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         Scholia eis ta tou makariou Dionysiou. (graece). Scholia in eos B. Dionysii libros qui extant. Michaelis Syngeli laudatio eiusdem.

      Paris, Guillaume Morel, 1562. - 8°, circa 16,8 x 11 cm. 14 Bll., 400 SS., mit Druckermarke auf dem Titel Leder des 17. Jh. mit ornamentaler Verzierung auf den Deckeln (Rücken erneuert) "Adams M 934; Graesse IV, 458; Hoffmann III, 81, 7: "Haec editio, textum graecum continens, nitide impressa est." Erste Ausgabe dieses wichtigen ersten Kommentares zu den Werkes des Pseudo-Dionysius Areopagita, einem äusserst einflussreichen aber bis auf sein Pseudonym weiter nicht bekannten Theologen und Kirchenvater des 6. Jahrhunderts. Der heilige Maximus Confessor (Maximos Homologetes, circa 580-662) war ein griechischer Mönch mit offenkundig philosophischer Bildung. - "Der erste Kommentar zu den Schriften (des pseudo-Dionysius) stammt von Maximus Confessor. Durch diese Auslegung wurde Dionysios Areopagites im Bereich der byzantinischen Kirche zur Autorität erhoben. In der folgenden Zeit galt das areopagitische Schrifttum wegen seiner angeblich frühchristlichen Herkunft nahezu als zum Bibelkanon gehörig und hatte auf die mittelalterliche Theologie sowohl der Ost- wie auch der Westkirche großen Einfluss. Es gibt Autoren, die Dionysius im Rückblick auf die letzten anderthalb Jahrtausende Theologiegeschichte für den einflussreichsten theologischen Autor nach den biblischen Schriften halten." (Wikipedia) - Durchgehend griechischer Text, nur die Titelangaben und das Impressum am Ende latein. - Titel mit kleinem Stempel einer aufgelösten Bibliothek und etwas angestaubt, innen etwas gebräunt, kaum fleckig, meist sauber. Vorsätze gelöst, etwas berieben, Rücken sorgfältig mit passendem Leder erneuert. " [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat Thomas Rezek]
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         Vita dellÕInvitissimo Imperator Carlo Quinto nella quale vengono comprese le cose pi notabili occorse al suo tempo; cominciando dallÕanno MD. infino al MDLX. Con una copiosissima tavola delle cose principali, che nella opera si contengono.

      Venezia, appresso Vincenzo Valgrisi, 1562, 4to (cm. 21,5 x 16,5) legatura in piena pergamena non coeva, tagli spruzzati, con tassello rosso e fregi dorati al dorso, pp. (24)-336, marca tipografica xilografica al frontespizio. Rara seconda edizione, manca ad Adams ed il Census ICCU registra solo 4 copie nelle biblioteche italiane. - BM STC 704.

      [Bookseller: Libreria Piani già' Naturalistica snc]
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         Two very Notable Commentaries the One of the Originall of the Turcks and Empire of the House of Ottomanno, Written by Andrewe Cambine, and thother of the Warres of the Turcke against George Scanderbeg, Prince of Epiro, and of the Great Victories Obteyned by the Sayd George, aswell Against the Emperour of Turkie, as other Princes, and of his Other Rare Force and Vertues, Worthye of Memorye, Translated Oute of Italian into Englishe by Iohn Shute

      London: Printed. by Rouland Hall for Humfrey Toye dwelling in Paules Churche yearde at the signe of the Helmette 1562 - First English edition. Small 4to. (10), 32, 32-68, 99-100, 1-42, [3] ff. Six leaves (D3-E4) with slight loss to the lower corners just clipping the text, now sensitively repaired and the missing characters expertly filled in by hand to style, three leaves (F1, Ee2 and Ee3) supplied in close matching facsimile, recent period style vellum, gilt lettered red label. An attractive copy of a scarce work. John Shute's first English translations of two important early works relating to the Ottoman Empire: Cambini's "Commentario. della Origine de Turchi" and Paolo Giovio's account of the wars between the Turks and the Albanians led by Skanderbeg. Cambini's work was first published in 1529, two years after his death, Giovio's in 1531, with several Italian editions of each appearing in succeeding decades. ESTC lists four copies of this edition in the UK, another in Europe and six copies in the US (including two at Harvard). Certainly rare in commerce with just two copies showing in auction records: it made $912 (including premium) at the Boles Penrose sale at Sotheby's in 1971 and £2,000 (excluding premium) at Christie's in 1981.

