[EARLY ILLUSTRATED BOOKS]. COCAI, Merlini (pseudonym of FOLENGO, Theofilo (1491-1541)). Poetae Mantuani. Macaronicorum Opus... Venice: Apud Joannem Variscum & Socois, 1573. 16mo. Profusely illustrated with all 60 full-page copper engraved plates. [xxxiv], 569, [5, index] pp. Bound to style in modern brown calf, boards ruled in blind, spine ruled in gilt and blind, five raised bands, green gilt morocco lettering label. THE RARE EARLY ILLUSTRATED EDITION OF THIS IMPORTANT WORK; THE FIRST TO HAVE THESE WELL-KNOWN SERIES OF WOODCUTS. 

Teofilo Folengo died in 1544; his works are the most original of the Italian Renaissance literary creations. The text inspired many works from future generations. Written in Macronic hexameter, this parody of Virgil narrates the Tale of Baldus (a. k. a. Merlini Cocai the supposed author), a descendent of French royalty, perhaps related to Roland. Teofilo Folengo, the actual author, was a Benedictine monk, and was the best representative of Macaronic literature, or a rustic combination of Italian and Latin. Four versions of Baldus are known, published in 1517, 1521, 1539-40, and 1552. This is a later edition of the same work printed in Venice and includes the Zanitonella, The Phantasiae Macaronicon, The Moscheae and The Libellus Epistolarum. Baldus was reworked by the author and expanded to 25 books, and includes the parodic Zanitonella love poetry and fable Moschaea (p. 521), about the battle between flying ants. The experience of his travelling life makes his poems one of the most important source books on contemporary life and customs. It enjoyed great popularity in the 16th and 17th centuries. In view of the general nature of the work, it is easy to understand its appeal to Rabelais, who found in it the prototype of his "Panurge": and his"'Gargantua." This text inspired many works from future generations. The harsh criticism of the aristocracy, courtiers, and clergy that Folengo traces in this profoundly anti-classical work, as well as the comic use of language and strong realism combined with a sense of explosive libertine ribaldry, had a great influence on François Rabelais, who was very familiar with Folengo's work. 

Some pages trimmed a bit close at top (no apparent loss). Fine.