JACOBUS PHILIPPUS DE BERGAMO (1434-1520). Supplementum chronicarum. Venice: Bernardinus Benalius, 15 December 1486.
Super-chancery 2 (313 x 210 mm). Collation: a8 b4 c-l8 m6 n-p8 A-V8 (a1r blank, a1v table, b4r prologue, Ad magistratum Bergomensem, c1r text, V8r colophon, V8v blank). 274 leaves, c1-V8 foliated (with errors) 3-295. 59 lines plus headline, shoulder notes. Types 1:83(80)G (text), 2:150GA (headings). Woodcuts: large cut of the Creation of Eve on a1r, two half-page woodcuts, on c2v and c3r, of the expulsion from Paradise and Cain slaying Abel, and 72 small woodcuts of town views, various sizes, including repeats. White-on-black floriated woodcut initials, a few initial spaces with guide letters. Lombard initials supplied in blue, most with red pen-flourishing, by a contemporary Italian illuminator. THE ILLUSTRATIONS AND A FEW INITIALS FULLY COLORED BY AN EARLY HAND. (Repairs to first leaf affecting about 15 letters on verso, D4 and F6 torn and repaired, marginal repairs to last leaf catching a few letters, some minor worming, occasional staining, heat?-stain to T4-6 affecting text on T5.) Modern blindstamped brown morocco (spine faded, joints and extremities rubbed, upper inner hinge cracked).
Provenance: Latin mottos on C1r in a contemporary hand; scattered contemporary marginalia, perhaps by a Dominican (Albertus Magnus noted on N7v, Thomas Aquinas on N8v), certainly by an Italian reader (noting Dante, Petrach, Marsilio Ficino, etc.); some later marginalia.
Third edition but FIRST ILLUSTRATED EDITION of Jacobus de Bergamo's popular world chronicle. Bernardino Benalio, who printed the first edition of 1483, borrowed most of the illustrations for this edition from Rolewinck's Fasciculus temporum. The smaller town views are for the most part close copies of the blocks used for the first Venetian edition of the Fasciculus (Georg Walch, 1479) and copied by Ratdolt for later editions; they include the famous woodcut of Venice, copied in reverse from the Rolewinck blocks. 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 large Biblical cuts are derived from the illustrations of Heinrich Quentell's influential Low German Bible (ca. 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). Colored copies of any of the early editions of de Bergamo's chronicle are RARE.
HC *2807; BMC V, 371 (IB. 22312); CIBN J-142; IDL 2610; IGI 5077; Polain (B) 1494; Dyson Perrins; Essling 342; Hind II, 456-57; Sander 916; Goff J-210.