Matteo Maria BOIARDO, Francesco BERNI
Orlando innamorato
Apresso Molini|Parigi [Paris] • (Paris) 1768|9.50 x 16 cm|4 tomes en 4 volumes reliés
New edition, decorated with an unsigned portrait frontispiece.
Full raspberry red shagreen binding ca 1850. Spine with raised bands decorated with compartments, fillets on the bands. Triple fillet frame on the covers. Interior frieze. Edges gilt. Beginning of split at lower joints at head of volumes 3 and 4 over 2 cm, without gravity. Very handsome copy, perfectly established, and perfectly fresh.
The first two parts of this famous chivalric epic were written by Matteo Boiardo in 1483, then continued by Nicolo degli Agostini and Lodovico Domenichi, the whole was recast by Francesco Berni in 1541 who translated the work into Tuscan. Ariosto would write a sequel that would become even more famous: Orlando Furioso, and one naturally finds echoes of this work in Jerusalem Delivered by Tasso (1580). The poem features Roland, nephew of Charlemagne and draws directly from the romances of the knights of the round table (Chrétien de Troyes and consorts) and the song of Roland, the themes being as much thwarted love as chivalric exploits, the whole bathed in a typically medieval marvelous mixing dragons, giants and other fairy creatures. The poem is composed of stanzas of eight verses in rhyme.
Full raspberry red shagreen binding ca 1850. Spine with raised bands decorated with compartments, fillets on the bands. Triple fillet frame on the covers. Interior frieze. Edges gilt. Beginning of split at lower joints at head of volumes 3 and 4 over 2 cm, without gravity. Very handsome copy, perfectly established, and perfectly fresh.
The first two parts of this famous chivalric epic were written by Matteo Boiardo in 1483, then continued by Nicolo degli Agostini and Lodovico Domenichi, the whole was recast by Francesco Berni in 1541 who translated the work into Tuscan. Ariosto would write a sequel that would become even more famous: Orlando Furioso, and one naturally finds echoes of this work in Jerusalem Delivered by Tasso (1580). The poem features Roland, nephew of Charlemagne and draws directly from the romances of the knights of the round table (Chrétien de Troyes and consorts) and the song of Roland, the themes being as much thwarted love as chivalric exploits, the whole bathed in a typically medieval marvelous mixing dragons, giants and other fairy creatures. The poem is composed of stanzas of eight verses in rhyme.
€500