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Published by Hardpress Publishing, 2013
ISBN 10: 131482225XISBN 13: 9781314822250
Seller: PBShop.store US, Wood Dale, IL, U.S.A.
Book
PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.
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Published by Hardpress Publishing, 2013
ISBN 10: 1313937223ISBN 13: 9781313937221
Seller: PBShop.store US, Wood Dale, IL, U.S.A.
Book
PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.
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Published by 8/26/2016, 2016
ISBN 10: 1363046632ISBN 13: 9781363046638
Seller: BargainBookStores, Grand Rapids, MI, U.S.A.
Book
Condition: New. Dialogo Della Pittura Di M. Lodovico Dolce, Intitolato L'Aretino: Nel Quale Si Ragiona Della Dignita Di Essa Pittura, E Di Tutte Le Parti Necessarie, (Paperback or Softback) 0.96.
Published by Legare Street Press, 2021
ISBN 10: 101409870XISBN 13: 9781014098702
Seller: Lucky's Textbooks, Dallas, TX, U.S.A.
Book
Condition: New.
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Publication Date: 2022
Seller: S N Books World, Delhi, India
Book Print on Demand
LeatherBound. Condition: New. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1974 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 154 Language: Italian Pages: 154.
Published by Legare Street Press, 2021
ISBN 10: 1013428390ISBN 13: 9781013428395
Seller: Lucky's Textbooks, Dallas, TX, U.S.A.
Book
Condition: New.
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Published by Legare Street Press, 2023
ISBN 10: 1021798339ISBN 13: 9781021798336
Seller: THE SAINT BOOKSTORE, Southport, United Kingdom
Book Print on Demand
Paperback / softback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.
Published by Legare Street Press, 2023
ISBN 10: 1019755652ISBN 13: 9781019755655
Seller: PBShop.store US, Wood Dale, IL, U.S.A.
Book Print on Demand
HRD. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.
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Published by Wentworth Press, 2016
ISBN 10: 1371537313ISBN 13: 9781371537319
Seller: Lucky's Textbooks, Dallas, TX, U.S.A.
Book
Condition: New.
Published by Carabba, 1913
Seller: L'angolo del vecchietto, Firenze, FI, Italy
Book
Rilegato. Condition: quasi ottimo. Rilegatura editoriale, coperta in cartone rigido telato, di color marrone, con 158 pagine, formato cm 11,0 x 17,4. Pubblicato nel 1565, il titolo originale, riportata all interno, era Dialogo di M. Lodovico Dolce nel quale si ragiona della qualità, diversità e proprietà dei colori . A cura di D. Ciampoli. Lodovico Dolce è stato un letterato e teorico della pittura italiano. Era un umanista veneziano di ampia base e un prolifico autore, traduttore ed editore. Il prezzo del libro è comprensivo delle spese di confezionamento e spedizione mediante raccomandata tracciabile.
In-16°, (cm.15,9x10,3), pp. (8), XV, 171. Tela edit. con mirabile ricca decoraz. oro al ds. e in rosso a front. e antefront. in verde alle sguardie, marca edit. a secco al piatto. "Trattazione tutt'affatto letteraria di un argomento di per sé tecnico (svolta da persona 'il cui studio è di lettere e non di pittura'. resta il suo scritto migliore e più ricco di implicazioni" (Treccani). DOLCE, grammatico e poligrafo (più di 100 opere linguistiche, esoteriche filosofiche, sulle gemme, sulle doinne, sulla memoria ecc.) lavorò a ben 358 edizioni e con molti tipografi (tra cui Giolito, Manuzio) e con in sospetto di eresia luterana), ebbe due processi dal Sant'Uffizio, osò criticare la pittura di Michelangelo e quella manieristica;
Published by G. Carabba, Lanciano, 1913
Seller: BFS libreria, Ghezzano, PI, Italy
Book
