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Displayed below are some selected recent viaLibri matches for books published in 1520

        Le grant herbier en francoys: contenant les qualitez: vertus, & proprietez des herbes, arbres, gommes, semences.

      Paris: Jehan Janot, xlc [ca. 1520]. - HERBAL. PLATEARIUS, Matthaeus (12th-century) - JANOT, Jean (fl. 1510-1522). Le grant herbier en Francoys, Contenant les qualitez: vertus/ (+ proprietez des herbes/ arbres/ gommes Semeces: huylles (+ pierres precieuses: extrait de plusieurs traictez de Medecine. Comme de Avicenne rasis: Constantin: Isaac Plataire (+ Ypocras Selon le commun usaige. Imprime nouvellement a Paris: xlc. [Colophon:] Jehan. Janot. On les vend a Paris a lenSeigne Saict Jehan baptiste En la rue neufue nostre dame pres Saicte geneviefue des ardas. [before 1522]. Small 4to., (7 x 5 inches). Gothic type, double column. FF [22 (8 portion of top margin renewed not affecting text)]-CLXXVI, sig. AA8 BB-CC4 DD6 a8 b-e4 g4 h8 i8 k4 l8 m-p4 q8 r-u4 x8 y-z4 94 A8 B-E4 F8 G-H4 I6. 3 large woodcut vignettes, one on the title-page and one at the end of "La Table", and Jean Janot's device at the end, 300 woodcut vignettes of plants and some animals, numerous woodcut initials throughout (H5-7 remargined in the lower edge, H8 remargined in the upper edge with the running title partially renewed in manuscript facsimile, washed). Modern full brown morocco, gilt, yapp fore-edges, by Lobstein-Laurenchet. Provenance: from the library of Jean Bonna, with his discreet booklabel on the front paste-down, his sale Christie's 16th June 2015, lot 24 AN EXCEPTIONALLY RARE, EARLY EDITION IN FRENCH, PRINTED IN GOTHIC TYPE, OF A CELEBRATED AND PROFUSELY ILLUSTRATED HERBAL, ONLY ONE OTHER COPY WITH THIS IMPRINT FOUND, IN THE BNF, with a slightly different collation. Subsequently reprinted by Jean Janot's son Denys. As traditionally most available drugs had been derived from plants, the earliest herbaria were not only botanical treatises but also pharmacopoeia. Doctor Mattheus Platearius's Circa Instans was one of the most famous works to come out of the Middle Ages. His text was reworked in the early 14th century in the Tractatus Herbis attributed to Barthomaeus Mino of Senis, which augmented the book with chapters from the Herbarius by the pseudo-Apuleius. From the 1480s, many herbals where published in various European countries under the title Herbarius and Ortus Sanitatis in Latin, Gart der Gesundheit in German and Arbolayre or Grand herbarium in French. All are derived from ancient texts composed by Platearius and Mino of Senis. In all of these treatises, the illustrations play an important role, as each plant is represented: the present Grand herbarium is profusely illustrated with 300 woodcuts in the text, some representing animals. The printer Jean (or Jehan) Hanot (fl. 1508–1522) and his sons Symon and Denys had a flourishing business in the 1510s-1540s in Paris. Jean's wife, Macée Trepperel, was also from a family of printers and booksellers. Together they printed books in the vernacular which appealed to a wide and growing audience. FRBNF34803665; Nissen 2333; Pritzel 10762; L. Choulant, "Graphische Incunabeln für Naturgeschichte", p. 75, n° 6 ; G. Nissen, "Die botanische Buchillustration", 2332. - Marque de Jean Janot (Renouard, n° 474) ; daté d'après l'adresse de J. Janot au titre et au colophon et le matériel. - 304 gr. sur bois. Car. goth. - Armes gr. découpées au contreplat supérieur. - Rel. ancienne, parchemin rigide. - Libr. P. Jammes, cat. 247, " La Nature ", n° 422. [Attributes: Hard Cover]

      [Bookseller: Arader Galleries - Aradernyc]
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        Exlibris von Bartel Beham für Hieronymus Baumgartner.

      Ca. 1520. 78 x 61 mm (mit dem w. Rand). Bartsch 57; Pauli 89; Rosenberg 83; Hollstein, p.227; Warnecke 137; Leiningen-Westerburg 123/124. - Druck ohne Inschriftsrand (zweiter Zustand). Zentrales Motiv ist ein Wappenschild mit einem Papagei, auf einer Lilie sitzend; das Motiv wiederholt sich auf dem Helm, der mit Federschmuck das Schild umkränzt. In den Ecken sind Sanduhr, Sonnenuhr, Totenkopf und Wappen zu sehen. - Der Nürnberger Jurist und Senator Baumgartner (1489-1565) war Freund Luthers und Melanchthons. Auf kräftigem Papier. Sauber, rückseitig Leim- und Montagereste. - Beiliegt ein gest. Portrait Behams vom Monogrammisten VS (nicht Virgil Solis), 17. Jhdt., 112 x 95 mm, bis zum Plattenrand beschnitten. Versandkostenfreie Lieferung

      [Bookseller: Antiquariat Uwe Turszynski]
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        Simon and Thaddeus.

      1520. Miniature woodcut 1 3/4 x 2 1/2", mounted; very good. Original woodcut from Christ and the Twelve Apostles, with "HSP" monogram and date.

      [Bookseller: John Windle Antiquarian Bookseller]
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        Dialogi Decoctio. Eckivs Monachvs Amico Nurticem Anchisae scis dicere amice, nouerce Archemori & patriam, Ipsetibi dicam certo quis talia primus Luserit, aude aliquid Vranopetes.

      (Strassburg, Johann Prüss) (around 1520) - (7), (1 bl.) folia. Rebound blue wrappers, 4° (Rare satirical dialogue containing a spirited attack on Johann Eck, 1486-1543. The work is attributed to the German humanist and friend of Luther Nikolaus Gerbel, c.1485-1560.) [Attributes: Soft Cover]

      [Bookseller: Antiquariaat de Roo]
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        Simon and Thaddeus.

      1520. Miniature woodcut 1 3/4 x 2 1/2”, mounted; very good. Original woodcut from Christ and the Twelve Apostles, with “HSP” monogram and date.

      [Bookseller: John Windle Antiquarian Bookseller]
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        La Victoria

      Italia - GIORGIO MANTOVANO GHISI (1520-1582) (dibujo y grabado) Roma, mediados siglo XVI. Tiraje siglo XVII-XVIII. Buen estado de conservación. Con márgenes Ref.: Bartsch 13. Siglo: XVI.Buril. Papel verjurado. Grabador: Ghisi, Giorgio Mantovano. Dibujante: Ghisi, Giorgio Mantovano. Mediados siglo XVI. Tiraje siglo XVII-XVIII. Altura papelt: 210. Anchura papel: 265. Altura plancha:143. Anchura plancha: 202

      [Bookseller: Palau Antiguitats]
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        Rare lettre du bibliophile et magistrat de la Renaissance, Jacques Minut.

      - 1 Lettre signée avec souscription autographe 2 In-folio 1er mai [vers 1520] Adresse au dos. petits trous d'aiguille en marge Magistrat, bibliophile et humaniste, milanais naturalisé français (Jacopo Minuti) lorsqu'il suivit François 1er de retour de la campagne d'Italie, premier président au Parlement de Toulouse (1524), il offrit un précieux manuscrit de Dante à François 1er ; il était l'ami des écrivains, et fit mettre en liberté Etienne Dolet. [Attributes: Signed Copy]

      [Bookseller: Traces Ecrites]
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        CARTA DE CARLOS I AGRADECIENDO SU LEALTAD TRAS EL LEVANTAMIENTO DE LAS COMUNIDADES CARTA DE CARLOS I A SU HERMANA, LA INFANTA CATALINA.

      1520. . 1520 - . . . 1 Vol. . 4 pp. Folio. . . Cédula de Carlos I agradeciendo su lealtad tras el levantamiento de las Comunidades y comentando los sucesos acaecidos en Tordesillas. Sigue la misiva dirigida a su hermana, lamentando los sucesos en los que se vio envuelta su madre, la reina Juana. Anuncia su próximo regreso al reino y le aconseja se deshaga de los marqueses de Denia, a los que tiene por traidores. Rotura en parte central, no impide lectura. Idioma castellano. Se acompaña la transcripción del documento completo. Firma real .

      [Bookseller: Librería Anticuaria Astarloa]
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        Hore intemerate virginis marie secundu[m] vsum Romanum cum pluribus orationibus tam in gallico q[uam] in latino.

