JUSTINUS [with] GELLIUS, Aulus

A very clean and wide-margined copy of two Venetian incunables in a strictly contemporary and very attractive Renaissance binding. The second work notably features a fine instance of the kind of large Greek type used in the 1480s, illustrated by Proctor, who praised it for ‘the regularity and size which make it the best type of its class’ (p.127).

Justinus was a second century Roman historian. This, his most notable work, he describes as a collection of the most interesting and important passages from Pompeius Trogus’ ‘Historiae philippicae et totius mundi origina et terrae situs’, written in the time of Augustus and now lost. This was a general history of those parts of the world that had come under the auspices of Alexander the Great, and takes as its main theme the Macedonian Empire founded by his father Philip. The last event it records (in Justinius’ version) is in 20 B.C. Through his frequent digressions, Justinus here produces not an epitome but rather a useful and sometimes elegant anthology based on the work. It was very popular in the Middle Ages, when the author was frequently confused with Justin Martyr.

The Noctes Atticae consists of a miscellaneous anthology on various topics, including philosophy, law, literature, grammar, and history. Gellius (c. 125 – c. 180) wrote the book for the education of his children during his winter nights in Attica, and the work proved very popular into and throughout the Middle Ages. It grew out of a commonplace book that Gellius kept, in which he recorded items of unusual interest that he heard in conversation or read about. The book deliberately has no specific structure, and of the twenty books only 19 have come down to us – the 8th is known only through its index. In it, Gellius quotes extensively from Greek and Latin authors, many of whose works have not survived – the book is therefore a valuable resource in preserving fragments of writings otherwise entirely lost.

The binding, although elements of its decoration are common to several printing centres in Italy at this time, bears a strong resemblance to a number of bindings known to have been produced at Venice (and in particular to de Marinis’ no. 1532 in vol II of his ‘Legatura Artistica in Italia’). In its decoration it shows elements of the assimilation of Eastern design in Italian bookbinding, especially by the Byzantine/Ottoman nature of the central knotwork tools. It must previously have been very grand, and shows evidence of elegant and arabesque furniture at the corners and at the centre of the covers. The furniture would most likely have been bronze or silver; the remaining studs holding the stubs of the ties are in bronze. The binding is still an elegant example of Renaissance bookbinding craftsmanship and examples in this condition and are invariably rare.