.jpg?w=1)
细节
COLONNA, Francesco (1433-1527). Hypnerotomachia Poliphili, ubi humana omnia non nisi somnium esse docet atque obiter plurima scitu sanequam digna commemorat, in Italian. Venice: Aldus Manutius for Leonardus Crassus, December 1499.
Super-chancery 2o (309 x 206 mm). Collation: π4 a-y8 z10 A-E8 F4 (π1r title, π1v dedicatory letter in Latin by Leonardo Crasso to Guidobaldo da Montefeltro, Duke of Urbino, π2r laudatory Latin poem addressed to Crasso by Giovanni Baptista Scytha, π3r prose and verse synopses in Italian, π4v epigrams by Andreas Maro Brixianus; a1r second title, a1v Poliphius Poliae. S.P.D., a2r Book I, z10v blank; A1r Book II, F4r errata and colophon, F4v blank). 234 leaves. 39 lines. Roman types 2:115 = lower case of 114R, cut by Francesco Griffo, with new majuscules based on inscriptional models (text), and 10:82 (first title, errata, massed capitals in quires q, r, and elsewhere); Greek types 2:114 (occasional words) and 3:84 (errata); Hebrew type (4 lines on b8r-v). 172 WOODCUTS ATTRIBUTED TO THE PADUAN MINIATURIST BENEDETTO BORDON, including 11 full-page illustrations. Two 8-line and 37 6-line woodcut chapter initials, the latter printed from 17 blocks from two sets, the initials forming an acrostic reading POLIAM FRATER FRANCISCUS COLUMNA PERAMAVIT. Two letters (AM) stamped in by hand correcting "SANEQUE" to "SANEQUAM" in line 5 of second title on a1r (as in GW Anm. 2). (A few minor marginal repairs mostly at beginning and end, a6 o4 and h7 with short internal tears affecting a few letters and two illustrations, minor worming to extreme outer margin of some leaves, occasionally mended, washed and pressed.) Modern brown levant morocco gilt, edges gilt, by Mercier; half morocco chemise and morocco edged slipcase. Provenance: purchased from John F. Fleming, New York, 20 January 1969.
FIRST EDITION, TALL COPY OF THE MOST CELEBRATED ILLUSTRATED PRINTED BOOK OF THE ITALIAN RENAISSANCE. An enigmatic tale of love lost and regained, presented in two versions and written in "an extraordinarily exotic Latinate vernacular, a language never spoken and never again attempted in Latin literature" (Martin Davies, Aldus Manutius, 1995, p. 37), the Polifilo has inspired a body of commentary and conjecture disproportionate to its literary merit. From the title, a coinage meaning "a struggle of love in a dream by the lover of Polia," to the oneiric illustrations and text dense with classical allusions, the work has evoked almost as many interpretations as interpreters. "A linguistic and literary debauch, choked with recondite imagery, erudite periphrases, and exotic verbiage" (Lowry, p. 120), the text has been glossed as an allegorical guide to neo-classical aesthetics and to Leon Battista Alberti's architectural theories; a fable relating the struggle of the medieval Christian mind toward humanistic enlightenment; a coded alchemical treatise; a Jungian allegory of the individuation of the psyche and its striving for self-knowledge; or a sort of humanistic encyclopaedia. This last, most straightforward interpretation is the result of a close study of the annotations by a 16th-century north Italian humanist reader in a copy still privately owned in Italy (Dorothea Stichel, "Reading the Hypnerotomachia Poliphili in the Cinquecento, marginal notes in a copy at Modena," Aldus Manutius and Renaissance Culture, Essays in Memory of Franklin D. Murphy, Florence 1998). Numerous allusions misinterpreted or unnoticed by later commentators were easily recognized by that near-contemporary reader, and his copious notes elucidate the rich classical sources underlying the work, whose author relied largely on Pliny, Ovid, and Boccaccio, Genealogia deorum. Stichel concludes (as did Lowry) that the Polifilo was conceived "first and foremost [as] a treasury of erudition, fundamentally defined by the classical heritage," and suggests that this may have been Aldus's motivation for agreeing to the request of the well-connected Veronese nobleman Leonardo Crasso that he publish it.
The identity of the "Poliphilo Master" who designed the woodcuts -- two of which (a6v and c1r) are signed ".b." or "b" (possibly simply the mark of a workshop) -- has also long been disputed. The Paduan miniaturist Benedetto Bordon or Bordone (ca. 1450/60-ca. 1530), who spent most of his career in Venice and almost certainly collaborated with Lucantonio Giunta on the illustrations for a sequence of monumental printed choir books, remains the likely artist. Although circumstantial and stylistic, the evidence is strong that Bordon worked with Aldus on the illustration and layout of the Hypnerotomachia Poliphili: "Regardless of the author and form of the manuscript, Aldus Manutius would have required the assistance of a skilled designer in order to produce the Poliphilus. The designer would have overseen the transfer of drawings to woodblocks and would have worked on the complex layout of the woodcuts and type. Such a designer needed to know about woodcut production and to have worked previously with images -- painted or woodcut -- in printed books of the known book artists in the Veneto in the 1490s with these skills. Benedetto Bordon was by far the most obvious candidate" (Lilian Armstrong, "Benedetto Bordon, Aldus Manutius and Lucantonio Giunta, Old Links and New", Aldus Manutius and Renaissance Culture, op. cit., p. 166). Unlike the identities of its author and illustrator, the book's status as a masterpiece of design is rarely challenged, and it is celebrated as the greatest early example of the harmonious integration of printed text and illustration.
