- Transcription and translation
- Italian Court Judgment on Augusta Westland
- sweet forever truly yours digital editions book Manual
Essendo arriuato il P. Il detto P. When Father Andrea Lopez arrived in this city of Rome to our Father General [of the society of Jesus] as a procurator from those lands [i. The king is very powerful and keeps the court in the manner of the Great Turk [Turkish sultan] with great majesty; his Kingdom is very richly decorated with gold, silver and many pearls in the way that they use it for pots and pans as we use iron here. Now the king grabbed this crucifixion and began to laugh at it and with his courtiers ridiculed the figure, joking over the crucifixion; he put it back into the hand of the Indian, saying him to go away with his Christian God; pronouncing these words, when the Indian had already received the crucifixion back, he spat with great contempt in the face of the crucified Christ; and then such a miracle happened, that the crucified Christ lifted up his head, which had been bowed—as usually wooden crucifixions are carved—and lifting his head he wrathfully glared, turning his gaze and head to the right and left; and the gaze was so creepy and scary that the king and all the surrounding suite fell to the ground for three hours—every one, except the Indian that stood untouched and was all astounded, holding the crucifix in his hand.
Al fine il P. Hora havendo inteso n [ost] ro R. Di gratia V. With the favour of Your Reverence, ask God for protection in this holy mission. Dimandandogli il ditto P. The said Father Andrea questioned them, what god they had had before, and they answered that the Moon; they said that they accepted the new god of a strange stone, because of a never-ending miracles that the stone did in healing of those diseases, which were incurable, when his power was applied; the fact that the god gave them the stone against some diseases was a miracle.
Now Father Andrea Lopez, with the grace of God, convinced them that it is all a deception of the Devil, and that it is much better to worship the one God, from which the stone got its power; they believed very good, that pleased the Lord, therefore the said Father baptized them. And now they are good Christians, and Father Andrea brought with him the mentioned strange stone, which they worshipped as a god, and presented it to the Pope; the stone was very pleasing to His Holiness, both as the mercy that God showed towards those who had converted [to Christianity] , leaving the aforesaid stone, and for the power of the stone, which cost was estimated as four thousand scudo [an Italian coin].
Conclusions Like probably everyone else reading the above text we were also searching for any clues giving us some new ideas as to whereabouts of Paititi. And what about the bullets left? We know that Chachapoyas were really a warlike tribe and it took a long time till Incas were able to conquer them. They were able to build cities and fortresses comparable by quality and size to those of Incas. During the war between Atahualpa and Huascar and later on during guerilla war against Spaniards they split on different sides of those conflicts: some of them supported Atahualpa, some of them Spaniards but the majority of them was on the side of Huascar.
Eldorado il mito svelato. Archeo , No. Those cuts which we have spoken of as the later ones of this group keep the same border, but the ornaments in the corners are changed, and are XXIX surrounded also by a black line, both inside and outside the border see cuts 37 to Sometimes we meet with engravings without any border of their own, which cuts generally were intended to be introduced in a large full-page border. As one of the best examples of this group we may cite the well-known engraving in Jacopone da Todi's " Laudi " of see cut 9.
Whilst some engravers still continued to work in their old style, others had already considerably changed their technique in the same way as the character of the drawing had also altered. Pollard's " Italian Book-Illustration. Fisher of Midhurst see his catalogue ; of the edition of 5 there is but one copy, now in the South Kensington Museum in London.
XXX group, and undoubtedly of a more developed style. The text of this book consists of portions from all parts of the Bible, especially from the New Testament and from the Prophets, and the tasteful and clever illustrator has very ingeniously substituted, for an initial at the beginning of each chapter, the half-length figure of the evangelist or prophet from whom the reading is taken.
In this manner the illustrations are made to serve in a way as titles to the chapters. It is on the whole a masterpiece of book- illustration ; from the splendidly ornamented title-page to the last leaf, the book abounds in simple artistic grace in its arrangement, and each pidlure is full of feeling. Some of the cuts of the " Epistole et Evangeli " have evidently served already as illustrations to other books, as, for instance, the series representing the Passion, of which we find earlier and less worn impressions in an undated edition of Bonaventura's " Meditazioni " and others, as those of " The Last Judgment," " The Judg- ment of Solomon," " The Lost Son " " Rappres.
