Early Venetian Printing Illustrated

EARLY VENETIAN PRINTING ILLUSTRATED EARLY VENETIAN PRINTING ILLUSTRATED Aldvspsvs-Manvtnsi^ i ?^i.;,?r'j| ^Vl^''V:lfcLflVw'•^-'•^' v^lli'lfiJ^<!-^ri^•;^j''^''''^. Vkmch: : FERD. ONGANIA \p:\v Vonk: — LoM.dv : JOHN C. NIMMO CHARLES SCRIBNER'S SONS M.DCCC.XCV. : THE PUBLISHER RECALLING THE INSTRUCTION TO EXAMPLE OF THE GLORIOUS PAST WORK TO THE DEDICATES THIS ILLUSTRIOUS MEMORY OF ALDUS MANUTIUS This ivas printed in Venice, li.'ork and the following misprints have been noticed Dedication, /or Page 7, col. "to" 1. assume " ,, 8, col. read "and." g-jo, for " deephy-regret without read " deeply regret without .... assume.'' ii., ii., 1. . 5, . . for "predecessor" read "predecessors." footnote/or "pubblished" read "published." ,, 14, „ iS, col. ii., 1. 14, for " whith her weel " read " with her wheel." „ 19, col. „ 24, 1. i., 1. • tan " read " than." 34, for 26, for " „ 218, col. i., 1. 5, ornamentes" read "ornaments." for "gild" read "gilt." , 8 national character. It is now a general custom among publisher to introduce vigjtettes, often more or less artistic, but la- models. On the other hand, the craftsmen of the present day cannot be compelled to ken from foreign works, the blocks being acquired at third or fourth hand and at a low price, sometimes even by weight, to order spare them the trouble of illustrations nal books. Hence new and make to sion of style, want of harmony in the xvork and general debasement of the ty- pographical art jphich our early printers held in such have there not been in Italy who in preference to their mere personal interests have studied the dignity and ad- to the public may serve as a pattern a book which to the printer and as a document to the student; a Authors who have written on the Venetian Press. FuLiN R. — Documenti per servire delta Tipograjia Venezia, 1882. alia storia ^iaiia — Veiie- — La stampa in — Castellani C. Ve- necia, dalla sua origine alia morte \'enezia, diAldo Manu^io, seniore. F. Ongania, 1889. — Etude sur les li- vres a figures venitiens de la fin du publishers libraries in study the work of their great preOur present intention is to tneetthis want,by offering origi- Due DE RivoLi high esteem. researches in decessor. for their arise confu- How many special XV Steele du commencement du et — Paris, 1889-90. Idem — Bibliograpliie XVI. des livres a Steele et XV du du commencement du XVI, figures venitiens de la fin I46(j-i325 — Paris, 1892. Horatio Brown Printing Press. — The Venetian An Historical Study. book which may help to renew the beauty of typography by collecting by trustworthy methods of reproduction examples of the founts, ornaments and vignettes xvhich adorned the most highly priced ancient books. We begin with the origin of printing in Italy and take Venice as the first Such a publication new and original will gratify and assist those city. entirely vancement of London, 1S91. and have maintained it Arte Italiana Decorativa e Indupag. 84 — Venezia, striale - Anno printers among us who love with on an equal footing F. Ongania, 1891. their art, and those intellithe other arts of design. bibliophiles who are students of the gent craftsmen, those old works The noble of artistic industries, the ancient glory of particularly of the Venetians, supplied maItaly. The low price of the book, considermonographs historical ofFuterialfor the ing the importance and value of the malin, Castellani, the Due de Rivoli, Brown and others, which are valuable for study terial, will enable it to be widely diffused, and to produce those fruits which the but almost useless for practical purposes, The history of the art of printing cannot publisher predicts and which the Art of Printing has a right to expect in a period serve as a model to printers, except when it is amply furnished jvith specimens of of culture and tearing such as this, Ferd. Ongania. ancient work to be used as patterns and the printer's art, I, ^ — of The Publisher begs to give notice that his principal object being to exhibit the decorative portion N. B. the pages, a few capital letters printed books, he has considered it convenient to add for the completion of some of printer. and ornaments from works of secondary importance, but of the same period and by the same 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 ^ into VePRINTING WAS introduced the year by John of Speyer, in 1469, and the first book which he printed was the Epistola' ad familiares of nice Cicero: « Primus Urbe he says in Adriaca formis impressit aenis libros Spira genitus de gente Joliannes, » at the end of same year 1469 John this edition. In the of Speyer published the Storia naturale of Pliny, in a great volume, a stupendous typographi(i) and a second edition of the Epistolce ad familiares. He then began to print the work of S. Augustine De Civitate Dei, but was unable to complete it, as he died suddenly at the end of that year. His brother Windeiin having finished and published this work in 1470, recorded in the colophon how death had cut short his brother's work, and announced his own succession, adding that he was not inferior to his brother in the art and that he had taken up his residence folio cal work Vindelimux adest iusdem frater Non The 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 Nicholas Jenson of Sommecelebrated voire(Champagne)andCristopher Valdarfer of Ratisbon. Jenson, a master in one of the French Mints (i) by applying the art of engraving coins to that of cutting : in Venice. « 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 principes, as of the Latins: Virgil, Sallust, Martial, Quintus Curtius, Priscian, Cicero De naiura deoriim and De officiis; of the Italians: 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- et arte minor, hadriacaque morabilur urbe. press of Vindelinus (2) was most active; in the year 1470 alone he publish(il The Councillors who signed the privilege granted 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. types, formed a character known as round Roman, not very unlike that used by John and Windeiin of Speyer, but sornewhat more regular and elegant, such, in fact, (I) It is not certain whether of Tours or of Paris. 10 as became commonly regarded as the finest character of its kind ever used by any printer of any nation. In 1470 Jenson issued four editions: Eusebii prcepavatio evangelica ; Rhetoricorum libri ad Herennium ; Justini Epitomatci; Ciceronis Epistolce ad Atticum (\)\ editions considered as so many masterpieces of the printer's art. He also cut Gothic type, especially for works of Canon law, the first printed being the Codex Decretorum 1474, a large folio volume of 389 leaves; and this type was so fine that it was generally imitated, by other print- both in Italy and abroad, being called the Venetian or greater Gothic. For ers, these things Jenson was deservedly proclaimed, 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 Venice 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 celebrated 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 Colonia 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 the edition of the Decor about which there was so much discussion among bibliographers of the last century, it is now generally admitted that an X is missing in the date, and that, consequently, the edition must be ascribed to the year 1471. ul Perhaps more because he had printed many ecclesiastical books and works of Canon Law, than for the excellence of his typographical productions. (3' Several editions even of 1481 and 1482, and therefore posterior to his death, bear in their colophons: a Industria 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, equivalent to 56,5oo Italian lire. Prceparatio evangelica. puellarum with date As to MCCCCLXI, 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 printers 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 partnership 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 Alanutius; above all especially to for his Aldus celebrated editions of the Greek classics. Born in 1450 in the little district of Bassiano near Velletri (i) instructed in Greek and Latin first in Rome by Gasparo Veronese and Do- mizio Calderino, then in Ferrara by Battista Guarini; he came to Venice in 1489 with the intention of establishing a printing office to be chiefly devoted to the publication 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 the Hero and Leander of Musaeus 1494 and the Galeomioinachia, another poem attributed to Theodorus Prodromus; books which were, as he said in the Greek preface to Musaeus, the precursors of the great sages of Greece (2). Indeed, in 1495 appeared 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, Alberto 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 Junior, who was himself a printer as his father Paulus Manutius, 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 (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 knowledge of the scholar: assisted however by a band of learned Italian and foreign humanists, 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 ers time is seen that slanting character called chancery and afterwards cursive or italic, cast by Francesco da Bologna, 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 affirms in the preface, from the author's own manuscript; and that of the Divina comedia, i5o2, the first edition in a small size the former editions having been all in folio ornamented with the anchor, the first which he — — typographical device which he had recently 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 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 is Bracci ot Brisighella (Brachius Brasichelwith others an ^sop in Greek and Latin. The edition of the Eiymologicon Magnum issued in lensis) printed in partnership 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 volume, 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 typography, movable metal types for printing figured 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 privilege from the Signoria for his invention (25 May 1498). A few years after (i5oii5o2) the first music prmted by the new method appeared and consisted of: Canti B inimero cinquauta ; Harmonicce musiOdhecaion. Thereupon several other Venetian printers began to print music: Lucantonio Giunta, Ottaviano and Girolamo 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 celebrated printer and an admired writer, in a request to the senate (i July i536) drawn up to obtain a privilege for printing music, wrote: « It is about thirty years since the time of Ottaviano da Fossombrone, ces who printed music in the form in which 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, letters are printed, and have been unable privilege was granted to to do so. « The him for ten was: Intabo- (i), and his first issue latura di Liiito di Alesser Francesco di years and therefore they are to be attributed to 1494. See Renouard Atwales de I'lmprimerie des Aides, 1834, p. 258. (1) The fount of^ the character cut for Aldus and in this edition of the Aristotle, had really also served for the editions of the two poems published in the preceding 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 illustrata. Bassani 1806. Panizzi in his pamphlet, Chi era Francesco da |3 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. used Milano Veneiia per Francesco Marcolini, 1 536. But while Marcolini was renewing the art of Petrucci for printing music, the French printer Antoine Gardane came to (i) The request with the subsequent concession of the privilege was published for the first time in the work already quoted Castellani, La stampa in Venecia, p. 83, etc. : 12 Venice and founded a printing office which most celebrated and rapidly became of musical works in productive most the all Italy. He likewise obtained from the Signona a privilege for ten years (i). On the 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 Rizzardo 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 introduced, 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 characters used by the printers of the first decade after the introduction of printing : 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- John arid tituent parts of the book, the excellence of the paper, the symmetrical composition 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 and ornamented with foliated initials, ornaments and borders, and lastly with vignettes illustrating the text. From 1476 onwards 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 Gardano, musico francese, sia concesso quanto per la supplicatione 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 printing 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 ornaments, borders or cornices, in architectural or fantastic designs, printed on a black or white ground or coloured in red. The first to use woodcuts as decorations 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 Dalmata, Petri Mocenici Imperatoris gestoriun libri tres ; both these editions have an arabesque border on the first page, designed with great taste and finely engraved. In 1480 there appeared from the press of Ratdolt (no longer in partnership with Bernard Pictor) the Fasciculus temporum of the Carthusian Werner Rolewink it has some views of cities and buildings, among which is the ducal palace; in 1482 came the Poet icon Astronofnicon of Hyginus wherein appeared, perhaps for the first time in Italy, polychro: tolerably well-founded opinion that RatBernard 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 engraving in the Fifteenth Century London 1888, p. 66, En(i) It is a dolt's partner, 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 Florentine Jacopo Publicio; Oratorice artis epitomata, Ars memorice, Ars epistolandi, published in 1482. The Ars memorice has a curious alphabet, 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 squares, 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 decoration of books (i). Somewhat The (2). first custom of was illu- intro- specimen of this deto books or of corative art as applied The Due de Rivoli in his important and valuable livres afignres venitiens p.XXllI etc. decoration the of books begin with John of Speyer, that is to say in the very year of the introduction of printing, and adduces as a proof the Pliny of 1469, which, he says, is adorned with a woodcut border on the first page. (i) work, Bibliographie des makes And still earlier Delaborde (le Vicomte Henri Delaborde La gravure en Italic avant Marc Antoine, i452-i5o5, Pa1882: forming part of the Bibliotlieqiie internationale 252) had placed the origin ot Venetian woodcutting 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 Marciana 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.), ris de I'art, p. 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 engravings. » 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 acknowledge that this printer was the true initiator of the decoration 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. o. c. p. 63 etc. Due de Rivoli o. c. Rivoli et Charles Ephrussi, Notes sur les Xylographes Vcnitien du 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 Century illustrated with Engravings », p. 3i3, etc. (2) V. passim ; Lippmann, Due de deca (Capo di Casa) da Parma, » 1489, This precious book contains eleven woodcuts 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, engraved, it would seem, by the same hands as the woodcuts of the Devote mcditaitoni. These two books were, so to say, the precursors of one of greater artistic importance, the Italian Bible of Nicola Malermi (a monk of S. Matteo di Murano, born in 1422), printed in 1495 by Giovanni Ragazo for the publishing house of Lucantonio 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 delicacy, and almost all of them finely engraved (i). In like manner the first page of the Sphaera miindi of Sacrobosco (John ; later the strating the text with vignettes duced these illustrated editions is found in the Devote meditaiioni di S. Boiiai'eiilura, « Stampate in Venetia per Mathio di co- of er, Holy wood) 1490, by an unknown printbut « mandato et expensis Octav. Scoti Modoetiensis, » has the first leaf occupied by a square in which Astronomy is represented 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 Lorenzo 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 is composed in the same as the picture of St. Lawrence by Gentile Bellini, painted for the church of S. Maria dell'Orto, afterwards S. Cristoforo (now in the Academy, corridor n.° i3). It is an engraving in simple outline of im- an acolyte; and manner posing eflfect. The same brothers De Gre- goriis published the Latin Herodotus in 1494. The first page has a magnificent pillared cornice printed in white relief upon a black ground; in the upper part, besides XV Many of these vignettes are signed with a small in other later engravings almost continuously for about a century, and it has not yet been possible to give any definite interpretation of it. (i) b, a signature which recurs • M initial letter delicately arabesqued, Herodotus is seen seated at a table, while Apollo is placing a crown of laurel upon his head. This is perhaps the finest example of decorative art applied to books in the that period. Not less noteworthy however is the Ovid of 1497, (a translation of the Metainorf hoses hy G\o\anni d\ Bonsignore Italian of Citia di Castello), printed by Giovanni Rosso upon commission for Lucantonio a small folio volume illustrated 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). Giunta. It is The brothers De Gregoriis already frequently mentioned - who were, indeed, at the end of the fifteenth and beginning of the sixteenth century the great producers of illustrated books - published in 1495, in a folio volume, the Italian version of the work of the German physician, Johann Ketham, (then resident at Padua) entitled 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 Catherina Inipresso in Venetia per Mathio di codeca MCCCCLXXXIII a di XVII de maio », shows on its first page Saint Catherine 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 illustrated 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: « Veneiiis 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 following 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 principal 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 videlicet Donati Guidonis et Calp/iurtiii, » a large square with laurel, in is which Terence, crowned under a canopy in sitting the centre of a pillared hall; six commentators stand at the sides, that is to say besides the three already mentioned, Ascensio and Servio and a sixth who is unknown. 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 intercalated with small woodcut vignettes. The Legende de sancti Cnmposte per rererendissimo padre frale Jacobo Voragine del ordine de /rati predicatori arcivescovo 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 el in 1494, by Matteo Codeca, on commission for the publishing house of Giunta, and are all ornamented with engravings similar to those of Malermi's Bible. The kindred work: « Vita di sancti padri /lisloriata, 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 martyrdoms. In 149 the Dii'ina commedia if 1 was produced an illustrated and Matteo was ornamented with a large in Venice in edition by Bernardino Benali da Parma ; it i5 plate to each cantica and a vignette to each canto. These engravings were reproduced in many later editions. For instance in that of 1497 " Impressa in Venetia per Piero de Zuanne di quarengii da palazago bergamasco. » The first illustrated Venetian 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 Florentine edition by Botticelli. An edition still more remarkable followed 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. illustration of books reached its highest point in the Ipnerotomachia di Polifilo, 1499 (V supra p. 7) And truly the But the numerous engravings which adorn this book mark the highest point to which the 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 engravings, combined with perfect typographical 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 sixteenth century engraving as applied to the illustration of books took a new form. art of 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 discovered a method, » he said « of printing 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 period in which a large number of breviaries, 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 period the kindred production of Horce or Livres d'heiires formed a special branch of industry in Paris. the decorations of these Venetian impressions are generally according to the Chiaroscuro method, of which Ugo da Carpi declared himself the inventor. Several of these engravings bear the name of Hugo, but many others that of Giovanni Andrea (Zoan Andrea), to which the signature Z. A. cor- Now responds, and which perhaps denotes Giovanni Andrea Vavassori, called Guadagnino or Vadagnino (2). This Giovanni Andrea published in 1 5 6 Opera nova contemplatipa per ogni fidel Christiana^ on the system of the ancient xylographic prints. It contains the 1 : Old and New wood-engravings and the textual explanations are likewise engraved it is in short a kind of Biblia pauperum, similar to that which was so frequently produced before the invention of printing (V. Cicognara Catalogo ragionato di opere d'arte, vol. I, n. 1992). He pubseries of the events in the Testament in ; lished further La conversione di S. Maria 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 Madalena is et la pita resting are the words drea de Vavasori ». : « And Sovan this is (sic) An- perhaps (i) The author of the famous colossal view of Venice. Lippmann (o. c. p. i36) believes that in general the desnumerous engravings which adorn Venetian igner of the 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 conjectured 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. (i) v. Fui.iN, Document! per servire alia storia delta tipografia Venc^iana, Ext. from the Arch, veneto, t. .XXIII 1882) p. log etc. p. I. (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, further: Due de Rivoli et Charles Ephrussi, Zoan Andrea et ses liomonymes , Ext. from the Gazette des Beaux Arts 1891. i6 the only place in which Giovanni Andrea reveals his name. Later on in conjunction with his brother Florio, he printed aFormidario di lettere amorose. The names of Zoan Andrea and Ugo da Carpi are also found in some spellmg books and books the Thesauro de opera iniagliata da Ugo da Carpi of calligraphy, scrittori, (i523) and e. in the g. in Regola di S. Benedetto, stampata in Venetia per Maistro Andrea de Rota de Leucho, i525, avente Fimagine di S. Benedetto. » Benedetto Bordone, who styled himself « miniator, » published in i528 at the house of Nicolo Zoppino the Libro nel quale, si ragioua di tutte le isole del mondo; reprinted in i532 with the title Isoa 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, generally, when it was not limited to the monogram, reproduced the sign of the bookseller's shop; thus that of Bernadino Benali 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 represents S. Nicholas. Very fine