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JACOBUS PHILIPPUS DE BERGAMO (1534-1520). Supplementum chronicarum. Venice: Bernardinus Benalius, 15 December 1486.
Super-chancery 2 (306 x 215mm). Collation: a8 b4 a-l8 m6 n-p8 A-V8 (a1r blank, a1v table, b4r prologue, Ad magistratum Bergomensem, c1r text, V8r colophon). 274 leaves. 59 lines and headline, shoulder notes. Types 1:83(80)G (text), 2:150Ga (headings). White-on-black floriated woodcut initials, other initials alternating in red and blue, illuminated initial on R8r in red on blue and gold ground (rubbed). Large woodcut of the Creation of Eve on a1r, 2 half-page woodcuts of the expulsion from Paradise and Cain slaying Abel, and 72 other woodcuts, including repeats. (First several leaves detached or nearly detached, marginal tear in i3, burnhole in quire k affecting some text, some dampstaining, one repaired tear, last leaf frayed at fore-edge.) Contemporary blindstamped calf over wooden boards, four brass cornerpieces and centrepiece (worn). Provenance: extensively annotated with additions and corrections in a contemporary hand; 'Prior Joannes Wenie(?) Libertini 6 Aprilis Ao 1621'.
Third edition, FIRST ILLUSTRATED, AND MOST COMPLETE, EDITION. Bernardino Benalio had printed the first edition of Jacobus de Bergamo's popular world chronicle in 1483. To illustrate this, his second, he copied woodcuts from Rolewinck's Fasciculus temporum. The smaller town views derive primarily from blocks used for the first Venetian edition of the Fasciculus, printed by Georg Walch in 1479, and copied by Ratdolt for later editions; they include the famous woodcut of Venice, copied in reverse from the 1481 Fasciculus block. Original to this edition is the larger woodcut of Genoa on f.50, used again for Rome on f.79, and cited by Hind as one of the earliest views of that city. The three biblical cuts derive from the illustrations of Heinrich Quentell's influential Low German Bible (c.1478); Hind notes their stylistic resemblance to the work of Hieronymus de Sanctis, described by Essling as 'one of the most gifted artists working in Venice at the end of the fifteenth century' (Essling 260). A LARGE COPY, PRESERVING MANY DECKLE EDGES. The 17th-century owner identifies himself as a Libertine, possibly meaning an Anabaptist. HC *2807; BMC V, 371 (IB. 22312); CIBN J-142; IGI 5077; Essling 342; Sander 916; Goff J-210.
Super-chancery 2 (306 x 215mm). Collation: a
Third edition, FIRST ILLUSTRATED, AND MOST COMPLETE, EDITION. Bernardino Benalio had printed the first edition of Jacobus de Bergamo's popular world chronicle in 1483. To illustrate this, his second, he copied woodcuts from Rolewinck's Fasciculus temporum. The smaller town views derive primarily from blocks used for the first Venetian edition of the Fasciculus, printed by Georg Walch in 1479, and copied by Ratdolt for later editions; they include the famous woodcut of Venice, copied in reverse from the 1481 Fasciculus block. Original to this edition is the larger woodcut of Genoa on f.50, used again for Rome on f.79, and cited by Hind as one of the earliest views of that city. The three biblical cuts derive from the illustrations of Heinrich Quentell's influential Low German Bible (c.1478); Hind notes their stylistic resemblance to the work of Hieronymus de Sanctis, described by Essling as 'one of the most gifted artists working in Venice at the end of the fifteenth century' (Essling 260). A LARGE COPY, PRESERVING MANY DECKLE EDGES. The 17th-century owner identifies himself as a Libertine, possibly meaning an Anabaptist. HC *2807; BMC V, 371 (IB. 22312); CIBN J-142; IGI 5077; Essling 342; Sander 916; Goff J-210.