Published by Forgotten Books, 2018
ISBN 10: 1390328759 ISBN 13: 9781390328752
Seller: PBShop.store US, Wood Dale, IL, U.S.A.
PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.
Publication Date: 2023
Seller: True World of Books, Delhi, India
LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from 1548 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 130.
LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from 1693 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 134.
Publication Date: 2023
Seller: True World of Books, Delhi, India
LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from 1559 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 151.
Publication Date: 2023
Seller: True World of Books, Delhi, India
LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from 1539 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 117 Language: Italian.
Published by Kessinger Publishing, 2009
ISBN 10: 1104899981 ISBN 13: 9781104899981
Seller: California Books, Miami, FL, U.S.A.
Condition: New.
Publication Date: 2022
Seller: S N Books World, Delhi, India
Leatherbound. Condition: NEW. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1692 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 320 Language: Italian Pages: 320.
LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from 1558 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 554.
Published by Forgotten Books, 2018
ISBN 10: 1391286278 ISBN 13: 9781391286273
Seller: PBShop.store US, Wood Dale, IL, U.S.A.
HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.
Published by Kessinger Publishing, 2010
ISBN 10: 1166183645 ISBN 13: 9781166183646
Seller: THE SAINT BOOKSTORE, Southport, United Kingdom
Paperback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.
Published by G. Barbèra,, Firenze, 1860
Seller: Salvador Cortés, Librero Anticuario, San Lorenzo del Escorial, Spain
xlix+460 pp., 1 h. 12º. Pergamino a la romana de época, lomera cuajada, cortes teñidos. Muy buen estado, salvo leve restauración marginal de dos cm. con papel adhesivo.
Published by Al segno di San Giorgio (in fine: «per Comin da Trino di Monferrato»),, 1548
Seller: Libreria Antiquaria Pontremoli SRL, Milano, MI, Italy
[Venezia] Vinegia, Al segno di San Giorgio (in fine: «per Comin da Trino di Monferrato»), [1548] MDXLVIII, Esemplare molto buono, con le carte complessivamente pulite e integre (solo qualche fisiologica e leggera fioritura passim; minimi fori di tarlo all'angolo superiore delle prime pagine, che non toccano il testo, coperti da interventi di restauro al contropiatto e alla prima sguardia; piccoli fori di tarlo alle pagine di indice, che sporadicamente intaccano il testo, in parte coperti all'ultima pagina con intervento amatoriale di restauro). Notevoli ex libris xilografici «Ing. Roberto Almagià» con motto «Che incuria non disperda» alla prima sguardia e al contropiatto posteriore; non firmati ma probabilmente di Bruno da Osimo. Bella edizione pubblicata ad un anno della morte della Colonna; contiene 150 sonetti non ripresi dal Ruscelli nell'edizione del 1558 e gli altri 32 sono diversi. in 8°, legatura di fine Ottocento / primi Novecento in cartone rivestito di gradevole carta decorata in verde e sanguigna a motivi floreali; cc. 48 [4] con indice. Esemplare molto buono, con le carte complessivamente pulite e integre (solo qualche fisiologica e leggera fioritura passim; minimi fori di tarlo all'angolo superiore delle prime pagine, che non toccano il testo, coperti da interventi di restauro al contropiatto e alla prima sguardia; piccoli fori di tarlo alle pagine di indice, che sporadicamente intaccano il testo, in parte coperti all'ultima pagina con intervento amatoriale di restauro). Notevoli ex libris xilografici «Ing. Roberto Almagià» con motto «Che incuria non disperda» alla prima sguardia e al contropiatto posteriore; non firmati ma probabilmente di Bruno da Osimo. legatura di fine Ottocento / primi Novecento in cartone rivestito di gradevole carta decorata in verde e sanguigna a motivi floreali;
rilegato. Condition: Buono (Good). Legatura ottocentesca in marocchino marrone restaurata rinsaldandola ai piatti, dentelle dorate. Dorso a cinque nervi con autore, titolo, data e fregi floreali impressi in oro. Frontespizio racchiuso entro una pregevole cornice figurata. Note di possesso manoscritte da antica mano al frontespizio e all'ultima c.b. 48 carte non numerate compresa l'ultima bianca. "Le rime della poetessa Colonna" rappresentano uno dei più interessanti documenti della lirica cinquecentesca, al di fuori di schemi del petrarchismo in cui solitamente sono ascritte. Edizione molto rara, forse da attribuire all'editore Zoppino. Senza nome dello stampatore nè luogo di stampa. Cfr. Brunet,II,161: "Les posies de cette femme clbre sont estimes: elles parurent dabord Parme, 1538; mais cette premire dition nest point complte. Celle de 1539, sans nom de ville ni dimprimeur; celle de Florence, ad instanza di Nicolo dAristotele detto il Zoppino, 1539; de Venise, Comin da Trino, 1540 e 1544, ont reu successivement des augmentations." Eccellenti condizioni conservative. Book.
