EARLY VENETIAN PRINTING

ILLUSTRATED

EARLY

VENETIAN

PRINTING

ILLUSTRATED

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Vkmch: : FERD. ONGANIA — LoM.dv : JOHN C. NIMMO \p:\v Vonk: CHARLES SCRIBNER'S SONS M.DCCC.XCV.

THE PUBLISHER

RECALLING THE INSTRUCTION TO EXAMPLE

OF THE GLORIOUS PAST

DEDICATES THIS WORK TO THE

ILLUSTRIOUS MEMORY

OF

ALDUS MANUTIUS

This ■li.'ork ivas printed in Venice, and the following misprints have been noticed :

Dedication, /or "to" read "and."

Page 7, col. ii., 1. g-jo, for " deephy-regret without . . . assume " read " deeply regret without .... assume.'' ,, 8, col. ii., 1. 5, for "predecessor" read "predecessors." ,, 14, footnote/or "pubblished" read "published." „ iS, col. ii., 1. 14, for " whith her weel " read " with her

wheel." „ 19, col. i., 1. 34, for ■• tan " read " than." „ 24, 1. 26, for " ornamentes" read "ornaments." „ 218, col. i., 1. 5, for "gild" read "gilt."

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NOTE BY THE VENETIAN PUBLISHER

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T'il^' HISTORY OF THE ART OF PRINTING, studied in its most valuable examples, shojvs clearly how the work of the early printers took, from the very commencement^, a national and also a personal character. These are recogni- sed by the modern student in the special forms of type ivhich they employed, and in the character of the ornaments and vignettes with which they decorated their editions; xvhich thus formed, as it were, a species of art-work countersigned by the particular conditions of date, place and genius. Every early edition, with its i>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

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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.

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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.

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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

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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.

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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.

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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.

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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.

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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.

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VENEZIA M.CCCC.LXVIIII

33

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pnuatis conlilns munienai. iNam ilti duo uix lunt digni

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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; <irrcm

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Ferdinando Ot^ania Editorc .

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L'ARTE DELIA STAMPA

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VENEZIA M.CCCC.LXX

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ELTEMPO CHERIlsf>IOVA

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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

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L'ARTE DELLA STAMPA

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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&:.

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VENEZIA M.CCCC.LXXII

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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 ele<fti.Hat>eni 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

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L'ARTE DELLA STAMPA

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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

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VENEZIA M.CCCC.LXXIII

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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<io;iTti3Duob? dicit Smoa in qaii epfe ad Lucillu ipin,puocis ad pBiam. Si magmis cs 1 atboiv'S . fi tons es t leonc3.fi pulchfr es t pauoncs.fi ucto>: 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;[ia6liipfe<Ji6e naurinclinano 7 atfca*l4L~' B appat) e^cfcois en fiiofinculnmata.)iun<^oe rjauni'taimfqihcise nitutalis incitnano7 stfe<3us ad lUud p iio'oiun gicruoultiolini7,ppiioeo^adtalefincnatabt pienirecetidecat.7 H eft qCJ oiat boc.p Gr 3rola/- nonc.Ois moiuUu cum qua mvilnpliau ftucKo^ laboi ej:cccer oiuecib ^jdf n allc.poectit ad unajn tn teaiifudis hncm Hint pucn.ie.li p plnatbomo unitultiohniribiaDxopato.n.iuttim')fini9)x>is 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<p<i»t»nune fihoppbiam taietincm^cqni t in(>?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:natuteftto<iBtf,

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L'ARTE DELLA STAMPA

IDorm fuma que

magiftruo'a feu pi'fandla <>ulgaar 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.<J9 oif.qtfi ndem'. ^ .OwrlmesminoKsfnc te!ftiEr!a£5.pfalmtftat9.'7ledo2at9.e):o2ci $Var?.aco'uta!:9.2i.oif.detos.ecpfalniifta^ tus-r Icdoiat? ide (at ut pt colUgi cjc tex ■

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ni7g[ofaocf.c.cnorigat.^bbasafitcon' fecre jwtleSccani.oco.c.al Dtingac? .c. qfn ofeiquenr.T bolbanatu; g pcedit.T ftc tftos 0U08. di ad oidines no fit^dedu; pfaltfi.tite):ttat3ecle.pfal.pio.c.vno. 6 i joc etia pot elect^ i abbate fi eps oitferat eu bndice.extoefulple. ne.pla.lbruinnf j. TK . Ibi of .8i eps tettio en bumiTitate ac beuorioe ficut Duenit regfit^.abbatce bfi/ otcere foite cenueciceifdej abbante liceat <ppos monacbos bndice a alia que ad offt cm buiufinoi ptinet ejcercc.conec ipfi epi oiiritia fua recogitet7 abbates bndice no lecufent. E> .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

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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:<tV.(tpii fornin^ fci naMra impcditot: td DCtTc mmirr.c .idi;.':^(t. piifflu ciiidim cluctfcit C|UO Ham boiii.T.i .'fpiijiii? omni.i . undf loiidinliir !v( fe Piiittf ifl^o.'ui; iMicu.Luuc.v iurcir ! Ix-ji i l>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:DpoiROiiaf3<njm p:(ntipj.i.'bHuri ffOH 1 1 r4:ir.ro:!8 m-.titR ; T acnw uirtuiii; orlKUnicfr