It would naturally be a hard task to prepare in a short given time about one hundred and fifty cuts, so that the printer may easily be imagined to have taken from earlier books those cuts suitable to the one in hand, and may also have somewhat hurried the execution of the new ones. We have no difficulty in distinguishing between the cuts newly made for the " Epistole " and the earlier ones.
For cuts from earlier books see the Annotated List of illustrated books.
Transcription and translation
In the first place we notice a much greater liberty and elaborateness in the composition and in the drawing. The artist represents biblical scenes with a certain arbitrariness, he does not in the least follow the old conventional plan for sacred subjefts. Sometimes he borrows figures from well- known works of art, as in the " S.
Thomas " borrowed from Verrocchio, and the " Decapitation of S. John " borrowed from Pollaiolo, mentioned above page xiv ; XXXI but he also succeeds in representing the ofttimes repeated scenes of the Bible in a manner so original and so spiritual that it must be due to his own happy in- spiration. In the broad narrative style of the compositions of many of these cuts, as well as in the types and move- ments, and especially in the drapery of the figures, we can recognize the style of Ghirlandaio, the great epic painter of Florentine art. In contrast to the concise- ness of the compositions of the first group we observe, in these of the second, the numerous subordinate figures, the quieter movements, the broad lines of the draperies, the free sketchy chara6ler of drawing of detail.
But if in the formal resemblances of these cuts with the manner of Ghirlandaio we cannot fail to remark the influence of his style, even more in the general intonation, in the " tempo " of the movements, do we feel the spirit of his art. As a striking example of this we may note the resemblance of the figure of the man seen from behind in the cut representing Christ threatened by his enemies cut 79 with the man seen from the back on the right in Ghirlandaio's fresco, representing S.
Joachim driven from the temple in S. Maria Novella in Florence. We shall find the continuation of this style of drawing in later cuts, and we may best observe his charaderistics by confronting these engravings with the earlier cuts drawn in the Botticellian manner. But the greater part of the cuts of this type, in the " Epistole " as well as in many novels and " Rappre- sentazioni," reveal even more manifestly the style of the art of Filippino Lippi.
As this artist was a pupil of Botticelli and a continuator of his art, this kind ox engravings can be considered as a further development of the first Botticellian group of cuts. We see, there- fore, the draughtsman of our engravings following closely the development of the higher order of art. It is espe- cially in, the somewhat hasty, violent, and affedted movements of the figures, in the charaderistic move- xxxii ments of their hands, in the exahed expression of the faces, in the folds of the draperies, and also in the pre- dominance of Umbrian influences that the style, the temper of Filippino's art may be recognized.
The technique of this whole group of cuts in general is somewhat sketchy, angular, and hard, but — especially in the more carefully executed engravings — the lines are thinner than in the first group, and the shadows for the most part indicated by thin lines close together. The backgrounds are of special importance. The ground and the mountains which form the foundation for the figures are black and are intended to give colour to the general impression. The borders also differ from those of the earlier cuts ; they are richer and more varied, and we may notice the predominance of a design formed of rounded leaves, rather resembling an acanthus.
A very fine pendant to the " Epistole et Evangeli " is to be found in a less numerous, but not less im- portant, series of woodcuts, which serve to illustrate an edition of Boccaccio's graceful poem, the " Ninfale Fiesolano. By a study of these illustrations, which so per- fectly render the modern feeling which underlies the sentimental poem in its antique disguise, we come to understand Boccaccio as the " precursor " of the fifteenth century. Here more clearly than in the " Epistole " we see expressed the technical style peculiar to this group.
The movements already begin to show some afFe6lations, and conventional forms are discoverable in many details and accessories. As regards the execution of the details, the cuts are rather angular and hard, a charadteristic of this whole group. On the other hand ' We only know the cuts in a later edition of , not even a single copy of the original fifteenth-century edition having been pre- served. I suppose that even the edition of does not give us all the engravings of the original edition, and that some cuts of the same subjeft to be found in later editions of " Rappresentazioni " may origin- ally have been intended to illustrate this book.
