Lyon, G. Rouillé 1559.
4to. 194, p. ONE HUNDRED TWO FINE OVAL WOODCUTS BY THE MAÎTRE À LA CAPELINE (Thomas Arande?), each in one of eight different densely decorated Mannerist frames of satyrs, insects, sea monsters, owls, eagles, pure ornament and grotesqueries; half-page woodcut medallion portrait of the author.
19th-century beige boards, flat spine (crown chipped), manuscript title on the bottom edge of the book block.
SIMEONI Gabriele. 1509-?1575.
Le Imprese Heroiche Et Morali Ritrovate. Lyon, G. Rouillé 1559. 4to. 51, p. THIRTY-FIVE FINE OVAL WOODCUT EMBLEMS BY THE MAÎTRE À LA CAPELINE, in woodcut frames (as above), Simeoni’s own emblem on the title verso.
Ad I: FIRST ILLUSTRATED EDITION: “AT THE SOURCE OF THE ART OF EMBLEMATICS” (Chatelain, tr.). Rouillé’s preface discusses the illustrated manuscript, the commissioning and execution of the blocks and the preparation of the text. A modest copy (slightly browned, one quire slightly stained, a couple of ink spots, old repair to four leaves), early signature of Gio. Filippo Scutono, bookplate of revolutionary Francesco Bubani (1809-90).
¶Adams et al., A Bibliography of French Emblem Books F.265; Praz, Studies in 17th-Century Imagery 352; Chatelain, Livres d’emblèmes 40; Vinet, Bibliographie…des beaux-arts 845 “jolies figures…d’un goût excellent”.
Ad II: First Edition. Among the images is Aldus’ Festina lente. For Simeoni (1509-?75), the emblem “is a means of investigating the true nature of men, and, even more, their dissimulation” (Chatelain, tr.). In good condition (four lower corners slightly stained).
¶Adams et al. F.527; Praz 497; Chatelain 41; Vinet 845.