      Paris: Guillaume Anabat for Germain Hardouyn, 1 October 1505 (Almanac for 1505-1520) - Octavo. Printed on vellum. Collation: a-n8 o4: 108 ff., unnumbered. Blackletter type. Large Hardouyn device on title-page (Renouard 434; Nettekoven p. 135, no. 223); Hardouyn's Planetary Man cut; three large cuts (St. John with the Poisoned Cup, The Betrayal of Christ, and The Holy Trinity with the Church and its four Cardinal Virtues; Zöhl p. 174); twelve mid-size cuts (The Life of Christ; Nettekoven pp. 122-123, no. 211-222); 26 smaller cuts of saints and biblical subjects; a small cut of the crucifixion on the final leaf; each page printed within an elaborate multi-block border, sometimes incorporating letterpress captions. 194 x 124 mm. Decorated throughout; the larger initials illuminated with floral decoration in gold and colors; rubricated with the small initials and line-fillers supplied in gold on red or blue grounds; the arms on Hardouyn's device painted over with an unidentified coat of arms; the borders on a1r and a2v colored (early, but later than the illumination and rubrication). Early recipe for a rhubarb-based purgative in manuscript on a rear endleaf. binding: Later sixteenth century calf over paste boards elaborately tooled in gilt, triple fillet border, large strapwork and arabesque cornerpieces, large strapwork and arabesque centerpiece with two lion's heads and a blank central oval, in between a semé of fleurons, spine with five raised double bands, the compartments tooled with azured ovals and vines; two pairs of ties (now lacking); three vellum endleaves at front and rear (including the pastedowns). COLOPHON: Ces presentes heures a lusaige de Romme furent acheuees le premier iour de Octobre Lan Mil cinq cens et cinq. Par Guillaume Anabat imprimeur demourant a Paris en la rue sainct Jehan de Beauuais pres les escolles du decret a lenseigne des connis. Pour Germain Hardouin libraire demourant empres la grant porte du palais a limage sai[n]cte Marguerite. DESCRIPTION: An unsophisticated copy of this handsome book of hours, the earliest dated production of Anabat's press. Anabat was a native of Brittany; his press was active in Paris between 1505 and 1510. All of the books that he printed were done for other publishers; the vast majority were books of hours printed for the brothers Gilles and Germain Hardouyn, who specialized in the production and sale of horae. The metalcuts that illustrate this edition are the work of two distinct hands. The twelve smaller cuts depicting the life of Christ are copies based on a set that was produced for Thielman Kerver and Georg Wolff c. 1497; they were first used by the Hardouyn brothers in 1503. They have been attributed to the Master of the Très Petites Heures d'Anne de Bretagne, also known as the Master of the Apocalypse Rose of the Sainte-Chapelle; this artist has been tentatively identified as Jean d'Ypres, the son of Colin d'Amiens (See Caroline Zöhl's article in the 2007 festschrift for François Avril Quand la peinture était dans les livres). He produced many designs for the illustration of books of hours in the period 1480-1510; he is also responsible for a small number of manuscripts, as well as some celebrated designs for tapestries. The three large cuts that start the volume, however, are the work of Jean Pichore, who was active in Paris c. 1500-1520. His illustra- tions, in the renaissance style, replaced the gothic designs of the Master of the Apocalypse Rose of the Sainte-Chapelle as the dominant mode in the illustration of Paris books of hours; this volume captures that transition perfectly, with the more refined and sophisticated Pichore blocks standing in counterpoint to the slightly stiff cuts of the earlier master. (The artist responsible for the Planetary Man cut, which had appeared in earlier Hardouyn books of hours, has not been identified.) This edition exists in two quite distinct states. [FULL DESCRIPTION AVAILABLE UPON REQUEST.] [Attributes: Hard Cover]

      [Bookseller: James Arsenault & Company, ABAA]
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        Cayo Mario en la cárcel

      Italia - GIORGIO MANTOVANO GHISI (1520-1582) (grabado); POLIODORO CARAVAGGIO (dibujo) Roma, ca. 1560. Primer estado (Ferrara, 1583). Filigrana de ancle inserida en círculo y estrella. Buen estado de conservación. Justo cerca de la huella. Restauración y añadido de papel en ventana. Referencia.: Bartsch 26; Massari 197. Siglo/Century: XVI Buril Papel verjurado con filigrana Grabador/Engraver: Ghisi, Giorgio Mantovano Dibujante/Draw Artist: Caravaggio, Poliodoro Circa 1560 Altura papel/Paper height: 202 Anchura papel/Paper width: 283 Altura plancha/Plate height: Anchura plancha/Plate width:

      [Bookseller: Palau Antiguitats]
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        Salisburgensis iurisdictionis, locorumq. vicinorum vera descriptio auctore Marco Secznagel Salisburgense. Kupferstich - Karte nach Marcus Secznagel aus Ortelius "Theatrum Orbis Terrarum" Antwerpen 1602, 38,5 x 46,5 cm

      - Schaup 1.1.2 - V. d. Broecke 108.1 - Koeman III, 2720:31B.- Nach Markus Secznagel, auch Marx Setznagel (* um 1520 in Salzburg, ? 21. August 1580).- Mit Rollwerkkartusche.- Schönes Blatt!

      [Bookseller: Antiquariat Johannes Müller]
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        Pontificale s(ecundu)m Ritus Sacrosancte Romane ecclesie... - (Colophon:)

      Venezia, Lucantonio Giunta, 1520. In-folio (34 x 23,5 cm.). Legatura del '700 in mezza pergamena con angoli, titolo impresso in oro sul dorso. Frontespizio con titolo e marca tipografica stampati in rosso entro elaborata cornice silografica composta da 4 blocchi; la cornice è ripetuta su tre pagine di testo che racchiudono anche tre belle illustrazioni (7,5 x 13,3 cm.) e tre grandi iniziali istoriate; sul verso della sesta carta preliminare c'è una stupenda silografia della crocefissione entro cornice composta da 8 legni; 162 graziose silografie n.t. e moltissime iniziali istoriate incise in legno; tutte le silografie sono incise alla maniera di Zuan Andrea. (6), 253 ff.; caratteri gotici in rosso e nero e con moltissime pagine di musica. Primi due fogli lenti, margine esterno del frontespizio restaurato e quello inferiore di due fogli rifatto, alcuni piccoli forellini di tarlo, alone nel margine basso degli ultimi 4 fogli, e senza l'ultimo foglio bianco, peraltro esemplare ben conservato. Questa seconda edizione giuntina, dedicata a Leone X, è la prima con le importanti aggiunte e correzioni del domenicano Alberto Castellano (da Castello, ca. 1450-1525), su cui "si fondò la prima riedizione post-tridentina del Pontificale Romanum voluta da papa Clemente VIII (1592-1605). Essa è composta da tre libri: il primo contiene le norme liturgiche per l'Ordinazione e la Benedizione delle persone, il secondo quelle per la benedizione delle cose ed il terzo descrive le funzioni episcopali più importanti, che sono collegate all'Anno liturgico. I libri I e III rimasero invariati fino al Concilio Vaticano II." (Wikipedia) "Il Castellano fu soprattutto un attento compilatore le cui raccolte, in special modo quelle liturgiche, furono usate a lungo e rivestirono anche il carattere di ufficialità. Il suo Liber Pontificalis (1520), più volte edito nel corso del sec. XVI, divenne con l'edizione del 1595 il Pontificale d'uso normale nella Curia romana" (DBI XXI, 643). Essling 1695. Sander 5839. Olschki, Choix, 3230. Adams L-1238. Camerini, Giunti di Venezia, I, 240. Edit 16, CNCE 11858. The Pontifical contains the rites for ordinations, consecrations, and all other liturgical rites and ceremonies performed by popes and bishops. This second Giunta edition is the first with the important improvements by the Venetian Dominican Alberto Castellano; Pope Clemens VIII did choose it for the first Pontifical printed after the Council of Trent in 1595, and prohibited the use of any other version. It is divided in three parts, the first and the third remained almost unchanged until the Second Vatican Council of 1962. Title within a large emblematic and historiated border, repeated 3 times, a superb full page crucifixion within a large decorative border, 162 attractive text woodcuts, and numerous woodcut historiated initials. Gothic type, printed in red and black throughout and with many musical notes. 18th century half vellum, gilt title on spine. First two leaves loose, outer margin of title and lower margin of two other leaves repaired, a few pin wormholes, a stain on lower margin of the last 4 leaves, and lacking final blank, generally however, a good copy of this luxurious piece of printing.

      [Bookseller: Libreria Antiquaria Rappaport]
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        Venus y Vulcano en la forja

      Italia - GIORGIO MANTOVANO GHISI (1520-1582) (grabado); GIOVANNI GIACOMO ROSSI (1638-1684) (editor) Roma, circa 1550. Cuarto estado (de cuatro). Referencias: Bartsch 54; Heller-Andersen 16; Massari 191. Buen estado de conservación. Siglo/Century: XVI Buril Papel verjurado Grabador/Engraver: Ghisi, Giorgio Mantovano Dibujante/Draw Artist: Rossi, Giovanni Giacomo Circa 1550 Altura papel/Paper height: 196 Anchura papel/Paper width: 316 Altura plancha/Plate height:193 Anchura plancha/Plate width: 312

      [Bookseller: Palau Antiguitats]
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        Beschrijvinghe van America, wiens inwoonders, wildt, naeckt, seer godloos, ende wreede menschen-eters zijn; hoe hy selve onder de Brasilianen lange gevangen geseten heeft, die hem dagelijcks dreygden doot te slaen en t'eten: Including: Avontuerlijcke, vreemde, ende waerachtighe beschryvinge van het landt America, alwaer Hans van Staden onder de Brasilianen, Tuppin Imbas ghenaemt, lange gevangen geseten heeft, .Amsterdam, Jan Jacobsz. Bouman, 1660. 2 parts in 1 volume. 4to. With 2 title-pages, the first printed in red and black, each with a different large (7 x 13 cm) woodcut illustration; and 17 smaller (5 x 6.5 cm) woodcut illustrations (plus 12 repeats) in the text, mostly of Brazilian Indians. 20th-century dark brown calf, with older st

