Details
MARTIALIS, Marcus Valerius (40-104). Epigrammata. Venice: Aldus Manutius, December 1501.
Aldine 8 (166 x 99mm). 191 leaves only (of 192, lacking final blank &4). Italic type 1:80, some Greek. 30 lines, capital spaces and guide letters. 19th-century half russia, g.e. (rubbed). Provenance: brief marginal notes in an early unidentified humanistic hand to 18 leaves; Stephen Salisbury, Worcester, Mass. (gift to:); Harvard College (library bookplate noting gift, blindstamps on A1 and 2, ink stamp dated 1901 to A1, cancellation stamp on bookplate).
FIRST ALDINE EDITION, printed in italic type and published by Aldus in his libri portalis series. The novelty of Aldus's publication of uncommentated slender-octavo editions of Latin and Greek classics and Italian poetry in Francesco Griffo's italics (apparently specifically modelled on Aldus's own hand), forms a clear break from the incunable tradition. Inspired by the script and size of humanistic vellum manuscripts that had come into fashion from the late 14th century onwards, the typographical innovation was immediately and widely imitated in Italy and beyond. Adams M-689; Ahmanson-Murphy 37; Renouard p.20 number 7.
Aldine 8 (166 x 99mm). 191 leaves only (of 192, lacking final blank &4). Italic type 1:80, some Greek. 30 lines, capital spaces and guide letters. 19th-century half russia, g.e. (rubbed). Provenance: brief marginal notes in an early unidentified humanistic hand to 18 leaves; Stephen Salisbury, Worcester, Mass. (gift to:); Harvard College (library bookplate noting gift, blindstamps on A1 and 2, ink stamp dated 1901 to A1, cancellation stamp on bookplate).
FIRST ALDINE EDITION, printed in italic type and published by Aldus in his libri portalis series. The novelty of Aldus's publication of uncommentated slender-octavo editions of Latin and Greek classics and Italian poetry in Francesco Griffo's italics (apparently specifically modelled on Aldus's own hand), forms a clear break from the incunable tradition. Inspired by the script and size of humanistic vellum manuscripts that had come into fashion from the late 14th century onwards, the typographical innovation was immediately and widely imitated in Italy and beyond. Adams M-689; Ahmanson-Murphy 37; Renouard p.20 number 7.