A catalogue of Western manuscripts at the Bodleian Libraries and selected Oxford colleges

MS. Ital. e. 18

Summary Catalogue no.: Not in SC (late accession)

Contents

Niccolò da Corregio, Aurora
Language(s): Italian

Physical Description

Form: codex
Support: paper
Extent: i (original flyleaf) + 44 + i (original flyleaf)
Dimensions (leaf): 207-8 × 150 mm.
Dimensions (ruled): 135-45 × 80 mm.
Foliation: Foliated in modern pencil: i, 1-45

Layout

16 lines.

Hand(s)

Italic script.

Binding

Contemporary blind-stamped brown leather over flexible pasteboards; lacking two ties at the fore-edge; the bottom edge of the leaves inscribed in ink 'Rime'; the spine inscribed in white ?paint with an uncertain two-word title, of which the second word is probably 'RIME'.

History

Origin: 1498 (?) ; Italian

Provenance and Acquisition

Scribal colophon: 'Finis adj 5 agosto 1498' (fol. 41v).

Girolamo and Paolo Magnaculo of Como, and other 16th-century owners: inscribed '... Al molto magnifico signore Il signor Girolamo magnacaualo in Como' (fol. i verso), 'Al mago sig:r il sig Gi[...?]'; 'Questa libro e di mi Gio' Paulo Magnacaualo in como a como' (fol. 45v); 'Questo libbro e de mi paulo m m magnacaualo'; 'Questo libro sie di mj nicolo li e[??na?] et al comodo de li suoi amici' ('Questo' to 'li' crossed through in ink); 'honde[?] eben degno che si onora e[..?]a di Isabetta gentìl le ornate pìane.'; and with a calculation by long multiplication of 24 x 111 (fol. i recto).

Seen by an inquisitor, 1583: inscribed 'Visto dal Reverendo Padre Inquisitore, l'anno .1583-' (fol. 1r).

Unidentified 17th-century reader: an inscription identifies the text as 'Sonete di tibaldeo in namorato' (fol. 42v), but the text is not by Antonio Tibaldeo, and is in ottavi rima, not sonnet form.

Sotheby's, 13 Dec. 1977, lot 54, bought by Maggs, with their purchase note and price-code in the bottom right corner of the lower pastedown ('S[otheby's] 12/77 | esaoo | 54').

Bought by the Bodleian from Maggs Bros., Jan. 1978.

Record Sources

Draft description by Peter Kidd, late 1990s.