by [MURATORI, Lodovico Antonio (1672-1750)] Giuseppe Maria TARTINI (1692-1770).
Florence:: Petri Cajetani Viviani, 1748, 1755-1770.. 2 vols. Tall 4to. [vi], 4 pp., 5-1144 cols.,  pp.; vi, [vii-xvi] pp., 1206 cols.,  pp. Vol. I: two-page portrait and inscription of Francis I, Holy Roman Emperor (1708-1765) engraved by Carlo Gregori after a painting by Giovanni Domenico Ferretti, engraved title-page vignette, initials and headpieces. Contemporary full vellum, gilt-stamped paper spine labels; Vol. I rear hinge wormed, spine torn, spine foot missing a piece, Vol. II spine foot torn, both vols. lower corners worn and labels chipped. Hartford Theological Seminary blind-stamps to first and last few pages, both vols. RARE. Very good, internally fine. Tartini�s compendium of historical sources on Italy from the year 1000 to 1600. Authorship unattributed on title-pages, but these volumes were compiled by Tartini as a supplement to Muratori�s 25-volume work (Rerum Italicarum Scriptores ab anno aerae christianae 500 ad 1500). � �The Rerum Italicarum Scriptores were published in 1723-1751 in twenty-five folio volumes, usually bound as twenty-eight or twenty-nine: the first three volumes are frequently bound in two parts, each; the twenty-fourth volume has an Appendix: the twenty-fifth volume does not always accompany the set. Let this be well attended to. But with Muratori must be procured what is called the supplement or continuation of Tartini, Florent. 1748-70: two vols. folio�� (Dibdin, pp. 329-330). � �The supplements of Tartini and Mittarelli seldom occur� (Bohn, p. 450). � �For the great historian of the Italian Enlightenment, Ludovico Antonio Muratori, Cola�s life offered the opportunity to publish yet another important source for the history of Italy, a source for the history of Italy, a source that provided much valuable information not only on Rome but also on the era of the Avignon papacy. Building a wide circle of collaborators throughout Italy, Muratori had set out in his encyclopedic, multivolume works to provide a complete universal history of the Italian people, as in the Annali d�Italia (1738-49). His Antiquitates Italicae Medii Aevi (1738-42) presented a social history of Italian money, trade, banking, health care, warfare, law, institutions, literature, and other topics Muratori rounded out his monumental approach by launching a series of editions of Italian historical sources: the Rerum Italicarum Scriptores ab anno aerae christianae 500 ad 1500� (Musto, pp. 4-5). � Tartini was an Italian Baroque composer and violinist best known for his writings on music theory. It is unknown why he undertook this project to supplement Muratori�s work; in fact, Muratori and other Italian literati were known to scorn the opera, with Muratori once saying, �Certainly, modern theatrical music is supremely harmful to the morals of those who, in listening to it, become increasingly base and inclined to lasciviousness� (Muratori in Fubini, p. 19). � Gregori (1719-1759) was an Italian engraver who �learned engraving from Johann Jakob Frey at Rome, and among his principal plates are those after the paintings by Bernardino Barbatelli, called Poccetti, in the chapel of St. Philip Neri at Florence. He engraved also several plates for the �Museo Fiorentino,� as well as many after the pictures in the collection of the Marquis Gerini, and some portraits� (Bryan, p. 277). � Besides the portrait of Emperor Francis I, the engravings throughout the work include: Title-page scenes of Florence; a diplomatic exchange (likely depicting Emperor Constantine) preceding an excerpt from Sozomen�s Historia Ecclesiastica; a cityscape with several individuals in the foreground and a throng of shouting people preceding an excerpt from Matteo di Marco Palmieri�s Liber de temporibus, with a portrait medallion of architect Leon Battista Alberti proceeding it; Pope St. Gregory VII blessing a follower preceding an excerpt from his Epistolae; a scene of Pisa showing the bridge and leaning tower preceding Bernardo Marangone�s Chronicle della Cita di Pisa; a cityscape and bridge of Foligno preceding Bonaventura Benevenuti�s Fragmenta Fulginatis Historiae; a scene of Chiusi (an enclosed settlement atop a hill in Tuscany) engraved by Pietro Antonio Pazzi after a painting by Guiseppe Menabuoni preceding Jacomo Gori da Senalonga�s Istoria della Citta di Chiusi in Toscana; massed armies outside Florence (identifiable by the Cathedral of Florence) preceding Paolino di Piero�s Cronica; Unknown scene depicting captured prisoners being presented to a victorious general with troops and a city (possibly depicting the Revolt of the Ciampi, as this occurred during the period covered by the following text and shows well-armed troops fighting peasants) engraved by Guiseppe Maria Terrini after a painting by Santi Pacini preceding Piero di Minerbetti�s Cronica; the funerary monument of mercenary John Hawkwood (created by Paolo Uccello) engraved by Joseph Bonaiuli proceeding Domenico Maria Manni�s Commentario della Vita del Famoso Capitano Giovanni Aguto [John Hawkwood] Inglese; the siege of Citt� de Castello by Pope Martin V preceding Roberto Orsi�s De Obsidione Tiphernatum; lions and leopards fighting in the center of Firenze preceding Ricordi di Firenze by anonymous; Romulus and Remus suckling from their wolf mother with two others (possibly Numitor and Rhea Silvia) preceding Bernardo Rucellai�s Dissertatio and De Urbe Roma; and several elaborately engraved initials. REFERENCES: Bohn, James, Catalogue of Ancient and Modern Books in All Languages on Sale, London: C. Richards, 1840; Bryan, Michael, Bryan�s Dictionary of Painters and Engravers, Volume 2, London: George Bell and Sons, 1903; Dibdin, Thomas Frognall, The Library Companion, Second Edition, London: Printed for Harding, Triphook, and Lepard, and J. Major, 1825; Fubini, Enrico, Music and Culture in Eighteenth-Century Europe: A Source Book, Chicago: University of Chicago Press, 1994; Musto, Ronald G., Apocalypse in Rome: Cola di Rienzo and the Politics of the New Age, Berkeley and Los Angeles, University of California Press, 2003. (Inventory #: LV2133)
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