Bertoldo col Bertoldino e Cacasenno in ottava rima (the last work by A. Banchieri).

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(CROCE, Giulio Cesare)Bertoldo col Bertoldino e Cacasenno in ottava rima (the last work by A. Banchieri). Bologna, Lelio dalla Volpe 1736. Large 4to. Title + 8f + 346p + 1f + 128p. With engraved frontispiece, 20 full-page engraved plates, 16 tail-pieces, all etched by Giuseppe Maria Crespi; engraved device, by Lodovico Mattioli on title, engraved portrait of Croce at end of preliminaries, 1 partly-printed, partly-engraved folding table. Contemporary Italian vellum, gilt floral border round sides, gilt spine with red morocco lable, gilt edges. First edition of one of the finest illustrated books published in Bologna during the 18th century. This acclaimed version in ottava rima is matched here for the first time, by Crespi's striking etchings. The text is a verse rendering of a popular tale of the mischievous antics of Bertoldo by Giulio Cesare Croce (c.1550-1609). Here the Bolognese literati of the day have each contributed one canto; among the writers are Buffaldi, Riva, Zampieri, Scarselli and the two Zanotti. The argomenti in ottava rima heading each canto are by Conte V. Marescotti, the prose allegorie are by S. Paoli and the many annotations by G.A. Barotti; the introduction in learned jocular vein is by the Marchese G.G. Orsi. The work proved a great success throughout the eighteenth century, it was reprinted frequently, and translated into the Bolognese dialect (1736), into Spanish (1745), French (1750) and English (1762). This first edition is distinguished by the magnificent etched illustrations and decorations of Giuseppe Maria Crespi, the leading Bolognese painter of the age. Though signed with the name of his favourite pupil Lodovico Mattioli, contemporary evidence affirms that Crespi both designed and etched the plates himself. This has confused many older authorities including Thieme-Becker who attributes the etchings to both artists. The most recent investigation of the volume, Cesare G. Marchesini's, 'Le stampe umoristiche di un maestro del settecento' (in Gutenberg Jahrbuch, 1939, pp295-300, with 4 reproductions) does not mention the fact that the illustrations are without doubt by Crespi (as affirmed by Gamba). Blank tailend corners of first quires lightly finger marked, inner margins of title and first plate neatly repaired, otherwise a mostly fresh copy with only occasional traces of usage; with early 19th century Italian ownership stamps in blank margins of title and last leaf. Brunet I, 280. Gamba 2156. N° de ref. del artículo 214

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