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BOOKS
IN
ITALIAN!
A-C D-L M-O P-Z
WORLD MYTHOLOGY — 8 Vols. & Thousands of Entries
(An
Italian Joy). Pozzoli, Giovanni; Felice Romani; Antonio
Peracchi, et al. Dizionario storico-mitologico di tutti i popoli
del mondo. Livorno: Stamperia Vignozzi, 1824–28. 8 vols. 8vo (21 cm, 8.25").
I: 580 pp. II: 581–1163, [1] pp. (pp. 1057–64 repeated in place of
pp. 1065–72). III: [1165]–1708 pp. (pagination 1551–52 repeated,
1687–88 skipped). IV: [1709]–2342 pp. V: 2351–3086 pp. (pagination
skips 2519–26). VI: 3087–3855 pp. (pagination skips 3407–08).
VII: 576 pp. VIII: 577–1074 pp.
$2500.00
Click the middle and right hand-images for enlargements.
Second edition of this classic dictionary of comparative mythology, a hefty collection of the deities, heroes, tales, festivals, antiquities, and other folklore of numerous cultures and countries including Mexico, Peru, America, Africa, India, Japan, China, etc, along with Jewish, Greek, and Roman antiquities. The foundation of the work was François Noel's Dictionnaire de la Fable; copious additions and corrections were made by Pozzoli, Romani (the famed poet, scholar, and librettist for La Scala), and Peracchi (another librettist). The resulting encyclopedic endeavor was originally published from 1809–27 under the title Dizionario d'ogni mitologia e antichità incominciato, according to Graesse and Brunet, who both give Pozzoli's first name as Girolamo.
This set includes two volumes of supplemental text, adding a number of entries. The first edition was followed by two volumes of supplemental plates, not present here and not called for: Graesse describes this edition as “sans grav.”
The pagination is erratic in a number of places; there is a numbering gap from 2342 to 2351 between vols. IV and V, but the text and signatures are uninterrupted.
Uncommon: OCLC locates only two U.S. institutional holdings of this second edition.
Provenance: Most volumes with small inked ownership inscription in an outer margin: “G.R.W.” the mark of William Rollinson Whittingham (1805–79), fourth Episcopal Bishop of Maryland and an enthusiastic book collector.
Brunet, IV, 851; Graesse, V, 429. Not in Sabin. Contemporary half binding, recently rebacked with tan paper, spines with printed paper labels; boards rubbed and faded with small chips, one vol. with front cover waterstained. Foxing almost throughout, generally no worse than moderate; light waterstaining in upper margins of vol. I; one leaf in vol. VII with lower outer portion torn away, with loss of words from about 18 lines on each side. Vol. II with printer's error replacing pp. 1065–72 with duplicates of pp. 1057–64; pagination erratic in other places. Most vols. with ownership mark as above; vol. VI with one pencilled and one inked marginal annotation. (25862)
This entry is repeated in the
“PZ” section of this
catalogue . . .



A Classic in
Classic Renaissance Form
Ariosto, Lodovico. Orlando furioso ... ornato di nuove figure, & allegorie in ciascun canto. Venetia: Gio. Andrea Valuassori detto Guadagnino, 1556. 4to (21.6 cm, 8.5"). [1], 274 (168 & 169 lacking), [19] ff.; illus.
[SOLD]
Click the images for enlargements.
Much coveted in 16th-century illustrated editions, Orlando Furioso is an epic poem that various Renaissance artists illustrated and that printers issued often. Appended to it in this edition is the “Espositione di historie, favole, allegorie, et di vocaboli difficili, che nell'Orlando Furioso si contengono,” a glossary and textual comparison.
The text here is set almost entirely in italics, and ornamented with numerous large woodcuts and decorated capitals; the title-page appears within an elaborate allegorical and architectural frame. Essling says “la riche illustration” was done in imitation of the Giolito and Valgrisi editions.
This copy shows signs of enthusiastic appreciation and readership; three damaged leaves have been partially or wholly supplied from another edition, and in one case two and a half paragraphs of lost text (including a complicated and elegant decorated capital) have been rendered in a very neat, precise, early inked hand.
Provenance: Front free endpaper with early inked ownership inscriptions including that of G. Santini; title-page with early inked inscription (lined through) in lower margin and with Santini's small oval rubber-stamp monogram at center; one other page similarly rubber-stamped.
Brunet, I, 435; Essling, Les livres à figures vénitiens, 115; Graesse, I, 198; Index aurel. 107.474. This ed. not in Adams, not in Mortimer. Sophisticated copy. Contemporary vellum, neatly and unobtrusively rebacked; sides dust-soiled, corners rubbed. Hinges (inside) reinforced; ownership marks as above. Title-page repaired, with small portion of image lacking, inner margin reinforced, and some reinforcements affecting sharpness of image; two leaves supplied from another edition and ff. 168 and 169 lacking; one leaf with upper border portion of image supplied and another with capital and several lines of text hand-inked as described above. Staining and spotting variously, generally light; a few early inked marks of emphasis, and scattered marginalia in Italian.
An appealing “book for the busted bibliophile” as a solid volume offering both charm and signifcance and a lowered price. (26560)

