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MISSAL; Venice printed.

Missale Romanum.

Ex decreto sacrosancti Concilii Tridentii restitutum, S. Pii V. Pontificis Maximi jussu editum, Clementis VIII. & Urbani VIII. Auctoritate recognitum, in quo missae novissimae sanctorum accuratè sunt dispositae.

Venice: Typographia Balleoniana, 1725 Stock Code: 112562
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A striking eighteenth-century Roman Missal, attractively printed in Venice and apparently bound in Brescia in the year of publication: a note on p. lxxxiii reads "Brixiae-Conglutinator est Ioseph Goltius in Via Pallade iuxta Xenodochium Mercaturae. Die 13. Decembris 1725" (The Brescian binder is Joseph Goltius on the Via Pallade, next to the marketplace of the Xenodochium). There are also four two-page orders of service for various occasions bound in between signatures Dd8 and a, all printed in Brescia at the shop of Giovanni Maria Ricciardi in 1725 (one of these is a missal for the feast days of the martyrs of Brescia), and bound in at the rear is a later Brescian missal, printed by F. Luchi in 1856. The only other copy of this edition traced (University of Saint Bonaventure, New York) is bound with a similar array of shorter texts, all printed in Parma, suggesting that Balleoni's presswork enjoyed a degree of popularity across northern Italy. The engravings by Piccini are especially appealing. "Elisabetta Piccini (1644-1734) was the daughter of the Venetian engraver Giacomo Piccini (d. 1669), who trained her in the art of drawing and engraving in the styles of the great masters, particularly Titian and Peter Paul Rubens. In 1666 she entered the Convent of Santa Croce in Venice and took the name Suor (Sister) Isabella. She continued to work as an engraver, accepting numerous commissions from Venetian publishers to illustrate liturgical books, biographies of saints, and prayer manuals" (SMU, online). Balleoni included Piccini's engravings for his first Roman Missal, printed in 1704.

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Folio in eights (350 x 242 mm). Contemporary brown goatskin over heavy reverse-bevelled boards, raised bands to spine enclosed by dot-and-zig-zag roll gilt, floral centrepieces gilt to compartments, covers elaborately gilt with single-fillet border enclosing a composite frame incorporating dog-tooth and floral rolls with stylised fleur-de-lys lobes and cornerpieces, intermediate quatrefoil formed from back-to-back dogtooth rolls, spandrels gilt with feather, floral and fleur-de-lys tools, central vignettes of Christ crucified (front) and the Virgin and Child (rear) within elaborate rolled floral border, interstitial blind rules, decoratively gilt-gauffered edges.


Text in double-column, rubrication throughout, and frequent music score. Engraved vignette title page and 4 full-page engravings by Elisabetta Piccini (signed Suor Isabella P. F.) depicting the Annunciation, the Nativity, the Crucifixion, the Resurrection


Green silk tabs laid down to fore edge of sigs. M1-6 (one tab frayed, sigs. 4 & 5 with later, 19th c. paper restoration to margins); 4 pink silk page-markers laid in. Tips worn, joints rubbed at head and foot, a few shallow worm-tracks to rear board not reaching text-block, short closed tear to bottom edge sig. L4 and shallow chip to the same on sig. L6, neither affecting text, bound without sig. Ee1 (final leaf) in the main text (though the only institutional copy traced giving the same pagination, pp. 432) and sigs. e4-f1, hinge between sigs d & e strengthened with linen. A handsomely bound copy.


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