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Autore MOLIN, Girolamo (1500-1569).
Tipografo Comin da Trino
Dati tipografici Venezia, 
Prezzo 1.000,00
Rime

8vo (151x102 mm). (15, lacking the first blank leaf), 121 [i.e. 126, leaves 54, 63, 64, 107 and 108 repeated in numbering], (6) leaves. With a woodcut device on the title-page and at the end. Contemporary vellum, spine covered by a red paper with label and ink title, slightly rubbed and worn, a good and genuine copy.

FIRST EDITION (variant issue in which the blank leaf Q7 is replaced by a bifolium containing a sonnet by Domenico Venier and the errata). The volume is dedicated by Celio Magno to Giulio Contarini (Zara, October 20, 1572) and also contains a life of Molino written by the painter Giovanni Mario Verdizzotti, a pupil of Titian.

This verse collection represents a kind of summa of the Venetian neo-Petrarchism and contains at the end a ‘tombeau poétique' in Molino's memory, including verses by Lauro Badoer, Girolamo Fioretti, Federico Frangipane, Giorgio Gradenigo, Pietro Gradenigo, Nicolò Macheropio, Celio Magno, Domenico Vernier, and some anonymous authors (cf. E. Taddeo, Il manierismo letterario e i lirici veneziani del tardo Cinquecento, Rome, 1974, pp. 73-91).

“Nel 1569 muore Girolamo Molino. Gli amici, Domenico Venier in primo luogo, promuovono la pubblicazione delle sue rime; Celio Magno le dedica a Giulio Contarini. Il compito di scrivere la vita dell'autore è affidata al Verdizotti. Anche in questo caso egli coglie l'occasione per dare al libro un particolare sapore. Si celebra la collaborazione fra grandi personaggi di generazioni diverse: si ricorda l'amicizia del giovane Molino con i vecchi maestri, il Bembo, Triphon Gabriele, il Trissino, e con personaggi illustri, con cui minore era lo stacco generazionale, come Domenico Venier, il Navagero, Daniele Barbaro, Bernardo Cappello, Luigi Cornaro, lo Speroni, Bernardo Tasso, Giulio Camillo. Il Verdizotti ricorda anche che l'amore per la poesia volgare conviveva nel Molin con l'interesse per la pittura, la scultura, la musica, e che anche conosceva la lingua ebraica, oltre al greco e al latino. Interessante è anche il ritratto morale del personaggio, non si sposa per non turbare l'otium degli studi letterari, ma non è certo insensibile al fascino delle belle donne; accetta raramente incarichi pubblici, ma si indigna per il cattivo uso che altri ne fanno: si arrabbiava, scrive il Verdizotti, contro coloro che ‘carichi di ricchezza e ornati di grande autorità, non facessero molte cose degne di loro, come si può tener per certo ch'egli fatto haverebbe'. La vita del Molin scritta dal Verdizotti tende dunque a tramutarsi nella celebrazione di un ambiente, nella appassionata rievocazione di un momento magico della vita culturale veneziana” (L. Bolzoni, La stanza della memoria. Modelli letterari e iconografici nell'età della stampa, Turin, 1995, p. 36).

“Since musical activity in Venier's salon functioned as a pastime rather than a central activity, and since the academy kept no formal records of its meetings, concrete evidence of links between musicians and men of letters is scarce... Among literati the most intriguing link may be found in the figure of Molino, Venier's aristocratic poet friend and acquaintance of Parabosco. Molino's stature in Venetian society was considerable, despite family battles that cost him an extended period of poverty and travail. A bust sculpted by Alessandro Vittoria for the tiny Cappella Molin in Santa Maria del Giglio - where a great number of reliquaries owned by the family are still preserved - portrays Molino as the embodiment of gerontocratic wisdom. In 1573 his posthumous biographer, Giovan Mario Verdizzotti, wrote that of all the arts Molino had delighted in understanding music most of all. The remark is supported by earlier evidence. Several composers based in Venice and the Veneto - Jean Gero, Francesco Portinaro, and Antonio Molino (no relation) - set Molino's seemingly little-accessible verse to music before its publication in 1573, four years after the poet's death... Molino himself may have performed solo song, as Stampa seems to hint in a sonnet dedicated to him with the words ‘Qui convien sol la tua cetra, e ‘l tuo canto, / Chiaro Signor' (‘Here only your lyre is fitting, and your song, / eminent sir'). In Petrarchan poetry the idea of singing, and singing to the lyre, is of course a metaphorical adaptation of classical convention to mean simply poetizing, without intent to evoke real singing and playing. But Stampa's poems make unusual and pointed separations between the acts of ‘scrivere' and ‘cantare' that suggest she meant real singing here. Other contemporaries specifically point up Molino's knowledge of theoretical and practical aspects of music. In 1541, Giovanni del Lago dedicated his extensive collection of musical correspondence to Molino, whom he declared held ‘the first degree in the art of music' (‘nell'arte di Musica tiene il primo grado'). Further, he claimed, ‘Your Lordship... merits... the dedication of the present epistles, in which are contained various questions about music... And certainly one sees that few today are found (like you) learned... in such a science, but yet adorned with kindness and good morals'. Del Lago's correspondence was theoretically oriented in church polyphony. One of its most striking aspects is its recognition of connections between music and language that parallel those embodied in the new Venetian madrigal style. Del Lago insisted that vernacular poetry be complemented with suitable musical effects and verbal syntax with musical phrasing. In discussing these relationships he developed musically the Ciceronian ideals of propriety and varietas. His dedication to Molino therefore presents a fascinating bridge between patronage in Venier's circle and developments in Venetian music. Yet taken in sum these sources show Molino's musical patronage embracing two different traditions, each quite distinct: one, the arioso tradition of improvisers and frottolists; the other, the learned tradition of church polyphonists. Molino's connection with both practices reinforces the impression that Venetian literati prized each of them” (M. Feldman, City culture and the madrigal at Venice, Berkeley, CA, 1995, pp. 113-116; see also E. Greggio, Girolamo da Molino, in: “Ateneo Veneto”, ser. 18, vol. 2, 1894, pp. 188-202 and 255-323).

The printing of the volume has been attributed to Comino da Trino, a typographer active in Venice from 1539 to 1573, and probaly represents his last work (cf. E. Vaccaro, Le marche dei tipografi ed editori italiani del XVI secolo nella Biblioteca Angelica di Roma, Florence, 1983, p. 254).

Edit 16, CNCE48399; Universal STC, no. 843040; I. Pantani, Biblia. Biblioteca del libro italiano antico. La biblioteca volgare. Vol. 1: Libri di poesia, Milan, 1996, no. 2974; H. Vaganay, Le sonnet en Italie et en France au XVIe siècle, Lyons, 1902, I, p. XXX, no. 7.

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