Copertina rigida. Condition: Buona. 158 p. ; 18 x 11 cm. Scrittori italiani e stranieri, 19. Questo libro che è ritenuto dalla critica il migliore dell'autore venne edito la prima volta dai Sessa nel 1565 con il titolo «Dialogo nel quale si ragiona delle qualità, diversità e proprietà dei colori», edito dai Sessa nel 1565 si presenta esplicitamente come trattazione tutt'affatto letteraria di un argomento di per sé tecnico (svolta da persona "il cui studio è di lettere e non di pittura"). Trascurando le riflessioni di Leonardo, Vasari ed altri e le esperienze cromatiche raffaellesche e tizianesche, il Dolce si appoggia, per illustrare la "bassa e vil materia", al "testimonio de' scrittori antichi": ma Platone e Aristotele introducono solo brevemente sulla natura del colore ripetendo la ben nota divisione tra due colori estremi e tre mediani. La sostanza del dialogo si basa sull'arricchimento del trattato del Telesio con citazioni ed esemplificazioni di terminologia cromatica attinte da Petrarca, Bembo, Ariosto, Omero, Virgilio, Cicerone, Terenzio, Ovidio e da un "terzetto fatto al costume bernesco" dello stesso Dolce; il trattato del Morato va a completare, con il raffinato codice cortigiano del significato dei colori, il compendio dolciano che, non originale dunque, retorico e astratto, ha tuttavia il pregio di sottolineare l'essenzialità del tema e di cogliere ancora una volta un'esigenza diffusa in materia, se, come nota ancora la Barocchi, Lomazzo e Borghini in seguito tenteranno di approfondire la simbologia cromatica, ferma, nei risultati del Morato e del Dolce, ad un assemblaggio di sostantivi e aggettivi sinonimici. A cura di D. Ciampoli. Legatura editoriale, coperta in cartone rigido telato di colore marrone.
Published by WENTWORTH PR, 2016
ISBN 10: 1362074977ISBN 13: 9781362074977
Seller: moluna, Greven, Germany
Book
Condition: New.
Published by Appresso Oliuier Alberti, Venetia, 1597
Seller: Second Story Books, ABAA, Rockville, MD, U.S.A.
Hardcover. Octavo, 545 pages. In Poor condition. Spine is grey with handwritten paper title label. Boards quarter bound with cream vellum to spine and pink paper to boards. Spine vellum is dark, torn at spine ends and hinges, original print/writing obscured by toning, paper on boards is mostly peeled away revealing the blank cardboard beneath, corners are worn and bare. Text block has discolored endpapers, broken spine at page 8, foxing and tanning of paper throughout, some insect damage. Text in Italian. Note: Shelved in Locked Annex Area, ND-HV Section. 1377573. FP New Rockville Stock.
Published by Appresso Lucio Spineda, Venezia, 1606
Seller: il Bulino libri rari, Torino, Italy
Di nuovo ristampate, & con somma diligenza corrette. Con le postille, & due Tavole: una de' capitoli: l'altra delle voci; & come si devono usare nello scrivere. Lettera dedicatoria "all'Illustr. Sig. Hercole Faleti". "Se la volgar lingua si dee chiamare italiana, o thoscana. Quello che sia ortografia, e diversità nello scrivere e pronontiare alcune parole della lingua volgare alla latina. De gli accenti, e quali ragionevolmente adoperar si debbano nella volgar lingua. Diffinition della Poetica, e quale è l'ufficio e fine del Poeta". Buon esemplare, presente nella sola Biblioteca provinciale Scipione e Giulio Capone di Avellino e nella Biblioteca di Area umanistica dell'Università degli studi di Urbino. Legatura coeva in piena pergamena rigida, pp. 238, in 16°.
Published by Giovan Battista e Giovan Bernardo Sessa, Venezia, 1597
Condition: Buono (Good). Belle legatura in piena pelle zigrinata rossa, impressioni a secco ed in oro ai piatti. Dorso a cinque nervi, titolo, luogo e data impressi in oro. Tagli dorati, dentelle grecate. 171 carte numerate compreso il frontespizio. Come descritto da Edit16, il volume non è altro che la nuova emissione dell'edizione del 1562 uscita sotto il titolo "Primaleone figliuolo di Palmerino" dai torchi di Giovan Battista Sessa, alla quale sono stati sostituiti il frontespizio e altre tre carte nel primo fascicolo onde consentire una nuova vendita sul mercato. Tracce di usura alla legatura, frontespizio lievemente macchiato, altrimenti ottimo esemplare in bella legatura. Book.
