la comedia von dante alighieri, vellutello (12 Ergebnisse)

Rilegato. Zustand: molto buono. In Venetia, Appresso Gioìvambattista, Marchio Sessa, & fratelli, 1578. In-Folio (31,2 x 21,5 cm). Cc (28), 163, (4), 164-392 (i.e.396). Segnatura: a8, b6, c4, d10, A-V8, X12,Y-Z8, 2A-2Z8, 3A-3C8. Bella legatura in piena pelle rossa del XIX sec., autore e titolo dorati sul dorso. Al frontespizio, magnifico ritratto di Dante in profilo entro ricco medaglione con putti e ghirlande in xilografia, 10 grandi vignette di descrizione nel testo all' inizio dell' inferno, marca editoriale dei Sessa al colophon, c.392(v), raffigurante un gatto (Zappella, 588) inciso in xilografia entro una ricca cornice con festoni, putti, grottesche. Con 99 illustrazioni incise su legno nel testo (tre delle quali a piena pag.) riproducono quelle allestite da Marcolini per l' edizione Vellutello del 1544 e già utilizzate nell' edizione del 1564. Eleganti testatine (le prime che riprendono la marca editoriale di Sessa), capolettera parlanti. Dedicatoria di Giovanni Antonio Rampazetto a Guglielmo Gonzaga, Duca di Mantova e del Monferrato. Seguono una "Dichiaratione delle voci difficili che si trovano in questa opera del Sansovino", "un Proemio" del Landino "Apologia in difesa di Dante, et de Fiorentini", una "Vita di Dante Alighieri" composta dal medesimo Landino, i "Discorsi del Landino che cosa sia poesia et poeta, et della origine sua divina, et antichissima", un' "Epistola" di Marsilio Ficino, uno scritto landiniano "sul Sito, forma, et misura dell'Inferno, et statura de Giganti et di Lucifero", una dedicatoria del Veluttello a papa Paolo III, un avvertenza del Vellutello ai lettori, uno scritto del medesimo Vellutello su "Vita, et Costumi del Poeta". Qualche piccola insignificante fioritura marginale, peraltro esemplare in stato di conservazione molto buono. Importante e rara edizione di Dante sia per l' accuratezza della veste tipografica che per la cura data con grande finezza da letterati di grande levatura come Francesco Sansovino, che ne cura gli ammodernamenti ortografici, Christoforo Landino e Alessandro Vellutello. Grande ritratto di Dante di profilo entro un medaglione incorniciato d' alloro al frontespizio da il nome all' edizione detta del "Nasone" o del "Gran naso", si riprende la fisionomia attribuita al poeta nel suo ritratto del Bronzino ed occupa ben più di metà pagina e contribuisce ad evidenziare la volontà del Sansovino di incentrare l' enfasi dell' edizione sul nome di DANTE e non sul titolo del poema che dall' edizione del Dolce era stato invece riportato al centro dell' attenzione mediante l' attribuzione dell' aggettivo "divina"; il lettore sembra dunque invitato a confrontarsi in prima istanza con la figura dell' autore il cui nome è anche stampato in un grande carattere umanistico maiuscolo. Nel libro si trovano 96 xilografie tre delle quali a piena pagina ed il testo riprende quello dell' edizione aldina del 1502 curata dal Bembo ed unisce per la prima volta i due autorevoli commenti dell' umanista fiorentino Cristoforo Landino (1424-1498) e del letterato lucchese Alessandro Vellutello (1473-1550) "ed il confronto delle opinioni del quattrocentista con quelle del cinquecentista, riesce molto interessante per lo studioso" (Mambelli). Interessante notare che la presente edizione venne inserita nell' Index Librorum Expurgandorum, pubblicato a Madrid nel 1614, in ragione di alcuni passi del commento Landiniano e si ordinò che dal Poema di Dante di qualunque stampa si dovessero toglier via nel Canto XI dell' Inferno i versi 8 e 9; nel Canto XIX, del Purgatorio i versi 106 a 118; e nel Canto IX del Paradiso i versi 136 sin al fine del Canto. Nella ristampa poi del suddetto Indice espurgatorio (fatta in Madrid, 1747) non si mosse però più parola della censura al Comento, ne si confermo più l' ordine della mutilazione al testo. (Gamba). Bibliografia: Adams, D111; Batines I pp. 91-92; Brunet, II, 504; BM-STC Italian, p. 504; Essling, I, 546; Ebert, 5709; Gamba, 390; Koch I, 9; Mackenzie, 50f; Mambelli, n° 52; USTC, 808800.

