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MONTE SANTO DI DIO di Antonio Bettini da Siena Gesuato 1477.Per ulteriori NOTIZIE il libro di Luigi Abate De Angelis 1824

 

 

Choice examples of early printing and engraving, facsimles from rare and curious books. A page from the Monte Santo di Dio - Brettini's Monte Santo di Dio was published in Florence in 1477, by Nicholas of Breslau, a German who became by far the most celebrated of Florentine printers. This work exhibits the first example of illustrations by means of engraved metal plates. The letter-press of the work as shown in the facsimile is extremely regular and effective. Published in The World's Great Classics, Library Comittee; published by The Colonial Press, New York & London, 1899.
Choice examples of early printing and engraving, facsimles from rare and curious books. A page from the Monte Santo di Dio - Brettini's Monte Santo di Dio was published in Florence in 1477, by Nicholas of Breslau, a German who became by far the most celebrated of Florentine printers. This work exhibits the first example of illustrations by means of engraved metal plates. The letter-press of the work as shown in the facsimile is extremely regular and effective. Published in The World's Great Classics, Library Comittee; published by The Colonial Press, New York & London, 1899.

(da lookandlearner.com)

 

Monte sancto di Dio (1477) incisioni attribuite a Baccio Baldini su disegni del Botticelli.
Il Monte Santo di Dio

Baldini, Baccio; De Rubeis, Giovanni Battista

Il Monte Santo

 

 

Descrizione

Identificazione: Montagna santa

Autore: Baldini, Baccio (1436 (?)-1487), inventore; De Rubeis, Giovanni Battista (1743-1819), disegnatore

Cronologia: post 1796

Tipologia: disegno

Materia e tecnica: carta/ matita nera/ penna e inchiostro nero/ pennello e inchiostro marrone

Misure: 200 mm x 284 mm

Notizie storico-critiche: Il disegno, inserito nella raccolta Malaspina tra le stampe italiane delle origini, fa parte di un gruppo di tre disegni (inv. St. Mal. 1599-1601) descritti nel Catalogo del marchese edito nel 1824, come "tre disegni a penna" copia dalle tre illustrazioni del Monte Sancto di Dio, il primo libro illustrato da incisioni (attribuite a Baccio Baldini) stampate sulla stessa pagina del testo, opera di Antonio Bettini da Siena, pubblicato a Firenze nel 1477 da Lorenzo di Nicolo della Magna fiorentino (lo stesso editore della Divina Commedia del 1481). Le copie possedute dal Malaspina sono firmate e datate 1796 a nome di Giovanni Battista de Rubeis. La composizione qui schedata si riferisce al soggetto che illustra il primo capitolo del libro del Bettini, 'Il Monte Sancto' (per un esemplare dell'incisione originale si veda quello conservato a Londra, British Museum, inv. 1845,0825.463) e rappresenta allegoricamente le tappe della fede per raggiungere

(da Lombardia Beni Culturali)


 

XXXIV. FLORENCE, NICOLUS LAURENTII, 1477
BETTINI.
MONTE SANTO DI DIO. CHRIST IN GLORY. (REDUCED)


 

At Rome, after the failure of his printing partnership with Pannartz, Conrad Sweynheym betook himself to engraving maps to illustrate an edition of Ptolemy’s Cosmographia, and this was brought out after his death by Arnold Buckinck, 10 October, 1478. Thirteen months earlier Nicolaus Laurentii, of Breslau, had published at Florence the Monte Santo di Dio of Antonio Bettini, with two full-page engravings and one smaller one. The first of these shows the ladder of Prayer and the Sacraments up which, by the virtues which form its successive rungs, a cassocked youth is preparing to climb to heaven, where Christ stands in a mandorla supported by angels. The second plate is given up entirely to a representation of Christ in a mandorla, both drawing and engraving being excellent, and the little angels who are lovingly upholding the frame being really delightful (see Plate XXXIV). The third picture, printed on a page with text, is smaller than these and represents the pains of hell.

When a second edition of the Monte Santo di Dio was needed in 1491 the copperplates were replaced by woodcuts, a fact which may remind us that not only the trouble of printing, but the small number of impressions which could be taken from copperplates, must have been a formidable objection to their use in bookwork. But at the time the first edition may well have been regarded as a success. If so, it was an unlucky one, as Nicolaus Laurentii was thereby encouraged to undertake a much more ambitious venture, an annotated Divina Commedia with similar illustrations, and this, which appeared in 1481, can only be looked on as a failure. No space was left at the head of the first canto, and the engraving was printed on the lower margin, where it is often found cruelly cropped. In subsequent cantos spaces were sometimes left, sometimes not, but after the second the engravings are generally founded printed on separate slips and pasted into their places, and in no copy do they extend beyond canto xix. They used to be assigned to Botticelli, but the discovery of his real designs to the Divina Commedia has shown that these of 1481 were only slightly influenced by them.

(da gutember.org)

 

                                            

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