      - Alden & Landis 660/161 (1 copy); WorldCat (3 copies); cf. Borba de Moraes, p. 836; Sabin 90050; this ed. not in STCN. Extremely rare Dutch edition of an important and very popular eye-witness account of mid-16th-century Brazil, by Hans Staden (ca. 1520/25-ca. 1557 or ca. 1576), a Hessian artilleryman who served the Portuguese in Brazil in the years 1547-1548 and 1549-1555. During most of his second trip to Brazil he was held prisoner near Rio de Janeiro by the Tupinambá Indians. Already fluent in the Tupi language, he probably gained a more intimate knowledge of the Indians than any other writer of his day. The first part describes his voyages and his capture by the Indians, while the second part describes their culture and customs. Staden's sensational tales of the "savage, naked, very godless and cruel cannibals" of Brazil, published when Europeans knew almost nothing of the New World, immediately made the book a best-seller. While its biased view of the Brazilian "savages" was the progenitor of many widely accepted 16th-century European beliefs about the New World, it also contains a wealth of information from the direct observations of a participant observer familiar with the native language. It therefore forms one of the most important sources of both facts and misperceptions about indigenous Americans. We have located only three other copies of the present edition worldwide.With some water stains and an occasional minor brown spot, but still in good condition and only slightly trimmed.

      [Bookseller: ASHER Rare Books]
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        Cardinal Albrecht of Brandenburg (The small Cardinal). Illustration zu "Vorzeichnus vnd zceigung heiligthumbs der Stiftkirchen der heiligen Sanc Moritz und Marien Magdalenen zu Halle", S. 853.

      Auf Bütten. 12,1 x 9,6 cm (Darstellung) 15,7 x 9,6 cm (mit Text). Gesamte Blatt 34,5 x 20,3 cm. Meder 100. Schoch/Mende/Scherbaum 89. Dürer ließ 1520 die Platte und 200 Abdrucke an Cardinal Albrecht von Brandenburg ausliefern. Das Blatt wurde als Titelblatt und Illustration des Halleschen Heiligtumbuches, erschienen1520, verwendet (Germanisches Nationalmuseum, Nürnberg), die Anordnung des Textes weicht vom der ursprünglichen Platte ab. - Die Vorzeichnung zu dem Porträt Albrecht von Brandenburgs (1490-1545) entstand 1518 während des Augsburger Reichstags. Heller weist darauf hin, dass aufgrund der Anordnung der kleinen Wappenschilder geschlossen werden könne, dass Albrecht von Brandenburg hier in seiner Würde als Erzbischof von Magdeburg dargestellt sei (Abfolge der Wappen: Erzbistum Magdeburg - Erzbistum Mainz - Halberstadt, Heller Dürer 1827). - Schwache Knickspuren im Textrand geglättet, dort auch kleinere Einrisse. In den oberen Ecken lose montiert.

      [Bookseller: Kunstantiquariat Joachim Lührs]
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        Ein kurtze Schirmred der Kunst Astrologie, wider etliche unverstandene Vernichter, auch etliche Antwurt uff die Reden und Fragen Martini Luthers Augustiners, so er in seinen zehen Gebote[n] unformlich wider dise Ku[n]st getho[n] hat.

      (Strasbourg, Johann Grüninger, 1520). - 4to. (20) pp. (final blank). With woodcut title border. 18th century marbled wrappers. Extremely rare first and only edition: a defence of astrology written against the criticisms of Martin Luther, quoting Avicenna and other Arabic scholars. "In 1520 Luther had published a comment to the decalogue, including among the violators of the first commandment also magicians, necromancers, and astrologers. Luther's hostility toward astrology was great; moreover, this anti-astronomical polemic on a religious basis was widespread enough as was the traditional, contrary attempt to show [.] the religious legitimacy of astrology. But, coming from a heretic such as Luther, this new attack on astrology could very easily be turned around. Laurent Fries, a physician and astrologer of Colmar, intervened in defense of the science of the stars with a short work (Ein kurtze Schirmred der Kunst Astrologie . [A Brief Defense of the Art of Astrology], J. Grüninger, Strasbourg, 1520) written in the form of a dialogue between Fries himself and Luther. In this work Fries tried to show that astrology was, from a Christian point of view, perfectly orthodox and not therefore, as Luther had maintained, a pagan science" (cf. C. Ginzburg, Il nicodemismo [Turin, 1970], p. 30). Among the witnesses called by Fries in defense of astrology are not only the gospels and the great thinkers of antiquity, but also several of the great Muslim philosophers and physicians, including Ibn Sina (Avicenna), Muhammad ibn Zakariya al-Razi (Rhazes) and 'Ali ibn al-'Abbas al-Majusi (Haly Abbas). - Occasional insignificant browning; some smudging of printer's ink on second and third folio; contemporary correction and marginal note in ink on fol. A2v. Apparently removed from an old sammelband, numbered "37" at the head of the title by an early hand. Not a single copy is known in the trade; only one is listed via VD16 (in the Bavarian State Library in Munich; a variant imprint of the title is in Göttingen). VD 16, F 2861. USTC 644398. Not in Pegg, Hohenemser, Knaacke, Kuczynski etc. [Attributes: Soft Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        1520 Guillaume Pepin Speculum Catholic Virgin Mary Marian Sermons Rosary

      Impressum Parrhisiis : cum privilegio pro Johanne Parui, 1520 die vero 10 mensis Martij. - 1520 Guillaume Pepin Speculum Catholic Virgin Mary Marian Sermons Rosary Guillaume Pepin was a late 15th-century Dominican friar and preacher. He gained his fame in the early 1500s from his published sermons, in which many of the public sermons Pepin attacked royalty and Francis I. Pepin himself said, “Is royalty a holy thing? Who made it? The Devil, the people, and God: God, because nothing happens with his will; the devil, because he has breathed ambition and pride; the people because they have given themselves over to servitude.” (Pepin, Sermones de Destrucitone, 1518; from Farge) Pepin was instrumental in spreading Marian piety and played a critical role in the development in the modern use of Rosary in Catholic traditions. This work, ‘Speculum Aureum Super,’ was first published in 1510 and saw extensive reprints through the mid-17th-century. It is a collection of seven ‘penitential psalms’ or lectures on evangelism and devotional teaching. Item number: #2108 Price: $950 PEPIN, Guillaume Speculum aureum super septem psalmos penitentiales noviter editum a reverendo patre fratre Guiliermo Pepin. Impressum Parrhisiis : cum privilegio pro Johanne Parui, 1520 die vero 10 mensis Martij. Details: • Collation complete with all pages: 1008p o Signatures: a10, b-z, A-I8, L2, aa-zz, aaa-ggg8, hhh4. • References: USTC 145331; Moreau II, 2442; Adams P 631; Farge, Biographical Register Paris Doctors of Theology, 1500-1536, no. 385; • Language: Latin • Binding: Vellum; tight & secure • Size: ~7in X 5in X 3in (18cm x 13cm x 8cm) • Very rare with no other examples for sale worldwide Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 2108 Photos available upon request [Attributes: First Edition; Hard Cover]

      [Bookseller: Schilb Antiquarian]
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        QUINTUS CU(R)TIUS.

      In aedibus Aldi et Andreae Asulani soceri (Aldo Manuzio, Andrea Torregiani), Venetiis 1520 - Un volume (10x16 cm) di (8)-170-(2) carte. Áncora aldina al titolo e all'ultima carta. Il titolo è errato, "Quintus Cutius", la R mancante aggiunta a mano. Scritte antiche di proprietà (della famiglia Carrara) occupano gli spazi bianchi del titolo e dell'ultima carta con l'ancora aldina. Piccola erosione (0,5 cm) al margine bianco inferiore delle ultime dodici carte. Legatura settecentesca in piena pergamena, una macchia al margine, dorso a nervi con titolo manoscritto, scritta ai tagli. Molto buono. Renouard, Annali delle edizioni aldine, p. 88-89.

      [Bookseller: Libreria BACBUC - Studio bibliografico]
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        Exlibris von Bartel Beham für Hieronymus Baumgartner.

      Ca. 1520.. 78 x 61 mm (mit dem w. Rand). Bartsch 57; Pauli 89; Rosenberg 83; Hollstein, p.227; Warnecke 137; Leiningen-Westerburg 123/124. - Druck ohne Inschriftsrand (zweiter Zustand). Zentrales Motiv ist ein Wappenschild mit einem Papagei, auf einer Lilie sitzend; das Motiv wiederholt sich auf dem Helm, der mit Federschmuck das Schild umkränzt. In den Ecken sind Sanduhr, Sonnenuhr, Totenkopf und Wappen zu sehen. - Der Nürnberger Jurist und Senator Baumgartner (1489-1565) war Freund Luthers und Melanchthons. Auf kräftigem Papier. Sauber, rückseitig Leim- und Montagereste. - Beiliegt ein gest. Portrait Behams vom Monogrammisten VS (nicht Virgil Solis), 17. Jhdt., 112 x 95 mm, bis zum Plattenrand beschnitten.

