| Summary: | "La battaglia, e il balletto fù inuenzione, e composizione del sig. caualiere Tommaso Guidoni. Gli abiti de caualieri, e di tutta la festa, furono fatti con la sopraintendenza del signor Anibale Douara. Il componimento, e la poesia fù del signor Benedetto Rigogli. Il carro di Nettuno, le prospettiue, gli abiti, & gli altri ornamenti del teatro furono inuenzioni del sig. Alfonso Parigi. La macchina grande dell'Orca Marina, che si trasforma nella naue fù inuenzione del sig. Ferdinando Tacca"--P. [22]. Woodcut ornament on t.p. Text on each page within ornamental border of printer's ornaments. A description of the spectacle, incorporating Rigogli's verse libretto. Mode of access: Internet. Both copies bound in modern decorated paper. In c. 1 the title is written in brown ink on a spine label. In c. 2 the date and title are written in black ink directly on the spine. Page edges gilt in c. 1. Inside the front cover of c. 1 is an etching by Stefano Della Bella. It is trimmed just outside the platemark, which measures 236 x 298 mm. The bottom edge is folded up, and it is tipped onto a stub at the centerfold. Della Bella produced four views of this spectacle, of which this is the second; see A. de Vesme, Le peintre-graveur italien, Della Bella 66. The legend begins "Naue del Colonbo [sic] gia Trasformata da Nettuno in Orca Marina ." Della Bella's signature in the lower right margin is nearly effaced. Copy 2 lacks the final blank. Getty copies 1 and 2 are different states. Copy 1 is gathered in 12, with leaves A2-A6 signed. Copy 2 is gathered in 4's, with A2, B1-B2, C1-C2 signed. The type is essentially identical, though the pages have become associated with different settings of the border in the course of re-imposition. Copy 2 shows a few corrections vis-à-vis c. 1, suggesting that it is the later version: Francesco vs. Frances on the t.p., with "co" added in superscript in order to fit the space available; Coro vs. oro as the first word on p. [11], Coro being the catchword on p. [10]; Bianco vs. Scarnatino in the first line on p. [20], which the context requires.
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