor tit cum grauibusac fcnis Icgcndis defati gatifucrit:ad animilaxamctum ali^cirp declinetr'donecad futuru laborcm robu n:iores:acuegetiorcscfl'iciatur.Maximu ueroexhoGotio:at£]^quietefrud;ucapc/' rec;ficahure^Iedtioniuacarcnt:qua£n6 A( ''NCSWDT^ ^C<^m \ \ 11 '4 94-D I04 L'ARTE DELLA STAMPA 1494 -i VENEZIA M.CCCC-XC/V fOj Perdinando Ongania Editore . «4 94-15' I06 L'ARTE DELLA STAMPA t ^^g^L* M ^^kmj^^^^iu c/C$i^X> VENEZIA M.CCCC.XCIV <^^^^ SdtlIoftrifnmDni1pbancipanjeDi.^baIdDm©rbini©ucciflbonfisfe r«fri:flcBnranti«Com(ftm.j6rerislahnif(L)3 liffcrie i0tnatifnmDm:7-aB)a Jbfmati'fc ©ffripl!tieailroKmfcnicn!ifTimum:ano9Uidican alafubf^na'apara: ecdeffscoeterna. ■jlicrocbcbanocognofciuro per vera inodo alcuiu cofe inrcrfinarurafcnialeinopoteiie eriftcrc.^r Uqual co- fa oclaJrfdoCcoUiuto oecduicbeli noltnTcnfi rcs<;i^ tractamcnondxperaltri prifcbi e anricbi pbylofopbl nonncfu copiofamcnte tractaiorc in tixoiicz e pjariu. flRia pa dje lo: wcri gia al( tempt noftri fonno niol ' toobfcurircoamolrimalcapxfce alepandxvulgari ma Icapplicaruoicbei Io2ooperan'ommolrovariano:e con grand! dabojjofiaffanmmcnanomoperaifiocnunicricomoocmifure: vndc ih lei pariandononintcndofenonquJtocbcaUpjancaeopcrarefia meftiero; mefco landed fecodo rtuogbi opo:tuni anco:a la tbeozicaxaufa oc tale opcrare: ft oc n!i' meri como oe geometria. fif>a pjima acdo meglio qllo dx fequita fe babia appjcbc' dmriefla quaniua t>m id trcmo fecodo d noftro p2opofiito:edtutdcndoU aciafcun Tuo incnibjo a(Tegnjremo fua p;op2ia c vera oilfininone e ocfcriprione. £ 3lo:a poi (c qutra qucllo dx ilrift. otdin (ecuiido poller. Xiic cnim mactme fcitur aliquid cum babcturfuum quidett7C. £)iftnirionc6 7 oiuifiboifcrcte 7 continue quantiiatw: arnculue piimuapjitnc odhncn'onie. y^gy^i fcoadoca. JtaqaatitadTereimcdiatebjmembYrcfoeconrinua ewTcrcu. i^il JJiconrinua cqudUled?ui para fonno copuljcccgtonre accrrotcrmnu: I ©vJ comune: cdmef6nolcgni:fcrro:e fara tc. ia wicretaoucramcte nume "^-^ ro : e qlU Iccufparii no fono gtotc adalcutio termine cdc:cdmo e. i .2 .?/ 7C fcicbc pama odaotfcreta:a'oc ocl numcro:epoiocla continua doc gcomciriai qui' to alo intcnto afpcctadjiaramentc tractarano. fciffinuio numeripjopaifluna: articulus fecundUB. tIintro:cCfccondo dafcnno pbylofopbate^rna multiruAfic oc mira co pofta:ac(T4Vnifan6enuinero:m3 benpn'ndpioocdafcon nuincro:cde q([a mediate laqle ognicofa eoiaaclTcre vna.£ fecodo clfcue rin JDoeno t fua mufia;e lavnita ciafco iiuero i poictia:? palTij i la fua arJ^menca Ke gtnacfondamcntooogninumcrotapclla.laqual piu magnificaudola inlc cofcna tur3!iriireinquclloclxfaoevnitatC7vno.©mnequodelt:ideocft:quiavnum nu' mero eft. /file ancojadnumero in infinini mcmbnoiuiio.pcr qnd dxeflTo JBrAo. Oirc:cioe.;©iquidinfinttumcft:numeru8eft.£perlater^apcritioiieodfcpninooc jEudidcMa fua icric in infuiito porcrcp:occdcrc:aquocuq5 niimcro oato: oan pdc m3ioj:vnir3tcm addcndo. CS^a noipigltarcmo qudleparrlanoipiu noree accomo' datc.£ptro oicocon glialtrialcunoclTcrcpjimo:edequdlodxfoloPala vnitac nu mcrato:e non 1j3 altro numao:ebc integralmente aponto lo pana. BItro c ditto co' pofto: ede quelle cbc oa altro numcroeniefuraro;ouero numerate. £rcplump:imi £6mo.5.7.i i.i;.c.i7. 7c.£remplflfeciidi.