      [Bookseller: Bow Windows Bookshop (ABA, ILAB)]
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         Naturales et medicinales quaestiones LXXXIIII. circa hominis natura & morbos aliquot, Conrado Gesnero interprete, nunc primum editae. Eaedem graece, longe quam antehac castigatiores, cum scholiis quibusdam. His accedit catalogus medicamentorum simplicium et parabilium. authore Ant. Schneebergero. 2 in 1 Band.

      Zürich, Gesner, 1562. - circa 15,6 x 10,4 cm. 3 Bll., 72 (recte 73) num. Bll.; 5, 58 num. Bll., 1 Blatt mit Druckermarke Lederband um 1700 VD 16, C 1436; IA 133.266; Adams C 885 (ohne den Catalogus medicamentorum); Durling 880 (ohne Cat.); Osler 645 (ohne Cat.); Schweiger I, 77; nicht bei Wellcome. - Erste Ausgabe mit der Übersetzung Gesners und dem alphabetischen Medikamentenkatalog von Schneeberger, der bei vielen Exemplaren zu fehlen scheint. Beigefügt ist der griechische Originaltext, der, ebenso wie eine andere lateinische Übersetzung, bereits 1541 erschienen war, hier jedoch verbessert ist. Über den Verfasser Cassius ist fast nichts bekannt. Er dürfte aus dem zweiten oder dritten Jahrhundert stammen und wird manchmal auch als Cassius Felix geführt (ist aber nicht zu verwechseln mit dem gleichnamigen Mediziner aus Cirta, der im fünften Jahrhundert lebte). Seine "Quaestiones medicae et problemata naturalia" (iatrikai aporiai kai problemata physika) sind das einzige Zegnis, das von ihm überliefert ist. " [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat Thomas Rezek]
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         Practica per totum orbem celebratissima, omnibus tam ius dicentibus, quam advocatis, non modo utilis, sed etiam necessaria: illustrata copiosissimis additionibus . Francisci de Curte, Do. Bernardini Landriani, and aliorum in practica excellentium. Huic etiam accesserunt doctissimae rerum summae, D. Ioan. Ricio Veneto iureconsultissimo authore emendatius, quam antea. Adiecimus postremo recens and emendatum rerum verborumque indicem locupletissimum.Lugduni, apud haeredes Iacobi Iuntae, 1562.

      Lugduni, apud haeredes Iacobi Iuntae 1562 - Cm. 24, pp. (40) 533 (1). Marchio tipografico giuntino al frontespizio e numerosi capilettera xilografici. Testo su doppia colonna. Legatura antica francese in piena pelle, dorso a 4 nervi con titoli e fregi in oro agli scomparti; tagli spruzzati. Antica firma di possesso al frontespizio. Spellature superficiali alla legatura, trascurabile alone/arrossamento alla parte alta delle primissime carte e più marcato al margine esterno delle carte finali. Esemplare nel complesso in buon stato di conservazione. Importante Pratica di Gianpietro Ferrari (1364-1421 ca.), grande giureconsulto trecentesco nativo di Pavia. L'opera, reputata autorevolissima nell'ambito delle numerose pratiche notarili circolanti tra Quattro e Cinquecento, ebbe gran successo sia per quanto concerne l'uso nei tribunali, sia a livello di circolazione dottrinale. Rara edizione giuntina. Cfr. Iccu; non in Sapori. [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Apuleio]
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         Euripides poeta, Tragicorum princeps, in Latinum sermonem conversus, adiecto e regione textu Graeco: cum annotationibus et praefationibus in omnes eius Tragoedias, autore Gasparo Stiblino. Accesserunt, Iacobi Micylli, De Euripidis vita. item De Tragoedia & eius partibus prolegomena (graece) quaedam. Item Ioannis Brodaei Turonensis Annotationes doctiss. nunquam antea in lucem editae.

