About this Item
Small folio, 278 x 203 mms., irregular and inconstent pagination, which sometimes includes the plates, but otherwise the same as the Bridwell copy, i. e., 10: 5, A2, B1, C-F2, G1, H-I2, L2, M1, N-R2, S1, T-V2, X1, Y-Z2,Aa-Cc2, Dd1, Ee-Qq2, Rr1, Ss-Vv2; 82 leaves, pp. [i-x], 1-65 [66] (i.e:88: 22 pages, versos of 19 double-page plates have page number only on one page of text, the other blank and unnumbered; the versos of 3 pages of text, pp. 20, 29 and 42, are blank and not given page numbers) including engraved title page. [34] double-page engraved plates with 47 figures (not allowed for in the numbering of pages, except plate [1], which is pp. [2-3], thus making a total of 33 double-page plates, or 66 unnumbered pages (with figure 42 misnumbered 41 and with figure[41] appearing unnumbered on the same plate as figure 40). Contents: 1a: engraved title page. 1b: blank. 2a - 3a: dedication to Cosimo II. 3b - 4a: preface. 4b: printer's preface. 5a:blank. 5b: license. A1a - Vv2a: text, including [34] double-page plates as described above. Vv2b: colophon and woodcut printer's device. Bound in 18th century calf, with older gilt spine in compartments laid down; generally a very good copy with fine impressions of the plates, which are engraved by Jacques Callot and appear here for the first time. Robin Halwas comments, "Amico's drawings exhibit a new standard of naturalism and topographical veracity. He took the measurements of the plan and elevation himself, expressing them in "the ordinary cane, which is in use in the Kingdom of Naples" (composed of ten palms, corresponding to 7 1/4 feet), or asked others to measure where his access was impeded by the Ottoman authorities. Amico sometimes simplifies and alters what he observes, but scrupulously advises the reader of any distortion, as for example in Chapter 32, where he admits to "correcting" the Church of the Holy Sepulchre by substituting round arches for pointed ones. The value of Amico's was recognized immediately and the Trattato was plundered by numerous authors, most notably Franciscus Quaresmius (1622) and Olfert Dapper (1677). Rembrandt owned a copy of the second edition and borrowed from it Amico's rendering of the Temple of Jerusalem as a domed octagonal building.2 When the methodological investigation of ancient remains in Jerusalem began in the middle of the nineteenth century, Amico's drawings were especially influential, and many scholars attested his accuracy. Archaeological excavation in modern times has diminished the utility of the drawings, however, their value in the historical reconstruction of the shrines, as witnesses to the former state of holy places altered and sometimes destroyed, has not waned. The book will always retain interest as a register of traditions associated with the holy places in the author's time.". Seller Inventory # 6964
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