See cuts and We notice also a freer use of "scratching" for the shadows, and the special device of making the drapery of a figure or a part of the background entirely black with inner lines of white. We may observe here, especially with regard to the later cuts, how innocently the artist allows the technique of his work to be seen, not making any attempt to dis- guise the traces of the knife. See cuts 97 to , the latter two known only in a late edition of a " Rappre- sentazione," but belonging to an earlier edition of the " Ninfale " or a similar poem, 1 , which must have belonged to an early edition of the life prefixed to the " Esope " and cuts From the same hand, doubtless, are some of the cuts for the Savonarola tracts, very different in their subjefts from those of the " Ninfale," but exhibiting equal enthusiasm and the same masterly style.
See cuts 1 These Savonarola cuts form a special group as far as their subje6ls go, but they possess no special artistic or technical charadler to separate them from other en- gravings. It is not at all likely that an earlier Florentine illustrated edition existed, because the book is too bulky and not sufficiently popular to have been printed many times. But these cuts are interspersed with a number of others, partly borrowed from other books, partly original designs which show a different style and technique, and in all resped:s appear to be of later workmanship than those of the two first groups.
The most prominent charafleristic of the engravings of this group consists in the roundness of the forms, in the great fineness and delicacy of the lines, and in the neatness and care of the execution, the cuts contrasting especially in these particulars with the somewhat rude and coarse work of the second group. Technically these cuts must be considered as having reached the highest point of development. It would scarcely be possible for the technique of this kind of cut to attain a greater delicacy of line or more elaborating detail.
In the expressions of the faces, the hands, the hair, and in many other details, the artists have come near per- feftion. There is great i-efinement in the shading, and in the use of black in the backgrounds, and also in some parts of the clothing, etc. Of course these cuts are far removed, alike in technique, composition, and drawing, from the simplicity of the earliest engravings, and from the characteristic boldness of the second group, of which latter, indeed, they must be reckoned a continua- tion.
There we recognized the style of Ghirlandaio and Filippino Lippi ; here there seems to me to predominate the style of those artists who transformed the broad epico-fresco manner of Ghirlandaio into a novelistic style. The influence of Piero di Cosimo is particularly noticeable here.
Piero rose above the art of Ghir- landaio, and developed his own original and attractive style under the influence of the school of Verrocchio ; firstly of Lorenzo di Credi, and later on of Leonardo da Vinci. The romantic element in his work is seen not only in his fancy for illustrating romances, but also in XXXV the richness and diffuseness of his compositions, which seek, not to represent a single concentrated adion, but to attraft by a great variety of rather incoherent groups, of different scenes and motives.
As an instance of the resemblance to the style of Piero di Cosimo, I may cite the charafteristically short proportions of the weak- legged figures, and also in the drawing of the details. In pointing out this I do not, of course, assert that Piero furnished the drawings in that case they would probably have shown more distinft evidence of his style , but I believe the designer to have been an artist working in the same manner and in similar dirediions to Piero.
See especially cuts Besides the "Morgante" we find a number of these cuts in the " Rappresentazioni " especially in those later ones which contain several illustrations , and in some novels, as, for instance, in Giuliano Dati's " Magnificentia del Prete Janni" No. Paohno " No. See also cuts and The loss of so many of the popular novels may have deprived us of more than one beautiful specimen of this art. I need not say that this classification is but an approximate one, that there are many cuts which must be placed between the different groups we have distin- guished, and also many others which show a mixture of the chara6teristics of the different types ; sometimes drawings alike in design are executed in different manners, sometimes drawings in different styles are re- produced in the same technique.
It would be useless to confuse the reader by giving details of all the little groups of cuts which do not quite coincide with those principal ones described above. There is, however, one set of the fifteenth century which must be specially mentioned as supplying the starting-point of the later technique of the sixteenth. The figures are large in proportion to the size of the pifture ; but stumpy, with big heads and thin legs.
In the drawing, which is similar to that of the third group, and in technique, the prominent charafteristic is that of a great rounding of the forms and of the single lines. In the details, and especially in the borders, there is an accumulation of different motives, even in the same border. On the whole these cuts are of no great artistic value, and the execution is formal and careless, the drawing of the animals is generally much better than that of the men.
See cuts , A graceful specimen of this style may be seen on the title-page of the " Rappr. Venanzio " Pacini , which is surrounded by a pretty border. Cut Some of the cuts also of Cessolis' " Giuoco degli Scacchi " of are very similar to those of the " iEsop. In the beginning of the sixteenth century we find a large number of cuts which show this same manner in a still more developed form. There is a great softness in the full rounded forms of the body, the draperies are indicated by many long and rounded lines; long, rounded parallel scratching lines and black spots abound in the ground and in parts of the draperies, etc.
