sannazarius (3 Ergebnisse)

12mo. 2 volumes in 1: (XXIV),238,(2 blank); (XII),132 p. Vellum. 15 cm (Ref: STCN ppn 842282777; Brunet 5,127; Graesse 6/1,265; Ebert 20262) (Details: 5 thongs laced through the joints. 2 titles, printed in red and black, each with the same woodcut printer's mark on it, depicting a celestial sphere. After the preliminary pages of the first volume come Sannazaro's Latin poems, p. 1/158, followed by explanatory notes, p. 159/238. The second volume contains the Latin poetry of the Amalthei brothers) (Condition: Vellum age-toned, back soiled. Bookplate pasted on the front pastedown. Old ink inscription in English, on the verso of the flyleaf at the end) (Note: We learn from the 'Praefatio' of the 'Opera omnia' edition of Sannazarius, Amsterdam 1728, that the editor and commentator of this edition of 1689 is the Dutch scholar Janus Broukhusius. Already on the first page of that 'Praefatio' of the Sannazarius of 1728, which was edited by the Dutch minor poet Pieter Vlaming, 1686-1733, the editor tells the reader that he used for his edition the previous edition of Broukhusius published by Wetstein. ('editionem Wetstenianam secutus .' etc., Praefatio 1728, p. *6 recto) In addition we read on the title page of 1728: 'ex secundis curis J. Broukhusii'. This proves that the edition of 1689 was published by Janus Broukhusius, Joan van Broekhuizen in Dutch, 1649-1707. § This scholar/soldier pursued during an adventurous life his classical studies and poetry at leisure. As a neolatin poet he is known as the 'Propertius of Holland'. (Sandys 2,329) In 1684 he published his 'Carmina', a collection of his Neolatin poetry. His editions of Propertius (1702) and Tibullus (1707) laid the foundation for his reputation as a classical scholar. He was admired as a latinist, for his taste and for his erudition. (NNBW 4,309/12) § The Italian and Neo-latin poet Jacopo Sannazaro, 1458 -1530, in Latin Jacobus Sannazarius, also known as Actius Sincerus, was of noble birth, and a courtier at the court of the royal House of Aragon, kings of Naples. Here he found a humanist atmosphere favourable for the development of his talents. The humanist Giovanni Gioviano Pontano, 1426-1503, advisor and chancellor of the Aragonese dynasty, became his intellectual mentor. He took his young student in his Academy, the 'Accademia Pontaniana', under the name of 'Actius Sincerus'. There he deeply influenced his pupil's philological approach to antiquity and his knowledge of classical culture. After Pontanus' death Sannazarius became the head of this Academy. Sannazarius' masterwork 'Arcadia', written in Italian, exercised a great influence on European poetry, instituting the theme of the idyllic land Arcadia. He devoted the last decades of his literary activity exclusively to Neo-Latin poetry, modelled on Vergil. In the normative 'Tati Renaissance Library' Sannazarius is advertised as 'the finest Neo-Latin poet of the Italian Renaissance'. His 'corpus' of Latin poetry, written in an elegant style, was small but nevertheless very influential and widely read. We counted in KVK ca. 30 editions of his 'Opera Omnia' printed before 1689, the first of which was published by Aldus in 1535. His 'De partu Virginis', an epic of ca. 1450 verses, published in 1526, brought him the title of the 'Christian Vergil'. His style is said to be equal to Vergil, with whom he emulated. In his other works he also emulated with Ovid and Horace. § In the first volume of this edition of 1689 we find Sannazaro's poetry; the collection opens with: 'De partu Virginis libri tres', a poem which Erasmus is said to have liked, though he found this poem on the birth of Christ too secular. Follows a short 'Lamentatio de Christi morte', then 5 'Eclogae', which renewed the bucolic genre, the traditional shepherds of Virgil being replaced here by fishermen. Follow Sannazarius' 'Elegiarum libri tres', and 3 books of 'Epigrammata'. § The second volume contains the 'Carmina' of the brothers Hieronymus, Jo. Baptista and Cornelius Amaltheus (Jeronimo, born 1507, Giambatista, born 1525, and Cornelio Amaltheo), edited