»; smnrifrw.m . Tl.in pauc<v ucrp tiT Kiiukonodi r>pt

' 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

' <I(;c".ni iffi piito noil imcriro uir!udcr>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<ni:»:non unq? wnrum <;;£mplo:i!tm} i cp»

re crrciic a(pirantibiie in bet lu piodriTc nim fooina

''j luuiticmc na)U.'i]p mo!h» mncnlis afhmgai . lA/ri

, >■ 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<Ki!i-;i>>: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 uid<Uccf i pMcnce . lhi«1.n.cognmsfai1i'ic,tpfdir.ii!«iiniiiUiUif<pi/ nimu^ ipfam r^noncm ac uum sititt (onrtdc:ar: po/ rcituflcnBrbfloricepJolxmio. Bccunda u«:o ibfo/ rut comintbt! mnuij . y\ ftriia .'[nidcm qut piacnct fiilxfcnturftnalifl.hioMapptndi'iJocoin-mniqiiq?. Parftii auicm (w pift'i::(miiis i'u]U':!h'abo . dj plt:a^ Dnum qiicl^aorum non paruin xf&a s rciiquo, Cluas ti^iJidf ill ufq: in coiius i!oliiinini« rerminum ip 'arum bituiuni-' .illcgaiionu! ^ana conriniiap: natjrjli.. na incn ^dm: numciitbp. I'f^a poiiij; inuonnotiif iid liiafc rtigoi ifmi n p;"g<ndc fipinit . €cdtm quc<^ mcdo lc:n>i'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. <i"i fi quo ad ir.aitiiam ouptuiiiT ucl p;oiii o:dinatur III ccgi iiiun.ir.tiiiK ft na ucl cn-mancniijin.') fie no ri.i. CUiod fi quaiinij ad cflincno initndanir' «u! r» Ciont . nii'icif 1 lunc feprima : nd an:? fitq: coaua , Siuc:o M (mcin refaatnr ipfiuii^oennia coiifiirgb ip dt.Si auicm quanmsad ininnfcca !<up^i.'i(cr auqiio ad iKoaaniii'ra pacticimrT r-iiqiia.^f fir,iiidrr Ijf ficitnnt modus edc'ispoflet adap(ainquefiii!<:n> 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. Ttadu<iho.P.Candidi.

Impredum eft bocopus Venccijs per Bernardu pifto^* rem & Erbardum ratdolcdc Augufta una cum Petro loflcin dc Langenccn corrcftore ac fbdo. Laus Deo. .M.CCCC.LXXYif.

52

L'ARTE DELLA STAMPA

Conolanus Cepio Clandimo Uiro Matw An tonJo Mauroccno ccjuiu apud illuftnflimu du cem Burgundie Venetoru oraton fehcitacem

Vo m prsfcdus en re mis ad claf^ fern profiaicercr/quam fclidfii" mus imperaror VeneDa'^ Pctrus Mocenicus contra Otbomanum Turco^ prindpeduccbarrucbc menterrogaltt me /uc quieted m baccxpedinonc gcllum cfl'ec litccns mandarcm: affirmans ea te ApoUinisoraculo ueriorababicurum qu? a me fcripca forent. Igit uc cibi moregerereni qugab impcracoreMocenioo pquadncnniu geftal'unt annocaui.'Tantoenim tempore &ille imperiu gefTit/ & ego prstcclura fiinilus I'u m.Quappter opufculu m quo bjcfcripta funtDti mittorquod cu perlegens? no minus teegregias iniperatons uirtutes q magnificaipliusgeftaadmuatu^cer'' tu babeo: merito<^damn3bis eoru {ententii qui affirmare folenteftoetam eflTe nacuram: necpro- duccie tales uiros qualcs prilastemporibus ex ' titenJt:omni'a(^ mundo I'enelbcntc degencrafTe: q falfi fine ucl ex lx>c 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.Ke<y propsgct.

Imprcffum ert bocopufculum 'Venetijs jrvtr Bcrnardum pj'dorem & Erbarcium rardolc dc Augufta una cum PeUx? loflem de Lan/- gencen correiitore acfooo. Laus Deo. M.CCCC.LXXVII.

54

L'ARTE DELLA STAMPA

jir\\ ratradfTimipndpid^pe

<% omni ticttrt iiif coUott;' dt <^r.l eu pidtfMber pmu».E>c

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-i<lcrt gouralitf.

c pt ougofti. qr (^ buiw pn«)0(itf djtlit at5oaeati«rtfi.Un5 (jiflugeatfic^nwin mount ^iudBt« (ON igndiodf. til dittidiP

l.<oiaira.fi4propo(! turn rdfideffltur. uti

i([SjimaitiperOml

rttfltsj.qpscbfeftra dit3i(tbn9p3(le(t3.

aturadnitcleumim orejflods. nnnnnu iiAunu.? alithi da|:t 7 itUb dnw^.T qnaf toad nuclciidalcc o oern'mpwita T m nial iittulcK antiqaom ti bromamArUndinest itaiianturi.iiitcordte Bifinite. ^f durioK. 1/ Hilquefntc.ZdBcne (kiniquciqnibofiiat !am tocis quedi Ltte bent iaixSntf.i.t^( (im^-icnttnoc. tKbie (ilifiitu-rfaas.7inar littbce fentrttfls (afii ni«nase7^»()rc«r pftt. TRobis trajulic

(fj^tdM. nnde i^k dtntur tr«ki« l«0 cnnrte^itniit J*<i y>t c (T£fr[%ti7e^ bfa.i.qD dipC m mil . pit t»\lkf qiub fuent actot-.fi ne (dpOetDT.qr {ttlDe(anust<UHS 3iifim{. ut inRi. dtiloiui.f^ cfl ? «liitd.3tqQen{i)km.i.ot3 ittteraiBr^ antajoori prsdcn^. qBCmtmtto.i.aicoUigati&emactoeuuiitnD nolntne.Qeil^ff ptr fe patct.qr mitiort pediia pottrK.nuc emi 1^ ^- r qr aiitir iiifd pot q' aliXtti psiti pbiloibpbic titpptMatm- . ^ qde; erbice qr ds moribus tractdt boc uduinen. i;ruc AUaduc tiolumma. (ie ^vjlios.? lure ij-ica- -"iM^Kcrt fldiffoido* ^nul^^nolhit fablUntis luhs per drttiMonco qof diai