See cuts ijo,seq. The borders are mostly overloaded with various designs of heavy ornament. We have a series of cuts of this style in the " Passion of Christ," printed in 1 5 1 1 by Benvenuto from blocks which are already worn. Of the two later editions of and we only know one copy of each, in the Angelica in Rome and in the library of the Baron de Landau in Florence.
In later editions of " Rappresentazioni " we find some cuts which undoubtedly belong to a life of iEsop, but are not in the edition. See cut , ?. Peter met with first in 1 5 1 3. As a very fine specimen reproducing exceedingly fine drawings, we may cite the cut of the "Contrasto del Carnevale e della Quaresima," See cut The illustrations of Frezzi's " Quadriregio " Pacini, , although differing from the other cuts in some respeds, belong also to this group and help us to fix the date of this style of engraving.
Besides the border of the frontispiece and one cut borrowed from Petrarca's "Trionfi" , there are illustrations all drawn in the same manner, although, perhaps, by different hands. The book being in folio the cuts are somewhat larger than most of the earlier Florentine engravings, and nearly all of them have the same border, consisting of a design composed of rows of clumsy conventional leaves. The drawings have been attributed to Luca Signorelli on account of the letters L V ' to be seen on the first cut of the series. But there can be no longer any doubt, from the analogy of the Venetian and other signed cuts, that these monograms indicate, not the artist who drew the design, but the woodcutter, or the " bottega," or shop of the firm of engravers.
Although the monogram does not help us to guess the name of the designer, from an artistic point of view we cannot fail to recognize the forms of Umbro-florentine art, much as it may be seen in the works of Signorelli and his school ; a fadl which has been justly observed by Dr. But the individual charafteristics of Signorelli's style, especially in the outlines of the naked bodies, the movements and the faces, are not to be found in a single figure of the whole series.
For other similar cuts see Of course in these cuts the highest point in the ' Whenever " L V " is to be considered a monogram of Signorelli Luca Venturae , the letters, in conformity to the custom of the period, must not be interpreted as L uca V enturae , but as an abbreviation of L Vca. Whatever their interest, they cannot charm us as do the earlier Florentine engravings. In their conventional corre6l- ness, in the lifelessness of the scratchy lines, in their tedious repetitions of the same forms and movements and of the background, these and other similar cuts are very far removed from the simple illustrations of the fifteenth century, which were full of spirit, character, and artistic life.
This group is the last which retains an artistic import- ance. The work produced in Florence afterwards can hold our interest only as a technical continuation of the earlier groups or as an imitation of other styles. We may here call to mind again the group of copies executed especially for the books of Francesco di Benvenuto men- tioned above p. In general these later cuts do not even keep this cleanness and care in the technical execution, and are not worthy of mention here.
About the middle of the sixteenth century, in good and carefully printed books, these stragglers of the old Florentine Quattro-cento wood-engravings are no longer tolerated. The style of wood-engraving which had been developed in Venetian distrifts in imitation of pen- drawings, with an exceedingly refined and careful tech- nique, rivalling copper-engravings in artistic impression and pi Sorial efFed:, had by this time been introduced also into Florence. Not being an especially Florentine one this group is outside the limits of this paper, but it must be mentioned here because already in the beginning of the sixteenth century the Venetian hatched woodcut xxxix technique maniere ombree began to exercise a certain influence on the declining art of Florentine wood- engraving.
This imitation of the Venetian technique in the beginning of the sixteenth century is evident in some cuts to be found in later editions of " Rappresentazioni," as, for instance, in the cut of the " Historia di S. Antonio da Padova" see cut , and again in the "Historia di S. Stefano," in the " Rappr. Cosma e S.
Damiano," etc. Cosma e Damiano," and the mono- gram "LA" va. Anthony and S. Stephen, so that we could be tempted to believe these also to have been executed by Venetian engravers, if the Florentine style were not so plainly recognizable in the drawing and in some details of the drapery and the landscape, etc. The monogram "LA" of some of these cuts can help us to an indication of their author. We can recognize the same style of engraving, imitating the Venetian manner, but differing from it in the less rounded scratch- ings in the drawing of the ground, the trees, etc.
