Biblia sacrosancta veteris et noui instrumenti, iuxta vulgatam et consuetam aeditionem..
Lyon, apud Jacques Giunta, 1535.
8vo. ff. [viii] 506 [vi]. [*8, a-z8, A-2S8.] Roman letter, double column, entirely ruled in red. Jacques Giunta’s large fleur de lys woodcut device on title, smaller woodcut device on verso of last, later autograph of ‘Joseph Bruysoloxi’ on fly. Light browning, t-p a little stained and dusty, early repairs to the blank margins of first four leaves, occasional marginal stain or mark. A good copy in contemporary, probably Lyon calf, covers triple blind ruled and double gilt ruled to a panel design, fleurons to outer corners, central panel with a blind and gilt ruled lozenge, scrolled tools gilt to corners and at centre, spine, rebacked with original spine laid down, double gilt ruled in three compartments, large fleurons gilt above and below, smaller to central panel, edges and corners restored, some worming to spine, a little rubbed, slightly later marbled paste-downs, a.e.g.
Exceptionally rare edition of this finely printed portable bible, a version of the Vulgate with corrections taken from the original Hebrew and extra notes on its interpretation. For example the work follows the Vulgate order but gives an explanatory comparative table of the chapters of the Vulgate and the Hebrew texts which occur in a different order. It was placed on the index of prohibited books in 1584 along with the re- editions of 1542 (shared by Giunta with Guillaume Bouillé) and 1546. The work is finely printed by Jacques Giunta, originally of Florence, and nephew of the Venetian publisher Lucantonio Giunta. He was one of the most successful Lyon printers with an international outlook who owned book deposits in Antwerp, Frankfurt, Lisbon, Medina del Campo, Salamanca and Saragossa. Lyon in 1535 was the perfect place for such experimental printing. “due to its commercial, banking and publishing activity, as well as its strategic geographical location, Lyon remained a place of ceaseless exchange and circulation of ideas, a free zone that the inquisitorial authorities found it difficult to control. Repressive action was limited by the high standing of Lyon’s humanist printers; their activity was essential for economic prosperity and cultural prestige of the city. From the beginning of the 1530s the city had to come home to a lively humanist circle around the publisher Sebastien Gryphe. In 1532 Rabelais arrived from Montpellier and published his Pantagruel the same year, the Gargantua in 1534. On August 1, 1534 Etienne Dolet arrived from Toulouse, closely followed by Ortensio Lando and Cornellius Agrippa in 1535. .. The Italian contingent of this lively Humanist circle included illustrious names…” Giorgio Caravale ‘Beyond the Inquisition: Ambrogio Catarino Politi and the Origins of the Counter-Reformation”
The contemporary binding was probably made at Lyon and follows the Italianate style of French binders of the period. It shares much in common with the style of Picard though without the same quality. It also shares strong stylist similarities with a binding attributed to the Salel binder; See BL bookbindings Davis330.
Baudrier. VI p. 161. “ Nous n’avons jamais rencontré cette Bible.” Not in Gultlingen or Darlowe and Moule