Hri 'ope ri<}«Diru prtue nof koy.6\k nomtn I'u v»9 dffccn

adt a tufh ■ aa apptiioir , ua at elcgatn*

Lclfus difKni* '^aseft ars bo ni *;eq<«a«>' 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^.? <f (Oat oy iffoptic dich.i- bca ftc: C.de bo-Que lib- i-co ^.i 9rf • « X.de rap. Btr;t.f. $ _ i^.n.tc.eadccerj) &5.ut.£iac«p.T.PoftU.r«.l.6. b^aittfiicfa.edoatfiiuflkisfKUta m»t!ie fa«.crgo^njsfiiH(tli fiiida q>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 <o«rtante.M b<K ncn p ^ partes iuro noa fttitt ditcor fed 6rt]^attc«. Uel tat aiiifidS.ndmau€torMin6ci):bomo.tu/lKted<a6.'Z e> ^ 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 7<qttu.«."j. fro tn»<.mmibomJ.'?non«q«oBtaftuapio.Bt,yie afa •2.y.<k rtg. w.tifft ftaturah'.ifl 8ia.eft{inFt{u eona j nt 7 m aic darit . 4ebu(t dtent tft tot^rni boaom cuiue cwa Ajiwrn. 7 iKud ril non bpntjtti . ui jC.d< pat. conum. J <ftijaC|uo tqtiiua.ut.y.df ftir.ri <tnitt»cdmBH(9.$.*-)di I ^«ftr' fiici' cUtts »J refrratw ad ms hei dfejii? nwiJ/ m«nispi'i!!iurimauitmnniu» -ipprUarifamim. tin

Jf^«fnU'rc3 qfut fflffrdotCB fan-a Tnjftrdi t ;>fi: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<cm'. fiijunra «b.? in 5cl&u» Pm >.

o^3ffirftu.iirm motnmon^f.ut Jde ntu iifipii. ftmrg-. p^Satepenar. nutnAtqittsbo nad.atitra&lac l^larata.uc.

Oqwmator.J} tc ub<cunq; pC8 aiuse cfi nictU9 malto;(:. ut. ^ hd.l.iar.repcX i.pfinio fit W ctX.proqiub? (.faui.propffli 0 libq-.acri. per

7 iina-l' atuir tutnm. rdc f« snofieUbcU'.l.i. t.j.adrHr.latl pe.^.fi.7rau(. dc noa ialt.f.fv coU'.q.i'ndeua fn6.0dmi5tpc cutt bom uirttti flmpf . Odcrttnt pacai mail for

q (Vn[nlafbr.na!i0 modo foiitmttr.nl ctmitg foptenba tid' ^Mofq4»a df.j.oinor fapinlie.jtpbitoa.qao dlaroor, 7 fopbio.HcJlfopienc's.uc.y.dejjaf.Teytraor. cog- la f.^ indc.lkttpaiinu r6 abtdamo^-ut-T-de a<.<.mD-{-ibono ribo6.^.pl«Io«bpbif>-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 <ft: fed ofujti mr»liu''qwi terra: que jcrio

M77-C

VENEZIA M.CCCC.LXXVII

iynrl-rrj Ciccadcr VenefiJ <:ukiO£Corre«ftionttaLluclicurno9n? diIigeii:;adci;.-unom uulguft a ixudc del CTsniporcutc Idio.e Jc^ beico fan Maic'.io proK<ftcr« nc' >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 '<J^ S«Sr^' ie bjtaiebudameote compimo; S^ordcnando

* ■—'■ la pace cu3 rafon lo flado de Ja noftr a pacria piu

honoreuflmenrc fubft-inema : Vnde tio» icuemo a lo adiuftono dc dio fi ii nofliri animi chc noi no fe fidcmo dc 'a poflaii^a noftra ne de ii nolln fideJi ma refcrimo ogni (peranja «]a prouidcria fola de la futua crinicade. Vnde Ii cleihti dc qufifto mondcJfotto una nuuola Si no proccdudu 6t intcrra la foa dijpof cioc e produdta* Ec per clie in le cofe non fc croua aicbuna cofa li ftudlofa como Ic uenerabile k^c per le quale cofe diuie &c hu^inc e dcttCc da Ic ne; ?< cu li foi dilcajjrnenti ogni m'»litia (e rcfrena, Eftimamo nccefa^ rio:utile;ponibilc;Si hocfto ad afFrcjarfc a ]a lor uw che per paura de elTe lo ardir humano fc refrcna &C enn^o lire in (ecura la inoccy cia U m quelle ne fe rcfreni lo porler de nofer per paurs de la pena per le quale le je fe rendera ecia dio a 3a (cuno foa ragioe . Recholie mo tuci ii noltri ftacuti fadi da iioi & da h noftri prcdccellon agro pudids ranca confulione che per la (oa indeUca compofirione dc obfcruatioc de ccrce cofe laffado ftar le alcrc (pe(To Ji noftn ^udefi uacilaua. Per laqualcofa noi lacomo nepolo per la dio gratia dofe dc uenefia fopra copofition & reformatio de li nodri flatuti.fefleo c5uocarc li nobih&idifcreti hoi.Pantalonluftmianopieuaode fa polo rTho.io moccigo: Zuae michicle SiStefano badoer;Li qlicu fidclcadc giogiando piufo r ccfc i lo noftrocoune i reformation 8^ itado de qilo la (oa {chjata concinuo uicne aci^fuda : Aliquali nci comeceCTimo cctifidado chc lecondo la lor florida prouif oe elli do ueffe quelli corregei^: fchiar3re;coponere8t far tuto qllo che ellico gnofccfcno bifogaoala prefctc opera p puidecia di quali habudo

■v^>

'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 \'<x • Finis .