The last leaf of this curious book has the xylographic signature of the author of the cuts : " Opus lucha atonio de ubertife I uenetia. There cannot be any doubt that this Lucantonio de Vberti is the same engraver who generally signs his works xl with the letters " L. He is a weak Florentine artist, who shows his Florentine origin especially in the large round forms of the draperies and in the little cuts in the " Libro d'Abacco " also by the use of many different little borders round the cuts.
He must have gone to Venice probably about , and worked there, adopting the Venetian style of en- graving, which he afterwards introduced at Florence. He must be the same Lucantonius Florentinus who printed at Verona in 1 alone and with Bernardino Misinta of Brescia some books, among others Maphaeus Celsius's " Dissuasoria " and " De deliciis paradisi " adorned with a rather rude but charac- teristic printer's mark, evidently his own work, as is shown by the letters " L. Lucantonio degli Uberti was not only a printer and woodcutter, but also tried with the same doubtful artistic success the art of copper-engraving.
Some curious copper-engravings, signed with the monogram, "L. These engravings repro- duce interesting drawings, evidently taken or copied from different artists, in a hard and ugly, but charac- teristic manner. Though the technical execution of all the works of Lucantonio is very unequal, the peculiarities of the technique and of the drawing of the faces, with their large staring eyes, and of the hands, and the round and heavy drapery, prove that they are all by the same hand. Four of these copper-engravings have been described by Bartsch xiii. Another similar mark No.
There is no reason to believe that the wealthy and much-occupied publisher himself executed these weak engravings, and there can be no doubt that it was Lucantonio degli Uberti who produced the engravings attributed to Lucantonio Giunta as well as the Florentine cuts in the Venetian manner, I cannot speak here of the six single-leaf cuts and of the many cuts in the seven different books described by Passavant and Nagler " Monogrammisten," iv. It need only be mentioned that some of the books whose cuts Passavant attributes to Lucantonio Giunta are not even printed or published by him, and that the signature on the cut representing St.
Catherine and St. George Pass, v. This fa6t is confirmed by some other engravings de- scribed among the works of unknown artists, which we can join to those enumerated by Passavant as the work of Lucantonio Giunta. In the first place, we may mention the interesting large copper-engraving, repro- ducing the cenacolo of S. Onofrio in Florence attributed erroneously to Raffaello , spoken of by Passavant " Peintre-graveur," v. Kunstsammlungen," V. The resemblance of the charac- teristics and of the technique with the other copper- engravings and with the cuts of the " Libro d'Abacco," would be sufficient to prove it to be engraved by Uberti, and there is also a material proof of his authorship in xlii the inscription, " Lucantonio " reversed , on a slip which is held by a man on the little relief below on the left.
With no less certainty we can attribute to Lucantonio degli Uberti some other engravings of the same tech- nique, without signature : "The Adoration of the Magi" Bartsch, xiii. Trivulzio , "A S. Jerome in Penitence" in the same coll. Christ Church College at Oxford possesses two draw- ings attributed to Mantegna, which by the charadteristic drawing, especially of the eyes, noses, and the hands, are shown to be also works of the same artist, who, to tell the truth, did not merit the honour of being confounded with Mantegna. One of them represents, among many weapons, two naked men bound to a tree, while a woman Victoria?
But this settlement of the date can have reference only to the origin of the draw- ing, the technical execution of the cut, in the hatched piftorial manner, not allowing us to assign it to so early a date. Amongst the earlier single-leaf cuts, or book-illustrations, we do not find any analogy to this type of engraving. In Florentine en- gravings, the hatched manner which is to be seen only in illustrations of books of very late date is shown both by similar peculiarities in the drawing and the types to be without any doubt an imitation of the Venetian manner.
All these fads prove that the cut of the view of Florence as well as the Florentine book-illustrations in the hatched manner were not executed before the beginning of the sixteenth century. Though the fine quality of the drawing which was used for the woodcut plan of Florence, and the greater care employed by the engraver in this large work, make this cut appear much superior to all the copper or wood- engravings of the artist, I think there can be no doubt that it is a work of Lucantonio degli Uberti.
Not only the style of the technique, with its long and narrow, not very rounded hatchings, but also the style of the drawing, which imitates Venetian forms, and some peculiarities in the movements of men and horses, in the faces, in the draperies, with their charadteristic pointed corners, in the ' See Lippmann, " History of Italian Wood-Engraving in the Fifteenth Century," p.
