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The Resource Ouidio methamorphoseos vulgare

Ouidio methamorphoseos vulgare

Label
Ouidio methamorphoseos vulgare
Title
Ouidio methamorphoseos vulgare
Title variation
Ovidio methamorphoseos vulgare
Creator
Contributor
Illustrator
Printer
Publisher
Translator
Subject
Genre
Language
  • ita
  • lat
  • ita
Member of
Cataloging source
CLU
Citation location within source
  • V:419
  • 5330
  • II:433, 469-470
  • CNCE 54673
  • IV:293
Citation source
  • Catalogue of books printed in the XVth century now in the British Museum
  • Sander, M. Livre à figures italien depuis 1467 jusqu'à 1530
  • Hind, A.M. Introduction to a history of woodcut
  • EDIT 16
  • Brunet, J.-C. Manuel du libraire et de l'amateur de livres (5e éd.)
Illustrations
illustrations
Index
no index present
Literary form
non fiction
Label
Ouidio methamorphoseos vulgare
Instantiates
Publication
Note
  • The significance of the Ovidio metamorphoseos for the classical revival in the Renaissance was first discussed by Aby Warburg in his famous study on Dürer and the Italian Renaissance. In addition to serving as a transmitter of classical culture, the book provides a vivid picture of 15th-century Italy: the siege of an Italian city ("The Siege of Megara by King Minos"); the interior of a Venetian house ("The Birth of Hercules"); a gondola on a canal ("Orpheus in the Underworld")
  • Second edition of one of the greatest illustrated books of the Venetian Renaissance, containing all of the woodcuts present in the first edition of 1497, printed by Giunta in Venice
  • Translated with a moralized commentary by Giovanni Bonsignore
  • Signatures: pi4 a-r8 s6
  • Woodcuts: first page of text (leaf a1r) within elaborate Renaissance architectural frame, featuring columns entwined with leafy stems, and putti engaged in various activities such as carrying a basket of grapes, stomping grapes, playing a flute, and holding a stork and a rabbit; text illustrated with 53 woodcuts believed to have been executed by the same master who designed the cuts for Francesco Colonna's Hypnerotomachia Poliphili of 1499, as both exhibit hallmarks of the Venetian Early Renaissance style in book illustration: sharp, fine lines and minimal shading; studied poses, harmonious proportions, and subtle degree of sculptural relief. Woodcuts, probably by more than one engraver, are signed "i a," and "N." The woodcuts are reprinted from the first edition of 1497; for complete description of the cuts, see Essling, V.M. Livres à figures vénitiens, volume 1, no. 223
  • This edition not in Goff, F.R. Incunabula in American libraries, or Incunabula short title catalogue
Dimensions
31 cm (folio)
Extent
[4], CXXXVII, [1] leaves
Note
Spec. Coll. copy: Bound in full tan morocco; gilt fillet and floral corner-pieces; floral ornaments repeated in spine panels; gold-stamped spine title "Ovidius" with year of imprint "1501" at base of spine; all edges gilt; red and gold striped ribbon marker. Purchase, Ursus Books & Prints, 1990.
Other physical details
53 illustrations (woodcuts)
System control number
  • (OCoLC)905862978
  • ucoclc905862978
Label
Ouidio methamorphoseos vulgare
Publication
Note
  • The significance of the Ovidio metamorphoseos for the classical revival in the Renaissance was first discussed by Aby Warburg in his famous study on Dürer and the Italian Renaissance. In addition to serving as a transmitter of classical culture, the book provides a vivid picture of 15th-century Italy: the siege of an Italian city ("The Siege of Megara by King Minos"); the interior of a Venetian house ("The Birth of Hercules"); a gondola on a canal ("Orpheus in the Underworld")
  • Second edition of one of the greatest illustrated books of the Venetian Renaissance, containing all of the woodcuts present in the first edition of 1497, printed by Giunta in Venice
  • Translated with a moralized commentary by Giovanni Bonsignore
  • Signatures: pi4 a-r8 s6
  • Woodcuts: first page of text (leaf a1r) within elaborate Renaissance architectural frame, featuring columns entwined with leafy stems, and putti engaged in various activities such as carrying a basket of grapes, stomping grapes, playing a flute, and holding a stork and a rabbit; text illustrated with 53 woodcuts believed to have been executed by the same master who designed the cuts for Francesco Colonna's Hypnerotomachia Poliphili of 1499, as both exhibit hallmarks of the Venetian Early Renaissance style in book illustration: sharp, fine lines and minimal shading; studied poses, harmonious proportions, and subtle degree of sculptural relief. Woodcuts, probably by more than one engraver, are signed "i a," and "N." The woodcuts are reprinted from the first edition of 1497; for complete description of the cuts, see Essling, V.M. Livres à figures vénitiens, volume 1, no. 223
  • This edition not in Goff, F.R. Incunabula in American libraries, or Incunabula short title catalogue
Dimensions
31 cm (folio)
Extent
[4], CXXXVII, [1] leaves
Note
Spec. Coll. copy: Bound in full tan morocco; gilt fillet and floral corner-pieces; floral ornaments repeated in spine panels; gold-stamped spine title "Ovidius" with year of imprint "1501" at base of spine; all edges gilt; red and gold striped ribbon marker. Purchase, Ursus Books & Prints, 1990.
Other physical details
53 illustrations (woodcuts)
System control number
  • (OCoLC)905862978
  • ucoclc905862978

Library Locations

  • Charles E. Young Research LibraryBorrow it
    280 Charles E Young Dr N, Los Angeles, CA, 90095-1575, US
    34.0749691 -118.441466
  • Powell LibraryBorrow it
    120S Election Walk, Los Angeles, CA, 90095-1450, US
    34.0716126 -118.4421809
  • Science and Engineering LibraryBorrow it
    8270 Boelter Hall, Los Angeles, CA, 90095-9810, US
    34.068987 -118.442659
  • UCLA LibraryBorrow it
    Los Angeles, CA, US
  • UCLA Library Special CollectionsBorrow it
    A1713 Charles E. Young Research Library, Los Angeles, CA, 90095-1575, US
    34.0749691 -118.441466
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