23
●
CAESAR, CAIUS JULIUS.
[
Opera.]
6
full-page woodcut illustrations; double-
page woodcut map of Western Europe,
TINTED IN
6
HAND
-
STENCILLED COLORS AS ISSUED
.
[20], 296
leaves, including blank 2k7 and following colophon leaf. 8vo, 158x98 mm, 18th-
century vellum boards; washed and blurred underscoring and marginalia, contemporary
hand-written captions on C1 as usual, correcting the transposition of the woodcut illustra-
tions on recto and verso.
(
Venice: House of Aldus and Andrea of Asola, April 1513)
[3,000/5,000]
FIRST ALDINE EDITION
,
edited by the Franciscan scholar and architect Giovanni Giocondo
(
circa 1433-1515). “Aldus was extremely sparing in his use of color as a rule, only rarely
adding red as a second color to his typography; this is the only instance in which he employed a
polychrome method”—Fletcher, In Praise of Aldus Manutius, page 53. Renouard, page 60(1);
New UCLA 117; Harvard/Mortimer-Italian 96.
[
SEE ALSO CATALOGUE COVER
]
24
●
CAESAR, CAIUS JULIUS.
[
Opera.]
Edited by Giovanni Giocondo. 5 full-page
woodcut illustrations; double-page woodcut maps of Gaul and Iberia. [16], 296 leaves,
including the blanks B8 and 2k7, and colophon leaf. 8vo, 154x98 mm, contemporary limp
vellum with overlapping fore edges, ties lacking; minor soiling and occasional early under-
scoring and marginalia toward beginning.
(
Venice: House of Aldus and Andrea of Asola,
January 1518-November 1519)
[1,500/2,500]
Second Aldine edition. Renouard, page 88(11); New UCLA 185. On the front free endpaper
is a Parisian owner’s full-page note dated 1594 concerning Giocondo and the 2 Seine bridges
constructed under his supervision, the Pont Notre-Dame and Petit Pont, quoting a Latin dis-
tich in his honor inscribed on one of the arches of the Pont Notre-Dame.
23