A reprodudlion of the view in original size is to be had from the Reichsdruckerei at Berlin. At last, therefore, in the last period of Florentine xylo- graphy, in the early Renaissance, we meet with an engraver of known personality, and Uberti, though he was no great artist, must be credited with his share in the development of Florentine engraving. I trust that this attempt at a classification of the Florentine book-illustrations will not be useless as a help to their study and artistic comprehension. I do not believe that such minute study of the origin of a work of art and of its relations to other works diminishes or interferes with the enjoyment of the beauty of the work itself.
At any rate it is only by means of historical study that we can so familiarize ourselves with the pro- dud:ions of any period of art that, in place of a mass of enigmatical monuments, allowing of every kind of fantastic and arbitrary interpretation, a real process of development begins to unfold itself before our eyes, help- ing us in some measure to understand those charafteristic beauties, which in their full extent may be felt, but can never be explained in words.
Berlin: — Berlin, Kgl. Berlin K. Kupferstich Kabinet. Bologna: — Bologna, Biblioteca Universitaria. Brera: — Milan, Biblioteca Nazionale Braidense. Cavalieri, Sgr. Giuseppe, Library of, Ferrara. Accademia dei Lincei. D'Adda, Marchese, Library of the, Milan. Darmstadt: — Darmstadt, Grossherzogl. Dresden: — Dresden, Kgl. Offentliche Bibliothek. Ferrara: — Ferrara, Biblioteca dell' Universita. See Cavalieri, Sgr. Fisher, Mr. Richard C, Library of, in Midhurst. See Landau, Baron de, Maruc, Mgl. Genoa : — Genoa, Biblioteca Universitaria.
Landau, M. See B. Lucca: — Lucca, Biblioteca Publica. See Mr. See Ambros. Modena : — Modena, Biblioteca Estense. Munich : — Munich, Kgl. Hof und Staats-Bibliothek. Murray, Mr. Fairfax, Library of, in London. Napoli: — Napoli, Biblioteca Nazionale e Universitaria. See Bodl. Palermo : — Palermo, Biblioteca Universitaria. Paris B.
Pavia: — Pavia, Biblioteca Universitaria. Poldi: — Milan, Museo Poldi-Pezzoli.
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See Aless. Siena: — Siena, Biblioteca Publica. Stuttgart : — Stuttgart, Kgl. Venice : — Venice, Biblioteca Marciana. Wolfenbuttel : — Wolfenbuttel, Herzogl. Abbataccio, Rappresentazione dell'. Border with dolphins x Ad instanza di Jacopo Chiti. LLI of the volume. Cut 74 X An angel holding back a youth who is falling in the water, a monk stands by.
In the back- ground a monk sitting at a table with an angel. Early grave style. Abele e Caino, Rappresentazione di. O of the volume. Cain killing Abel zz Fior di virtu, A repeti- tionofii. A woman crying, with a boy, to whom a man on the 1. A hunter cutting up a stag style of Frezzi, Quadriregio. The Devil, with a paper, opposite to an angel who protedls a woman late rude cut. Abramo e Agar, Rappresentazione di. Francesco di Giovanni Benvenuto.
Printer's mark, a a dragon. P p of the volume. Nuouamente Ristampata. Angel late. As in a. Savonarola, Oratione Mentak, No. An old man in long coat speaking to a young king thin lined style. On the 1. The virgin going to the temple, on the 1. An angel before a door, on the 1. Giovanni Baleni. Copy of a. Abramo ed Isacco, Rappresentazione di. By Feo Belcari. Hain, ? Qui comlcia larepresetatioe di Ha braam, etc. Border x : above, monogram of Christ and two masks ; below, four putti with garlands, can- delabra on the sides, ii.
Abraham pre- vented by the angel from killing Isaac. Et Ysaac. Lochio si dice che la prima porta. Cut X Roman copy after Florentine original.? Hain, Vente La Valliere. B of the volume. II, i? Giovanni Baleni [B. Baleni Q. Late rude cut of the sacrifice of Abraham. AccoLTi, Bernardo. Comedia, Capitoli et Strambotti. Stapata in Firenze astanza di Alexandro di Francesco Rossegli. Adi yi Dagosto. Men playing at cards, ii. Accolti, Bernardo. Ternale in laude della V.