      [Bookseller: Antiquariat Turszynski]
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        1520 1st ed Epistles of St Ignatius of Antioch + Catholic Church Father Polycarp

      Basileae: apud Adam Petri, Mense Augusto, anno M.D.XX. [1520]. First edition. - 1520 1st ed Epistles of St Ignatius of Antioch + Catholic Church Father Polycarp Ignatius of Antioch was a first-century early-Christian writer and bishop. While on his way to Rome, Ignatius wrote a series of letters, similar in nature to the Biblical Epistles of Saint Paul. These letters, many of which have sense been attributed to other authors, are a prime example of early church theology and address important topics such as the role and responsibility of church leaders, study of the church, and holy sacraments. Ignatius is believed to be the first to use the term ‘catholic church’ in writing. Ignatius was seeking to counter many people who were making claims of Docetism and heresies. The letters, or epistles, included in this 1520 printing are written to: • Trallians • Magnesians • Tarsians, or Tarshishians • Philippians • Philadelphians • Smyrnaeans o The letter which contains the earliest recorded evidence of the term “catholic church” • Polycarp of Smyrna • Antiochians • Hero, Deacon of Antioch • Ephesians • Romans According to Heckethorn, Adam Petri, the printer, was a devout Catholic, who presented his published works to Catholic monasteries in Basel. He was well-known for his publication speed as well as accuracy, but was also close Erasmus and published a great deal of Frobenius’s works. Petri Jacques Lefevre d’Etaples’ edition of Ignatius for his printing. Item number: #2028 Price: $1750 IGNATIUS, of Antioch Gloriosi Christi Martyris Ignatii Antiocheni antistitis, Epistolae undecim. Item una beati Polycarpi martyris epistola, cum argumento Iacobi Fabri Stapulen in easdem Basileae: apud Adam Petri, Mense Augusto, anno M.D.XX. [1520]. First edition. Details: • Collation: Complete with all 95 pages o Illustrated, decorative title page; large decorative initials o Signatures: A-M4 • References: Adams I 28; VD16 P 4100; Heckethorn, Printers of Basle, p.143,149; • Language: Latin • Binding: Vellum; tight & secure • Size: ~8.5in X 6.5in (22cm x 16cm) • Exceedingly rare with no other example for sale worldwide Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 2028 Photos available upon request [Attributes: First Edition; Hard Cover]

      [Bookseller: Schilb Antiquarian]
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        Acta Martyrum, Eorum Videlicet, Qui Hoc Seculo In Gallia, Germania, Anglia, Flandria, Italia, constans dederunt nomen Evangelio, idque sanguine suo obsignarunt: ab Wicleffo & Husso ad hunc usque diem..

      Kl.8, 8 Bl., 416, 291 (falsche Paginierung 279), 4 Bl., Späterer Lederband mit Blindprägung über 4 Bünden, Deckel berieben, kleine Fehlstellen im Gelenk. Fliegender Vorsatz eingerissen, durchgehend etwas wasserändig, einige Marginalien a. Vorsätzen und Titelblatt und einigen weiteren Blättern von alter Hand. Jean Crespin (1520-1572) war der Sohn des Rechtsgelehrten Charles Crespin in Arras. Crespin studierte in Löwen von 1533 bis 1538 zunächst Literatur, dann Rechtswissenschaft und praktizierte anschließend in Arras als Rechtsanwalt. Seit 1540 war er Parlamentsadvokat in Paris. Als er zur reformierten Kirche konvertierte, wurde er als "Ketzer" verfolgt und am 28. März 1545 ausgewiesen.Crespin ging zunächst nach Straßburg und Basel. Von dort kam er im Oktober 1548 nach Genf, wo er am 25. August 1551 als Einwohner (Habitant) anerkannt wurde und am 2. April 1555 die Bürgerrechte erhielt. In Genf betätigte er sich nicht mehr als Jurist, sondern wurde ein erfolgreicher Buchdrucker und Verleger. In 20 Jahren veröffentlichte er etwa 250 Bücher, darunter viele Werke zur Unterstützung des Reformators Johannes Calvin, mit dem er befreundet war. Ein weiterer Freund war Théodore de Bèze.Sein wichtigstes Werk war Le livre des martyrs (1554), in dem er die Glaubenskriege und religiöse Verfolgungen vom Mittelalter bis in die Gegenwart beschrieb.

      [Bookseller: antiquariat peter petrej]
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        De sestertio, talentis, pecunijs, ponderibus, me(n)suris, stipendijs militaribus antiquis, ac provinciaru(m), regum, populi Romani, Caesarumque redditibus, libri duo.

      (Basel), Froben, o. J. (ca. 1520). - 2 Bll., 62 S., 3 Bll. Frühe Ausgabe dieses öfters aufgelegten Handbuchs über die Münzen, Maße und Gewichte des Altertums. - VD16 P 4394. - Leonardo Porzio (1460 - 1545) wollte mit vorliegendem Werk (erstmals um 1500 in Venedig erschienen) die Deutungshoheit über das römische Münz- und Messwesen erringen und stand damit in direkter Konkurrenz zu dem 1515 erschienen Werk "De asse" von Guillaume Bude. Der wissenschaftliche Streit zwischen diesen beiden beherrschte danach für einige Jahre die wissenschaftliche Diskussion. -"Porzio`s representation is in part rather speculative: he tried to reduce the classical measures to a natural basis, which for him meant the natural foot for lengths and siliquae (seed of cruciferous plants) for weights. in order to determine the lenghth of the Roman foot he used a measure that was conserved in Roman gardens, and arrived at the guess that the natural foot should be one-twelfth less than the foot of his time" (Iain Fenlon and Inga Mai Groote, Heinrich GlareanÄ`s Books. Cambridge 2013. S. 164). - Titel mit hs. Besitzvermerk und größerem Tintenfleckig. Vereuinzelte hs. Randanmerkungen. Etw. gebräunt, durchgängige kl. Wurmgänge. *** /// *** Copyright: Matthaeus Truppe - Stubenberggasse 7 - A-8010 Graz - +43 316 829552 *** /// *** Sprache: Deutsch Gewicht in Gramm: 500 8°. Mod. HPgmt. unter Verwendung von Material des 18. Jahrhunderts.

      [Bookseller: Matthaeus Truppe Antiquariat]
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        Beschrijvinghe van America, wiens inwoonders, wildt, naeckt, seer godloos, ende wreede menschen-eters zijn; hoe hy selve onder de Brasilianen lange gevangen geseten heeft, die hem dagelijcks dreygden doot te slaen en t'eten: ... Including : Avontuerlijcke, vreemde, ende waerachtighe beschryvinge van het landt America, alwaer Hans van Staden onder de Brasilianen, Tuppin Imbas ghenaemt, lange gevangen geseten heeft, ...Amsterdam, Jan Jacobsz. Bouman, 1660. 2 parts in 1 volume. 4to. With 2 title-pages, the first printed in red and black, each with a different large (7 x 13 cm) woodcut illustration; and 17 smaller (5 x 6.5 cm) woodcut illustrations (plus 12 repeats) in the text, mostly of Brazilian Indians. 20th-century dark brown calf, with older stiff paper wrappers bound in.

      Alden & Landis 660/161 (1 copy); WorldCat (3 copies); cf. Borba de Moraes, p. 836; Sabin 90050; this ed. not in STCN. Extremely rare Dutch edition of an important and very popular eye-witness account of mid-16th-century Brazil, by Hans Staden (ca. 1520/25-ca. 1557 or ca. 1576), a Hessian artilleryman who served the Portuguese in Brazil in the years 1547-1548 and 1549-1555. During most of his second trip to Brazil he was held prisoner near Rio de Janeiro by the Tupinambá Indians. Already fluent in the Tupi language, he probably gained a more intimate knowledge of the Indians than any other writer of his day. The first part describes his voyages and his capture by the Indians, while the second part describes their culture and customs. Staden's sensational tales of the "savage, naked, very godless and cruel cannibals" of Brazil, published when Europeans knew almost nothing of the New World, immediately made the book a best-seller. While its biased view of the Brazilian "savages" was the progenitor of many widely accepted 16th-century European beliefs about the New World, it also contains a wealth of information from the direct observations of a participant observer familiar with the native language. It therefore forms one of the most important sources of both facts and misperceptions about indigenous Americans. We have located only three other copies of the present edition worldwide.With some water stains and an occasional minor brown spot, but still in good condition and only slightly trimmed.

      [Bookseller: ASHER Rare Books (Since 1830)]
 23.   Check availability:     NVvA     Link/Print  


        Marsilii De genera[tione]. Commentaria fidelissimi expositoris. D. Egidij Romani in libros de generatione et corruptione Aristotelis cum textu intercluso singulis locis. . Item questiones . Alberti de Saxonia in eosdem libros .

      Scoto Ottaviano, Venzia 1520 - In-folio (310 x 210 mm.), cc. 144. Legatura in piena pergamena moderna con titolo in oro su tassello al dorso. Capilettera xilografici e alcuni schemi illustrativi nel testo. Marca tipografica all'ultima carta. Tenui, marginali e sporadici segni di trascosa umidità. Bell'esemplare di questo rarissimo e importante commentario del teologo occamista di Heidelberg intorno a questioni di natura fisica e naturalistica. Bibliografia: Adams I, n. 1791 (altra edizione). [Attributes: Hard Cover]

      [Bookseller: AU SOLEIL D'OR Studio Bibliografico]
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        Acta Martyrum, Eorum Videlicet, Qui Hoc Seculo In Gallia, Germania, Anglia, Flandria, Italia, constans dederunt nomen Evangelio, idque sanguine suo obsignarunt: ab Wicleffo & Husso ad hunc usque diem..