£6mo.4.dxlooilomefurae numcra:e.8. d;d.2 .c.4 >£l> 1 2.1 4.1 j.e fimtli: tutti fono outi nuincn' compolh: 110 folo cbc conftiHo c^y^^ '4 94-C io8 L'ARTE DELLA STAMPA INCOMINCIA EL DIGNISSIMO FASICVLO DE MEDIx^ CINA IN VOLGAR.E EL QVALE TRACTA DE TVTTE LE INFIJLMITA DEL COR.PO H VMA NO ET DE LA ANOTOMIA DE QVELLO: ET MVLTI ALTRI TRA// CTATI COMPOSTl PEKDIVEJR.SI EXCELLENTISSI M I DOCTORI CON AVCT OKITA E TESTl PKOVADhET PRIMA LA EXPOSITION DEL COLORE DELE VRIy/ NE E IVDICIO DE QVELLE. CAPITVLO PRIMO. Rina* ^uatro cpiaiita iiatio nel corf diquefte:cioe calidita&frig dela fubdantia* Niecedimer tefuperioreo uererimaed. q rationetla quartae elf undo* po di queUa la infirmtta d< cudine di £egaco& dimilza. cidenci dele mebra linfeiaoj O loa di quefto nella urina Com comtnciadalfudo dcUouirii IMEsvE pm P E T R V ;? D 1 MO NT AGHANA 1495 -A VENEZIA M.CCCC.XCV 109 lO L'ARTE DELLA STAMPA KATONOr toMAl'OY rNQMAI PAPAINETI KAIAl'STlXOrASMETHNErKEN EK TH^AATlNfiN ^HNHS El£ thneaaa'aa ala'aek: TONMAilMDS. OPAANOY AHr- nPOOlMION* mif 79i(t7Z6 TPV ffov f*oo5 nQii(Loe;iLiHff^q ♦ o V7W(A»\)| "^^.^r^' Imprclfum Vcnetiis charatflenbus ac ftudio Aldi Manucii Ro raani cum gratiJ 8ic. .M.CCCCXCV. Mcnfefebruano 'Wf^ JJ^ 1495-B VENEZIA M.CCCC.XCV ) I ( A*PIST01>a'N0Y2 OPNI0ES' d flt •ja?Ve ■• ' . ' /l' K.OAO(M . dVi^fiO^ • ftfH-' 1^- L'ARTE DELLA STAMPA VM ANIMO£XCOGiTA< rcmRcIigioforum paupcru frattu Ihefuatorum laudabilcm tutam : r« ctum^ uiuendi mcxlutn apod noa nulios in dubiumrefricari:utru ca/ nonicis obuiet inftitutisiud faiKflo ru patru cotifonet riribusac rcgtilis ipforupclb? deuictus.Ego Antoni us£or(ctus de Sicilia luris utriuf^ dodorPaciiMeoidiBuiamiuiispontificiidemane leges pe 1 /iSSS 1 ^^ 5^^ ii m I <495'C VENEZIA M.CCCC.XCV Ji3 <==>. m "=^■4=^ TilVU PATA VIN{ HISTORICI MCADIS PRIMAE, LIBER PRIMYS AM PRIMVM OMNIVM SATIS CONSTAT TRO/ iacipta i cwetos fc*uituin c(Ie ttoiarios-.daobus Aenea An/ tenorc^ & uetnfti mre hofpitii;&quin pads reddcndaea He, lenac fcnipet3uftocesfuetui)t-.oniiieius belli achiuosabfti^i nuifle.C alibus deindc uanis Antciiotem cum malcicudine ejietuni:qui feditione e papbtagonia pulfi:&: fedes & ducem tegeinpyliitiene adtroiamamiffoquaerebatiueniffeinin' pi timum mans adriatici finu:euganeif9:qui inter mate alpefa _ incoIebant:puiris:Iienctos troianof^cas teHuifTeterras & in ^'qutm primum egretTi funt locuni;! roia uocatur:pagoain/ dc:-oiatjonomeeft:gens uniuerfa Vciieti appc llati. Aeneam abUmili clade domo 'profaganiifed ad mjiora return iniria ducctibus fatis ptimum in Mncedoniam ue. iiilTeiudeinSiciliamqufienteiTi fedes delatum-.aSidliactatrelaurcntemagrumter ^ nutnbTtoii&hnicIoco nomen eft.lbi egtcffi ttoiani: utquibus ab imniefo ptope : mot cniliilpr^rer at ma & naues fupeieircf.cuni praidain ex agris agcttt i Latinus "!f^'»ngeiicf9iqu: turn ca teiiebarloca i ad ateendam aim aduenarum atmati ex urbe auj agtjs cocurrunt.Duplex inde fama eftialii prarlio uiftuni Latinum pacem Qua Aeneatdeinde affmitateroimixiOre tradiit^iiicutn mfttude acie-; cnnftirjflV nt; 1^ ^:^-<^.x>^;' ^:^^K^<^^^,'^^^'■;^ Ferdinando Ongania Editorc 1495-]) L'ARTE DELLA STAMPA L ^ *1 1 e^,, s V Vi ^!l& VENEZIA M.CCCC.XCV ii5 .j. DE TE ^. MOX .:. DE ME ., He precor quid prius dalo L«<*or uuio q omnia fnUieare Nam fpcto fore ut nifi cunda abiicias co^aris tlngul* hudate. Traclao. Orartones^jnx. CAR. Nubilapfllit Gnndinefceta Aerefonofo Turribusaltis Edita Undeni Machina tanto FiiCi d«core Vita Pit HiitotU Brachu Epigramatu.vniR MEN Glotis uun^* Du uehcr crbe Libera uilb • Facta /jTUorc Sxcula uiuens CuncU io(]u«t< J\Jl iD- C r / -.^^/ ^ Scd mc iteriim Ffinus uiglU Tudore Michael Jam tandem fudtt piaepietaie meu?. S I N T .:. G R A T T A E .;. D O M I N O Charadtcribus Veneris imprcfium Roma: per Fuchariuin Silbcr aliaj Franck !j VuiusinfiuiMirhaehsFeTniMcdiolann.curacorrcdMonc Srimpfnia, \ ^ , Annochriftlaiiix falutis.M.cccc-xcv.PrK^lc klas Ncucbris- \l_^_A Omen accipilc ulri lu(crati quoni'am in Vigilia Saniitomm Onnifum cxpunttum- "v^ ^ Sinr gratia: dno. 1495-1 ii6 L'ARTE DELLA STAMPA < D > Z m h O u > Q RECTE VIVENDO NBMINi^M METVAS. VENEZIA M.CCCC.XCV ir ^r.i-;;r\>r ii p?