Docvmenti d’Amore

Rome: Nella stamperia di Vitale Mascardi, 1640. First Edition. Hardcover. Very Good+. 4to (240 x 165 mm). Pagination: [48], 1-376, [144]pp. Signatures: [dagger](8); 2[dagger]-5[dagger](4); A-AAA(4); *(4); a-p(4); q(6). Engraved title by C. Bloemaert after A. Camassei. 14 full-page engraved illustrations of mythological and muse-en-page subjects by C. Bloemart, G. F. Greuter and Fabia della Cornia, they reproduce drawings by A. and L. Magalotti, C. Massimi, F. Zuccaro and other well-known artists of the period. The portrait of the author (signed: Nic. Pucci, inv.) and the last engraving (p. 357), showing the god of love astride a horse in the sky, shooting his arrows into humans below, are after drawings by Nicolas Poussin. Woodcut ornamental chapter initials and tail-pieces. Edited by Federico Ubaldini. Near contemporary vellum, spine title gilt, edges stained blue; (a few text and illustration leaves remargined, some light browning). Modern armorial bookplate of Bibliotheque I.G. Schorsch on the front pastedown.

First edition of the medieval verse work the Documenti d’Amore, literally “Documents of Love” but also rendered as the “Laws of Courtesy” or “Lessons of Love,” probably composed sometime between the years 1309 and 1313. Francesco da Barberino, Florentine lawyer and episcopal notary, wrote this tripartite work consisting of the allegorical poem in his native Italian, its literal Latin translation, and Latin glosses to teach good form within the “laws of love.” There are at least two extant medieval manuscripts of Barberino’s verse work and commentary. Barberino’s aim with this work was to collect and harmonize many diverse and discordant documents on love and expound on their ethical principles, as well as share common pitfalls (vices) in relationships in order to elevate the rewards of virtuous love. Barberino endeavored to reach the success of Justinian and Gratian as they were to Roman law and Canon law respectively. Notably, in a footnote in the Documenti d’Amore, Barberino made probably the earliest known reference to Giotto’s frescoes in the Arena Chapel when he spoke of the vice Envy. It is possible that Barberino saw the chapel in Padua before he left for notary work at the papal palace in Avignon and the Provencal courts in 1308. The Documenti seems to have been largely finished before his return to Italy in 1312, thus much of the commentary was written during Barberino’s time as a legal curate travelling through medieval royal courts of Southern France. This Rome edition was edited by Federico Ubaldini and included a life of the author, brief summary of the canzones, and a rich glossary of Barberino’s vocabulary. The Documenti d’Amore had long remained unprinted until this edition brought it to light in 1640. Ubaldini consulted the original manuscripts of the Documenti and was fascinated by the author’s accomplished miniatures. This edition incorporates 15 full-page muse-en-page scenes that are highly skilled works by famous Baroque artists and printmakers of Europe, including Bloemaert, Greuter, and after Poussin. This is a fascinating commentary on fourteenth century love and values and social chivalry, highly significant for the history of Italian culture. Landwehr 136. Praz, pp. 83-84 and 265.