Rime di Domenego Lampietti ditto Lenzo Durello. In lingua rustega padovana parte prima [all published]. Di nuovo stampate & con soma diligenza corrette

Autore: LAMPIETTI, Domenico (fl. 2nd half of the 16th cent.)

Tipografo: Paolo Meietti

Dati tipografici: Padova, 1582


A PADUAN PAINTER'S POEM COLLECTION IN PAVANO

8vo (142x96 mm). [8], 40 leaves. Collation: πA8 A-E8. The first leaf is a blank. Printer's device on title page. Roman and italic types. Woodcut decorative initial on l. A3. Contemporary limp vellum, inked title on lower edge. On the front pastedown engraved bookplate of the family Peruzzi de' Medici. On title page and on last leaf recto private collection's stamp (“Ex-libris Victoris Aemilii Tiranti”). Light marginal stain on a few leaves, some browning, but a very good, genuine copy.

Rare first edition, dedicated to Francesco Tomitano, of the Paduan painter Domenico Lampietti's Rime in rustic Paduan language, a collection in which the author, whose nickname as pavano poet was Lenzo Durello, celebrates rustic life, friendship, love, good wine and food (in particular Marzemino wine, lasagne, and pecorino cheese).

But Lampietti also writes a lament on the departure from Padua of Alvise Giustinian (“Pianzi Pava, e pavan, pianzi d'agn'hora”, l. 3r), addresses euloges to the noblewomen Livia Secca (l. 3v) and Marina Malipiero (l. 9v), rages against Love in the sonnet Contr'Amore (“Figliuol d'una puttana, cento pare, / Mulazo, traitore, e bastardello”, l. 11r), celebrates his friends in the long poem Tubia dedicated to Giovanni Malipiero (ll. 12v-22r), honours the death of his friend Andrea Talento (l. 22v), congratulates Domenico San Polo on his graduation (l. 23v), asks the sculptor Bernardino Forte to make a portrait of his girlfriend (l. 26r) and the painter Piero Bertuosso to paint a portrait of him (l. 72, i.e. 27r), giving a detailed physical description of both subjects. In a sonnet (l. 31v) his friend Sgaregio Tandarello, i.e. the poet Claudio Forzatè, invites Lampietti to throw away his paintbrusch (“Buta pur via Lorenzo el to pennello / in ton casson, e lagalo arponsare”). At the end are a long poem called Reculiana (ll. 32r-39r), several epitaphs (spatafio), and the closing poem Rason snaturale alla sò Tosa che agno consa supia Amore (l. 38r).

“The Pavano Academy, which carries on with the older as well as other younger intellectuals -such as the priest Giacomo Morello, known as Morato, author of numerous rustic texts […]- will welcome, in due course, new and promising poets. Among these is Claudio Forzatè -contemporary and friend of Giacomo Alvise- who was a good pavano poet also known as Sgareggio, and a worthy author of tragedies and rustic comedies. Around [Alvise] Cornaro, therefore, the pavani continue composing and reciting and singing just as when Ruzzante was alive, in the same way it had been done before him. Beolco, in fact, joined the group that Cornaro had initially formed around himself during the years of his disordered life, that is, before 1517: demonstrated by the fact that Ruzzante recalls in his Dialogo facetissimo several ‘good companions' by then deceased for some time, who are the same ones Cornaro wishes to have brought back to life, still in their twenties, to be part of his paradise. With Beolco gone, the remaining ‘good companions' will change name and become the ‘Ruzanti', but the leader will always be Cornaro: the massaro who will later compose and recite the lament for everyone in the gran ca' -the great house- on the death of Pietro Bembo. At the pavano academy, all the friends would somehow stay involved whether alive or dead, an example of this is found here in the epitaph that Domenico Lampietti -in art known as Lenzo Durello- dedicates to Tomitano [who died in 1576]: ‘Chialò ghe xe quell celente pavan, / Miedego in merdesina sì da ben, / Che de slettiere ha pin la panza e ‘l sen. / El lome so è Bernardin Tumitan' [Who is that excellent pavano, a worthy doctor of merdecine, with belly and breast full of litters. Bernardino Tomitano is his name] […] The ‘Pavano Academy' continues with the new boari -among them, Forzatè and Lampietti, under the patronage of Giacomo Alvise, and in close contact with the ‘Vicenza school'- into the next century. Participating in this during his sojourn in Padua is Galileo Galilei, friend of Giacomo Alvise -also because their houses were adjoining- and a great admirer of Ruzzante. He himself writes in dialect (in reality more Venetian than pavano); and one of his best pupils, the friar Girolamo Spinelli, under the name of Cecco di Ronchitti, composes the Dialogo in perpuosito de la Stella Nuova, printed by Tozzi in 1605, one year before the death of Giacomo Alvise” (M. Milani, Introduction to Cornaro, in: A. Cornaro, “Writings on the Sober Life: The Art and Grace of Living Long”, H. Fudemoto, ed., Toronto, 2014, pp. 62-63).

“Poeti citati all'interno della raccolta [Delle rime di Sgareggio Tandarello, 1583] sono anche Menon […], Begotto […], Lenzo, Morato e gli sconosciuti Zugno da Tore, l'Ortolan e Mielo […] Lenzo è Domenico Lampietti, una figura della quale si sa pochissimo. Dalla sua raccolta di rime (Rime di Domenico Lampietti ditto Lenzo Durello in Lengua Rustica Padovana. Parte Prima. Di novo stampate e con diligenza corrette, In Padoa appresso Paolo Meietti, 1582) si evince che egli era padovano, faceva il pittore ed era un poeta ben inserito nella società veneta del tempo. Fra i destinatari dei suoi versi compaiono Alvise Giustinian, capitano di Padova dal 1578 al 1580, Giovanni Malipiero, podestà di Vicenza nel 1581, il giudice Soranzo Brescia, il pittore Andrea Talento, lo scultore Bernardino Forte, il conte Domenico San Polo, il patrizio Antonio Paruta, mentre la raccolta è dedicata a Francesco Tomitano […] [Nel] sonetto [nr. 28] Sgareggio riprende e muta il topos poetico del ritratto dell'amata dipinto nel cuore, inviando all'amico Magagnò (G. B. Maganza), poeta e pittore, un ritratto in versi di Bianca Angaran, una poetessa pavana. Il ritratto in versi era già stato usato in precedenza nella letteratura pavana da Domenico Lampietti (Lenzo Durello), un pittore e poeta ben inserito nella società veneta del tempo, il quale si descrisse in un sonetto ‘A messer Piero Bertuosso impenzatore', invitandolo a ritrarlo in un grande quadro (si veda M. Milani, Un intermezzo farsesco di Claudio Forzatè, in: ‘Giornale storico della letteratura italiana', CLXVII, 1990, pp. 413-416). Si ricorda inoltre che il Magagnò stesso aveva utilizzato un ritratto in versi per esaltare le bellezze di Maddalena Campiglia, e della stessa Bianca Angaran, componendo un bel sonetto giocato, analogamente a questo, sui termini ‘bianco-bianca' […] artifizio che ricorda quello usato dal Tasso nei madrigali a Bianca Cappello, che però sono più tardi di almeno una decina d'anni” (S. Angeli, Claudio Forzatè “Rime di Sgareggio” Edizione e commento, Dissertation theses, University of Padua, 2010/2011, pp. 40-41, 244).

Edit 16, CNCE30594; E.A. Cicogna, Delle inscrizioni veneziane, Venice, 1834, IV, p. 499; M. Milani, Vita e lavoro contadino negli autori pavani del XVI e XVII secolo. Studi e testi, Padua, 1996, pp. 138-157.


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