Fece stampare maestro Zanobi dalla barba. Madonna with Child, in border 89 x Smooth and round style. Descrizione di una Caccia. See Caccia. See Pietrobono. Aeneas Sylvius. See Piccolomini, Enea Silvio. See Esopo. Agata, Rappresentazione di [7 a. Border : above, two angels with the emblems of the Passion ; below, a monk reading to two others, ii. Martyrdom of S. Agate early grave style. Angel announcing. Pacini [Mgl. Pacini's mark, It. Angel, ii.
The saint led before the judge by two soldiers early grave style , See cut Cecilia, Rappr. TT of the volume. J Cuts as in d. Copy of a ii. Rincontro a S. Agnese, Rappresentazione di. Angel in ii. Martyrdom 4 oi S. Agnes, s. Careless, smooth cut of the xvi. Angel in border, zz: a ii. Tt of the vol. A saint burnt late, rude , v. A pilgrim kneeling at a tomb late, rude , vi. Copy of a iii. J Cut. Copy after S. Agata, Rappr. Jacopo Pocavanza. J Cuts. Angel late ii. Appolinari per Zanobi Bisticci.
Agnolo, Ebreo, Rappresentazione di. X of volume. Man giving alms to a beggar. Late rude style. Augustine sitting in his study, writing at his desk, to the left. Half figure of the saint to the right at his desk. Christ as judge. Piero Pacini. Cut 56 x The saint kneeling before the image of the Virgin. Inscription : a avgvs tinvs. Pacini's mark. Sermoni volgari. Initial F. The saint sitting to the right, at his desk, writing.
Francesco di Dino da Firenze. Augustine standing, with book and crosier. Sermone della morte. Border 99I x 80 with shield and two orna- ments of cornucopias and vases with fruits, ii. Agostino, S. Bernardino, S. Orationi e versi. Christ on the cross to the right small cut. Alberto, Historia di. The saint holding the model of a church zz S. A man lying in his bed, angels playing. E e e e of the volume. Alessandro Papa, Storia di. Et De Federico Barbarossa. The pope putting his feet on the neck of the emperor. Hard, rude, hatched cut. Alessandro Ciciliano, Storia di.
I Ouesto e compiuto per amor di uoy. A father chastising his daughter. Rude cut. Alessio, Rappresentazione di. Antonio Tubini et Andrea de Ghir- landi. The saint before the pope; the young S. Alexius on the staircase. Printer's mark. M of the volume. A man landing from a ship in the diredtion of a youth standing on the 1. Pope with many other priests by a cavern, where a man is lying on thorns, viii. Pope enthroned, a priest and nuns before him. Scale di Badia. Alessio, Storia di.
Border x Tournament of putti on pigs. See Buondelmonti, Ippolito e Dianora Bardi. Pope blessing a saint, a youth under a staircase. Copy of Rappres. See Alessio. Almieri, Ginevra degli, Storia di. By Antonio or Agosto Velletti. Ginevra sitting in a grave near the dome o and campanile of Florence, ii. Other cut of the same subject, iii. From other books. Alle Scale di Badia. Late cuts or impressions. See Cassandra. See Ravenna, Rotta di. Amaestramento ovvero consiglio che fa un padre. Zanobi dalla barba. Parable of the beam and the mote in the eye.
EpistolaapapaAlessandroVL [22 s. Cut in Venetian style, of a monk writing. Angelus Anachoreta. Epistola ai Fiorentini. Kalendas Januarii m. Border and cut as in The hermit giving the letter to a mes- senger. Francesco di Giovanni Benvenuti. Printer's mark : a a.
A man kneeling before an altar copy. Trattato : curam illius habe. Agostino, Soliloquii, 10 a , ii. Monk in a chapel, confessing a young man, two men on the r. Trattato: Defecerunt. J pet. Pacini's three marks. Ser Antonio Tubini.
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Cut 75 X Antonine on the 1. Ruder cut, imitation of the early finer style. Printer's mark of Fr. A pet. Penitents confessing to priest in a chapel hard style. Frame of four ledges, with ornaments and a shield below. Contrasto del nostro Signore col De- monio. Per il. Antonio Archiepiscopo floren. Christ in limbus hard late cut , ii.