      Kl.8, 8 Bl., 416, 291 (falsche Paginierung 279), 4 Bl., Späterer Lederband mit Blindprägung über 4 Bünden, Deckel berieben, kleine Fehlstellen im Gelenk. Fliegender Vorsatz eingerissen, durchgehend etwas wasserändig, einige Marginalien a. Vorsätzen und Titelblatt und einigen weiteren Blättern von alter Hand. Jean Crespin (1520-1572) war der Sohn des Rechtsgelehrten Charles Crespin in Arras. Crespin studierte in Löwen von 1533 bis 1538 zunächst Literatur, dann Rechtswissenschaft und praktizierte anschließend in Arras als Rechtsanwalt. Seit 1540 war er Parlamentsadvokat in Paris. Als er zur reformierten Kirche konvertierte, wurde er als "Ketzer" verfolgt und am 28. März 1545 ausgewiesen.Crespin ging zunächst nach Straßburg und Basel. Von dort kam er im Oktober 1548 nach Genf, wo er am 25. August 1551 als Einwohner (Habitant) anerkannt wurde und am 2. April 1555 die Bürgerrechte erhielt. In Genf betätigte er sich nicht mehr als Jurist, sondern wurde ein erfolgreicher Buchdrucker und Verleger. In 20 Jahren veröffentlichte er etwa 250 Bücher, darunter viele Werke zur Unterstützung des Reformators Johannes Calvin, mit dem er befreundet war. Ein weiterer Freund war Théodore de Bèze.Sein wichtigstes Werk war Le livre des martyrs (1554), in dem er die Glaubenskriege und religiöse Verfolgungen vom Mittelalter bis in die Gegenwart beschrieb.

      [Bookseller: antiquariat peter petrej]
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        San Gioacchino e Sant’Anna

      1520 - Bulino datato e monogrammato in lastra. Buona prova nella seconda variante dell’unico stato, impressa su carta vergata coeva priva di filigrana, rifilata al rame e completa della linea marginale, in ottimo stato di conservazione. Rara. Engraving 1520, dated and monogrammed on plate. Good impression of the second variant of the single state, printed on contemporary laid paper without watermark, trimmed at the platemark with borderline, in very good conditions. Rare. The New Hollstein 34b. Dimensioni 70 105mm

      [Bookseller: Libreria Antiquarius]
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        Constitutiones in dioecesana Synodo Wladislaviensi, praesidente reverendissimo. D. Stanislao Carncovio. Episcopo Wladislaviensi edita, sub Pontificatu S. D. N. Pii Papae V. ad Sacrosanctae Sedis Apostolicae . sedentis. Cum indice verborum & rerum locupletissimo. 2 Tle. in 1 Band. Köln, M. Cholinus 1572. 8°. 172 S., 21 Bll.; 1 w.Bl., 3 Bll., 97 S., mit 1 Holzschnitt, Kalbldr. d. Zt. mit reicher Deckelvergoldung u. jew. Maria mit Jesuskind als Mittelstück.

      - VD16 W 4100.- Der zweite Teil mit eigenem Titel "Admonitiones quinque circa sacramentorum administrationem faciendae".- Ergebnisse der von Stanislaw Karnkowski (* 10. Mai 1520 in Karnków; ? 8. Juni 1603 in Lowicz) einberufenen Reformsynode für das Bistum Wloclawek, mit dem Ziel die Prinzipien des Konzils von Trient einzuführen. Er war von 1567 bis 1580 Bischof von Kujawien und seit 1581 Erzbischof von Gniezno und damit Primas von Polen. Er hat maßgeblich zur Rekatholisierung Polens beigetragen.- Erster Titel mit hs. Besitzvermerk, etw. gebräunt, sonst gutes attraktiv gebundenes Exemplar.

      [Bookseller: Antiquariat Johannes Müller]
 27.   Check availability:     ZVAB     Link/Print  


        Untitled [Tabula Primae Europae]

      Strasbourg 1513-1520 - Black and white woodcut (approx. 39.5 x 58cm.q) Martin Waldseemuller's important and scarce Ptolemaic map of the British Isles (more frequently found in the reduced-size format by Lorenz Fries published from 1522). The map was first published in Waldseemuller's edition of ". Geographiae Opus Novissima ." (1513) in which, for the first time, the classical Ptolemaic series of maps were displayed with comparable "modern" maps. The woodblock map shows the typically Ptolemaic outline of the British Isles with an elongated south-west and an eastward slanting Scotland. Ireland also appears with an elongated south-west corner and is located too far north. Slight crease to top of centre fold. OVERALL A VERY GOOD EXAMPLE.

      [Bookseller: Chaucer Bookshop ABA ILAB]
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        The Virgin and Child

      Engraved at the age of 14 (as inscribed in the stone in the foreground) by Johannes Wierix after Dürer. On the plate on the right the date and the monogram of the German master:'1520 / AD' Engraving on paper, trimmed to platemark; total: 145 x 100 mm; state II/2; Hollstein 989; MH 749; Alvin 628

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        Nüwe Stattrechten und Statuten der loblichen Statt Fryburg im Pryszgow gelegen

      Basel: Adam Petri, 1520. From the Collection of Arthur & Charlotte Vershbow. Folio (299 x 200 mm). Large woodcut coat-of-arms of Freiburg on title and full-page woodcut illustration of patron saints of Freiburg on verso by Hans Holbein, (repeated on B1), woodcut folding plate of a genealogical tree, woodcut initials. 16th-century German blind-stamped pigskin over paste boards, initials "D.S.D." and date "1577" stamped on upper cover. Some slight darkening, H3 with small tear within text, folding plate torn and expertly repaired. Provenance: Johannes Jacobus Schmidlin (early 16th-century bookplate on half-sheet facing title); David Sebastian ("IUD" Iuris Utriusque Doctor, Doctor of Laws, gift inscription dated 1577 with motto on title, and binding); early marginalia; 16th-century manuscript continuation on blanks at the end in an early hand; Auer von Herrenkirchen (bookplate); purchased from Bernard M. Rosenthal, 1971. FIRST EDITION of the municipal laws and statutes of Freiburg, edited by Ulrich Zasius. ONE OF THE FIRST BOOKS ILLUSTRATED BY HANS HOLBEIN, INCLUDING THE MODEL FOR HOLBEIN'S 'SOLOTHURN MADONNA'. The woodcut of the Virgin enthroned is signed "HH" on the left side of the platform upon which she is seated. Chamberlain notes: "In composition the Solothurn Madonna bears close resemblance to a large woodcut; designed by Holbein, on the back of the title-page of the Statute Book or Town Laws of Freiburg-im-Breisgau . . . The similarity between the two designs is particularly close in the position and movement of the arms and hands of the Infant Christ. The woodcut, which is signed 'H.H.' on the edge of the step on the left, and dated 1519, is richly and grandly designed, the figures of the two saints having been conceived with great nobility, and it is possible that Holbein was so satisfied with its composition that he made use of it two years later when Gerster came to him for an altar-piece" (Chamberlain, Hans Holbein the Younger, 1913, p. 111). The original woodblock is preserved in the Augustinermuseum, Freiburg. Adams F-1004; BM/STC German p.319; Muther 1300; Stobbe II, p.306.

      [Bookseller: Riverrun Books & Manuscripts]
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        The Virgin and Child

      - Engraved at the age of 14 (as inscribed in the stone in the foreground) by Johannes Wierix after Dürer. On the plate on the right the date and the monogram of the German master:'1520 / AD' Engraving on paper, trimmed to platemark; total: 145 x 100 mm; state II/2; Hollstein 989; MH 749; Alvin 628

      [Bookseller: Antiquariaat A.G. van der Steur]
 31.   Check availability:     ZVAB     Link/Print  


        Omnium gentium mores leges et ritus ex multis clarissimis rerum scriptoribus ... collectos: & in libros tris distinctos Aphricam, Asiam, Europam, optime lector lege