indeed is that of Bernardino Vercellese, which stands in the middle of the first page of his edition of the Enneadi del Sabellico, 1 504. ; Carlo Castellani. ^ PRINTERS' MARKS. The the first phon were printer's first by stating September 1480 its in of almost to all of this society was John any printing was Johann Herbert of emblem of and name his « ap- Exactum seen for the first time in the edi- by other printers, not only of Venice but the other cities of Italy, from that time up about the middle of the following century. The head colophons even after he was dead: is John de Colonia and partners, recurs mark therefore remain the distinctive chief printer (2). its The mark which tions of the firm of in editions issued editions of Jenson, (who died life Seligenstadt. Jenson entered the society pears in press. the in by a society of printers establislied published in 1481 de Colonia and in tlieir colo- own their mark appeared Venice towards the close of the in Venice have no mark; at satisfied work proceeded from that the The books printed earliest printers "> office, but became, as were, the general it the typographic art, to the greater ornamenta- tion of the books, (i). As a matter of fact the early print- looked upon themselves as artists; and the beauty of ers' insigne ac praeclarum hoc opus ductu et auspitiis Joannis their type de Colonia, Nicolai Jenson, Sociorumque. of their books rendered them worthy of such a tem operis artifex extitit summus . . huiusce au- hoc arte magister in did not It of that firm or of and the symmetrical arrangement of every part they sometimes adorned the first As title. pages with ornaments or Johannes de Selgenstat alemannus... Anno vero millesimo borders, and introduced initials remarkable fortheir exquis- CCCLX.WI ite phon to the nonas Aprilis; tertia » appears in the colo- Rosarium Decretorum of Guido neath the colophon is the mark, which simplicity and elegance; it is di Baysi. Be- of remarkable consists of a white circle on a engravings, and as they gave account of their colophons drawn up by eminent work verse, either Latin or Italian according to the language of the printed text, mark (2) were desirous that so likewise they red ground crossed in the middle with a horizontal line graceful from which present itself to the reader at the end of the book. an upright bar cut above the rises two transverse form lines so as to a circle by double cross; a white point appears in the lower part of the circle. (Vide facsimile p. 45). It is not clear a mark can have But the if artistically from the beginning that mark was adopted as common emblem of the elapsed before it printer's art, only a short time became appropriated to certain printers and publishers by the insertion of their initials. standing for the terrestrial globe, and being sur- de Torresani and Bartolomeo de Blavis, who mounted by two crosses, the mark was the symbol of the partnership a designed and coloured should explanation seems to be that the signified; the obvious circle what such in writers, frequently in m 1483, used that mark Andrea printed in in their editions of Christian world and of the rule of Christianity over the that year, but added their joint initials in the segments of universe the circle. The same was done by almost the other printers and publishers. But later on (3). all mark Printer's marks are to be found reproduced chief(I ly in the following works. Rothscholtz, Tltesaurtis symbolarum ataue, emblematum, id est iiisif^nia typof^raplio- the rum ac bipliopolanim, Norimbergae heart-shaped or oval. lost its the Arrivabene primitive simplicity : and by the circle indeed I 1730, fo 1. ; Orlandi, Origine c pt-ogrcssi delta .itampa. Bologna 1722, (p. 228 etc); Tosi, Facsimile di alcune imprese di stampatori italiani, Milano i838; Ris-Paquot, Dictionnatre encyclopedique des marques et monogrammes, Paris (1890), Vol. II, predominated, but To dual by work that burg, 1893. fol. took various forms, principally the mark which was means of the was Marks of initials, entirely restricted this the kind which emblem became printing in general, or which 4to. But upon this question of printers' marks the chief to be consulted is that of Paul Kristellcr. /J(> italicnischen Buchdnicker und Verleger^eichen bis t555. Sirass- the it there to the we may of the art distinct and was added jof indivi- later one printer or publisher. call personal, consist V. Castellani, La Stampa in Venecia dalla sua origine alia Mortc di Aldo Manuzin Seniore. Venezia, Ongania, 1889; in which is shewn tlie exact period of .lenson's death and his will is quoted in extenso. mark Delalain (Inventairc des Marques d'im(3) 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 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 |2| Farnetica il books in this manner under its protection. This idea corresponds 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 productions under the protection of a privilege from the authorities of the place where the book was printed; though they sometimes added the Pope's privilege as well. before removing to which John de Colonia made use '!of this which he had issued in Germany Italy, and, in that case, it would have seems that for the editions (r) It it contained. In general the colophons were made by the correctors for the press who were always selected from among the good writers. (2) Antonio Cornazzano, Raffaele Zovenzoni, Nicola Ognibene called il Leoniceno, and other important learned and literary men of the period, were correctors for the press. i8 monogram, cither of a the often artistically engraved, or of their native city, or of a design symbolic of arms of their personal mark the of Florence; Lichtenstein of Cologne lily used the imperial eagle, and Benedetto Fontana a fountain. And a it we know by these marks that is book even when name his is the publisher of not mentioned in the colo- phon. The printers usually introduced their names with the words dio, » per n arte et industria, o » « industria stu- et « : iussu, » « impendio, is who then own mark or of the publisher, method of adding or bookshop. Giunta caused the city, (for it his Many of to be the ad instanza, n « But sometimes the colophon name first we known recourse to the the sign of his house editions which Lucantonio executed by the various printers of was only had a press in later years that he or the last page of the volume, and Calcedonio of Pesaro number iderable the mark, which is is by this own fifteenth adopted Jerome as mons ofS. Bernard nardino Benali ; kind are found rolamo. they are known, however, by and mentions his sign, Impresse « » is da Portese, S.Catherine whith her weel castle of the Paganini, mark Aldus Manutius the Elder, with the dolphin and the legend Antonio da Sabio and sani, a brother, a his Dragon their mark an or image which of this kind who adopted — « festina was I be- the anchor lente ; « mean- nus, S. John the Baptist; of Antonio Zanchi of Bergamo nis of Portese, S. Printers, Bergamo; and of Bartolomeo de Za- Bartholomew. who at first printed on their own account, on commission either in process of time printed only united in the words above described, it same time with firmness and reflec- by the anchor), both qualities being « festina lente. was customary (2). Besides the marks to use the emblems or signs of the office, warehouse or shop, where the book could tinued at the same time to he publishers, or, in other a printing establishment of two marks, the one typographic mark, and the other that of their placing the former on the first page and the Dociimcnti per servire alia storia della tJie Arclnvio Veneto, t. X.XIII, part". I. 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 Titus, Vespasian, and Domitian. Aldus himself, when dedicating the Sfcra di Proclo (1499I to the princes of Carpi, said: 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 (I) \'. 1 c( 1 Fli.in, Venc^iana /torn a general own office, latter at the end of the volume. This was done by Giovanni Battista mouse successors, who, while they do not fail to a cat with end the book with the ordinary typographic mark, place their is is her mouth; and by Giorgio Rusconi and his in to say, S. George, on the own sign, that page and below the first title. But, in general, from the beginning of the sixteenth century, it began to be the custom sign from the last page to the tipografia who con- than the work of the printer. But those printers a — (represented for shew publishers or booksellers; then the marks served to and Melchiorre Sessa, whose particular mark desirable to act with rapidity, (represented by the dolphin), but at the of Torre- ; da Trino, S. Bernard; of Giovanni da Trino, alias Tacui- work, tion An- tower; of Bernardino de' Ferrari, called Stagnino ing thereby that in order to obtain good results from one's it is an elephant tony the Hermit; of the Rusconi, S. George; of Giovanni their own, frequently put lieve ; of Filippo Pincio da Caneto of Mantua, S. ; words the publishers who had a that of the Flo- ; S. Peter; of Battista de Pederzoni of Brescia, might represent the sentiment or principle which governed who adopted Justice is the Phoenix; of Lorenzo Lorio and guided their work. first Venetia per Ber- in the share which others had taken in the edition rather an angel. Some printers and editors adopted as emblem or svmbol, that is to say, a figure The Ser- in the it per insegna sancto Ge- tien : Alessandro Bindoni's sign and from the in editions (undated but printed at the end of the Merzaria in intro- century onwards, Bernardino Benali fifteenth century), saying: ac- but only in three did (i), this end of the S. When and publishers soon adopted Italy the printers and marks of e.-;tablishments France, especially in Paris. in the gate of the city of caused a cons- of editions to be printed on his count, between 1493 and 1304 he have his name inserted either lily, it was issued by Lucantonio. that the edition Allessandro it, and similar industrial offices rentine Girolami Biondi » etc. silent respecting the has of his own) do not bear his name, but only the on the m- duced into had borne the expenses of the edition formation that they in » and similar forms; and the publisher gave the the words warehouses, was then usual name. Lucantonio Giunta, a Florentine, used as his particular be obtained.This practice ofgiving emblems or signs to shops, title of the work; a position which ed and which it to transfer the first, it -placing it mark or near the has ever since retain- occupies even at the present day, whene- ver either editors or printers decorate their volumes that in manner. 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 imgression that the mark appeared for the first time in the is ^ ante. WATER-MARKS. It' any one places the leaves of early Venetian books nufacture of flaxen paper, this industry was started in Pa- he perceives an almost innumerable va- dua and Treviso, doubtless with workmen who had prac- against the lii;ht or figures, which are, as riety of signs marks of the paper-mills where the is well known, the paper made, \\'as (i) signs and figures are also called filigranes because Such they are the result of the net-work of metallic wires ar- ranged pulp. said that Pace da Fabriano is It troduce into exact, into and his rags; but it is was the first the to in- it in Fabriano. This must have been the XIV city must be considered century; and cised the art of ria, first of III, p. 1 10 . kind (v. Glo- was trans- it ferred shortly after to Treviso on account of the copious currents trict. (I) flax or of water in that dis- Everything conduces what not certain in this From Padua native city, the to which exer- as the second in Italy manufacturing paper of Territ.padovatiu, the end of at Padua, so that this in all be Italy, making paper with art of mould which contains the bottom of the at tised to the belief that the Venetian printers year this took place. There can brought the paper for their books be no doubt, however that the chiefly from the paper mills of art was already known and prac- Padua or of Treviso. The water- tised in the East as early as the mark which is XII or XIII century; for observed \'enetian that period From which the East West, and first of tions of (2' and passed to the where the manufactories of Xa\'alencia , ried on a flourishing business. appears therefore, that it to the form both the was occurs. town of Fa- Then Tiraboschi t. \', ladder, 'standard, shield which have been ascertained bow, strung bow with to consist of flaxen paper, do not go further back tan 1297. swords; and the few years after Fabriano had commenced the ma- its Domenico Urbani, Sep^ni di cartiere antiche, Ve1870 a work containing ten plates, eight of which v. nice 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. Lambecius, Comment, KoUar, describes a paper |2) bibl. Ccesarece, existing in t. V p. the fig- Besides watermarks the booksprlnt- show from time to arrow, crossed cross; and then, and other animals. Now cumstance added the paper for their crossed bull these signs as water-marks all Padua and Treviso. This to the fact of the close relations communication between Venice and those the supposition arro^ifs, horse, the that the Venetian cities printers cir- and easy strengthen brought the books chiefly from those mills. 75, MS the Impeof the jear logS, but this MS is rather paper made from bombazine or gossypium. But MS 54 class i of the Library of S. Mark (though it isseriouslv damaged by damp) containing 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. edit. rial Library at Vienna, not in flaxen paper but is of arms, castle, crescent, cross- are peculiar to the mills of I too there imperial crown and the royal crowns, the glove, scissors, but the earliest documents in the civic archives of that city ll which are time other figures, such as the p. 901 believes that the paper-mills of Fabriano date from 1276, A and with great terlacings of the cords. ed at Venice rags. bull's ure of the hat with various in- from or The placed between the horns, often It these flax is varia- in the scales supports. briano the art of making paper (Storia d. Letter, ital books many variety in the figures Pace de Fabriano who brought from Spain its tions of the horns, and Toledo car- tiva in most frequently head also, with various convolu- to Spain, all in the balance in of survive. still it a is MSS by paper attested fact it m |i) Professor Bailo has discoursed eruditely on the papermills of Treviso, when publishing, on the occasion of the marriage of Brunelli Devlde, a letter of Monsignor Rambaldo degli Azzoni Avogaro (12th November 17731 in reply to one from Tiraboschi requesting information on the subject. ^ THE PRINTING OF MUSIC that is method but without success Venice during the fifteenth century music was In printed both plain and figured by the xylographic system, by means of blocks cut to say of the Discorso della musica antica e Galilei, which is in relief. In the modema sicale of Bologna, there is MS figured music with di Vincenjo preserved in the library of the Liceo Mu- a note in the handwriting of in which without imparting who to the ancient but in at the books printed de Petrucci da Fossombrone, an apprentice in Venice as at end of that century Ottaviano who said to have been is one of the printing houses in Venice, in- vented the printing of figured music with movable metal Having obtained from the Signoria a privilege types, (i) for his invention (25 th May year i5oi, according to his 1498I own he published (2) in the system, the Harmonicce musices Odhecaton. Petrucci continued to print music in 009 Venice up to Fossombrone, when he (31 transferred his office to printers, contemporaries of Petrucci, either printed or caused to be printed, as it for music Lucantonio instance Giunta, Ottaviano and Girolamo Scoto, Melchiorre Sessa, Bernardino and Matteo de But Istrian. it Vitali, and Andrea Antico the appears that they limited themselves to the Forli, a celebrated printer and an admired writer, de- vilege, dated I July 1 may that is published is about 23 years work has been done and not only Germany and France have endeavoured to Fossombrone to to anyone, and that consequently it xylographic sj'stem, and that, all at last, Mar- method by which certain that Marcolini, as early as Intabulatura de liuto ... : Forl'i. In la di magio anni gi u, and it (sic) came to is this del types. time Antoine Gardane, a French musician, rapidlj- became very the printing of music active register, mu- and celebrated. Garfor while at first was executed by means of rvvo impres- sions printing at the and MDXXXVl quite certain that this music dane also perfected Petrucci's system, text Case de Frati le Venice and established a printing press for which sic i536, Messer Francesco del Signore was printed from movable metal About di contra de Santo Apostolo ne Crosacchieri ne mese May In Venezia per Francesco Marcolini da da Milano and first the lines at the and the words of the second the notes either upon or between the lines, Gardane discovered a method of printing it manner Petrucci, to say prior to the concession of the privilege, had printing « is it by the me- thod in which letters are printed, and since such be the Signoria of Venice a pri- 536, for printing music in the Petrucci printed with movable metal types. However, this ancient or xylographic system, for Francesco Marcolini da manded and obtained from with him it colini had succeded in finding out the town. Several other Venetian native his n printed music about that time did so according those >> appears then, accord- was kept^secret by letters are printed » cian of the sixteenth century, to this effect: «I possess early as 1480 (il It movable metal types and that he had taken Ercole Bottrigari, a Bolognese musician and mathemati- Canzoni and Barzellette » ing to Marcolini's statement, that the system of printing and it is all at one impression and, nevertheless his always admired for for the elegance its exactness of execution and clearness of the types. Italy hut also His sons Angelo and Alessandro succeeded him and recover this 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 Respecting Petrucci and his invention consult Anthon Schmid, Ottaviano de Petrucci da Fossombrone der erste Erfinder des Musiknotendruckes mit bewe^lichen Metall-typen, Wien 1845, and Augusto N'ernarecci. Ottaviano de Petrucci da Fossombrone inventore dei tipi mobili metallici 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. Tenori e Contra(3| This last edition in Venice is 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 (1) : 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 such a degree as to surpass that excluding even Paris to of every other city, not itself. : Forosemproniensem Cum privilegio invictissimi Domini Venetiarum, quod nullus possit intabulaturam lauti imprimere sub penis etc. Die 27 Martii 1509. u (i) This privilege granted to Marcolini is likewise given in full in the work already cited La stampa in Venecia p. 83 etc., which contains curious particulars respecting Petrucci's invention. C. Castellani. ^ CONTENTS Note by the Venetian Publisher — C. Castellani Printers' Marks Water-marks — C. Castellani The Printing of Music — C. Castellani The Art of Printing in Venice — Printing in Venice (fac-similes) Autograph of Aldus Manutius Bindings. — Text .... Page 22 1482 — Alexandri — — — > > » (de Villa Dei) Grammaticum Opus, interprete Lud. de Guaschis. Sine iyp- Marciana 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 Biblia Latina. lohannes Herbert de Seligenstat. — Bibl. Marc Bibl. Marc. (Wernerus Rolewinck), Fasciculus temporum. Erh, Ratdolt. Bibl. Museo Civ. Missale Romanum. Petrus Cremonensis dictus Veronensis. — Bibl. P»ge 64 65 . 66 67 — — 1484 — — 1485 — _ P. Terentii Afri Comcedise cum Commento Donati. Simon Bevilaqua. — Bibl. Marc. 1486 — lacobi Philippi (Foresti) Bergomensis Supplementum Chronicarum. Bernardinus de Benaliix. — Bibl. Marc. 1483 , 1487 — Bartolomeo 1488 — Miniatore. Formulario di Epistole volgari. Bernardino de Novara. — rejisis. Bibl. Museo 79 Civ. > 80 81 82 . 83 > » 84 . Bi- > blioteca Marciana 86 . — 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 No1491 > » — Bibl. Marc. varia. Albubather, de Nativitatibus. Aloysius de contrata 1493 — — — » — » — > — Esopo — Bibl. Museo Civ. — 92 94 . — Marciana 95 Le favole volgarizzate da Accio Zucco. Manfredo de Monteferrato de Sustrevo. Bibl. — Marciana de la 96 — ............... 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 BreLibreria L. S. Olschky scia. 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 Brescia. Libreria L. S. Olschky 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. — loh. Ant. Campani Opera. Bernardinus Vercellensis mandato And. Torresani — Biblioteca Marciana — Marsilii Ficini Epistolae. Matthaeus Capca.^a Parmensis. — Bibl. Marc 1496 — Marco Polo da Venezia, De le maravigliose cose del mondo. lohannes Baptista > t — — S. 100 10*2 103 104 105 Bibl. Thomae 108 110 113 de Asula. 115 117 de Sessa. 118 Marciana Aquinatis, Commentarii in Aristotelis libros de Anima. Utino Papiense. blioteca Marciana 107 112 , . > » 98 , — — — 1495 90 91 — — Dialogo — Luciae Venetus. — , 86 87 88 89 s. Bibl. Museo Civ. Vita della B. V. Maria. Giovanni Rosso da Vercelli. Bibl. Marc. Tito Livio Volgare. Zuan Vercellese ad istanza di Luca Ant. Giunta. Bibl. Marc. Cantalycii loh. Bapt. Epigrammata. Matthceus Capcasa Parmensis. .Sliu* Donatus. Rudimenta Grammatices. Guilelmus Tridentis cognomento Anima mea. Bibl. > 75 77 — 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. — 1494 73 74 lohannis Tortelli Commentarii de Orthographia dictionum e Grsecis tractarum. And. Catha- 1489 > 72 Biblio- teca Marciana > 71 — Bi119 2S 1496 — lohannes de Monteregio, Epitoma — Marc Etymologicura Magnum. izog. 1497 — Almagestura. loh. flamman de Landoja dictus Her- in page 121 Bibl. Z icharinx Calliergi, smnptibux yic. Blasii Cretensis. — Biblio- teca Marciana > — Psalteriura. Aldus Manutius. — Bibl. Marc — loh. Serapionis Practica, seu Liber de simplici > — » — • — » — li98 — > - Oct. Scoti. Bibl. » » 1499 » » » 1.01,0 — — — — — 127 Marc 129 .132 ' . — — — — 123 » mandato medicina. Bonetus Locatellus Ovidio Metamorphoseos volgare. lohanne Rosso Vercellese ad instantia de Luca Ant. Giunta. Bibl. Marc. Dante Alighieri, La divina Oomedia col comento di Uristoforo Landino. Piero de Zuane Quarengi. Bibl. Marc. P. Terentii Afri Uomoedias. Simon da Lucre. — Bibl. Marc lulii Firraici Materni de Xativitatibus Hbri VII. Simon Papienses dictus Bevilaqua. — » > > 133 » 136 > 137 » 138 > 140 . > 142 . > 143 > 144 — Biblioteca Marciana Marci Autonii Sabellici Enneades ab orbe condito. Bernardinus et Mathaeus Veneti. Biblioteca Mus. Civ Bibbia Malermi. Simon Bevilaqua. Libreria L. S. Olschki Transito di Sancto Hieronymo. Manfredo di Monferrato. — Bib. Querini Stampalia Libro d'el maestro e J'el discipulo. Manfredo di Monferrato. — Bibl. Marc. lulii Firmici de Nativitatibus. Aldus Manutius. — Bibl. Museo Civ Hypnerotomachia Poliphili. Aldus Manutius. — Bibl. Marc Missale Romanum. Geori/ius Arrivabene. — Bibl. Marc. Statuta in Leges municipales Reipublicw Vincentinte. Simon Bevilaqua. — Bibl. Mus. Civ. Graduale sanctse Romanae Ecclesise. Mandato et impensis Lucantonii Giunta. — Libre- — . . ........ > » ria L. S. Olschki Bibl. Marc. . . • 1502 — 1503 — > — » » — — 1506 160 > 161 Zorzi de Rusconi. Marc .164 Dionysii Areopagitse Caelestis Hierarchia. laccuinus de Tridino. — Bibl. Marc. Breviariura monasticum secundum Ordinem Caraaldulensem. Bernardinus Benalius. Biblioteca Museo Civ Francesco Petrarcha, Sonetti e Canzoui. Alhertino de Lissona. — Bibl. Museo Civ. Aboul-Hassan-Ali, Liber in judiciis astrorum. Joh. Baptista Sessa. Bibl. Marc. Philippus Bergomensis, Supplementum chronicarum. Albertinus de Lissona. Biblioteca 1511 » » — . . » 167 . . 168 166 — 1512 » » 1513 169 — loh. Archiepiscopi Cantuarensis Perspectiva communis. loh. Bapt. Sessa. — Bibl. Mus. Civ. — Phil. Bergomensis, Supplemeutum supplement! Chronicarum. Georgius de Rusconibus. 1515 1516 . Soardis. — Libre- .176 177 .... . » ...... _ — Mare Barthol. Zamberto iuterprete. Manutius. libri, . 174 Hortus Sanitatis. Bernardinus de Benaliis. — Bibl. Marc Dante Alighieri, Divina comedia. .Stagnino. — Bibl. Museo Civ —Libro del Per. grino. Manfredus Bonus de Montis Ferrato. — Bibl. Marc. — M. Fabii Quintiliani Oratories Institutiones. lohannes de Rusconibus. — Bibl. Marc. — De recta paschatis celebratione Octavianus De Petrucci Forosemproniensis. — Bibl. Marc. Missale Aquileiense. lacobus Pentius de Levedo. — Bibl, Seiniuario Ambrosii Leoiiis de Nola patria. loh. Rubeus Vercellensis. Bibl. Marc — Apooalypsis lehsu Christi. Alessandro Paganino. — Bibl. Marc — Plutarchi Vitae, Guarino Veronensi iiiterprete. Melchior. Sessa et Petrus de Ravanis Socii. Trino. Bibl. loh. > 178 179 180 181 182 183 » 1.S4 > 1,S6 > 187 Taccuinus de Libreria L. S. Olschki 188 — Omiliario quadragesimale. Bernardino Vitali. — Bibl. Museo Civ — loh. de Voragine, Legendario de Sancti. Nicolb e Domenico Dal GesU, Biblioteca Marciana — Giovanni Boccaccio, Decamerone. Augusto de Zanis de Portesio. — Bibl. Marc. II 173 175 — — — Bibl. Museo Civ — Strabo, De situ orbis. Graece Aldus 1517 — Euclidis Megarensis Elementorum 1518 > L. S. Olschki » 171 172 — 1514 — » » Museo Civico Bibl. — Prisciani Grammatica. Philippus Pincius — Libreria L. S. Olscky — Missale Romanum. Bernardinus Slagninus. — Bibl. Serainario — Specchio delta fede. Pietro Quarengi — Bibl. Marc — Plauti ComosdisB XX a Bernardo Saraceno emendatte. Lazzarus de ria. » 166 . . — — 1509 1.57 » .\iarciana 1504 153 158 — Epistole devotissime de sancta Catharina de Siena. Aldo Manuzio. — — lacopo de Barber!. Pianta di Venezia. — Museo Civ 1501 — Albertutio Vesputio Fiorentino, Novo Mondo con veduta di Venezia. » Bibl. 146 . . » 191 > 193 » 197 24 1518 — Cyriffo 1519 — 1520 — Libreria L. S. Olschki Ualvaneo. Alessandro de Bindoni. Bibl. Marc Officium B. M. Virginis. Lucas Antonius de Givnta. Pamphilo Sasso Modenese, Sonetti, Capitoli, Ecloge. Guglielmo Fontana — — Bibl. Museo Civico — Missale Romanum. Lucantonio de » Page 198 — 198 da Monferrato. » 199 200 . » 201 . » » Giunta. — Bibl. Marc Auli Flacii Persii Satyrse. Bernardinus de Viatiis de Lixona. — Libreria F. Ongania — Dante Alighieri, Amoroso Convivio. G. A. de Lerlio. — Bibl. Marciana — Missale Romanum. Gregor'uis de Gregoriis. — Bibl. Museo Civ. Publii Francisci Modesti Ariminensis. iJerraordmus de Vitalis Venetus. — Bib. Museo Civ. , 1521 . ^ , — Music a. 1523 — Odhecaton. Ottaviano Petrucci da Fossombrone. — Bib. Capitolare di Treviso — Pietro Aaron Fiorentino, Thoscanello della musica. Bernardo Matteo de 1539 — 1503 e » 202 203 » 205 ...» — 206 . . Vitali. 208 Biblioteca Marciana — terzo libro dei madrigali. Antonio II Frontispieces Gardane. mid pages with illuminated — Bibl. Marciana 210 » borders. 33, 34 - 1470, 35, 36, 37, 38 - 1471, 39, 40 - 1472, 41, 42 - 1473, 43 - 1474, 44 - 1475, 45 — — 82. — 73 79 61 63 1488, 1490, 58 1481, 1485, 1480, 62, 46 1478, 57, 1476, 1469 page — Frontisjneces and pages with engraved borders. — — 1491 86, — 1495, 108, 112, 113, 115, 116 -- 1496, 121, 122 — 1497, 123, 124, 125, 127, 132, 183, 134, 137 — 1498, 142, 143 — — — — — 171 169 1506, 1504, 1502, 165 1503, 166, 167, 168, 1501, 164 1499, 144, 154, 156, 157 172 — 1509, 173 175, 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. 1476, pages 29 — 51, 52 1477, 49, 1492, 89, 90, 91 - - I486, 75 1487, 77 1493, 92, 94, 95, 96, 97 — - 1489, SO - 1490, 81, 83, 84, 85 , 1494, 98, 102, 103, 104, 105, 107 1511, — Details of ornamentes and Pages figures. 28, 29, 30, 31, 47, 65, 68, 70, 72, 74, 85, 87, 90, 94, 96, 97. 98, 109, 112, 117, 119, 121, 128, 135, 136, 140, 141, 144, — — 99, 100, 1 )1, 102, 104, 105, 106, 108, 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. — A. Italo-Gothic Characters. 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, B. » 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. 34, 69, 71, 72, 78, 89, 93, 94, 95, 97, 112, 117, 130, 135, 137, 139, 141, 143, 155, 156, 157, 165, 173, 175, 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, 178, 181, 183, 185, 190, 192, 202, 204, 206, 210. 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. . G. . H. • 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. 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. 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. 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, pages 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, 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, 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, 135, 137, 139, 140, 141, 143, 147, 155, 168, 170, 173, 134, 137, 139, 140, Ul, 1 78, 181, 185, 186, 187, 191, 192, 199, 202, 206, 210. 143, 144, 147, 157, 165, 170, 173, 178, 181, 185, 186, 190, 191, 192, 202, 204, 206. 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, S. . 34, 50, 59, 64, 65, 66, 70, 71, 73, 76, 78, 79, 81, 84, 86, 87, 93, 140, 141, 147, 153, 155, 156, 157, 160, 173, 178, 181, 186, 192, 202, 206. 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. . W. . 72, 97. 119. 155, 156, 171, 173, 175, 178, 191, 192, 202. 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. X. Z. 111. . > 34, 70. . 34, 66, 73, 112, 130, 131, 243. — Qreek Characters. Pages — Ser^ies 110, 111, 123, 124, 125, 126, 127, 128, 187. of Venetian Printers' Marks. 1470—1482 1471—1487 1473-1487 1477-1491 1479-1485 1480-1508 1480-1489 1480-1500 1480—1501 1480-1514 1481-1514 1482-1495 1483—1494 1483-1486 1483—1488 1483-1606 1484—1501 1484-1493 — Nicolaus Jenson, Gallicus — page 63. — Johannes de Colonia (loh. Agrippinensis, Joannes — Nicolaus de Frankfordia. — 212, 16. — — Thonias de Blaviis Alexandrinus. — 63. 212, 6. — Bartholameus — de Colonia) — de Blaviis Alexandrinus. 212, Andreas de Torresanis de Asula. 80. lohaimes Lucilius Santiitter de Fonts Salutis 12, 13. — — — 212, 18. — Octavianus Scotus Modaetiensis. — 85, 129, 212, 2. — loannes et Gregorius de Gregoriis de Forlivio. — 106. — Bernardinus de Vitalibus Venetus — 138, 191. — Baptista — .\latheus de Tortis. — 212, 1, 3, 6. de Codeoa (Capo de Casa) Parmensi. — Peregrinus de Pasqualibus Bononiensis. — — 94, 117. 212, 78, 213, 35. — Andreas de Bonetis de Papia. — 212, 11. — lohannas Antonius de Biretis de Papia. — 212, 15. — Bernardinus Stagninus de Tridiuo ex Monteferrato. — 212, 4, 9, — Bernardinus de Benaliis Bergomensis. — 76. — Dionysius de Bertochis Bononiensis. — 213, 24, 25, 30. — Andrea de Soziis. — 213, 36. 1485 1485-1492 — Bernardinus Rizus. — 89. 1486-1492 — Andrea de Calabris Papiensis. — 213, 32. 10, 14, 17, 213, 19, 20, 21, 22, 23. 26 — Hannibal Foxius Parmensis. — pages 213, 34. — Guilelmus de Cereto (de Piano) de Tridinus ex Monteferrato, dictua — Simon de Gabis dictus Bevilaqua Papiensis. — 74. — Georgius Arrivabenus (de Kivabenis) Mantuanus, Dictus Parens. — — Franciscus de Madiis. — 213, 33. — Gabriel de Grassis de Papia. — 213, 28. — Paganinus de Paganinis Biixianus. — — Bartholomaeus de Zanis de Portesio. — 214, 50, 51, 215 73. — Johannes Hamman de Landoia (Landau) dictus Hertzog. — 122. — Johannes Emerich de Udenheim — 213, 26. — Theodorus de Ragazonibus de Asula dictus Bresanus. — 213, 29. — Bernardinus de Goris de Cremona. — 213, 31. — Lucas Antonius Giunla Florentinus. — 98, 200. — Matheo Vesconte de Sancto Canciano. — 84. 1490 1490-1509 — Johannes Baptista de Sessa Mediolanensis — 84, 173, 214, 53. 1490-1501 — Philippus Pintius de Caneto Mantuanus. — 1490-1501 — Lazarus de Soardis de Saviliano. — 214, 38, 40. — Nicolaus de Ferrariis de Pralormis — 214, 41. 1491 1492—1501 — Johannes de Cereto de Tridino. — 165. — Perrinus Lathomi de Lotharingiis — 214, 55. 1494 1494-1508 — Aldus Manutius Romanus — 152, 187, 215, 71. 1495-1505 — Benedictus Fontana — 214, 44. 1495-1601 — Jacobus Pentius de Leucho — 214, 48, 53. — Otinus Papiensis de Luna. — 1496 1497-1501 — Petrus Liechtenstein Coloniensis — 214, 45, 54. 1498-1501 — Antonius de Zanchis Bergomensis. — 214, 49. — Johannes Paep Budensis librarius — 214, 46. 1499 1499-1509 — Zacharias Calliergi Cretensis. — 126. 1500—1509 — Octavianus Petrucius Forosemproniensis. — 207. 1485-87 1485-1499 1485-87 1485-1501 1485-1490 1485-1486 1485-1509 1486-1514 1487-1501 1487-1500 1488-1500 1488-1492 1489-1501 Anima Mea. — 313, 27. 67 4, 6, 153, 156. 101. 118, 171. 114, 119. — Georgius de Rusconibus Mediolanensis. — 214, 37, 42, 215, 66. — Alexander Calcedonius quondam Ludovici Pisaurensis mercator — — Urbanus Kaym. — 215, 60. — Melchiorre Sessa. — 215, 61, 62, 67, 68, 72. — Jacobus Laconius Pedemontanus. — 215, 57. — Alexander de Bindonis. — 198. 1507 — Mcol6 Aristotele de Ferrara detto Zoppino. — 215, 59, 63, 65. 1508 1509-1519 — Wendelinus Winter et Michael Otter. — 215, 70. 1500-1501 1500-1501 1503 1506 1506 d' — 1509 214, 39. il Julianus de Castello. — 215, 58. — Johannes Miier. — 215, 56. — Laurentius Orius de Portesis. — 215, 75. 1514 1515-1527 — Cesare de Arrivabene. — 215, 69. 1516—1520 — Johannes Oswalt civis Augustensis. — 214, 47, 1516—1536 — Johannes Antonio fratres de Sabio. — 202. — Nicol6 e Domenico Dal Gesu. — 194, 195, 196. 1518 1511 — Johannes Franciscus et Johannes Antonius fratres — Battista de Pedezzani Brixianus. — 215, 74. — Antonio Gardane. — 1524 1524 1539 — 48. de Rusconibus. — 215, 64. 211. Water-marks on paper p-inted at Venice. Scales. - Pages 35 3, 4, 10, 12, 84 1, 97 2, 38 1, 39 98 1, 108 6, I, 40 1, 115 3, 42 120 1, 4, 43 3, 48 1, 5, 7, 55 1, 59 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 8, 61 2, 63 1, 64 2, 5, 76 3, 189 1, 3, 198 1, 203 1, 206 1. 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 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 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. Pages 46 2, 58 3, 59 4, 60 1, 64 1, 67 5, 93 1, 152 3. Imperial and Royal Crown. Glove. Pages 56 9, 119 2, 142 4, 210 1. Scissors. Pages 34 2, 41 2, 77 2, 198 2. 159 1, 2, Bulls Head. 170 - — — — 3, 16, 129 1, 138 3, 142 5, 144 3, 152 2, 3, 1. 27 — Pages 144 2. 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. Pages 40 2, 59 9, 139 6. Coat of Arms. Pages 42 3, 50 3, 4, 59 7, 90 1, 119 3. Castle. Crescent. Pages 76 7. Pages 42 2, 45 3, 58 2, 76 y, 194 1. Bent Bow and Arrow. Crossed Arrows. Pages 34 1. Swords. — Pages 77 3. Pages 40 4, 54 2, 59 11, 131 2. Column, 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. Pages 122 1. Lamp. Crowned Lion. Pages 56 3, 66 2. Pages 48 3, 14. Eagle. 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. Pages 41 1, 48 6, 92 1, 138 5, 181 1. Three Hills. 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, 86 202 2, 207 3. Standard. — Ladder. - — — — — — — — — — — — — — — — — — — — — — — 1, 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. ^ 103 1, 114 2, 119, 1, 4, 183 1, Augustino Barbadico Duce Venetiarum Regnante MCCCCLXXXVI impressum fuit hoc opus feliciter. ^ Humberto Impressum fuit I. Italiae Rege hoc opus Venetiis. Anno MDCCCXCV. The Lion of S. Mark (from headings of books sec. XV-XVl). IMPRE.SSIO LIBROKVM. ^ A ^ C^^aieucdaitae fie^a Printing in Venice (FAC-SIMILES) ./ . P''rrit>k^C*^tru>yie^t^TU> \'l'^^' tulu^H^fcT^^ ^jfe^*»^ Autograph of Aldus Manutius >>7 O^t^jS/X'^/V A : . VENEZIA M.CCCC.LXVIIII ^\.^in..a ^1?; '*^?iM J -^ Go osiuii 33 officio ac pocius pieucc crga te cptcris GtifTacio e»nnibas ;mihi ipfc lumg fatiftAcoTanti cni rnagnitudo -it luoi; crga mc mcnto2^:ur cu tu nili pkcffci re de n->c no tOTiquiclh ego quu ';on ricm caufa tua cfFicio; mtam m ttuhi ccaccrbam piitc. In catifa t>?c fut Hamon-ns Regis JLce:rtu3.Trtcpccuianosoppugaat. Kcs.igtt'pcorciecrcdi^ V rrs per -ijuos ciun cu adcras agcbatur.Rcgts raisG fi qui • furicq ucik q p;ii ;: imaf omncs rem ad Pompcfum dctcrn uoIunt.Scnatus cilurium non rcligionc (ed inaliuolcntia &C illms rcgip hrgitiors iuidiacomprobitPomptiu'bc hoitari 5c orarcfi^' iatnlibcriusaccularc ti rro'' ncrc ut magnain Ih^imjam tue;ut ;«o acfiilii'.rtus.Sed plane ncc precious nrls iiecadmo'uionibui nris rcUqt locu.Niincu in iccnoncauotidiano Kum in iensitu pab ra Oc cgst caulair. uam ut ncq^ cloqucU:?. ^naiorc quitq ne^^; graui' face ncq; iludio ucc coutcmt :.ricagc!"c potueric Cii funia tcftificationc tuo^ m 'cofFicio^ &:amoris erga t: fui. MarccUinu tibi cfie ^ratu fcis. Is bac regis rclic;ionts < r.rufa cxccpta ceteris '•. rebus : Cc iccrriinu tui ccfenfcrc u fore ortcndit. Qucd accJpimus.Qu :)d 'ini\iv.i:t r ^crrcdc rcligioc &i Icpc iam rettulitab ^.c <\( dan no pot. Res inrc idusaci't, fv" eft Na bcc ;dibus mane rcripri.Hoifenfu ' <in .:*' j\- mcr. et IiacuI? feiHcttv^ iJrifica ce^iit mihi uerberattont ceJfTationis fratcr per{cripferat uercftindia ut eiant ad reliqioniclc cxcerciru Icneri eni (ci mdclicet fi^: epillola dcdifti.NriTj <?.]it?r nor- cpf parduf pruperationc:ca tu fine Allcafioe mc fcriphftirfit maxje dc conlulibus dcfignatistquos ego peitus Jiouilibidinum 6C languaris-cflTeminatis^imiannm plenos: quii rufiagu ^ bcrnacuhs receiTerint: maximum ab uniucrfo n^uf.agio pericul£i eft .inert'' f A dibilc oil q\i^ ego illos (cio oppofuis galiorum caftris in f ftiuis rcci(Tc:quos ' " .. r\ ^^c. ille Sf firmius fucrit: focictace uitiorum i-|eliniet. ^ Res eft- aut Ji^latrcniftali nift ahcjuid'^ latrc jf,>^ munienai. Nam pnuatis confilns conlilns munienda. iNam ifti ilti duo uix funt lunt digni tribunitiis: aut priuatis r^ll^v' ~~'"' qutbus altcn ctianamrnlten colTut anarum taScrnarum fundamcnta credas. Te ut dixi rcroocul is. Ego uos ad.iiii.k?Jcu.uidcbo: tuosc^ oculos criam fi medio foro uidero:duTuauubo..JP;'Ieama.V.dc. tc ueniens m 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 M . cccc Lxvim . Ferdinando Ot^ania Editorc . 146 9- ^ . L'ARTE DELIA STAMPA 34 .C.PLlNIi. DE^NATVRALl-HiSTORlA m uncle Y)t 1 '^•"^ fii n" III 'p^"] ET HOr 1 Jiot_clum appr Lr; cu'i<Aa:num;n ^_a — ,^_ y^^k^E^MB3K>J^^^',^^B| f arc e'lc crtJi usurcuflfMi tceunt 'cjiftiumtinmcnfu'Ti :^mc-Huius t'j.K.a idag^' i.uentvur "ccj, ^;cnitii-iie<:j- vi QVOD NOMINE- iib-.ut.ci ^omir.u Il':cc..p^ ba.Twnf -.oni«flura mrnns.Saccrcft ):t'i;rnus'.nncnruj :::itsi totonmo ri-.ic- intcrcfr 'acra ip{ctotiim inhnif'us ac tiii.to Limiii«-.Om'invin ic:^certus^ fimlis '.f.ctm fcxfi -•ti.TcuncIa -om' & df Tiq; rc2J iL-iur; opus ^"^ r v ipQ raiii' plexus ra.turorcrt:mcnfiiramc.us;r)n)o^ucrdirr. ag-iufTc atq* j>clerc auf:)* Ah 3s ruri u , c.-i-r^l-cnc hmc 'liiTipn i m fC T . jiirhi- dat3inun''cnil';Jc> 'j'-iirascti^i ^"srr. 'C;^ oportf rct.Aul JcinqsluiiA-^-.cccjtTactumi:! ^<T [crr.p in .nnins ratiirj i-^ccl-'.' 1o.cs foil &'inuiuci.^'^i'nlvdc»3 i^fiiu' c..dfni i orcfcmmopc.'Citurorefl: cinrio mmcnO •?< :k- iiciiflev.ia.xj'.'.siuttori'' unaomn*i nicubiicat tv'K> u'jii? ttrmino ccgtutOPi* oc:u'"fura Jrfuxri,- d'l; j omi^rtihc; pofii. .»u"i-'nan.Non iliud 'cm autftioc i rurcrcgrcc'ic;.c-.-.i;tU'''-"j Krtr.i:-. , A.jrf; Mci'i-is l^jc t.< I'int i.-.ir- OrniSii";Cuis rilis ir I'^ctji-otlii . brcni'ix'^'t>-''^i''' c'^^ no.-.f i inpnmis &crr<';r,r-,» <-'n- mortahutnc-iiiemappc'ilaniioin b?d&3iroinneurey ..iocentno'Tc.li^ c|iiu livTiiM oil^us fui p.\r.ibu.: 'jeii:,!! jni '.fc jc li.^i iu'apoller.-.ni cfttfcquciii'iidit- nuiUw cicolif.r.pt cv^cllf i.cir.-.ie'J:a'iriAtiniur>'i'-)d'i lis^fi;- i...i£ibus fcnties pre cuu.-.clmuLii'iinaorubkii'iiueiU me.. 4ppar<:bil:j7.liiapi!t'Tir;'acfl.Sciiocu!-'i if a.icii^ba one y lOr.ncx'JS iTifduifci-ciuacuj;te- rvirm- -•jmu' CTaercin sb., - < D^ .ooiitfiguta. ^*J!tr'j'l tTft'tu. njtiji HAncergotorTiatntru-.-t>^iv-!Oix.iiT<qiiie:v io..i:^ rpatio i!i L-^-S' l->li-; ; ibilu ikcij.' rjjiii edentate. .o:ri^ C\oiCLi>>et occal IS b?ndaul'ia»ii rcf'.qucreanfn 'me fcnitusnc ^u-;:Oi ulcolenrumuarmtaoi!ef»^-?de>i antcmciisrotaia LCitigincifudiu fuolqu Ijdei: '"iriul TJTuicus circarriartoi: bcn-i m.igis niuidr fa>-.!edL\critn.non ' ~i ioiuc[ntninrbcs./\nd'ila«iCjiii..'iin ?• tnevedbil' I'.au'ta f.gimur luxiadiebus nof^ilitfc^itac'cu; l.-.Uaf mundu!? e'Te n ahum rc.ii>:cuncbaif iinprpPiiNti: uigiiunluLru:(i r>.7 . uam lubnci' corpus .tiucd cbiifTimiquidt ju3r.a:T: mceuciidLUE rci-.ciiitui^ 't -.uw^offi dive vptbus •• ru.Tiet;.- cciitur«s, fnor.rtntupditcir.rantarcltigie^ Prcte tva u !iif alibi abbr.litterf tiguta oC ctndidiove mcdioM'upcr U'-rtice HH ritittll!!^^! r.icriuo.u>r»i'j< nota u iciujn e\tt:ta ouifi 'jri-o mcnfun.;" iitius ic, jofT.r igcrcqui nc'cra'-iac be ..iits poflui: w.cftrt cjuj mriciy.s ij-lc n /.- (.apist. j3f *oim.i unirdi (jLnc t.ui nc ii AB CD E€ FG I L MN OP QR ST : ^-^^ ^ L^iir TJ f ' r* rr.iriitlu.> v^iiuJi-n; 5C<.->nrsaiuj^«.ririfiiii !t'..i t- apr elhuviuni<.i?riJ^v. o>n^Cin '^^x•i d'ab.ccplai.. :>aioddL-=p'or.rculoqu' CO 'Ciu^r.stv^tijrcalisiTvDo T^c C_ nos- pcr'eola.iMohiiai iij-iunctc« L!;iii:""4 dfllt'r moi'or Na'PO'Jt d j«',r.u5;u uxat m irtcioi^r ;;ii.a'i.-!lu'ir''i<g -^uiinoc flfrne-nnjr. uidco ciftbiuii q: -i'TrfiTc o-v.' e iiitun ^J^cUiiinumaUos cculos .pxniiu fprilusi^ue CTTtrr.! n I vpt au'i' V'ttnU bimc .?< pet cunc'-a vc* mcjbiie trtotp : ca\n quarto iciui.^ c'viTicro bbrai mtdio (iwti. tcil jre lu : "P^ITEj. dc .IciT . /.itis i I'iP-* V 469-B ! VENEZIA M.CCCC.LXX OI CHASCOLTATE INRI me fparle ilfono ^1 35 K_ kK -'% Dicjuei fofpTri ondio nucJriual core Infalvnio primo gioucnileerrore qvtandsra m j ute akro huom da quel toi fono del uario ftjjc jnchio p'»ango et ragiono uane fpcrsr.rc cl uan dolore cue fn ch( per proua imcnda am ore fpero trou.'».r piera non cocpcrdono h\:i ben ueggio bor fi come alpopol tuito .^^^ ^'^r-t fra le K ^na tempo oncl-2 fouente dime medefmo meco miucrgogno fauola tai eran et delmio uaneggt.ir ucrgogna el penterfi.el conofccf cbisiamcnte. cbc quanto puce filmoncio Ra ij el frucllo brcue fogno giorno chai Tel (i icoloraro I,/per la pier$ del fuo Fac;l.orc irai il quando fm prefo cbc jbe uoitr? & occl"»i ArA V. f r>o>i ntcise-guacdai dotin.^ tempo non mi p&rci t/a iVu mi i U<^3,*o ^ (paro rontra coipt daniov pc/o nifrnda ferur nel rcn:n:a fofpcjto ^nOo: guai i-jr.t'c? commune dolor nncom»n<iaro T rouomrr.j amor del un'S dilarmato et apcrta lauja per gboccbj a) core cbe d\ lagrunc Ion hifti uino p( vo a! nuo tci-ir rr.e p-^rre uarco fu hoijore dx-iaeru incjucllo ibro noi armata 'W?' non h et non moCirarpur larco ^, t , LARTE DELLA STAMPA 36 ^^ c--* OI CHASCOLTATEINRI me fparfe ilfuono Diquei Cofpiri ondionudriualcore Infulmio piimo gioncnilecrrore cjuandera in parte altjo buorrdaquelcbifono fVile mchio piango &i ragiono leuanc fpcranze cl uan dolore fra ouc fiacbiper proua intends amore fpero trouai'pieta-non cbe penlono a ben ueggio hor fi comeiilpopol tutto fauolafuigran tempo ondcfouente del uario .^ , ^y M dime medefmo meco mufcrgogno Scdelraio ume^urticrgogna el frucflo r<(j el pcnterfi el coaofcct cbiaramente cbecjiunto piacc ERA per \] la almondo c breuc giorno cbal fol fi fcoloraro picta del fuo fadlore quando jfui prefo cbe ibc uoftn occb fogi irai non mene guarda donna mt legato &(. i tempo non mi parea da Farriparo coraracolpi damorpero mandai fecur fenza (bfpecfi'o orrdc i miei gus n?i corttmunc dolor fmcomineiaro T rouommi ?ir>or del tutto dUarmato Uuia pergliorrbi -xlcore cbe di lagnmc Ton facli ufcio &c uarc 6<:aperta i^v /£ pero al ftnr mio parer non li fu honore-^ me deTaetta tnquello flato a uoi armatA non monftrar put larco^ '470 B VENEZIA M.CCCC.LXX 3? ELTEMPO CHERIlsf>IOVA imicifofpiri pcrla dolce memoria Jicjuelgiorno cbc fu principio a fi lungWt martiri jHoIc ahauro lunoSC Ultrocomo 1 Gu fcaldaua &: la fanciullacli titone corica gelata al fuo ufato foggiorno punto 5c k Aagione ncondocflo maucano al chmfo loco ouogni fafcio il cor lafTo nponc A- mor glifdegni I i\ F uifralerbc gia delpiangctfioco uinto dal fonno uidi una gran luce etdentroafl'ai dolor con breucgioco i<^i un uicilorjoro &fommo dace V pur cbomun triumpbal di color cben campidocho carro a gran gloria conduce 1 o cbc gioir di tal uifta non foglio pcrlo fecolnoiofo mcbio mi trouo uoto dogni ualor pi en dogni orgoglio L leggtadro be nouo mirat Icuando glioccbi graui fie {\mchi cbaltro dile^o cben parar non prouo uattro defirier uie piu cbe ncue biancbj Q abito in uifta (i foprun canro di foco un gaizon crudo ebon arco in nian 6C con faette afiancbi t « L'ARTE DELLA STAMPA 38 T^X.TVti.'PA'rAV-IKT H[SXQKiCt.A:B.VF B E,.CON DITA. DB. PMAL.IL.PM?. IkCTTi i IACTVRVSNE3JMOPERAEPR.Eau: Ifia'pritnotdiourbis tcs populi romr.nt perCripfcnm: qui Incc faas fcioincc fi tiarn.dicerc aufim. Joun uctc'rcin: turn inoui icmpcr Criptcrcs ^liquid I fc: gcflaniin parte 6mi in rudem uetuflarem (iipc / lUuatii tamen rerum crit: memonae pnncipw wnarum populi pro uirili & T\\c obfcuro m rebus ccrrius .tlfaturos aiit lut (cribendi arte nturos aedunt. Vtcunque I turba trea Qmppe dum uulg:iam efTt tcm.uideain: fit : ipfum ccnfuluifle. Etfi intants frriptoraTn magnitudme ecrum: quino nobiljtjtc: ac mini officicnt mec; me cofifckr. res eft prjctErea: SC imircnfi opens: ut que fupia (eptingenctfiniuiTi annum rcpcraiiir:& quae ab ex^glHsprot«!fcl initns CO creucnt:utiam Jubito qutn magnitudme labor 5C fua.ac Iceerjtii^m plcitlq; baud pnmr origincsrfic prox'ucriginibiis -minus pxtbituta dolupuns fmt feltinantjbus ad ipff conficiunt. bee noua:quibu8 wmpriJcm praf ualcnospopuli uires fc Ego contra bocquoqilabcrisprcmifi pctam: ut meacofpoiku iTuiommiquaenoftrapcrtorannos uiditactisi tantilpet a;rtc dum pnuailh toa mctcrcptto:aucrtaOtsexperscurp:quf fcribenrisiminu-.ctfino flc<flcje auero: loUicitum tarn en cfficerc poflcr. Quj antecondiiam condcnthmue uTDern poencts maris decora &buhs; qui inccrtupti* itrum gefbrun\ monu' mentis traduntur ca nee affirmate ncc refc'.lere in animo eft datur baec ucniaantiauian. ut mifcendo bumana ciiumispnmf>rdiaurbtumauguftjor> fiiciitH Etfi curpcpulo Iiccre opcrtet confccrarc engines fuas.etaodeosrd' tcrre auiilcres eabc'Ji^lonacftpopuloromanoiuicunj (umti:conaitoti£:juc fuiparentem Mactem ponlfimuin fcrat; t.im boc gentrs buiranf padantur : : : / . ^uo ?rurr!0: q impcriiim aut patiuntur. Scd bpzfic bis fjTn«lia:u6auiq;a«adueri3 ^nmata erunt. baud equidem in magno ponam diCrimme. Ad if la mibi pro (cquifqueacritcrimcndatanimum:quf uitatqui mores fticnnrrpcrquos t]Trcs:quibu{q;artibus domi: milititque.