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MASCAGNI, Paolo. Anatomia per uso degli studiosi di scultura e pittura. Florence: Giovanni Marenigh for heirs of the author, 1816.
Broadsheets (692 x 520 mm). 15 finely hand-colored engraved plates, the first two after Agostino Costa and Carlo Lasinio, by Antonio Serantoni, the remaining after and by Serantoni (some occasional pale spotting). (Title-page renewed along gutter.) Contemporary half vellum, morocco spine label (some wear at spine ends and extremities, some rubbing). Provenance: Antonio Campani (bookplate); Herbert Maclean Evans Library of Medical Classics (book label); Ira M. Rutkow (pencil signature on rear flyleaf).
FIRST EDITION. Mascagni died before he could see three of his manuscripts through to publication. His anatomy for painters and sculptors was posthumously published by Mascagni's relatives, and edited by Francesco Antonmarchi, a pupil and anatomical colleague of Mascagni, from Mascagni's manuscripts. The beautiful plates in this work were drawn and engraved by Antonio Serantoni (1780-1837), an artist Mascagni had trained and worked with for fourteen years on his various projected publications, including the monumental Anatomia Universa. "The first two plates represent front and back views of the skeleton with the ligaments. The names of the bones are engraved directly on the plate ... Plates III-IV represent front, back, and side views of a muscle-man. Plates VI-XV represent separate parts of the body, such as life-size muscles, bones and ligaments. The muscles are all engraved in red chalk manner, the rest is colored with the brush" (Choulant-Frank p. 316). The muscle men are in the Vesalian style, with landscape backgrounds. Choulant-Frank, pp.315-20; Roberts & Tomlinson, pp. 387-89; Waller 6292; Wellcome IV, p.73.
Broadsheets (692 x 520 mm). 15 finely hand-colored engraved plates, the first two after Agostino Costa and Carlo Lasinio, by Antonio Serantoni, the remaining after and by Serantoni (some occasional pale spotting). (Title-page renewed along gutter.) Contemporary half vellum, morocco spine label (some wear at spine ends and extremities, some rubbing). Provenance: Antonio Campani (bookplate); Herbert Maclean Evans Library of Medical Classics (book label); Ira M. Rutkow (pencil signature on rear flyleaf).
FIRST EDITION. Mascagni died before he could see three of his manuscripts through to publication. His anatomy for painters and sculptors was posthumously published by Mascagni's relatives, and edited by Francesco Antonmarchi, a pupil and anatomical colleague of Mascagni, from Mascagni's manuscripts. The beautiful plates in this work were drawn and engraved by Antonio Serantoni (1780-1837), an artist Mascagni had trained and worked with for fourteen years on his various projected publications, including the monumental Anatomia Universa. "The first two plates represent front and back views of the skeleton with the ligaments. The names of the bones are engraved directly on the plate ... Plates III-IV represent front, back, and side views of a muscle-man. Plates VI-XV represent separate parts of the body, such as life-size muscles, bones and ligaments. The muscles are all engraved in red chalk manner, the rest is colored with the brush" (Choulant-Frank p. 316). The muscle men are in the Vesalian style, with landscape backgrounds. Choulant-Frank, pp.315-20; Roberts & Tomlinson, pp. 387-89; Waller 6292; Wellcome IV, p.73.