Beschreibung:

COLONNA, Francesco (d. 1527)]. Hypnerotomachie, ou Discours du songe de Poliphile. Anonymous translation from Latin into French, edited by Jean Martin. Paris: Louis Blaublom for Jacques Kerver 20 August 1546.
COLONNA, Francesco (d. 1527)]. Hypnerotomachie, ou Discours du songe de Poliphile. Anonymous translation from Latin into French, edited by Jean Martin. Paris: Louis Blaublom for Jacques Kerver 20 August 1546. 2° (334 x 206mm). Roman, italic, Greek and Hebrew types, woodcut Arabic. Title within woodcut border with putti, male and female terminal figures and grotesques, signed with Kerver's initials in three places, Blaublom's two-turtle device at bottom; 181 woodcut illustrations in various sizes, 13 full-page, including a group of tombstones with typeset text inserted; woodcut 9-line arabesque or criblé initials composing an acrostic including Colonna's name; Kerver's device (Renouard 513) on last leaf. (Very occasional light spotting, repaired small marginal hole or tear in 2 leaves.) French crushed dark brown morocco by G. Mercier, 1928, paneled in blind with gilt corner pieces, spine lettered and gilt, crushed tan morocco inlaid pastedowns, silk flyleaves, gilt edges. Provenance : early inscription washed from title margin. FIRST EDITION IN FRENCH, REVISED AND EDITED BY JEAN MARTIN . When Jacques Gohory proposed the Hypnerotomachia to Jean Martin, who had already translated the work of poets such as Bembo, Ariosto and Sannazaro, it created a certain stir, especially in literary circles in Lyons. Gohory had obtained the translation from a knight of Malta and commissioned Martin to revise it for publication, joining a series of works introducing Italian culture to the French. For Jean Martin too editing the Hypnerotomachia was a turning point. Almost simultaneously he translated Serlio, Vitruvius and Alberti, thereby not only providing French-language editions of these architectural treatises of classical antiquity and the Renaissance but also laying the foundation for his Hypnerotomachia text, itself a crossroads of architectural imagery and allegory. Beyond mere storytelling, Jean Martin perceived the importance of architectural fantasies to antiquity and incorporated them afresh to nourish the creative fantasy world of his time. The elegant woodcuts of this edition are freely adapted from the cuts of the Aldine editions of 1499 and 1545, with a number of modifications typical of the French Renaissance style, including modelling, swirling drapery, and more lavish landscapes. Fourteen new illustrations of topiary, formal gardens and architectural details are added. At least four different styles can be discerned in the woodcuts, but no artist has been positively identified, although Jean Goujon has been mentioned. Davies, Fairfax Murray French 99; Mortimer, Harvard French 145.