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OVIDIUS NASO, Publius (43 B.C.-17? A.D.) Metamorphoses. Edited with commentary by Raphael Regius. Parma: Francesco Mazali, 1505.
2o (315 x 215 mm). Collation: A6 a-x8 y10. 183 of (184 leaves, lacking the final leaf blank). Text in Roman type set within commentary in smaller Roman type, Roman marginalia, circular diagram of the winds on leaf, 59 woodcut illustrations, including three repetitions, most signed "ia" or "N," a few foliated initials but most initials marked by guide letters only (slight darkening and light marginal staining). 16th-century German blind-tooled pigskin backed wooden boards, remnants of clasps (some rubbing). Provenance: some early marginalia; acquired from Lathrop C. Harper, 1971.
Second Parma edition of the Metamorphoses. The only book known under Mazali's imprint at Parma, he was established at Reggio Emilia until 1504; and Mazali's last known work. All but four woodcuts are from the very rare Rosso-Giunta Ovid edition published in Venice in 1497. "These illustrations for Ovid are among the best examples of the 'classic' style influenced by Andrea Mantegna, as discussed by Hind. He considers the possibility that the 'ia' is a signature of the block cutter Jacob of Strassburg, known to have been working at Venice about 1500 ... Hind concludes that 'if any of the Venetian illustrations are Benedetto Montagna's design, nothing is more likely to be his than the Ovid.' Subsequent editions of Ovid were heavily dependent on these blocks" (Mortimer). "As in the Venetian woodcut of the time, the illustrator concentrates on the essential lines; he avoids any cross-hatching. The white background is prevalent, the human figures distinct, unnecessary details and ornaments are neglected" (translated from Henkel, Illustrierte Ausgaben von Ovid's Metamorphosen, in Vorträge of the Bibliothek Warburg, 1926-27, p.65ff). Adams 0-471; Essling I, 226; Mortimer Italian 333; Sander II, 5315.
2o (315 x 215 mm). Collation: A6 a-x8 y10. 183 of (184 leaves, lacking the final leaf blank). Text in Roman type set within commentary in smaller Roman type, Roman marginalia, circular diagram of the winds on leaf, 59 woodcut illustrations, including three repetitions, most signed "ia" or "N," a few foliated initials but most initials marked by guide letters only (slight darkening and light marginal staining). 16th-century German blind-tooled pigskin backed wooden boards, remnants of clasps (some rubbing). Provenance: some early marginalia; acquired from Lathrop C. Harper, 1971.
Second Parma edition of the Metamorphoses. The only book known under Mazali's imprint at Parma, he was established at Reggio Emilia until 1504; and Mazali's last known work. All but four woodcuts are from the very rare Rosso-Giunta Ovid edition published in Venice in 1497. "These illustrations for Ovid are among the best examples of the 'classic' style influenced by Andrea Mantegna, as discussed by Hind. He considers the possibility that the 'ia' is a signature of the block cutter Jacob of Strassburg, known to have been working at Venice about 1500 ... Hind concludes that 'if any of the Venetian illustrations are Benedetto Montagna's design, nothing is more likely to be his than the Ovid.' Subsequent editions of Ovid were heavily dependent on these blocks" (Mortimer). "As in the Venetian woodcut of the time, the illustrator concentrates on the essential lines; he avoids any cross-hatching. The white background is prevalent, the human figures distinct, unnecessary details and ornaments are neglected" (translated from Henkel, Illustrierte Ausgaben von Ovid's Metamorphosen, in Vorträge of the Bibliothek Warburg, 1926-27, p.65ff). Adams 0-471; Essling I, 226; Mortimer Italian 333; Sander II, 5315.