SANNAZARIUS. Actii Sinceri Sannazarii Patricii Neapolitani Opera omnia, latine scripta, ex secundis curis J. Broukhusii. Accedunt Gabrielis Altilii, Danielis Cereti, & fratrum Amaltheorum carmina; vitae Sannazarianae, & notae Petri Vlamingii. Amsterdam (Amstelaedami), Apud viduam Gerardi onder den Linden, 1728. 8vo. (II),(XVI),(II errata),632,(20 index & errata) p., frontispiece, 1 engraved plate, 1 text engraving. Green vellum. 20 cm (Ref: STCN ppn 189042265; Brunet 5,127: 'Bonne édition'; Graesse 6/1,265; Ebert 20263) (Details: This book has 2 different title pages. This anomaly tell us about a publisher's death, and the efforts of his widow to continue the firm. The very first title, bound before the frontispiece, is printed in black, has no printer's mark, and shows the impressum: 'Amstelaedami, Apud Gerardum Onder de Linden, 1727'. The second title, bound after the frontispiece, is printed in red and black, has a printer's mark, but is now dated 1728, and published 'apud Viduam Gerardi Onder de Linden'. Gerard Onder de Linden died in 1727, leaving Vlaming's Opera edition of Sannazarius unfinished. In the 'Boekzaal der geleerde waerelt' volume 25, of december 1727, the public was informed that the widow, who hoped to continue the business with the help of God, was planning to publish the Sannazarius' edition soon. ('De Weduwe Gerard Onder de Linden, (die in afwagtinge van Godts hulp met hare winkel enz., in alles zal continueren), zal in 't kort uitgeven 'Actii Sinceri Sannazarii ... Opera') We couldnot find in the STCN, and KVK, any copy of Vlaming's edition dated 1727. The title page of 1727 was apparantly removed in most copies. In the mean time the widow had apparantly decided to print a more posh red-and-black title adorned with a printer's mark. She added also a nice frontispiece with her name on it, designed and executed by 2 wellknown Dutch artists. She did so in cooperation with the Amsterdam printer Hermannus Uytwerf, who brought copies on the market with his own imprint. The rest is identical. § Vellum dyed green. Back with 5 raised bands, and a red morocco shield in the second compartment. Edges dyed red. The frontispiece, designed by J. Goeree and executed by J. Houbraken, depicts a bare-breasted Fama holding in her right hand her trumpet and a shield with the portrait of Sannazarius; on the shield his name: Actius Sincerus Sannazarius; under the left arm of Fame rests a scroll with the table of contents. § Printer's mark on the title, depicting Fama flying above symbols of wisdom, and blowing her trumpet. The motto is derived from Martial X,2,12 and reads: 'Non norunt haec monumenta mori', 'These monuments donot know how to die'. § Text engraving on page 491, at the beginning of a biography of Sannazarius by Joannes Antonius Vulpius; depicted are both sides of a bronze medallion, on the recto the portrait of Sannazarius and on the verso a scene with the birth of Christ, referring to Sannazarius' 'De partu Virginis'. At p. 526 has been inserted a full page engraving of the 'Sannazaro Monument', in the church 'Santa Maria de Parto', a church built on the initiative of Sannazarius, on a piece of land donated by king Frederick (Frederigo) of Aragon. The mausoleum, erected in 1537, is a highlight of Napolitan Renaissance art. It was probably made after a design by Sannazarius himself) (Condition: Binding scuffed, and worn at the extremes. Head and tail of the spine chafed. Corners bumped & slightly creased. Both joints splitting, but strong. An old ink insciption on the 1728 title has been wiped out, resulting in some stains. Paper yellowing) (Note: The Italian and Neo-latin poet Jacopo Sannazaro, 1458 -1530, in Latin Jacobus Sannazarius, also known as Actius Sincerus, was of noble birth, and a courtier at the court of the royal House of Aragon, kings of Naples. Here he found a humanist atmosphere favourable for the development of his talents. The humanist Giovanni Gioviano Pontano, 1426-1503, advisor and chancellor of the Aragonese dynasty, became his intellectual mentor. He took his young student in his Academy, the 'Accademia Pontaniana', under the name of 'Actius Sincerus'. There he deeply influenced his pupil's philological approach to antiquity and his knowledge of classical culture. After Pontanus' death Sannazarius became the head of this Academy. Sannazarius' masterwork 'Arcadia', written in Italian, exercised a great influence on