      Basel, Oporinus, 1562. - Folio, circa 31,5 x 21,5 cm. 667 SS., 668-679 Spp., 1 Bl., 680-845 Spp., 12 Bll., mit Druckermarke auf dem Titel Pergament d. Zt. "VD16 E 4217; Griechischer Geist aus Basler Pressen 200; Hoffmann 2,69; Schweiger 1,115; Dibdin 1,528: "an indispensible volume to a critical collector of the works of this fascinating Greek tragedian, and . the first in which a Latin version accompanies the Greek text". Grosse Gesamtausgabe, erstmals vollständig in griechisch-lateinischem Paralleldruck. "Bringt als erste eine lateinische Übersetzung sämtlicher nun bekannter Stücke, aus der Feder des Schlettstädter Gaspar Stiblinus ? Weiter enthält unsere Ausgabe zwei kürzere Texte des 1558 gestorbenen Heidelberger Gräzisten Jacobus Micyllus (Molsheym) zur Biographie des Euripides und zur Tragödie allgemein, sowie einen Kommentar (Annotationes) zu elf Stücken von Johannes Brodaeus (Brodeau) aus Tours" (Hieronymus). - Etwas gebräunt, teils leicht stockig, gegen Ende etwas wasserrandig, sonst jedoch meist recht sauber. Einband berieben und angestaubt, am vorderen Gelenk ist oben nur das Überzugspergament ewtas angeplatzt, aber solide, insgesamt gut erhalten. "

      [Bookseller: Antiquariat Thomas Rezek]
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         Anno XXV Henrici Octaui. Actes made in the session of this present Parliament holden upon prorogation at Westminster [with] Anno XXVI [with] Anno XXVII [with] Anno XXVIII [1534-1536]. S.T.C. 9384.5, 9389.5, 9393.5, 9396.5; Beale S160, S167, S173, S179

      The legislation central to the English Reformation under Henry VIII, including that confirming the final break with Rome and Henry as legally the Church of England's Supreme Head, dissolving the monasteries, and establishing the Act of Succession. Modern panelled calf, lightly rubbed, else well preserved, the Goyder copy with his bookplate and dated ownership signature (1947); the Taussig copy. T. Powell [and] T. Marsh, London, 1562-1575?.

      [Bookseller: Meyer Boswell Books, Inc.]
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         Wider de(n) Sauffteufel, gebessert, vnd an vilen örtern gemehret. Item, Ein Sendtbrieff daß Hellischen Sathans, an die Zuetrincker, vor 45 Jaren zuvor außgegangen. Item, Ein Sendtbrieff Matthei Friderichs, an die vollen Brüder in Teutschem Land. Anno 1562.

      Franckfurt am Mayn, bey Weygand Han und Georg Raben (Frankfurt am Main, Weigand Han u. Georg Rab d. Ä.) 1562. Kl.8°. Titelbl., 99 nn. Bll., 25 unbedruckte Bll. (hellblaues Vorsatzpapier), Titelblatt in Rot- u. Schwarzdruck mit e. Titelblattillustration in Holzschnitt, Initialen u. e. Schlussvignette. Gut erhaltener neuerer Halbpergamentband, Rückenschildchen goldgeprägt, Einbanddeckel marmoriert, Buchschnitt blau gesprenkelt, gering berieben. Seiten gut erhalten, nur schwach gebräunt u. fast fleckenlos. Mit älteren handschriftlichen bibliographischen Angaben am vorderen fliegenden Vorsatzblatt verso. V16 F 2776. Vgl. BM German Books 321. Wurzbach 33,24ff. ? sehr seltenes Sammelwerk, enthaltend drei, im 16. Jh. in verschiedenen Ausgaben in Umlauf gebrachte, Traktate gegen den übermäßigen Alkoholgenuss, darunter eines der bekanntesten dieser Zeit, ?Wider den Saufteufel? des evangelischen Pfarrers Matthäus Friderich (um 1510-1559), ?Ein Sendbrief an die vollen Brüder? vom selben Autor und ?Ein Sendbrief des Höllischen Satans an die Zutrinker? des, u. a. juristisch tätigen, humanistisch gesinnten Freiherrns Johann v. Schwarzenberg (1463-1528). Diese Ausgabe nicht bei BM German Books u. Adams. Versand D: 15,00 EUR Alte Druck, Geschichte, Alkohol, Religion, Theologie