&' partum&auctum nnperiurnfit. labcnte deinde pauhtrm di£ciplina: uelut diftidcntis primo more* iequatui onmio.DeirK^e uc magis: magi(que lapfi fmt: turn ire cocpcfinr piydprtes: donee a<3 ber fempora; quibus nsc uitta noftra: nee remedj* pari poiTo^iius pu-ucnrum eft. Hof tllud eftprecipue inccgnitionciey falubneuc frugifoz* omnis te cxemptidocumenta lUuftri pofita mcnumento mtucri. Indc tibi tueyi'.e raoublicequod imitere: capias . inde feodum mceptu : licdum cdtil m So O-' I 39 VENEZIA MXCCC.LXXI 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 necflere mnii ab pro poetarum C^ c conabar:^futuru: h fludiofis linguae aiiis {Ludiis ^~'- Y/( U ncgociifc interceprus iWn prorfus t que longo tempo is abiice Sednupercumapud Aia ma: oppidum ex aens ro! opus ran(ftitaci a qua ueiut foute fecefTilTszea abfoluere qu corum rogatu conatus fut magnum uanum 3c difTufum.^a omma mea bona fluxerunt : dedicarc y i47'-yv . L'ARTE DELLA STAMPA 40 m^ LEONARD! ARETINT DE BELLO ITALICO ADVERSVS GOTTHOS LONGE IVCVNDP/S MI TSI /^ 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 defcripfit non ac diruta moenia athenarii dolenter id feofTe reor Scnpfit : tamen 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 quia utile pucabat tllasi l—i : qUcBCunqj cdtigerint.Me certe hacc ipfa fcnbentem multa pro timen ilia ffgulari ratio qq amore meo crga patriam cocurbit: conrolatur:^ uerfas Italia perpeffafuitjad etfi res tunc maxime ad/ 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^ non tarn fgemifcendum fit pro his qua: tunc acdderunt q laztadu .Ceu Herculc magni 'abores extendicurtut eelebratiore fecere q fj nunq tarn periculofe laborair&:. i '47'-B VENEZIA M.CCCC.LXXII y^ 4' U.:. .^Sl"] ri':T*-i> iS2^^: vV? S^cre toeolcgie magilirj r.wcno preconiscelebei'rmi f/atrisRo' Licr< eipi^uii Litio crdiris Mi,)oi; moteiT^r's opusquadiaaefimalc putififumurr otrrti'de quod de benitentia didtum eft Felieiter inapir. j^-L <^3; ^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 Lit iltosuc & a!li nodelpent fedcurra'tcoridencadfontc clementiefuePlencij ueio ei? fuauinimeexiilimantescpa bona in gbus reoiigucrenuutojobedireuoci oinitctes exercen oportet no loiu t-rrore firmato in coix menre i:or?s tiunt-Q^uaript' exjftiaui re cperandum m^ difficilia iiceiicii & dura fed olo impofiibilia. Quo imatc pleueradi f luctuofilluni facete recleoj uiaendiimiacilitasod fuamras- cicanda corda dura peccato^i tjuos deus uocat ut ro afcribanf de facilitate bo noi^opeTjeio uerba lufcipiiit fi indieicKdete^ apuero qnta V nde iboc ad bn lit m 1 fermoiiead ex^ p peritent iam elecfloij- .y numo fa6}rurus<^uoriia fapieiitifTini/ mundi redemptor tberaate lamppbfito explicit maniferte tarditatem renir tcntiuip. qbu9 falusefle non potelr afferens muicosfoieuocatos eleccos uero t 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 Caplm.i. non cogitur. R;moondo facile effeuniciiicioparibonuppt camoiiginaleNam u . P ledlecofideremVunde e g-aliq bom alia mali finciionulli redte nonl?i uero^niciofiuime uiuat inueniemV pfecfto birrio &. id puenire ab uniufcuiVa^ libero ar fpontanea uolucate.Hoc afferut oes fapientes At1.\>.erb!coij..c.t>il.ait.Iufi:uopan fiue plii fiue farnfu onme lioiutaiiu e.Et in.iii.etbi.c.iii. Vn \fitt9 &nibilminus& malitianoIuntariu'C.Etibide.Btusinqr nlPsno^ eft .Et Seneca li'de morib? ait. Omne peccatu a£iio ctiolutan'a. Et idem" uolunrariu e lens ad Lu'cillu.Valentior btccjjac roiferc uite omni fortuna fibi aius e&l in utracij pteraiperesfuas ducit ci cftEtSaluftiu;- in lugurtio.Duxatcj impacoruite M -^1 5i^^^^V^ Ferdinando Ongania Editore '472 -A r L'ARTE DELLA STAMPA 42 Mm h.j.-*f^ 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 .^vT.!! ^gj^Q i,»-^r-^ } i , r ,v ad inquirendg ueritatis ftudium contulcrunt: feruntiinueftigareacfcircrationc:5inftruend!§.opi bos antcumulandis bonoribus inbfrere.Quibus rebus quonia tragi les terrfnfqifunt:& ad foltus corporis pertinet cultum.nemomelior qutdem illi ueritatis cognitiSc dig/ nemo iuflior eft'ici potefl.Er.int nifrimi:quam fcJrc bus anteponerent t^ntopere cupiucrunt.atq; ita ut earn rebus amui 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 dcum bominemq; dinarct:fi coliHa & difpoGtiones illius maieflatis tctnj ogititio aflequeretur bumana Quod quia iieri non potint: f ut bomini per fctpfum ratio diuina i.otcfceret: non eftpaffus bomi' ncm dcus lumen i.ipientif requurntcm diutius obcrrare:.ic fine ullo . > 3 exifli-' mantes multo cfic ptjdarius humanaru diutnarucp . '.1>J^^ pe-- nitus dedidinentrquicauid labovis potent impcdi: cotemptis ojnnibus putlicis 8C priuatis adlionibus: f\ ^ gr g^^gjignij inggnJQ uiri cu fefc dorfhinf Jaboris f ftertu uagari per tcncbras incxtrtcabiles:3pcruit oculoseins aliquandc- ii notioncm ueritatis pientiair. null.i cfTe monnntet immortalitatis oftendetct URi bencficio ac . ; munos fuum fecitrut 6c bumanii fa/ &C cirann ac uago iiiam confequcdj Verum quoniam pauci munercrquodobuoluta tn utuntur hoccj/ 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 liorrutilior ; gloriofioi:putada c.q ilia Quj profeiTio multo mc/ 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 : '472-B k i VENEZIA M.CCCC.LXXIII 43 ^^m^m^^m. •-IfSri®"*'-'*'-','^; 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 gco iito 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 bis qucdda inatuceqti I'cmpadDccfatuc •7 obuiat ciii-fjfpcotus fenfitiuus.tt *S ermin die m '^- Reftrm'mmcri'jjtennna )Jcn bom natuali? liil'eru ry' (upiditas.led 3d falfatxurt i nto: adducit.Ooen'iir nfc lanoe in/. &iat pljs pino - ttbiiro:^ ^ I; toil tnplicit lint tons ocnsmcoi pm\sfi aic. tn bona aiccui") moi fiint Ihetif 1 uinurcs ^ piuilii .t'.in 1^ fola fuiu nature ipliltois. 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 1'ctJm . ajpiopatum 7 inpteftate .ujlia ant I'oiu fui bona aic.n e^noui h>is psfitu rr i^coipKis. oacnoia no.ga talia nofiit i ptate bois ltd foinmcq ipfo<;e oiis.et lx< equod die ^liuB 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. I m 81 fna foter ij amifilTc oqicri-iiullo hxcs oiumccrraii; talu inei lut lutl mo gdidiiTcB . lamu'.c onaj ccjjnoftnt.mecnaaur.meabnuedifedunr. ii^ec CTia bona coipKis flit nanita bonatoisci niii'int .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 ute ppbiainfixcutoua vBcqtfoicitComttatoi"' naiaq-qiihohientpfci.ius inraenufprnitiin tikfibi jiunget intcUesH^aries uttb2m3.7 tiic ba dicit bebu iKlifchi aneptii. 7 B eft ultia^fptas quam fpnabSt plxintcs in bac uiia. Doc idecnam oiat hoi ajpiopara fed mulne alns ihec£na,8ota ante; bona cui'tmoi eft ipfa pl;ia fut t ptefbaiJ bo's po(TtaTfibia[pccpta.Ctboccq<io;iTti3Duob? 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 tes. fi-aiitfapiens tu C!> IcfO' un')t*us in biinnocoiprf i5i Diues es lauda Ian t3S.vt in ^da;atia fic dices. fbimna.ri linns 1^ lauda natuta.A ant bon'i lauds teiplii! qfibonaaiefititinpoteltate hois polka t aitapnopatj. etqaintboiviaicpbia cpnapalil lop unit oonn \xxii -ipBOtii' ipa phu ouenient pot trfmlii.lnfh mi ai .In qto qdc uecb lioctil bMuit ouotanjit.-(i2imoc'ni k? ISjonctcfenao lTii5ciclu'i.\7.attibo mecMicis 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 . m m adduo't "JJ^Timi cnim ouoto pJiocj: hois o:igiali impfcljionf 2° c% ipius cum fuo fm* ulriao -nuncnone.ir(Jitmum qdcm iftoy notaratlhisneibar twEtminanocn diaiMf nnte bcmma.iliiccuclu 8ed ad fella teuil ex\ noli inotrfatcjc . . uno nob infinuat boni natucaf oncticuiatio.cuin fu Wit kjni ma^L CjSiio ^ pmu pj c)c bcmiius igfe&oe. fil um'taiiTq; naoUs ipfe5io e nanJtaf ic!i natio t afficAis ad fuii (Ppiii pfe*- oiijiali l^ dt qiS oiat pfis i piio pfiico? in fine ipfa 6j:nte cnfqdam dino t optio 7 ayetibili oncin{€t .1'. founa ud pfcflione.aliudqdimbuiconanuf.f. ipfa paatio jliud aataptii natu ee afl^riste 1 txti' ^ 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 7gtem9jiSmtltfpeculan 7 lirlices ec n paccides 6 lt6m<p<i»t»nune m fihoppbiam taietincm^cqni t in(>?itf>'iUficiue fapia iicicaf. t rt r.ii almji fupma t t^txit (Inbilif' fimi Eli„Nii.e-V 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, fi«i i ^ziS^J 1473-A 6 L'ARTE DELLA STAMPA 44 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 joc etia pot elect^ i abbate fi eps oitferat eu bndice.extoefulple. ne.pla.lbruinnfj. TK . Ibi of .8i eps tettio en bumiTitate ac i 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 IDorm fuma que eccleliafncaT qfi epale iu^fdIa^>^neobQ/ magiftruo'a feu pi'fandla <>ulgaar nncu' id pat'^pcei?opendiofitate apud ncnc pma dcticalepterce tonfu ta.nift etg Dt-ielToies opjtatex plcfio ptete fedi's tndulto. 6, i^bbasT glibetouentualisplat^cegce cciusinoieutc.etgappcecei^abacbcis fuisquotis cepmic tos.ucin.c.nex:agandu,alFato. co::upra.aC(Pprei9Bmtateipler!rq;("uis cLiuft? reduiS falua ojdinis oiTciplina .ex qiiotanones nimm tkbjmonacrosfiigitiiios./l.^dde.T'eiec m tedfionib? valde oubia.ttdatariop ^ Tup plecioeTdi3cs.ldcirco9H Oreguia.nevagadi. coem fimplicm li A 5 ,6tad .^f inciptt.ncte- nDfi.tJide.T.apftafia ^1 §.z° 6 Ft? abbas psiTit licenate fu bdi'tcs fuos id aha ueligione. Bi" fm Monaldn. "jjot mibi oris cedent seaeui D'i.t-1 lum^ etr.endata ad cocm qra^ ofeffoz^x'tilttarc ^j.a none cediicc.ac ei9 Buitati ^ Bui^'talueco gdelicetiare ad equaleteligioneoe Dfen^ qo' vifu; fiicrit cjcpedive.addendo fuff le. 111 capl'i. «tcf additio cognofcariffeius pncipio In fine CO 5 lira A e>:cul->zo ponce", oictc fume alpbabcttdiccdinelequcndo.T gaijtapbcs m maiginifei p qtas notado pcft pnopiu caufl.lj m pfeta fuina oputet pn '^•'^p.6t^pterpdiclabccop?fup - iCiUu affiellari pocefV. ^' 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 1 leuint^Biaogtegatoisxfitcafit. 6 .Ad epam qq; fi fubdit^eUgar.plat? licentiace 6 potetia nore9rttoouentu.e^a elcc.fire' "IVtvjv* ifuomonafteio l»'l-'*IVconfeae pcfuis fubdictspmatonfuta Touos [igiorus.it"ine.li'b''6t A .Intelii'gefnam tuetitftda electio.no ancelcdioi tutu te. uticlc.fi'.e,f»elec.ubiof.Cii3ce(TaiehV -i):dinesminoies.onmofitfa/ fupioie fuo licentia ut eledioni uF ^uifioni fi qua be ipo Dtigerit tieii fun oa ijiofo a cecdos-TmartTpofitafitafcdmrnojem pfidedojf .exteeta.T qlufi onngst '7.<J9 oif.qtfi ndem'. ^ .OwrlmesminoKsfnc re plHc affenfii ambitiois vitio viix pacet nullt9e3e^iftep3irevolum9hiTnitai3. te!ftiEr!a£5.pfalmtftat9.'7ledo2at9.e):o2ci ?lbbas \'^n9 no pot pfidc in oiucrfis $Var?.aco'uta!:9.2i.oif.detos.ecpfalniifta^ nafterr:3.ejcCetcli^.to.c.vlc'.,intine. tus-r Icdoiat? ide (at ut pt colUgi cjc tex mo A Ibienaof. iQeqsiDiuetfismcnaftetTis >e^ I**" '474 -A VENEZIA M.CCCC.LXXV *>m^ 45 « LAERTII DIOGENIS VITAB HT SENTEN TIAE EORVM QVI IN PHILOSOPHIA PROBATI FVERVNT. HILOSOPHIAM A BARBA ris % lina fupfifle plenqj Nanqj apud Perfas 4-T1 autumat, 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: thraca Xamolximj Phcenicem mfuperfuiffe Ochum & LjbyciLqj Atlancc, Ad hscEgyptii Nili fih'um. fuilTe Vul' camim: euniqj ipfum Porro ipfius Ian folitos. rei philofopliia: apeiuiffe principia. Antirtires Saccrdotesacprophetasappel'' Ab hoc autem ad Alexandmm Macedonum regein fluxilTeannosquadragmta tos Si. odromilia oiflingen'' 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 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 i 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 phia uerii tdipfum quoqj hommu genus initio philofo^ manauit- 1475 A ' . . ., , L'ARTE DELLA STAMPA 46 CONCIIJATCR DIFFERENTIA RVW PKILOSOPHORV.V! lu PRAECrPVB MEDICORX'M CLK lUSSIMI VnU PETRI DE ABA :«nini cilTidit \n mtdidiia rcniintiir spparAnw ram tcimnai il jj ma'ui eppciiar* Ipiiit^T p;cii;cnfi i!criat=n uMtno; fiic oiuiifi : p:'?pii:rtpf^(i lI.o<Ki!i-;i>>:c . t^uiiue l.iice puiabam.'ni p!fci£ .(J^nnnnuni ciebtntf opoiirn e^i^udir; '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 i . NOPATAVINI FELICITERINaPIT. PROLOGVS . . , ^fTluni trinsna !ti ti fliuf prncndcst znteA : Z)aiUo ue lhi«1.n.cognmsfai1i'ic,tpfdir.ii!«iiniiiUiUif<pi/ nimu^ ipfam r^noncm ac uum sititt (onrtdc:ar: po/ ro mcduoiU5 phi rcituflcnBrbfloricepJolxmio. Bccunda u«:o ibfo/ Icfopboinqjillii/ rut comintbt! flrium (Cdiijcrc'o fiilxfcnturftnalifl.hioMapptndi'iJocoin-mniqiiq?. fcm(n!Uf pclin Parftii auicm mnuij . y\ qut piacnct ftriia .'[nidcm (w pift'i::(miiis i'u]U':!h'abo . dj plt:a^ Dnum qiicl^aorum non paruin xf&a s rciiquo, Cluas ftmoAsincfuo ti^iJidf ill fcnlict.3tiu-iii' bituiuni-' .illcgaiionu! incn ufq: in coiius i!oliiinini« -^ Bed -;— ; cini i.i£oii rniart qt'os ciiam : anfrribt;e ac ruc but li'c-imi ilmt. iuitrip if fonic Dt irdicalf. ^n una quaq: fi piifflu ciiidim cluctfcit C|UO 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 iciiws. .idi;.':^(t. naMra Piiittf ifl^o.'ui; iMicu.Luuc.v iurcir c,rt.ii fmrt^ni * qti;.i u.ucnnr u:i:cc Diuc:c f :ooi:r8 flnifna lc;n«ido n i ft ! Ix-ji l>ci;u; i (cnna.iindi ct (ft fJTc- hoi ut\' (Oj oaiiniM ntoiinv. txtiULiiinq? confoljnonfifirio itm p tBifum tc:m::.«ui-.f I'ucK iHcp 1 (ditican ap (Wit ;:nuCiT:>vK)u-d autc fctaium p'aipue ^Idlxjc 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 . ; . Tl.in pauc<v ucrp tiT Kiiukonodi r>pt nrt. tienirarrcn in pJopvTCionf eonim u;f ilfirr litM K.f fianp ctb;ras n.*.!urfl le.'t raiiqi lun; no tniili . o^•^nJm taluim fimili t^ impcdicu.^m itr^cr.ut'raicni fo:c 04;niiaf:po(cnna« bif cppod'ia: ommncq; forturtium 1 i>-for!iininin: r.1 •rbrtvri'Orufr uflafurffoindo.in qui :T»i imcriro uir!udcr>d}m i^crcfrcpfi nonulli pf ioann r 5c baiinid^nc bona fallin c^ima -i p.'aua. Tlatn 1 (i fdintaci mini/ qiunio quali ui iibi 1 cjuando tf '" pcdu moditaf ^dopcini> iiaq; ncnbus uinucfo c/ .oii.s iiio n™ . Jn pualxip autcin vjuar:iior wifcrcnfiis f((iind:int;IiUiiuii:quarti:mq;rucndoni. SufTicicnn'a ecicin qiKfh'onuinuniucralium Uoiuam ,il ri!> medicina eft rdcnita humani corpo oia plena (la ut TanabiliK p:ocuranua.pe "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 bum Wnm io:pcrt:u^um -lantma n ta fortuna otlui tan tonfurguotficreii.mi;p:ima:fiucniodi fuq-lctijda. fcr iti.f c :tun«ni <I(;c".ni iffi piito noil <^c l^;iiiEads hcmm »Uy5 inft§i!iros ccnfucnidiiw potTidcK iion ^ii'dam C^vx iivrtuiibuc incilat piiiiopa ' luotrfaenfiJapiTiaiirinKrra. i!ctus qi^oq(i!T!Ul»p 1'oii'itt^. (iplicaho. inicftn5ut!cfiibfcnb".mp;.-pi.Tp!iniii i^^*v' »; smnrifrw.m qiiamini argumni:o2 lljodi ciuario . 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! i . 3!no!t q:ia nil iictuflianbui' ama'sliuf (tarc'icemt Lmn fm tflotni.x-ltlKiiJS ;p£W!iocjiiida;amnic'l £*: /To no ntrirH,*^ cum eiuF monuip ofl^nfio («Wie ciii-r-Jdim:-." ci;r.MQ? p:c ^liitf Hpp^rur m.ni mscjoi diwi! (ii iiiar oppofiius.OiriK njnq; 4irirnal ' jddunos ipicnabi^K Ham boiii.T.i .'fpiijiii? omni.i undf loiidinliir !v( fe fornin^ fci . J 1 t milnrr ci*laoiii,iriJm iempcrqui.tuciiiuiini-o'iui p hr urruiiq: pam.- arguia iiuoripm aliquod ittlui i:<tV.(tpii DCtTc mmirr.c J con.iis'r impcditot: td ^m tAn:rn ' na . mcdo lc:n>i'nf(! < 1 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 natjrjli.. ^dm: numciitbp. I'f^a poiiij; inuonnotiif iid ifmi n p;"g<ndc fipinit €cdtm quc<^ liiafc rtigoi ^_^,_ ip 'arum rerminum ^ana conriniiap: p;ffidiijir tjjo , nitoii in TRifip af magi'e in poftcra uiia ac fduiiatf ;v> 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 nrt ptrp<ni:»:non unq? Si aaicm in ciup tc-tiim au miic (tJli.i Irii iiUvlUnisiTiia qiiana <i"i fi III iptci.ii-oicm ancndatiir i.^\i ,»T quo ad ri.i. CUiod . fi nii'icif Siuc:o T id aiu rcfpe/ uiie ;fi.tlu?rfi(^ qiiinu. ir.aitiiam ouptuiiiT ucl p;oiii o:dinatur ccgi iiiun.ir.tiiiK Ciont ad qii.innini ad paritp; ft na ucl cn-mancniijin.') fie no quaiinij ad cflincno initndanir' «u! r» 1 lunc feprima : nd an:? fitq: M (mcin refaatnr ipfiuii^oennia coaua 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> riidam eft omiHstur quo (fodium. Serf quia potuis aincliiaiewoi* pioli mate addadi dp nriiitatcn; m bis idqi obnceyi qucfiiit: . , L>',_ fotioiiuninrtllcoumgCTiriD canninuFrutliKlu/lns uturiligiiriK iim binw . Qmo lumpe pbonim a<: duefita comunii ctcon ntiiufif F«rt;» mediant: ibco:ia:lpraaicc. moh r#- kMJ O**'. 1476 -A :! : . . VENEZIA M.CCCCLXXVI QVerta opra da c^in paite c un libro doro Neil fu pill precioCi Oil kaierdavio Con ; gemma mai che trattacofe gran fadlita : ma gran 47 K^ afai lauoro >^!inumeroaufeo erutciiiegnifuoro : Delcnpti dil QLiando ri lole Qiiaiite rerre li! un gran polo da ogni l*e mftafiti tu Qiiai fara : e luna edipfi lai fai rece a fto tbexoro. faj qual l^orafia : hnno giorno tempo : ; : e mexe : Cht tucn poncf loit daftrologid % loannede monte regie quello texe Cogher cal frutco acio non graue ha In C^ breuecempo: econ pocbi pcnexe Cbi temecocal fpexe Scampa iiirtu. I no mi di impreHon Son qui da bado di rofii colon Verjecijs. . 4- I 7tf ^^^ s^ <2<^ip>) Bernardus pi'clor de Auguflra PccrusloHein dcLingtncen E: ba rdus racdolt de Augufta 1476-B L ARTE DELL A S TAMPA OPVS NICOLA! lANSONIS GALLICL VENEZIA M.CCCC.LXXVII P.Canjidiin Appiam'fbpbifcf Alexandn'ni a£ Ni'«iCO'' laumquintu lummu poncificem Prsfacio incipicfeliafiime. Iibros Ppi'ani Alexandrini biftona feu ceru incuna:reu deperdica : cemporu ue^ ini'quitace & ueluci longo pofthmi-' nio ad nos redcunceopame:ac maxi me pStirex Nicolae qui'ntetuo nutu 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' cuo«^ iVnpeno e gr§ca norem in recuperandis libns/ q in refti'tuendi's urbi adbibuenscuram.Et^fcdlolicec ilia finc.'qu? manu & arteconlhnt; mcenibus buic prgdara:& magna & a plurinus {ummo ingenio diligenciaf^parantui/prgrt.inrioiatamen babenda eiunt; ftudijs adiunda; monumencis quoqj reruancurhcteiai-u. qug Itaqj qui Pern Baiilicscontiguanidomum admiianc aceftruclam quadrato lapide: quiHadmiu' molcm deoru tcmplu ab Agrippacondicu i uiaflim refticuta: qui tefuffedii jcatenolcra qui plura aba bicui cefluia ueruftati ni tua cari'cas : admouifTct manus/ eoldeqnoc^ admuaiicoucnicc tocillufties libfos ad nostuaoperatraductos egrgcis;nectuamlapic!)tia nomen dignitate comcmoiationelaudis lu? immuncsprgtcrire: edi' pi'as ref non bujus tempons efle putcm uiitntestuas elegancion fhlo debicas in mediu pvoterfe boc lolu dixenm te bis rebus gettis afiecucum uc uems lit pi-g{ul digniflimus pnnceps hiberere.Sed ad Appranu redeam Doleoequide iumme pacer bis i Iibns Fcrdinando Ongania Editore '477 -A 5o L'ARTE DELLA STAMPA pJU] ,_J ini 1 LriTj r ^ '* I — r — f cf 111 1 I iM 1 ^- . 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 "V aaductos Pr^fariD mcipjc felicifllme. Arthoru regcm ut abAnnco accept Anneus Seneca de mus fine munerc falurare nemo po-* Ego ucro glonofidime rex cu m tuam uircuK bumanitaceij cofidcro cum c^ceras natur? dotes rqmbus in-' regepartborum. reft. ccr^tatisnoftrf prindpes uel in pri' mi's illultn's es: fubhmc ingenium fummi cancate; i- t furamacontincntja 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 bunia^ Nicolajs p.ipa quia' ni^ageretcgrgcocfanftulidem; Rehquosduihun^ bellorum Syrius. comenC3nos:qu5 Senatus.'popululi^^romanus inuiicmgenic nundu edicos aut perfeclos a me ad qaera pouus m)ttcrcn\ Pattbicus. i ad te iui(5ljlITme princeps/Hifpanis prriccr & q Irahf noftrj dc Appjani Alexandnni ropbjfrcRomanoru quiCelcicus inicribaur. liber ftnic 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. Libycus. (tus. Mitbndatrc.us. L'ARTE DELLA STAMPA 52 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 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 ego prstcclura fiinilus I'u m.Quappter gefTit/ opufculu m quo bjcfcripta funtDti mittorquod cu perlegens? no minus teegregias iniperatons gcllum cfl'ec litccns & q magnificaipliusgeftaadmuatu^cer'' tu babeo: merito<^damn3bis eoru {ententii qui affirmare folenteftoetam eflTe nacuram: necprouirtutes duccie tales uiros titenJt:omni'a(^ q falfi fine qualcs prilastemporibus ex ' ^:^'r> mundo I'enelbcntc degencrafTe: ucl ex lx>c maximc apparet . Nam fi V a z — \ _, '477 -B VENEZIA M.CCCC.LXXVII NonuJl^ex Vcnetis ad muniaobeunda abi'nv pcracorceisdcrnaniJaca aberant. inico nauiu numero ad url>e Hic impcrator 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 iegacu cum dece nauibus Vidorem Soprantiu 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/ gento/prgaoiac^rupelledili refertam. caperenD diuitesdomu ar^ quam fi 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 pacnaa fannluf modo mont^ ex cjualibet & uirtutc prjftet; duccm fuumcreant. Nunc ego fummu immor' impeno fuo talemcy deu precor* uci Moccnicus rebus bene ac profperc-gcfbs rei.p. ftatu firma'' uit accf ; lea nunc ctiam princeps accR dux/ fuoduclu 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. 53 L'ARTE DELLA STAMPA 54 t\ii<$ fcibnft leges fadcf\i«runt.q>-po^emnt.ut.>C.dcuctc.{Q.ciia. I A_|.t.n4:7 sites fficit ittfli,in prob&tn prui. b &^^^i-i<lcrt gouralitf. c pt ougofti. qr (^ buiw pn«)0(itf i([SjimaitiperOml rttfltsj.qpscbfeftra djtlit at5oaeati«rtfi.Un5 1 0irrtitemttr4'.do<cm'. penzi/tieT;:. <% omni ticttrt iiif coUott;' dt <^r.l eu pidtfMber pmu».E>c Hri 'ope da|:t o^!'ve?^o iittulcK nial antiqaom (ilifiitu-rfaas.7inar Oqwmator.J} pC8 tc ub<cunq; aiuse rci rojiuitc fpec cfi nictU9 malto;(:. ut. ad ftngutos' ^ W hd.l.iar.repcX i.pfinio pubkcu fit ctX.proqiub? Ciidt.queda pnati. puMicdip in facf t'a' 7 facerdotib's? » ms mptjtij (.faui.propffli libq-.acri. eft per 7 iina-l' atuir tutnm. rdc f« (cUeau dl c«u5 £ :p Kanialib'pcepiie:' aut «cnri»u aa apptiioir ua at elcgatn* Lclfus difKni* '^aseft ars bo ni *;eq<«a«>' mcrito^enos , (kiniquciqnibofiiat (im^-icnttnoc. tKbie l^larata.uc. puace.^ubUcu ins e utjtitaic.fr.n.qucda adt a tufh ^f durioK. 1/ Hilquefntc.ZdBcne bent iaixSntf.i.t^( nutnAtqittsbo g»ftratib5 coftftit.Jiu'iuatu t? Bifinite. quedi Ltte ftmrg-. p^Satepenar. nad.atitra&lac . ti itaiianturi.iiitcordte tocis Jde ntu iifipii. qg€)C rat ^ritiatu q6 v»9 dffccn bromamArUndinest !am ct'prmiof q6 ad ftfltii koy.6\k nomtn I'u toad nuclciidalcc o Tm 5cl&u» Pm >. o^3ffirftu.iirm in bortationc cf5cerecoptcntc9 uera »wft faUor ' pbUofopbu biicti-f ri<}«Diru prtue nof 7 itUb dnw^.T qnaf oern'mpwita «b.? itoAnmlaraiiffcctantea. ^tt^ ino ftodti ' do< ft poftrccTTpo jMrnljaaiarinripit.- nnnnnu alithi fiijunra ftpantCKUdfit abiUirfto'.dif (entete6:bonos nofolunutn jir\\ ratradfTimipndpid^pe aturadnitcleumim iiAunu.? faidi/ motnmon^f.ut dit3i(tbn9p3(le(t3. orejflods. danda pwftened.Uc 7 noafe m^JtoUmuo.i.ciuou&luntatf ierttuniii^.qitc cR Qtiuefuuffl cuKp tribtt^Ciir.ut.f -c mfticla.^.pHmo. (jiflugeatfic^nwin mount ^iudBt« (ON igndiodf. til dittidiP l.<oiaira.fi4propo(! turn rdfideffltur. uti ftctftfoe irt «4tido ut.j.c.iiifoffa.ftccurfittd, a«rdoro q6 namra^otg it.lfla apj^cUai. (ufhcfi Uiasjtcohmup' '^vont'ic^tio i ' 'rir(a,pfitfli»tfr;"iqttu snofieUbcU'.l.i. aot duilif>$^ (JJaiettwuralc c t.j.adrHr.latl pe.^.fi.7rau(. dc noa ialt.f.fv coU'.q.i'ndeua docn busna atm-.ib'M ine tftnd ndffolu goima ,ppu <ft: fed ofujti mr»liu''qwi terra: que jcrio ni ab iiqao fn6.0dmi5tpc cutt littbce fentrttfls (afii bom uirttti flmpf . Odcrttnt pacai mail for ni«nase7^»()rc«r TRobis trajulic pftt. (fj^tdM. nnde i^k dtntur tr«ki« l«0 cnnrte^itniit J*<i y>t c (T£fr[%ti7e^ bfa.i.qD dipC mil pit t»\lkf qiub fuent actot-.fi ne (dpOetDT.qr {ttlDe(anust<UHS 3iifim{. ut inRi. dtiloiui.f^ cfl m q (Vn[nlafbr.na!i0 modo foiitmttr.nl ctmitg foptenba tid' ^Mofq4»a df.j.oinor fapinlie.jtpbitoa.qao dlaroor, 7 . ? «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 ^- r qr aiitir iiifd pot q' aliXtti psiti pbiloibpbic titpptMatm- ^ qde; erbice qr ds moribus tractdt boc uduinen. i;ruc AUaduc tiolumma. C 1^ . (ie ^vjlios.? lure ij-ica- -"iM^Kcrt fldiffoido* 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, ^QStt^Icte quod agirar-ccr toSum^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! r IcjafTe ^nul^^nolhit fablUntis luhs per drttiMonco qof diai 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. y fpc9 fw pofitioiics dfceroitur nsfup (jbus 19 tree tat.tlamcoftsrctfpcoccir.fmitas. t^ \-}OCim.'i 7£icit ft) per feruts com fupfr Biujtotrac 7 kbtns.Midc r^benduiitcoj ad benr.