^ L- 5- ^IJ^\ ft Hlorcntiiri i 1 i m la ■"1 1 '495 -T ii8 L'ARTE DELLA STAMPA fia dc Ic meraucaU'oA: ^F'ftflS 1 1 ^^ 'C/ 4w\ 1 I B V^^^~^ 1 H wlti'mtJ^l 1 ^^TQS^^^II ^Plv i ■^^2^3 ^ w^ i^^S 14 96 -A VENEZIA M.CCCC.XCVI S'ctfe Tbormo dc Zfquino. 119 C'^nfloilie fh-agf rite penpntaico?u5 pztri opis tejms p?mu liwzi ipiiiixTninnas TMmnopoitct confhmcre qd fit nonien c quid fit uerbuni. polka quid ncgano:-? aft' irmatio:? cnun 1 picpofitionee 1 alia butofmodi no w'cutur interp;eta/ riones.cij non !>er fe aljqnid fignificacfiiinli'ter e nl voces fi^nificanres tw liter non e^ jspolUo aur ca iiua^naroe ali/ qntd fic^ificandurmitvoce^bcutov aialiojcinterpjetati'o/ ne^ Mi-j iicrti poiTunt.g cnim iterrtetatf ali^d crponere T/ tcndit.'T 1.5 foil nofa 1 vcibn 1 ofonee Piciimr interpjc/ tatione6 Dc .juibiis in hoc lib:o peterminac .fed m nomc ivcrbii iiiagitj iurerptctattonie p:H)cipia eiTe vt'denc c^ i^ tcrp:crariO!ict:.illc enij ireip;ciari videnir q ctponit aliijd eiTe vevtt yd falfum.T idee fola o:3do cmmciariua in ooa Wi 3 ilHit^^^:^o»>5^^ 1496-B JO L'ARTE DELLA STAMPA VENEZIA M.CCCC.XCVI 121 Ferdlinando Ot^ania Editorc 1496 C 122 L'ARTE DELLA STAMPA ix more rigioja almagdW pblo ^L*^tolemdala:andrini Hftronomo^ pt\r\dp\s kfii€ycfAu.(ytHT«|.videftm$Oagn9m^on/ (lruct{onc-^02g9 purbacbijrdufcp oi/ fcipuii ^obanm'eDcBegiomontc arironomicon A^pitoma. Hnno a p«nw rehim ctbercaro drca(tionc .S4S0. 0ole in parte fqrtadccima virginisgradicnte. '^n bemi/ rpberio 'BenetorHnno falutis-t496-cnrrcntc: •^lidic 4Cakn.0cptemb2t0'S(encttje: €S>aj:imiU2noKcniano:um rcgc pit'mc f aulKfTime tmperantc. VENEZIA-M CCCC.XCVII 123 t /. all \ «^ V,^ < Mi «L«ff C • At?^ o 5 (A f ■> f i. / *? «. / • ■/ V Tp u tTmtLTtlWU AAft«C.oleJj«;, -povAttpOV .«wjtc. >» \ V. -f N ' . J» ^ . /a ■' TOAA^A,MeTATOYBHTA' Ki '497 -A 134 L'ARTE DELLA STAMPA K I K^^'U/'%iy^^>'S,.^QAnt VENEZIA M.CCCC.XCVII 125 126 L'ARTE DELLA STAMPA M K M H 1 VENEZIA M.CCCC.XCVII 127 APMONltelEPHSMEAIHAl^AASMA TAAA-a". SYNl^SEnETdAE/L*. <,j' :T7^ Po(y%;»j'n Aft <3f /x.y TV i'OM .^' .4 /VO '497 -B ,28 L'ARTE DELLA STAMPA H % l^viJfeiv i/A/A^MTvi ry* MidttvriftqiKnacrit npClloi £trctel)6iditatc« cjcmneeconofxe^ d^gregaitf in radidb*apilto]t.(r Uc/ rutaro^ nluinuqdfjcpoMioc baidttd* t(»mi(rft{uefttotra(f6e$nonb8bet.8tbocgdem^riCe a»4p]|tjturtpUt(9^eiciccan{'qttarendred(t]to{}^> uatbneterreluc.CStvrroakipiRfi a tTriaveniet €% counpriSebiloB^ mtaqtudcseftoiAaUoaia faintfo n(«<|alcpitifl.g;ed(atvtra 1 1 ^ "^ ^^ jJ^Wl n 3(S:acrica|ro,0crap4)oe omnia bidii' MtVcmaqmicr^dtt. C3"S»ffl&nnUOTcit|diiiaid««ten)enfhnoWti»rirf twnm die fi fono ft.ifo piu brienc che forfe no fi coucrebbe. confideri che Icggc chela nunierofa & quad infinita copia delle cofc dclle ijli c necelTario traftarc mi jfor 23 non qolendo chel uolume crefca fbpra niodoain' culcare & ihuiluppare piu tofto che explicarc & dilK' dcre niolte cofe:& maximequelle Icqiwli quado ben taccflindnpctoiieiefteraobfcura la cxpofibone del tefto.VerrcniondunqucaqucIIa.MiiKheftimono dlereledorealchunoitc di fibaflb ir^gegiujtnedi fi pocho gmdJdotche bauedo intcfo qii^to Ha & h pro- ftinditafi: uaricta ddla doflrinaA' la cxccHenaa:& di uiiiita dello ingegno del noftro toltaiio & Borendno poetaindfipcrfiiadachequcfto priiidpio deipnnio