Venice: Doninus Pincius, 145 [i.e. 1505], 5 Febr. headline, roman letter, title with large woodcut vignette and 27 woodcut illustrations in the text. Beautiful woodcut initials. Ref. Goff H457; Hain 8892; Graesse III, 348; Sander 3457; GW XI Sp.754a.
The printer is often misrecorded as Philippus Pincius. Doninus Pincius worked ca. 1502-1506. The uncertainty of the date of printing stems from the misprinted colophon 'Anno a natiuate Domini.M.CCCCV.' Of the 26 woodcuts used probably 7 were expressly cut for this work, the others having been originally used for the 1490 Bible, the 1493 Livy and, according to Sander, the remainder for a 1505 Virgil 'qui nous est restée inconnue'. It is this last fact that causes him to date the book 1505. Scarce. ( BMC V 496). Item #817
The unique charm of Horace’s lyric poetry arises from his combination of the metre and style of the distant past—the world of the Archaic Greek lyric poets—with descriptions of his personal experience and the important moments of Roman life. He creates an intermediate space between the real world and the world of his imagination, populated with fauns, nymphs, and other divinities.
He denounces corrupt morals, praises the integrity of the people of Italy, and shows a ruler who carries on his shoulders the burden of power. Other Augustan themes that appear in Horace’s lyric verse include the idea of the universal character and eternity of Roman political dominion and the affirmation of the continuity of the republican tradition with the Augustan principate. At some stage Augustus offered Horace the post of his private secretary, but the poet declined on the plea of ill health. Not withstanding, Augustus did not resent his refusal, and indeed their relationship became closer.