ACCADEMIA DEGLI OCCULTI -- ARNIGIO, Bartolomeo (1523-1577), editor. Rime de gli Academici Occulti con le loro imprese et discorsi . Brescia: Vincenzo di Sabbio, 1568.
ACCADEMIA DEGLI OCCULTI -- ARNIGIO, Bartolomeo (1523-1577), editor. Rime de gli Academici Occulti con le loro imprese et discorsi . Brescia: Vincenzo di Sabbio, 1568. 4 o (242 x 176 mm). Engraved title-page incorporating the Academy's device of Silenus flanked by Apollo and Hercules, 15 full-page engraved devices within elaborate frames by Bartolomeo da Brescia. (Preliminary unnumbered leaf 6 misbound after leaf 3, small wormtrack on first three leaves touching outer edge of engraved title, stains on *2 and O3-4, some pale marginal dampstaining, lower blank half of last leaf renewed.) Late 18th-century/early 19th-century vellum over pasteboard. Provenance : D. Luigi Sijlva (inkstamp in margin of *2r) -- Acquired from E.P. Goldschmidt, 1967. FIRST EDITION OF THIS SCARCE EMBLEM BOOK the "first contribution to emblematics by a literary society" (Landwehr). It is the earliest of a series of similar works published by Italian Academies combining emblematic devices with poetical works and dissertations by their members to promote literary, philosophical and historical studies. Fifteen members have their device illustrated by Bartolomeo da Brescia (1506-1570), each followed by an explanatory discourse by Bartolomeo Arnigio and a selection from their verses. Among them is Il Desioso, the painter Francesco Ricchini, follower of Bonvicino, il Moretto. His device is framed by an elaborate composition of nymphs and cherubs holding drawing and painting instruments. The accompanying discourse contains a long section extolling the painter and discussing the relationship between poetry and painting. "Each of the 'hidden academics' (members of a private learned society) is represented by a gnomic engraving, a Latin motto, a vernacular gloss, various verses, and an esoteric sobriquet; they are The Abstruso, Adombrato, Arcano, Chiuso, Desioso, Incognito, Notturno, Nubiloso, Offuscato, Oscuro, and Sepolto. Their interests range from rhetoric to metaphysics to agriculture, but in every case, their goal is to understand 'all the worthiest matters that are allowed to the weak light of our Intellects,' via communion with 'superior and intellectual essences.' Ultimately -- as the lover becomes like the beloved, and the moon like the sun -- the accademici occulti hope to transform themselves into 'the nature of God. Obviously, this is a highly Neoplatonic program" (James Gougal Fleming, "The Art of the Field" in The Invention of Discovery 1500-1700 , Surrey, 2011.) Landwehr 10; Praz pp.77 and 246; Vaganay 1568, 4.
ACCADEMIA DEGLI OCCULTI -- ARNIGIO, Bartolomeo (1523-1577), editor. Rime de gli Academici Occulti con le loro imprese et discorsi . Brescia: Vincenzo di Sabbio, 1568.
ACCADEMIA DEGLI OCCULTI -- ARNIGIO, Bartolomeo (1523-1577), editor. Rime de gli Academici Occulti con le loro imprese et discorsi . Brescia: Vincenzo di Sabbio, 1568. 4 o (242 x 176 mm). Engraved title-page incorporating the Academy's device of Silenus flanked by Apollo and Hercules, 15 full-page engraved devices within elaborate frames by Bartolomeo da Brescia. (Preliminary unnumbered leaf 6 misbound after leaf 3, small wormtrack on first three leaves touching outer edge of engraved title, stains on *2 and O3-4, some pale marginal dampstaining, lower blank half of last leaf renewed.) Late 18th-century/early 19th-century vellum over pasteboard. Provenance : D. Luigi Sijlva (inkstamp in margin of *2r) -- Acquired from E.P. Goldschmidt, 1967. FIRST EDITION OF THIS SCARCE EMBLEM BOOK the "first contribution to emblematics by a literary society" (Landwehr). It is the earliest of a series of similar works published by Italian Academies combining emblematic devices with poetical works and dissertations by their members to promote literary, philosophical and historical studies. Fifteen members have their device illustrated by Bartolomeo da Brescia (1506-1570), each followed by an explanatory discourse by Bartolomeo Arnigio and a selection from their verses. Among them is Il Desioso, the painter Francesco Ricchini, follower of Bonvicino, il Moretto. His device is framed by an elaborate composition of nymphs and cherubs holding drawing and painting instruments. The accompanying discourse contains a long section extolling the painter and discussing the relationship between poetry and painting. "Each of the 'hidden academics' (members of a private learned society) is represented by a gnomic engraving, a Latin motto, a vernacular gloss, various verses, and an esoteric sobriquet; they are The Abstruso, Adombrato, Arcano, Chiuso, Desioso, Incognito, Notturno, Nubiloso, Offuscato, Oscuro, and Sepolto. Their interests range from rhetoric to metaphysics to agriculture, but in every case, their goal is to understand 'all the worthiest matters that are allowed to the weak light of our Intellects,' via communion with 'superior and intellectual essences.' Ultimately -- as the lover becomes like the beloved, and the moon like the sun -- the accademici occulti hope to transform themselves into 'the nature of God. Obviously, this is a highly Neoplatonic program" (James Gougal Fleming, "The Art of the Field" in The Invention of Discovery 1500-1700 , Surrey, 2011.) Landwehr 10; Praz pp.77 and 246; Vaganay 1568, 4.
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