cancodebba per ftiblimita & erandeza dfere pan alia ftiipeiidadoftjinadelJccofecne feguitanoipcro Mapoichiofuidppic du colle giunco h oue cerminaua quclla ualle che mhauca S paura il cor coponclo ogni indnftria inueftighercmo che allcgorico fenfo GuardaiinaltoKuidilcfucrpallc *" " "' " ' coperte gi'a dc faggi del piancta die mena drido aJtrui p ogni calle Alhorfub paura un puoco queta dicndlagoddcuor meradurata lano(flccniopa(Iai coo tanta pjera arecln fecoqiieftomezo del camino&r che cofa fia (el ua,Diche neggio nonptccola differentia efleicllaca tra glintcrpreti Si expofiton di quefta cara rw.ImpeK} cheaichunidiconocne il Jtieioddla uira nunjanae el IbnnomoflrKacdod^'Ial do lui iicllcticha nefluna di tniferi nelU mcra ddla itira meta del tempo dndtiCDnc che ne bene ne mate lentir ^fti che el poeta pogha el mczo del a uita per b noae:& la node pel fonnc ma no fia al^ro che una uifione che gli apparuc dormcdo per laqu.ilc hebb lui dccripte1t]uefte trecomedieX>iconoadiiqiie che lnl imita loaneeuap pra il pcdo di Chriltoredeptorehebbeuifice delle cofeceleftc«iieramet doloi naacfecomkaaco il fno ^^oeina di iioftcnclla^te tacogledofi lanim( ncndofi & liberandofi da ogni cora meglio imenda.Ma bciKhe tai icntet dimeno ie pm^e non la diinolhono ie non con tanta oblcura ambiguita: gantiadi tanto poeta.Ptima pctchc non feguita che bciKhe nellc reoolu' cxroiptnk nofti quato e di-.pct qfto dicedcio Ictipfi di nofte fintcda io fen Eerche Sc nel prindpiio & nel line della eta humana knto le nodi «Ame nel pdrK pet la medcfima ragione fi potrcbbc fare tale interprctarione pel di nodie uoHepel mczo del camino intedet che nel mezo ddlcta dettept ini e ana medcfima opmione del tct mine ddla noftra eta:pchc diuetfilaipn Ariftotiic nd fijo de republica pate che aptoui la Icntaitia di certi poeti:e» to fept fnatio attribuendo.Eptimi fcpte alia iiifanriaxEfkoiidi alia puet it aucntuno alia ado]efcenria.Dipoi pongono due feptcna rii p la gioucntu • quefta cu uole nel mcdcfinio Inogho Ariftotileche fia perfeda a cdebrari giouenrn ftg-jita la eta uitilc la cjie p due feprenatii art mn illano nono& con f»»t tSi=>^r'=; VENEZIA PVRGATORIO M.CCCC.XCVII CANTO I i35 cxxxv CANTICA SECONDA DEL DIVINO POETA DANTHE ALICHCERL (BSnnSfRII Enelftmiro&eruditoneUrccpoe ticael noftio rjuftoreqfta/ila fcco' d.i ca'cica ad imiranoiie di Vhgilio: donidio:diStaao:&dcgl3lrrJ he- roici hani diaidc in ttf ptit^pofi/ tionc : iuocanonc & narratidc. Ma Icdnc priccT>e(bno^pofiuone&iaocatio4ic uen gono in luoghodi .peniio.Et oclie e ^prio officio del pernio forcche lauditori diutii jpto& idonco ad ndire facilraeteqftocofcgiutcrcmo fc ceio fare mo lieinolo attcto & docilc.Capta adu^ beniuole t>.i data mstcna ^mettcdo die catera del purgaro' no cofa optima a glianimi hfiani:prB c folo tncro pd fjlc poiTbno puenirc ala co^nitioe diiiina nela cjleco/iflcd fumobiVCapra^dtora bemolcHada/ la ruipfonadimoftradodiefafFadtai fcrmerqUo che ala gcnetatioe niortale fia no fblo urilemanc Cf (TatioTPreterca fa lauditore atreto da la gradezr de la materia. Impochec6 (bma attetione udianio Ic cofecfS Ibno o gtadio inufitate^S; maxie fefono appcinei}riK>ad uniucrialeto a noi in pticHlare».i ijComJncia la terza parte dclacomediadiDantheciHamavaparadilbmcnaqualctradadebeatit&ddace/ icftial gloriatS; de main & premii de fanfti:C a fc; !> > o y c/i OjTCQ — 2P 9 pUnam patrio nu; ie qti iiiuroifti fii ii 1 "^M l^^^ m^ I 1 «i ♦?-.-# t? Z bcc Mrbalibti'qne fotpfit bflrncb lilme nerie fili| maafie fili) Tcde cbic fill) fcdn fi itbcUbiciba^ brloiua in dno )oito 1 in fcp te '! vif^ maiiiA natal, ivid»m* f icftamnri an 142 L'ARTE DELLA STAMPA IT ^^^, "..