PIAZZOLA SUL BRENTA 1685 -- PICCIOLI, Francesco Maria. L'orologio del piacere che mostra l'ore del diletteuole soggiorno hauto dall'altezza serenissima D. Ernesto Augusto Vescouo d'Osnabruc ... nel luoco di Piazzola di S.E. il Signor Marco Contarini. Piazzola: "nel luoco delle Vergini", 1685.
4o (222 x 148 mm), 5 parts. General title, each part with separate title, 8 large engraved plates, including 2 on two joined sheets and one on three joined sheets, engraved frontispiece with arms of Ernst August on recto and of Contarini on verso, woodcut initials and type ornaments (frontispiece with foremargin renewed, plate 6 with long repaired tear and small stain at center, plates 7 and 8 with pale stain along joined sheets and several small holes). (Lacking two blanks, F1-4 with repaired tears at gutter crossing a few letters.) Colored gilt-blocked floral paper boards.
In August 1685 ERNST AUGUST, Duke of Brunswick and Luneburg, passed a summer idyll at the country villa of the Venetian procurator, MARCO CONTARINI, near Piazzola. The L'orologio del piacere describes in detail the fabulous entertainment -- banquets, music and theatricals -- which Contarini provided for his guests, each of the 5 parts being devoted to a particular episode of the visit. A folding plate is included with the first part and then are distributed as follows within the other parts: La Vaticinio della Fortuna. Musicali Acclamationi (one plate); La schiavitù fortunata di Dettuno. Voti di musicale applauso (one plate); Il ritratto della gloria donato all'eternità musicali applausi (one plate); Il preludio felice. Musicali acclamationi (four plates)
The plates represent the nautical festivities and the receptions and roundabouts offered by Contarini to the Duke of Brunswick. The were engraved with a particular technique of superposition of copper, in the printing office of the "Luoco delle Vergini" of Piazzola. Contarini created the "Luoco delle Vergini" in order to gather 38 young women who would study music and figurative arts and could give a more perfect interpretation of the cantatas in the choreographical festivities and render more sumptuous the works they interpreted. See Paolo Camerini, Piazzola nella sua storia e nell'arte musicale del Secolo XVII, Milan, 1929, pp. 329-332. BL 17th-Century Italian II, p. 682; Watanabe 1453-58.