Fenifle Ii Ibtati & ordeni de uenefia ftapadi pet magiftrb philipe

de piero adi xxiiii de a pfile M cccc Lxxvii

"-' %Jk^

VENEZIA

M.CCCC.LXXVIII

57

jOiidmiductiuiii )tii' iioimnc iiitiocato. "f^fahaii o:do in if a rirum quctn nunc romana fcruat ecclefia indpir. aooiiurucapnmapoftoctaiia epipb.i nieufqi ad fcptudgdimaj : 1 a kalendio octobu'a ulq? id aduemiu fubfcripra in uitatozia fingnla fingulia ooniim'ds) Die bus dicimtur : ira umen tf (i oponucrif ulrimuin iqjctatiir.

Jnintatojiutnpjinmm.'HIcnitc ctnltcrn'' Domino: iubikm'oeo falutarimo. po. T^ic ocaipcmui?. '^nuitatOHii fecundurruT^a: ocaipcniup tiaricm oomim: z I pfalmie iubilc mueri. pf. tSmitc . "^InuiraroJium tcrriu. t^uonii ocuii magn'' oominue: •z rcy magn' fupcroniiico oroo. ps. 13ciutt.5muraroa urn qiurtiini.^fn maim tuaoomiiic'omiKC fince tarc.pe.yUnitc. ^nuttatojiu ^..tu5. "idautt adoKmue oominum : qui feat no3. P9. "^autt. 5nuit3toau5 fcyium . ©omi num qui feat noe'.acitc adoxm'. po.'^cnitc ifeoinmica p:imapoftoaaua cpipbaic. 3fnuitafo;iu5.X3cnite eiultcmus oomino: iubilmi' oco falutan ni^o.piJ. ')|ba:ocajpcm''. Sbocrauacpipbanie ufqjad Pomiiu' cam pzimaifi qaadragefimc : z a kalcti' (i die octobiiaufcp ad aducm oomimfc uo dicimn "Sd nocrumuj. iR^^^dicp omniay. quomundua qiatcondi tutjruclquo refurge^coR ditoz:no0fnoac uicta libc ret ][> 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*

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Ferdinando Ongania Editore .

•478 -A

58

L'ARTE DELLA STAMPA

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§^

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

<l^iblia ipielTa fi^enerfe opera atqs impefa IRico lai^cufon Pallid i

(C^xcccljCjcijc*

I

'4 79-/\

VENEZIA M.CCCC.LXXX

t-.-darifflitji isdigiofl fratrte ' otUoiagineozdinte ^dii^iiU cr

^«l» fentid vice oeciirfue in qiisituo] oJOingiiif -f*

tempuo txiii Atcis:renoaa{6i8 fiuc rtuotario

nwTCconoiiaroisrTPcrcgrinofoto.JCempue

0£niat6to fttii ab iSdom podqg .f. a reo cent

auiiTT nurauir 'fftgad IDorfcttfit illud tem

pus rqmtat ecdia a feptoa jeBma vftig ad i:>vi

fcfoa-Uii t tunc tegif Kber gend)8:in quo po/ '

nitnr oeniatio pmozu parentum .Xpe ren<y

nationie flue rcuocatois inopit a "iX^oyfcx

cnrauitTfQjadnatiiiiratcortinfi Jdatbi*

T''<n QUO botes per opbetii 3d Tidem mioca riiantttwMMisvK^jii unro i|m rcinu^i ii.vK«

obadnftnpnivfcB^ natiui(at££bh(li . ni

tutkle^^i^ai-vtHoebac rcnoiucideapcrte

agtf.T^rcconcflutoiseft Uladtn qc>Cf>: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-

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«gefima.£f pot D 9cc(pf qGrupIcj:r<T<>2 fm

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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

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1480-A

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L'ARTE DELLA STAMPA

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l»^ST

1481 -A

V.ENEZIA M.CCCC.LXXXI

63

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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.<iit.obijcuiiif. Uivmbumc n.1 onus grandr fiibtrc p:ocuraui ad vtilirate ftudcrc voicn ttuin in aurco v^>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<p.ii'raft.SedWjiiiox occnmi (ym claritaf c no opponcrc ,pcaraauiL multoiiee ignoO per ijjnoiiud z abler ^ Dcbeaiue^naitce. coet! id quod

Mat ibicro.q) Wno iiicbiu.-u qui (criptans aim uiMli^ c^ fc babetrariLw.rt Icsitur.ipmi.oi.nno . £t Dint beaf Clemcne <r n roipuine non Dcbcmue qucrot fenrum ex innaur.iled tx iplio fcriptuns oebamis faifum copac 9e ciOiiauacaineQ'vbiquiovvasidicenifaUaz funulataoe dind:.n.e.Di.idatuJii. Jtdeotuinnunmofludtoi laboie ipfoaim noftrom patrum anuquom t modcniop rcuolu^ tMlomina fentcntiae teitualce. ncenon gtofarii comonium Dcdanuiona).riipplctiom;s.necnaaiodoras DifTicoltatco clicat pKXuraui.tnuaiiq3 reddciid quod foam dt vit-q-ij. (umocnotifl'unafcmuii.x l-vcfignaaddiiioriU} iglofaru} in lx)c opulailo DcmonnibuiiLSat fi que gioldic feu rcmif fioiico fine orto figno coperianto.'' m co quod boudiccnt ox> 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 \<aitati8 me duUa cuius eaniica finipliatas conhnct Sitcom'' ergop:ici pib noftro lil pfaw Virgo 2l2)3na cm piiopio.mcdio.atq} finiaJTiti^finita'SScffuancari' 3cl'ud)a(li. £ftoteergo memoie8b6elbtis\xflntmaaliqtioi>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

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'482-B

66 L'ARTE DELLA STAMPA

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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

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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

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72

L'ARTE DELLA STAMPA

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1482-A

VENEZIA M.CCCC.LXXXV

73

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'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? i3<m pnickotem*

xa9xeris.par.itn0 fed.pa>egoiflac

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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&degnaateuKJ^|>;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.

