VITRUVIUS Pollio, Marcus (fl. 27 B.C.). De architectura libri decem . Italian translation and commentary by Cesare Cesariano with Massimo Mauro and Benedetto Giovio. Como: Paolo Gottardo da Ponte for Agostino Gallo and Aloiso Pirovano, 15 July 1521.
VITRUVIUS Pollio, Marcus (fl. 27 B.C.). De architectura libri decem . Italian translation and commentary by Cesare Cesariano with Massimo Mauro and Benedetto Giovio. Como: Paolo Gottardo da Ponte for Agostino Gallo and Aloiso Pirovano, 15 July 1521. Royal 2 o (425 x 302 mm). 192 leaves. 77 lines. Roman type, occasional words in Greek. 117 woodcut illustrations including one small block which is repeated, mostly by Cesariano, of which 10 are full-page, 2 woodcut printer's devices, large and small white-on-black historiated and floriated woodcut initials. (Upper right corner of first six leaves renewed, repairs to corners of X7-8 and final leaf, title lightly soiled, O1.8 and 2.7 slightly browned, two pale stains on T1.) 18th-century vellum gilt, red morocco lettering-piece (lacking one lettering-piece, corners bumped). Provenance : early inscription on title; inkstamps on title, one with initials "MD" -- Acquired from Lathrop C. Harper, 1964. FIRST EDITION IN ITALIAN, AND THE FIRST EDITION IN ANY MODERN LANGUAGE OF THE ONLY ARCHITECTURAL TREATISE TO HAVE SURVIVED FROM ANTIQUITY. The Como Vitruvius is one of the masterpieces of Renaissance book illustration. As recorded in the concluding editors' address to the reader, the Milanese Cesare Cesariano (1483-1543) abruptly abandoned the project after quarreling with the publishers Gallo and Pirovano in May 1521; his commentary ends at chapter 6 of Book IX, and the remainder was completed by Benedetto Giovio da Comasco and Bono Mauro da Bergamo. An autograph note by Cesariano in the copy of the Biblioteca Melziana supplies details of the publishing contract, including the edition size of 1300 copies. The fine illustrations, of which many were cut by Cesariano himself (one, on folio X6r, is signed with his monogram and dated 1519), clearly show the influence of Leonardo da Vinci and Kristeller believed them to have been in fact the work of one of his pupils. Although some of the woodcuts follow the classical models of the previous editions, others show water-wheels and various mechanical devices. The plates showing plans and elevations of Milan Cathedral are said to be "the earliest authentic representations of Gothic architecture in a printed book" (Fowler). The present copy shows the earlier version of the errata with 'tuta' for 'tutta' in the headline. Adams V-914; Berlin Kat. 1802; Cicognara 698; Fowler 395; Mortimer Italian 544; RIBA IV: 3519; Sander 7696. Fact and Fantasy 19.
VITRUVIUS Pollio, Marcus (fl. 27 B.C.). De architectura libri decem . Italian translation and commentary by Cesare Cesariano with Massimo Mauro and Benedetto Giovio. Como: Paolo Gottardo da Ponte for Agostino Gallo and Aloiso Pirovano, 15 July 1521.
VITRUVIUS Pollio, Marcus (fl. 27 B.C.). De architectura libri decem . Italian translation and commentary by Cesare Cesariano with Massimo Mauro and Benedetto Giovio. Como: Paolo Gottardo da Ponte for Agostino Gallo and Aloiso Pirovano, 15 July 1521. Royal 2 o (425 x 302 mm). 192 leaves. 77 lines. Roman type, occasional words in Greek. 117 woodcut illustrations including one small block which is repeated, mostly by Cesariano, of which 10 are full-page, 2 woodcut printer's devices, large and small white-on-black historiated and floriated woodcut initials. (Upper right corner of first six leaves renewed, repairs to corners of X7-8 and final leaf, title lightly soiled, O1.8 and 2.7 slightly browned, two pale stains on T1.) 18th-century vellum gilt, red morocco lettering-piece (lacking one lettering-piece, corners bumped). Provenance : early inscription on title; inkstamps on title, one with initials "MD" -- Acquired from Lathrop C. Harper, 1964. FIRST EDITION IN ITALIAN, AND THE FIRST EDITION IN ANY MODERN LANGUAGE OF THE ONLY ARCHITECTURAL TREATISE TO HAVE SURVIVED FROM ANTIQUITY. The Como Vitruvius is one of the masterpieces of Renaissance book illustration. As recorded in the concluding editors' address to the reader, the Milanese Cesare Cesariano (1483-1543) abruptly abandoned the project after quarreling with the publishers Gallo and Pirovano in May 1521; his commentary ends at chapter 6 of Book IX, and the remainder was completed by Benedetto Giovio da Comasco and Bono Mauro da Bergamo. An autograph note by Cesariano in the copy of the Biblioteca Melziana supplies details of the publishing contract, including the edition size of 1300 copies. The fine illustrations, of which many were cut by Cesariano himself (one, on folio X6r, is signed with his monogram and dated 1519), clearly show the influence of Leonardo da Vinci and Kristeller believed them to have been in fact the work of one of his pupils. Although some of the woodcuts follow the classical models of the previous editions, others show water-wheels and various mechanical devices. The plates showing plans and elevations of Milan Cathedral are said to be "the earliest authentic representations of Gothic architecture in a printed book" (Fowler). The present copy shows the earlier version of the errata with 'tuta' for 'tutta' in the headline. Adams V-914; Berlin Kat. 1802; Cicognara 698; Fowler 395; Mortimer Italian 544; RIBA IV: 3519; Sander 7696. Fact and Fantasy 19.
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