2 vols., 8vo, ff. 170; 159; italic letter, woodcut device on titles, woodcut initials; some light spotting on title of vol. I, but a good copy in nineteenth-century English panelled calf; from the library of the art collector Edward Cheney (sale 1886), with his monogram in gilt on covers and his armorial bookplate.
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Le piacevoli notti di messer Giovanfrancesco Straparola da Caravaggio.
An early edition of both volumes of Straparola’s Facetious nights, first published in 1550–53.
‘The copyright that Straparola held, and that would remain valid until 8 March 1560, protected his financial rights to a book that proved to be a valuable commodity. Its transfer would have been marked by public record, and somewhere documents may still exist that record the passing of copyright from Straparola, who died before it expired, to Comin da Trino, and in 1558 to Domenico Giglio’ (Ruth B. Bottigheimer, Fairy Godfather, Straparola, Venice, and the Fairy Tale Tradition, Philadelphia, 2002, p. 120).
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PRESENTED BY THE TRANSLATOR VIRGIL Maro, Publius, and Giovanni Andrea dell’ANGUILLARA (trans.).
Il primo libro della Eneida di Vergilio, ridotto da Giovanni Andrea dell'Anguillara in ottava rima …
First edition of the first book of Anguillara’s verse translation of the Aeneid, a copy printed on strong paper and inscribed by the author. The humanist, poet, and successful translator of Ovid Giovanni Andrea dell’Anguillara (1517–1572) undertook to translate into Italian ottava rima the first four books of Virgil’s Aeneid, but only printed two. According to Argelati, Anguillara left his Aeneid unfinished on purpose in order not to stand in competition with his friend, the translator Annibal Caro; ‘Had he finished it, it would have been more pleasing to read than any of the above named [Caro and Domenichi as well as others] if we can judge by this specimen’ (G. Baretti, The Italian Library (London, 1757), p. 132).
HUMANISM DISPLACES COURTLY LOVE
A MUSIC SCHOLAR’S ANNOTATIONS RIDOLFI, Luca Antonio.
Aretefila, dialogo, nel quale da una parte sono quelle ragioni allegate, le quali affermano, lo amore di corporal bellezza potere ancora per la via dell’udire pervenire al quore: et dall’altra, quelle che vogliono lui havere solamente per gl’occhii l’entrata sua: colla sentenza sopra cotal quistione.
Annotated copy, once owned by a music book collector, of the third edition (first 1557) of a remarkable Renaissance philosophical dialogue on the nature of love which marked the culmination of the very divisive ‘questione d’amore’ hotly debated in sixteenth-century literature.