Published by per Bartolmio detto l'Imperador, & Francesco Vinetiano suo genero, [Al colophon:] In Vinegia, 1544
rilegato. Condition: Buono (Good). ff.54, (2 bianchi in fine), ottimo carattere corsivo. Legatura d'amatore moderna in pieno marocchino verde, filetto oro sui piatti, dorso a nervi con titolo e fregi oro, tagli dor., dentelle int. (firmata Wallis & Lloyd). Una delle prime e più complete edizioni dei versi poetici di Vittoria Colonna (1492-1544), bellissima donna, la quale dopo la morte del marito Ferrante d'Aragona, fu amica di Michelangelo negli anni 1538-1540, ed ebbe in seguito una vita religiosa assai intensa e varia a Roma,Orvieto, Firenze, Lucca e altri monasteri. Esemplare assai bello e raro. Book.
Published by ,, 1539
Seller: Govi Rare Books LLC, Woodside, New York City, NY, U.S.A.
Condition: Buono (Good). THE ?DIVINE? POETESS8vo (mm 141x95); later stiff vellum, ink title on spine; (47), (1 blank) ll. Italic type. Ownership's entries on the title-page: ?di Paolo franceschi? and ?di giannantonio Bartholi. Ede sua amicj? A very good copy.RARE SECOND EDITION, edited by Filippo Pirogallo and by him dedicated to Alessandro Vercelli.The edition contains the same poems as the first 1538 Parma edition (overall 145 poems including 9 by other authors), with the addition of the stanze Quando miro la terra ornata e bella by Veronica Gambara, here called Stanze aggionte and wrongly attributed to Vittoria Colonna (?con l'aggiunta delle stanze di Veronica Gambara Quando miro la terra ornata e bella, qui definite come Stanze aggionte e attribuite erroneamente a Vittoria Colonna?, V. Colonna, Rime, A. Bullock, ed., Bari, 1982, p. 259).In 1539 Colonna's rhymes were also printed in Florence by Zoppino and twice in Venice (by Salvioni and allegedly by Zoppino or Troiano). These editions are easily distinguishable by the present because they bear either a trefoil or a woodcut border on the title-page. According to Bullock (op. cit.), they are slighlty later since they all amend in the dedication leaf the dot wrongly placed between the dedicatee's first and last name.The poetic production of Vittoria Colonna comprises two main characters: one profane, which consists of Petrarchan poems celebrating the love for her husband, the Marquis of Pescara Francesco D'Avalos, whom she married in 1509 and who died in battle in 1525; and one sacred, in which the personal pain for the loss of her husband is transfigured and becomes more and more universal up to a point in which it coincides with the pain of Christ on the cross. If in the first editions of the Rime the spiritual character occupies only a small part of the collection, it gradually increases over the years reaching its summit in the 1546 and 1548 Valgrisi editions, which are both entitled Rime spirituali. ?Although Colonna literary activity spanned over twenty years, her lyrics are clearly marked by a uniform maturity of style. She achieved a higly successfull balance between, on the one hand, ?correct? poetic language (in which she imitated Petrarch rigorously) and content (unblemished devotion to the memory of her husband); and on the other hand a perfect harmony between stylistic tension (always in search of a ?high? linguistic register both in vocabulary and syntax) and an exploration of feelings (from the mourning of her husband to divine love and the contemplation of Christ), which excludes any trace of light-heartedness or lover's playfulness? (L. Panizza & S. Wood, eds., A History of Women's Writing in Italy, Cambridge, 2000, p. 38).Vittoria Colonna was the most famous Italian poetess of his day. It was the only artist, with the only exception of Michelangelo (on whom she had a great human and literary influence), to receive in her time the attribute of ?Divine? Her court soon became a circle of reformed ideas. Despite the highly intimate nature of her poetry, in it are clearly visible the religious ideas of reformed thinkers such as Juan de Valdes, Bernardino Ochino, and Reginald Pole (cf. M. Bandini Buti, Poetesse e scrittrici, Rome, 1941, I, pp. 164-171; see also F.A. Bassanese, Vittoria Colonna, in: ?Italian Women Writers: A Bio-bibliographical Sourcebook?, Westport CT, 1994, pp. 85-94).The added stanze by Veronica Gambara, here wrongly attributed to Colonna, had already been printed twice, in one case with correct atttribution (cf. V. Gambara, Rime, A. Bullock, ed., Florence, 1995, p. 38).?The poet Veronica Gambara was a contemporary on the literary scene and the same age as Vittoria Colonna. Despite her role, together with Colonna and Gaspara Stampa, as protagonist in the small group traditionally labelled as the standard bearers of female Petrarchism, she has not achieved the same recognition, and has always remained a somewhat dist. Book.
