Petrarque

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PETRARQUE [Francesco PETRARCA]Biblio.com

Il petrarcha con l'espositione di M. Giovanni Andrea Gesualdo

1553rif. 81681In Vinegia Venice: Apresso Gabriel Giolito de Ferrari 1553. Fine. Apresso Gabriel Giolito de Ferrari In Vinegia Venice 1553 15.30 x 22.50 cm relié Third edition of Giovanni Andrea Gesualdos commentary on Petrarchs Canzoniere and Trionfi following the editions of 1533 and 1541 issued by the Nicolini da Sabbio printed in Venice in 1553 by Gabriele Giolito de Ferrari and his brothers. The Canzoniere printed in italic type and divided into two parts is set within an expansive page layout dominated by Gesualdos commentary. The Trionfi form a separate second part with their own title page and distinct dedication. Each part bears Giolitos phoenix device with the motto Semper eadem and the initials G.G.F.; the general title page is further decorated with portraits of Laura and Petrarch flanking an architectural portico. Numerous historiated initials. A woodcut map of Vaucluse closely associated with Petrarchs periods of retreat and with his poetic imagination appears among the preliminary matter. Each of the six Trionfi is preceded by an engraved vignette. 19th-century Italian binding circa 1840 in half cherry-red morocco-grained shagreen over red cloth boards. Spine with four flat false bands decorated with three tools and blind compartments rolls over the bands and broad blind fillets; gilt initials CG in one compartment. Some rubbing and staining to the boards. Engraved title cropped close with small losses at the corners and outer margin. Pale yellow dampstaining to the margins of the first five preliminary leaves and to two leaves of the Life of Petrarch. Gathering 553 detached. From leaves 647 to 657 the outer margin is nibbled away by approximately 1 cm progressively diminishing. Scattered light foxing; overall relatively fresh particularly through the text of the Canzoniere with somewhat heavier though still pale foxing towards the end. An early manuscript ownership inscription partly cancelled appears at the foot of the general title page: Ex Libris V.I.D. . Iacobi Praeconij olim. This early provenance has not yet been securely identified. The preliminary matter includes a stylistic analysis together with lives of Petrarch and Laura. Gesualdos commentary belongs to an exegetical tradition already strongly shaped by Alessandro Vellutello whose own commentary first appeared in 1525. Eight years later Gesualdo offered a broad and learned reading of Petrarchs text informed by classical learning and ranging widely across questions of language style history and interpretation. The 1553 edition is particularly notable for placing its two principal parts under two distinct forms of female patronage. The Canzoniere is dedicated to Maria di Cardona Marchioness of Padula and Countess of Avellino an important figure in Neapolitan aristocratic and literary circles. The Trionfi meanwhile are dedicated to Susanna Gonzaga Countess of Collesano. This second dedication appears to go beyond conventional homage: the preliminary texts suggest that Susanna Gonzaga may have played a direct role in commissioning or encouraging the commentary on the Trionfi. The very structure of the volume therefore reflects two networks of female patronage involved in the reception of Petrarch in 16th-century Italy. Far from serving merely as prestigious names at the head of the book Maria di Cardona and Susanna Gonzaga each place one part of Gesualdos commentary within an aristocratic culture in which poetry scholarship and patronage were closely intertwined. With its rich critical and visual apparatus and above all its double dedication dividing the Canzoniere and Trionfi between two prominent women of the Italian nobility this Giolito edition offers a particularly revealing witness to the ways in which Petrarch was read interpreted and reshaped within the learned and aristocratic networks of the Renaissance. Apresso Gabriel Giolito de Ferrari hardcover

Rare Books Le Feu Follet - Edition-Originale.com · Francia2875,00 €

Petrarca FrancescoBiblio.com

IL PETRARCA CON L’ESPOSITIONE DI M. ALESSANDRO VELLUTELLO e Con Molte Altre Utilissime Cose n Diversi Luoghi di Quella Nuovamente da Lui Aggiunte