>!)] CriNCOMENZALAVTILlSSlMAOPER-ACHlA MAT A TRANSITO Dl SANCTO HlERONt. MO DOCTOREEXCELLENTISSIMOET PRI MODE LASVA SANCTISSIMA VITA COMINZIAIL PROEMIO VEGNANonmcdu biro a molto a moke p fone clTerc maiiifefto il locho douc nafcece Hieronymo: & foao q Itprecepcori fuflfc cm ciico;&iqtjal locho doppo la morte tifuofan(itiflimocorpi3 fa fepulto: nienredimeno a cui il cempo non ba fta a potcremolte cofe legcreruolen do queftapicola operetta ciafcorrc re porta in brieuc compendio» CDel beato Hieronraio la uita & morte intenderc, leronvmoadunchefufigliolodeEufebio nobis Iehuomocomc:eflbneiruoIibro deuiris i\lii: ftrtbusapcrtanieiKedechiara.&nato del cartel lilo di Smdone che gia da Gotbi fu diftrutto:che Itatra confinidt Dalmatia5c Pannoniafit meriramentce iistodeEufebioperoche Sufebio in lingua attica tanto fi gnifica quajito in noftro pietofo.Et Hieronymo in lingua Colica%nifica in noftra landta lege; laqiialc congruan teeDglioladclapietade.Etefl'cndoqftoanchorafanciub lo ando a Roraa:& fu pienamet ? amaeftraro de litrcre gre ce:hebrce:aclann^.lngramraaricahebcpcr maeftro Do^ natoitnrhetonca nebe Vietorinooratorc; cocelTo dechia ra ne lal'ua cronlca dicendo.Donatogramatico fie Vi(ao* lino rhecorico:furon a Roma mei degni precepron,Poi in %^U^^. ■.><'S m rK^S '\ -,i ->* \ c^? f\ A U '498- C VENEZIA M.CCCC.XCVIII iv ^^^^^^^;gglg^^^ ^ 1^'f L ib:o tf I imieftr(5 n$l Oifcipulo Q .~1 k b i \i 77 J .498-0 i44 L'ARTE DELLA STAMPA I '499 ~A VENE2IA M.CCCC.LXXXXIX 145 i ^ ^J INCOMINCIA LASVA HYPNEKOTO MACHIA AD DESCRIVERE ET LHOKA ,ET IL TEM^ PO-QVANDOGLI APPAR.VEIN SOMNO Dl R.ITKO/ VAKSI IN VNA QVIETA ET SILENTE PIAGIA . DI- CVLTO DISEELTA . DINDI POSCIA DISAVEDVTO, CONGF.ANDE TIMOKE INTR.O IN VNA INVIA ET 01 ACASILVA. HY PNEkOTOMACHIA POLIPHILI. AVR.OKAE DESCRIPTIO. HOEBOIN QVELHORAMANA^ o.cheia frontcdiMatiita Leucothea candi- cLaia ,foragia dalle Occanc imdc,le uolubile rote fofpefe nontlimonftraua,Ma fedulo cum ^;!g\i i\ii uolucri caballi, Pyroo primo,8c Eoo a^ ^^uanto apparendo , ad dipingcrc le lycophc ,(quadrigcdcl!aiiglioladi uermigliantc rofc,uc ^^lociffiinoiiifcqueiitila,nondimoraua»Etcor riifcantegia fopra Ic ccrulee & inquietc undu - ic. Ic fue irradiantc comecrirpulauano.Dal quale aducndcio in quel pun &o occiduadaiiafckno comuta Cynthia.folicitando gli dui caballi del lounocadido&laltrofufco,traheri ad luiti-' gli Hemifperii pcructiuta,& dalla puiaftella Inquel tempo quadochcgliRhiphari mo-' rigidecia pill lalgcnte 8c frigorifico Euro cu do el mandauagli tencri ramuli,&ad iqiiicta i iiici Sidcbili Cypiri.&aducxaregli plichc ti falici,&: prodinare la fragilcabiete fotto gU :?0^^*i2l_ S^'. Fcrdmando Ongania Editorc >499-B 14(3 L'ARTE DELLA STAMPA J OLECTORINFOtLIXHOCMONVMENT.ADESDVMTE VOCAT ETPOST JNDEROGATINQVOREGfDiT HV MANAVOLVPTASVTLEGAS.DVVAC[NISHICAMAN. EST.QVIDVDVMMVTVO CVM PRVRIENTI AMO- RE INSOLENTER EXARDESCERENTT IMPROBO VO^ LVPTATIS IMPVLSVEFFRENI DESERT. CONVENL vntinloc.saxa inter dir vta vbietf am for- te aedsacrar. mvriconfragosi etsalebrae r vin a£ extab ant illo veneri optata mvn£. r a ambo solvere arsibiliter vrgeremvr. s v. pinaegolopidiaangveminaltvmlapsvmmi nitantemviderem.hevoeabincoeptodesine inqvio m ic [-ir ys anthe s v rge.fvge en serpens vokatvrvs nos .laciabvndvm sese emvro prospicio moxille exterritvs svspiciens.o. lopxdiainqvitmeaamaboitoviam.fvgetvvl am.sinememoribvndvmdraconemimpetere. vix svrrexeram hev tristem memiseram qvod me vm chr ys a n-me am vit am ad exitl v m irRetitvmacangvineastrictimcircvlatvm vortvgine.iamiaxmanxie respirantem vide- BAM.DESVBITOQ.IVGVLVMMEICHRYSANT.DEN' TIB.VVLNERATMORDICVS.TVM SVFFOCARI ME- VMCHRYSANT.INTVEORATATPERniNFOEL.MEVM CHRYSANT.MOR) SENTIO, STATIM FVRIBVNDAIR R VO INSERPENT. CAPTOQ .FVSTEPLECTERE. FESTI NO.ASTSERPENSCERVICEMRIXANTEMDIVORTIT NEC COACTE COMPLICITVM ABIGEREVALVI , IC- TVMTAND.INCAVTE FALLENS CHRYSANT.MEVM 0CC1DI.1NF0EL1CISSH£VINTERI1,QVIDFECI.