Hardcover. Zustand: Fine. Bound in 17th c. stiff vellum (lightly soiled). Illustrated with 87 woodcut illustrations in the text and three full-page scenes, one at the beginning of each part (Inferno, Purgatioro, Paradiso). The contents are in fine condition an occasional blemish (leaf I4 and AN2), a clear damp-stain to the lower corner in the middle gatherings with a very faint tideline in gatherings N, O, and S; trivial marginal ink marks on lvs. AF6, AQ4, BD1/8, text block with minor wear at head. Early ink ownership motto, "Qui Croire" in the margin of a few leaves. This is an early issue, without the ink-stamp correction on leaf V7 integrating a tercet into Dante's text. See Cicogna, "Delle inscrizioni veneziane", Venice 1824, v. 6, pp. 819-820. Copy of the great Italian bookseller and colletor Giuseppe Martini (1870-1944), with his hand-written description on the free end-paper and with the book-plate of the bibliophile Sergio Colombi (1887-1972) on the front paste-down. The 1544 edition of Dante's 'Comedia' is the first with the important commentary of Alessandro Vellutello, the foremost Dante commentator of the 16th c. The book also marks the first appearance of a revolutionary suite of woodcuts, designed by Vellutello not merely to illustrate the 'Comedia' but to enhance the reader's understanding of the text. The 1544 Dante "stands as the first in which the commentary and the illustrations are designed to work in concert to aid the reader's understanding of Dante's poem."(Cornell) "The originality of the woodcuts has long been recognized: for the first time in the exegesis of the Divine Comedy, illustrations are related closely to the commentary and provide a visual extension of the glosses. Vellutello intended to transform his contemporaries' understanding of Dante through the compilation and publication of the commentary. He writes of his ambition to overcome the limitations of previous interpretations and that whatever his written commentary might lack would be made up for in the illustrations 'suplir col disegno' emphasizing that the woodcuts were conceived as integral to the commentary. He reiterates furthermore 'come l'habbiamo disegnate'. Francesco Doni, who was in Venice in 1544 when Vellutello's book was published, notes that Vellutello expended considerable time and money in order to have woodcuts made from preparatory drawings ['per fare intagliare tutti i disegni che vanno nella Comedia di Dante']."(Eitel-Porter, Drawings for the Woodcut Illustrations to Alessandro Vellutello's 1544 Commentary on Dante's Comedia, p. 7) The identity of the woodblock cutter is unknown. Among those proposed as their author are the printer of the book, Francesco Marcolini, a friend of Titian and Sansovino; and, more recently, the printmaker Giovanni Britto, who produced prints of works by Titian and also illustrated books for Marcolini. Twenty drawings that served as the basis for their counterparts in the printed book are held at The Morgan Library. Rhoda Eitel-Porter has proposed that the series was drawn by Vellutello himself in the course of preparation for his edition of Dante. "As repositories of Vellutello's knowledge and understanding, the drawings would have initially served mnemonic and didactic functions, reflecting the author's broader intellectual concerns More likely to reflect the analytical mind of an intellectual than the visual creations of an artist, the schematic drawings were probably made as an organizational tool early on in Vellutello's project, and accompanied his studies for almost twenty years, progressively acquiring annotations and inscriptions. Prior to publication of Vellutello's completed text, the drawings would have been given to an artist, possibly the blockcutter, who would have pared down the compositions to single rather than multiple scenes with maximum impact, thus ensuring the popular success of the 1544 woodcuts."(Eitel-Porter, p. 6 ff.) The Artist: "There has been some speculation regarding the cutter of.

Zustand: Very Good. First Sessa edition. Venice: Giovanbattista e Marchiò Sessa e fratelli, 1564. First Sessa edition. Very Good. Folio (32 cm); [28] 396 (erroneously numbered 392) leaves. Italic and Roman type, with the text of the poem in Italic surrounded by commentary in Roman. 96 woodcut illustrations in text, and celebrated portrait of author on title page, from which this edition derives its distinguishing nickname, "Dante del gran naso" or "Big-nose Dante." Sessa cat-and-mouse device on verso of last leaf. In 18th-century densely speckled leather binding, double fillet borders in blind, with five raised bands and compartments on spine decorated in gilt with hand tools. Red leather title label. Notes in ink on rear free endpaper dated 1807. Red speckled edges. Hinges splt but holding. First signature slightly sprung yet holding. Occasional scattered stains. A handsome copy in strong binding! References: Mambelli, 40; Adams D-103; STC Italian 210; Gamba 390. We throw the word "iconic" around quite a bit, but it can be applied literally to this edition of Dante, recognizable by the portrait on the title page and known as the "Big-Nose Dante" (Dante del Gran Naso). To prepare the text, Francesco Sansovino (1521-1586) stitched together the important but largely unheralded textual commentary of Alessandro Vellutello with the famous but old-fashioned commentary of the humanist Cristoforo Landino. This critical apparatus is disposed on the page in roman type surrounding the text of the poem in italic type. Sansovino used Pietro Bembo's redaction of the text (Aldus, 1502), but diligently revised certain aspects of spelling and orthography. This edition of 1564 remained the model for future editions of the poem through the rest of the 16th century and, according to some, is the first version of Dante to be illustrated with "modern" (that is, in the supple Renaissance style) figures.