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• 486 -A

76

L'ARTE DELLA STAMPA

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VENEZIA M.CCCC.LXXXVII

77

'4 87 -A

78

L'ARTE DELLA STAMPA

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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'qtiopadoc<dlocarcpofraJ>lam liotrxroagnificenuaanmn cuivquincnnifi cLinnima

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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

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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

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1 488 -A

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L'ARTE DELLA STAMPA

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Fcrdinando Ongania Editorc

1 490 -A

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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

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CR.ONICHE CHE TRACT ANO DE LA OK.I

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MARE E TERRA FACTE IN 1TALL\:

DALMACIA. GRECIAj E CONTRA

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PER LO EXCELENTISIMO ME

SERE MARCO ANTONIO S A

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CON GRATIA

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M\(fi\cCccm\dnm mo:em imac IRoman^ jEcdefic

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1491 -A

VENEZIA MXCCC.XCl

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Fmlnctame'itodellaattade RomarSc'

muitala ceiza dell.i feciinda bactaglia

|Catth^giaefe. Cap. I.

NQ_VE/

fta parte de la miaope'- rae licico a medipaila te fpotaiiea menicpro/ mettedoql' lo chela ma got parte dcllitcripco

n hanno promefTo nel ptincipio di tut fa la fnmma dc lopera loro:doe che io raiueio de una guetra maximamentc degna dimemoria intra tutteleakre Ac mai fiaao Urate per tempo althuno Laqiule Hanibale ducade Caichagi

nefi hebbe col populo Romaro •- Im/ perho che njji non combattelono in' ttaloro akbune cittade:ogente piu uilide &; fbite d^ tichezze:ne a quelle medefime fii mai tanto de uittu o for- sa dato:quanto a quefte:lequale non cobatceu^itra loro ignoratemcte ma fcprecopjreuioalic battagliacoquel le arte prouate neli^ pria guetra Cat thaginefe.Et fuo tanco uaria la fotrj. ■ dellaguerra&dubiofalabactagliaiclS piu uicini fuotoalpeticologli uincito CI che gli altri.Coftoro anchota cobat' (etono piu qaafi pet magioc odio (he fotre luno contra iaitro: fdepnjnSofj gli Romani-^eli umfti fpotaneamc' tepottaiTenolatmc contra gli uincito ri.Ktli Carthaginefi aedendocbeco fupetbia& auaramente fopra loro: cB eianouinfti fufleufatcdeRomanilo imperio.Anchota e fama che Haniba' ie in eude qua/i dc noue aunt dlcndo

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1493-A

VENEZIA M.CCCC.XCril

93

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L'ARTE DELLA STAMPA

CANTALYGII EPIGR.AMMATVM LIBER. AD PC-- LYDOR.VM TYBERTVM CAESENATEM EQ_VirEM COMITBMQ.VE.

CANTALYaVSPOLYDOROSVO.S.P,

Apinius (latius neaf Icquiciim mi polydor tauitjan filuas fuas c< rumcgkhcbaide feftii uoluraen congrcgata

1493 -B

VENEZIA M.CCCC.XClII

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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

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99

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3 qmtita a^agnanimo t)ttca

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IncomincUd p:ologo» _

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VENEZIA M.CCCC.XCIV

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TOR.ISDEVHRIS NARR.ATIONIBVSPR.O OEMIVM.

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A bbnmo nari-ato iiou (bisrrcrc In uita del porta Sc el ritolo del Jibro & cB cofa fia poc fj.Ma cdamquaiito fia uemfta Aantidia HW.j quantonobilc&: naria:quar& utile & ioco.j daraldodnna. Quantofia cfiiacea moueie Ihunia na mentisSf quantodilefti ogni liber ale ingcgiro. Nc giiidicamodataccreqnantoinfidiuina difciplina fia itatala cxceilentia dello ingcgno del noftto pocC3.Ii> 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

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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&

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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<ito prime neJ cuj principio lauftore,phenji2a ala fcquete cati' f3:&foi!o neloeIcmcntodelfocho& beacriceibkieallaudorcunaqncftionenelqaale canto lauftore pic mcttc ditrafiare delecofediuineinuocandolafcientiapoeticaicioe Apollo die difapientia.

Erche conic habbiamo dimoftro nela prima caticatutciepoctilieroici diuido x-ajic»^i\ nolopetaiotte partis hitppofitione. in/ Ui^SSy uocationeA nawationc.Qucfti t^uatio ternarii cotengono la j)ponrione ne laqualc brieue mete la materia di tutta lopra che e ttaAare del fup/ no regno non ftcondo fua natura.petchc qfto tra' fcende noftiointclleao.ma qu.iro potecompfeder fua mente & compreib mandare ala menioria.Et p che la propofitibne & inuoratione Ibno in luogho diprocmioobferuaqinqllochec^prio del proe' mio:deIquale ql fia lofficio.petche affai apta mete di mollramo nel principio del lofi'tno: no mafFatiche to in difcriuere qiiajfieno Ic parti di qllo.ma dichia rerocome a! ptefcnteel poeta lobfcrua.Capta att£ tionedimoftta"do haucrcadirccora fialtacnetottc ?altregli fono logamere& fanzacoperationeinfai ori:perchen6 ecoperatione dalintinirpalfinitdJ. da dio ale creature.Capia beniuoletia dala perfona fna dimoftf ado cB la fatica fua jltlo fcriuctc ha efle le molto utile agli altti.Captadodlita pche brieue mete dimoftra cjHo di che pet tutta la catica trafteta i.dei rcrjnoetetno.LA Glofia.Benche fama&glo/ ria a nioifi painoquafiqiiel medefimo. Nictedimc no fjr.ia c notitia molto fr equcte dalchni^a chofa.