European poetry, instituting the theme of the idyllic land Arcadia. After having written the 'Arcadia' in vernacular, Sannazarius devoted the last decades of his literary activity exclusively to Neo-Latin poetry, modelled on Vergil. In the normative 'Tati Renaissance Library' Sannazarius is advertised as 'the finest Neo-Latin poet of the Italian Renaissance'. His 'corpus' of Latin poetry, written in an elegant style, was small but nevertheless very influential and widely read. We counted in KVK ca. 30 editions of his 'Opera Omnia' printed before 1730, the first of which was published by Aldus in 1535. His 'De partu Virginis', an epic of ca. 1450 verses, published in 1526, brought him the title of the 'Christian Vergil'. His style is said to be equal to Vergil, with whom he emulated. In his other works he also emulated with Ovid and Horace. § In this edition of 1728 we find in the first half Sannazaro's poetry; the collection opens with: 'De partu Virginis', a poem which Erasmus is said to have liked, though he found this poem on the birth of Christ too secular. Follows a short 'De morte Christi Domini ad mortales lamentatio', then 6 'Eclogae', which renewed the bucolic genre, the traditional shepherds of Virgil being replaced here by fishermen. Follow 3 books of Sannazarius' 'Elegiae', and 3 books of 'Epigrammata'. The section on Sannazaro ends with a number of 'Carmina de Sannazario et ad Sannazarium'. The second half of the book contains the short 'Epithalamium' of Gabriel Altilius, called 'Sannazarii sodalis', and the even shorter 'Salix' of Daniel Ceretus. The greater part of the second half is filled with the 'Carmina' of the brothers Hieronymus, Jo. Baptista and Cornelius Amaltheus (Jeronimo, born 1507, Giambatista, born 1525, and Cornelio Amaltheo) together 175 pages, edited previously in 1689 by J. Graevius under the title 'Trium fratrum Amaltheorum Carmina'. Graevius' preface is also repeated here. All 3 brothers were skilled and highly appreciated neo-latin poets. Hieronymus so excelled in Latin poetry that he is placed by the French humanist Muretus, 1526-1585, among the most talented poets. Giambatista's Latin poems gave him a reputation equal to his brother. After this section follows a biography of Sannazarius written by the Italian classical scholar Giovanni Antonio Volpi, 1686-1766, in Latin Johannes Antonius Vulpius. After the biography we find on 54 pages a collection of select 'testimonia' concerning Sannazarius. The book concludes with 50 pages filled with the notes of the Dutch scholar Pieter Vlaming, 1686-1733. Vlaming, a minor poet, had a life long interest in Sannazarius. In 1710 he began with his translation into Dutch of the 'Arcadia', and he later produced the notes (in Latin) to the present edition of the Latin poems of Sannazaro, edited by the Dutch scholar Janus Broukhusius. In the introduction to this 1728 edition, written by Vlaming, he tells about his interest in Sannazarius: 'ab ineunte aetate, imo pene puer, unice semper sum admiratus, maturiore hac mea, veneror, suspicio, & colo'. (p. *6 recto) § Vlaming's edition still has great value, for the Dutch researcher Corine Flinterman proves in her master paper 'In vergetelheid geraakte epigrammen van Iacopo Sannazaro' (Amsterdam 2013), that the latest edition of Sannazaro's Latin works, 'Jacopo Sannazaro. Latin Poetry,' by Michael C.J. Putnam (Cambridge Massachusetts, 2009, The I Tatti Renaissance Library 38), suffers from many omissions and mistakes. A sad thing, because Putnam's work is considered an authorative point of reference for experts in Renaissance studies. Putnam based his sloppy edition, Flinterman reveals, on some incomplete 18th century italian editions, which lacked 13 anti-papal epigrams. § This title of 1728 seems to be rare, for in American Exchange we found only 2 copies, both auctioned by Sothebys, in 1952 and in 1959) (Collation: pi1 (title 1727), 2pi2, *8 (minus the leaves *1 & *2), chi1 (errata), A-2S8 (minus the blank leaves 2S7 and 2S8; plate bound after p. 526) The STCN copy doesnot have the 1727 title, nor the errata leaf at the end of the preliminaries. This errata leaf is almost identical to the errata leaf at the end)) (Photographs on request)
Book number: 154825 Euro 350.00

Keywords: (Oude Druk), (Rare Books), Dutch imprints, Neolatin, Neolatin poetry, Neulatein, Neulateinische Dichtkunst, Sannazaro, neolatin literature, neulateinische Literatur