12mo., pp. , 312, 289-550, [3 blank], 2-24, with the medial blank 2A12; a very good copy in handsome contemporary black morocco, panelled gilt, gilt edges; bookplate of the Bibliotheca Lindesiana.
US $0 €0
First edition of the first translation of the Book of Common Prayer into Italian. The project was begun by Edward Browne while chaplain to Sir John Finch in Constantinople, perhaps incorporating an earlier, unpublished translation by William Bedell (the manuscript being listed in Griffiths’ Bibliography of the Book of Common Prayer as Italian 1). Back in London, the work was completed by the Italian émigré merchant Giovan-Battista Capello (John Capell), a friend of Hobbes.
Griffiths, Italian 2; Wing B 3675B.
You may also be interested in...
CONTEMPORARY ARMORIAL VELLUM MAY, Thomas.
The Reigne of King Henry the Second, written in seaven Bookes. By His Majesties Command.
First edition of a verse history dedicated to Charles I. May’s literary career had begun with his translation of Lucan’s strongly anti-imperial Pharsalia (1626-7), which also influenced several of his stage tragedies. But his republicanism was muted thereafter, and indeed his Continuation of Lucan (1630) was dedicated to King Charles, who then commissioned May’s verse histories of Henry II (1633) and Edward III (1635). ‘These poems, while they do not follow an obvious Caroline propaganda purpose, are sympathetic to the dilemmas of royal power’ (Oxford DNB). Charles purportedly came to May’s defence in 1634 after an altercation at court with the Lord Chamberlain, calling May ‘his poet’; but his loyalty was not rewarded, and May sided with Parliament in the 1640s, turning propagandist.
LAOCOON ENGRAVED REZZONICO, Carlo.
Castone della Torre di. Discorsi accademici del conte … segretario perpetuo della R. Accademia delle Belle Arti.
First and only edition of an exquisite little product of the Bodoni house: Count Rezzonico’s reflections on the fine arts, including a dissertation on the techniques of woodcut and engraving. The Neo-Classical aesthetics that inform this work are reflected in the illustrations, masterfully executed by the painter, engraver and stucco artist Benigno Bossi. Perhaps the most remarkable is the depiction of the marble Laocoon, which had been made by Lessing the symbol of the aesthetic autonomy of poetry and painting.