Published by Venezia, Giovanni Battista Sessa, Venezia, 1561
Seller: Libreria Alberto Govi di F. Govi Sas, Modena, Italy
Condition: Molto buono (Very Good). In 4to (mm. 214x148). Cc. 137, [1]. Segnatura: A-Q8 R10. Elegante frontespizio entro elaborata cornice architettonica incisa in legno, vignetta xilografica all'inizio del primo canto, testatine e capilettera xilografici. Firma di appartenenza e nota manoscritta al risguardo anteriore: ?1810 di Francesco Testa vicentino?, e poco più sotto ?Leonardo Trissino 13 ottobre 1834. dono di Francesco Testa? Graziosa legatura in cartone marmorizzato dell'inizio del XIX secolo, dorso a nervi con tassello, titolo e filetti in oro (fori di tarlo e minime mancanze al dorso). Restauro all'angolo inferiore esterno del frontespizio, aloni e bruniture diffuse, piccoli fori e segni di tarlo al margine di alcune carte. PRIMA EDIZIONE della versione italiana in ottava rima di questo poema cavalleresco sulle avventure di Palmerino d'Oliva, che rientra nel ciclo spagnolo e costituisce una continuazione degli Amadigi. Vi si narrano le vicende di Palmerino, figlio illegittimo ed abbandonato dell'imperatore di Bizanzio che, dopo varie avventure, eredita il regno di Costantinopoli. La versione originale spagnola in prosa venne pubblicata in Spagna nel 1511. Il rifacimento del Dolce fu ristampato postumo nel 1597 con titolo mutato, insieme al suo seguito Primaleone figliuolo di Palmerino (Venezia, 1562). Lodovico Dolce, di antica famiglia veneziana, rimase orfano in giovane età. Compiuti i primi studi a Padova, fece ritorno a Venezia, dove visse per il resto della sua vita con i proventi delle sue numerose pubblicazioni e della sua attività di revisore editoriale presso Giolito de' Ferrari, con cui collaborò per quasi trent'anni. Fece parte dell'Accademia dei Pellegrini, fra i cui membri figuravano A. F. Doni, F. Sansovino, G. Denores, E. Bentivoglio e tanti altri (cfr. D.B.I., XL, pp. 399-405). Adams, D-749; Edit 16, CNCE17370; G. Melzi-P.A. Tosi, Bibliografia dei romanzi di cavalleria in versi e in prosa italiani, Milano, 1865, p. 136; A. Cutolo, I romanzi cavallereschi in prosa e in rima del Fondo Castiglioni presso la Biblioteca Braidense di Milano, Milano, 1944, 102.
Published by [Toscolano Maderno], Paganino and Alessandro Paganino, [ca. 1527-1529]; Venice, Gabriele Giolito de Ferrari, September 1543; enice, Gabriele Giolito de Ferrari, July 1543; La Progne tragedia noua di M. Girolamo Parabosco. Venice, Comin da Trino for Al segno della Cognizione , 1548., 1527
Hardcover. Condition: Very Good. Four works in one volume, 8° (155x90 mm). I. Collation: A-H8. 63, [1] leaves. Italic and roman type. Full-page woodcut printer s device. Blank spaces for capitals, with printed guide letters. Title-page and first leaves slightly foxed. II. Collation: A-D8. 32 leaves. Italic and roman type. Printer s device on the title-page and verso of the last leaf, in two different sizes; small woodcut ornament on the title-page. Woodcut animated initials. Some light marginal staining on a few leaves. III. Collation: A-F8. 47, [1] leaves. Italic and roman type. Printer s device on the title-page and verso of the last leaf, in two different sizes; small woodcut ornament on the title-page. Animated woodcut initials. Slightly stained in places. IV. Collation: A-D8. 32 leaves. Italic and roman type. Printer s device on the title-page. Animated woodcut initials. Some light marginal foxing on a few leaves, brown stain of about 20x5 mm to fol. C5. Nineteenth-century calf, covers within triple gilt fillet, the coat of arms of Herbert Norman Evans stamped in gold at the centre of both covers. Spine with five raised bands, compartments decorated with gilt floral tools, title on brown morocco lettering-piece; the date of printing 1543 lettered in gilt at the foot. Board edges decorated in gilt, marbled pastedowns and flyleaves. Marbled edges. Spine and joints slightly rubbed. Provenance: two earlier ownership inscriptions di B[er]nardo di M Cesi [?] and FMC on the title-page of the third bound edition; the English physician and book collector Herbert Norman Evans (1802-1877; armorial binding; see Sotheby, Wilkinson & Hodge sale, Catalogue of the Second and Concluding Portion of the Extensive and Valuable library of Herbert N. Evans, London, 21-29 June 