      Augsburg : Augustae Vindelicorum excusa in officina Sigismundi Grimm medici, ac Marci Wirsung, 1520. [Imprint from colophon]. First edition. Folio, later vellum, three raised bands to spine; added title page: Repertorium librorum trium Ioannis Boemi de omnium gentium ritibus. Item index rerum scitu digniorum in eosdem, set within a decorative woodcut border, an old paper repair to centre; ff. 6, lxxxi, lacking the terminal blank; ornamental woodcut initials; water stains to last few leaves. Rare first edition of a work that constitutes the first printed ethnographic compendium of the Renaissance. Its author, the humanist Johannes Boemus (or Böhm, 1485-1534), was canon of Ulm Cathedral. Although Boemus' work, which attempts to describe the manners and customs of peoples of Europe, Africa and Asia, is based to a large extent on accounts by writers of antiquity, his information on the Arab world and Asia relies heavily on the account of the Bolognese Ludovico di Varthema (Vertomannus) of his travels by land and sea to the Far East, first published in 1510. Varthema visited Egypt, Mecca, Yemen, Persia, India, Ceylon, Burma, Sumatra, the Moluccas, Borneo and Java. For a detailed discussion of Boemus' work, see Klaus A. Vogel. Cultural variety in a Renaissance perspective: Johannes Boemus on "The manners, laws and customs of all people", 1520, in: Shifting cultures: interaction and discourse in the expansion of Europe, edited by Henriette Bugge, Joan Pau Rubiés (Münster, 1995, pp. 17ff): Vogel (ibid.) writes: 'Johannes Boemus' book on "The manners, laws and customs of all people, collected from many illustrious authors, and divided into three books; Africa, Asia and Europe", written in Latin, and printed in July 1520 by Sigismund Grimm and Marcus Wirsung, [was] highly esteemed by his contemporaries and widely read all over Western Europe. Reprinted, expanded and translated into five vernacular languages, Boemus' work formed a compendium on cultural variety and provided a fundamental source for reflections on the origin, evolution and diversity of mankind in Early Modern Europe. From 1535, when the first known Latin reprint appeared in Lyon, to 1620, there were at least 47 editions, including translations into Italian, French, English, Spanish and German ... Margaret Hodgen, whose study on Early anthropology in the sixteenth and seventeenth centuries still provides the only wide-ranging synthesis on the subject, takes Boemus' book as significant for the decisive step from "Classical heritage" and "Mediaeval prologue" towards "Early anthropology". For Hodgen this starts with the European expansion and the reception of its findings around 1500. According to Hodgen, "the time was early for this book", as it appeared just a few years after Christopher Columbus "dropped anchor in the Tagus River at the port of Lisbon on that fateful day of his return to the Old World" ... What made Boemus write his book between 1517 and 1520, and why did he write it the way he did? Modern historians have expressed puzzlement that Boemus, who was adept at condensing the most diverse sources from antiquity to the early 16th century, failed to make use of the latest literature of actual travels and discoveries. After all, a book on the manners of "all" people should start with a detailed account of those people who had been discovered most recently. But Boemus did not even mention Columbus, Vasco da Gama or Vespucci, and there is not a single allusion to the New World in the whole text. Does that mean that Boemus simply did not know about the Portuguese discoveries along [the] Africa[n coast] and the way around to India? Was America not yet discovered for Boemus? Does Boemus' book provide proof of a humanist disdain for modernity, of a "striking unawareness" of the New, and in the words of John Elliott's general thesis, of a "slowness to respond" to the discoveries?' Adams B2275; Durling 609; Sabin 6117. Although copies of later sixteenth century editions are not particularly scarce, the first edition of 1520 rarely appears in the market.

      [Bookseller: Douglas Stewart Fine Books]
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        Venere che si asciuga il piede dopo il bagno

      1520 - Bulino, 1520-30 circa, monogrammata AD (monogramma di Duerer), in basso a destra. Da un’incisione di Marcantonio Raimondi. Buona prova, impressa su carta vergata coeva, rifilata al rame, assottigliamento della carta in corrispondenza degli angoli, per il resto in ottimo stato di conservazione. Rispetto all’incisione dello stesso soggetto realizzata da Marcantonio Raimondi, che risulta in controparte, questa copia mostra sullo sfondo, attraverso una sorta di finestra, un paesaggio tipicamente nordico. Lo stile incisorio rimanda alla scuola del Raimondi. Si è pensato che il soggetto dell’incisione possa essere la settima scena, perduta, sulla parete nord della stufetta vaticana del cardinal Bibbiena, decorata da Raffaello e dalla sua cerchia con episodi della vita di Venere. Circa l’identificazione con la perduta scenetta del Bibbiena, cfr. Oberhuber, p. 335 e Mason, n. 69. Dell’incisione del Raimondi esistono varie repliche che ne attestano il vasto successo, tra cui quella di Altdorfer. La scena è di una raffinatezza delicata: Venere seduta, nuda, con un’espressione dolce e assorta, è chinata in avanti nell’atto di asciugarsi un piede con una veste. Accanto a lei, in piedi è Cupido alato, con il suo arco nella sinistra, e la mano destra tra i riccioli. Dalla finestra alle loro spalle, si scorge un paesaggio collinare. Il drappeggio sulla sinistra, con le sue pieghe, conferisce profondità spaziale alla scena. Engraving, about 1520-30, unsigned. Single state. A good proof, printed on contemporary laid paper, trimmed to copperplate, restoration at upper right corner perfectly executed, otherwise in excellent condition. Copy in reverse after Marcantonio Raimondi, with a landscape setting in place of the room with a window. The buidings in the background are suggested by those in Dürer’s Hercules of about 1500, the stone bridge and stream with stones on the bank are copied from Dürer’s Virgin and Child with the Monkey of about 1498. It is thought that the subject of the engraving may be the seventh scene, lost, on the north wall of the Stufetta by Cardinal Bibbiena, decorated by Raphael and his circle with episodes from the life of Venus. About identification with the lost scene of Bibbiena, see. Oberhuber, p. 335 And Mason 335, n. 69. Raimondi’s engraving is available in several replicas that attest to the vast success, including that of Altdorfer. The scene is of a delicate refinement: Venus sitting, naked, with a sweet and thoughtful, is leaning forward in the act of wiping foot with a robe. Beside her, standing is winged Cupid with his bow in his left hand and the right hand between the curls. From the window behind them, you can see a hilly landscape. The draping on the left, with its folds, gives spatial depth to the scene. Barstch: XIV, p. 224; Delaborde, p. 161 n. 115; Hind, V, n. 44; Passavant, III, p. 281 n. 43; Raphael Invenit, p. 63 n. VII. 4 Dimensioni 164 196mm [Attributes: Soft Cover]

      [Bookseller: Libreria Antiquarius]
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        De laudibus urbis, Etruriae, et Italiae.

      (Bologna, in aedibus Hieronymi de Benedictis, 1520). - 4to. (40) SS. Papered marble spine. Editio princeps of the "Itinerarium" ("De Reditu Suo") of the 5th century Roman Gaul poet Rutilius. "On the reverse of the title page is a poem by the editor Giambattista Pio to Pope Leo X, ending on fol. 4v; text begins on 5r. A very rare edition, apparently the first" (cf. Schweiger). The poem in elegiac meter describes a coastal voyage from Rome to Gaul in 416. The solid literary quality of the work, and the flashes of light it throws across a momentous but dark epoch of history, combine to give it exceptional importance among the relics of late Roman literature. Rare, last copy auctioned in 1954.- A well-preserved copy. Edit 16, CNCE 47666. BM-STC Italian 594. Schweiger II.2, 859f. [Attributes: First Edition]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Correspondance de Christophe Plantin.Antwerpen, J.-E. Buschmann; Gent, A. Hoste, 1883-1918. 9 parts in 8 volumes. 8vo. Contemporary blue half cloth, with the original publisher's printed paper wrappers bound in.

      First edition of an extensive work containing all the surviving correspondence of the famous printer Christophe Plantin (ca. 1520-1589). The letters included cover the period from 1555, when Plantin opened his publishing house in Antwerp, to 1589, when Plantin died. In 1876 the city of Antwerp became the owner of the "Officina Plantiniana", which housed over 300 years of correspondence. The present set also contains letters by some of Plantin's successors, including Jan Moretus. Bindings slightly rubbed along the extremities, spine of the third volume discoloured. Overall in very good condition.

      [Bookseller: Antiquariaat FORUM BV]
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        Ex obscuroru[m] virorum salibus cribrat[us] dialogus no[m]minus eruditionis qua[m] macaronices amplectens.

      No place [Germany?]: No publisher/printer, no date [1520]. Small 8vo (13.5 cm; 5.25"). [20] ff. (last blank). Related to the Reformation work Epistolae obscurorum virorum, the present small production is a macaronic satire in dialogue form with the interlocutors "M. Ortuinus, M. Lupoldus, M. Gingolphus, Erasmus, Reuchlin, Faber Stapulensis.” In earlier editions it travelled under the title Dyalogus nouus & mire festiuus ex quorunda[m] viroru[m] salibus cribratus.    This edition is not in VD16 and only one copy is located via WorldCat. COPAC records are too abbreviated to determine if any library owns a copy.    Provenance: Two 16th-century ownership signatures on title-page: Simon Albach, undated, and Marcus Albinastes, 1583. Ex–Colgate Rochester Crozer Divinity School library with its bookplate (properly deaccessioned); later in the library of American collector Albert A. Howard (sans indicia).         This edition not in VD16; not in Index Aurel. Mid-20th-century marbled paper wrappers, gently rubbed and a corner chipped; old library bookplate as above; "Very rare" inked on endpaper opposite title-page in a very old hand. Title-page and a few other leaves with finger oil or other stains, one very short tear and inked underline with one-word note partially trimmed, foxing to endpapers only.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        Das ist yetz der gemain vnd new gebrauch. in welchem das volck der welt zu dissen gezeiten gantz seer beladen ist.