by the Dutch latinist Johannes Georgius Graevius, who was a friend of Broukhusius, the editor of the first volume. All 3 brothers were skilled and highly appreciated neo-latin poets. Hieronymus, whose style was of singular elegance and purity, so excelled in Latin poetry that he is placed by the French humanist Muretus, 1526-1585, among the most talented poets. Giambatista's Latin poems gave him a reputation equal to his brother. Cornelius left only a few Latin poems, he died young. They show that he shared the talents of his brothers. The poems of the brothers were first collected and published by Hieronymus Alexander at Venice in 1627. Graevius here offers a revised 'editio secunda') (Provenance: The armorial bookplate on the pastedown is of 'Henry A. Bright', its motto is 'Post tenebras lucem'. The family pedigree of the English merchant and author Henry Arthur Bright, 1830-1884, 'goes back to Nathaniel Bright of Worcester (1493-1564), whose grandson, Henry Bright, was canon of Worcester, and purchased the manor of Brockbury in the parish of Colwall, Herefordshire, which still remained in the family'. He was educated at Rugby School and at Trinity College, Cambridge. In Liverpool he was the centre of literary interests and literary friendships. He was a member of the Roxburghe Club and of the Philobiblon Society, as well as of the local historical and literary societies. (Source Wikipedia 'Henry Arthur Bright') The family had a substantial library put together over generations) (Collation: *12, A-K12,(leaf K12 blank); 2*6, 2A-E12, 2F6) (Photographs on request) 300 gr.

8vo. (II),(XVI),(II errata),632,(20 index & errata) p., frontispiece, 1 engraved plate, 1 text engraving. Green vellum. 20 cm (Ref: STCN ppn 189042265; Brunet 5,127: 'Bonne édition'; Graesse 6/1,265; Ebert 20263) (Details: This book has 2 different title pages. This anomaly tell us about a publisher's death, and the efforts of his widow to continue the firm. The very first title, bound before the frontispiece, is printed in black, has no printer's mark, and shows the impressum: 'Amstelaedami, Apud Gerardum Onder de Linden, 1727'. The second title, bound after the frontispiece, is printed in red and black, has a printer's mark, but is now dated 1728, and published 'apud Viduam Gerardi Onder de Linden'. Gerard Onder de Linden died in 1727, leaving Vlaming's Opera edition of Sannazarius unfinished. In the 'Boekzaal der geleerde waerelt' volume 25, of december 1727, the public was informed that the widow, who hoped to continue the business with the help of God, was planning to publish the Sannazarius' edition soon. ('De Weduwe Gerard Onder de Linden, (die in afwagtinge van Godts hulp met hare winkel enz., in alles zal continueren), zal in 't kort uitgeven 'Actii Sinceri Sannazarii . Opera') We couldnot find in the STCN, and KVK, any copy of Vlaming's edition dated 1727. The title page of 1727 was apparantly removed in most copies. In the mean time the widow had apparantly decided to print a more posh red-and-black title adorned with a printer's mark. She added also a nice frontispiece with her name on it, designed and executed by 2 wellknown Dutch artists. She did so in cooperation with the Amsterdam printer Hermannus Uytwerf, who brought copies on the market with his own imprint. The rest is identical. § Vellum dyed green. Back with 5 raised bands, and a red morocco shield in the second compartment. Edges dyed red. The frontispiece, designed by J. Goeree and executed by J. Houbraken, depicts a bare-breasted Fama holding in her right hand her trumpet and a shield with the portrait of Sannazarius; on the shield his name: Actius Sincerus Sannazarius; under the left arm of Fame rests a scroll with the table of contents. § Printer's mark on the title, depicting Fama flying above symbols of wisdom, and blowing her trumpet. The motto is derived from Martial X,2,12 and reads: 'Non norunt haec monumenta mori', 'These monuments donot know how to die'. § Text engraving on page 491, at the beginning of a biography of Sannazarius by Joannes Antonius Vulpius; depicted are both sides of a bronze