Arioste

Arioste — marelibri

Orlando Furioso di M. Lodovico Ariosto tutto ricorretto et di nuove figure adornato. Con le Annotationi di Girolamo Ruscelli. 1556. Complete with 46 Woodcuts

1556réf. c15-1-43ARIOSTO Lodovico. Orlando Furioso di M. Lodovico Ariosto tutto ricorretto et di nuove figure adornato. Al quale di nuovo sono aggiunte le Annotationi gli Avvertimenti & le Dichiarationi di Girolamo Ruscelli la Vita dell'Autore descritta dal Signor Giovambattista Pigna gli Scontri de' luoghi mutati dall'Autore doppo la sua prima impressione la Dichiaratione di tutte le favole il Vocabolario di tutte le parole oscure & altre cose utili & necessarie. In Venetia: Appresso Vincenzo Valgrisi nella bottega d'Erasmo 1556. Two parts in one volume quarto. First Valgrisi quarto edition and the first edition of Orlando Furioso to contain Girolamo Ruscelli's extensive editorial and interpretive apparatus. Valgrisi's 1556 edition represents an important development in the publication history of Ariosto's poem combining Ruscelli's revised text and explanatory material with a new and ambitious program of full-page illustration. Illustrations Complete with all 46 full-page woodcut illustrations one for each of Ariosto's 46 cantos. The large narrative woodcuts are surrounded by elaborate Renaissance borders incorporating figures putti grotesques armor trophies and ornamental motifs. Individual compositions employ perspective and simultaneous narrative to depict multiple episodes from a canto within a single image. The canto arguments argomenti appear within smaller decorative woodcut cartouches accompanied by historiated and ornamental initials. The 1556 Valgrisi edition introduced these full-page illustrations which proved influential and were reused in later Valgrisi editions. The attribution of the illustrations has varied. They have historically been associated with Dosso Dossi and Battista Dossi and have also been connected with Donato Bercelli; more recent scholarship cautions that they may instead represent the collaborative work of artists associated with Valgrisi's workshop. The elaborate main title page is enclosed within an architectural woodcut incorporating a portrait medallion of Ariosto allegorical and ornamental figures and Valgrisi's distinctive serpent-and-staff device with VIN CENT. The Valgrisi device appears again within the volume. Contents: In addition to Ariosto's poem the volume contains the extensive scholarly apparatus prepared by Girolamo Ruscelli who sought to clarify the complex narrative and language of Orlando Furioso. His contributions include explanatory and interpretive material annotations discussions of difficult passages and a vocabulary of less familiar or obscure words. Ruscelli also standardized aspects of Ariosto's spelling and grammar. The supplementary section has its own 1556 title page: Annotationi et Avvertimenti di Girolamo Ruscelli sopra i luoghi difficili et importanti del Furioso. Also present is the Vocabolario di tutte le parole che sono nel Furioso le quali potessero essere oscure together with other explanatory and critical material associated with the edition. The breadth of Ruscelli's apparatus—annotations explanations allegorical interpretations and glossary—was a distinctive feature of Valgrisi's new edition. Importantly this copy retains the concluding Tavola de' principii di tutte le stanze del Furioso raccolta da Meser Giovan Battista Rota Padovano an extensive alphabetical index to the opening lines of the stanzas. The Tavola continues through the alphabet to its final leaf which concludes "IL FINE." The separately issued final Tavola is sometimes absent from surviving copies of this edition. Condition: Early vellum binding with exposed lacing at the spine. Vellum shows considerable age-related wear including staining and soiling small holes and marks and worn and bumped corners and edges. Text-block edges stained blue. Internally scattered age toning foxing staining occasional fingerprints/handling marks and marginal wear. Several leaves have old or professional paper restoration and reinforcement primarily along the outer margins and edges; in places the repair extends to the border of a woodcut. The illustrated portions remain substantially intact and the complete suite of all 46 full-page canto woodcuts is present generally with strong and detailed impressions. The main 1556 title page has undergone extensive restoration and has been backed/laid down onto a supporting sheet the restoration being clearly visible from the verso. A later tissue guard has been inserted between the later portrait of Ariosto and the original title page. Additional professional paper repairs are present on some leaf edges and margins. An early handwritten bibliographical annotation in Italian appears on a preliminary leaf. Despite the restoration and age-related defects the volume retains the features of greatest importance to this edition: all 46 full-page canto woodcuts; the separate 1556 Ruscelli Annotationi et Avvertimenti section; the vocabulary and supplementary material; and Rota's concluding Tavola through the final "IL FINE" leaf. Vincenzo Valgrisi hardcover

