[THIRY, Léonard / GOHORY, Jacques.] [Livre de la conqueste de la Toison dor] Hystoria Iasonis Thessaliae Principis de Colchica velleris aurei expeditione : cum figuris aere excusis, Earumque Expositione, versibus. Priscorum Po5Btarum. Ab Jacobo Gohorio Parisiensi.

st1:*{behavior:url(#ieooui) }

/* Style Definitions */ table.MsoNormalTable {mso-style-name:”Tableau Normal”; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:””; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:”Times New Roman”,”serif”;} Première édition du tirage en latin, beaucoup plus rare que le tirage français. Un seul autre exemplaire du tirage latin répertorié sur le marché, l’exemplaire Wittock, revêtu d’une intéressante reliure Renaissance, avec 7 planches manquantes remplacées au XX^e 。

极为珍贵和卓越的首次印刷板，无插图说明和编号的版本；此版本与哈佛学院n°519相近，其同样有8版第二次版印有编号但无说明的插图：13-18；21和26。

« Title-page without ornamentation. The volume consists of four preliminary leaves and twenty-six engraved plates of the story of Jason and Medea, approximately 6^3/16 x 9″。首个版没有签名，其他版都签有René Boyvin的”RB”单字母签署，最后版中此外还签有« Leonardus thiri. inuē. Renatus. .F » « 在其法文版中向查理九世致献辞。

让·德·莫雷加德写道：“我统筹和选择由比利时画家Leonard Tyri所绘（作品本身揭示其卓越性）和安茹地方出生的René Boyvin刻版，在肖想将此作为您的馈赠，希望能为您带来读书的愉悦或成为某天您的宏伟宫殿中的挂毯模版…或是用来充实某个艺术长廊的精致绘画” (第2章序言的正面页)。

Leonard Thiry worked at Fontainebleau under Rosso and Primaticcio from 1536 to about 1542 (The Jason plates were attributed to both these masters when issued by later publishers.) Each scene measures about 3 ^3/8 x 5″, while the remainder of the copperplate comprises an elaborate border displaying a fantastic assortment of figures, putti, grotesques, birds, animals, and cartouches containing small scenes. It is this wealth of invention in the borders, sometimes eclipsing the scenes themselves, that makes this a major work in the Fontainebleau tradition. For a study of the Jason series, and the extent to which Mauregard’s plan of providing an artist’s model book was realized, see J.-J. Marquet de Vasselot, “La conquête de la toison d’or et les émailleurs limousins du XVI^e siècle,” La revue de l’art ancien et moderne, vol. 34 (July-December 1913), p. [241], 253, [333}-345, reproductions. See also, Levron, Boyvin, p. 29-[34], P. 66-67, nos. 16-41, full series reprod. plates XIX-XLIV. Boyvin is one of the most influential figures in the early history of engraving in France. Robert Dumesnil (vol. 8, p. 36-44, n° 36-44) describes the copperplates in three states: first unnumbered, second with small numbers added at the top of the plate, and third – a much later impression – with the numbers removed. This copy contains a mixed set, the majority in the first state, but plates 13-18, 21 & 26 in the second, with the numbers. The fine, dark impression in this copy are particularly effective for the night scenes of n° 14, 18, and 23. The preliminary leaves are printed in roman and italic letter with three excellent grotesque initials.

Mauregard’s dedication is dated July 3^rd and the privilege, July 14^th 1563年。（哈佛，法国十六世纪，n°519）。

L’une des plus précieuses et des plus rares suites de l’école de Fontainebleau, gravée sur cuivre par René Boyvin sur les dessins de Léonard Thiry, l’un des premiers peintres appelés à Fontainebleau par le roi François I^er。