medallion, on the recto the portrait of Sannazarius and on the verso a scene with the birth of Christ, referring to Sannazarius' 'De partu Virginis'. At p. 526 has been inserted a full page engraving of the 'Sannazaro Monument', in the church 'Santa Maria de Parto', a church built on the initiative of Sannazarius, on a piece of land donated by king Frederick (Frederigo) of Aragon. The mausoleum, erected in 1537, is a highlight of Napolitan Renaissance art. It was probably made after a design by Sannazarius himself) (Condition: Binding scuffed, and worn at the extremes. Head and tail of the spine chafed. Corners bumped & slightly creased. Both joints splitting, but strong. An old ink insciption on the 1728 title has been wiped out, resulting in some stains. Paper yellowing) (Note: The Italian and Neo-latin poet Jacopo Sannazaro, 1458 -1530, in Latin Jacobus Sannazarius, also known as Actius Sincerus, was of noble birth, and a courtier at the court of the royal House of Aragon, kings of Naples. Here he found a humanist atmosphere favourable for the development of his talents. The humanist Giovanni Gioviano Pontano, 1426-1503, advisor and chancellor of the Aragonese dynasty, became his intellectual mentor. He took his young student in his Academy, the 'Accademia Pontaniana', under the name of 'Actius Sincerus'. There he deeply influenced his pupil's philological approach to antiquity and his knowledge of classical culture. After Pontanus' death Sannazarius became the head of this Academy. Sannazarius' masterwork 'Arcadia', written in Italian, exercised a great influence on European poetry, instituting the theme of the idyllic land Arcadia. After having written the 'Arcadia' in vernacular, Sannazarius devoted the last decades of his literary activity exclusively to Neo-Latin poetry, modelled on Vergil. In the normative 'Tati Renaissance Library' Sannazarius is advertised as 'the finest Neo-Latin poet of the Italian Renaissance'. His 'corpus' of Latin poetry, written in an elegant style, was small but nevertheless very influential and widely read. We counted in KVK ca. 30 editions of his 'Opera Omnia' printed before 1730, the first of which was published by Aldus in 1535. His 'De partu Virginis', an epic of ca. 1450 verses, published in 1526, brought him the title of the 'Christian Vergil'. His style is said to be equal to Vergil, with whom he emulated. In his other works he also emulated with Ovid and Horace. § In this edition of 1728 we find in the first half Sannazaro's poetry; the collection opens with: 'De partu Virginis', a poem which Erasmus is said to have liked, though he found this poem on the birth of Christ too secular. Follows a short 'De morte Christi Domini ad mortales lamentatio', then 6 'Eclogae', which renewed the bucolic genre, the traditional shepherds of Virgil being replaced here by fishermen. Follow 3 books of Sannazarius' 'Elegiae', and 3 books of 'Epigrammata'. The section on Sannazaro ends with a number of 'Carmina de Sannazario et ad Sannazarium'. The second half of the book contains the short 'Epithalamium' of Gabriel Altilius, called 'Sannazarii sodalis', and the even shorter 'Salix' of Daniel Ceretus. The greater part of the second half is filled with the 'Carmina' of the brothers Hieronymus, Jo. Baptista and Cornelius Amaltheus (Jeronimo, born 1507, Giambatista, born 1525, and Cornelio Amaltheo) together 175 pages, edited previously in 1689 by J. Graevius under the title 'Trium fratrum Am.

Zustand: molto buono. in-4, pp. (10), LII, 303; leg. coeva p. pergamena. Ritratto in ovale dell'autore inciso in rame in antiporta, impresa tipografica al titolo, medaglia con ritratto incisa in testa alla ''Vita'' scritta da J.A. Volpi. Stimatissima edizione che comprende il «De partu Virginis», la seconda delle maggiori opere latine del Sannazzaro, le 5 Egloghe Piscatorie, il «Salices», i tre libri di Elegie che raccolgono le poesie giovanili, i tre libri di Epigrammi, composizioni polemiche contro il Poliziano, i Borgia e Leone X, ed alcuni Carmi di illustri poeti riguardanti il Sannazzaro. Volpi p. 499: ''anche questa edizione è rara''.