Le Belle Arti.

Naples, dalla tipografia del Giornale Enciclopedico, 1820.

8vo, 2 vols in one, pp. viii, 222, errata leaf; viii, 225, [3]; first titlepage waterstained with an old indelible conventual stamp and some paper abrasions, contemporary quarter calf, red and blue labels, gilt.

£150

Approximately:
US $0€0

Make an enquiry

First edition in book form, reprinted from the Giornale Enciclopedico di Napoli, with some additional material in an appendix to the second volume. The first volume is on the music and musicians of Naples, the second volume deals with Neapolitan painters up to the eighteenth century.

Not in Cicognara, Vinet, or Schlosser-Magnino. NUC locates a single copy at Cornell.

You may also be interested in...

ROUSE, James and Elizabeth.

Rouse’s Scraps of Sussex. [London] Fulham, drawn and published by James Rouse, drawn and engraved by Elizabeth Rouse, [1817-1825].

An uncommon set of charming topographical aquatint views. James Rouse (1773-1840) worked together with his wife, Elizabeth; on one sheet he calls himself a ‘drawing master’. The views show landscapes but delight more often in capturing rural life, cottages, small villages, churches, ruins, abbeys, roman pavements, etc, and are all populated with figures. There is an early view of the Brighton Pavilion and two views of the Brighton Royal Stables. There are views of the many castle, such as Arundel Castle (several views), Hurstmonceaux Castle, Pevensey Castle, Knap Castle, Hasting Castle (several views), Goring Castle, Bodiam Castle (2), etc.; and there are several country house depicted, such as Findon Place (seat of Mrs. Richardson), Cowdray House (2), Brambletye House, Earl of Ashburnham’s House, and Crowhurst Park.

Read more

BLANCHET, Joseph.

L’art, ou les principes philosophiques du chant. IIe edition, corrigée et augmentée.

First edition. The designation ‘IIe edition, corrigée et augmentée’ on the title arises from the publication in 1755 of L’art du chant, dedié a Madame de Pompadour by Jean-Antoine Bérard, whom Blanchet accuses of incorporating his material. The two works certainly include many passages which are almost identical, notably the first and third chapters, ‘La voix considérée par rapport au chant’ and ‘La formation de la voix’. Blanchet in turn seems to have based much of his work upon the physician and anatomist Antoine Ferrein’s De la formation de la voix de l’homme (1741), although he refutes this imputation at the end of the ‘avertissement’ here.

Read more