^.infctuc.destuhrta «»iar §.but«3. , r 0^ol!!K)nc9kididimrion{8. b^aittfiicfa.edoatfiiuflkisfKUta m»t!ie fa«.crgo^njsfiiH(tli fiiida q>u>6.rcdt:6irs.|.C'hifiicuiiibiiasrutim(uu];tnb M quo ccnisttiir q? ftati rat (lie p«^|^ fittf mf^a. dk 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 wO^^^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 i '•** ^ aiiifidS.ndmau€torMin6ci):bomo.tu/lKted<a6.'Z e> ^ -r cqiii.i.dus qi (A (quo % n)lEle.7 no altiid eft S«n t(f tqnte «t bk.tftcaf qooddam bond 7<qttu.«."j. fro 9 ni tn»<.mmibomJ.'?non«q«oBtaftuapio.Bt,yie afa •2.y.<k rtg. w.tifft ftaturah'.ifl 8ia.eft{inFt{u eona j nt m 7 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 fiici' cUtts »J refrratw ad ms hei dfejii? nwiJ/ m«nispi'i!!iurimauitmnniu» -ipprUarifamim. tin ^«ftr' Jf^«fnU'rc3 qfut fflffrdotCB fan-a Tnjftrdi t ;>fi:l«rt. M77-C ; VENEZIA M.CCCC.LXXVII 55 Ciccadcr VenefiJ <:ukiO£Corre«ftionttaLluclicurno9n? iynrl-rrj diIigeii:;adci;.-unom uulguft a ixudc del CTsniporcutc Idio.e Jc^ beico fan Maic'.io proK<ftcr« nc'>ro * rum h adiudor' del lUttore I 'Si j Marcho goijci-iacore del la pace cu3 rafon lo flado de honoreuflmenrc fubft-inema ne de de la fi ii ii nofliri nolln fideJi ma clie in le cofe uenerabile k^c per li fidcmo dc Vnde Ii cleihti dc non le fe poflaii^a noftra qufifto mondcJfotto croua aicbuna cofa fc ogni rio:utile;ponibilc;Si hocfto humano fc ftudlofa li m'»litia (e rcfrena, ad afFrcjarfc a refrcna &C enn^o ]a lor uw in (ecura U m quelle ne fe rcfreni lo porler de nofer per paurs ii lire noltri ftacuti fadi de inoccy la pena . da iioi & da h noftri prcdccellon agro (oa indeUca compofirione dc la obfcruatioc de ccrce cofe laffado ftar le alcrc (pe(To uacilaua. Per laqualcofa noi dc uenefia fopra copofition li la rendera ecia dio a 3a (cuno foa ragioe Recholie pudids ranca confulione che per c5uocarc Ic che per paura cia mo tuci como Eftimamo nccefa^ elTe lo ardir le je fe una hu^inc e dcttCc da Ic ne; de per le quale adiuftono 6t intcrra la foa dijpof cioc e produdta* quale cofe diuie &c foi dilcajjrnenti 'a lo piu refcrimo ogni (peranja «]a prouidcria fola nuuola Si no proccdudu ?< cu Lo qual ; Ja noftr a pacria Vnde tio» icuemo a : animi chc noi no futua crinicade. Ec per noftro ducato Sadc bjtaiebudameote compimo; S^ordcnando ie S«Sr^' —' dc dio Ber.to niiTer per promeflicvdeij ceielhai gratia eanoidato:&C Jl '<J^ Capitulo priinQ noftn ^udefi Ji lacomo nepolo per la dio gratia dofe & reformatio de li nodri flatuti.fefleo nobih&idifcreti hoi.Pantalonluftmianopieuaode fa polo rTho.io moccigo: Zuae michicle SiStefano badoer;Li qlicu fidclcadc giogiando piufo r ccfc itado de qilo la i lo noftrocoune i reformation (oa {chjata concinuo uicne aci^fuda comeceCTimo cctifidado chc lecondo la lor florida : 8^ Aliquali nci prouif oe elli do ueffe quelli corregei^: fchiar3re;coponere8t far tuto qllo che ellico gnofccfcno bifogaoala prefctc opera puidecia p di quali habudo v^> '477-D L'ARTE DELLA STAMPA 56 DO pfTumefe quefta e(ltt fta doluta de aicuna pfona ^Eancora U'tdi fmi h hotnli diccno parole idigas da tececaci caca J cofaquaco rota da iufticia e Adi fopra rcceuute & eller au^ e la uniuet fal.facuka dajcu in la mo p piu parte da quefto la effer la uia a di qual la cuorcuofa. m el grando configlio fcripco Confuetudine itiexccuno de le fnnc fopra gailaldi -ft^ Nuaiuic hec cofuetudo^ in ex'ecucioe Cnaa^ (upgaftaldib nesfmegaftaldicef&pcoefeo^expellutrfpofdiioc mul i COS pofedeces domoffiue pdta accq illoraudiat& mcelligac i] & lure pofidec ;^ meretur c6reft»6ej ^pterca faccitu iit^ tirulo 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 pnus rei ta in hac ^ ciuicace extra expeili niTi & audtatur ab Cupra gaftaldionibus. citetur M cccc Lxxvi adi xx oftubrio in Sopra Le noto a tan fl grado configlio ^udegado de procuraton qnto mometo fia cP ei il judegado nro cf pcufatori il ql folo judega tute fote de otrouerde Irql tJiuerfaliter judrga ialtri officf ^udegadi del pala jo nfo Si. ;portat2 fono Ladara officio che judsgade hsuet debia idifti 3udefi ai diffto officio (era pfo ducaco tncia al diSto officio pte che oitra cute altre la (JO :8iC qlle la forma dcU leje noftre tuo i fti limicade ai judefi del dito utilita de cadaua fncia a Icje terrainatio ducati do.Ie d;do officio no ch? qfto cafo ucrc di d cf e p ceto de qle cocrTari o coitenci f\2t rus t da ducati *oo i da ducatu ^oo i fufo ducari do de chadaua rie:go(jernac!o;c fornifo al p & po e neceflario pueder oteftade e che o^benderao no pofcdo palTar la fua difti^udefi due. ilo m mo cbe la ma36 pte de ie litte ohn&i. yidtCi 3ude(i dccetero fafte otra cocfla fcra oteftade pche hauer dcba Ic cocfatie i^ no pono fntie uoiijtane.sja dcchiarido ofefafllco el ditt fiitie debito o dirao coe ifoleao dir no babiao cofa alcua.La Ce fc taci che pet r ma de elcftio eleftio & p scru tinio del fercnifTio mifer io doxescofieriiSi caui de xl iquali judc (i fiao tenuti de jprouarfe Fenifle Ii Ibtati de piero adi "-' %Jk^ di' anf \'<x • Finis . & ordeni de uenefia ftapadi pet magiftrb philipe xxiiii de a pfile M cccc Lxxvii . VENEZIA M.CCCC.LXXVIII jOiidmiductiuiii "f^fahaii o:do )tii' effccri ipfi cdibwtut prcdolamur cer inmmcloecanamua gloar. prdlapa ta piiflTimc: pamqs compar unicc: cum iioimnc iiitiocato. rirum quctn nunc in if a romana fcruat ecclefia indpir. I aooiiurucapnmapoftoctaiia epipb.i nieufqi ad fcptudgdimaj : 1 a kalendio octobu'a ulq? id aduemiu fubfcripra in =;fpiritu : ira umen tf (i paraclrto:rcgna0 pa omw fccu ^,lum.ame* :^boctauapctecofteeuf(:^ ad kalcndan oaobrie in oonu'm'cw t>ic Jbuefiibrcqiicnobf.Gim inuiutoab fe •^ uitatozia fingnla fingulia ooniim'ds) Die bus dicimtur oponucrif qucntcdicitiir: , ulrimuin iqjctatiir. !3d noa^mjitaioaum* i:j,jHdo2an' i>ny. qui feat noa. Jnintatojiutnpjinmm.'HIcnitc ctnltcrn'' jjs; St. pe .'^atcbj'. j^ac furgcrea uigilonua dc6:fei jf Domino: iubikm'oeo falutarimo. po. T^ic ocaipcmui?. '^nuitatOHii fecundurruT^a: /^il jipcr i pfalmie mediiemunaup airi' Plbuetotio One canainus ouldtcr bpn^ ocaipcniup tiaricm oomim: z I pfalmie iubilc mueri. pf. tSmitc . "^InuiraroJium tcrriu. t^uonii ocuii magn'' oominue: •z rcy magn' : 1X00, C«lt pio regi parttercanentcorcum fiu'e fanctio mcreamur aulajiitffcdicc-' "• ij; U fimul 1 bcatam Ducere uiti If^reftct aobio odtae bcata patris'ac nati: boc «;; fupcroniiico oroo. ps. ;, 13ciutt.5muraroa : urn qiurtiini.^fn maim tuaoomiiic'omiKC adoKmue ^nuttatojiu ^..tu5. oominum : qui feat no3. P9. "^autt. 5nuit3toau5 fcyium . ' 1 ©omi ', omni gloaa mundo.rHmemi jn pamo nocf.De aducntu aiit.'^bua ccce rtx cwd fufl.pe 3Qcat'' uir.pe. l^uare fromicrnLpe. num qui feat noe'.acitc adoxm'. po.'^cnitc ©onu'nc quid mulDplicati. pa. E>ominc nc i ifeoinmica p:imapoftoaaua cpipbaic. 3fnuitafo;iu5.X3cnite eiultcmus oomino: iubilmi' oco falutan ni^o.piJ. ')|ba:ocajpcm''. fiiroic. Sbocrauacpipbanie ufqjad Pomiiu' cam pzimaifi qaadragefimc : z a kalcti' die octobiiaufcp ad aducm oomimfc uo dicimn "Sd nocrumuj. pfalmi.Zcpozc pafcbali aiit. SUlcluia. iapia rniolutiie eft. £t fub dicta arit. di (i cunturpfalmitoriua pziminocLzficm noc.rcru4tur idem odo. omniay. |£3Z^S uir jquinonabii'tinp tutjruclquo refurge^coR IfilioinipioaimiT ^ 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 uel luba'ca: co : 010 nojriuo.l]^ c feda fit pago noftri cojpoao; p qua aucmi igni bus: ipfi crcmanur acriu0.O b boc re pzobra ma dilu demptoz qucfnnua : fld.'uitc m percnnw commoda:iiobie beni gnc confcrae.Qito canw actu ejulea: P* al{|0 ditoz:no0fnoac uicta libc ret ][> u Ife pwcul toipo libus: furgamus omnca ocfvstz nocte qacramm pid: ITcut pzopbeta nouiin'i [ ,T£> S>e pfalinirta. afittpbox Sermu eomino . Sub Dicta ant. dicuntur iidem quomundua qiatcondi iR^^^dicp fffRicj " fev' paritcrqs fancti fpiritu0:cmu0 reboat iti fince tarc.pe.yUnitc. "idautt 57 peccatoni fnonftctin'rinca tbcdra pcftfletic [ill Ilia ' ?fS* no fedit. |@ed irt Icgcoommiuolii Itaeausr'rnegce _______ me meditabitur die ac noae. t^;^ t erit ta (^lignii5 quod plantatii eft feme decur fun aquarurquod fruaiim fuum oabiti . teiiiporc fuo.Q t foliii eiue no defluct: 1 oLa quccuncR Yaciet profperabmtmr. > ,j^ , , ' ., f^ v. onficimpiinonficfedtamppuluis quepjoifcitucntueafadeterre. X deo in iudidorneqj pec catozeo in cofilio iuftoaim. (a' uoniatn nouit oomimio mam iuftow:i iter impi peribit. pfalitiue oauid. non refurguw impij omm Ferdinando Ongania Editore •478 -A L'ARTE DELLA STAMPA 58 -P" B» «§€« §^ *• 'r; tS ^ 2 E <!' -rv >* S '"•'J "" = -^ o '•"• k-3.t3 ri =: - r. ra r\ (. M * S "^ 'O ^ 3 — 'I :'5 flu. ~ '-*: 3*5 m tf> fi o VENEZIA M.CCCC.LXXVIII 59 1 . 6o CSn^ipit eph ficti L'ARTE DELLA STAMPA taiaonfmiad paulmum w grmnofopbiflas t fsanoMtmih iSurmc pbun(koilfciiuuiebiflo:ieIibu0 J(apr5. i am ll^ater bioMtmnvhinm pbi!o(!ratus. CjnT 4*7^ ^'d loquar de fecoli boib'': cu5 apliie mifculapfcrenddm ^S-^aulus v'as decn'onic i magifter g dc conTdmtia tami Ifasqueapjindpio an cx:pmmctu qritis das qui in me loquitur cbaftus: p' damafcuj arabiaqs luftrataju ^ccndit bicrofolfmam videra petrum:'zmafitapudettdieb''Qnded:' iboc .n.mj'ftmobebdoadiisiogoadis futur*ge timoK i diuina:? fcripmratJ fti di^ codlianr.llcgi'mue g^ litrunuliruauilTTa0 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 fam vidcrct i fabulo.^mjat ilk vir ubiqj qd difceretri femp ^fidcs fonpfc mdio: fieret; ^KTipfit (up boc pldflUme octo rolimw'nib* 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 Ifas quafi toto o:be fugierci? pfeqmc captusapiratie Tvmundatustfrannocm deli'lfimo paruicducms captiuuF rincme et fuu6:tn qi pbilofophm maioz emete fe Mu "Md timm Uaimi hctco eIoquc?m'e fome ma in fe bofpitis loqucba tur dicens : m tiijpzedicato: ff^riicnduB erat.iRurfumq5 p* annosquatmoidedm a/fumptobamabaT n'to qcpofuit i cam aplis cuangdium: ncfoite vacuum curreret aut aicurrmct. lE^bet nc latenris encr^ riuc vods aa^z in Tag quid II aurddirc^>uli de auctoisoze traffiifa foaiTo nat.^ z dcbince en rbodi cjcularet z lega dcmoftomisozatio: qua adiirasdi ba buaat:mirantibu0 cunOB atqj laudantibue fufpiranfaitriSuid 11 ipfam audiflTetif bdlias fua verba rdbnantcm* 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 ilia A ^ni dumfacikTcriiriartirinr'z plaftecdfent ma nateni dcultimiebifpam'e galliaruqjfinfe' n'rtamen uirtute rotum eft quicqd ciTe pot '^uludapo(lolu0 ad pedes gamalidis le quofdavcmflrenobi'lea legimusetquos gem moffi z ^pbetaa dididlTe fe gloziaturr ad comcmplationcm (m roma non ta:cerat: vni us boia fama pdujcir. Sdabutt tila erai? inau ditu oibus (caAifft cdebbnduqs miraciilu: '' ut arm3mrrpiritualib'teli0:poftea Doceret:> fi[denter.3[rma.n. fed poienfia me mflitie non camaiia (t dco ad ddiruciionem mnnisio Mt urbe tanta iQrdfi aliud ejara m bem quae rem 3ipolloniu(j fiuc lUe magus ut rulgus . <l^iblia ipielTa fi^enerfe loquitur fiue pbilofopbus: utpftbagoa'd Jradtitrirram't pfao ptraJifiuitcaucafus: alba nos fcytbas maflagetas: opiilcnnffima idie rcgna pmeirauit: TadertremumlaaflTmo opera atqs impefa IRico lai^cufon Pallid i (C^xcccljCjcijc* I '4 79-/\ : '' . , VENEZIA M.CCCC.LXXX t-.-darifflitji isdigiofl fratrte ncipere aBcrro«.tenet.n- otUoiagineozdinte ^dii^iiU cr rem i no (eqmwr o;dinctcpo;ii; n«t cuagelilk J'epi'facmnf. qrii per adnctmn .CI>Sfti oia renom" gxdo tafunt:^dquc>dip9 idotcif t<^puB renoua ttonia.B potl •i':KCK uoua facio oiaJCdgru« <gif in boc tt'poie renouatoia eccGa oia ofR/ cia renoiiat.Ut igi£' ozdo tcpoJio ab eccfta 0« ftinct'ienief pinoagcmnu oc feaiuitatibua : q occiiiriicifrarpereiiouatoio.- qdtpscccTia repntat abadiientu vfcfe ad iiaciuttatem orii &c6o oe iUis que or ciimit infra icmpiis qd partiinotuief mbtcpourecondiiacoiffpar' lim fub t Jpoje cegnnat6i6:q6 rps repfltut cc dcfiaanatiuiiarc vfi]? adfcptuagdiniaTCer' tio oe lilts que occiirrut infra tps oeuiatiois: q6 tempiw repiitac ecefaafeptuagerima vf(B ad pafcba.QnartODCitliflqucoccurnic infra tcpus re£on£itiatdis:q6 tpa repvtat eccTiaa pafcba vftp ad octaua pciuccoftee . Duiitto oe illis c;uc eccurriit infra cpe jgeg- mui ioniac ^«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 qotci'ipitarcpncac cccto fl^tf abocMuapenteco tic0 ad aducwurt) pamooeait' 4i^ teiiipojerenouationia;': jCbaflu oommi noftri 36^1 r' Y^i'ttus oiii per quatuoj fepttmanas acntu " ntA agitadfignificidiicpquatuoilotad agtf.T^rcconcflutoiseft Uladtn qc>Cf>:i' Jl_uentus .I.m carncan mcntc: in moi /tern: 1 iiididURj.Ultima.n. fcptinjana no fi' V nif qi fanao;; gloaa que oabu' in fltimo ad ucntii Murxg terininabif .eftetiiij' pnimn re fponfoiiu pir>c oiitcc aouenrue coinpuuco glotia pn:quatuo] ^^fus continet vt Micros q(Utuo;aducrusoeugnci. 2.i(.aauc quadru nam recociltad fumns:': iUad tps rcpfitat ec akifitauueiituoitfTeccleiJgCtDupIici.f.ic.v defta a pafcba vfie ad penrecoften.ri^ tunc (e gf?jpod- vbipUne agjf oein]rftcrio biiius re officio ipuic icpojis p!.t:>ic eft etia q; ieuiilid 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 / t ne'fadmdiciu:videf memoaa'facercrftct;;;! adacnt^parnme{lf;cultar6i9:igtinimcror) "Ham rone aductusiii came oicip ieiunium c]culta[dis.rotie aduciicuo ad iudi'ciu oicicur idimtoinero; js.£t ad boc innuedu; eccta ca tat (lie qqedi canticalctitie. i boc i)pt<rad' actum miftricoidic.queda ^o 6pon!t; i boc ]P£teradnenton)Ceue»eiiiftiae tmerojis. 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 ge8rinat6i8.f.ab octaua eptpbaie vfip ad reptu" fm «gefima.£f pot D 9cc(pf qGrupIcj:r<T<>2 atio.*pamo penes qtianto: tcpocoit'iinciio ntoi'K bfemoreferaf ad pnmir verad fd>m tftaa ad tertitMUtamnnB ad qua< ru . £t ro appTopltois (atfe p^ Scio pence qruoi otei pwtta: vt noy rdwaf ad pmti. MTianc ad firfj: iiKridleaadteituin^perad quartn.liQoiit fnent oeoiatio renouatio:i n cccta po ttn«uidp<t oia faa onicta in tcpoJe renotut 6 ^ & i ifcaaductum igitar incarneouo videri ^^ pofl'unt.f.adacniertdioppoMunifas:zaduai nis vtilttas oppouunicas venicd; acrendit p if parfCboi6:qH pmoin lege nee ouictus fii/ ir t>cfcccu puiine cognitoie. vji z rune in pciTi moserro.n.'s idolatrie cecidit.t io coaccus eft amareacoiccrc.'Uon oceft quiunpieat fed quiiubeai.ocindelexaduenu iubcne qua . i : m cofluicreii ol' iinpotcncia. 3bi>n. foUimoiido cfterudinu-i'cdnoapenatolibcratno-'necg aliqti.i grcn> ad bona adiutus. £t to coactutf cJl mutarcjjpofitfi ac oicercTloii oecft q iuf bcatifed qui iinplcat.Dppoitunc igit fili' oci nisqloeuiaiois.i.inodittcn poti'i^irtptua VcnitquadobotnoDC ignojatia lipotentia gefsma:-? boc oupuci rone . •pjimo conuicttis fiiif :nc ti aii vcnilTj botno fuie mc nc vjdeaf 1480-A . ' . ^ 6£ L'ARTE DELLA STAMPA 7^ noinicniiiioftn'Scru Bn tiiu iV-atiqnaif quarc qb crai an no;; aiiribuu . rSidiixf akoii alitn'aunlio fonp lytrcw-Crc .olU.ii.ubi rvKimrtpqIibci admiilriuoi rctvi larax ?muni]ra:c Dae 7 k pp.-ic poiin-Ri iniia Tut rife caibolirc ,rt!ir. fa-j iihi:' rniiii:ot.C.lJ iio.(X).c>fir.m p:in.8cl ok Kdtn.vtCrcaduo.Tviicr.iiil.adiioCTii.n-lidcopoAtii iiicuuarmalui> ^ l<}ii'.ii>vlW{:.r.o((pbii>ii iOiKiiiiincnit.fi iddLiurpte IbnuK. 'ilfe'ps loppomniii eft. ^MiSfiiiacam.l.jd hac xti i cwilc^iurbonu : indiDS hutcni q kquirar.£(catf. l4l<^ bcUomni.7fic qoo mc dBKiopoiHito i ad c<a»c.lc^ fiil ad aniiadti.'Vi rr: iniliui lutQ pita)U.vi«l.'oc'!f} f « kjib''7 Oiiga. Yiiidtt m 0lt.piC9n:.3frU. auKiLDc onras f Jqood rcrpoitdiT^mpa;o:u nijidbiaB CbnllU^rbMnoqxballiiaw ilU5nopoiTaimpcrji\.ii!np:n(ianTJuiionc crcrcor •d It \iuni anno.-uin. n^i^paof.ric quo ad titi qiioapozicuc))! lio.iu legs. {anMUj. e^LB^uboiun-akrii cin Ic^bucDprc paostalio: ammvf.ianpoic bcUi I c gulkgrc^nobsi p^isJTp.icrpcJ'.ipa'an^'. ^)o:cnamu(}iti; i i<baHi.«ndciUod 1 ifij" bi'lMibuoqui fniu boftfs Pf .ff 6 Hp.7 pofl ' IlLicJ.boOei. t CEl^cr k^amoo trtmi im^ci^w: cdjr' Samiis/tDia .li.niunic'; sofiai8;Wai3 Sain^nfoig :attifu5:2.laniai6:ai ft foibic-.i.ut ()liba 1 I iliJii'': uiao! eri(bt:imti fetuminbottii K3.i.lcjca;qu< bns'p.-diisjl'cdcriJipcTkg! twos' dioijilicuiiraimiw ridi ant>6 hoi hi Tcnndc glib; Oil noiisc (i)lic':9lTianDr:pmS:'fcl!V:''«U.'IP tu^' uictor.ic triiifnr!3atc>;:'fiutip JGcfjr.wIricSi ingudue: iupidi:' ICQiim iuuoita pbato.'.^auomni'' urrac)? m.ini 015 cnraonlunie ad fimdini Iiiilripit xinmm- iammiit'uicjilus rumjq; pxxiidc diiu; fuppUai pamt'calu Tinq: fuunfut ;5 1.1^) ,yj^ fi^^-ni^oAii mum ^]^Dme4)i a i»pcrjto.'tam liscr]tcolois:iu niboos. t)iiiti.T.f.qbus 7inctino:dmaniscrib'' iim Jfria" 1^5 alic oCi (ilmuoli^ qiiaUiaic illiiiimao(cp.vuuuic°pofttiiiutc adimlli ploniiur.Jic po:iim TpjciJ iiortneuictovje acf uilibu? m6 iiuniuic p.x'Oitifiitmuii' oitu> ni roni jc noliroqj ad Jitcimpcno nunodo iacrimOiKi ealu Icgib' opo; ip.fi.icf fatal •: leili ntrunq; ion pA.i(i:llitiu'''>tdiiiiice iljcUoniin' j tPJiis rcocp.i CCKB.lf I pcicli.p (onLf^-c 3a.§. Icgibtie lam a iibbii9p»niiuga{ie' ifiic rtflkiiK port iplu m rc^navd Pf imiteu qn j trap (duii 7 lubJi U9gai!iacal£n<Uin:viXPclu.[nm.7&ic utbokxli. ^jSljninicnsJxK nomc 7oii fc^mu noii fiii ib cuaim fibi ipo fiiinpnu qi wa a6Ta)0;7 k tv Jli|f :ui ui anKn.r<; bav.T (lia. Kpciui!.Lvuli.i,|.n).7.vii|.%IdSKj;iiu^n''wx'atiraiiiiti'dp<3'quo$ Kira rcddiiiuniH part rakiu Hilib'^jK^''''' que ficn rdiijiolu per lcatp;njt|>fc (ul raerc: \iiue^ rt.6.rc umop n . r4^uo^\iriq5.rtirtan'uceipiinpemiulfaiiiacqdC'alb.nidcu^nofnraq!| i&nriplj3!o:.poft 'naoaJ:5!o:iofii5.n4Tai i niajTii&u jcfta foj c4|SiiiiiuviJcllciifummoUbo:c m pfiJ po.in p:iiial>i;u>.Tdli oaudjiur:«i.C.rc rcpul.jfciiru.fn g ((^louhiciUiaXqao ad aniia.7 '^5nap!i../^o:creacfa>batmipmimtp;ocnim:inquorcdJulc « jiliic.ni fjcraniTuii j.-- i diiEiccndopMinoqualiKrfeblbuuarea.aniia.acair. ^It'arbanct barban fui 9 cnra roniaim uiipcnu ill yJMICiTi.7 co.tpijnj. fiimU-.i at Icqufdi omimf..i.qb'' nio.mribi j!iip2to:iicdlirJdm; 7no (v inpbon ji rildt'do ad laoi a qoac b.".nc.f quart oiipaioi iic faoi qr liiii i Siflpipo.fol<J.61i'' .'. mirsiR'daccririPi!kV..m.i!iicirraafar."cpiuriopo:'i.a;:in.t o fit 7 iivauiuc boftts. ycjucte.r< nono. l, I nlJXim afnca Tubqiu mulKptouuitiecorxKtur. jTib:o'jiiitic.(ie ;>iinii.£iMi afiica qi olic inuinaabiku p:o!Jiiiae. ^gter'i iduitci.adiin*: ^iaoiuronucj.uml<l:etoi'f)roq;iinpio)>oll7c. p;io;;b'' c^mb". : ibi Sumi iuq5 opiMU.f c.$.niq5.7.^.fum j luqj tc. JTarfi-po ao:i J nu!d!i:c.i.<!np3[o:c9 c injtdKvm.fccn: n.C 4\i& bdlieoo.iinod piaiicnm rncrjEWcendo %}ir.inq5 Tiaiii7cj|UncmH 1 Ixndiuii p bo( q; iplc lubtciiuuit potonli iir.odo fwli' i.lixoi nc tt C] p:eteri rvoffp:fPKaftvi.i.inp!ir. lie. 7 to fti.anltapf.7<,iu.r.c.$.occs.:>oalc.n.faritg(ajiiJmb:Qiit(Tccip;i; id .iddirccdiLubi bomim-a ltam3aiic:iio:u J74l3x''iicic oeo.rco jranao rcfcnuiiius miuiipbii nioint obnncrc: I» n^Liic pdicjrir'.n.vti lUc'cmdcni^iUiiiibiii-rcnpiuftiit.fr.q ifrin trcLpapilUiouifi lumj ,pmilcna:ut.f.,pt.^Boal.:cu ric tt cu i;o ncc. icriimX'uniuip.'cfaiiiuni.p.'OBidcnnalanu'os. I gTmiibmic lihm. cwxi aiiaim:roalc:7 boiiuoUi.Srtcm' n'l Choi Stuiiij ' C5^''i'''' 1"" ^'^ lescv:naiii uia nude \vulajinbu8 7 non roaiuoiDbua finpm ethxTiiquc m frau-ai^ju^'iHud in fi.acair':us. I r^Samoiic luftioc: ut.f .cc mlti mrc in piin.toni Jo. J6tiiiuo!«.i.b<iiic (oliiutia lurpU.Luii'i ao:ia:inuinpbiict. JiX Icijes^vfuo Ie^'i:cah1nie paUio:7 iiuv> ntigo. iilJEpiip aiijWhf-.qnu bur' o; ctTc piopolmqlibwT unpcraioi »( aoicjj: bcj b« fcmp no liau-Cci ntiinmoc mfunomi: m.f.?i.- aiitioe ot .'hirer iiaidir.viff.ad 9 no.»ifj.ail5laao.$.alLinu[£r:. gd aiii lil pu.i lc^7 (o.l.iejco. Jre no bie quamioi ,ppoiaoii3lu.r.aniia; <E^1;ao:.in ftiiyndo boftcs.Sinir. ibi ™i»co:vtif.cc indijai quc.qnt vlnma ntio: i:.actur. c {JlftciiijiofaUnmG.110 mi jnitias.Sixmfim; Ho:oi. p bet lyiplf niaUuu i-cJdu 1106 niadatvi neaic! 7n.Ti«aa1a!0j ntimiui p:cdKnv li.abua. ^c icLta vtaic ai;«l fditi.iifpq: iiifai 3d uom fiKccdstat. '^1 ' p:ai.7 fjoc ad boc.ff.rtbi£> ^aut-alua cft.$.fjainuf i^^'uj}>Jc.r.iiium fium '' b^litilunijjiiiitiirinuioicqmfjlfa ova r.^ipfi iiK>aptoaInKmmo:uii3iiKn.iulib.DccaCToccllj.vt.$.li ! iim in outaic niii cent qui oxcnnoi aXx oiij-iuf .lj|.$.port oagmc.qm punuii m minuiahb'':puniiit 7 m n uiEanoptocoUij. <l^crirjnicu9.b<cfjinominap:oiunaanimqujo oonnr. fj[3ndnns.9 ^Ibo iadi.,ppa'J>lii $.7 figdc.vbi puninir^ mac iii C(p jfts^d ouip.nujtncra p<auc <^ui ic^mmot) aanmcsrvuf. Ibitflnis ^.iiini I pP pe. (9^ a^ais. -.Ci L\nKi:7 ? ^ifoiKibito^turo iilioiulhimni) j'bic.vdokipFjiiHms nn pccnmana pi: incnid noca iranar.vt.j-^ ucropopuU bioVaa&tfcf T^rFI ( lf.adnup.uL7iflp:iua(U> dt'cogiioiVur. III I'l iiujoi: xt.(£.?ic atcu.r fL7 licoe'qnulon fudoa-e nofh-os bar b-Jricc gct« Yub lug^ luirtra ocdu |:ciutim:''fcdi.lj I'clTtarmataj Jiu.i.rcwj.f.d}i i fiHC o:dian|u flBC InJicftilemiipn |i!liumarn1i9^e am ruii filius iuftuu: neo caluni pumn p ICjCviiaj oibuc tu: aiinuauc''t)€opfcfirui9./E[txl I vu jra txnifoi cftiiiijr; |: (iii uiumiiunbuin''uiiiiiuu ReetpdUt; 7 fuium liiria rdigio rifTiniuu qj uujts boihtma iTiiniitc? tO-"''-''"^'' ';t' :> inu'.niif. viGoiuo 3 rwirici inipto:port rcSeriir. Jicg-iqiTPic 6 tcfc.nu.p:eft.nj' iltc ,puuinc p:iu9 ruenin: i polt ccn'i.yjitoe nchcri'ir'H poll u'la rcpo;; fpuu l<|)6ro TO. eilJj hue rtnt qualiicr I l.vc iiiui; l»^ST qfi oii 7C.«.6.PC0(fi.p.t.px.a6i.lj. cllici oiri b.iba«.Tiiic qualiier Ic^'. (f|i>wfflul5aih5.f.anobia;7c«i>;noiU).7,pnnilMarce egiarcmrudenn lanux oeeuluni mf hqiioo mno.i.--. in pponendorocus in pwrnuluiando i 1481 -A . V.ENEZIA M.CCCC.LXXXI 63 Mat ibicro.q) Wno iiicbiu.-u qui (criptans aim uiMli^ c^ fc babetrariLw.rt Icsitur.ipmi.oi.nno . £t Dint beaf uiCbafto i 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. ipfoaim noftrom patrum £imdo DC tMlomina 3&atjl<> bonorac. 2(nfcidf jcoimefono cleii-' oie'ZcapdUn'aim ^^l ttcommdatioitf fiii vtrmfiT? bomrnfe fofpiiatc ac animi fiu 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 m co quod boudiccnt 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 bcrc quod Iihsoao balbuticntui (aot oiftTtas.'Z paliiignas opens cdihau fapcdificanpotdlvtoiai (urn qui Ibluo loiai. : Dtbita coawftonc ( Jtdeotuinnunmofludtoi laboie anuquom t modcniop rcuolu^ fcopo 0abincnfi £>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 fioiico fine orto figno coperianto.'' ox> vr vcftra paicnuias foli pancipio wntatie Digncf aflcri infamiiiloquinirraTatc.n.iiii.q.iij.iiifi.^.rcdobiicif.'Ra 1 omnie mundaia (aaiua filfo (ibt raidicatpiocpunopa 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 lietcddicfpofc tT^afttquas Cbaftua oc' noftcr verc (Vdei Meaho.ct Scd ^uie in opettbufbommo nil Aat adco rcODi fibi «mf ixiponfaiam i infaaam nrginc Icruat. bonum aul licitum cut non poITu aliqua pcrmaca UTOgait 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 pafa9cb3t.l9u70.pifj.si.D)raa>iu^ibinpmt. vt oc ipfa £go qui vt f'iia poteft coili^niij.q.v.DC ooidciidto.in fl Da ide boucm ^ifc crcauit t ailia5.n.n3ii.q.iiij> qui fctondit came Xamenquiaingeniolum maun alitcr od oilmen non poteft pcrucniraveritatie nift boc altcrius paiCT qui atautt 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? palm rauoioje feu oppofi'' too' liirw canoiiia pufi^iee inc rcpiito iniintnu 'Z puifuf oonfidattcracccdo.vbicatoai mi'uffiaaue ad tanu onera (uppoitanda. Coiiftfue camoi CK mdltfljia largitatt illme qui oat onmibue afftuetcr I no Oonibua Dcfcnfabo: cofidenp cp liber tanto (it graobt t tc cepabzqnantoomnipcncDoctomaftipnlatiorabue pftat (ftefloudioLQri@ucmliqoidicanipumad(«ftrc pa(erra impxipi.rst.i.q.ii-'Ppio-'Qiuwt.Stperioatmi'Scgoid ^ita Difpofuioccrtiosuin rofarium nnncupaa'.vt ft imf>leboiUud.