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Description : Sacred Bible (Latin). [Venice, Franciscus Renner de Heilbronn, 1483]. Bibliography: Goff B-578, GW 4253, HC 3089 It does not appear cited in Schatz-Stoica, Collective catalog of incunabula from Romania (Cimec, 2008), it seems that there were no copies in the institutions owning incunabula, at the time of the publication of this catalog. The specimen is 394 f. The beginning and the end are missing, the book opens with chapter III of Genesis ending with chap. XIX of Apocalypsis (of the 22). Complete copies of Renner's Bible from 1476-1483 number between 455-76 (depending on format). The missing sections in this specimen began as follows: The Epistle of St. Jerome to the Pauline priest begins, f. [1]r and Interpretations of Hebrew names according to the order of the alphabet [begins f. 397-98r] . The incunabula is printed on paper, in round Gothic characters, fuller and of a larger body in the column headings and the opening sequence of each biblical book, the text being arranged in two columns (including the supplement, which in other bibles of the time, of after 1480, it is arranged on 3 columns), 50-51 rows per column (21 x 14 cm.). The volume is not paginated (neither from typography nor manual), except for paragraphs, numbered with Roman numerals (placed in line, not above). There is no custos, the signature is alphanumeric, present on the first 5 or 6 pages of the notebooks that have a variable number of pages (9, 10 and 12), in the lower right corner of the cover. The text has the usual abbreviations specific to manuscripts, designed to save page space. Although sober, destined for monastic use, the print shows rubrication (mostly in red, unlike other specimens of the same edition, where blue predominates) - the initials of phrases, paragraphs, are intersected by short vertical bars and the column titles (which, in addition, have additions of sinuous lines along the entire length of the sequences , top and bottom) but also the initials of the words incipit and explicit are marked by crescent-type signs. The copy belongs to a print from which the so-called waiting letters are missing, but the dedicated spaces show throughout the contents of the initial book, often of Lombard type, with decorative extensions (cadel) and thickened lateral outline, latrine designs also appear with white trefoils in the side hastes or small outer crosses (in red), here and there, inside the letter (a, b, p, q) – a winding, yellow lujer, most of the phytomorphic decoration, however, is white with red. The latrines have a rounded calligraphy, with the alternation of thin and full but also angular contours, with an almost modern, simple and casual allure. The size of these initials (when they do not extend towards the bottom edge of the tab, like a brace) is 13-16 lines of text. The binding is monastic (XVI-XVII century) in calf leather, on wooden boards, with cold-pressed triple-linear borders, without other decoration, the spine once had 3 profiled ribs. Link status is critical, with deficiencies caused by poor handling and massive caries attack, stains, cracks, perforations, impact marks and scratches, portions of bare top. The endpapers are missing, the inside covers have worn pages, with pen attempts. The body of the book is affected by contact with water – traces of the advance of the front, circles, worn inner spine, detachment of the tabs, especially at the end. The first tab has a tear. Reading annotations by at least 2 different hands, in Latin, in red and black ink, inscriptions in the Hebrew alphabet, and what appears to be a cryptogram are present (f. 8/c. 34), The incunabulum includes all the books of the Old Testament established by the canon and all the books of the NT, in which the Acts of the Apostles follows the section of epistles (not the other way around), preceded by small introductory texts. In the first century AD, Scripture was translated into Latin mainly from the Septuagint, the Greek version of the Hebrew Bible, although they were literal translations, sufficient inconsistencies still prevailed between the various interpretations. One of these had a wide circulation, it is the Vetus Itala, which became a canonical text despite much confusion caused by the fact that not enough attention had been paid to the meaning of certain terms. Therefore, around 383, Pope Damasus asks a priest named Jerome (Eusebius Sophonius Hieronymus) to give a new version of the Old and New Testaments using his solid knowledge of Hebrew, Ancient Greek and Latin. First, Jerome revises, around the year 383, the four gospels according to the Greek originals, after which he begins to revise the Psalms (embodied by the version then in use, in the liturgical framework, the Roman Psalter), according to the Septuagint. A few books of Scripture will be preserved as such, in the old Latin version. For another 15 years, having arrived in Bethlehem, Saint Jerome will translate almost the entire OT mainly from old Hebrew sources (correlated with others, in Aramaic, and some Greek sources). His contribution has withstood time and criticism, becoming the canonical version of the Christian Bible, except for the African space, attached to the old canon. It is the standard version of the Western Church, enjoying the exclusivity of a text that combines erudition with accessible language, without the emergence of vernacular bibles and their widespread dissemination undermining its prestige. In the first era of movable type printing, over 60 editions of the Vulgate would appear. The first printing press went into operation in Venice in 1469, many of the pioneers of this craft active on the spot being, of course, of German origin. Venice would assume supremacy in the field of book production throughout the 15th century. Out of 27 Bibles that appeared in the Italian space during the incunabula period, 20 saw the light of day in this emblematic center of typographic art. The present copy, after the due analysis regarding the polygraphic details based on digitized copies from a wide temporal area that allows typological correlations with the predominance of the German standard in the lagoon space (and not only, bibles of this type, with Gothic characters closer to Roman characters, this time, but with an identical structure appearing perhaps also in Basel, Strasbourg, Lyon and wherever the authority of a Koberger is indisputable, surpassing the frontiers), can be attributed to a late edition, of the production of Franz Renner's office, quite rare today, dating from 1483, other than the 3-volume edition with the commentaries of Nicolaus de Lyra (1482-83) and belonging to a second printing (although an alternative edition, 1476 printed either in association or manu propria, also becoming quite rare, is not