The
First Translation of the
Bible into Italian
from
Hebrew
& Greek Sources
Bible.
Italian. Diodati.
1641. La sacra bibbia tradotta in lingua Italiana, e commentata da
Giovanni Diodati. Stampata in Geneua: Per Pietro Chovët, 1641. Folio (30.5
cm; 12.125"). [3] ff., 837, [3], 331, [1], 148, 68 pp.
$2200.00
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Second edition of Giovanni Diodati's translation, “migliorata, ed accresciuta. Con
l'aggiunta de' Sacri Salmi, missi in rime per lo medesimo.” The first edition appeared in 1607.Diodati (1576–1649), a Protestant theologian, in 1609 succeeded Theodore Beza as
professor of theology at Geneva, and in fact was Beza's choice for his successor. He is best
remembered today as the first to translate the Bible into Italian from Hebrew and Greek sources.
The added engraved title-page of this edition is dated 1640 and signed “A. Bosse jn. et
fecit”; it bears two old ownership notes, not deciphered. The biblical text is printed in roman
and italic in double-column format and has woodcut initials; Diodati's commentary is in smaller
roman type at the bottom of pages in very wide single-column format. The New Testament,
Apocrypha,and Psalter have sectional titles.
Darlow & Moule 5600.
Contemporary vellum over paste boards, elaborately tooled in gilt, rebacked
and the gilt of the front board mostly perished leaving the tooling attractively highlighted in
black; gilt of the bottom board still bright. Vellum with old stains and slightly yapp edges
defective in part, showing signs that silk ties were once present. The half-title leaf for the N.T. is
not printed, but blank. Light waterstaining in upper margin of early leaves; otherwise occasional
spotting only. All edges gilt. In sum, a rather nice copy. (26298)

A Man Scorned? Or One Satirizing a Genre?
Boccaccio, Giovanni. Laberinto d'amore. Con una epistola a messer Pino de Rossi confortatoria del medesimo autore e di nuovo corretto. [colophon: Vinegia: per Pietro di Nicolini da Sabio, 1536]. Small 8vo (15.5 cm; 6"). 72 ff.
$1600.00
Click the interior images for enlargements.
A handsome copy of this well-printed Renaissance edition of Boccaccio's problematic work about a man jilted or scorned, written in the 1360s. As to the complicated nature of the content, its relation to Boccaccio's life, and its date of composition, we refer the reader to Brown University's “Decameron Web,” where Dr. Guyda Armstrong writes that in it “Boccaccio demonstrates his familiarity with the canon of classical and medieval antifeminist texts, and succeeds in creating what
is practically an encyclopaedia of the genre.”
The work is now generally better known under the title Il Corbaccio, although all editions use the title found here. As one would expect with a Venetian-printed Renaissance work of literature, the text is in italic type; and this was printed early enough in the 16th century that the title-page offers a charming four-element architectural woodcut border.
Binding: Finely bound in 19th-century English straight-grained red morocco, with ornamental gilt border to covers, gilt-extra panelled spine, and two black leather spine labels. Board edges with a gilt roll; complex gilt inner dentelles and marbled endpapers. All edges gilt.
Graesse, Trésor de Livres rares, I, 455; Brunet, I, 1016.; Index Aurel. 120.267. Not in Adams. Bound as above; spine lightly faded and front cover with two small spots. Some small, light stains in text (only); generally, a very good copy. (25054)
Campailla, Tommaso. L'Adamo ovvero il mondo creato poema filosofico.... Siracusa: Nelle stampe di D. Francesco Maria Pulejo, 1783. Folio (32.4 cm, 12.75"). Frontis., LII, 272 (i.e., 294), XX, 16 pp; 1 plt.
$450.00

L'Adamo by Sicilian poet and philosopher Tommaso Campailla (1668–1740) is a didactic poem that puts into memorable verse the principles of Cartesian philosophy. The engraved frontispiece is a portrait of the author, and the engraved plate is a portrait of the dedicatee, Michele Grimaldi. This work was first published in 1709 and regularly reprinted throughout the century.
Single-click
image at left
for an enlargement.
Rare: Only one copy of this edition traced via NUC Pre-1956, OCLC, and RLIN (at the Bancroft Library).
Quarter vellum with vellum turn-ins. Covers originally covered with gilt or marbled paper, now lost, exposing underlying paste boards—a rather interesting effect. Spine divided into compartments by gilt rolls; a tan leather label, gilt-lettered. Somewhat cockled. Pages untrimmed. Upper outer corner of title-leaf repaired with paper. Two wormholes through frontispiece, plate, and first three printed leaves, with a little loss to illustrations (which yet remain effective) and to parts of individual letters; some additional worming in the margins, not affecting text.
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