€iuic(iac3kuloriiniptooc abln fojpiccCit talis glLi mnndar labia impafcain billoacc itoiai. wi.q.t. in cut rofa inia cdtroe lk)ies oborut psnopatiKic nofter oer ibm' Uivmbumc campus picemincatimaaiiJa opulculacompofu* rotpoins.tn fLnon auiditatclaadia confccfoidc. fed tamihis UtefcminadcveniatiB. tmodcmis.mquofiipflttualibuscauiriAradiciiufl xnaf.q.<iit.obijcuiiif. gt^iiit onus grandr fiibtrc p:ocuraui ad vtilirate ftudcrc voicn ttuin in aurco v^>liimtnc Dccretoa.ad meinoaam rcducai0 ttifcutiatur a palea. ^ nemo noiotur ribiloU.ar.ad bpcnij.q.i.in Fchpturid.ui gctmuni do duUa cuius eaniica finipliatas conhnct Sitcom'' ergop:ici pib noftro lil pfaw Virgo 2l2)3na cm piiopio.mcdio.atq} hcc verba . "t^olo vos finiaJTiti^finita'SScffuancari' 3cl'ud)a(li. £ftoteergo n.1 xa paii.Ct ficut plnic iioiut wflra pauniitae tlDi aitcflaiur quofdd aUoquetce in ignourc frotrcB.qiua palrca nolVi oiiiea Tub iilibc fiicrot. occnmi (ym claritaf c no opponcrc ,pcaraauiL multoiiee ignoO Dcbeaiue^naitce. coet! id quod per ijjnoiiud z abler Dccoitlar».oi.iiii.iictqiJc<p.ii'raft.SedWjiiiox ^ vuuim a fecc Dciixabuur. zcoloajin loi nonumt fccnunb'' no attcntis meo ludioo Tela \<aitati8 me 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 F<fdinando Onijtnla Editcrc '482-B L'ARTE DELLA STAMPA 66 ^iri 3f3lftijhjE>ociicon $(ftr6nomicort i^pa&^tiUlUmmii ^^\ici\e0hcipit.^ /CfariflTimi fec^midi'?fpb|rae'sicvtirittrq5parnaoeclaratl6e £iber|\ I^Jinuia ')|b2obcnitum. 3^gintn6.XH>.^abio IfblurimamSawreitt VENEZIA M.CCCC.LXXXII ei^c»nDom( Oib€\h€ Cofmosrapbiideo^repbia: oe ll&zifciaiu quct|5 ejc oionyfio tbaiaXonicenli fim OJbis interbietatjp. I^omponij ^^dtaeocoib.slitu Hiberpiinms. KbisfituraDicm afgrcdiot impc/ dilurn o|>us « facund^ mfnime ta / par f onOal cniin fete ex gcntiu lo cozuniq5 nom'nibusr? co7um per/ plexofatfs oidt«€:qu€m perfcqui Ionise magic q^bcnigna nifltcria Ikrum afpif i t<?mcn ec^nofnq} W 5n((Tiiniim; niioaiili3:anpfafui(6lcnipU!0> ^^ -— JS©!S^tii^i!S3ll ^it.rfiH C— cyactios . tquod fi non ope ingc/ 'ilanc quidem:qu§ fit "^ pjccium oper? aifcndeiitiii ab/ folu-at.Dlediiiauteir.alus pluraet autan vt qatq^ ermn darifTima c nrictini ac pmo foimci totius:qu§ marlme paftfS.quo fingul? mo dofintiv^jbabJtctitGjcpcdiam.-JD^flderurfus ows omnium ct littojivt intra orflaiqs funtratq^ vt ea fubit^c clwumliilr pelagiw; .^ddihs quf ill nahra re^ionum iiicolaruinq^ 3dquofaciliu9rciripo(Tiralq5a«lpi tetur. DfSmdi in fuiit, quattuoi partes ^lu if io. Of3"f tSitnr boc [qirfcquid €ft men immoianda paulcattms fuiinna repe/ indidi'mus; vrium id : eft: cui moudi ccliq} no/ z viio ainbitu hcsin/ claq3 ampleiriliir. partibusottVeit. 23"d€foloaiur OM£nsnQncupatur:jHitouiis.quo ocnurrgilur oc/ adeiis vd occafu3:qua Dcoirrit m«rtdies. ab aducr 1 i 67 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 'ncipi£ cpifloU beati E >icron fmi ad ip auU terum &« ommbiuj Diume brftoue ti :tulais ou il!< yir vbug qi oift lio: fiera>3c^fit ftp B bu0pbiloflraius« loqr oc ft O'lltd j0 V33 ekoic cif\ rann in Je ann:pu!itntu qri^ei' mafcu:3rabiacB luftra; iVtvidcrct pct^:'znuiU teof.n.myfteno bebdi gcntiu 0dicaroz uidrtu annos qtuczdcci alTurr Init cu aplts euangcltu. aut cnaimflct.lfe5 ncfa pocia aa'-z in aures oii fiifa fom^'Ibnat.Jsiri t cf< ret 7 Icgcref ilia ocniofl ifUtcri^mmonue tua fcrcnft, eciulit mlblmunufcula^fS (tmul :? fuautni !nad Ifao.q ipiuipiotaniiqriaa fide 4>bace lam fidci ^ vererw amuirif noua ^firrcbant-^cra-n. ilia neufCitudo efl ijcpi glunno copulara;qttain no vdhrae rei fafntlian0.n(5 pnria rm coipo^r nd fBdola -t patpae adulatioifj ^a hmot 7 oiuma^; fc^turap fhjdiaoriKant.legim' in v>ctcrt& bifto n)a.qoofdi iDllrafTc 4)ouuia3.no»oe adi|lTe po palbe.mana rrarij ffc vt coe qaos ex Ubxifi nour rat.coza quotp vidcret . ^icpftbagoiae mepbi ncop vmee'Sic plato^g^ptii i arcbfta tarennu: quondamag grcciaoiccbai :la bcmoruTime paguitvt q atbct3 mgf erat t potcs ea(R oifiralicq cniufi^ Doariaf acbadamic g^mnafia pfbnabac jAcrct pwria' atqj Oifcipulnsrmalee alicna vere TDude oil«^ (na impudcrcr ingcrg. «3cni<B cu5 trae^ftroto o^c (ugiftce pfeqf cslpr' a pirai? i *. mdcUiiimo paruif»oua'c3|> etiir'ai t>pbam3ici<a»«fiK CD babucrar:inirannb' pirans air: ^uid fi ipfs barefbnantem:' ^n J wofTieamcaa P^ardoztunsir iWp tc^an oebcat aoic laudabilc c.'Won pfidcramus.dfeollis c cria (1 artiftap 7 Dlafte e> rum c qcqd ciTe pot.lp* «iaUeli3 lege moffi -z p vt armaf fpiiahb' telia Srma.n.nfcmilihe n6 &C0 ad Dertrucnone mi; ftmctcs z fcia3 i>cu7 0C3 altirudin capnuaree o JBmgare tbcu fcrtbit ab infantw dii rpo:-! pati taf ad Ihidiu Icctoiq n« p impde.s man''p)bf ci cetera^ virmtes epitq 7> L'ARTE DELLA STAMPA 72 I I Q^gojolurmiklirgfcgfmpnoabulitifcneeil Ebibw rj bflbcbUlum* we.£^ lu 9 icftimoniu go ra Ebibao«nicpr.£ niripfo;«Mrtimoniu oc paft« bonSrtcDgnofeo me«6;t cogfcut me met ego fa t^arperitae « vira memo vctt ad pic?; nifi Sci(pf>tifl cuftrmotf eo.Ajuitttf berodt'sra pmgJEgofomvifl8'?<rfl;(tparcrme^agrieota< f^MA eft imbi omnia poceftas _ 2 "-' •• -* ll »j O J5 ^ J S C » Si »n ceio detfttaccrdf iy„»:5g-3S,j5 g K. 5 ii s S ss O ^ 9) •^ ^ a o 5 ^ s- „ 5 s t; }< 2 illlli • !3 !• *• S 2 -o 's o c J' « s s ^ gr: iS 4j .^ w c o w ^ *^ ^ o B 3 5. 'cr o s 3 «» •o Oh S. 11-^ 5 ib>A UIUJ Uimjtq0»083?333ig'3JtPP3!3-" I ^S;a,_-^ . ^>ui aijpdf:o3n30i}3 i:oqjJV|03:sm;|!Ujiuoq ut«u)} aiu wiijOJ ^9}0 iPiuqsS u) 9J3pd ^dioj i Scripfitin lU5>PlK)(finbr3J3Uf!JtW<iUbii $^'9J9pp>o]tid v deabfbtsu IDflttbe' jyicioi^dw? :npp30 B so? i ouiu 3JiioiML:a<|u|03 bn3y"w5iiduiyi:pwdi?j3tj8»»fmido»xj>36ti3 \v jiOdPlOtP^m U1 83»0 3n)W aOA onitU 083333?Q I", I // Ivibcr gent J/ f5ta idu r| 1482-A VENEZIA M.CCCC.LXXXV t»,^jtiOAdmitimman»n J7lracft;ismnosdclc>mii0 nmtotf/lMtniffa5# Jntrcatmt r»rgere.*63cca»rj:>jop«c»jdhr9 ~~^ ' ' ' 15jf IdiaaiftMS ftrafaiu^qwmojcreduhmtW!/ o9tKcof%jono quaint, _^, 73 i^biidamodergoc^ ^deantmetni odificutiitOtebondledinbuie' m(ci\ndcKntm miwi. •iBonmcDmcfTanombas ^tBerfiQtMjrpfdat no pfbudciimr '£<l»iet^nbii& » ^, ^lastuadDncDanon^Qinil}^ 1l^ incMbili' tnie^cCimpudicidla^lSonmcott ffoniradmadedocem^Skqumir rcnttcmcieinulattOMeiS^tit' Unediatc/^. 0mi9psar\, €bfO dniminidfimidmn^m* tdr^t fmtorqxntUrdtus, Sidick' tSniucrftqmtccypatamnojKofiia uat«9nto9mcs»54 iCttftcinOfiJus dajruroom'us.'^.'aSiasnaettoink rcpcrcdtttroitu (ioDol ^rorum norae facmibijr fcmiras nws cdoct p^ mc^iUi. '^' ii^HTcndenobidOfie 4ntm^cQ^K^Io^i9pan1« fn^rycriat fefltebupIicibuB/ mtfcucoidiiimniam 1 fsiluoretuum ^Skqwnti^(smcti ijSfltaqdOOniinc <^fo* t>ai»obi0* dti ati^ fc»m UiOtnuxtLob ^>potctwma5Ttiaiutttab Ttliltorcpozc; BtWrteAiQ fmni^b^pecfa^nforn pert' m ^a)U8rema*eaimir;preacr<eri' JLufcipuhekie* i^mntft' 1^ ^tcUberatc(islmnMnimm('^43fuim (oktlnmtfidlisnita ^'^ M>bM^n^ce^fii^^ianati rispzcffysra gmtmmpitcotifn I uitati6dmpoft«ancw5t»aiH' fioncfontoieniaris^fliicftittjj ttfoft)t)efcfaiTwrtaX;gc?4d2 ardccntibosbommibijspjcrt Wtt br^nwrt'gCcrtiaofootat'^c ntwctcjcpccrattoiiaquciupor P) ckfte fiiout ©e^oiuj^ 22?^ Mfluentum'Bcrroozbt, t1fl5 iwr bcMotnadamttcrirmltu'tWi tntcdak>7;^movubmii,£ttuiic ma watibwfcfto. Scainda be uidebnr WiuboCf ocoicftrejfwti bfivcaxJCcrtiabcfancramartaj bccumpotdtarcma^aaniaic Fcrdinando Otigania Editorc '485 -A L'ARTE DELLA STAMPA 74 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. xa9xeris.par.itn0 fed.pa>egoiflac pannenonc fecjuerctnemtfo ^fcaxte quicg. ut sbonifecihodk 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 *. ante hue dieuo^. Vos ualete SCplaudke caliiopius lecedu. & Oam p-armenooisxjuod fibi utile fixritCoaf ' Imprudens^ fcies Adh ludis R/)n3ams.Lado Poftuto 4 iJeniih>rdiauraCTetriaabeuDti.CFediniy pnKfesix^ftiensantehDtx:qaiiinoncoaueiut ComellonKTuIaaedilibusairmlibus.Eg ferooMemertde fkere:bene 3ddidit impni osTurpio.L.AttfliufPra:n«ftmus.Modu denUMh coenKlS^rut bene Eaceret quod pm/ dtJnfsi^feefritClnsprudcnsqfcwijs antt/ cusGaadiitfbiisIparibus.coca graces Apj ti>etoafecunduaviata irnpnidcoti ^'entem epfdIca3omenos»A(fta*iui«CFano.M,V'3 reddi? i3<m pnickotem* •- 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. TH pyncipio crcauit r^cne cdum i: ter ram:tcrr3surQncrarinani6C»iC(wp<Hlta.ScribBmur£!cncfco0p!im<> ca"^ajbilio3oiani.aug^rdbmc:wbabcairrndcdmoocdui.oc<«"j?) d^aririiD0emundii0.;^teiribtlta$t>cro martmuseocue; r3 iiiuiidu) cfle confpicimii0:oa)ni 1^0 acdimue (Quod joiem dcus fecctir mandum nblb potio0 crcdimoe ^ tpfi oeo: 'Qbi immcB ipTom ^inimae." 1^u(i^ Wx dipt pTopbc mrcrinK'rcfpondirjnoe mdiae cp in fcrtpiurieliincnc: ac«i0:3npjinapiofccitocD0ccliiin'j:fcrra5: "fionqoid namiuncftnnbi : ScdibiftjitrWftHfea imninmctA (anctaefc tranlTcrt ami iftcj)pt>craqiiandofec<rocoocdi^^ terra.' iSoo Tapictia per qua; facta funtoifl-'qac coo txK piopbaaecoftirait: dfcj* opera ftia fine ftrcpituinfiie ciiawTsr: l<> quunmrquoq; ciaangcliodqoifcmpcr wdcnf faaan patnevoiuntatc^ cba qu'.buB Oj fctapcr aiujuciant itt p:oprcrca ex qe nraeerat ilk pjopbciaiqotoijcit t fcripflt-Jn P"" a'pio crwnit 0010 ccio) -r tcrraj Xcn a aui crat tnanis t ituompofus /ptifomiioqmppc flla materia crat quaj wr mbilo ccb6 fecit appcllata p:uTio cctum c terra;. fEt tMOiQdlin piincipiofwtcdiiHiT /crrajrno . flila7nhoco«.fjf|:6otcircpo{aw:fw>txcUijpo(lcifcnbtairfiKf»i>:qu»dniodo5fifa • 486 -A L'ARTE DELLA STAMPA 76 I I I !l i\\ i A I VENEZIA M.CCCC.LXXXVII 77 '4 87 -A L'ARTE DELLA STAMPA 78 ^SB m m^^^asf/. ta VENEZIA M.CCCCLXXXVIII 79 f: OEPBIAM OLIM BEATISSIME PATER NICO bcvJliramepopfiex commairanaquadamgramniari o conierc-.^uibuscminem 1 itterarjaai anrivjuicatem & orthogniphix ranonancum c»purtunishi(tonispro poctarom dcdaianoc connoftcf conabar ajrofttturus fe DtHM iririliftudiolis lit^uac /atinarjccnniabaliii ftudliincgocufoj ftmJiaribus I'rcrraptul ilia prorfiu rcIinqucrc:atq;lbgorcporc3biiccrcmfusfu.Scdnuper nc ciSapud Alatrjum Campania oppidumex acnsromaiM moldba fccdBflrm'.ca aUblucn: nuorunda amicoru rogatu conaaufa»cficquoq« ad calccuixu^pcrduAi opujnu^gpuuariuBi&difiufumianiJilludtuarCujaita na quaudurionKomnia mrabona ir<'<-onrtitu;;noti prtoaixq; fJiucrunr.dedica quidon ut inftituaonibusgrimaucis hlftonunculismabcaacudo mdigeatiqui at/ 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 "lin^itteru acditidil!]ae:& tcbus (;3rKrisaggrediens:uircs um ulq; inguz crudiailttnos ex omuibus fe retemsudutiadiuiTutisquodbma^luniconuocaucmiquosuc mumpofTint cxcollcrcmgcaium: icros t laudcai^Lbtpararc:80\lic[uidconftccrc:qucKlpoitcritadproddrcpofl"itmxvimispramiisafftMris^ noti tamen dtten-ebori&cpoaliquid pro mea paruitate niat bibfiocnea:offere,Quam cimccli ex cla nirymisalnflimamm down'aruni aiiftonbus fulcirccupis;quia tamcn ft: minora aliquando /aculca tODcceiTanacfuntinon dcdignabcnsproniafapientiact cnimquantisimpcnfis&funipubusquantaqi diligcnua philofophoguni atq; fummorum theologorum in latino adhibescuram in antiquorum noftrdrum operibcubn nonnullos ad diuciias coKraafque ttjundi panes pro re ftinaucris.-Quxaimmagnis»n rebus cJTcctris Don pigci ruahibliothcca n:poncre.&.'maxmie ii!os;qui dcgramm 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 tilianornifi •=s^=ass) aumnt.Vnd cntmoun^ inter doAos conumaan pemu rirJEt utciufdearcispfefl'orcs:tjuin capceUu(lt:Iciuc r ncos uin dodifluntruriginus muln nominis Roiiia; gr. txugraniaddsquiqillni^utfufnntjnagna audaria praq fcholara Occro pbft iabores fori fi-equcntabati Nigidiu Varronemoium tio<3ifli"iKnli Valenus ProDus fua^ate fdhuaTcrentiusJOGaurustttmponbus Hadnani'.ddqui optsiustemporcciufdcGelii multi, nominis gtatnarte tunj:J>eruium;Oiomedcm;Prifi:ianunr.Vicionnum:ut ^imaticos.Scd hos u^lut eius a? ciS profefTorcsfaci le trai rinustcmporibusGclluphilorophiMclarusdegraraatM (c^batrNonneetloage ante cuiti Antioteltsoium phi Q(;umiianus:&fto>coru fefiatut Pnfcianusipeoft&it;! lE^crc^orphinuset cximiusphfisiHonieK corticor bus bo foluaItiflimumpoeTQ:ien(un?:6<u6caoula^uax] ftionesaWblmcAthiutdja-sgHca ftienintphilok^hi f<x>huK ocatoiesfJlmUu ducesracultat^hacncceirana lu f£nierumiautfcribai»fteris<finaacfilaUdcrcHq«erunrJEfQctrpneipinrpidafflUjpnmuro guacnoftraraWijalicuiujdabJttotJnegruKxpsfuKiC^odidcraarufnuitiJUt dixit QUinaliaiiuJdi figcntifl'imus fucrit:^^ in fiUo nt ex cpil\6l is apear?t re&c loqucndi hoc eft drf fen bend al^f r quoque cxjuitor&'corrfdtercxoteTltlAtttUim.C.Csfarijfdiri fraxcnmtdcanaJogialibri.Autideottluius Mcfnilla-nia«ius»]uiaqi:ordam tbtoslibcllosnoo ucrbis nio lingulistfcd ctia iitteiris, dedif . Quid tt dc Marco VanoocdicemnttAoadmiirand«fiuc<tofar<tqg deregauitguod toinuttflimatquaihone i 1 488 -A ' ' L'ARTE DELLA STAMPA 8o Officio beaiiffiiiK made I 21 poita mi0 pcnttemiahb- : omcio |m«tuo?::fen«ccntfis:a ,.; I rancii Ipiritue:? i iU(i9ti{uonffimt«o:aQOid 56r.£"nieoo ^. Dne ct .iudi«c.$?.JftcLrtno:«c. £ii8 qui iter O?o. apoftohcos faccido JY^ \^ piuHttne ; iferj. mine aiui> t'o£i { ^ tcefainuloeiuos ba0:fcUciKrfiniR5mp«J Sim t knetijg per andrcl poiiric.i U leu faccrdotali fccsfti oi / \ (jnitatc vigcne: pfta quelii - I niu6: vt coi: qiioqj pcrpc 1110 agfiregcniur colonic. '/Brno ftftuns dl^iUeftmo qt)^ringente<«mo ocnu^ kcfimonono: oie.Xpii.mc 1 |r|£u8vciiiclar Oio. I V^" fiito: I •z humaiiclalw (oamatozuiiiim^clcnieii ajtuiuvinrcpisrcsatiotd j ojiis: ojt; fpfts ciu?ffriptu; fiknia \}cccii cuiait-'ue r.mciie etue, &«>. ^gudateoiimiultte "Y". ur CI*: Uudatc euj J> m a&ttniouui^irtnomo^iu tur.Sfi.jegofu,. £atic6 nmijifWVlilllSCl'. Ijaii date tc cij i cu f vmtit>''a'': lauda m multitufl incj ma gHinidinia \ J^&iidaic cix i fono tube:taudatc cu I pfalterio : cftbara.. jjaii ci date cu m tvmpano t ct^o ri):l3udaKciikl)o:di-j ct oigano» Ijaudatc cu j cymbaijebn m fonaiib*':lau date eu i cfntbah^ tubilati laudcisn^. ; ; nnbilargirtoigncnsgra' : tiiTmifcncoidtamuisz [ gfajfcinpit'na.iQui VIUI0 juu ct fccu rcdeptioncm plcli die, Qftercjrit co:nu . I irc!tc.^dpma.X) cue I iii4duito:tuzc.G» lliapfi. hiOrapmaoU nODSoomo D^auid • pucrtlUu^(aitlocut"cft b^^ ctiiecftiefueadpl wiu.-faifis lefttmoniie niul posrc6ju;qma fclbfuiit ^pbctasciu'j. Salute e,r intmicis nfis : et oe nianu i Dcumctie rcquic c veiiiai: ccf lefie me pace z ?c«di' ainitnoPpcto^b'vitict } W^ £iiedicf^ jacbarie. Kj oiisDc'VracUqiVtfi falutie nuczibo?amoJtiemcc:'r ! GFUqute. afi.iOioipint*'] faudei Dti5. ^.SudiUi vo ceDccclocicctemtbi. ^. til I accufatii:colapbtt; ivit/ I fiuntinanib'^ltgatu: vultui I DCi -^ipuuc lume ceii granot -^Hi^^m^m Iftar.rye" : ccaltabo: in [buecf craliaboi ijoi i m ten a. I X) f.s5 vjrtutu HObifcu: lu j fccptoz af oc'iacob, O io im.'Sii.aduuiabifeaoe utjvultu f«o:ocu6 medio « I eriw conioucbif » 3". Si yrf cutlctJtiu. pfalm". I i Jo f 1 , rmdameuci'imo t>m po: tas iVo'.rap oii tabcniacu uuueleie-.Dilujit lnacob.6 ^ liofa Dicta lut ^tle:c^Hita6^>ei.iJi cmoi j I croraabTbabY^^'""^^*^ tiume,© cceolic. ..£ne«| mm. i489-A VENEZIA M.CCCC.XC TRIVMPHVS 8i FAME Fcrdinando Ongania Editorc 1 490 -A L'ARTE DELLA STAMPA 82 .V; m^ ^ ^ m. .0 105EPHIIVDEIMSTORIOGRAPHI VIRI CLARISSIM ANTIQ^VITATVM VIGINTI INQPIT FOELIQTER: N VM TR ADVCTOS:PER VENER ABlLEMPRESBYTi ILEIENSEM VIRVMDOCnSSIMVM. ISTORIAM CONSGUBERE D£ am ncc eade uideo dufde fhidii cauQi utro pluhmum differercs.Ni qaida et omatu: & ex hoc gloria aucupa'rcsad Alii uero- UUs gratia refcrctcs: de qbus opere code ultra uirrutc coa& funt 1 quibus pturc declaratione col]igerent:Multos iti occulto iaccntium inuirauinut hifte i neceffitate iiimpafii funt.utea ): ^5- proferrccocm.Harumia^qnaspracdi TnSiam pronencrmit.Bdlum nan^ quod iter Romanos & nos i 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< finis acceflerit;expCximento jpfc 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: de noftra piolapf; di<3a 4unt no tranfitoric cogitas.-quia p haec de Graxis fi quis coj^fare quae noltia font uoluerit.C5peri C I & & & c>i- im §^ '^-, ^^ ^ -^ 'h 1490-B VENEZIA M.CCCC.XC 83 .v^ &D clxifclongmc txlpnnd pinfivcimk lifmMmM coiitrntimgilvfom copoikplo gcjBc fcrc/OarcboBiTtia pcr4DirtbQc>mfcotc lltCf7*E^i5?..l «Av' i4f>e-<J A 84 L'ARTE DELLA STAMPA Epiiaphmm ciuftleou 5abe1lus Eilcgans exuo<flus luuir* Nee un^ Venetix dccidec diuino illius elloqaio xtcmaAcs. luacntus luget raodeocorem CR.ONICHE CHE TRACT ANO DE LA OK.I GINB DE VENETI. E DEL PRINCfPIO DE LA CITA. E DE TVTTE LE GVERE DA MARE E TERRA FACTE IN 1TALL\: DALMACIA. GRECIAj E CONTRA optununu Fims TVTl LI IN FI DELL COMPOSTE. PER LO EXCELENTISIMO ME SERE MARCO ANTONIO S BELLICO. E VOLGARIZA TE PER MATHEO VE 5CONTE DE SAN CTO CANCIANO CON GRATIA ET PREVI LE GIO. M\(fi\cCccm\dnm mo:em imac IRoman^ jEcdefic '490-D VENEZIA M.CCCC.XC 85 3«n4ti '49 0-1 L'ARTE DELLA STAMPA 86 SOS AVCVSTiNlOATTI SCRIBAESENENSIS ELE GANTTtOLAE EOELICITEK INCIPIVNT. Rcdimus landudu a pleriftj uins eria dcmu artf qucp»a darrnf' in diccdc afiiuis nonnulfa-adipiTcj'fi«ki€ku atqpcrudilofil pcrruafutuift {tet^ qaif^ rmltandu propo fuerit.Ne^ cnim qui diuhus in C<«ronij leeil 6n; aerfa^us fit no effc m diccdo & ornaru? & coptoFus poterif .Nam K horndiora cr<b4»o« \'>lan ipfi qu9tg aridi ieinniiKinculh fiat ncceiTe eft UcUfali igAurnii rus ocfligia opH'ma fibi • parcfe mcntoap W Cfccronis wolumipa.quc clocj.jetiT lunttquibus dig^M U'ife fi pclwrcrim paucaannot*tfonc cloqucntc ocaiio ad afpc.nati fcrniune uul^riu utcmur ne proximdw accedemus. Sed fame id in primfs gf(j « infigars fa quod rhtror diligentifTimus orator Fabius Qumtilianus de crationis partfbusdiccre cofuehftiNCT^ en-.m lfs« (unt otarotis qucda ueluii im mutabUi necrfliiatc coltifutsinec roganonibus ut idc di prscepta. Sed utin ccbat: tfcc plebifcitis faaa funt ifla admofrfdus ^ '^. poematis cacJeriftp in cxordina'di qiicxp plurimu fcmpfr dccorisac uenu oratione iiiri doquehs folet cauedu lenen ftatishabuil- uarictas. At<y quod dici ftatuis pidluris dicedi fi fien po prima fit comutafionis omnia ne ars^ulii dumcR illud eft ante tcft cfTe uideatur.Hxc igitut lex iudfcent. uanelatffq?;qul suditora adres no diftinllime fcriba dcinccps perpauca fundamento Hoc 1^1 tur hQo fuauiflimc-quar «; fi f^o Temper ut plunmuiame amice noftri loftttun his rationibaj feraada tibi crticScdiam artis fkjti oratoti* qui enim pletun(5 . nafcctur exordiu a!iit:ftudft ueebis uetbu contra tnta faleratisait ac bixs gramancotiS cofuetudincrqaod in calce ab iiuIgstatTiq} ilh poous toaptat in folutse orattcnfs locari dBruenlt:id excplo.Scias pie ltutio:quod omne tibi fict manifcnus fuppofitu ut partibusrguod tabus na orarion^ conParf 1491 -A : VENEZIA MXCCC.XCl 87 sancto loanne clim^cho. alti^amente schala paradisi ^^ ^ mm- mm 3n C23HU IBmwrdi abbatid d<r<ittl knits oultnte iCiftercunfie 9oct<^i^ oa-anfluni Omelteetfennoneo oe lempou av( ronctid : multidpcr anlu ctrculum : folentutibue 1 0icbud illo accomodan. noiigdio: nnf isSilTue ell angdiM ^ibhrl a oeo^ad boiioirm ^crattiTunc (nnper ptrsu aiigflua i£t pnmo Omebe Itipa- fue uvnMnecdite. eft gaonda toiaui *p:olpgu5i rate) ga lilceutii notn na yaretb cribc fldvirsiiicn* reine sliqtiid a ^ b luotioiuby «<- fpofata; wro oil Momcn iofq)bo<comooauid:ct nomen virguiifl maria jetrdiqua. OnicUa ^nw. jiiiPJobibtt ownpanw tkninta.' nimqip:e bivukcuaiigdii pcdicrecoi i>ota\ifnoie Tminarc^iiiboc iliaframi; )d p;cleii0 .:iovalcofe flocotamfigiiau tcr vclmibicf fotniiofraiidane iiinocnbiiu intcrcipere finornon finam oaolum . xi. betcraotciitarc tdponfTmnmi aggredi: quodicpeiimniiiinpiilfauitMoqmriclclicct aliqmd 111 laudibua i>irgims metna fupcr Uhi lecnoiic cuangclica: m'qtia luca rcfercnteocniinicc aununciationw contan. iiiif fiir brfto:ia.Hd quod lineopiw nic pjo <rt»diiin:etfi nulla fratnimiououni fcrtilHiBfcrcnurcneoefleclT-.vclneccnu taa v:ecat:vd vnljOBtnontat* oii tame 11 cvbociion impedianquo adqueqjiploriimr.cccflaiiamiiuie parania mucniar: cm r'cbcrt grauan : n oil arbitro: riruYacio?cuotioni. r/ tcttioraiKtieiiangclij Scorn iucaiii. fi J>p:ic apnmcrc r Trcdofpnchiir \no6 lie^lgCUT ludiretivca^m ligcntrruuatnt oaj : quod, ctari coiiiicnnimhd taiinllnin cnarfarcllonitiiat fiquidc iidciii qui niittif rr ai a quo virgiiic ad and uiittinir : r^>ourul» quo(B vnc'tino: amboaiinq? gcnuecuuD mitnf* ton:ac regiotuni prop.u^iioinuubueticfi giiat.tltgdboc:iC:uiarrcali(\nidboami ftpcniacnc pclitu (it:'incf;uaq;.SieiiHH *icctol«uc<arbc;cfmfcaiilfl;ncc\nun>^ ' pa(Tcnbu»; fiiicpatrccdcrti cadit I .impute ftip ttr, cporc OHrancncuslgciirtt'liipflu uiu rcflufiv rcrbu;p;clcrtini u» laaa Orltc«:i;ivcrbi:1ll6puto:K>lcitaquirp(fiiia omnia iiipcnue in vi)rut>:ac celclli [insula i)ulfCdincrcduiid9nir>i»ritJi»cotli5ici»fe bfibcar ilptcioic: qui noueru lug^crentel re p(ira:o((U(KDe (JroDMi idtmo HTf tit< •4 9«-B L'ARTE DELLA STAMPA. 88 -^'^ ^iste»^<g;t^' «i . DIOMEDIS DOCTlSSIMr AC DlLIGEMT^SSlMl Llhi^ GVE LATINAE PERSCRVTATORIS DE ARTE GRAM MATICA OPVS VTIUSSIMVM, i >^- m i m m. -? ^3- m m 'M 5^'*^ff P f^i DIOMEDES ATANASIO SALVTEM DlCiT* ^^, RTEM Meric latm{tatisrpimee|5cIoqucntfa mdgiftrl littera^i facilitcr '^^^'l fubicujlf ^^v^'^^' pcudkncio formata liamax cUritausihaccucognouJnc?:xcclletefacundia tua plu ?(\^l rimi faccrtldcfidetiomaUbctcr indulges fumo lludio .-yA^=>,^^ Iqtuttiediocmadtnodfulgcnumeiqlitas capetc patic hatjtrinodgeftahbeUodilucidecxpeditacermcemictedatgaiprosaU' riu meat^audltafcicti'acoplcf afe{ietiadencgatij e»Sane neqdcct icoghi. i«j;uitad3fuitnimiucollncU brcuitas- Eft»n» hicubratiois idulhialbu ] dijq} collatio tripartita ; ut fecudu truia aetatis gradati Icgcntiu fpatia le [ S3 dbopbabiliUr ordiaU crime fi lixitari s cuadatitediu^ dcmulccaUquat gde in Itib?dmifi6ibus guispuula iiu'in ifingulisiua cotinec breuiwte ^sss ^ i .^i£ BSi'<^' \4§i-G M CCCC.XCU VENEZIA 89 fff ^imdi]i» < Piinm^ 0pii^ p^cdarum Bnppkmcntniii i'.f>Hitm vnlgo jpptlLnani ••1 -'biTippi Bcrgoiiian'iy ; dno m omnimodshfkonH nejiifiimt:rongc(tti frotna 3«to ririigiortte ^ LxTiTnuarjin Mui aii^iHhm Ofcono:cp {aurtif]linc /Wei i~Xyc cx3»ito muixL f dwcrcationcon^ iwcj (jiiirA/fcnlPp-i.Tum137 *•''''''' P'"'""^ ""^»?"' TR piincipio cvcMiit sf mill ei // x>mo cc »»'»»»"»*,„c6poiUdSail>niu"iLx jicfipe j-^^^cap? Umbiira onmiuin (aii^uiliiio icVuu) . Vf b'.iUf viiLi^aiiiofrfiimrjic oci c.i^ i'.' .afeajiinjue cti inimdii6.3niii.'ibiliu5ViTom-j.riin!)ocIrocui<:rcdmun dism f)VccofpininuB:o<iun vcro trtdiiiiiio. iSiiD autan oai» fic:rit iiiuiiduni imlli ponm irc Jiiniis tj ipli occ t3bi tnquiL-c ip(ura auainiiniw.'lHuRp Kcriim(rcfpon dif Jnca rtirliiis qj lo ipmi w laiicruj. rbi oivir .pplx'- m 1 '^ im iJ(:iu.3:3Hi^mk*ipio/ca[&fU(}<.cii"i t iaT*m »)Kin miurfuiriljjdjcproplxtaqii mJoHcir . iHiiqiifd ocuocdoj PK-rMni»'inw5:frdic«te^bit'uiiCinfjpiaiiia.pcr,^iiaiiifjt:fji()iitomiiiJ.qut:mflHl n)u1«uin f Jiia fct rflnritT t Jtnuroo on r piopbcttio ?lhtui{;nfii5 open lua linc-firi.* w jiiu liitUonyjirni. /I ;!rt?jfCi!)^pciu3':^badopoucrfLMnpaJiinniiai[.--fp2dptcri-3cxl;iomuBcraiilkp.'o. ^iM P'x^f '' V Dim-ricnpJir.^jn p;iiicipio crcaiuf ociisccluni ciiTr4ni; fcira aure^ erat iriaj.3>rf«(Wia qmppcilU marma Jt quani oc iiii.iilo ofiia fait jppcl a ;'i)>Cfe1t 'tvwit»tms'.i»ucl!H<:fiiiitcf}mp.'!)Kipic>fci;iccduinifjira^B', iiouquiaiatn 'S* 1^ i-oqmmuir quoi:^ cia .ingdi oc» qui feiiptr vidcnrfia;;tii piUna ro .?