-QV]DFA CIAM.''TAMMiSERASVPERSTESEl <^ '499-X) 1 58 L'ARTE DELLA STAMPA e X i5oo-A VENEZIA M.CCCCC .5y ^'S *^'r> iJte o c V U>WA 'SSnll e iS'S' i6o L'ARTE DELLA STAMPA ANCTIffll TRANSIITADSPONSVMTRIBVSEXORNATACORONIS Chrifto Gro ^abcdcighiklmnopqrstuxyABC DEFGHIKLMNOP Q^RSTVXYZ Scatr*t>3t{>\n U fiiclitaCitade Veneuaiii Cdoi De Aldo Manurio Romano ail » xv.Septembrio.M.ccccc. v i5oo-B VENEZIA M.D -<:-■'■ i6i .VENETIE r y^-. ■^ Ferdinando Ongania Editore . i5oo 1 62 L'ARTE DELLA STAMPA VENEZIA M.D EVRV5 i64 L'ARTE DELLA STAMPA i5oi-A VENEZIA M.DII i65 C^acleftie l;)ierarcl?la. CX'Ipeobgia vnuificans ^tbae foUcJu^ i5o2-A 1 66 L'ARTE DELLA STAMPA i5o3~ -^' /i. VENEZIA M.DIII 167 K>^»}»>•»:»•^^^a?xj!^:^ie;<:«^:^:<^<:^;<^^c I i5o.-B '^^ L'ARTE DELLA STAMPA •jO.^ariflimiie in ^udidia aUromm aibo^ajcn deliteremendanim tc 1 i5o3-C VENEZIA M.D. Ill: 169 Ferdinando Ongania Editore lioS -D 170 L'ARTE DELLA STAMPA s 1 f» 7^ i 1 1 ^^^^^1 :i'r>i&^^^^^^^iK«. I .i:m niB AUP AUiP S.UP u>.P^V ^r^^^&^S^^^-JH^ VENEZIA M.D.IV 171 jyiwi ul llo ^ r^j Ef i^r^ i5o4-A 172 L'ARTE DELLA STAMPA i5o6«A VENEZIA M.D.IX .73 i5o9 -A '74 L'ARTE DELLA STAMPA '5ii-A VENEZIA M,D.XI £pilloIa fatictt (^teronymi I. m if ^ ^ 1 5 1 1 -B 176 L'ARTE DELLA STAMPA *^ ° " '^ V? *tf " ^ I5M-C VENEZIA M.D. XI '77 Ferdinando Ong^nia Editore /5ii-]) '7? L'ARTE DELLA STAMPA n ALKHIERi: CAHTOIOPRIMC "————" ilmeiioielcamln dinoflrttvita Miritrouaifcrvna pluit o^ctira; CheUdiritta via ent fmarritO: i.t (juatoddir (ittal era,ecofidur^ E^djeluafdu4g%ia tt djj^ra etfhrie; Cfce nelpenfier rinnouaUfaura- T antiamariiichcpocoefitimorte- M.A fcr trdttdt dtlhtn ,1^1 vi ttoudu D'lTodc Vdtre coj?,cfc'i v'bo/cortC' 1 nonfohenrUlr,corniventxeii; Tdnterapien dijomo infu^uelfunto, Cl)e Uverdceviddbhandondi- M a^ochUfiiialpiedMncolkgimto hd.oueUrminaud'^ueUdvalle, ChemhdueddipdMrdilcorcompunto; G Mdrdainalto\etvidelefuejfdUe Veffiu gid it rrfggi delf'urictd, Che mend dritidltrui per ogni CdlU' A Uhor ^UpdHrdvnpoco<}ueta; Che nelldgo del cor rncra durdtd L* none ^ch' if dffdi con tantd pietd- TttifmoftttAinofi^fHiiicheqfioprmcificntlpnoci efferepdtj eUe to^e chefeguiUn 1 5 1 2 -A VENEZIA M.D.XIl 179 :m Hibzo Xyd ]^eregrino •flouanic re ^mpjcflfocrcdiitto alia fua fmccrita con ia vi- ta odlo Bu' cto:e» Qibto niio fe afpcrn^to «? reiccto fojHs^v re poterm:!ecto?c»THbnle cifcrminio OG Xrota.inolc foitiic oel^oma.lHc U erro:i oc ^litc. EOa oc vrio piidi CO amoie la biftozia po:to enarro l^crbo Iccuro vengo pcrcbe amoic e picradc mc raiino U lcbo?ta'i€tfc odfcriproie parclcintende refpodc re poferjfh ^acomo jCamcacooallbar maftdelcrcdra/ tc>:e viucT valC" ^tcomc iiitefc fcripfc. s¥:^ ^ Manfredus Bonum dt Montis Fcnste, l5!2-B !8o L'ARTE DELLA STAMPA I i^,f abii 0aintitom o^atoriamm infti tnrionum.