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THE FIRST TREATISE ON ART IN ENGLISH, 1598 ~A superb copy

£22,500.00

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Description


LOMAZZO Giovanni Paolo;  HAYDOCKE Richard 
A Tracte Containing the Artes of Curious Paintinge, Carvinge, & Buildinge written first in Italian by Jo: Paul Lomatius, painter of Milan, and Englished by R.. student in Physik.
Oxford, Joseph Barnes for R. H., 1598.
FIRST ENGLISH EDITION translated by Richard Haydocke, elaborate engraved title page incorporating portraits of Lomazzo, a self-portrait of Haydocke and four allegorical figures.  13 full-page engraved illustrations (some after Dürer)  

Numerous woodcut initials and typographical ornaments, large woodcut device on colophon.  The names of the printer and publisher are given in the colophon: ‘Printed At Oxford By Ioseph Barnes For R.H. Anno Domini, M.D.XC.VIII.’ – which is printed below the armorial device of Oxford University, and above that of New College.  The work is dedicated by Richard Haydocke to Thomas Bodley.

17th century calf professionally re-backed preserving original spine. folio. 
Modest marginal browning on just three leaves including the colophon page  (see gallery images of these three pages)  –  otherwise exceptionally bright and clean throughout the text block, the pages fresh and crisp, the letterpress deeply impressed on laid paper.

EXCEPTIONAL COPY OF FIRST TREATISE ON ART TO BE PUBLISHED IN ENGLISH.

The thirteen engravings are by Richard Haydocke himself.  The first five plates, illustrating the proportions of the human figure, are either copied from Albrecht Dürer’s Treatise on Human Proportions (Vier Büche von menschlicher, 1528), or are adapted versions of his designs.  The equestrian images seem to reflect Leonardo’s designs, perhaps known to Haydocke through prints.

They are important and striking examples of early English copper-plate engraving.  Copper-plates are uncommon in English books printed before 1600. 

One of the finest copies extant of this pioneering 16th century work. The four library copies examined are not close to the present copy in their state of preservation. The few copies appearing in auction in recent years have been in poor to fair condition at best.  The title page in two instances supplied from other copies and laid down, the colophon pages either imperfect or lacking, text extensively browned throughout, with a number of plates lacking or trimmed well into the image. Practical manuals of this sort were often used by artists and artisans and consequently found in less than ideal condition. 

Lomazzo’s treatise was translated by the ‘student in Physik’,  Richard Haydocke (1569 or 1570-circa 1642) – Books 1-5 (of 7) of Lomazzo’s important Mannerist treatise Trattato dell’arte de la Pittura of 1584: “a compendium of Mannerist theory, most interesting for the emphasis it places on light and on psychological expression, where he revived themes explored by Leonardo” (Grove Art).

Haydocke’s writes of his translation being ‘neither a Paraphrasticall, Epitomized or meer Verbal translation” of Lomazzo’s work.  It arose from “7 years diligent and painful practice in the Arte”  (the self-taught amateur’s engravings perhaps somewhat reflective of his ‘painful practice’).

By translating – or, rather paraphrasing –  Lomazzo into English he “divulged it to all”.  In his preface to the reader, Haydocke attributes the rarity of Lomazzo’s Trattato to copies “being bought up Italian Painters for fear least the perfection of the Arte (which they hold to reside whole in them) might bee now divulged into other Nations”.  His own complete copy of Lomazzo’s Trattato dell’arte de la Pittura was procured for him by Thomas Allen, a fellow of Trinity College – it replaced Haydocke’s other imperfect copy which he described as “the reliques of a shipwreck”.

The “Tracte” provides an analysis of the laws of colour, proportion, form, movement, light, perspective and the practice of painting. Haydocke’s work incorporates a Haydock’s own observations which were remarkable for the time –

” Painting is an art, which with proportionate lines and colors answerable to the life, by observing the perspective light, doth so imitate the nature of corporal things , that it not only representeth the thickness and roundness thereon upon a flat, but also their actions and gestures, expressing moreover divers affections and passions of the mind”.    

Haydocke published A Tracte while a still a student at New College Oxford and was a friend of the dedicatee Thomas Bodley. The Bodleian was to open four years after this publication.  “The Tracte was in all respects an Oxford product. It was printed for Haydocke by the university printer, Joseph Barnes, and was one of the earliest books to be presented to the Bodleian” (Harris).

The book was dedicated “in all hartie love and affection” to Thomas Bodley.  A letter dated June 4, 1601 from Bodley to Thomas James, the first keeper of the newly founded Bodleian Library, expressed his hope that  “Lomazius in Ital. to be ioined with Mr Haidockes English it would deserue a good place in the Library”.

THE FIRST TREATISE ON PAINTING IN ENGLISH AND THE SECOND EARLIEST BOOK IN ENGLISH ON ARCHITECTURE

“It was the first book on the arts to be translated and the reason for its choice must have been its thorough treatment of painting, which was not to be found in any earlier treatises…..

Although architecture is treated comparatively briefly, the Tracte deserves nonetheless to be included here, for its eight chapters (in Booke the First) on the proportions of the five orders, intercolumniation and temples, accompanied by three engraved plates added by Haddock to the unillustrated original, were (apart from Shute’s First and Chief Groundes of Architecture, 1563) all that was available in English at that date”.

Eileen Harris – British Architectural Books and Writers 1556 -1785)

As Charles B. Wood (antiquarian bookseller specializing in rare architectural books) observes:  “Since the book by Shute is essentially unobtainable this is the earliest English architectural book one can these days hope to obtain”.

Haydocke’s influential book stands as a milestone in the history of art and intellectual culture in Elizabethan England. 

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