1864, lot 2362, in one volume. calf gilt m.e. ). An Italian drama miscellany, opening with the Paganino edition of four works by renowned Vicenza humanist Gian Giorgio Trissino which were previously printed separately, first by Ludovico degli Arrighi in Rome in 1524. Paganino s collection includes the Sofonisba, a groundbreaking drama whose dialogues represent the first use of blank verse (versi sciolti) in the history of Italian tragedy. This work also introduced certain features for the heroine from Carthage which then contributed to the development of a new iconography, as attested by the frescoes of the Sofonisba Room a sort of pictorial representation of Trissino s tragedy in the Palladian Villa Caldogno at Vicenza. Among the other works included here, special mention must be made for the well-known Epistola, in which Trissino proposes reforming Italian orthography by introducing new letters into the alphabet to distinguish between different sounds of the spoken language. This rare Paganino edition is part of the publisher s famous octavo series and is, like all editions in the series, undated. It may have been printed between 1527, when the series started, and 1529, when Pope Clement VII granted Vicenza printer Tolomeo Gianicolo a ten-year privilege to print all works by his fellow citizen Trissino. Paganino s collection is therefore the last edition of Trissino s four works to appear before 1539, i.e. the end of the privilege, bearing the name of any printer other than Gianicolo. The volume also contains first editions of Thyeste and Hecuba by Lodovico Dolce, close collaborator of printer Gabriele Giolito de Ferrari. Thyeste is essentially an Italian paraphrase of Seneca s play, while Hecuba is an adaptation from Euripides, not based on the original Greek but rather on an intermediary Latin translation. The miscellany ends with the first edition of Progne by Venetian madrigalist Girolamo Parabosco. The volume is in a fine binding bearing the nineteenth-century coat of arms of Herbert Norman Evans, fellow of the Society of Antiquaries in London, whose important library was sold by Sotheby, Wilkinson and Hodge in two parts in May and June 1864. I. Nuovo, Paganino, pp. 97-98 and 191;[.].
Published by Giovanni Battista e Marchio Sessa, Venice, 1562
Seller: Rodger Friedman Rare Book Studio, ABAA, Tuxedo, NY, U.S.A.
First Edition Signed
Condition: Very Good. First edition. Octavo (14 cm); [4], 119, [1] leaves, signed A-P\8. Printer's Pegasus device framed by breasty lions, grotesques, fruits, etc. on title page. Woodcut initials, and 23 woodcuts throughout text of mnemonic diagrams and charts, musical notation, and illustrations, which include a head labelled to show the areas responsible for different mental and sensory faculties (one of the earliest examples of phrenological illustration); and the buildings of a town labelled to indicate the businesses located within, such as "barbitonsor" (barbershop), "bovicida" (slaughterhouse), "abatia" (abbey), and "bibliopola" (bookstore displaying books in shop window). Bound in early full stiff vellum, label with title on spine. References: Adams D-732; Mortimer, Italian, 157; Brunet II, 789; BM Italian p.220. The mechanics of memory was an abiding concern of the polymath humanist Lodovico Dolce (d. 1568). He first approached it systematically in 1547 with a "Dialogue on women's education," and then with greater focus in 1556 with the text offered here. Dolce explores the concept of the "memory palace," where one associates specific items or specific texts with an imaginary chamber in an imaginary building: a exercise still taught today. He provides other techniques for using vivid mental images and repetition in order to memorize complex texts. With 16 wood-engraved plates and 7 pages of an alphabet populated with mnemonic figures. It is traditional to mention here that the text is based on research by Johann Host von Romberch published in 1520 as Congestorium artificiose memorie. Indeed the plates were designed for an earlier edition of Congestorium. Mortimer speculates that Dolce's interest in elaborating this text may have come from his inspection of the blocks, and I desire to gloss them.
Published by Gabriel Giolito de' Ferrari, Venezia, 1545
Seller: Second Life Books, Inc., Lanesborough, MA, U.S.A.