Published by per Giouanni Andrea Vauabore detto Guadagnino., [al colophon:] In Venezia, 1546
Condition: Buono (Good). Legatura moderna in marocchino liscio, dorso a cinque nervi con autrice e titolo impressi in oro, duplice filettatura ai piatti, contropiatti marmorizzati. 53 carte numerate, incluso il frontespizio con elaborata cornice silografica, [4] pp.nn. di indice e marca editoriale. Carattere romano. Frontespizio entro bella cornice figurata ed al verso deliziosa tavola raffigurante la deposizione di Cristo. Prima edizione completa delle Rime Spirituali, contenente un totale di 180 sonetti, di cui 145 non precedentemente pubblicati. Dei restanti 35 versi, la maggior parte è stata rielaborata da Colonna, con sostituzioni di singole parole, cambiamenti nella punteggiatura o ristrutturazione di interi versi. Questa, secondo Bullock, editore di una moderna edizione accademica delle Opere di Colonna, è da considerarsi l'edizione definitiva della sua poesia spirituale e fu la base per tutte le successive edizioni. È anche la prima edizione in cui le poesie di Colonna sono presentate in una sequenza attentamente ponderata piuttosto che, come nelle precedenti edizioni dedicate principalmente a opere profane, in un ordine più o meno casuale. Le opere di Colonna si articolano cronologicamente e tematicamente in due periodi, di cui il primo è dedicato a versi amorosi o romantici, composti in gran parte prima del 1538; queste opere, ispirate emotivamente dalla morte del marito nel 1525 e formalmente dal sonetto del lamento petrarchesco, furono ampiamente citate in un manoscritto, all'insaputa o consenso della Colonna. La prima edizione di queste opere profane, le Rime, fu pubblicata a Parma nel 1538, per opera di Philippo Pirogallo, il quale nella lettera dedicatoria ad Alessandro Vercelli afferma che era «preso da un ardente desiderio di pubblicarle, anche se questo contraddiceva il desiderio di una così grande signora». Delle sue 145 poesie, molte sono infatti di altri autori. Fu inserito un piccolo numero di sonetti dedicati a temi religiosi che anticipano la preoccupazione del suo periodo successivo, cioè l'anno successivo al 1538. Nelle edizioni delle Rime stampate tra la prima edizione del 1538 e il 1543 furono aggiunti ulteriori sonetti religiosi, raggiungendo il numero 24 nelle due edizioni del 1540. La dicharatione fatta sopra la seconda parte delle Rime della Diuina Vittoria Colonna del 1543 ne comprende 38, la maggior parte delle quali appaiono, riviste, nella nostra edizione del 1546. I versi profani o amatoriali esaltano e piangono il marito di Colonna, Ferrante d'Avalos, morto per le ferite riportate nella battaglia di Pavia, mitizzandolo come un eroe ideale - procedimento che, staccando la figura stessa del guerriero dagli orpelli materiali, prefigura il ruolo svolto dal Cristo crocifisso nei sonetti spirituali. Le prime poesie di lamento furono gradualmente sostituite nel tempo da un più profondo riconoscimento del sacrificio di Cristo crocifisso e da un amore trascendente del Divino; sebbene profondamente personali, la forma e il linguaggio dei sonetti è altamente sofisticata e si è evoluta nel corso di un lungo apprendistato letterario. Il misticismo ossessivo della poesia spirituale di Colonna rifletteva le principali questioni dibattute nell'Italia della Riforma nei circoli che circondavano figure centrali come G. Valdes, Bernardino Ochino e Reginald Pole, circoli in cui Colonna ebbe un ruolo attivo negli anni tra il 1530 e il 1537. Nonostante il suo intenso coinvolgimento nel mondo intellettuale del suo tempo, i poemi sono personali e rivolti verso l'interno, sottolineando la centralità del sacrificio di Cristo e il ruolo della croce come unica guida e bussola. Vittoria Colonna, marchesa di Pescara, era figlia di Fabrizio Colonna, capo della grande famiglia romana e Agnese da Montefeltro, figlia del duca di Urbino Federico. Nel 1503, all'età di 19 anni, sposò Ferdinando (Ferrante) Francesco d'Avalos, marchese di Pescara, nobile e guerriero di professione condottiero, "comandante audace, intraprendente, follemente ambizioso e. Book.