HC *5501; BMC V, 561; Brunet Suppl. II, 269; BSB-Ink. C-471; Essling 1198; GW 7223; Harvard/Walsh 2685-86; Lowry, pp. 119-25; Sander 2056; Goff C-767.
Super-chancery 2o (309 x 206 mm). Collation: π4 a-y8 z10 A-E8 F4 (π1r title, π1v dedicatory letter in Latin by Leonardo Crasso to Guidobaldo da Montefeltro, Duke of Urbino, π2r laudatory Latin poem addressed to Crasso by Giovanni Baptista Scytha, π3r prose and verse synopses in Italian, π4v epigrams by Andreas Maro Brixianus; a1r second title, a1v Poliphius Poliae. S.P.D., a2r Book I, z10v blank; A1r Book II, F4r errata and colophon, F4v blank). 234 leaves. 39 lines. Roman types 2:115 = lower case of 114R, cut by Francesco Griffo, with new majuscules based on inscriptional models (text), and 10:82 (first title, errata, massed capitals in quires q, r, and elsewhere); Greek types 2:114 (occasional words) and 3:84 (errata); Hebrew type (4 lines on b8r-v). 172 WOODCUTS ATTRIBUTED TO THE PADUAN MINIATURIST BENEDETTO BORDON, including 11 full-page illustrations. Two 8-line and 37 6-line woodcut chapter initials, the latter printed from 17 blocks from two sets, the initials forming an acrostic reading POLIAM FRATER FRANCISCUS COLUMNA PERAMAVIT. Two letters (AM) stamped in by hand correcting "SANEQUE" to "SANEQUAM" in line 5 of second title on a1r (as in GW Anm. 2). (A few minor marginal repairs mostly at beginning and end, a6 o4 and h7 with short internal tears affecting a few letters and two illustrations, minor worming to extreme outer margin of some leaves, occasionally mended, washed and pressed.) Modern brown levant morocco gilt, edges gilt, by Mercier; half morocco chemise and morocco edged slipcase. Provenance: purchased from John F. Fleming, New York, 20 January 1969.
FIRST EDITION, TALL COPY OF THE MOST CELEBRATED ILLUSTRATED PRINTED BOOK OF THE ITALIAN RENAISSANCE. An enigmatic tale of love lost and regained, presented in two versions and written in "an extraordinarily exotic Latinate vernacular, a language never spoken and never again attempted in Latin literature" (Martin Davies, Aldus Manutius, 1995, p. 37), the Polifilo has inspired a body of commentary and conjecture disproportionate to its literary merit. From the title, a coinage meaning "a struggle of love in a dream by the lover of Polia," to the oneiric illustrations and text dense with classical allusions, the work has evoked almost as many interpretations as interpreters. "A linguistic and literary debauch, choked with recondite imagery, erudite periphrases, and exotic verbiage" (Lowry, p. 120), the text has been glossed as an allegorical guide to neo-classical aesthetics and to Leon Battista Alberti's architectural theories; a fable relating the struggle of the medieval Christian mind toward humanistic enlightenment; a coded alchemical treatise; a Jungian allegory of the individuation of the psyche and its striving for self-knowledge; or a sort of humanistic encyclopaedia. This last, most straightforward interpretation is the result of a close study of the annotations by a 16th-century north Italian humanist reader in a copy still privately owned in Italy (Dorothea Stichel, "Reading the Hypnerotomachia Poliphili in the Cinquecento, marginal notes in a copy at Modena," Aldus Manutius and Renaissance Culture, Essays in Memory of Franklin D. Murphy, Florence 1998). Numerous allusions misinterpreted or unnoticed by later commentators were easily recognized by that near-contemporary reader, and his copious notes elucidate the rich classical sources underlying the work, whose author relied largely on Pliny, Ovid, and Boccaccio, Genealogia deorum. Stichel concludes (as did Lowry) that the Polifilo was conceived "first and foremost [as] a treasury of erudition, fundamentally defined by the classical heritage," and suggests that this may have been Aldus's motivation for agreeing to the request of the well-connected Veronese nobleman Leonardo Crasso that he publish it.
The identity of the "Poliphilo Master" who designed the woodcuts -- two of which (a6v and c1r) are signed ".b." or "b" (possibly simply the mark of a workshop) -- has also long been disputed. The Paduan miniaturist Benedetto Bordon or Bordone (ca. 1450/60-ca. 1530), who spent most of his career in Venice and almost certainly collaborated with Lucantonio Giunta on the illustrations for a sequence of monumental printed choir books, remains the likely artist. Although circumstantial and stylistic, the evidence is strong that Bordon worked with Aldus on the illustration and layout of the Hypnerotomachia Poliphili: "Regardless of the author and form of the manuscript, Aldus Manutius would have required the assistance of a skilled designer in order to produce the Poliphilus. The designer would have overseen the transfer of drawings to woodblocks and would have worked on the complex layout of the woodcuts and type. Such a designer needed to know about woodcut production and to have worked previously with images -- painted or woodcut -- in printed books of the known book artists in the Veneto in the 1490s with these skills. Benedetto Bordon was by far the most obvious candidate" (Lilian Armstrong, "Benedetto Bordon, Aldus Manutius and Lucantonio Giunta, Old Links and New", Aldus Manutius and Renaissance Culture, op. cit., p. 166). Unlike the identities of its author and illustrator, the book's status as a masterpiece of design is rarely challenged, and it is celebrated as the greatest early example of the harmonious integration of printed text and illustration.
HC *5501; BMC V, 561; Brunet Suppl. II, 269; BSB-Ink. C-471; Essling 1198; GW 7223; Harvard/Walsh 2685-86; Lowry, pp. 119-25; Sander 2056; Goff C-767.