/ ^j'fri!:i\dHu;iiWvcrtit>OhT»nanitfduinpol^arcnbifiirtJauiii)qucinadmodii5 h Iciiirii .11 beua ccnirdCTjiilt* eicJm'ibi dFc rnditfint robw:-: r jino«z frucrueir fb w;ijo.;ni.iumfont:(cdiiuuufdffiimr.5!"uuf.*oKr4aM£d;giipaiicipiofait Ccuscc ttmi r laTam^aaft fcmoi v ali c icrrc: oin jdtwf tiu«>i fnf'» >'tla cd^r «) re materia: frtJ cjiju V jTttj .-Jill ^1 jc fr.rurimi dTe ciiuwr KtiMijuntt t ill a milcria cdum Tictta j!>p,.U 4»*ci5 to nw ;w.g foaciolam fa-ni jtii MTijju'ai cannii^fti .^mduu) in p.irttt \o "linVi fift nwnTmw-t ah| p biioldpia tvxaruiit cbiuw qoiplt in codcm iiba) hk f I u w Shia- marc t larvni msoJ t<^t otmaa crium (^lUkjerartoroijiiui* >'\<u«;muri3«ft (l^ixni oiarccbactjruha itidijcif J«|3 ttiijJv-iS lOoiqmc^ uHipcMidras uMra congatai^ codcm fttei; l« m iiiriojrum Oifcoidiafnuma rcruin. • ^/ 90 L'ARTE DELLA STAMPA Blbil baibcr >l^*t1»'3N»^^03#^'^^ ^^ f49--B VENEZIA M.CCCC.XCII 9' i4g2-C L'ARTE DELLA STAMPA 92 S^3?FPnn 5 ^ <l^'!i-^*'='"-^--:-^^-?rS;-'-?ytOi#l!f^5^^ (\ rtNITO LA PRIMA DECA DI Tito Liuio Pidoano hiftorico dal co' Fmlnctame'itodellaattade RomarSc' muitala ceiza dell.i |Catth^giaefe. feciinda bactaglia 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 hebbe col populo Romaro Im/ perho che njji non combattelono in' nefi •- ttaloro akbune cittade:ogente piu uilide &; fbite d^ tichezze:ne a quelle medefime fii mai tanto de uittu o forsa 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 / 1493-A VENEZIA M.CCCC.XCril 93 L'ARTE DELLA STAMPA 94 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 95 i^« ^^s^^? r\^ ^^5^du O %M SDoiiiiriiiranHnarid p:c itnpctriindo rcnmublicam lirfcranamcclHiiMicmrijoadcidccjmbusgrjininirjUccsru diincnMtr>o|>tiirHHeDalKiirs ;:?*.' JLl^cc fine jHcquiTqU'iin nrc piTifusenr. jjcnus 7 c^fuiu iVccictn auuicruHu^j figwam fi am iR)isqueficamituipartlbUfc5 inHnuo. 0410 mcdmn rcliquis quidcompccatoptimep^ndeni ^tM^^^ni nonootcauictcfio nnlta inancf. p ^r J c\0 rtin kgasrltudmimi, ribi rudis ddncc IcciOJ cckn Uudio viiccrc inultti poteo. 0£.ll7{ que pars cfl /ncnicu cH i0 ma figmft piopita vcUommuncMuuni cafu . i\o^ mini quot atkidut quinqsrquc/ S?pcciC0:i5cnus:li^iunau6 ::5'i jieiiare cil »ioni«i cat (ubitatma -r :* =^ qitali'tatc ;* SiuaM rflkifiis. Q iw^ fpccicv:'pn iiiitiiic:quarc:'qiiw a tmllo ocri«* uamr, Qiu'' fpcclch'DCiiuatiue: vnde DcruvR(iu;'a pocfis; cx"^^ £;^ncn5j!)iafcuUmrquarcr'tV:.p?c ponirur ci in occlinarionc vsiutn arncuUrcpiouomen bic p:cpomieu oedmatio OCui*^ 5cucri&'fenii>iini:quarc:'tl2 o ii«'' generic:' uciun: cji cf ne vnn arttculrirc.pnorne bcc. articulaix ^mcmcn boc. vhil ocdniaticc in qi pic|)omcur ci :'q: pjcponir ei i«>cch*natio d«u6 scnais.-'coiniiistqunrc •: bcc cjui^ gcnciie I'clsr bic ne r>uo articuiaria .pttonitna Quare/qi p:cponif ci inocdinanonc rri^ ai ticularia ,pnoia bic t btc ? boc, Qiu'^ cjeimis? pnulcuixjuare/ qj Tub vna voce t\*MP at ticulocdpwbendniif aolmalia vtriufqjfcru a in LARTE DELLA STAMPA 96 .;^a.fe»fe->^K>^(^^^4<^' m^^^mmmtm^mm^^mm^ '/H ' 4»J.==^W'^S-Xfe>fe<^.r(^fe4ij>' 1493-]) VENEZIA M.CCCC.XCril im rfv' ^v; 97 M . L'ARTE DELLA STAMPA 98 Al nomr de iefu cl^tUto crucifixo & de Maria dolce Sc del gloriofo patriarchs Dominico* Libro della dluina pr ouidenda compoUo in uulgarc dala Seraphica uer gine tanStz Chaterina da Siena faore del terzo ordine de fancflo^ Dominico eflfendo lei naentre che ditaua al foo fcriptore rapt; fo 6( abftractione dc mente.in quefto libro interuienc ia aergine Chatcnna per mode de dialog dio padre parlare che interuienc tra doe perfone.EtUidTo fe coi fimi fecretl diuini Come una aia Icuata dal defidcrio del honorc de idio ximo cxercitadolt nda humile oradonerdapoi che heb & Ju i CO dio de lanin» che e in charitadetdomado a cflTo dio nofpacioditen na anima anxictata bituata dc habic EVANDOSIV^ "degrandifTittio defi xfcrio uerfo lohono-' & VJ la falute re dc dio ddle anjtneiuenc ad exerdurfe par alchu ^Icognofcimc per meglio cog de dio ifi. perch to ftrquita lamo de fecfuitare & i / // J 1 '494 -A VENEZIA M.CCCCXCIV 99 L'ARTE DELLA STAMPA lOO 3 qmtita a^agnanimo t)ttca c fi tiobilr 1 q:c€\lit€ cofv d>e molti pbilofopbi p qfto Ibano giudicau aU fubftaha para: e co mdTacoctn-ru.iP^ocbcbano co^^oPnuro p vcr4modoalcuiiacofa in rei^tiatura fensa la no poterr aiftacper U qual €&(a ve lei kido (coUiutoDecoluicbcU noftrtfcnfi rc^b^^utrt crarnc.ndcbcpalrripiifcbi eanrtcbi pbrlofo pbt none lia copiofamc tc tractatorcttbeonca cptatKa,2^a^cbcloz 7)iai|;taalircpi noftri fono niolto obfcorue r>a niolti mate ap:cfi:c ale pzaticberulgahmaU appiicati:t»icbrm loto opationi molto variano:e cq gradi clabotio A af fanni nicttano in opa: ft vc nmri coino w -oc inifa partado no inWdo fcno quato cbc aU pzanca c oparc fia 4ucfticro:mc fcolidoci fccodo tluoti;bt opottuniancota la tbcozicare caufa dc tale opare/i x^e nu men conio oe$eonietria.^a ptia acto m<gltoqUo cbe fequita babia appbendc raefTa quatita DtuidCT^cnio fecddo el nfo j>t)ofuo: cdtuidedola aeiafcun fuo ni^bxd reivndc Irt U •'494 -B VENEZIA M.CCCCXCIV lOI ' BtUaetbtptaZtndatat ^nartnt -' t L'ARTE DELLA STAMPA I02 ^octrina t no puocbo ttik s qucUoio cbc noaamfte intrati fo n<»ncUa rcUgioneoei viufrc rcUcnofjrncnte. ^ompolira per l« riUcmcntnfimo ^onUgnio: Y^atrtJrcba JOcato :>taurm $o3uftiniano cella cc^egjnoiie oi Etlbuomo io o; ^cacjcta. IncomincUd &jn joigi ocSUga ;0cit* _ p:ologo» laoiirinabonitadcvolcn fdopicmmclcmmct>c l?ifiioidcctiocricl?e3Cce O^ ^f XJK \J^ ^ JJ^ |^ ^ ' I -^ TT |] -^L. r lemalepcrmiinocl?ee(ri ViUOnO in qUCfta ^^^^^j^ Xaurcmto -^amarcba t>d« vita TTleK^fa. j[^ MO'Gm tKnno.tfbXC£Clrtn:tii|.vniufa sla luce qf!a agcUcaops t qaaldq5 oocto c fcto potra cffcr cbara e DC grade vnli. be rMc andar p via vc pfectioe ad acgftar lamo: tJc'cflb funi €nobn:-7 porra fe ben cbutnar la vii cbiaiy e ludda t>c ;?tfplatt5f t vera pfecfoe ^dita wl '^jbatnarcba J6eato Xaurftio ^enc ks 3faft«uwn:laqaalc im^flione fo opiutj a.ric.r^c i0cto tunc l;2qt).'le 1 1 f w 1 2(0 vA t.nno fupza norato. Ziw omnipotcntt dco. '494 -C VENEZIA M.CCCC.XCIV CLAPJSSIMI LVCIANI f-fc. rHlLOSOPHIACORA TOR.ISDEVHRIS vr.'- NARR.ATIONIBVSPR.O OEMIVM. OS ^^ athletarum ac eo ^ rum qui fummadiligcntia corpus cxercent ; no mo bo nachabi'tuduiis: accxcrciti'v onishfcroncm: ueySCeius qd magnam cxercuattonis ui'm habere arbitranrur : ncwiunqrqmiflriom'corporisacquiefccre* Idemlfaruftudiofisfierioportefccnfeor tit A( cum grauibusac fcnis Icgcndis defati gatifucrit:ad animilaxamctum ali^cirp declinetr'donecad futuru laborcm ''NCSWDT^ robu n:iores:acuegetiorcscfl'iciatur.Maximu ueroexhoGotio:at£]^quietefrud;ucapc/' rec;ficahure^Iedtioniuacarcnt:qua£n6 ^C<^m \ \ io3 I04 L'ARTE DELLA STAMPA 1494 -i . VENEZIA M.CCCC-XC/V fOj Perdinando Ongania Editore «4 94-15' I06 L'ARTE DELLA STAMPA t ^^g^L* ' VENEZIA M.CCCC.XCIV c/C$i^X> SdtlIoftrifnmDni1pbancipanjeDi.^baIdDm©rbini©ucciflbonfisfe r«fri:flcBnranti«Com(ftm.j6rerislahnif(L)3 liffcrie i0tnatifnmDm:7-aB)a Jbfmati'fc ©ffripl!tieailroKmfcnicn!ifTimum:<fratri9 "JLucc Hi Sf paltb:i :i0:dmi6 minoct'z faacZbioIcgic m^itf: 2 Geometric, l^xfaho. oe JBurgofau zi&agiflri. Jii artcj arrtb' • BQ^antita<S^agnanmlO ^uca: efinobik 7 erccdctt coradTcmoIo' pb);(o(bpbi per que fto ll>ano9Uidican alafubf^na'apara: ecdeffscoeterna. jlicrocbcbanocognofciuro per vera inodo alcuiu cofe inrcrfinarurafcnialeinopoteiie eriftcrc.^r Uqual co- oclaJrfdoCcoUiuto oecduicbeli noltnTcnfi rcs<;i^ tractamcnondxperaltri prifcbi e anricbi pbylofopbl fa nonncfu copiofamcnte pa dje tractaiorc in tixoiicz e pjariu. wcri gia al( tempt noftri fonno niol toobfcurircoamolrimalcapxfce alepandxvulgari ma Icapplicaruoicbei Io2ooperan'ommolrovariano:e con flRia lo: grand! dabojjofiaffanmmcnanomoperaifiocnunicricomoocmifure: vndc ih pariandononintcndofenonquJtocbcaUpjancaeopcrarefia meftiero; mefco landed fecodo rtuogbi opo:tuni anco:a la tbeozicaxaufa oc tale opcrare: ft oc n!i' meri como oe geometria. fif>a pjima acdo meglio qllo dx fequita fe babia appjcbc' dmriefla quaniua t>m id trcmo fecodo d noftro p2opofiito:edtutdcndoU aciafcun Tuo incnibjo a(Tegnjremo fua p;op2ia c vera oilfininone e ocfcriprione. 3lo:a poi (c qutra qucllo dx ilrift. otdin (ecuiido poller. Xiic cnim mactme fcitur aliquid cum babcturfuum quidett7C. £)iftnirionc6 7 oiuifiboifcrcte 7 continue quantiiatw: arnculue piimuapjitnc lei £ odhncn'onie. fcoadoca. JtaqaatitadTereimcdiatebjmembYrcfoeconrinua ewTcrcu. JJiconrinua cqudUled?ui para fonno copuljcccgtonre accrrotcrmnu: comune: cdmef6nolcgni:fcrro:e fara tc. ia wicretaoucramcte nume I "^-^ ro : e qlU Iccufparii no fono gtotc adalcutio termine cdc:cdmo e. .2 .?/ 7C fcicbc pama odaotfcreta:a'oc ocl numcro:epoiocla continua doc gcomciriai qui' y^gy^ i i^il ©vJ i to alo intcnto afpcctadjiaramentc tractarano. fciffinuio numeripjopaifluna: articulus fecundUB. <^^^^ tIintro:cCfccondo dafcnno pbylofopbate^rna multiruAfic oc mira co pofta:ac(T4Vnifan6enuinero:m3 benpn'ndpioocdafcon nuincro:cde q([a mediate laqle ognicofa eoiaaclTcre vna.£ fecodo clfcue rin JDoeno t Ke fua mufia;e lavnita ciafco iiuero i poictia:? palTij i la fua arJ^menca gtnacfondamcntooogninumcrotapclla.laqual piu magnificaudola inlc cofcna tur3!iriireinquclloclxfaoevnitatC7vno.©mnequodelt:ideocft:quiavnum nu' mero eft. /file ancojadnumero in infinini mcmbnoiuiio.pcr qnd dxeflTo JBrAo. Oirc:cioe.;©iquidinfinttumcft:numeru8eft.£perlater^apcritioiieodfcpninooc icric in infuiito porcrcp:occdcrc:aquocuq5 niimcro oato: oan pdc m3ioj:vnir3tcm addcndo. CS^a noipigltarcmo qudleparrlanoipiu noree accomo' datc.£ptro oicocon glialtrialcunoclTcrcpjimo:edequdlodxfoloPala vnitac nu mcrato:e non 1j3 altro numao:ebc integralmente aponto lo pana. BItro c ditto co' pofto: ede quelle cbc oa altro numcroeniefuraro;ouero numerate. £rcplump:imi £6mo.5.7.i i.i;.c.i7. 7c.£remplflfeciidi.£6mo.4.dxlooilomefurae numcra:e.8. d;d.2 .c.4 >£l> 2.1 4.1 j.e fimtli: tutti fono outi nuincn' compolh: 110 folo cbc conftiHo jEudidcMa fua 1 c^y^^ '4 94-C L'ARTE DELLA STAMPA io8 INCOMINCIA EL DIGNISSIMO FASICVLO DE MEDIx^ CINA IN VOLGAR.E EL QVALE TRACTA DE TVTTE LE INFIJLMITA DEL COR.PO H VMA NO ET DE LA ANOTOMIA DE QVELLO: ET MVLTI ALTRI TRA// CTATI COMPOSTl PEKDIVEJR.SI EXCELLENTISSI M DOCTORI CON AVCT OKITA E TESTl PKOVADhET PRIMA LA EXPOSITION DEL COLORE DELE VRIy/ I NE E IVDICIO DE QVELLE. CAPITVLO PRIMO. Rina* IMEsvE P E T R D V pm ;? 1 MO NT AGHANA ^uatro cpiaiita iiatio nel corf diquefte:cioe calidita&frig dela fubdantia* Niecedimer tefuperioreo uererimaed. rationetla po q quartae elfundo* queUa la infirmtta d< cudine di £egaco& dimilza. cidenci dele mebra linfeiaoj di O loa di quefto nella urina Com comtnciadalfudo dcUouirii 1495 -A VENEZIA M.CCCC.XCV 109 L'ARTE DELLA STAMPA lO KATONOr toMAl'OY rNQMAI PAPAINETI KAIAl'STlXOrASMETHNErKEN EK TH^AATlNfiN ^HNHS El£ thneaaa'aa ala'aek: TONMAilMDS. OPAANOY AHrnPOOlMION* mif 79i(t7Z6 TPV ffov f*oo5 nQii(Loe;iLiHff^q o V7W(A»\)| "^^.^r^' 'Wf^ Imprclfum Vcnetiis charatflenbus ac ftudio Aldi Manucii Ro JJ^ raani cum gratiJ 8ic. .M.CCCCXCV. Mcnfefebruano 1495-B , VENEZIA M.CCCC.XCV ) A*PIST01>a'N0Y2 OPNI0ES' «T!JM/6««-^ »'"»»" ,tu?\'»li' *S»C \ V I ^ ' ' K.OAO(M d </^« 7n6«6 Afleii' 5«/>flt •ja?Ve<iJ K p^ A/ flc . ' J, -^ '• n. . dVi^fiO^ ' • ^ V • > /l' ftfH-' 1^- I ( L'ARTE DELLA STAMPA VM ANIMO£XCOGiTA< rcmRcIigioforum paupcru frattu Ihefuatorum laudabilcm tutam : r« ctum^ uiuendi mcxlutn apod noa nulios in dubiumrefricari:utru ca/ nonicis obuiet inftitutisiud faiKflo ru patru cotifonet riribusac rcgtilis ipforupclb? deuictus.Ego Antoni us£or(ctus de Sicilia luris utriuf^ dodorPaciiMeoidiBuiamiuiispontificiidemane leges pe 1 VENEZIA M.CCCC.XCV <==>. Ji3 "=^4=^ m TilVU PATA VIN{ HISTORICI MCADIS PRIMAE, LIBER PRIMYS AM PRIMVM OMNIVM SATIS CONSTAT TRO/ iacipta i cwetos fc*uituin c(Ie ttoiarios-.daobus Aenea An/ tenorc^ & uetnfti mre hofpitii;&quin pads reddcndaea He, lenac fcnipet3uftocesfuetui)t-.oniiieius belli achiuosabfti^i nuifle.C alibus deindc uanis Antciiotem cum malcicudine ejietuni:qui feditione e papbtagonia pulfi:&: fedes & ducem pi tegeinpyliitiene adtroiamamiffoquaerebatiueniffeinin' timum mans adriatici finu:euganeif9:qui inter mate alpefa _ incoIebant:puiris:Iienctos troianof^cas teHuifTeterras in ^'qutm primum egretTi funt locuni;! roia uocatur:pagoain/ dc:-oiatjonomeeft:gens uniuerfa Vciieti appc llati. Aeneam abUmili clade domo 'profaganiifed ad mjiora return iniria ducctibus fatis ptimum in Mncedoniam ue. iiilTeiudeinSiciliamqufienteiTi fedes delatum-.aSidliactatrelaurcntemagrumter & ^ : 1^ nutnbTtoii&hnicIoco nomen eft.lbi egtcffi ttoiani: utquibus ab imniefo ptope mot cniliilpr^rer at ma & naues fupeieircf.cuni praidain ex agris agcttt i Latinus "!f^'»ngeiicf9iqu: turn ca teiiebarloca i ad ateendam aim aduenarum atmati ex urbe auj agtjs cocurrunt.Duplex inde fama eftialii prarlio uiftuni Latinum pacem Qua Aeneatdeinde affmitateroimixiOre tradiit^iiicutn mfttude acie-; cnnftirjflV nt; ^:^-<^.x>^;' Ferdinando Ongania Editorc ^:^^K^<^^^<s^„v^^^^:v>,'^^^';^ 1495-]) L'ARTE DELLA STAMPA L VENEZIA M.CCCC.XCV DE .j. TE MOX ^. .:. ME DE ii5 ., He precor quid prius dalo L«<*or uuio q omnia fnUieare Nam fpcto fore ut nifi cunda abiicias co^aris tlngul* hudate. Tracla<us>o. Vita Pit HiitotU Brachu Epigramatu.vniR Orartones^jnx. CAR. MEN Nubilapfllit Glotis uun^* Gnndinefceta Aerefonofo Du uehcr crbe Libera uilb • Facta /jTUorc Turribusaltis Edita Undeni Machina tanto FiiCi d«core Sxcula uiuens CuncU io(]u«t< J\Jl C iDr -.^^/ / ^ S I N T Scd mc iteriim Ffinus uiglU Tudore Michael Jam tandem fudtt piaepietaie meu?. .:. G R AT T A E .;. D O M I N O Roma: per Fuchariuin Silbcr aliaj Franck VuiusinfiuiMirhaehsFeTniMcdiolann.curacorrcdMonc Srimpfnia, Charadtcribus Veneris imprcfium Omen !j \ ^ , Annochriftlaiiix falutis.M.cccc-xcv.PrK^lc klas Ncucbris\l_^_A cxpunttum"v^ Vigilia Saniitomm Onnifum quoni'am in lu(crati ulri accipilc ^ Sinr gratia: dno. 1495-1 L'ARTE DELLA STAMPA ii6 < D > Z m h O u > Q RECTE VIVENDO NBMINi^M METVAS. VENEZIA M.CCCC.XCV ^r.i-;;r\>r ir ii8 L'ARTE DELLA STAMPA fia dc Ic meraucaU'oA: VENEZIA M.CCCC.XCVI 119 S'ctfe Tbormo dc Zfquino. C'^nfloilie fh-agf rite penpntaico?u5 pztri opis tejms p?mu liwzi ipiiiixTninnas 1 1 alia butofmodi no w'cutur interp;eta/ non !>er fe aljqnid fignificacfiiinli'ter enl voces fi^nificanres tw liter non e^ jspolUo aur ca iiua^naroe ali/ picpofitionee riones.cij qntd fic^ificandurmitvoce^bcutov TMmnopoitct confhmcre qd fit nonien c quid fit uerbuni. polka quid ncgano:-? aft'irmatio:? cnun ne^ Mi-j tcndit.'T 1.5 tatione6 Dc ivcrbii .juibiis in hoc lib:o peterminac .fed m nomc c^ i^ videnir q ctponit aliijd iiiagitj iurerptctattonie p:H)cipia eiTe vt'denc tcrp:crariO!ict:.illc enij ireip;ciari eiTe vevtt Wi aialiojcinterpjetati'o/ poiTunt.g cnim iterrtetatf ali^d crponere T/ foil nofa 1 vcibn 1 ofonee Piciimr interpjc/ iicrti yd falfum.T idee fola o:3do cmmciariua in ooa JO L'ARTE DELLA STAMPA VENEZIA M.CCCC.XCVI Ferdlinando Ot^ania Editorc 121 1496 C 122 L'ARTE DELLA STAMPA ix more rigioja almagdW pblo ^L*^tolemdala:andrini Hftronomo^ pt\r\dp\s kfii€ycfAu.(ytHT«|.videftm$Oagn9m^on/ (lruct{onc-^02g9 purbacbijrdufcp oi/ fcipuii ^obanm'eDcBegiomontc arironomicon A^pitoma. Hnno a p«nw rehim ctbercaro drca(tionc .S4S0. 0ole in parte fqrtadccima virginisgradicnte. '^n bemi/ rpberio 'BenetorHnno falutis-t496-cnrrcntc: •^lidic 4Cakn.0cptemb2t0'S(encttje: €S>aj:imiU2noKcniano:um rcgc pit'mc aulKfTime tmperantc. f VENEZIA-M CCCC.XCVII 123 Tp u tTmtLTtlWU AAft«C.oleJj«;, -povAttpOV .«wjtc. >» t all /. <t»3Mi«Q0i » ijp o 5 (A . V,^ «^ \ \ V. -fN ' . J» ^ ' . /a TOAA^A,MeTATOYBHTA'Ki KTSK Kc<4 flUuf f U A» -f ^AX7d<AjdLnSaL't> < Mi «L«ff C At?^ • f > f *? i. / • / «. / V '497 -A 134 L'ARTE DELLA STAMPA K I K^^'U/'%iy^^>'S,.^QAnt VENEZIA M.CCCC.XCVII 125 126 L'ARTE DELLA STAMPA VENEZIA M.CCCC.XCVII 127 APMONltelEPHSMEAIHAl^AASMA TAAA-a". SYNl^SEnETdAE/L*. <,j' :T7^ Po(y%;»j'n Aft <3f /x.y TV i'OM<w .^' CW trill 73«d(Ji^M*<J'*«'' CM' T^V <* t'zarS ytfA^ii' *T^ rvwsjioiu etAf / 'Jirt'M^ .4 (Wi- 7% nvl^ i^oi<feu 'f^> /VO '497 -B L'ARTE DELLA STAMPA ,28 H % l^viJfeiv i/A/A^MTvi ry*<fc7iaf £ ;"* Ijj^TZjej J^ TW sviiwf i(pmf AeTWtf* E It <^ /»¥TKS'5^ Me Aw/ lJfw8MI«t §• A a:^/^7* -njet^ A.'ssK) jT I %x.e*tf d ^ 5'*«'*7' mm^imm^^M^M^ WM m VENEZIA M.CCCC.XCVII mhiaisni iPCnaitmpibt ^oaimfefili) 129 CAP. SknpiSto I. optitnusRos oooKt iSaLQuai^ vna # {R(tntk> MidttvriftqiKnacrit npClloi tote {^jirationiscuisU' bms abtetiiata in cnv £trctel)6iditatc« cjcmneeconofxe^ d^gregaitf in radidb*apilto]t.(r Uc/ f|» cgriRidinQs idgnifi/ rutaro^ nluinuqdfjcpoMioc baidttd* c«t(ontb^npt ipfaru; t(»mi(rft{uefttotra(f6e$nonb8bet.8tbocgdem^riCe a»4p]|tjturtpUt(9^eiciccan{'qttarendred(t]to{}^> uatbneterreluc.CStvrroakipiRfi a tTriaveniet €% autontractatas aptta/ counpriSebiloB^ mtaqtudcseftoiAaUoaia faintfo (TCapim fwu e oc cal* n(«<|alcpitifl.g;ed(atvtra<p0<U0 uitioetatopitta:^ tviia. foUKbedmradft^vtraAcuenir&^nSoifibisiiitttO' miMvtroiuq^nifscxctcnsurcQdeqitrriano ;^)^< CCapth) fecJdocft o« ynfqH conflderae ret in capites jreUquocoqwtenifi float icrpe9.teucnitH: CCdpttntmiumcftMrabafatilNnnna.1 dt egntudo cottkxvdfeutcuqacetiaf ferpe0.SlopttiaTeror.5 no^ rnmat ttIiterni(l<{^Mdtvulpib^eme.C£t qn oil& gmr flttendio cim fiKiMeocntir TCrlc^liauil fuente lbiift«miie rpeddOkd iltnt oiocHie in acaUn notniee. 3fn 3cri6e jdc; qm tfr.s eftoifficilioi ad fao^di <| (Aet |K> i3o L'ARTE DELLA STAMPA f » VENEZIA M.CCCC.XCVII mm i3i qD 1 32 L'ARTE DELL A STAMPA «497 D VENEZIA M.CCCC.XCVII 1 t)^ntl?e alig(?ieri fiorentmOt fMFERNO •497 -E 33 L'ARTE DELLA STAMPA i34 CANTO PRIMO DELLA PRIMA CANTICA OVERO COMEDIA DEL DIVINO POETA FIORENTINO DANTHE ALEGHJERL A bbnmo nari-ato iiou (bisrrcrc In uita del & cB cofa fia poc Eimezodclcamidi porta Sc el ritolo del Jibro noftra uita Mi ntrouai CAPITOLO PRIMO. fj.Ma cdamquaiito fia uemfta Aantidia HW j quantonobilc&: naria:quar& utile & ioco.j p una . daraldodnna. Quantofia cfiiacea moueie Ihunia na mentisSf quantodilefti ogni liber ale ingcgiro. Nc fcluaobTcura CfieUdiri^auiaera giiidicamodataccreqnantoinfidiuina difciplina fia fmam'ta itatala cxceilentia dello ingcgno del noftto pocC3.Ii> die fi fono ft.ifo piu brienc che forfe no fi coucrebbe. Hsuquanto adir quale era e cofa dura cfla fdua feluagia 6C afpra &: forte chendpcn(icrrinouala paura Tanto era amara che pococ^piu morte ma per tradlar dd ben chio ui trouai dirodfllaltrccx){cchio I tflio fcorre non (b ben ridir choniio liencrai tantkrapiediTonnoin fuquel pii<flo & 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- ddla doflrinaA' la cxccHenaa:& di ingegno del noftro toltaiio & Borendno Mapoichiofuidppic du colle giunco poetaindfipcrfiiadachequcfto priiidpio deipnnio cancodebba per ftiblimita & erandeza dfere pan alia oue cerminaua quclla ualle ftiipeiidadoftjinadelJccofecne feguitanoipcro con che mhauca paura il cor coponclo ogni indnftria inueftighercmo che allcgorico fenfo *" " camino&r arecln fecoqiieftomezo del "' cofa fia (el ' " che GuardaiinaltoKuidilcfucrpallc nonptccola neggio ua,Diche differentia efleicllaca coperte gi'a dc faggi del piancta tra glintcrpreti Si expofiton di quefta cara rw.ImpeK} cheaichunidiconocne il Jtieioddla uira nunjanae die mena drido aJtrui ogni calle die |a ucraoe uia abbandonai ftinditafi: uaricta uiiiita dello h S p Alhorfub paura un puoco queta dicndlagoddcuor meradurata f»»t IbnnomoflrKacdod^'Ial do lui iicllcticha nefluna di tniferi nelU mcra ddla itira meta del tempo dndtiCDnc lano(flccniopa(Iai coo tanta pjera 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& el & • tSi=>^r'=; " VENEZIA M.CCCC.XCVII i35 cxxxv PVRGATORIO I CANTO CANTICA SECONDA DEL DIVINO POETA DANTHE ALICHCERL (BSnnSfRII Enelftmiro&eruditoneUrccpoe ticael noftio rjuftoreqfta/ila fcco' d.i ca'cica ad imiranoiie di Vhgilio: donidio:diStaao:&dcgl3lrrJ heroici 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 fumobiVCapra^dtora bemolcHada/ 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 cjleco/iflcd la terza parte dclacomediadiDantheciHamavaparadilbmcnaqualctradadebeatit&ddace/ 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. ijComJncia icftial la gloriatS; Erche conic habbiamo dimoftro nela prima caticatutciepoctilieroici diuido nolopetaiotte partis hitppofitione. in/ x-ajic»^i\ 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 A gloria ^\ colui che tutto moue per luniuerfo pcnetra fiCrifplcnde in una parte piu 6C meno altroue. 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. Finedilcoraenro di Chriftoforo Landino Fiorcntlno fopra la Comedia di Dithepoeta cxccilcntilSmo [oQfiadrexcellen/ reuilh&tttiendatadJligc'terectep^t eircuercdo macilro PjcrodaFiginomaefiro inrhcologia n<2C ic predicatorc del or dine dc minori & ha pofto niolte cofc in diucrfi luoghi che ha trooato»n:ac3refulotcx to comcrtcUa giofa. ImprcfTain Vcnetiapct Pieiodezuanncdi quarengiida paUxago bergamalco. M»CCCC.LXXXXVn.Adi.XI. oduotio. lE^y^ Ini^l 1 36 L'ARTE DELLA STAMPA la,Cd. ^ '497-F VENEZIA M.CCCC.XCVII 15? ?W«ter iCiulii FirnvciMatcmi'IuniorisSiculiViri Clanfrimi sdj ,^ MauOrtlu LoIlianismFafcibusCapaniar Romans prouin dx procofulem dcfigtratum ; per Diuum Carf;ircm Confta ^ tinum Maxima Parrocimu dcfenfionisMaihcfcos inciplt fesi;x PROOEMIVM. 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 c ^ 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 ftinos a(5tus:& ad as ; 14" recolcntes inuicem pri memoriam reuocantes:honeftas & uari - fermonum fabulas ferebamus-Pofteao dc talibus ac de|) ccffrbus noftris cxjnfabujati minifti)torius SiciJiae fumus; fcmratus nic es[(icat me '// mmii 'rM' ricum:qaam incolo:&undc oriun^ Ferdinando Ot^ania Editore )497-G . 1 L'ARTE DELLA STAMPA 38 H>a fc; >oy !> c/i OjTCQ — 2P <i «S '498 -A VENEZIA M.CCCC.XCVIII 1 f 1 %i^j^^ a ii ^« II 39 i i4o L'ARTE DELLA STAMPA 'proucrbia 5^^:ii*J tCJiicipit Iibcr.piicrbicijim. t^CS.JntituIano ifcnbtC: [iibiC ftiUtaa tjpieaucUt'rapicpmcdaf-.pbibeCftU'ueat i.yck» bUditye.nwerati vgCpc6;i ctbirt top:fj pla dat. I . ^®rabo iufiiafi aiudtoumi egutC*. tttoeior puu- lis alluti3:i adoUrcmri rcienaa -: mtettca 2fodkn« fapicns fapicnti-n cnr: -j inttlU'^ gcrte gubemactUa pilTidcbir. I rMtnedner tctparabo^am tmccrpufatimcm vaba (» pienmm emgmata eoajrnJimoj Domini '^f.ti'o. punctptarnrapimtieSaptautamattiDM^ Scdi.b (trinam ftnlri 9<lpiaont. Tfcdi fi!i mi bifa'' »oilhi>9 MOtdrraie tfra dadrdMijrapif pUnam patrio nu; <! nc CHnuttas lege mFie iBCrtaddanirsrariacapitiraoi to:qu« tiamioi'aplinS adintdtteenda^ verbs ptudmtie ^Rjfapiaidaeru colto ni* tacfiU mi T; te lactauerint pcccato:<f acqtp'efcae da Si wrcrint . :<j ven\ nobi'- learn infid^emor fan TUim abfccHidamoo tendioilae contra infonrem froftra ?erta' ttamoe cmn ficnt ifonus meet f Cte^jntm a3 1498-B VENEZIA M.CCCC.XCVIII J-3^. TV! tcra fua ftf llai 1 ettc«l•^indpc i(6iiotopftot pit CQtrut: 1 pofuic scjncrj l«ca»:ii:^ic(\i ecu percaCM 90t» ^rtilofK^m ot fiOJt fOl lUCvt pabrnfaccrerer mofoie<5 opottet fieri ciro «(i,' rcfigo fum ^ificauit nutter ifuimostuus p angdii ftiii ftr lojub^ocljiie vtracis p-i If psi (efu tpi rcroiiti: ?xierfatie 1 rHo^ffh^bi ntae tc pbiba Kr«ri)OBfnte. ^jppbetao'i cncch'.ocio.t Hue fscere tu pioeseoib'i dtoe qoiDediCfliijie Ifa'momo ladas ffaastacobibim [^HtCott tbulU BO fao to jnf 3 i4( bicSacraincti in ectf era m<3 iidur;ptiuif CbarilTimi; aim folUcinidi')^ fad bdiCilUtabi bit '!'i5l>ie qti iiiuroifti fii ii C L'ARTE DELLA STAMPA 142 ^^^, CriNCOMENZALAVTILlSSlMAOPER-ACHlA MAT A TRANSITO Dl SANCTO HlERONt. MO DOCTOREEXCELLENTISSIMOET PRI MODE LASVA SANCTISSIMA VITA COMINZIAIL PROEMIO VEGNANonmcdu biro a molto a moke p fone clTerc maiiifefto il locho douc nafcece Hieronymo: & foao q cm Itprecepcori fuflfc ciico;&iqtjal locho doppo la morte tifuofan(itiflimocorpi3 fa fepulto: nienredimeno a cui il cempo non ba fta a potcremolte cofe legcreruolen IT do queftapicola operetta ciafcorrc re porta in brieuc compendio» c^? CDel beato Hieronraio la uita & morte intenderc, leronvmoadunchefufigliolodeEufebio nobis Iehuomocomc:eflbneiruoIibro deuiris i\lii: ftrtbusapcrtanieiKedechiara.