Published by Per Giovan Battista et Melchior Sessa fratelli, Venice, 1558
Seller: Liber Antiquus Early Books & Manuscripts, Chevy Chase, MD, U.S.A.
First Edition
Hardcover. Condition: Fine. A nice, unsophisticated copy in contemporary limp vellum. Title dusty, a few light marginal stains, marginal paper flaw (not affecting text) to leaf *4, short worm-trail in lower margin of five gatherings (Q-S, V-X), touching a single letter in the bottom line of text on some lvs., damp-stain to 4 lvs. in gathering FF and at end, a few other stray marks. This important scholarly edition of the poems of Vittoria Colonna, a copy of which was owned by Colonna's friend Michelangelo (with whom Colonna exchanged verses and from whom she received drawings), is a primary resource for understanding the contemporary critical reception of Colonna's poetry. This edition includes five NEVER BEFORE PUBLISHED sonnets by Costanza d'Avalos, Duchess of Amalfi and Vittoria Colonna's cousin by marriage. Very few of d'Avalos' poems have survived. By having them printed, Ruscelli has preserved for us another voice from an important coterie of Italian women writers. Also included are two poems, "Mentre da vaghi, e giovenil pensieri." and "O de la nostra etade unica gloria.", by Veronica Gambara, the other "great pioneer of sixteenth-century vernacular women's writing"(Cox), very few of whose poems were published in the 16th century. This 1558 edition of Colonna's poems contains the first complete printing of Rinaldo Corso's commentaries on the rime, the first part of which is printed here for the first time. Moreover, the recension of the second part of Corso's commentary in this edition is distinctly different from the version printed already in 1543. In "Le due ridazioni del commento di Rinaldo Corso alle Rime di Vittoria Colonna" Monica Bianco writes that the collation of the two versions of the second part of Corso's commentary "permette di rilevare tali e tante varianti da imporre l'evidenza che i due testi afferiscano a due redazioni distinte. È difficile dire con esattezza quando il Corso abbia rimaneggiato l'opera."(p. 283) In his dedicatory letter to the new Marchesa of Pescara, Isabella Gonzaga, the editor, Girolamo Ruscelli informs us that the commentary arose from conversations between Corso and his patron, the poet and stateswoman Veronica Gambara (1485-1550), during which they discussed Colonna's poetry. Corso's commentary "reveals a huge amount about the manner in which Colonna's poetry was received and interpreted by readers with a particular interest in the spiritual questions that she explores." Corso "worked at the court of Correggio in the service of the other noted female Petrarchist of the period, Veronica Gambara. Corso's commentary sets out to canonize Colonna's poetry, inserting into a lineage of great vernacular texts as well as establishing its links with important classical precedents and thus assuring its status in its own century as a work that embodied the necessary duality of being both beautiful and serious."(Brundin, Vittoria Colonna and the Spiritual Poetics of the Italian Reformation, p. 156) The poetic production of Vittoria Colonna comprises two main characters: one profane, which consists of Petrarchan poems celebrating the love for her husband, the Marquis of Pescara Francesco d'Avalos, whom she married in 1509 and who died in battle in 1525; and one sacred, in which the personal pain for the loss of her husband is transfigured and becomes more and more universal up to a point in which it coincides with the pain of Christ on the cross. If in the first editions of the Rime (1538 and 1539) the spiritual character occupies only a small part of the collection, it gradually increases over the years. "Although Colonna literary activity spanned over twenty years, her lyrics are clearly marked by a uniform maturity of style. She achieved a highly successful balance between, on the one hand, "correct" poetic language (in which she imitated Petrarch rigorously) and content (unblemished devotion to the memory of her husband); and on the other hand a perfect harmony between stylistic tension (always in search of a "high".