^nacu annotationibus i^apbadis Re^im ocpja* nationcs dttfdeni. ^t ta* butoperalpbabc* mm rioaiter addita* I5i2-C VENEZIA M,D.XIII i8i ;^><^^; CSecuda pjrs opens diiicx pa(Iion«& refurreclio, nisdic idagat^& mdaroyj fug hocargumetaconfutat, Tfi multa funtargumcnta, quibus iudzi magium no bis calumnia folcnt aftrue re,& fidcm fpcratz a nobis rclurreftionis ftulta garru^ Urate deridere,inhac tame lucubra'tiunculanoftra ea duntaxat confutare aggrC' ^ dicniur,quac dominie* paf flonis SI. refurreftionis materiam concernunc.Solet nana obftinatum illud , & feruilc ludarorum pecus in Chrifti (aluatoris blafphemiam exirc propenfiius Siin chnltianommcalumniam infulcare audenctus & confidentius, quia legis noftrx munimenta non pauca ex auita ipforum religione mutiiati fumus ea praccipuc,qua: agni pafchalis typOjdomiui paffio nem figmficabant:quo fit ut perperam interpretan tes Icgem,& diuini facramenti myfterium contami nantes^ihultas indies calumniasiiobisinferre node Maut,nunquam cauillandi finem facientes:adeo ^ c5tinuisfubfanationibusnos lace(lentcSj& fingulas obferuationes noftras deteltares peqjetuis ipfo^ c6/ tumeliis^atc]^ conuitiis (imus obnoj^iimon folum in pafchac celebratiojie obfcruationcnoftram ludibrio maximoc^ opprobrio ducentcs(de quo fuperiori lu cubratiunculanoftra fCTiplimus)uerri etiami dfiice pafGonis myfterio ruditatiSj&ifciti.'cnos ilimulates 11 ■•Ts^ an^ l^J^l^ «^^ M%^ n ujf Q^ i5i3-A i8: L'ARTE DELLA STAMPA Ssrcgoxmtn t>e ^rcsoihMnnc^ni vS>.t>4 SINVM.PRINCIPEM.IVy STISSIMVM. PRAEFATIO. M N E S homines Enricc Princcps uehcmcn> ter optant:mirif)ccL|; ni'tutiir: ut patriam:ta ope futnma iuuct:g omni ofticio:ucncratione:ac pw etatc profcquantur.Can'naq; funtfiliucari pa> rentes: can quincdam:atcp '""" omnium tamen patria una N5 folu enim patria parenti j munera:quxa parentibus^ contuIifTe uidetur: uerum c bis alia copcritur prsftin'fls.ueluti roIcm:atthcra:hi cum4-A L'ARTE DELLA STAMPA pocali pfis icfn cbjtfticboceftre ftncto giob^nni cimsclift^. cum nouaejcpofitionetinlingiiavolgareco/ porta per el reuercndo tbeolocfo t aiige lico fpiriro fiate ]fftdcrico verietoQ y diniepzedicatoium: cii cbiara'Diliicida tiom a tutti foipaffi: cofa vtilifllma. J mp^elTa p mi alaandro t>e pacjaiuni. inq:eneria. fub \mniifu t)uce n *^o iiamolauredano. O urn gratia. ^I eiJderrcfop2alanuat)clicarboni. i5i5-A VENEZIA M.D.XV 1 85 i 1 1^^ Fcrdinando Ongania Editore iS6 L'ARTE DELLA STAMPA CNICl^ VIR.I IILVSTRIS VITA EX PLVTARCHO GR^r'CO NVM PER. GVAR.INVM VERONENSEM VERSA . ?' ^m ^= iCIO-'lls' CVLTOR r ""qforteadhieU I -TgaThucydidt-, I ^— ■ riflnmcara acc'ir I arietate*copiafc < .-iimoarbitrrf;quo1 tuifrcptrhibttur : g cu Th uitate ac vehcmc tia f»ci!e t.,ji », T • ■ r f«pr? ft ferret :atPbd((li'! fudis & in^H fcriptons afp^rnaretunin his prxkitim qust ab dlis ornate cDpiofttp ^0 Li 1 1 1 m I i5i6-A VENEZIA M,D.XVJ ,87 ZTV ABUNOS: lEnrPAtlKnM eiBAl'ON TPl'rOM 5j> ■.■.jioif (f^ 77iMA/V Oqp TJiS id^c^Tntf ,K0 (i^og cuniii Kb ^'tozjtei.oj'&fCcpa AtTnT/f t^^ofTK ■yfiV, oy tfi tzwthv 0/^ nx/tS*i(fii'TUf»^,'T0ieu'TX'iiSi\i6-7ios'rr6i(!K, Sudhufxiov (^i\>fij^vuj ^.^^oy-noik'i^c^^Adv- V c!iKJiauiov i ■I '1ST ^01 IX to" iQvie •Aorffor^ctaf ccTiMVf K« '>g'f>\i^g, ( 7« TW^HC i5i6--B 1 88 L'ARTE DELLA STAMPA 0i«|?cmartcam5OifcipIinaru5amto:fe:IK>^bcnr!n \)0c voiumi i5i7-A VENEZIA M,D.XV1I 189 igo L'ARTE DELLA STAMPA > i i 1 S \ r^^^4i VENEZIA M.D. XVIII omiliario qua 4r^scfi«nak. i^ondaro t>e vcrbo ad t>crbum in Ic £piftolc 7 £uagcHi ft como coirono ogni Di fccondo lo oidmc &c la Ho^ manaii)iei'ia. '^ouamcncc 3mp:cflb. 191 15 18 -A 1 92 L'ARTE DELLA STAMPA ILMJ^V^^ rs^i^r^^^^ i5i8 VENEZIA M.D.X.VIII '93 NOTA ^TVTh:LEI.EC£N OKETINSTORIE .HESAP.ANOMESKAl SO) LOCHJ AVEKAt^JO VNO PAP.AFO DAVaN riCOMOOVIAPARf JHDESSGNO ^ol NOT A ^TVTELELECtN JotETlN^rORie ^onte d anovoche pivnonesta stan padeavbr^novna