LORENZO GIUSTINIANI. Dottrina della vita monastica. [Venice: Bernardino Benali, for Lazzaro Suardi?], 20 October 1494
An unusual printing with woodcuts on the first and last leaves, acting as temporary decorative wrappers, in the manner of the modern dust-jacket, with the letterpress title printed above both woodcuts. These woodcut wrappers are found on a group of nine Venetian devotional works in the vernacular, printed in 1493 and 1494, and all produced by Benalius. The privilege for the present work was granted to Benalius in February 1494, and as Lazarus de Soardis was also granted a privilege on the same day, it can be inferred that the two were working together, presumably as printer and publisher.
The woodcut wrappers depict St John the Baptist and St Peter on the upper cover, and St John the Evangelist and St Francis on the lower cover, each pair of figures holding up a cartouche containing a holy name. The third woodcut, opposite the start of the text, depicts the author, Lorenzo Giustiniani (1381-1456), holding a book while in the process of blessing, which is a reverse copy of Gentile Bellini’s portrait of Giustiniani (now in the Museo dell’Accademia, Venice).
LORENZO GIUSTINIANI. Dottrina della vita monastica. [Venice: Bernardino Benali, for Lazzaro Suardi?], 20 October 1494
An unusual printing with woodcuts on the first and last leaves, acting as temporary decorative wrappers, in the manner of the modern dust-jacket, with the letterpress title printed above both woodcuts. These woodcut wrappers are found on a group of nine Venetian devotional works in the vernacular, printed in 1493 and 1494, and all produced by Benalius. The privilege for the present work was granted to Benalius in February 1494, and as Lazarus de Soardis was also granted a privilege on the same day, it can be inferred that the two were working together, presumably as printer and publisher.
The woodcut wrappers depict St John the Baptist and St Peter on the upper cover, and St John the Evangelist and St Francis on the lower cover, each pair of figures holding up a cartouche containing a holy name. The third woodcut, opposite the start of the text, depicts the author, Lorenzo Giustiniani (1381-1456), holding a book while in the process of blessing, which is a reverse copy of Gentile Bellini’s portrait of Giustiniani (now in the Museo dell’Accademia, Venice).
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