      [Augsburg: Johann Schönsperger, 1520 (?)]. Small 4to (18 cm; 7"). [8] ff. (last blank). Hass (1450–1527) was a meistersinger and this publication is his song about "the universal and new custom/usage with which the people of the world are very burdened in these times" (or, more figuratively, "in which the people of the world are very involved in these times").    This is one of two editions of 1520 following the two editions of 1519, all printed by Johann Schönsperger and with rather different title-pages as to layout of the type, whether printing is black and red or just black, and whether the jester image has a border. In this copy the title-page is printed in black and red and has a borderless woodcut image of a jester seated on a tree stump playing a lute (six strings). The cut has the letters "CH" in the lower left and "VG" in the lower right: "CH" being "Cunz Hass" and the "VG" being Urs Graf!    German scholars have attributed all of the editions to Schönsperger based on the type.    NUC and WorldCat locate => only one copy in North America (Yale).    Provenance: From the library of American collector Albert A. Howard (sans indicia).         Weller, Repertorium, 28; Proctor 10745; VD16 D-181. Modern tan boards, light soiling. Title-leaf with very good leafcasting repair and old eradication at foot; minor wormhole in lower margin of last text leaf and in the final blank. => Very good copy.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
 37.   Check availability:     Biblio     Link/Print  


        Ex obscuroru[m] virorum salibus cribrat[us] dialogus no[m]minus eruditionis qua[m] macaronices amplectens.

      No place [Germany?]: No publisher/printer, no date [1520]. Small 8vo (13.5 cm; 5.25"). [20] ff. (last blank). Related to the Reformation work Epistolae obscurorum virorum, the present small production is a macaronic satire in dialogue form with the interlocutors "M. Ortuinus, M. Lupoldus, M. Gingolphus, Erasmus, Reuchlin, Faber Stapulensis.” In earlier editions it travelled under the title Dyalogus nouus & mire festiuus ex quorunda[m] viroru[m] salibus cribratus.    This edition is not in VD16 and only one copy is located via WorldCat. COPAC records are too abbreviated to determine if any library owns a copy.    Provenance: Two 16th-century ownership signatures on title-page: Simon Albach, undated, and Marcus Albinastes, 1583. Ex–Colgate Rochester Crozer Divinity School library with its bookplate (properly deaccessioned); later in the library of American collector Albert A. Howard (sans indicia).         This edition not in VD16; not in Index Aurel. Mid-20th-century marbled paper wrappers, gently rubbed and a corner chipped; old library bookplate as above; "Very rare" inked on endpaper opposite title-page in a very old hand. Title-page and a few other leaves with finger oil or other stains, one very short tear and inked underline with one-word note partially trimmed, foxing to endpapers only.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        Sammelband mit 5 juristischen Drucken. - I. Das büech der gemeinen Landpot, Landsordnung, Satzung vnnd Gebreuch des Fürstenthumbs in Obern vnnd Nidern Bairn Jm Fünftzehenhündert vnnd Sechtzehendem Jar aufgericht.

      Mit Titelholzschnitt. 12 unn., LXIX (falsch LXVII) num., 1 w. Bll. - - VD 16, B 968. - Nachdruck der verbesserten zweiten Ausgabe von 1520. - II. Perneder, Andreas: Institutiones. Auszug vn(d) anzaigung etlicher geschrieben Kayserlichen vnnd des heyligen Reichs rechte, wie die gegenwertiger zeiten inn vbung gehalten werden... Ingolstadt, Alexander Weissenhorn, 1545. 25 unn., 1 w., CXXXII num. Bll. - Vgl. VD 16, P 1495 u. Stalla 192 (Variante mit abweichend gesetztem Titel). - Verbesserte dritte Ausgabe des erstmals im Vorjahr erschienenen, oft aufgelegten Kompendiums des geltenden Rechts. "Zu den vielgebrauchtesten und vergleichsweise besten Schriften der popularisierenden Richtung gehören die von Perneder" (Stobbe II, 173). Perneder (gest. 1540), Unterrichter am Hofgericht in München und herzoglich bayerischer Rat und Sekretär, "ist ein gelehrter Praktiker, der es unternommen hat, das geltende Recht (Privatrecht, Proceß, Lehnrecht, Strafrecht, Notariat) für das Bedürfnis seiner Berufsgenossen mit besonderer Rücksicht auf Bayern und Tirol darzustellen" (Stintzing/L. I, 573ff.). - III. ders., Gerichtlicher Process, in welichem die gemainen Weltlichen vnnd Gaistlichen recht..., ordenlich in... verstentlichen... Teütsch tranßferiert vnd verdolmetschet seind... Ebenda, 1546. 12 unn., XCVII num. Bll. - VD 16, P 1478 Stalla 219. - Verbesserte vierte Ausgabe der erstmals 1544 erschienenen Abhandlung. - IV. ders., Der Lehenrecht kurtze vnd aygentliche Verteütschung... Jtem ain Gerichtliche Practica aller Malefitz oder Peinlichen sachen... (= Von straff vnnd Peen aller vnnd yeder Malefitz handlungen ain kurtzer bericht...). 2 Tle. Ebenda, 1545. 6 unn., XLI num., 1 w. Bll. 4 unn., XXIV (falsch XXIII) num. Bll. - VD 16, P 1512 Stalla 194 u. 197. - Verbesserte dritte Ausgabe der erstmals 1544 erschienenen Abhandlungen. - V. (Rolandinus de Passageriis). Sv(m)ma Rolandina. Das ist ein kurtzer bericht, von allerhand Contracten vnnd Testamenten... Jtem ein Tractat der Regeln... Bartholomei Soncini... durch... Andreas Perneder... verteütscht... Ebenda, 1546. 9 unn., 1 w., LIX num. Bll. - VD 16, R 2938 Stalla 220. - Dritte Ausgabe der erstmals 1544 erschienenen Übersetzung Perneders. Hldr. des 18. Jhdts. mit goldgepr. Rückenfileten, 2 Rückenschildern und Rotschnitt. Folio. Der attraktive Einband leicht berieben. Seitlich knapp beschnitten, dadurch etwas Text- u. Bildverlust beim Titel von I, bei den anderen Drucken sind vereinzelt Foliierung und Marginalien tangiert. Durchgehend etwas gebräunt und stockfleckig, Ränder stellenweise auch etwas wasserfleckig.

      [Bookseller: Antiquariat Turszynski]
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        Opere del divino poeta danthe con svoi comenti: recorrecti et con ogne diligentia novamente in littera cvrsiva impresse. [The Divine Comedy].

      Venice, Bernardino Stagnino, 1520. 4to. Contemporary full leather binding with blindtooled ornamentation to boards. Rebacked with five raised bands and blindstamped ornamentation. Hinges with wear but firm and strong. Leather ties to boards renewed. Three lines in contemporary hand written to front free end-paper. (Presumably) Previous owner's name crossed out to lower part of title-page. Title-page printed in red with black woodcut boarder and woodcut depicting St. Bernardine of Siena holding the sacred monogram of Jesus on a board. One full-page woodcut depicting Dante and Vergil. Numerous woodcut throughout in text. Small worm tract affecting lower margin on pp. 414-440, far from affecting text. An overall fine and clean copy. (13), 440 ff. Rare second Stagnino-edition with text edited by Pietro Bembo, profusely illustrated with woodcut illustrations throughout the text, of Dante's Comedy including the 15th century Cristoforo Landino commentaries, arguably still the most important and influential comments on Dante's seminal work. While the Aldine-style Dante-editions had flooded the literary market, the more austere and demanding academic circles still required their Dante with commentary. Bernardino Stagnino sought to satisfy this group of the reading public with three editions of the poem (1512, 1520 and 1536) incorporating Landino's commentary in all of them."Stagnino's one significant innovation was to print the "modern" Aldine text edited by Pietro Bembo together with the 15th-century Landino commentary. Inevitably, discrepancies between text and commentary became even more numerous than they had been in the earlier editions. Yet, the 15th-century vulgate of Dante's text clearly had been superseded by Aldus' edition of 1502. Beyond this innovation, Stagnino rested content to resurrect in 1512 the Landino text as corrected by Pietro da Figino during the 1490s (printed now for the sixth time since 1491). " (University of Notre Dame)"Stagnino belonged to the distinguished Giolito de' Ferrari da Trino (Piedmont) family of printers, a family worthy of being considered alongside the Manutius family, if not for the correctness of their texts, then certainly for their long history in Renaissance publishing and printing. Around 1483 he moved from Trino to Venice and established a press under the sign of San Bernardino, and remained active there until his death in 1538." (University of Notre Dame)Landino, tutor of Lorenzo de' Medici and a member of the Platonic Academy founded by Marsilio Ficino in Florence, still ranks among the most important Dante-commentators: "The significance of this prestigious commentary can hardly be overstated, both at the time of its first printing (1482) and through the fifteen subsequent reprints that were made before the end of the sixteenth century. It is without doubt the most celebrated and widely influential commentary on the Comedy to be printed in Renaissance Italy. It marks a pivotal moment in the Florentine cult of Dante [...]" (Gilson, Dante and Renaissance Florence). Essling 539 Sander 2325. Mambelli 27Adams D:90Brunet II: 502-3 (Rare et recherché)BL 018204777

      [Bookseller: Lynge & Søn A/S]
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        Madonna con Bambino