Hill Country Books · États-Unis1 800,00 $US≈ 1 608,15 €

Ariosto M LodovicoBiblio.com

ORLANDO FURIOSO di M. Lodovico Ariosto tutto Ricorretto et di Nuove Figure Adornato

1603réf. 18663Venetia: Vencenzo Valgrifi 1603. A very early printing of the complete and corrected ORLANDO FURIOSO also with the Life of Ariosto by Battista Pigna. Letters tables and scholarly critical works by Ruscelli and others. Magnificently illustrated with 51 full-page woodcut engravings within ornate borders using the blocks from the first Valgrisi quarto edition of 1556 46 in the ORLANDO 5 additional in the appended “Cinque Canti” also with engraved architectural titlepage imprint set in type in a cartouche in the lower part of the border type ornament with the title medallion portrait of Ariosto from the Giolito portrait of 1542 from the profile by Titian devices of Ariosto and Valgrisi’s serpent device half titles and beautifully engraved decorated large head and tail pieces and large historiated and arabesqe capital initials printed in double column Italic. 4to full antique Italian vellum over stiff boards spine with terra-cotta morocco label lettered and decorated in gilt. 8 A - Z8; Aa - Vv8; ie xvi 654 32. A very handsome copy in proper period binding. The paper just likely mellowed and toned by time very occasionally headlines slightly shaved first gathering cropped a bit the vellum very well preserved sturdy and handsome. RARE AND EARLY ILLUSTRATED PRINTING OF ONE OF THE FOUR CORNERSTONES OF ITALIAN LITERATURE. Ariosto’s great cantos inspired by the crusades are considered his crowning achievement. Though first published in 1516 Ariosto considered this edition incomplete and imperfect. He continued to work on correcting and enlarging it throughout the remainder of his life thus the first “complete” ORLANDO FURIOSO was not produced till 1532 the year prior to the author’s death by consumption. The extraordinary merits of this work cast into oblivion the numberless romantic poetry which inundated Italy during this period. This flawless work powerful elegant and cultivated. In description and narrative he excites the reader’s deepest feelings and displays a vivacity of fancy with which no other poet can vie. ‘The ORLANDO blocks were cut for Valgrisi’s first quarto edition of 1556 and follow Niccolo Zoppino’s idea of providing one illustration to each canto but going far beyond the Zoppino blocks in skill of design and cutting. They are the first full-page illustrations for Ariosto. They were placed in the instructive tradition of the Marcolini Dante the illustration is mentioned on the title-page and at the beginning of Ruscelli’s 1556 dedication to Alfonso d’Este Duke of Ferrara. Ruscelli explains to the reader the application of the rules of perspective to the multiple scenes in these cuts. The upper part of the block often becomes a map offering as Philip Hofer notes a tour of the canto by hippogryph. Valgrisi’s artist often varied from Giolito’s in his choice of the principal scene for illustration and relegated the Giolito subjects to his background. Valgrisi’s blocks are printed within borders with figures and grotesques. He was able to use the same blocks without borders in an octavo of 1556 for the popular market. There are two different border designs for the illustrations and two smaller cherub borders for the “argomento” to each canto.’ Vencenzo Valgrifi hardcover

Buddenbrooks, Inc. · États-Unis4 675,00 $US≈ 4 176,72 €

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