1528rif. 32165Venegia: Maestro Bernardino de Vidali 1528. A very early Edition of the Vellutello Petrarca. With fine heraldic ownership label. Illustrated with the rare two page view of the Valchiusa. This copy with the Babylonian Sonnets 165 ff not censored and still included in the text. Rare thus. 4to mm. 190 x 140 handsomely bound in fine full vellum of the period. 11ff 185 ff 51 ff Del Triumpho pp. A contemporarily bound copy in a pleasing state of preservation generally crisp and clean throughout some interesting notes in very early hands to the pastedowns a few here and there in the margins of the text-block interesting notes concerning prohibition to the leaves that contain the Babylonian verses the back sometime strengthened the vellum binding strong and in good order. A FINE AND VERY EARLY PRINTING OF THE VELLUTELLO PETRARCA. The volume was dedicated to Carlo Grotta Chancellor to Cardinal Cristofor Madruzzo Principe Vescovo of Trent and organizer of the Council of Trent. This edition of Petrarca with the commentary of Vellutello is considered the most important. Especially important is the celebrated commentary on the Canzoniere out of the edition of 1525. Also important is the biography of the poet. This copy contains the Babylonian Sonnets which were generally censored and seldom included in copies of Petrarca's writings. These Babylonian sonnets a group of three poems that criticized the Avignon Papacy were initially banned because they were included in a prohibited Protestant work. In 1557 Pier Paolo Vergerio wrote Alcuni importanti luochi an attack against the Church that emphasized those three sonnets from Petrarch. Many clerics denounced the greed and corruption of the Avignon papacy. In the 1340s Petrarch wrote “I am living in the Babylon of the West” comparing Avignon to the biblical city of vice and corruption. He went on to condemn the habits of prelates who feasted at “licentious banquets” and rode white horses “decked in gold fed on gold and soon to be shod in gold if the Lord does not check this slavish luxury” Petrarch in Tuchman p. 29. His disgust found fuller expression in several sonnets among them Sonnet 138 which he addressed to the papal court at Avignon: “O foundry of deceits cruel prison where good dies and evil is / created and nourished a hell for the living: it will be a great / miracle if Christ does not finally show his anger against you” The Canzoniere poetic “songbook” is also known as the Rime Sparse “scattered rhymes”. The work is a series of erotic poems that Petrarch wrote in the Italian vernacular about his love for the mysterious beauty “Laura” whom he first encountered on April 6 1327 at the church of St. Clare. Apparently in 1348 Laura and Cardinal Colonna both succumbed to the Black Death the bubonic plague that was ravaging Europe. Petrarch himself escaped the plague though he recorded these devastating personal losses in the Canzoniere; Laura’s death in particular shaped the resolution of the sequence of poems. Tiring of Church politics Petrarch left Avignon in 1353 and spent his remaining years in various Italian provinces. He continued work on the Canzoniere sorting and arranging its poems until his death in 1374. Although Petrarch was best known among contemporaries for his Latin writings his vernacular works especially the Canzoniere are now regarded as his masterpieces. His exploration of the emotional states of love yearning and spiritual aspiration in this work would have a major influence on future generations of poets. Maestro Bernardino de Vidali hardcover

Buddenbrooks, Inc. · Stati Uniti3575,00 USD≈ 3199,96 €

Petrarca FrancescoBiblio.com

LE RIME DI FRANCESCO PETRARCA Sonetti Canzoni Ballate Sestine Madrigala

1819rif. 32220Padova: Nella Tipografia del Seminario 1819-1820. 2 volumes. The especially handsome folio edition of Petrarca and Marsand. This Copy on Large and Grand paper the best of the editions. Volume I with the very fine portraits beautifully engraved on copper by Raffaello Morghen and Mauro Gandolfi. The text in a fine and handsome Bodoniesque typography. Two engraved plates showing a view of Valchiusa engraved by Federico Lose the other showing a facsimile of the celebrated words of the poet handwritten on the Virgilian manuscript and another five plates depicting landscapes and the monument of Petrarca. Folio 33 by 23 cm very handsomely bound in full dark green grained morocco the spines with raised bands ruled in gilt the compartments with gilt panels formed by concentric squares tooled in gilt lettered in gilt in two compartments the covers and turnovers multi-ruled in gilt at the borders dark green endleaves all edges gilt. lix 375; 2 444 pp. A very regal and handsome set the bindings elegant with some unobtrusive age mellowing to the vellum and textured cloth the leather labels a bit rubbed. Internally both volumes are sound and sturdy the hinges fine and tight. The text with some light spotting to which the paper is prone this copy less than is typical and always quite mild. ONE OF THE FINEST PRINTINGS OF THE GREAT ITALIAN POET THIS REMINISCENT OF THE GREAT BODONI PRINTINGS The work is a connoisseur's and bibliophile's treasure printed in a small number of copies on large paper. Published with the valuable work and study of Antonio Marsand and the true reference edition for all later publications. Notable for its refinement and typographic elegance comparable to Bodoni's editions and for the scrupulous attention paid to the critical analysis of texts. At the end of the book a rich and accurate bibliography of all the previous editions of Pertrarca's works. One of the "great triumvirate" of Italian poets Francesco Petrarch's sonnets were admired and imitated throughout Europe during the Renaissance and they served as the model for nearly all later Western lyrical poetry. He was also the first true reviver of learning in Medieval Europe. He was a great student of the classical works-- histories poetry law and orations and he included in his studies many ancient books and manuscripts that the medieval period had ignored for nearly a millennium. He also closely followed the politics and learning of his own age. It was with Petrarca that the ancient and the modern eras met together and a new stadium for the Human spirit that which we are wont to style Renaissance was opened. Many have stated that the book is as beautiful as a Bodoni printing. Brunet IV 556. Graesse V 229. Marsand p. 126. Hortis 232. Fiske p. 125. Bellini "storia della tipografica del Seminario di Padova Nella Tipografia del Seminario hardcover

Buddenbrooks, Inc. · Stati Uniti3850,00 USD≈ 3446,12 €

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