      1520 - Bulino, 1520 circa, privo di firma e dati editoriali. Magnifica prova, nitida e ben contrastata, impressa su carta vergata coeva, con filigrana "unicorno", rifilata al rame, sporadiche e lievissime fioriture, nel complesso in ottimo stato di conservazione. Opera estremamente rara, sconosciuta ai repertori e non presente nelle principali collezioni pubbliche. Al British Museum abbiamo trovato una copia, recante il monogramma NWM, dell’incisore tedesco Nikolaus Wilborn, autore di stampe di derivazione dai Piccoli Maestri e da Jacopo de’ Barberi. L’esistenza di questa sua copia, catalogata con il n. 1845,0825.363, supporta la suggestione che il modello sia proprio opera del de’ Barberi. Il curatore del commento del British ritiene che l’opera non derivi direttamente da un modello del de’ Barberi, ma sia piuttosto ispirata da diverse sue opere, notando che la Madonna assomiglia a quella della Sacra Famiglia del de’ Barberi, Hind 5, e il Bambino a Hind 3. Inoltre, riscontriamo che il tratteggio del piedistallo col trono, e al muretto alle spalle del gruppo figurativo richiama quello dei gradini e del muretto dell’Adorazione dei Magi, Hind 1. Lo stile di questo anonimo incisiore appare maturo ed accurato nei dettagli. Il drappeggio della veste della Vergine, e del telo alle sue spalle, l’espressione dolce dei volti, rimanda senza alcun dubbio alla scuola italiana, e più in particolare, alla scuola di Marcantonio Raimondi. Il timbro di possesso al verso, di Luciana Simonetti (Lugt 3616), che possedeva un’importante collezione di stampe del ’500 italiano, è un’ulteriore conferma della nostra analisi. Engraving, 1520 circa, without date and signature. After Jacopo de’ Barbari. A very good impression, printed on contemporary laid paper with watermark of "unicorn", trimmed close to platemark, occasional foxing, generally in very good condition. A very rare work, unknown to the repertoires and not present in the main collections. In the British Museum collections we’ve found a copy, signed with monogram 'NWM' of the German printmaker Nikolaus Wilborn, engraver after the Little Masters and Jacopo de’ Barberi. His print, museum number 1845,0825.363, supporting the suggestion that the model is a work by Jacopo de 'Barberi. According with curator’s comment of the British Museum, the Virgin resembles that in Hind 5, the Child that in Hind 3. In addition, the crosshatching of the pedestal with the throne, and to the wall behind the group of the Virgin and Child is very similar to that one of The Adoration of the Magi, Hind 1. The engraving style appears mature and accurately detailed. The elegance of the figures, the drapery of the garments undoubtedly refer to the Italian school, in particular to the school of Marcantonio Raimondi. The collector's mark of Luciana Simonetti (Lugt 3616), on the back, who was an important collector of Sixteenth century Italian engravings supports our consideration. Non descritta. Dimensioni 135 192mm [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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        Correspondance de Christophe Plantin.Antwerpen, J.-E. Buschmann; Gent, A. Hoste, 1883-1918. 9 parts in 8 volumes. 8vo. Contemporary blue half cloth, with the original publisher's printed paper wrappers bound in.

      - First edition of an extensive work containing all the surviving correspondence of the famous printer Christophe Plantin (ca. 1520-1589). The letters included cover the period from 1555, when Plantin opened his publishing house in Antwerp, to 1589, when Plantin died. In 1876 the city of Antwerp became the owner of the "Officina Plantiniana", which housed over 300 years of correspondence. The present set also contains letters by some of Plantin's successors, including Jan Moretus. Bindings slightly rubbed along the extremities, spine of the third volume discoloured. Overall in very good condition. [Attributes: First Edition]

      [Bookseller: Antiquariaat FORUM BV]
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        Ercole e Anteo

      1520 - Bulino, 1520-22 circa, firmata in lastra, in basso a sinistra, con la tavoletta vuota. Da un soggetto di Giulio Romano. Bellissima prova, impressa su carta vergata coeva, rifilata al rame, in ottimo stato di conservazione. L’opera è considerata come una delle più belle incisioni di Marcantonio Raimondi, prodotte nel periodo immediatamente successivo alla morte di Raffaello. Il disegno preparatorio, perduto, viene attribuito a Giulio Romano. Le forza espressiva delle figure è caratteristica dello stile di Giulio Romano. Un'analogia ancora più forte con i lavori di Giulio risulta più evidente dal confronto tra la figura di Anteo con la figura maschile posseduta dal diavolo nella Trasfigurazione di Raffaello. Il paesaggio che fa da sfondo in Ercole e Anteo, con la sua macchia di alberi frondosi e le rovine di un antico tempio, ricorda gli sfondi di molte rappresentazioni della Madonna eseguite da Giulio negli ultimi anni della vita di Raffaello. La fonte per le figure di questa incisione, e quindi anche per il l disegno di Giulio, probabilmente è stata un gruppo scultoreo risalente al II secolo a.C. che, agli inizi del XV secolo, era tra le statue del Belvedere Vaticano agli inizi. Ugo da Carpi eseguì un chiaroscuro, in controparte, della stessa composizione. Engraving, 1520-22 circa, signed with an empty tablet at lower left. After Giulio Romano. A good impression, printed on contemporary laid paper, trimmed to the platemark, very good condition. Praised by most authors as one of Marcantonio Raimondi's finest engravings, produced in the period immediately following the death of Raphael. The strongly expressive emotional types are characteristic of Giulio Romano's figures. An even closer analogy with Giulio’s work becomes apparent in comparing the figure of Antaeus with Giulio’s boy possessed of a devil in the right foreground of Raphael’s Transfuguration. The setting of Hercules and Antaeus, with its clump of leafy trees and ruined ancient temple, also recalls the backgrounds of several of Giulio’s Madonnas executed at the end of Raphael’s life. The source of the figures in the engraving, and thus also in Giulio’s drawing, was probably a fragmentary sculpture from the 2nd century B.C, located in the Belvedere at the beginning of the 16th century. Because of the flatness of Marcantonio's composition it is regarded as engraved after Giulio's own version of the sculpture. Ugo da Carpi made a chiaroscuro woodcut in reverse of the same composition. Bartsch, XIV, 258-50, 346; Passavant, VI, 28, 174; Delaborde 1888, no. 127; Shoemaker, The Engravings of Marcantonio Raimondi, no. 51; S. Massari, Raphael Invenit, p. 248, no. VII.1 Dimensioni 215 312mm [Attributes: Signed Copy]

      [Bookseller: Libreria Antiquarius]
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        Institutiones Oratoriae

      [Colophon on fo. 204v:] Venice: Bonetus Locatellus for Octavianus Scotus, 17 July 14[93]. folio. 293 x 208 mm. [ff. 206]. complete with final blank. roman types in 2 sizes. 41 lines of text surrounded by 61 lines of commentary. Scotus' printer's device at end. some text diagrams. several large woodcut initials. other smaller initial spaces with guide letters. A fine, fresh copy, bound in 17th century sprinkled calf, gilt back (front joint cracking, corners bumped, signature e bound out of order after f). A VERY HANDSOME COPY OF THIS CELEBRATED TREATISE ON EDUCATION, WHICH IS ALSO AN IMPORTANT EARLY DOCUMENT OF LITERARY CRITICISM. "QUINTILIAN TAKES HIS FUTURE ORATOR AT BIRTH AND SHOWS HOW THIS GOODNESS AND CHARACTER AND SKILL IN SPEAKING MAY BE BEST PRODUCED. NO DETAIL TRAINING IN INFANCY, BOYHOOD OR YOUTH IS TOO PETTY FOR HIS ATTENTION. THE PARTS OF THE WORK WHICH RELATE TO GENERAL EDUCATION ARE OF THE GREATEST INTEREST AND IMPORTANCE. QUINTILIAN POSTULATES THE WIDEST CULTURE; THERE IS NO FORM OF KNOWLEDGE FROM WHICH SOMETHING MAY NOT BE EXTRACTED FOR HIS PURPOSE; AND HE IS FULLY ALIVE TO THE IMPORTANCE OF METHOD IN EDUCATION.HE DEVELOPS ALL TECHNICALITIES OF RHETORIC WITH A FULNESS TO WHICH WE FIND NO PARALLEL IN ANCIENT LITERATURE.[HIS] LITERARY SYMPATHIES ARE EXTRAORDINARILY WIDE.ANCIENT LITERARY CRITICISM PERHAPS TOUCHED ITS HIGHEST POINT IN THE HANDS OF QUINTILIAN." (ENCYCL. BRITANNICA, 11TH EDN.) THIS IS PROBABLY THE FIRST EDITION TO CONTAIN THE EXTENSIVE COMMENTARY OF RAFAELLO REGIO (RAPHAEL REGIUS) [D. 1520] OF BERGAMO WHO TAUGHT AT PADUA (AN EARLIER MILAN 1491 EDITION CITED BY HAIN-COPINGER WITH NO COLLATION APPEARS TO BE A GHOST). REGIO ALSO PUBLISHED COMMMENTARIES ON OVID AND OTHER CLASSICAL AUTHORS. BMC V 441. BRUNET IV 1024. GOFF Q-29. HAIN-COPINGER 13652. IGI 8264. OATES 1971. PROCTOR 5045.. 1st Edition. Hardcover. Very Good.

      [Bookseller: D & E Lake Ltd. (ABAC, ILAB)]
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