DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.67657#0427
G.] Ptolemy, Borne, 1478 and Bologna (1482 ?). 323
bonus. Nec minus curiose correxerunt summa eruditione prediti
Galleottus Martins & Golla montanus. Extremam emendationis
manum imposuit philippus broaldus . .
Finally we come to Francesco Berlinghieri and his geography in
verse, which was printed in Florence by the same Nicolaus Laurentii
who issued the Monte Sancto di Dio in 1477 and Landino’s Dante in
1481. One would hardly be wrong in dating this about the time of the
Landino Dante, although there is no reason to suppose it preceded
the Bologna Ptolemy, except that it was dedicated to Federigo of
Urbino who died in 1482; and this means little, for the Bologna
edition was dedicated to the Pope Alexander V. who died in
1410. The author of the maps probably borrowed without scruple
from the Roman edition, though considerable variations were made
and four maps added. Except for the wind faces on the map of the
world, there is no such attempt at pictorial effect as we have noticed
in the Bologna Ptolemy. As in the latter, the engraving is much less
precise and the printing less clear than in Buckinck’s maps. In
manner there are analogies with the Dante engravings, e.g. in the
flicks for the sea and characteristic rock formation used for the
mountains in the maps, and it is not impossible that these maps and
the Dante prints may be by the same engraver or at least come from
the same Florentine workshop. It must be confessed, however, that
the manner of treating the wind-faces, both in the drawing of the
hair and in the broad lines of shading, has its closest parallel in the large
engraving of S. George and the Dragon (B. III. 11), and differs from
the close hatching of both the Dante and Monte Sancto illustrations.
Except for these three editions, map engraving during this period
and until after the middle of the following century was almost
entirely done on wood. Gerard Mercator seems to have been the
first to revive the practice in his map of Europe in 1554, but no great
publication of maps engraved on metal appeared till that of Ortelius
(engraved by Frans Hogenberg) in 1570. Then the great work of
Mercator and Jodocus Hondius which followed completely restored
its popularity.
Collations of the three works follow:
I, PTOLEMAEUS, CLAUDIUS. COSMOGRAPHIA. Rome, 1478. fol.
Hain 13537.
[Begin] Claudii Ptholemei Alexandrini Philosophi Cosmographia.
[Colophon] Numeros MATEMATICOS INEXPLICABILE ferme terre astrorumque
opus Claudii Ptolemaei Alexandrini Philosophi Geographiam
Arnoldus Buckinck e Germania Romae tabulis aeneis in picturis
FORMATAM IMPRESSIT. SEMPITERNO INGENII ARTIFICIIQUE MONUMENTO .
ANNO DOMINICI NATALIS M . CCCC . LXXVIII . VI . IDVS OCTOBRIS . SEDENTE
SIXTO . IIII . PONT . MAX . ANNO EIVS . VIII.
Y 2
bonus. Nec minus curiose correxerunt summa eruditione prediti
Galleottus Martins & Golla montanus. Extremam emendationis
manum imposuit philippus broaldus . .
Finally we come to Francesco Berlinghieri and his geography in
verse, which was printed in Florence by the same Nicolaus Laurentii
who issued the Monte Sancto di Dio in 1477 and Landino’s Dante in
1481. One would hardly be wrong in dating this about the time of the
Landino Dante, although there is no reason to suppose it preceded
the Bologna Ptolemy, except that it was dedicated to Federigo of
Urbino who died in 1482; and this means little, for the Bologna
edition was dedicated to the Pope Alexander V. who died in
1410. The author of the maps probably borrowed without scruple
from the Roman edition, though considerable variations were made
and four maps added. Except for the wind faces on the map of the
world, there is no such attempt at pictorial effect as we have noticed
in the Bologna Ptolemy. As in the latter, the engraving is much less
precise and the printing less clear than in Buckinck’s maps. In
manner there are analogies with the Dante engravings, e.g. in the
flicks for the sea and characteristic rock formation used for the
mountains in the maps, and it is not impossible that these maps and
the Dante prints may be by the same engraver or at least come from
the same Florentine workshop. It must be confessed, however, that
the manner of treating the wind-faces, both in the drawing of the
hair and in the broad lines of shading, has its closest parallel in the large
engraving of S. George and the Dragon (B. III. 11), and differs from
the close hatching of both the Dante and Monte Sancto illustrations.
Except for these three editions, map engraving during this period
and until after the middle of the following century was almost
entirely done on wood. Gerard Mercator seems to have been the
first to revive the practice in his map of Europe in 1554, but no great
publication of maps engraved on metal appeared till that of Ortelius
(engraved by Frans Hogenberg) in 1570. Then the great work of
Mercator and Jodocus Hondius which followed completely restored
its popularity.
Collations of the three works follow:
I, PTOLEMAEUS, CLAUDIUS. COSMOGRAPHIA. Rome, 1478. fol.
Hain 13537.
[Begin] Claudii Ptholemei Alexandrini Philosophi Cosmographia.
[Colophon] Numeros MATEMATICOS INEXPLICABILE ferme terre astrorumque
opus Claudii Ptolemaei Alexandrini Philosophi Geographiam
Arnoldus Buckinck e Germania Romae tabulis aeneis in picturis
FORMATAM IMPRESSIT. SEMPITERNO INGENII ARTIFICIIQUE MONUMENTO .
ANNO DOMINICI NATALIS M . CCCC . LXXVIII . VI . IDVS OCTOBRIS . SEDENTE
SIXTO . IIII . PONT . MAX . ANNO EIVS . VIII.
Y 2