Manner of Alessandro Bonvicino, called Moretto da Brescia,
late 18th/early 19th …

Description

Manner of Alessandro Bonvicino, called Moretto da Brescia, late 18th/early 19th century- Portraits of St Placidus and St Maurus, each holding a staff and with a landscape beyond; oil on canvas, each 62.7 x 49.5 cm., two (2). Provenance: Private Collection, UK. Note: The depiction of St Placidus appears to be inspired, at least in part, by later 15th and early 16th century portrayals of the Saint, such as Pietro Perugino's (1446-1524) depiction of the subject, in the collection of the Vatican Museums [40321], and Moretto da Brescia's (1498-1554) version held at the Szépmûvészeti Múzeum, Budapest.

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Manner of Alessandro Bonvicino, called Moretto da Brescia,

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ACADEMY OF THE OCCULT. Rime de gli Academici Occulti con le loro imprese et discorsi. In Brescia, 1568 (Colophon: In Brescia, appresso Vincenzo di Sabbio, 1568). 4to, 235x170 mm. Binding in full stiff vellum. Papers 6, 126 i.e. 128, 8, numbering errors. Frontispiece and 15 full-page intaglio illustrations by Bartolomeo da Brescia. Some moisture marks but overall good copy with wide margins. Rare first edition of one of the most famous Italian emblem books. Landwehr: "The first contribution to emblematics by a literary society." Founded in Brescia around 1563, the Accademia degli Occulti became the intellectual and poetic center of literary life in the Lombard city in the second half of the century. Its members adopted Silenus as their Enterprise: it appears at the center of the fanciful Frontispiece, with the motto "Intus Non Extra," whose elitist meaning is illustrated by Bartolomeo Arnigio, in the 'Discourse around Silenus' that opens the volume. The emblems, made by members of the Academy, are followed by an explanatory discourse by Bartholomew Arnigio. Among them is Il Desioso, the painter Francesco Ricchini, a follower of Bonvicino, known as il Moretto. His feat is framed by an elaborate composition of nymphs and cherubs holding drawing and painting instruments. The accompanying speech extols the painter and discusses the relationship between poetry and painting. Fleming: "Each of the 'hidden academics' (members of a private learned society) is represented by a gnomic engraving, a Latin motto, a vernacular gloss, various verses, and an esoteric sobriquet; they are The Abstruse, Adumbrated, Arcane, Closed, Desious, Incognito, Nocturne, Nubiloso, Obfuscato, Oscuro, and Sepolto. Their interests range from rhetoric to metaphysics to agriculture, but in every case, their goal is to understand 'all the worthiest matters that are allowed to the weak light of our Intellects,' via communion with 'superior and intellectual essences.' Ultimately -- as the lover becomes like the beloved, and the moon like the sun -- the occult academics hope to transform themselves into 'the nature of God. ' Obviously, this is a highly Neoplatonic program. "Landwehr, Romanic emblem books, 1976, 10; Praz, II, pp. 3-4; Vaganay 1568, 4, James Gougal Fleming, "The Art del campo" in The Invention of Discovery 1500-1700, Surrey, 2011.See Françoise Lavocat, La syrinx au bûcher. Pan et les satyres à la Renaissance et à l'âge baroque, Droz, 2005, p. 23. 4to, 235x170 mm. Full stiff vellum binding. Leaves 6, 126 i.e. 128, 8, numbering errors. Title page and 15 etching illustrations on full page by Bartolomeo from Brescia. Some sign of humidity but overall a good copy with wide margins. First rare edition of one of the most famous Italian emblem books. Landwehr: "The first contribution to emblematics by a literary society." Founded in Brescia around 1563, the Accademia degli Occulti became the intellectual and poetic center of the literary life of the Lombard city in the second half of the century. Its members adopted Silenus as their mark: it appears at the center of the imaginative title page, with the motto "Intus Non Extra," whose elitist meaning is illustrated by Bartolomeo Arnigio, in the "Discorso attorno al sileno" which opens the volume. The emblems, commissioned by members of the Academy, are followed by an explanatory speech by Bartolomeo Arnigio. Among these is Il Desioso, the painter Francesco Ricchini, follower of Bonvicino, known as Moretto. His coat of arms is framed by an elaborate composition of nymphs and putti holding drawing and painting tools. The accompanying speech exalts the painter and discusses the relationship between poetry and painting. Fleming: "Each of the 'hidden academics' (members of a private learned society) is represented by a gnomic engraving, a Latin motto, a vernacular gloss, various verses, and an esoteric sobriquet; they are The Abstruse, Adombrato, Arcane, Closed, Desioso, Incognito, Notturno, Nubiloso, Offuscato, Oscuro, and Sepolto. Their interests range from rhetoric to metaphysics to agriculture, but in every case, their goal is to understand 'all the worthiest matters that are allowed to the weak light of our Intellects,' via communion with 'superior and intellectual essences.' Ultimately -- as the lover becomes like the beloved, and the moon like the sun -- the occult academics hope to transform themselves into 'the nature of God. Obviously, this is a highly Neoplatonic program."

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