First Edition
First Edition. 8vo, 80 leaves, with printer's device on title page. Bound with:I quattro libri delle osservationi. Di nuovo da lui medesimo ricoretti, et ampliati, con le apostille. Sesta editione. 8vo. 240 pp. With the printer's device on the title-page. Bound in 17th century vellum over boards, manuscript title on the spine, blue edges, entry of ownership on the title-page of the second work: Erdman p. 166. â Degli Sampericoli', which had been thoroughly annotated by a contemporary hand (these annotations contain corrections and remarks on the Italian language and are slightly shaved), first title -page a bit stained, some foxing, but a very good, genuine copy. Venezia, Gabriel Giolito de' Ferrari, 1560. RARE FIRST EDITION of this treatise of conduct for women, which aimed to define the nature of women, their role in society and their behavior in everyday life. It adopts the tripartite division used since the Middle Ages by preachers in their sermons by status: unmarried girls, married women and widows (cf. H. Sanson, Introduction, in: "Lodovico Dolce, Dialogo della institutione delle donne", Cambridge, 2015, pp. 1 "In 1545, Giolito published the Dialogo lella institution delle donne, by the poligrafo Lodovico Dolce, a close collaborator; it was republished in 1547, 1553, and 1560. Actually, it was a close adaptation of the Spanish humanist Juan Luis Vives's well -known De institutione feminae Christianae (1524), one of the first works exclusively treating women's education and proper conduct. Vives's treatise quickly became very popular throughout Europe, being translated into English, Dutch, French, German, and Italian (an original Italian translation by Pietro Lauro was published by Vincenzo Valgrisi in 1546). Although not directly dealing with the woman question, Vives rebutted the broadly held view that women were unable to engage in letters, but still drew a sharp division between women's and men's educational needs, stressing that women's education aims at the safekeeping if their chastity and not a public life. Following most of Vives's arguments and structure (three parts treating virginity, married life and widowhood respectively, Dolce transformed the treatise into a popular Italian genre of dialogue (between two fictional characters, Flaminio and Dorothea) and enriched it with specific Italian references and current events, such as a debate on marriage which is supposed to have taken place in Pietro Aretino's house among Aretino, Fortunio Spira, Paolo Stresio, and the author. However, the most interesting difference between Vives and Dolce is found in their views on the appropriate reading for the young woman. Vives's strong rejection of vernacular literature as immoral and lascivious could not have been adopted by Dolce, who approves non-lascivious vernacular literature, especially Petrarch and Dante. Dolce's main concern as a poligrafo and collaborator of Giolito was to maximize the demand for vernacular literature by both men and women. It is probably within this context that Dolce omitted the term â Christian' from the title in order to have greater latitude for initiative" (A. Dialeti, The Debate about Women in Sixteenth Century Italy, in: "Renaissance and Reformation", XXVIII/4, 2004, pp. 11-12). Lodovico Dolce, a native of Venice, belonged to a family of honorable tradition but decadent fortune. He received a good education, and early undertook the task of maintaining himself by the pen. He offers a good example of a new profession made possible by the invention of printing, that of the â polygraph' (poligrafo), in other words, the man of letters who made a living by working for a publisher, editing, translating and plagiarizing the works of others as well as producing some of his own. Thus Dolce for over thirty years worked as corrector and editor for the Giolito press. Translations from the Greek and Latin epics, satires, histories, plays. The second work is listed as the the "sixth Edition" (but in fact the fifth). Dolce's grammar of the vernacular was first published in 1550 as Osservazioni nella volgar lingua and then reprinted in 1552, 1556, 1558, 1560. Dolce aligned himself with the tradition established by grammarians of Northern Italy, beginning with Gian Giorgio Trissino and Rinaldo Corso. His goal was not to establish an abstract work but rather, through the description of the expressive value of specific form in context, to arrive at a series of grammatical notions. Dolce also accepted the current opinion to use as the standard the Tuscan used by the great authors of the fourteenth century. However, Dolce recognized that the languages live and grow and adapt themselves to contemporary circumstances. He therefore accepted as inevitable that Italian would be continually modified by the innovations of the men of letters from every region of the peninsula (D. Pastrina, La grammatica di Lodovico Dolce , in: "Sondaggi sulla riscrittura del Cinquecento", P. Cherchi, ed., avenna, 1998, pp. 63 -73).Edit 16, CNCE 17365; Universal STC, no. 827098; Bongi, op. cit., II, p. 89 (exact reprint of the 1558 edition). - Thanks to Axel Erdman for his description of this book.