A gloria ^\ colui che tutto moue per luniuerfo pcnetra fiCrifplcnde in una parte piu 6C meno altroue.

Finedilcoraenro di Chriftoforo Landino Fiorcntlno fopra la Comedia di Dithepoeta cxccilcntilSmo reuilh&tttiendatadJligc'terectep^t eircuercdo macilro PjcrodaFiginomaefiro inrhcologia " ic predicatorc del or dine dc minori & ha pofto niolte cofc in diucrfi luoghi che ha trooato n<2C to comcrtcUa giofa. ImprcfTain Vcnetiapct Pieiodezuanncdi quarengiida paUxago bergamalco. M»CCCC.LXXXXVn.Adi.XI. oduotio.

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PROOEMIVM.

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LIM tibi hos libellos Mauort dccus noftnim;cciitu5j mc elTc protnifera. Vepi me diu in con fiatiauerecunderctardauir: & ab ifto fcribcndi ftudio dubia tirpidatio irie rcuocauit.Cum fragilitasingmiimei nihil fe fcire talc poflc conciperet: qcf dtgnum fore mis auribusiudi ^ caret Nam cum ei(cs in cam-^ paniae proutnci« fafcibus coltitutusrruius tc adminiftratio nismeritum maxima honoris dignitateaobilitat; occurri tibi rigorchyemaIiumpruinarum:&piolixt itinerisdiueifi t3teconfcdus:illictu]angumtis & tatigari corporis mei fe nlumenixuses:8(:fidis; SdrfligiofilTimis amiciri« rclcuare fomcntjs. Cum itacp ad priftin um ftatum me folatiis ac me delis tuis fanitas rf ftituta reuocalTet ; recolcntes inuicem pri ftinos a(5tus:& ad memoriam reuocantes:honeftas & uari - as fermonum fabulas ferebamus-Pofteao dc talibus ac de|) ccffrbus noftris cxjnfabujati fumus; fcmratus nic es[(icat me minifti)torius SiciJiae ricum:qaam incolo:&undc oriun^

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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,

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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

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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<lTANSERP£T^SET EGO/NEOyAQ.SEDHERCVLEOAVSVJMMOLARVA LI FVRIA RlNGlBVxNlDA EO IPSO STIPI T . CON VERSO IMPETV CADAVERILAPSO CIRCINATAM INBESTL AMEAMFERIOATO.NECO.QVIDTVMPVELLAFAC TVRAERAMPERDQ-AET EMORTVA.-'MEVM CHR Y- fanr. & bellua xnci keleris teftes fcapulii fopiefios i urb.efFeio & lie ob- noxia euadere fufpinis-cordolio & laduymis idetide irrorant.fuggdhi quend.ifoiopubl.afcedo,acfufpiruldipal<irefado,caretLiarim auiuco cujlu ad crudelc ci Luil'um fped.tixaruic.caturn mifeiater nurat.fomina icul'anruenere dana't.tcftor I'celui mcu numina itet.iiioco. egia ergo m- quies me una cumeo chrvfat.paen-danira fufdpite.nuc ciripai we raihi oem adffera,rt dcfperata publico oium alpedtu arieptc gjadpcd" traff. ij eiufcficadaOeiehicmcithcmurumulofcpeliudadedi mifemma.Vale.

VENEZIA M.CCCC.LXXXXIX

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LA MVLTITVDINE DEGLI AMANTI GIOVENI,ET DILLEDIVE AMOKOSE PVELLE LANYMPHA APOLI PHILOFACVNDAMENTE DECHIAKA, CHIFyRO** NaET COMEDAGLI DII AMATE/ET GLI CHORI DE GLIDIVI VATIC ANTANTI VIDE.

LCVNOMAIDITANTOINDEFESSOELO quio aptamentefeaccommodarebbejche glf diuini ar chani difcrtando copiofo 8c picnamcnte porefle euade re & ufcirC'Et exprclTamente nairarc,&cum quanto di ua pompa.indenncnti Triumphi.pcicrinc gloria, fcfti ualsritia,dcfoeLcempudio,circaa cjuefte quarro iuifi tatefeiugedememorando fpedaminecum parole fufficiememcntecx^ primere ualeflfe. Oltragli inclyti adolcfcentuli &c ftipanteagmine di inu* ^ mere&periiicunde Nymphe.piu chela tenereciadegli annifuiellcpm- dente & graue & aftutule cum gli acccptifljmi ainanti de pubefccntc

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Laxide&U forma deldido qlcelprimo.malctabcllccfaodicyanco Saphyro orientale.atomato defcintilliiledorc ,aliairugica gratiflimo, & fongo accepdirimo acupidinc neila finiftra maao .