excluded) . A simple edition, quarto format (24 cm.), among the first of this kind intended for individual study - more precisely, among the first of this format, promoted by the typographer and publisher Franz (Franciscus) Renner), and which mirrors the relative austerity of one of the previous editions : the one from 1475 (depending on the typology of the copies, those printed on parchment having, most of them, rich anluminiums). If there will have been, in our case, a mined latrine on the first page, even a portrait of the author of the Vulgate where Jerome's epistle to Paulinus and the prologue to Scripture begin (as the images of some copies from the Rennerian series but also from other printers reveal influenced by him), we have no way of knowing, as this introduction is missing. Missing tabs are also found inside this specimen of the monovolume edition, and unfortunately and in the Apocalypse part (with which the New Testament ended), a regrettable fact because, in this category of scriptural editions (which precedes the post-incunabula type of Bibles constantly equipped with a developed critical apparatus and above all, with title page and colophon), under the last paragraph of the Apocalypse of St. John, is the explicit, that concluding phrase, with details of the place, date, and responsibility of printing. Renner's Bibles apparently all had these minimal but relevant details. Unfortunately, the present copy is defective, the Apocalypse is not complete, missing (as I specified at the beginning) and the supplement, the alphabetical index of Hebrew names – Interpretationes hebraicorum nominum secundum ordinem alphabeti (48-52 leaves in the complete copies), which follows the last book of the NT A characteristic element of a category of Bibles from the period 1479-1490 et post is the presence of a couplet that shows the congruence of the Latin version of Scripture with the Greek source, through the expression fontibus ex Graecis. Editions contemporary with Renner's and appearing in the same lagoon space, whether or not they are clearly attributed to one workshop or another, proudly assume a superior version, a revised edition, compared to the common and generally accepted Latin text (as a distinctive sign, the marginal references to the OT, in the body of the NT). Bibles that appeared in the offices of other Germans, such as Reynaldus de Novimagio and Theodorus de Reynsburch, or Johannes Herbort de Seligenstadt, but also a few anonymous bibles take the model of the Swiss Amerbach (2nd ed., from 1479, of his Bible) in which this couplet and the references (concordances) reign. It is known that St. Jerome worked with Greek, Hebrew and Aramaic manuscripts, about which there is no more information, and that fontibus ex graecis designates, in fact, the very result of this immense effort of collation and re-translation that characterizes his work, otherwise said is another name for the Vulgate. We do not know if the couplet will have existed in this specimen as well (placed, as a rule, at the end of the book), it is certain that it does not present marginal references (those concordantiae) in the contents of the NT. Valuable enough in itself is the fact that the Venetian Bibles, therefore and the 1483 edition denotes – regardless of the degree of ornamental-calligraphic sophistication of some specimens – or the editorial additions made over time, a remarkable unity. The edition to which the copy belongs presents the reader with the clean, clear text of Scripture, organically accompanied by the prefaces, prologues, arguments of the one who translated it into Latin, enriching it discreetly and pertinently, without emphasis, with precious hagiographic and exegetical details . The colophon, in ex. complete 1483: Explicitly the Bible was printed in Venice by Franciscus Renner de Hailbrun. M. 330 833 Franz Renner (also known as Francesco della Fontana) was born before 1450 in Heilbronn (or Heilbrunn, in southern Germany) into a family of landowners. Before 1471 he moved to the Serenissima, integrating himself into the flourishing lagoon printing industry, as a typographer and bookseller. He was a member of the confraternity of the German shoemakers Santa Maria, through which he came into contact with important personalities of the printing press that was, at that time, in full bloom. The debut occurs with the publication of the treatise Quadragesimale aureum, by the Dominican monk Leonardo da Udine and the work Oratio habita apud Sixtum IV contra Turcos, by the Venetian historian Bernardo Giustinian. But his name appears for the first time not on the pages of these treaties, but in 1472, at the end of Roberto Caracciolo's homiletic tome - Sermones quadragesimales de poenitentia. As a signature, the craftsman adopts the Latinized form Franciscus de Hailbrun, to which he adds, starting in 1478, the cognomen Renner, while in private life and in commercial activities he prefers to be known as Francesco della Fontana, a name much easier to pronounce and remember by the locals. Renner brought to light about 50 prints (of which the ISTC - Incunabula short title catalog mentions 47, and the Gesamtkatalogder Wiegendrucke [=GW] exceeds them by one unit, proposing 51 titles), he was the first Venetian typographer to specialize in the religious and liturgical sector, even in the octavo format, quite rare at the time (before the typology established by Aldo Manuzio). Another craftsman would join him in printing this thematic category (the religious book) - Nicolò da Francoforte (Nicolaus de Francfordia), with whom Renner associates in 1473 (until 1477). The two publish 15 works - breviaries, sermons, theological treatises and bibles, from under their presses, in 1475, the first Bible in Latin printed in Venice (Vulgate) will come out. After other printed works in collaboration with other craftsmen (eg Petrus de Bartua, 1478-83), in 1481 he took on the project of an imposing Bible (one in folio) in 3 volumes, enriched with the comments of Nicolaus de Lyra (Postillae), which would appears in the years 1482-83, it is the fourth edition of the Holy Scriptures after the translation of St. Jerome, or the Vulgate, known as the Latin Bible. Renner brought to light 5 such Bibles, of which only one with the comments mentioned above. The last print related to this printer is a Breviary from 1486, which appeared in the workshop of Erhard Ratdolt, Renner assumed here the role of commercial editor. Beyond this date we have no more definite news about the activity of the craftsman of German origin, but certain archival documents relating to the request for printing privilege by his successor, Benedetto, indicate that in 1496 Franz Renner was no longer alive. The lot was proposed for classification in the Treasury.
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