La Italia liberata da Gotthi del Trissino. La Italia liberata da Gotthi del Trissino. 1a parte: Roma, Valerio e Luigi Dorico, a petizione di Antonio Macro, maggio 1547; 2a e 3a parte nel colophon: Venezia, Tolomeo Gianicolo, novembre e ottobre 1548.

Autore: TRISSINO, Gian Giorgio (1478-1550)


Dati tipografici:

Formato: in ottavo

Part 1: Rome, Valerio and Luigi Dorico for Antonio Macro, May 1547; Part 2 and 3 (colophon:) Venice, Tolomeo Gianicolo, November and October 1548.

Three parts in one volume, 8vo (148x93 mm). Part 1 (books I-IX): [8, including the title page within an architectural woodcut border], 175, [1 blank] leaves and 1 folding woodcut plate (Castrametazione di Belisario) bound between ll. P2 and P3. Collation: *8 A-Y8. Errata at l. *7r-*8r. Leaf Y8 is a blank; Part 2 (books X-XVIII): [4], 181, [2] leaves. Collation: [χ]4 Aa-Zz8. The quire [χ], which contains a double-page woodcut map of Rome with its caption and the errata of second part, is bound at the beginning instead of at the end. Gianicolo's full-page device on the verso of fol. Zz8. Lacking the blank leaf Zz7. Colophon at l. Zz6r; Part 3 (books XIX-XXVII): 184, [4, of which the last is a blank] leaves. Collation: aaa-zzz8 [χ]4. Colophon at l. zzz8r. Gianicolo's full-page device on l. zzz8v. Quire [χ] contains the errata to part 3. Leaf [χ]4 is a blank. Italic types including the orthographic variants introduced in the Italian alphabet by Trissino (cf. L. Balsamo-A. Tinto, Origini del corsivo nella tipografia italiana del Cinquecento, Milan, 1967, p. 156). On the front flyleaf manuscript note in Italian, an ex-dono from Guglielmo Carlo Cotton to his friend Edward Hawkins (dated England, 6 December 1841). The present copy does not bear any of the text suppressions mentioned by B. Gamba (cf. Serie di testi di lingua italiana, Venice, 1839, no. 1713). 19th-century English large-grained green morocco gilt, gilt edges (Bound by C. Hering, N° 10 St. Martin Street, London). Joints and corners worn. A very good copy.

FIRST EDITION, in an uncensored copy, of this epic poem to which the author dedicated himself for almost twenty years. It reflects the literary theories expressed by Trissino in the six parts of his Poetica (1529 and 1562). The poem consists of twenty-seven books in loose hendecasyllables that narrate the war of the Emperor Justinian against the Ostrogoths. In the dedication to Charles V, Trissino declares that modern poem must be based on the unity of action and must follow the rules outlined by Aristotle and the example of Homer. The story, based on historical facts narrated by the Greek writer Procopius of Caesarea (fl. 5th-6th cent.), focuses on the military campaign of the Byzantines who, under the leadership of the generals Belisarius and Narses, fought a victorious war against the Goths, that ended with the battle of Ravenna. The war is, in reality, only a pretext for a series of erudite digressions, which include long speeches pronounced by the characters and love scenes full of references to Petrarch and Dante. The poem was negatively greeted by its contemporaries, as attested by Giraldi Cinzio's Discorso intorno al comporre dei romanzi and Torquato Tasso's Discorsi dell'arte poetica e del poema eroico (cf. E. Musacchio, Il poema epico ad una svolta: Trissino tra modello omerico e modello virgiliano, in: “Italica”, 2003, 3, pp. 334-352).

Gian Giorgio Trissino was born into a noble family from Vicenza. He studied Latin and Greek in Milan under the guidance of Demetrio Calcondila, and philosophy in Ferrara under Niccolò Leoniceno. His villa near Vicenza became a meeting point for many intellectuals of the time, including Andrea Palladio, whose artist name was invented by Trissino himself. Charged to perform diplomatic missions on behalf of the popes Leo X and Clement VII, Trissino lived in Ferrara, Venice, Padua, Florence, and Rome, where he died in 1550. A friend of P. Bembo, J. Sadoleto, C. Lascaris and G. Rucellai, he translated Dante's De vulgari eloquentia (1529) and wrote the dialogue Il castellano (1529), in which he proposes an orthographic reform of the Italian language. He also composed the tragedy Sofonisba (1524), one of the first Renaissance attempts to revitalize the Greek theater (cf. Convegno di studi su Giangiorgio Trissino, Vicenza, 31 March-1 April 1979, N. Pozza, ed., Vicenza, 1980, passim)

Tolomeo Gianicolo was a Brescia typographer mostly active in Vicenza and Venice. He printed almost all of Gian Giorgio Trissino's works. The devise he used in his editions was actually Trissino's own emblem. According to G. Castellani, Tolomeo Ianiculo was a pseudonym, invented by Trissino himself for Bartolomeo Zanetti (cf. Da Tolomeo Ianiculo a Bartolomeo Zanetti via Giovangiorgio Trissino, in: “La Bibliofilia”, 94, 1992, no. 2, pp. 171-185).

Adams, T-954; BMSTC Italian, p. 681; Edit 16, CNC34513; M. Parenti, Prime edizioni italiane, Milan, 1948, pp. 492-493.