Zustand: Buono (Good). 0. Cm. 24, cc. (441) [nel fascicolo BC le carte 3 e 4 sono posposte alle 5 e 6 - bianca finale assente]. Testo in elegante carattere corsivo, racchiuso dal commento in corpo minore. Con 3 splendide illustrazioni xilografiche a piena pagina e altre 84 (a 1/3 e a 1/2 pagina) attribuite allo stesso Marcolini, ottimo disegnatore nonché amico di Tiziano e Sansovino. Bella legatura antica (seicentesca?) in piena pelle; dorso a 5 nervi con titoli, fregi e filetti ornati in oro. Sobria cornice impressa a secco ai piatti. Titoli manoscritti ai tagli di testa e di piede. Trascurabili segni del tempo alla legatura. Sporadiche e fisiologiche macchiette e alcune carte lievemente arrossate. Esemplare freschissimo a grandi margini, da alta collezione. Questa magnifica edizione veneziana è ritenuta la prima illustrazione moderna della Divina commedia, che servì da esempio per tutte le altre edizioni cinquecentesche. Oltre ad essere tra le più tra le più ambite edizioni dantesche del Cinquecento, è anche la prima con il celebre commento di Alessandro Vellutello. Cfr. Iccu; De Batines I, p. 82: "bella e rara edizione annoverata fra le rare"; Mambelli nr. 30: "Edizione originale e ricercatissima della esposizione del Vellutello"; Gamba, 387: âEdizione bellissima, ornata di eleganti intagli in legnoâ; Adams, D-94; Brunet, II, 503: âUnedes meilleures éditions anciennes de Danteâ; Graesse, II, 329. . . . . . . 0. . Book.

Hardcover. Zustand: Good. No Jacket. 1st Edition. Please email for Photographs or further information. Good - Good - Large 8vo, 87 wood-engraved illustrations, 3 of them full-page, title partly laid down, 17th century vellum, repairs to lower margin of AA2 and AA3 verso, dampstain to inner margin and some text at beginning, heavier dampstaining at end, a few marginal manuscript pointing fingers and a few marginal notes in an early hand, binding worn.Con gratia de la illustrissima Signoria di Venegia, che nessuno la possa imprimere, ne impressa uenere nel termino di dieci anni, Sotto le pene che in quella si contengeno [With the grace of the most illustrious Lordship of Venice, that no one can imprint it, nor will it imprint it within the term of ten years, under the penalties that are contained therein] 1 Title Page [1] Blank 38 Description Inferno [2] Blank 1 {Full Page Engraving} 287 Inferno Cantica [1] Blank 15 Description Purgatory 1 {Full Page Engraving} 256 Purgatory Cantica 9 Description Paradiso 1 {Full Page Engraving} 261 Paradiso 3 Blank pages Total pages = 877 Please see photos as part of condition report Please see photos as part of condition report 1544 1st Edition , LA COMEDIA DI DANTE ALIGHIERI Con la nova espositione de Alessandro Vellutello By Dante Alighieri / Alessandro Vellutello Dante Alighieri (c.?1265 - 14 September 1321), most likely baptized Durante di Alighiero degli Alighieri and often referred to as Dante, was an Italian poet, writer and philosopher. His Divine Comedy, originally called Comedìa (modern Italian: Commedia) and later christened Divina by Giovanni Boccaccio, is widely considered one of the most important poems of the Middle Ages and the greatest literary work in the Italian language. Illustrated By: Format: Hardcover, Language: Italian Dust Jacket: No Jacket, Dust Jacket Condition: No Jacket Published By: Francesco Marcolini for Alessandro Vellutello, Venice Medium octavo (8vo 6+1?2 × 9+1?4 165 × 235),Pages 879 ISBN: The Divine Comedy describes Dante's journey through Hell (Inferno), Purgatory (Purgatorio), and Paradise (Paradiso); he is first guided by the Roman poet Virgil and then by Beatrice. Of the books, Purgatorio is arguably the most lyrical of the three, referring to more contemporary poets and artists than Inferno; Paradiso is the most heavily theological, and the one in which, many scholars have argued, the Divine Comedy's most beautiful and mystic passages appear. Alessandro Vellutello (born 1473) was a Lucchese writer, poet, and scholar active in Venice in the first half of the sixteenth century. In June 1544 his 'new explanation' of Dante's Comedia was published in Venice by Francesco Marcolini featuring 87 engraved illustrations, possibly executed by Giovanni Britto, an engraver who worked for Marcolini.[2] The images were conceived alongside Vellutello's commentary, and both sought to provide an interpretation free from the influence or limitations imposed by previous explanations of Dante. The highly detailed illustrations in La Comedia di Dante Alighieri con la nova esposizione bear great faithfulness to Dante's original text, and Vellutello himself may have made preparatory drawings which were used as schematics for the final woodcuts.[4] While Vellutello's commentary did not enjoy particular success, the engravings are still regarded as the "most distinctive Renaissance renditions of the poem after Botticelli's" SKU: BTETM0002341 Approximate Package Dimensions H: 12.5, L: 30, W: 25 (Units: cm), W: 2Kg.

