March 1509 PLUTARCH. Moralia , Gk. Ed. Demetrios Ducas, assisted by Erasmus and Girolamo Aleandro. Royal 4° (285 x 176mm). Collation: + 8 (title Plutarchi Opuscula LXXXXII. Index Moralium omnium, & eorum quae in ipsis tractantur, habetur hoc quaternione. Numerus autem Arithmeticus remittit lectorem ad semipaginam, ubi tractantur singula and device f3, dedication, index, Greek epigram by Aleandro, Ducas' Greek preface addressed to studious readers); a-z & aa-zz aaa-sss 8 ttt 6 (text, ttt5 v register and colophon Venetiis in aedibus Aldi & Andreae Asulani Soceri mense Martio MDIX , ttt6 r blank, ttt6 v device f3). 534 leaves. Greek type 3bis:90, roman 11bis:91 (incidental). 46 lines and headline, paginated. PREFACE: In the dedication letter to Jacopo Antiquario (1445-1512), Aldus writes that from the Plutarch alone he can demonstrate that the best works are the most difficult to carry out. He dedicates it to Antiquario for many reasons: his honesty, his learning, his courtesy, his affection and especially his morals. As his guest in Milan, Aldus has experienced himself Antiquario's goodness as well as that of his young nephew, who is already knowledgeable in Greek and Latin. All the authors confirm the saying, 'like master like man'. Having got to know Antiquario's great integrity in their daily conversations, Aldus would wish always to be with him; no wonder then that the Dukes of Milan hold him in such high regard. Here he wants to add the verse composed on the spot by Antiquario to great merriment on the occasion of Aldo's arrival in Milan: "Aldo has arrived, he has arrived! Our heart, intelligence, sweetness, soul and life, he who takes by the hand the Greeks and the Latins and has put them on a straight course, surpassing the great Olympic victors. Come on, youths, strew flowers throughout the city as Aldus has truly come for the first time, he has arrived!" BINDING: very handsome German half pigskin over oak boards, roll-tooled in blind, repeated leaf tool in black and title lettered in black on front cover, brass clasps and catches. PROVENANCE: early inscription on title erased; John Alfred Spranger, gift from G.M.S. 1946 (inscr.) EDITIO PRINCEPS. The Plutarch had been in hand since 1506. Ducas admits in his introduction that in some passages the Greek text is corrupt to the point of being unintelligible, and that he decided to leave them as they stand. Printer's copy for part of the text, a 13th-century codex now in the Ambrosiana, survives with page-markings of the Aldine shop. "Though not numerous, the corrections are sufficient to show that at least one other manuscript has been used and that the editor ... worked competently enough within the limits imposed on him... Above the sections between ff. 34v and 84v which lack page-markings and emendations, is scrawled the word "stampato" - "already printed". Our inference must be that the process of criticism and emendation did not precede that of printing but advanced jerkily alongside it, step by alternating step... Printing classical texts was first and last an exercise in improvisation" (Lowry p. 240). VERY FINE COPY. Isaac 12820; Adams P-1634; Hoffmann III, 182; Dionisotti & Orlandi LXVI; Murphy 84; Sansoviniana 119; Laurenziana 103; R 55:1
March 1509 PLUTARCH. Moralia , Gk. Ed. Demetrios Ducas, assisted by Erasmus and Girolamo Aleandro. Royal 4° (285 x 176mm). Collation: + 8 (title Plutarchi Opuscula LXXXXII. Index Moralium omnium, & eorum quae in ipsis tractantur, habetur hoc quaternione. Numerus autem Arithmeticus remittit lectorem ad semipaginam, ubi tractantur singula and device f3, dedication, index, Greek epigram by Aleandro, Ducas' Greek preface addressed to studious readers); a-z & aa-zz aaa-sss 8 ttt 6 (text, ttt5 v register and colophon Venetiis in aedibus Aldi & Andreae Asulani Soceri mense Martio MDIX , ttt6 r blank, ttt6 v device f3). 534 leaves. Greek type 3bis:90, roman 11bis:91 (incidental). 46 lines and headline, paginated. PREFACE: In the dedication letter to Jacopo Antiquario (1445-1512), Aldus writes that from the Plutarch alone he can demonstrate that the best works are the most difficult to carry out. He dedicates it to Antiquario for many reasons: his honesty, his learning, his courtesy, his affection and especially his morals. As his guest in Milan, Aldus has experienced himself Antiquario's goodness as well as that of his young nephew, who is already knowledgeable in Greek and Latin. All the authors confirm the saying, 'like master like man'. Having got to know Antiquario's great integrity in their daily conversations, Aldus would wish always to be with him; no wonder then that the Dukes of Milan hold him in such high regard. Here he wants to add the verse composed on the spot by Antiquario to great merriment on the occasion of Aldo's arrival in Milan: "Aldo has arrived, he has arrived! Our heart, intelligence, sweetness, soul and life, he who takes by the hand the Greeks and the Latins and has put them on a straight course, surpassing the great Olympic victors. Come on, youths, strew flowers throughout the city as Aldus has truly come for the first time, he has arrived!" BINDING: very handsome German half pigskin over oak boards, roll-tooled in blind, repeated leaf tool in black and title lettered in black on front cover, brass clasps and catches. PROVENANCE: early inscription on title erased; John Alfred Spranger, gift from G.M.S. 1946 (inscr.) EDITIO PRINCEPS. The Plutarch had been in hand since 1506. Ducas admits in his introduction that in some passages the Greek text is corrupt to the point of being unintelligible, and that he decided to leave them as they stand. Printer's copy for part of the text, a 13th-century codex now in the Ambrosiana, survives with page-markings of the Aldine shop. "Though not numerous, the corrections are sufficient to show that at least one other manuscript has been used and that the editor ... worked competently enough within the limits imposed on him... Above the sections between ff. 34v and 84v which lack page-markings and emendations, is scrawled the word "stampato" - "already printed". Our inference must be that the process of criticism and emendation did not precede that of printing but advanced jerkily alongside it, step by alternating step... Printing classical texts was first and last an exercise in improvisation" (Lowry p. 240). VERY FINE COPY. Isaac 12820; Adams P-1634; Hoffmann III, 182; Dionisotti & Orlandi LXVI; Murphy 84; Sansoviniana 119; Laurenziana 103; R 55:1
.jpg?height=400 "Quelle: Christie's")
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