mandavanticho mo q vi apare IhlFlCVRA 1 pQ^ st>.; V^^ RIODE- SANCTl NOVAMENTE STAMPADO NOTA I'VTlPRINClPIDi^ LIBRlAVRRANOEr SVOFRISO KTLATA BVLASARAALIKCONl traordenada amo] DO DE CHALANO. RlOCOMOl'OTRAl, VEDERE 1 1 £ kota ^^CHEQ VESTA OK^v ^'^RA SARA PaRTJDA^, f/NQVATORDCSK LI/3R , 'PRIMODEI. ADVENTO DEL SIGNOR LI L>ODF XEMKSIOELAMQ ETLA ,SEP7 Va GIESIMA B Ferdinando Ongania Editore i5f8-B 194 L'ARTE DELLA STAMPA \/\ K%'. plNCOMINCIA EL TERCO LIBRO CHIA. MATO LEGENDAR[0 DISANCTI DE LE FfiSTE CHE OCHORERA PERTVTO EL MESE DE ZENARO.ET PRIMO DELLA CIR CONClSlONE DEL SlGNOR .CAP.XXI .B Vatro cofe fijno cfler folemne Si celebre el giorno della circonci fionc del fignor nop tro miffier.lefu chriC to. La prima fie loaua imperho rhe ai laquallc e ha loro uita ctci glicorpigloriofi per quel che la natiuita de la beata i qucila de.Ioanne baptiRa imperho chc quella gia fa- re che chome dice prep ofi roento come e la odtaua d( fuplimo quello che fado i lofficiodella parturiente u paflfato fi folca cantarc, Vi H^V I ff5' \^ ->o VENEZIA M^D.XVJII 195 PARTE DEL PROLOGO Xpediti oelit it&e occiucte in&a cl tempo is pat. tefcconacnefottocl tempo della [ccoodlunone .. .partt fottol .Tempo dflia pcrfgrinaticnc clqual conpo l3 chiefia tepicfenu dclla tutiuiu innnoalla ftptua. gcfima.Secjuia a uedtre dcllc fcfte cccurf ntt intra el tem- po del!.. dr"Atad i-4- + •+1 t \^^ ^tucanwrnonttt m c^. , , unorn, il^:). o jr r. V> I 5 30 -A VENEZIA M.D.XX 201 ^'!ti,. IIP: fei^ir^n I' fd) ;;. a^-M..v-g"j"'i'y'l A VLI FLAGI '0irfij ©atVTogriipbi Cliriirmu opiiy cn]cnci4rum . '5nrcrp:crnnn but^ Joanne 58ijptifta riMiuitio: Co:nu!roq5 ilM?ilofopl;)o:ciu0 Tl>:accepto:e:iiecnd 9o.iimc 26nwi«co :i3?M:iimo:nc '^nr rlpolomeo yoiino : virit^ erudiritrunis3:cuni (\m %urit^:'rvt{Uirimit? Bpomiiit^^nlu. per ililpl?i»betica :gI^*ibuU:iuipei appofiriirqimc omnia fdm v>igna niirifice conipkctiriir, >^ 2EMSS^ sacyyyggy?: > K^ U" ' K. S2SS^?^ Ferdinando Ongania Editorc iSao^S 202 L'ARTE DELLA STAMPA 3LOiimo:oro Couimooi Bait^ tcxow l^ addirioncrlBoua^ mcntcftkimparo. ^i^) j^-"i )/ P:J ^-^" io.a-NT-f^et-fr^brz:^ Vcnctiis per loanncm Antoiituni,5 ad i0mma0 Wrft adtfie / films 02€rtiad D meuB cotiut'go bodic ge/ noTtc^, laoarc frcnmcruc gen/ tc9:T popniiitied Jtad.rnnc mania* j^ ^lo2<3 patri % fiUo* i02anae i6tt6qti< \>mc facraritu ma nocrc / wri laininiie iUnftraociiiecIarefccrc: oaqttcfamnstPtcmae incie mvffcrta/ftiferracognoatmaeteiaeqaoqjgaudtje t'licelopcrfrnanmr* laoi tecum viaCt 7 regnar , 7C. Heaioepittolc bcaUpauti^poftolt'.Sldrirrim. cii* /^ ^ariflimc.^pparmi \Jl ftnVoibttsbomtniba gaiuc0ipi'ctatc/i fecnlar ia 7 pie pmamua in hoc koxV 7 adaentn ^loiie magni t)e )cpi.am tjedit femeri*pfn5 1 rer/abomniiniqtjifare:7 ir ceprabilem:rectaf 02em bo re 7ejcb02rare/in cbiido iel 03 ecti piindpia ^n Die virradd vrero /ante Incitcraj genni tc^ ocrtris mete:t)onec pona in^r-= I521-B 204 L'ARTE DELLA STAMPA VENEZIA M.D.XXI 205 i52i-C 206 L'ARTE DELLA STAMPA armomcei&uricc0 0 dbccaton \^^D^^ i5o3 VENEziA M.D. in; t>ecHto 217 He auemaito . gratia plena, , f ^ |^i!'4>..Ui;^^^l ^^i^^;/--'' ^K"***^ au'j tfctt;:; **»ft**i 3nt^ UJfo iout fan io oims cime (hs A0itCet mejio nonfuaUun n che ricenhi il iol» mio oime i'i! 5 pi -y, ^>r5. 1 ■■;r'A\ •(iK> '; 'lit '.if ^A f ■ ^/ »'* 1,; 'v,5 ^ ^- / -, y I! 11 I ' •iJi ^ '<5%fe(^!^*i:v<^ ^i!?'i'r J f*iy ^ x'T^.-^tr*^*:'" ■■•■ 228 '*?JtQ^^-i VENICE M.DCCC.XCV Venezia 1895. — Tipografia Emiliana. i i 1 >,A OS"/ Ounaviia-, r-«/ro^i/i«A« "CSOUTHFRWRC^irir... D 000 898 642 ; ' -If ILITY if ■