. 4º.181 p.Infinidad de laminas algunas en color Pergamino lomo.

Spesso volume in-8° (cm. 23x15,6), carte 385 (su 442) con 68 grandi XILOGRAFIE (su 87) (di cui 2 a piena pagina all'inizio di Purgatorio e Paradiso, le altre a 3/4 o a mezza pagina; 6 xilografie recano antiche coloriture di figure in rosso o in giallo. Minime insignificanti mancanze solo a 5 xilografie). Le stupefacenti XILOGRAFIE, attribuite allo stesso stampatore MARCOLINI, ottimo disegnatore amico del Tiziano e del Sansovino, costituiscono la prima illustrazione moderna della Commedia, che servì da base o esempio per tutte le edizioni cinquecentesche. 11 fogli - cioè i primi e gli ultimi - sono staccati e laceri ai bordi, i primi 4 con perdite di testo agli angoli. Le terzine dantesche in elegante carattere corsivo sono racchiuse dal commento impresso in corpo minore. Celebre edizione, tra le più ambite di Dante, la prima con il commento del Vellutello. La Commedia assunse il titolo di ''Divina'' a partire dall'edizione Giolitina del 1555). Tre versi del Purgatorio (II, 64-66; segnatura V 7) non furono inseriti in origine e in quasi tutti gli esemplari vennero aggiunti e stampati in un secondo tempo a mano con differenza di giustificazione e di inchiostratura. Anche così mutilo e da restaurare com'è, conserva in gran parte del corpo centrale la sua forte genuina cucitura originale con rinforzi di frammenti di manoscritti in pergamena. Venerando e ricco cimelio dantesco rinascimentale. Così com'è.

LeatherBound. Zustand: New. LeatherBound edition. Condition: New. Reprinted from 1544 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Pages: 900 NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 900 Language: Italian.

Leather Bound. Zustand: New. Language: Italian. Presenting an Exquisite Leather-Bound Edition, expertly crafted by the prestigious organization "Rare Biblio" with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2024, utilizing the invaluable guidance of the original edition published many years ago in 1544. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - Italian, Pages: - 900, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 900.

LeatherBound. Zustand: NEW. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 856. A perfect gift for your loved ones. Reprinted from 1564 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: Italian Pages: 856.

Leather Bound. Zustand: New. Language: Italian. Presenting an Exquisite Leather-Bound Edition, expertly crafted by the prestigious organization "Rare Biblio" with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2023, utilizing the invaluable guidance of the original edition published many years ago in 1564. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - Italian, Pages:- 850, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. [Please Note:-text destroyed and Text Black] 850.

Full Leather Bound. Zustand: New. Language: Italian. {Size: 22.22x 29.21 cms} A Unique Premium Leather-Bound book for elite readers/collectors of old rare books. An Original Leather is being used for binding this book with Golden Leaf Printing and designing on Spine, front and Back of the book with edge gilding. WE HAVE MULTIPLE OPTIONS IN COLOR OF LEATHER RED, GREEN, BLUE, MAGENTA, TAN, DEEP BROWN, BLACK AND WITH DIFFERENT COLOR LABELS. YOU MAY CHOOSE ANY COLOR OF YOUR CHOICE AND MAIL US. Original edition was published in [1564] and this unique edition is Reprinted in 2023 with the help of original edition. Black & white printing on high quality natural shade paper with sewing binding for longer life, professionally processed without changing its contents. As these are old books, we processed each page manually on computer and make them readable. We give our best to give you the best book but in some cases we have to adjust few pages which are blur or missing or black spots. If it is multi volume set, then it is only single volume. We hope that you understand these issues in these old treasure. This is an important book for the readers who want to know more about our old treasure. Our dedicated team is trying to bring these rare books back to the shelves. We are also giving service of printing the hard-to-find books which are not listed in our store. Hope you will like it and give your comments and suggestions. Lang: - Italian, Pages 850, Print on Demand. Product Disclaimer: Please be aware that because leather is a natural material, slight discoloration or change in texture may be visible. {FOLIO EDITION (Size 12x19 Inches) IS ALSO AVAILABLE ON REQUEST}. [Please Note:-text destroyed and Text Black] 850.