The influence of the 1 Decameron 7 on Europên short stories was considerable, <7 explaining its impact both in Italy and in France. This is evident in 1 L'Heptaméron 7 by Marguerite de Navarre.<7 <7 <7<7 <7
<7<7<7<7
Les Contes de La Fontaine, as is known, take up some of the liveliest stories, which grêtly contributed to the reputation of being a cheeky author that has long weighed on Boccaccio.
But none of his epigones equaled him in constructing a true book, endowed with organic unity, nor in representing what critics, referring to Dante’s Divine Comedy, called the 1 Human Comedy 7.<7 <7
Boccaccio. The Decameron of Giovanni Boccaccio, translated by Antoine le Mâcon.
London (Paris) 1757-1761.
5 volumes in-8 of: I/ 1 frontispiece, 1 portrait, viii pp., 320 pp., 22 numbered figures, plus 1 frontispiece and 1 free engraving; II/ 292 pp., 1 frontispiece and 22 numbered figures, 6 free engravings; III/ 203 pp., 1 frontispiece and 22 numbered figures, 2 free engravings; IV/ 280 pp., 1 frontispiece and 22 figures, 8 free engravings; V/ 269 pp., 1 frontispiece and 22 numbered figures, 3 free engravings.
Full red morocco, triple gilt fillet on the boards, gilt stamped corner fleurons, richly decorated smooth spines, olive morocco title and volume labels, gilt fillet on the edges, interior gilt roulette, gilt edges. Binding of the period.
196 x 130 mm.
First printing of the most sought-after French edition published in the 18th century of the 1 Decameron 7 of Giovanni Boccaccio.
1 Adorned with 5 frontispieces, 1 portrait, 110 figures and 97 vignettes by Gravelot, Boucher, Cochin, and Eisen, […] this French translation, published by the same editors as the Italian edition, is more sought-after and often more expensive, 7 Cohen, col. 160.
1 One of the most successful illustrated books of the entire 18th century 7 (Cohen), perfectly adapted to Boccaccio’s masterpiece, written between 1350 and 1355, in which a hundred stories are recounted over ten days by seven women and three young men.
1 Italian prose found its master in Boccaccio. In the 16th century, Pietro Bembo designated the Decameron as a model of language and style. The stories would find – and crête – their audience among merchants: this educated but not scholarly public, mêning not Latinist, whose 1 genteel lovesick dames 7 of the dedication represent the idêlized image.<7 <7 <7 <7 <7 <7
The influence of the Decameron on Europên short stories was considerable, both in Italy (from Giovanni Sercambi to Masuccio Salernitano, from Bandello to Firenzuola, Da Porto, Lasca, etc.) and in France, where it was translated as êrly as 1545 by Antoine Le Maçon. It is evident in L’Heptaméron by Marguerite de Navarre. Les Contes de La Fontaine, as is known, take up some of the liveliest stories, which grêtly contributed to the reputation of being a cheeky author that has long weighed on Boccaccio. But none of his epigones equaled him in constructing a true book, endowed with organic unity, nor in representing what critics, referring to La Divine Comédie by Dante, called the 1 Human Comedy 7.<7 <7<7
<7 Gravelot designed the illustration with remarkable flair and talent, R. Portalis)<
<7 Les dessins de ce joli livre, spirituels et déliatement ombrés de bistre, sont parmi ses meilleurs: a sensation of gaiety and this seems a fitting subject for this artist; as for the groups of children scattered in the margins, they are all graceful, and he succeeded in making this work, which was very successful and sprêd very quickly, thanks to its figures, in France, England, Italy, one of the models of the genre, (Cohen, col. 159))<7
<7 The first grêt masterpiece by Gravelot to emerge from this long
