M. ANTONNI COCCHI SA.BELLICI opera.
Basel (Herwag) 1538. Cassel. hist, uniy. fol. 12 Lit. N. in Fol. Nr.
volumes in uniform binding,
BIndings: Pasteboard (16 ply) covered with polished bright leather. :3v, 37o, 7o nun. Greenstrings. Edges smooth gilt.
Sewing: 6 double cords and kettle-stitch. The headband is fastened into the pasteboards and spun over with a green and gold thread, fastened into and passed under the kettle-stitch at every sixth turn.
DEcoration: The same on both covers, except that the inscription on the reverse cover runs: Ingratis | servire | nephos). On the lower margin of both covers of both volumes is:THO. MAIOLI et AMICORVM. It is unnecessary to waste further words on the value and interest which these on the whole well-preserved volumes possess for the history of art. Ihey belong to the earliest of their kind, but must rank partcularly high for the clearness and beauty of their design. All that is inharmonious, in my opinion, is the border of segments of circles. the bands of the design have been painted with brilliant lacquer. now, unfortunately, partly rubbed off; the outer border is black, white, black; the rectangular interlaced and the inner oval borders are both black. The free scrolls are yellow ochre, the round and crescent-shaped fields in the volutes and knots are carmine red. The flowing leaves which form the terminals of the scrolls in the 4 corners are lavender blue. ThE centre segment border and the bands of the strings are painte white; the whole enclosed by neat gold contour lines.
As the above signature shows, the volumes came to Cassel from Heiderberg. As to how they came to Heidelberg we are quite in the dark. I imagine that the influence of the connection with Paris through Lieselotte (see the Introduction) may be traced here too. It may also be worth investigation whether Maioli’s library may not have been sold by auction after his death and so have been dispersed in all directions.
FRANCISCUS RAFAEL, de exilio Christi et ec-
clesiae sponsae ejus . . “Wittenberg 1563.
Cassel poet. lat. 410 67.
Binding: Millboard covered with rough brown calf, 160, 2 10. Blocked in gold; smooth gilt edges. Sewing as usual.
At the top of the fly-leaf in manuscript: B. W. D. Z.: at the bottom: 15 PC 63 Casimir Pfalezgrafe.
URBANI REGI , deutsche Bucher and Schriften,
fiies.sen V. 37, 542.
Binding: Strong (16 ply) pasteboard, covered with dark stained polished calf. 210, 310, 10 mm. (Block 187 long.).
SewIng; 5 double cords and kettle-stitch. Headband: red, blue and white silk worked in double stitch over a string on a broad strip of vellum. a strings of yellow silk. The photograph only shows the central block.
Decoration: a double border of blind-tooled lines, the outer being filled with the shaft of a candelabrum between chains, encloses a large block in gold, leaving two compartments free, the upper containing the inscription: Von Gottes Gnaden | Christoff Herzog zu Wurtenberg etc., and the lower the date 1565 in gold.
The gilt edges are decorated with scraped and punched scrolls of great beauty. In one of the compartments of the top edge is a horse. On the back are chain borders between the bands, in the centre a flower. The watermark of the fly-leaves is a tower with 3 vanes and gargoyles, the wire border is distinguished by groups of thicker lines.
The binding is no doubt of Stuttgart origin, and probably came to Darmstadt as a present.