&nato del cartel lilo di Smdone che gia da Gotbi fu diftrutto:che Itatra confinidt Dalmatia5c Pannoniafit meriramentce f\ A iistodeEufebioperoche Sufebio in lingua attica tanto fi gnifica quajito in noftro pietofo.Et Hieronymo in lingua Colica%nifica in noftra landta lege; laqiialc congruan U teeDglioladclapietade.Etefl'cndoqftoanchorafanciub ando a Roraa:& fu pienamet ? amaeftraro de litrcre gre ce:hebrce:aclann^.lngramraaricahebcpcr maeftro Do^ natoitnrhetonca nebe Vietorinooratorc; cocelTo dechia ra ne lal'ua cronlca dicendo.Donatogramatico fie Vi(ao* lino rhecorico:furon a Roma mei degni precepron,Poi in lo %^U^^. m .><'S rK^S "..>!)] '\ ->* -,i \ '498- VENEZIA M.CCCC.XCVIII ^^^^^^^;gglg^^^ 1^'f L ib:o .~1 k b tf I imieftr(5 n$l Oifcipulo Q ^ iv i44 L'ARTE DELLA STAMPA I '499 ~A VENE2IA M.CCCC.LXXXXIX 145 ^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 DICVLTO DISEELTA DINDI POSCIA DISAVEDVTO, CONGF.ANDE TIMOKE INTR.O IN VNA INVIA ET 01 ACASILVA. i ^ . . HY PNEkOTOMACHIA POLIPHILI. AVR.OKAE DESCRIPTIO. HOEBOIN QVELHORAMANA^ o.cheia frontcdiMatiita Leucothea candicLaia ,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 :?0^^*i2l_ ^^lociffiinoiiifcqueiitila,nondimoraua»Etcor riifcantegia fopra Ic ccrulee & inquietc undu - S^'. ic. Ic fue irradiantc comecrirpulauano.Dal quale aducndcio in quel pun &o occiduadaiiafckno comuta Cynthia.folicitando gli dui caballi del lounocadido&laltrofufco,traheri ad gli luiti-' 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 Fcrdmando Ongania Editorc >499-B L'ARTE DELLA STAMPA 14(3 OLECTORINFOtLIXHOCMONVMENT.ADESDVMTE VOCAT ETPOST JNDEROGATINQVOREGfDiT HV MANAVOLVPTASVTLEGAS.DVVAC[NISHICAMAN. EST.QVIDVDVMMVTVO CVM PRVRIENTI AMORE INSOLENTER EXARDESCERENTT IMPROBO VO^ LVPTATIS IMPVLSVEFFRENI DESERT. CONVENL vntinloc.saxa inter dir vta vbietfam forte aedsacrar. mvriconfragosi etsalebrae r vin a£ extab ant illo veneri optata mvn£. r a ambo solvere arsibiliter vrgeremvr. s v. pinaegolopidiaangveminaltvmlapsvmmi J 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 videBAM.DESVBITOQ.IVGVLVMMEICHRYSANT.DEN' TIB.VVLNERATMORDICVS.TVM SVFFOCARI MEVMCHRYSANT.INTVEORATATPERniNFOEL.MEVM CHRYSANT.MOR) SENTIO, STATIM FVRIBVNDAIR R VO INSERPENT. CAPTOQ .FVSTEPLECTERE. FESTI NO.ASTSERPENSCERVICEMRIXANTEMDIVORTIT NEC COACTE COMPLICITVM ABIGEREVALVI ICTVMTAND.INCAVTE FALLENS CHRYSANT.MEVM , 0CC1DI.1NF0EL1CISSH£VINTERI1,QVIDFECI.-QV]DFA CIAM.''TAMMiSERASVPERSTESEl<lTANSERP£T^SET EGO/NEOyAQ.SEDHERCVLEOAVSVJMMOLARVA FVRIA RlNGlBVxNlDA EO IPSO STIPI T CON VERSO IMPETV CADAVERILAPSO CIRCINATAM INBESTL AMEAMFERIOATO.NECO.QVIDTVMPVELLAFAC TVRAERAMPERDQ-AET EMORTVA.-'MEVM CHR Y- LI fanr. . & bellua urb.efFeio & lie ob& laduymis idetide irrorant.fuggdhi xnci keleris teftes fcapulii fopiefios noxia euadere fufpinis-cordolio i 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 mquies me una cumeo chrvfat.paen-danira fufdpite.nuc ciripai we raihi ij oem adffera,rt dcfperata publico oium alpedtu arieptc gjadpcd" traff. eiufcficadaOeiehicmcithcmurumulofcpeliudadedi mifemma.Vale. VENEZIA M.CCCC.LXXXXIX '47 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 annifuiellcpmdente & graue & aftutule cum gli acccptifljmi ainanti de pubefccntc ^ . L'ARTE DELLA STAMPA 148 jbL ;i£,LiV ENT£ triiipho no mg^o miraaeghoio di prime. ampo cheegli hauca leqtro uolubi!eroretutte,&gli radii,&il meditullc ddn Ico achatc,di caddie ueulc uagametc uaricato.Nctalcccrtamtegeftoerc M Pyrrho cu. le noue ufc & A polline i medio puificc dalla natura ipffo, 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 ta,di uno mirabilc pallacio.Cumobftctriceftu pefaftc.&multe alcrcmatronc&aftanic NymphcDcglicjuali ufciuadc nno unaflammiila,&dclalv zio ouo due Ipccftatifli mc ftelle. k VENEZI A M. CCCC.LXXXX I XV JkP\<-^^ -^:i-^-- '49 i5o L'ARTE DELLA STAMPA ^ V VENEZIA M.CCCC.LXXXXIX i5i .M. .D. VIATOR. HVCPR.OPIVS FERTO OCVLOS.DEINDEVERBAM ECVM Jjf- QVISQVIS ^CCEDIS.CA VESIAMAS. At SI NON AM AS,PENSf C ^ AMISERQVI SINE AMORE VI r ^''^ w 'MASTEGOTAMDVLCEANHELANS•^^,^ VITDVLCE EXIT NIHIL Wmfincavteperdidi.etamor \ EQVO DVM ASPECT VIFOP W, n^^lT NyosissDVRVlONlAEPVELLAEvr ''^^^?VNCVLAE SVMMAPOLYORIj M \mACEH:ECVPEREM,CASVDE ''Vl^NS^ES^HAE^^^ INTERII- AMORE VIVA. AMANS HEVMORIOR. Die QVAESO.aMABO REM.'MEN H VICPOLY ANDRIO DEDI MORTVAMOBAMORIS INCENDIVM FACITO.FVISINE PVERIFLORENTISAETATE FOR, MOSISS. QVlDINSANISfAT AMANS VIVE- BAS.PROFECTOCVMNOXIEAMARECOEPERAM ADVLESCENS SPRETO AMORIS M VNERE ABN V CONTABVI.MORTE RAPTA ^IT HICSVM. QVIDTIBIPOSSVM.'" NE VIAM ROMANAM CRVDE LISPROCVLl AMORE DEFVNCTAM MI SERE. TOTAMPER VRBEM ORBEMQ..DICiTO. HOCSATIS. VALE. L'ARTE DELLA STAMPA l52 .'UiJi'riiLl HYPNEROiuMaCHIA VDl HVMANA OMNIA NON NISI SOMNIVM FSSE OSTENDIT AT QVE OBITER PLVK IM A SG!TV SANEQVAM DlGNA COMMEMORAT. VENEZIA M.CCCC.LXXXXIX 1 mtfTidacbtldtctionibUdno niter addttis in loctero' idpoMeqmscacm mifraliaimptelTd ' nonbabent: vtpztain mbula* Ferdinando Ongaria Editore '499-C 53 .54 L'ARTE DELLA STAMPA VENEZIA M.CCCC.LXXXXIX i55 1 56 L'ARTE DELLA STAMPA ^^^^ VENEZIA M.CCCC.LXXXXIX ^'h <^ '499-X) > 1 L'ARTE DELLA STAMPA 58 e <r> X i5oo-A VENEZIA M.CCCCC ^'S *^'r> iJte o Vc U>WA 'SSnll e iS'S' .5y L'ARTE DELLA STAMPA i6o ANCTIffll Chrifto Gro TRANSIITADSPONSVMTRIBVSEXORNATACORONIS ^abcdcighiklmnopqrstuxyABC DEFGHIKLMNOP Q^RSTVXYZ Scatr*t>3t{>\n Romano ail » U fiiclitaCitade Veneuaiii xv.Septembrio.M.ccccc. Cdoi De Aldo Manurio v i5oo-B . VENEZIA M.D i6i -<:-' .VENETIE y^-. r ^ Ferdinando Ongania Editore i5oo 1 62 L'ARTE DELLA STAMPA VENEZIA M.D EVRV5 i64 L'ARTE DELLA STAMPA i5oi-A VENEZIA M.DII C^acleftie i65 l;)ierarcl?la. CX'Ipeobgia vnuificans ^tbae foUcJu^ i5o2-A 1 66 L'ARTE DELLA STAMPA i5o3~ -^' /i. VENEZIA M.DIII K>^»}»>•»:»•^^^a?xj!^:^ie;<:«^:^:<^<:^;<^^c 167 I i5o.-B '^^ L'ARTE DELLA STAMPA •jO.^ariflimiie in ^udidia aUromm aibo^ajcn deliteremendanim tc 1 i5o3-C VENEZIA M.D. 169 Ill: Ferdinando Ongania Editore lioS -D 170 s L'ARTE DELLA STAMPA VENEZIA M.D.IV 171 172 L'ARTE DELLA STAMPA i5o6«A VENEZIA M.D.IX .73 i5o9 -A '74 L'ARTE DELLA STAMPA '5ii-A I. VENEZIA M,D.XI £pilloIa m fatictt (^teronymi 176 L'ARTE DELLA STAMPA *^ ° " '^ V? *tf " ^ I5M-C VENEZIA M.D. XI Ferdinando Ong^nia Editore '77 /5ii-]) L'ARTE DELLA STAMPA '7? ALKHIERi: CAHTOIOPRIMC "————" ilmeiioielcamln dinoflrttvita Miritrouaifcrvna pluit o^ctira; CheUdiritta via ent fmarritO: i.t (juatoddir (ittal era,ecofidur^ E^djeluafdu4g%ia tt djj^ra etfhrie; Cfce nelpenfier rinnouaUfaura- T antiamariiichcpocoefitimorteM.A fcr trdttdt dtlhtn ,1^1 vi ttoudu 1 nonfohenrUlr,corniventxeii; D'lTodc Vdtre coj?,cfc'i v'bo/cortC' 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 n Uhor ^UpdHrdvnpoco<}ueta; Che nelldgo del cor rncra durdtd L* none ^ch' if dffdi con tantd pietd- TttifmoftttAinofi^fHiiicheqfioprmcificntlpnoci chefeguiUn efferepdtj <tf.« Jfapcifrf oottritu i>eUe to^e 1 512 -A VENEZIA M.D.XIl 179 Hibzo Xyd ]^eregrino •flouanic re ^mpjcflfocrcdiitto alia fua fmccrita con ia vi- Bu' ta odlo :m cto:e» s¥:^ Qibto niio fe afpcrn^to «? reiccto fojHs^v re poterm:!ecto?c»THbnle cifcrminio ^ OG Xrota.inolc foitiic oel^oma.lHc U erro:i oc ^litc. EOa oc vrio piidi CO amoie la biftozia po:to enarro l^crbo Iccuro vengo pcrcbe amoic e picradc mc raiino U lcbo?ta'i€tfc odfcriproie parclcintende refpodc re poferjfh ^acomo jCamcacooallbar maftdelcrcdra/ tc>:e viucT valC" Manfredus ^tcomc iiitefc Bonum fcripfc. dt Montis Fcnste, l5!2-B L'ARTE DELLA STAMPA !8o i^,fabii 0aintitom o^atoriamm infti tnrionum.^nacu annotationibus i^apbadis Re^im ocpja* I 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 M%^ rclurreftionis ftulta garru^ tame Urate deridere,inhac lucubra'tiunculanoftra ea duntaxat confutare aggrC' ^ dicniur,quac dominie* paf materiam concernunc.Solet nana obftinatum illud , & feruilc ludarorum pecus in Chrifti (aluatoris blafphemiam exirc propenfiius flonis SI. refurreftionis n 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 tes ujf interpretan Icgem,& diuini facramenti myfterium contami nantes^ihultas indies calumniasiiobisinferre Maut,nunquam cauillandi finem node 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 Q^ 11 •Ts^ an^ l^J^l^ «^^ i5i3-A i8: L'ARTE DELLA STAMPA Ssrcgoxmtn t>e ^rcsoihMnnc^ni vS>.t>4<n 5i3-B VENEZIA xM.D.XIV \S3 PELIMVS 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 ma Fu.Caraillus ardeti aio:cura;fo!icitudine ab iter i| ' rauitjadauxit. AlfonfusiteRex Aragoneus fccunc Parthenoocn patriS: q iaptide aptappeiatqj angufl yi »ii!nj3jiimi]j| ti»?i^llil8^ 1HiH»i»^^^«i»lll i5>4-A L'ARTE DELLA STAMPA pocali pfis icfn cbjtfticboceftre ftncto giob^nni cimsclift^. cum nouaejcpofitionetinlingiiavolgareco/ porta per el reuercndo tbeolocfo t aiige lico fpiriro fiate ]fftdcrico verietoQ y diniepzedicatoium: cii cbiara'Diliicida tiom a tutti foipaffi: cofa vtilifllma. J mp^elTa p mi alaandro t>e pacjaiuni. *^o inq:eneria. fub \mniifu t)uce urn gratia. iiamolauredano. O ^I n eiJderrcfop2alanuat)clicarboni. i5i5-A VENEZIA i M.D.XV 1 85 . L'ARTE DELLA STAMPA iS6 CNICl^ VITA EX PLVTARCHO GR^r'CO GVAR.INVM VERONENSEM VERSA VIR.I IILVSTRIS NVM ?' PER. ^m iCIO-'lls' CVLTOR ^= ""qforteadhieU r I I I < ^— -TgaThucydidt-, riflnmcara acc'ir arietate*copiafc .-iimoarbitrrf;quo1 tuifrcptrhibttur : g cu Th uitate ac vehcmc tia f»ci!e :atPbd((li'! r & in^HTfcriptons afp^rnaretunin his prxkitim qust ab dlis ornate cDpiofttp fudis », t.,ji • f«pr? ft ferret VENEZIA M,D.XVJ ,87 ZTV ABUNOS: lEnrPAtlKnM 5j> eiBAl'ON TPl'rOM ..jioif (f^ 77iMA/V Oqp TJiS id^c^Tntf ,K0 (i^og cuniii Kb ^'tozjtei.oj'&fCcpa AtTnT/f t^^ofTK yfiV, oy tfi tzwthv 0/^ nx/tS*i(fii'TUf»^,'T0ieu'TX'iiSi\i6-7ios'rr6i(!K, Sudhufxiov (^i\>fij^vuj I '1ST ^.^^oy-noik'i^c^^Adv- ^01 V c!iKJiauiov i ccTiMVf K« IX to" iQvie •Aorffor^ctaf '>g'f>\i^g, ( 7« TW^HC i5i6--B 1 88 L'ARTE DELLA STAMPA 0i«|?cmartcam5OifcipIinaru5amto:fe:IK>^bcnr!n \)0c voiumi i5i7-A VENEZIA M,D.XV1I 189 igo L'ARTE DELLA STAMPA > VENEZIA M.D. XVIII 191 omiliario qua 4r^scfi«nak. i^ondaro t>e vcrbo ad t>crbum in Ic £piftolc 7 £uagcHi ft como coirono ogni Di fccondo lo oidmc &c la Ho^ manaii)iei'ia. '^ouamcncc 3mp:cflb. 15 18 -A 1 L'ARTE DELLA STAMPA 92 ILMJ^V^^ rs^i^r^^^^ i5i8 1 VENEZIA NOTA M.D.X.VIII ^ol ^TVTh:LEI.EC£N OKETINSTORIE .HESAP.ANOMESKAl SO) LOCHJ AVEKAt^JO VNO PAP.AFO DAVaN riCOMOOVIAPARf JHDESSGNO '93 NOT A ^TVTELELECtN JotETlN^rORie ^onte d anovoche pivnonesta stan padeavbr^novna mandavanticho mo q vi apare 1 IhlFlCVRA pQ^ RIODE- SANCTl NOVAMENTE STAMPADO B st>.; V^^ kota NOTA ^^CHEQ VESTA OK^v I'VTlPRINClPIDi^ LIBRlAVRRANOEr SVOFRISO KTLATA BVLASARAALIKCONl traordenada amo] DO DE CHALANO. RlOCOMOl'OTRAl, ^'^RA SARA PaRTJDA^, f/NQVATORDCSK LI/3R 'PRIMODEI. DEL SIGNOR 1 £ , ADVENTO LI L>ODF XEMKSIOELAMQ ETLA ,SEP7 Va VEDERE GIESIMA Ferdinando Ongania Editore i5f8-B L'ARTE DELLA STAMPA 194 \/\ plNCOMINCIA EL TERCO LIBRO CHIA. MATO LEGENDAR[0 DISANCTI DE LE FfiSTE CHE OCHORERA PERTVTO EL MESE DE ZENARO.ET PRIMO DELLA CIR .CAP.XXI .B CONClSlONE DEL SlGNOR Vatro cofe fijno cfler folemne Si celebre el H^V giorno della circonci fionc del fignor nop tro miffier.lefu chriC to. La prima fie lo<lla ua fua.La fecoda lin, poficioe:delnouo&: falutitero nomc - La terza el fpargere dtl fangue.La quartaieL fignaculo della circo cinotie.La prima du quclo<flauadeIana K%'. tiuita fi cPrto lo(flauc de lialtri fancli folemne fen quanto magiormenrefara moL to piu folemne lodauo di del fancfro di (andli ma cj pare che la natim'ta del fignor non debia hauer ocdaua impcrho chc la natiuita fua tendeua ala ha lo<f>aua imperho rhe ai I ff5' laquallc e ha loro uita ctci glicorpigloriofi per quel che la natiuita de la beata i qucila de.Ioanne baptiRa imperho chc quella gia fa- re che chome dice prep ofi roento come e la odtaua d( fuplimo quello che fado i lofficiodella parturiente paflfato fi \^ u folca cantarc, Vi ->o VENEZIA M^D.XVJII 195 PARTE DEL PROLOGO Xpediti oelit it&e occiucte in&a cl tempo is pat. tefcconacnefottocl tempo della [ccoodlunone .. . partt fottol .Tempo dflia pcrfgrinaticnc clqual conpo l3 chiefia tepicfenu dclla tutiuiu innnoalla ftptua. gcfima.Secjuia a uedtre dcllc fcfte cccurf ntt intra el tem- po del!.. dr"<itione elqual tempo incomicioad.AdatnK CO UDUO liinoa.lvloyfcac lachieJia reptefcta qudlo tempo d» ^, iarepn'sceiimainfinoapafcha: ^ DE LA SEPTVAGESIMA Jgnifica Ui b Icptuagt luuad tempo delta dciuanonc. Lalexa, gdima tigiuhcbacl UmpodcUa uiduati one Sigoitica la qui qua gclima cl tempo deila remiUioDcLa, quadngdima . 5L tempo del I goitica cl u ipiritual pcmten, tia .tacomiciafi que la adtL 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 del giorno de la fantilf ma « he e el gieuedi per la uenf tationc 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 L'ARTE DELLA STAMPA VENEZIA '31 M,D. XVIII ® ccamcroe oc '97 tneflcr 3^10 u5m:&ocaccio nouamcte ft^mpacocontretio^ iielle ^sdintc. Wi^m Clet(ta Lcm.Pnilenium Mcr«f« i5i8-C log L'ARTE DELLA STAMPA Cyriflfb £mmco l^oflal mcnteSSt^mparo con i5i8-]) VENEZIA M.D.XIX •99 i5iy-8 , L'ARTE DELLA STAMPA 200 j0Si(la{e "Romanu nouitct ip<c uf, en annotationibus m marginc adfacilltme oiaqut: npfo ad aliad paaina6 reinutumr inuenieda: £tqiui alicui» /&> fancii milfaiperfccta e: notatimeiocuevbi inqu'Tioebeat.'Jii fupcr cp figurid i-4- + •+1 \^^ t fcftitiitatujiiac cuangelioyinitia eroznanti/ bua iuirtamafena rotcnta oV Itgcnnirinie ^tucanwrnonttt m c^. , accommodati^ unorn, il^:). o jr r. V> I 5 30 -A ' VENEZIA M.D.XX 201 A VLI FLAGI ©atVTogriipbi Cliriirmu opiiy cn]cnci4rum . '5nrcrp:crnnn '0irfij but^ Joanne 58ijptifta riMiuitio: Co:nu!roq5 ilM?ilofopl;)o:ciu0 ^'!ti,. Tl>:accepto:e:iiecnd 9o.iimc 26nwi«co :i3?M:iimo:nc '^nr rlpolomeo yoiino : virit^ IIP: erudiritrunis3:cuni (\m %urit^:'rvt{Uirimit? Bpomiiit^^nlu. per ililpl?i»betica :gI^*ibuU:iuipei appofiriirqimc U" omnia fdm fei^ir^n K. v>igna niirifice conipkctiriir, >^ > K^ a^-M..v -g" j" i'y ' I ' fd) ;;. 'l S2SS^?^ 2EMSS^ sacyyyggy?: Ferdinando Ongania Editorc iSao^S 202 L'ARTE DELLA STAMPA 3LOiimo:oro Couimooi Bait^ tcxow l^ addirioncrlBoua^ mcntcftkimparo. ^i^) )/ j^-"i P:J ^-^" io.a-NT-f^et-fr^brz:^ Vcnctiis per loanncm tiesbeSabio. Antoiituni,5<fra/ M.D.XXl. menfp Martio. I52I-A 1 VENEZIA M.D.XXI 20 G^?nn3ri^l'rafc^onll'nr:lihpt^mazIfe»«Ta*0raru> ad 02€rtiad D i0mma0 Wrft adtfie films meuB cotiut'go bodic ge/ / noTtc^, laoarc frcnmcruc gen/ tc9:T popniiitied Jtad.rnnc mania* j^ ^lo2<3 patri % fiUo* i02anae i6tt6qti< \>mc facraritu ma nocrc / wri laininiie iUnftraociiiecIarefccrc: oaqttcfamnstPtcmae incie mvffcrta/ftiferracognoatmaeteiaeqaoqjgaudtje t'licelopcrfrnanmr* laoi tecum viaCt 7 regnar , 7C. Heaioepittolc bcaUpauti^poftolt'.Sldrirrim. cii* /^ ^ariflimc.^pparmi \Jl ftnVoibttsbomtniba gaiuc0ipi'ctatc/i fecnlar ia 7 pie pmamua in hoc koxV 7 adaentn ^loiie magni t)e )cpi.am tjedit femeri*pfn5 rer/abomniiniqtjifare:7 ir ceprabilem:rectaf02em bo re 7ejcb02rare/in cbiido iel 03 ecti piindpia ^n Die virradd vrero /ante Incitcraj genni tc^ ocrtris mete:t)onec pona in<ml Jlfllh^?. a^fiBDiritadmc/ftUi I TRiIlorpc»£jcqredicti fcnberet" vnincrfuec ^-C3>^r-= I521-B j< 204 L'ARTE DELLA STAMPA VENEZIA M.D.XXI 205 i52i-C 206 L'ARTE DELLA STAMPA armomcei&uricc0 dbccaton \^^D^^ i5o3 VENEziA M.D. in; 217 t>ecHto ^ He auemaito |^ i!'4>..Ui;^ . ^^l gratia plena, , ^^i^^;/--'' au'j **»ft**i ^K"***^ lli«trurfu j fotoftm pml fcbiaartjXd prirmcgio muff ri(r(m((Dom(t)<i 3nt^<Rim r!ena^« per Ocf sufajiul* fern If ojofe 10 f ileneriaiumcp ntillus f ofrtt cantum fSyorarum impnmtre fub pena (n ipfo pitmlfgio contenia. a38£D£fj6H?5(RtdbinCll^£liaS£ClJ ««0flh-u3 Cmnc^ quaterni. vi tfctt;:; 2()8 L'ARTE DELLA STAMPA 1 5 23 . 309 Ferdinando Ongania Edjtorc L'ARTE DELLA STAMPA 2.0 LODA DELLA MVSIC;i OLTI ct antichi Ic lode dc curaaqui raccomar lakra opei monicad] Per la qua parlafli,rc fato per qi uicta ^ no e cfifct Nondim( ftato dcttoCchcio fappia_) faluo in greco,« nuouafetica,penrando,che niunalGuia mi ferifco fia b brieuemeatc alcunccofc in comcndaboi EL TERZO LIBRO DE I MADRIGALI OIARCHADELT.ETDI ALTRI ECCELLENTISSJMi Auberi.Con la^ionm iea'.tHm t-Uirigali a Voti mmettitllijjsmu A Q.VATTRO V OC U LIBRO TER20 21 X V icM Ajjo mejio nonfuaUun A0itCet n x:^ UJfo che ricenhi iout fan io il iol» mio douefon h cime (hs oime <mt io* ^» x, ^»fc douefonio* \^^\\'\]l]U^^ Oinontnitmat*eth^uriropfcuamo trfe niamA IN oims t^frtlTg oime . fon K> /fe com Amor iouta 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 cheft 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* I 214 L'ARTE DELLA STAMPA 2l5 1 3l6 L'ARTE DELLA STAMPA ^ndim rcgma iiergencponceUa ©el mondo fpecbio fd ^cnetia bcllal I BINDINGS For the benefit of indust- rial art, we have collected two metal together in these pages and fifteenth centuries the leather drawn over the boards was ornamented some with blind tooling, executed with iron or wooden, implements and reproducing stars, lilies or ornaments, either sunk or in relief, according to the tool employed and the character of the period in which they were executed. During the Renaissance, when books were greatly multi- speci- mens of bindings belonging to printed books and manuscripts of 15th and l6th centuries. the These bindings, although they were the product of an age famous for the art, were for a long time altogether neglected. 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 frequently made of valuable wood, of the document or work on the outside. It was only at the period of decline that the leaves of papyrus and parchment were placed one upon the other and fastened together on one side, covered with thin slips of wood joined together, and decorated with ivory carvings, 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 animals was used, and, in general, dyed red or black, and burnished with a sjjccial tool. The binder arranged the sheets in order, beat them, in a case, with the title stitched them, and re-stitched them together into the back, turning the ends upon bands of lea- which thus formed a relief, which is found most of the old bindings and in all the modern 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 ther, in leather, leaving the wood bare, but at a later period, by turning over the leather, the entire surface of the boards was likewise covered. One or clasps served to keep the book closed. In the fourteenth plied, and when, in their arrangement in libra- 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 parchment to give way and roll up. These clasps fastened on with hinges, or with bands of leathries, 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 er the brass clasps, such as small figures, shields, initials and sacred legends in infinite number. The angles and centres of the bindings were often decorated with plates of the same metals similarly stamped, sometimes in high relief These were occasionally replaced by large bosses ornamented with stars, grotesques, lilies or large roses. Binding however of which the student therefore" experiences a genuine satisfaction when be succeds in possessing the works of his favourite author secured in a handsome binding, thus honouring them with a species of veneration. This feeling appears clearly in the splendour of the bindings of books executed at the revival of the arts. Although the use of the precious metals was continued for the ornamentation of books intended for divine service or for princes, the bibliophiles of the renaissance generally knew how to obtain from leather real masterpieces 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 is utility is perfectly evident. (1) The plates which some bindings from the R. the Museo Civico of Venice. an art, The illustrate this article I'iiblioteca di S. reproduce Marco and from 218 for use in wall decoration ; was stamped, painted 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 produced 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 ornamented leather. Thence came, doubtless, the idea of decorating Italian bindings in like manner with gold and colours and thence, later on, the marvellous productions of the French. Then began the addition of ornaments in gold tooling ; to the leather which with plaster, was smoothed and burnished; then was painted in the most brilliant hues of red it and green, upon which flowerets and mazes in the oriental style were finally traced. So conspicuous is the oriental character even in these productions 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 modified in the course of time. The leather sometimes 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 Venice during the sixteenth century 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- had hitherto been simply blindtooled, and the forms became more elegant by the use of the piccoli ferri or fine tools, combined together with much skill. Besides this the leather was also covered with shields and emblems, to which the work of the painter was frequently added. After the models produced by Al- ciently magnificent, in which another kind of binding was brought to perfection, namely that a pelits fers, which dus Manutius and his Italian contemporaries, Jean Grolier, arose at the end of the fifteenth century, and acquired great renown in Italy and France during the first half of the sixteenth. The leather, the French ed those wonderful bindings to be executed, which are now the greatest prizes of bibliophile, caus- collectors. years went on, the taste for the richness of polychrome decorations increased. This continuous 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 As 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 advanced. The leather was soaked and pressed with special moulds, or worked with geometric designs in relief, so as to form, as it were, the reproduction of an incrusted ceiling. In this case the surface of the leather, after being prepared 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 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 tools, were frequently applied, and were worked in various fashions, giving to the binding all the appearance 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 decadence of the binder's noble led shortly to a art. Only for a brief moment, at the dawn of the seventeenth century, during the reigns of Louis ditl it appear to wake up again, and XIV and strive to renew its ancient triumphs. ^ XV 219 \mim^mmHH^^ C^-7<k. coM^Ji^ 220 :lk..-: V,....:«.»J 2S3 tJf)^ 223 2 23 ' •226 .;;.— ..A..S^» .'3* ^iM^(^»^^^^. ^^v^i^ -y, II ^>r5. 1'i 1 •(iK> ;r'A\ '; 'lit Hit pi- W^' m :\:^>i'i! -^ 5 pi ^ '.if f ^A ^/ 1,; ^- / -, y »'* 'v,5 I! 11 I ^ •iJi '<5%fe(^!^*i:v<^ ^i!?'i'r J f*iy x'T^.-^tr*^*:'" ^ • 228 '*?JtQ^^-i VENICE M.DCCC.XCV Venezia 1895. — Tipografia Emiliana. i i 1 >,A "CSOUTHFRWRC^irir... Ounaviia-, r-«/ro^i/i«A« ' ; D 000 898 642 OS"/ -If ILITY if