Sabbattini, Nicola (1574-1654).

in-folio (261 x 185mm), armoiries du Cardinal Onorato Visconti, dédicataire de l'ouvrage, gravées sur bois à la page de titre, illustrations et lettrines gravées sur bois, vélin souple de l'époque, D2-3 légèrement brunis, la partie supérieure du feuillet M se détache, défauts à la reliure, ex-libris manuscrit moderne au dernier contreplat.

Berlin Catalogue 2786; Cicognara 780; Riccardi i, 405

Condition is described in the main body of the cataloguing, where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Le premier livre entièrement dédié à la scénographie.

Précédemment publié à Pesaro en 1637, l'année de l'inauguration du Teatro di Sole conçu par Sabbattini dans la même ville, et incidemment l'année qui vit les opéras vénitiens s'ouvrir au public payant. Cela permit de séduire un plus large public, et de soumettre ces représentations à des considérations commerciales. Sabbattini fut l'architecte de Francesco Maria II della Rovere, le dernier Duc d'Urbino, qui décéda en 1631.

Le traité de Sabbattini sur la scénographie examine une large gamme de spécificités et de mécanismes théâtraux, parmi lesquels l'éclairage et l'accoustique, le meilleur siège de spectateur dans la salle, la création d'un endroit approprié pour l'orchestre, les dispositifs illusoires (vagues, bâtiments s'effondrant, nuages)... C'est la naissance d'un style d'effets théâtraux appelé "scènes à l'italienne". Sabbattini était un élève du mathématicien Guidobaldo del Monte (également originaire de Pesaro, il est mentionné dans la préface de son oeuvre), qui lui enseigna les techniques de la perspective.

The first book completely devoted to stage design. Previously published in Pesaro in 1637, the inaugural year of the Teatro di Sole in Pesaro, designed by Sabbattini, and incidentally the year in which Venetian opera houses became open to the paying public; previously performances had been held in private court settings, but from now on they were available to a much wider audience and became subject to commercial considerations. Sabbattini had been architect to Francesco Maria II della Rovere, the last Duke of Urbino, who died in 1631.

Sabbattini's influential treatise on stage design covered a broad range of theatrical features and mechanisms, from lighting and acoustics to the location of the best seat in the house and the creation of appropriate space for the orchestra; illusionistic devices included waves, collapsible buildings and clouds. It gave rise to a style of theatrical effects known as scènes a l'italienne. Sabbattini was a pupil of the mathematician Guidobaldo del Monte (also from Pesaro, and mentioned in the preface to this work), from whom he learned the technicalities of perspective.