Initial C 33 x 34 , with the bust of a youth. Antonio Archiepo florentino. Cut ill X Antonino, Storia di. By Giovanni Maria Tolosani. C c c c of the volume , Triv. The saint giving the benedidlion copy , ii. The saint in a church speak- ing to a woman rude cut. Antonio Abbate, Rappresentazione di. Antony with the pig. The temptation of S. Antony See cut Border with putti on a stag and a roe, and two angels with a medallion with two busts.
Copy of Bradiamante, No. Antony with the pig early finer style. Border : window-frame with two dolphins, ii.webstotergege.tk/manstopper-training-a-canine-guardian.php
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A hermit receives two tablets from an angel hard, late style , iii. A woman outside a house speaking to two hermits id. A monk with three beggars id. Temptation of S. Antonio id. Jacopo Chiti. A monk speaking to a woman and a youth hard, late , vii. Monk sitting, opposite to him a devil, two devils on horses in the air, in the background dead monk in bed id.
Angel S. From a French Hora. Amen finis. Cut zz 2,0 b ii. Antonio da Padova, Historia di. Nuoua- mente Ristampata. Signed A see Introdudtion and cut 1 94 in the manner of the Venetian scratched cuts. Antonio di Guido. See Laude. Apollonia, Rappresentazione di. Sea Apollonia in eielo finis. Apol- lonia. Margherita, Storia di No. A female saint conduced before the judge, viii. A female saint saved from her persecutors by the fall of the building. Franc, di Giovanni Benvenuto. Beheading of a female saint, a pilgrim kneeling on the r.
T of the volume. Apollonia Uerginei Martire. Di nuouo Ristampata. Angel late , ii. Baptism of a king and a queen, on the 1. Martyrdom of a saint late, hard , viii. Statue of Diana on an altar, before which a woman is kneeling belonging to a lost edition of Boccaccio's Ninfale. Be- heading of a female saint, a warrior kneeling on the r. Apollonio de Tyro, Storia di. Stampato ad petitione di M. Cut 77 X A youth on the 1. Careless, smooth cut. A youth reading before a desk copy, rude. Zucchetta, A. Aquilano, Seraphino. Strambotti nuovi. Seraphino da Lagla.
A man giving a roll to a woman, whilst a cupid in the air shoots his arrow scratched, smooth manner. I Seraphino da Laquila. Cut no X Same subje6b as a. See also Tebaldeo de Ferrara. Araldi, Antonio. See Giudizio Universale, Rappresenta- zione del. Arias d' Avila, Pietro.
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Cut 42 X A horseman fighting two men in a ship. Ariosto, Lodovico. Orlando furioso. Eredi di Filippo Giunta. Maglione Sale, Arlotto. Motti e Facezie. Very fine cut of the early finer style. Cut 87 X A man on the I. Two marks of the printer. Ars moriendi. Midhurst, Mr. See Dibdin, Bibl.
Decamerone, i. Cardinale di fermo. A petitioue di Ser Piero Pacini. Ritratto di Re Almonte in piedi. Three marks of Pacini. See S. Babilonia, Rotta di. A giant breaking the walls of a town. Copy of a cut in Pulci's Morgante. Battista Pagolini. Apresso Zanobi Bisticci. Rinaldo appassionato. A knight, his sword in his right hand, galloping to the r. A woman and a youth standing, a king sitting on the r.
Copies, vi. Copies from Pulci's Morgante. Barbara, Rappresentazione di. Francesco di Giov. J I": C! Border x i23 - below, Christ in sarco- phagus between two angels ; above sudarium between two cherubs, ii. Barbara, with chalice and palm, standing over a knight who is lying on the ground smooth manner , iii.
P of the volume. Del Prete Janni No. A female saint beaten with sticks later, rude , v. A student sitting to the 1. The mutilation of a saint's breasts copy. See also Dati, Giuliano. Barlaam e Josafat, Rappresentazione di. Baptism of two men by a monk. A youth kneeling receives a habit and rosary from a king. Fece stampare Francesco di Giovanni Benvenuto. Copies from a. J I": Rapresentatione di Barlaam et iosafat. Angel copy , ii. Copy of a vii. Basilio, Historia di. Cut 66 X The saint protedting a woman and her child against three devils copy.
End 2'': il fine. O Gloriosa Virgine Maria driza lo mio core. Cut 98 X The saint protefting a youth against the devil ; burial of the saint.