Nclla tabella dextramirai exfcalpto unainiigtie Matroa che

dui oui hauca parturito,iQ iino cubilc regio colloca

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MOSISS. QVlDINSANISfAT AMANS VIVE- BAS.PROFECTOCVMNOXIEAMA- RECOEPERAM ADVLESCENS SPRETO AMORIS M VNERE ABN V IT CONTABVI.MORTE RAPTA

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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 <tf.« Jfapcifrf oottritu i>eUe to^e chefeguiUn

1 5 1 2 -A

VENEZIA M.D.XIl

179

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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/

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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

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PELIMVS

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mmm^m&mmmA

AMBROSILLEONIS.IN.LIBELLOS.DENOLA. PATR.IA.AD.ENP.ICVM.VR> 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

cum<rnta;mores:nomcn;facrctaces:clomos:at4;alimi

xibusCraul fe bcnignam atqp fuauem oflrndrnfimt*!

fecum coniunxitjut fiqui'd facto df (floue fiue alii fiu(

bencmercntcsn'd omne aeque ac nobis ipfis accefleri|

fummopere gaudcamus.Eamftbrein combufta diru i|

ma Fu.Caraillus ardeti aio:cura;fo!icitudine ab iter '■

rauitjadauxit. AlfonfusiteRex Aragoneus fccunc

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yi»ii!nj3jiimi]j|ti»?i^llil8^1HiH»i»^^^«i»lll

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^I eiJderrcfop2alanuat)clicarboni.

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VENEZIA M.D.XV

1 85

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Fcrdinando Ongania Editore

iS6

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CNICl^ VIR.I IILVSTRIS VITA EX PLVTARCHO GR^r'CO NVM PER. GVAR.INVM VERONENSEM VERSA .

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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

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de lialtri fancli folemne fen quanto magiormenrefara moL

to piu folemne lodauo di del fancfro di (andli ma cj pare che

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la natiuita fua tendeua ala

ha lo<f>aua imperho rhe ai

laquallc e ha loro uita ctci

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fuplimo quello che fado i

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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"<itione elqual tempo incomicioad.AdatnK CO UDUO liinoa.lvloyfcac lachieJia reptefcta qudlo tempo d» iarepn'sceiimainfinoapafcha: ^,

DE LA SEPTVAGESIMA ^

Jgnifica b Icptuagt luuad tempo delta dciuanonc. Lalexa, gdima tigiuhcbacl UmpodcUa uiduati one Sigoitica la qui qua gclima cl tempo deila remiUioDcLa, quadngdima . 5L I goitica cl tempo del u ipiritual pcmten, tia .tacomiciafi adtL que la icptuagcfi. ma da qucUa domi. mcha oclaqualfeca ta.Me circcndano:* c.Et fitiiffe clfabbato dapoila pafcha Per treragicnefu inftituita la.Sepiuagcfuna ccrticfi tioua tielb fumma del <^cio di maoftro.joahnc bilcih cioc per smcrcdelLiredrouioneiielaqual crdJuoionolipatti chcfe. prefe bauefleper gionio(oloniii*.& ctltbre:laquinia fena « he e el gieuedi per la uenf tationc del giorno de la fantilf ma Afctfiene nelqualgicicocflo ncfiro.^iguw.lcJu.ChriHo effrtidodellanaiurBnoflra falialicicli&lu J ubiimato fcpra li angeliei cbcri K in tallegictno iionfuflc cbfciuaio el iciu, mo eflrodo cuellogiorno nella primitiuaebiefiaequalmmte

Ui

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VENEZIA M,D. XVIII

'97

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ft^mpacocontretio^

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Cyriflfb £mmco l^oflal mcnteSSt^mparo con

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j0Si(la{e "Romanu nouitct ip<c uf,

en annotationibus m marginc

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2.0 L'ARTE DELLA STAMPA

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EL TERZO LIBRO DE I MADRIGALI

OIARCHADELT.ETDI ALTRI ECCELLENTISSJMi

Auberi.Con la^ionm iea'.tHm t-Uirigali a Voti mmettitllijjsmu

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LIBRO TER20

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IN VENETIA NELLA STAMPA D'ANTONIO GARDANB

NE L'ANNO DEL SICNORE M. D. XXXIX MEL MESE DI MAZO CON PRIV!LBGIO

thtntjjiifio po(jafl<mptr ntftr jlsrnfar ditte operenetltroueilampau^olftmeejjirt teniwt nt'^niutt qui ntinaitro hugo it qutfto llii^riffmo iommo (on ptna ii ptriirt mttt I'eptrt (srpagtr ducaii, too, udamt uolla che ft troutramo it iiae opert toft qMlliflampaJftnp o coniHttJjino e uero Mnieffena Uqiulpttia i i* effir iUi ft iiutii fo.t larftiul iiu. so. tUiujaior iuuti, loo, alt Signori it notte ftrfttr talt txttutjotu*

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I

BINDINGS

For the ben- efit of indust- rial art, we have collected together in these pages some speci- mens of bind- ings belong- ing to print- ed books and manuscripts of the 15th and l6th centuries. These bind- ings, although they were the product of an age famous for the art, were for a long time altogether ne- glected. But in reality they form a class by themselves, and fill a noble page in our artistic history, notwithstanding their comparative insignificance. Even in ancient times we find traces of the binding of books. Among the Greeks and Romans the roll of papyrus upon which the characters were traced was enclosed in a case, frequently made of valuable wood, with the title of the document or work on the outside. It was only at the period of decline that the leaves of papyrus and parchment were pla- ced one upon the other and fastened together on one side, covered with thin slips of wood joined together, and decorated with ivory carv- ings, plates of gold, leather, or other material; thus provoking the complaints of St. Jerome who lamented the custom of clothing volumes in gems while the poor were going naked. But even at that period leather was the material most frequently employed for the binding of books. The hide of the o.\, stag and other ani- mals was used, and, in general, dyed red or black, and burnished with a sjjccial tool. The binder arranged the sheets in order, beat them, stitched them, and re-stitched them together into the back, turning the ends upon bands of lea- ther, which thus formed a relief, which is found in most of the old bindings and in all the mo- dern ones. He then cut two small boards, slightly larger than the volume in its present form with its margins cut, and placed them on the two sides. At first the back was covered with plain

leather, leaving the wood bare, but at a later pe- riod, by turning over the leather, the entire sur- face of the boards was likewise covered. One or two metal clasps served to keep the book closed.