Published by Gabriel Giolito de Ferrari, Venezia, 1553
Condition: Buono (Good). Legatura coeva in piena pergamena liscia con unghie, titolo e informazioni tipografiche manoscritte al dorso (liscio). 6 carte non numerate, 309 pagine numerate, 1 cc. nn. Frontespizio riccamente decorato da un?impressione xilografica in cui il titolo è riportato su una pergamena incorniciata da una struttura simile ad un altare devozionale. Dio e due angeli in devozione completano la scena. Testo in corsivo, numerose illustrazioni xilografiche nel testo e capilettera figurati. Non comune e importante edizione originale, dedicata a Carlo V (ne esiste una di poco posteriore con un quaderno in più alla fine occupato solo da componimenti gratulatori). Le Trasformazioni costituiscono il libero volgarizzamento in ottava rima delle Metamorfosi di Publio Ovidio Nasone. Per approdare a questa edizione, Dolce si era impegnato per quasi un ventennio a dare la forma più acconcia al testo ovidiano in lingua italiana, così da divulgare e uniformarlo ai canoni della letteratura italiana. Bell'esemplare, leggermente corto al margine superiore. Margini del frontespizio molto ridotti, al lato destro inesistenti con perdita di 1/2 mm dell'immagine. XVI-century binding in full smooth parchment, with title and typographical information on spine (smooth), presumably handwritten. On covers, traces of handwriting are visible, faded overtime. 6 unnumbered folios, 309 full numbered pages, (1). Frontispiece richly adorned by an elaborate woodcut impression: title and information are represented as written on a scroll, framed by an altar-like structure. God and two praying angles complete the scene. Text in italics, numerous woodcuts in the volume and richly illustrated capitals. Uncommon and very important original edition, dedicated to Charles V (a shortly successive one exists, with an attached notebook at the end with celebrative poems). Le Trasformazioni consists of the free translation in vernacular octaves of Publius Ovidius Naso?s Metamorphoses. To achieve this edition, Dolce was busy for almost twenty years in rewriting the ovidian text in the most appropriate italian possible, so to divulge it and align it with italian literature. Book.
Published by Venice Giovanni Battista and Melchiorre Sessa 1562, 1562
8° (152x104 mm). Collation: *4, A-P8. [4], 119, [1] leaves. Roman and italic type. The first word of the title 'Dialogo' is set within a woodcut decorated cartouche. Sessa Pegasus device on the title-page. Twenty-three woodcuts varying in size, six of them printed as plates on recto and verso of fols. G5-G7. Contemporary limp vellum. Covers somewhat stained and darkened, small portion of the front lower outer corner lacking. A good and genuine copy, slightly browned, a few small marginal stains.Provenance: 'Fr.is Antonij Francisci de Betinij liber 1626' (ownership inscription on the front flyleaf). The first edition of this dialogue on memory, a substantial translation into Italian of the Congestorium artificiosae memoriae by German Dominican Johannes Romberch, which first appeared in Venice in 1520 and was elegantly adapted for the Italian rhetorical tradition by the Venetian 'polygraph' Lodovico Dolce. "The crabbed Latin of the German Dominican is transformed into elegant Italian dialogues, some of his examples are modernised, but the substance of the book is Romberch. We hear in the dulcet tones of Dolce's 'Cicerorian' Italian the scholastic reason why image may be used in memory. And Romberch's diagrams are exactly reproduced; we see once again his cosmic diagram for Dantesque artificial memory, and the antiquated figure of Grammar, stuck over with visual alphabets" (F. A. Yates, The Art of Memory, p. 163). For the twenty-three illustrations in the volume, the printers Giovanni Battista and the younger Melchiorre Sessa re-used – with the unique exception of the woodcut stamped on fol. H6r, which was replaced – the blocks already cut for the Congestorium printed by Giorgio de' Rusconi in 1520, and which came into the possession of the Sessa press in 1533, when Romberch's treatise was reprinted by the older Melchiorre. The illustrative apparatus of the Dialogo thus also includes the famous visual alphabet formed with instruments and animals first printed by Erhard Rathold in the Publicius of 1482. Dolce's publishing initiative was an immediate success, and the small treatise was reprinted in Venice in 1575 and 1586.Adams D-732; Mortimer Italian, 157; Young 91; Wellcome, 1828; L. Dolce, Dialogo del modo di accrescere e conservar la memoria, ed. A. Torre, Pisa, 2001; F. A. Yates, The Art of memory, Eadem, Selected Works. III, London-New-York 2001, pp. 163-164; Philobiblon, One Thousand Years of Bibliophily, no. 130. Book.