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Sebastiano Serlio.

Il terzo libro... nel qual si figurano, e descrivono le antiquità di Roma, e le altre che sono in Italia, e fuori d'Italia. Venezia, Francesco Marcolini, Febbraio 1540. (legato con:) Idem. Regole generali di architettura... sopra le cinque maniere de gli edifici, cioe, thoscano, dorico, ionico, corinthio, e composito, con gli essempi de l'antiquita... Venezia, Francesco Marcolini, Febbraio 1540.. Francesco Marcolini, 1540.

Sebastiano Serlio. Il terzo libro... nel qual si figurano, e descrivono le antiquità di Roma, e le altre che sono in Italia, e fuori d'Italia. Venezia, Francesco Marcolini, Febbraio 1540. (legato con:) Idem. Regole generali di architettura... sopra le cinque maniere de gli edifici, cioe, thoscano, dorico, ionico, corinthio, e composito, con gli essempi de l'antiquita... Venezia, Francesco Marcolini, Febbraio 1540.. Francesco Marcolini, 1540.

With ink drawings, possibly by Francesco Bartoli

Serlio, Sebastiano (1475-1554). Il terzo libro... nel qual si figurano, e descrivono le antiquità di Roma, e le altre che sono in Italia, e fuori d'Italia. Venice, Francesco Marcolini, February 1540. (bound with:) Idem. Regole generali di architettura... sopra le cinque maniere de gli edifici, cioe, thoscano, dorico, ionico, corinthio, e composito, con gli essempi de l'antiquita, che per la maggior parte concordano con la dottrina di Vitruvio. Venice, Francesco Marcolini, February 1540.

Two works in one volume, folio (342x240 mm). Printed on blue Paper. I. Collation: A2, B-V4. CLV, [1] pages. Lacking fols. H1 and H4, probably replaced by the first recorded owner with the leaves from an ordinary copy, and fols. R2 and R3 supplied with two manuscript leaves. Roman and italic type. Title within a cartouche surmounting a woodcut depiction of ancient Roman ruins with the caption ‘ROMA QUANTA FUIT IPSA RUINA DOCET'. Woodcut printer's device and colophon framed by a cartouche on the verso of fol. V4. 120 woodcuts, including thirty-two full-page and four double-page blocks. Woodcut animated initials throughout. II. Collation: A-T4. LXXVI leaves. Lacking fol. B1 which is supplied with a manuscript leaf. Roman and italic type. Woodcut architectural title. Woodcut printer's device and colophon framed by a cartouche on the verso of fol. T4. 126 woodcuts, fifty-six full-page illustrations, including six plates on three leaves (fols. S4-T2). Woodcut animated initials throughout. Eighteenth-century brown half-morocco, marbled covers. Spine with title in gilt lettering. A good copy, old paper repairs to the gutter and to outer margin of fols. V2 and V3 of the first edition bound. The lower margin of fol. A4 in the second edition bound has been repaired, some ink stains.

Provenance: Francesco Bartoli, possibly the Bolognese antiquarian (1675-1733; early ownership inscription on the first title-page and the margins of fol. V3 in the first edition bound, as well as fol. A4v of the second one, partially legible under UV lamp). The marginalia as well as the drawings that replace the lacking leaves are attributed to the skilled hand of this early owner.

This miscellaneous volume, exceptionally printed on blue paper, contains the first edition of Book iii from this fundamental work by the celebrated Bolognese architect Serlio; it is followed by the second edition of Book iv or Regole generali di architettura, which originally appeared in Venice in 1537.

Serlio's monumental work represents the first treatise on architecture in which the illustrations assumed primary importance, leading it to become one of the most important architectural books to disseminate knowledge of antique heritage and invention throughout Europe during the Italian Renaissance.

The work is made up of seven Books, which were published separately according to an order explained by Serlio in his preface to Book iv,although in reality the order was only partially followed by the author. Book iii, on ancient monuments, is dedicated to the King of France, François I, and appeared in Venice in 1540, while Books i and ii, on geometry and perspective, respectively, were published simultaneously in bilingual Italian-French editions in Paris in 1545, after Serlio's move to Fontainebleau. Book v, containing twelve temple designs, followed in 1547; it was the last to be published during Serlio's lifetime, once again in Paris in bilingual version.

Book vi, on domestic architecture, was never published, and survives only in two manuscript versions and a series of trial woodcuts. Finally, Book vii was edited posthumously by Jacopo Strada and published in Frankfurt in 1575. By the early seventeenth century, Serlio's treatise, and its various parts, had been translated into several languages, some as unauthorised editions. Book iii is especially important, and the layout Serlio adopted for it, with its well-balanced blocks of text and images, was later copied by Palladio in his Quattro Libri dell'Architettura of 1570. “The first genuine advance in architectural illustration seems to have been made by Serlio, and his Libro Terzo set the type of architectural illustration in Italy for the rest of the Century” (Fowler).

The text and the illustrations were both the result of Serlio's own investigations and derivations from the work of other architects, above all Serlio's master, Baldassare Peruzzi, whom he had assisted on a project for the façade of the Bolognese Basilica of San Petronio in the early 1520s. At the end, Serlio adds a separate treatise on Egyptian antiquities – Trattato di alcune cose meravigliose de l'Egitto – which derives mainly from Diodorus Siculus, and which presents, among other things, a perspectival elevation and a description of the Pyramid of Cheops near Cairo, as well as the description and imaginary reconstruction of a monument containing one hundred columns, the remains of which Serlio states were found in Greece.

Book ivRegole generali – represents the first handbook to summarize the new architectural style, establishing a canon of the five classical architectural orders on the basis of Roman remains. It is, like the previously described edition, finely illustrated.

The printer Marcolini, born in Forlì and active in Venice until 1559, issued a handful of copies of his editions published between 1539 and 1540 on large blue paper as presentation or special copies, including Serlio's Book iii and Book iv. These were intended for patrons or very distinguished clientele, as the copy on blue paper of both Books, bound together as they are here, once owned by the Prince of Bibliophiles Jean Grolier (1479-1565) and now in the Bibliothèque nationale de France well attests. The Walters Art Gallery in Baltimore has a copy of each of these Books, while a a copy of Book iii alone is preserved at the Metropolitan Museum of Art in New York, bequeathed by the great collector W. Gedney Beatty (1869-1942). Copies printed on blue paper of the other Books belonging to Serlio's ‘architectural encyclopedia' are not recorded.

The early owner of this volume might be identified as the Bolognese antiquarian Francesco Bartoli (1675-1733), who drew numerous copies after antiques, and played a notable role in the reception of the classical tradition during the eighteenth-century, particularly in Britain. It is also likewise possible to attribute to his hand the finely drawn leaves on white paper which replace those lacking on blue paper. Some of Bartoli's drawings preserved in the Eton College Library show plans and decorative elements featured by Serlio in his Book iii, relating to, among other things, the Tempio di Bacco and the decorative mosaics in the vaulting of the Roman Church of S. Costanza, considered by Serlio the ancient Temple of Baccus (see Il terzo libro, fols. C4v-D1r).

I. Casali Annali, 51; Mortimer Italian, 472; Berlin Katalog 2560; Fowler 308; RIBA 2968 and 2966. II. Casali Annali, 52; Charvet 2; Fowler 314; W. B. Dinsmoor, “The Literary Remains of Sebastiano Serlio”, The Art Bulletin, 24 (1942), esp. pp. 64-68; L. Gwynn – A. Aymonino (eds.), Paper Palaces. The Topham Collection as a Source for British Neoclassicism, Eton 2013, esp. pp. 22-39