In the fourteenth and fifteenth centuries the leather drawn over the boards was ornamented with blind tooling, executed with iron or wood- en, implements and reproducing stars, lilies or ornaments, either sunk or in relief, according to the tool employed and the character of the pe- riod in which they were executed. During the Renaissance, when books were greatly multi- plied, and when, in their arrangement in libra- ries, they began to be placed on the edge instead of on the side, these ornaments also appeared on the back of the book.

The metal clasps of which at first there were only one or two, constantly increased in number in consequence of the tendency of par- chment to give way and roll up. These clasps fastened on with hinges, or with bands of leath- er and ribands, which went round the volume, were made of iron, brass, silver or gold; in the last case they were often adorned with pearls and precious stones, and at the same time velvet was substituted for leather. Special punches were used to impress various kinds of ornaments on the brass clasps, such as small figures, shields, initials and sacred legends in infinite number. The angles and centres of the bindings were of- ten decorated with plates of the same metals sim- ilarly stamped, sometimes in high relief These were occasionally replaced by large bosses or- namented with stars, grotesques, lilies or large roses.

Binding however is an art, of which the utility is perfectly evident. The student therefore" experiences a genuine satisfaction when be suc- ceds in possessing the works of his favourite author secured in a handsome binding, thus ho- nouring them with a species of veneration.

This feeling appears clearly in the splend- our of the bindings of books executed at the revival of the arts. Although the use of the pre- cious metals was continued for the ornamenta- tion of books intended for divine service or for princes, the bibliophiles of the renaissance gener- ally knew how to obtain from leather real master- pieces worthy to stand beside those of more noble material 11). With respect to the leather jtself, it was prepared in the East and in Spain

(1) The plates which illustrate this article reproduce some bindings from the R. I'iiblioteca di S. Marco and from the Museo Civico of Venice.

218

for use in wall decoration ; was stamped, pain- ted and splendidly gilt, and then brought into Italy for use in the houses of the wealthy.

It appears that Venice was the first city in which the ciioj d' oro (,gild leather) was pro- duced in imitation of the East and of Spain; and it is easy to believe it, if the extensive commerce of the Venetians with the Levant be taken into consideration. The East, a master in work of this kind, bound its sacred books in richly orna- mented leather. Thence came, doubtless, the idea of decorating Italian bindings in like manner with gold and colours ; and thence, later on, the marvellous pro- ductions of the French.

Then began the addition of ornaments in gold tooling to the leather which had hitherto been simply blind- tooled, and the forms became more elegant by the use of the piccoli ferri or fine tools, combined together with mu- ch skill. Besides this the lea- ther was also covered with shields and emblems, to which the work of the painter was frequently added. After the models produced by Al- dus Manutius and his Italian contemporaries, Jean Grolier, the French bibliophile, caus- ed those wonderful bindings to be executed, which are now the greatest prizes of collectors.

As years went on, the taste for the richness of polychrome decorations increased. This con- tinuous imitation of the East helped to perfect the methods of binding. Leather was dyed black and then boiled, in order to soften it, and afterwards worked a fer chaud, in very low relief, leaving the ground dotted; and brilliance was then given to the whole by the use of certain varnishes or of albumen. This method was also applied to coffers, boxes, bucklers, powder-flasks, scabbards and a quantity of objects which have survived as genuine works of art.

The binding of a book in gilded leather continued to take a more singular and pictur- esque appearance as the sixteenth century advan- ced. The leather was soaked and pressed with special moulds, or worked with geometric de- signs in relief, so as to form, as it were, the re- production of an incrusted ceiling. In this case the surface of the leather, after being prepared

with plaster, was smoothed and burnished; then it was painted in the most brilliant hues of red and green, upon which flowerets and mazes in the oriental style were finally traced. So conspicu- ous is the oriental character even in these pro- ductions that the East must be regarded as the first producer of all these elegant and exquisite models of art.

The method of stamping also became mod- ified in the course of time. The leather some- times only served for the back of the book, or, when carefully engraved, formed the reliefs of the incrustations, a ground- work of mother of pearl being placed beneath it.

This work is justly called alia Ve)ie:;iana, seeing that it was constantly used in Ven- ice during the sixteenth cen- tury for the bindings of the most important documents of the Republic and of the statutes of her artistic and religious corporations.

Such bindings belong to a period, of art, already suffi- ciently magnificent, in which another kind of binding was brought to perfection, name- ly that a pelits fers, which arose at the end of the fif- teenth century, and acquired great renown in Italy and France during the first half of the sixteenth. The leather, coming for the most part from the East, was prepared with a variety of dyes, and stretched with great care upon thecover of wood or cardboard; then the little iron punches or tools, reproducing thousands upon thousands of ornamental designs, impressed them in gold upon it, so that the cavities being thus filled with gold leaf, the work might resemble a goldsmith' s. Bands and small pieces of coloured leather were frequently applied, and were worked in va- rious fashions, giving to the binding all the ap- pearance of an enamelled plate.

In these works of art which retain their characteristics even in the early years of the seven, teenth century, are reproduced the bold lines- spirals and cartouches of the debased style, which led shortly to a decadence of the binder's noble art. Only for a brief moment, at the dawn of the seventeenth century, during the reigns of Louis XIV and XV ditl it appear to wake up again, and strive to renew its ancient triumphs.

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