Marco Daniele Limongelli

«Giorgio Angelieri, de Mallo, vicentino» and a new fragment of the library of Bartolomeo Passerotti, now in Kyoto: «Il Petrarca con nuove spositioni» (Venice, 1586)

Introduction

«giorgio angelieri, de mallo, vicentino» and a new fragment of the library of bartolomeo passerotti, now in kyoto: «il petrarca con nuove spositioni» (venice, 1586). Scopri l'attività editoriale di Giorgio Angelieri su Petrarca (1586), la stampa del '500 e un esemplare a Kyoto con dedica di Bartolomeo Passerotti.

Abstract

After an overview of the major stages of Giorgio Angelieri’s publishing activity in Venice and Vicenza, this essay focuses on Petrarch’s works in Italian language published in Angelieri’s printing shop in 1586. We discuss how Petrarch was printed in the second half of the sixteenth century, we trace back to the Lyon’s sources he might look to, and the authors of the accessory materials published along with Canzoniere and Triumphi. Finally, we examine a copy of the book now held in Kyoto, focusing on an ownership inscription by the Bolognese painter Bartolomeo Passerotti.

Review

This paper offers a meticulously focused and highly promising exploration into a specific intersection of Renaissance printing history, literary studies, and material culture. By centering on Giorgio Angelieri’s publishing output, particularly his 1586 Venetian edition of Petrarch, the author positions a micro-historical study within broader trends of sixteenth-century book production. The title clearly outlines the dual focus on the printer and a specific bibliographical discovery, setting the stage for a detailed and illuminating analysis that should appeal to specialists in early modern Italian studies and book history. The abstract indicates a robust methodological approach, beginning with a comprehensive overview of Angelieri’s activities before zeroing in on the Petrarch edition. The strength lies in its multi-layered investigation: it promises to contextualize Petrarch’s printing within the latter half of the sixteenth century, trace potential Lyons sources for the edition, and identify the authors of the supplementary materials—all vital aspects for understanding textual transmission and editorial practices. The ultimate highlight, however, is the examination of the Kyoto copy and the discovery of Bartolomeo Passerotti’s ownership inscription. This final element elevates the essay from a purely bibliographical study to one that illuminates cultural patronage and the intellectual networks connecting printers, authors, and prominent figures like the Bolognese painter. Overall, this paper appears to be a significant contribution to the field, meticulously uncovering new details about a specific publishing venture and its afterlife. The detailed examination of the Kyoto fragment, linking it to the library of Bartolomeo Passerotti, is a particularly exciting revelation that adds a tangible, personal dimension to the study of early modern books. While deeply specialized, the findings are likely to resonate beyond the immediate scope of Angelieri's print shop, offering insights into broader trends in Petrarchan reception, the mechanics of the book trade, and the cultural lives of books during the Italian Renaissance. This promises to be an exemplary piece of scholarship, combining rigorous bibliographical analysis with cultural history.

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