      [Bookseller: Antiquariat Löcker]
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         Anno XXV Henrici Octaui. Actes made in the session of this present Parliament holden upon prorogation at Westminster [with] Anno XXVI [with] Anno XXVII [with] Anno XXVIII [1534-1536]. S.T.C. 9384.5, 9389.5, 9393.5, 9396.5; Beale S160, S167, S173, S179

      London: T. Powell [and] T. Marsh, 1562-1575?. Modern panelled calf, lightly rubbed, else well preserved, the Goyder copy with his bookplate and dated ownership signature (1947); the Taussig copy The legislation central to the English Reformation under Henry VIII, including that confirming the final break with Rome and Henry as legally the Church of England's Supreme Head, dissolving the monasteries, and establishing the Act of Succession

      [Bookseller: Meyer Boswell Books, Inc.]
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         L'Asia del S. Giovanni di Barros, Consigliere del Christianissimo Re di Portogallo? nella quale oltre le cose appartenenti alla militia, si ha piena cognitione di tutte le Città, Monti, and Fiumi delle parti Orientali, con la descrittione de' paesi, and costumi di quei popoli. Nuovamente di lingua Portoghese tradotta. Dal S. Alfonso Ulloa

      Venezia, Vincenzo Valgrisi 1562 - Two volumes in one, 4to (203x148 mm). (10), 200; (8, of which the last is a blank), 228 leaves. The second part opens with a separate title-page: Dell'Asia la seconda deca del S. Giovanni di Barros. Italic type with woodcut initials, printer's device on both titles. Early 18th-century half calf, gilt spine with lettering-piece, panels covered with a nice colored paper, marbled edges (slightly worn and rubbed, corners and top of the spine damaged). At the last leaf verso is a long ownership's note by a certain Leonida Antonio Falgidi from S. Polo Sabino (Rieti), dated November 24, 1706. First title-page soiled, some staining especially at the beginning and at the end of the volume, all in all a good copy. FIRST EDITION, second issue (the first issue bears the date 1561), of the first Italian version of Barros' first and second "Decades', in the only separately published translation of the sixteenth century. The first book is dedicated by the translator Alfonso de Ulloa to Guglielmo Gonzaga, Duke of Mantua (the dedication is dated Venice, August 18, 1561); the second book opens with a dedication, dated Venice, October 15, 1561, addressed by Ulloa to the Portuguese gentleman Duarte Gomez (cf. N. Lepri, Appunti sul "camino della virtù' di Alfonso de Ulloa, in: "Il viaggio della traduzione: atti del convegno, Firenze, 13-16 giugno 2006", M.G. Profeti, ed., Florence, 2007, p. 64). João de Barros was the official court chronicler of King John III and chief administrator of the Casa da Índia, the company in charge of the overseas spice trade. His position gave him access to military and administrative documents relating to the Portuguese colonies in Asia and Africa. His magnum opus, the Décadas da Ásia, follows the structure of Livy's "Decades'. The first Decada appeared in 1552, the second in 1553. The third was published a year after the publication of Ulloa's translation and therefore it was not translated from Portuguese for a long time. A fourth final Decada, left incomplete, was published posthumously in 1615. "Their success was immediate, especially abroad - in Portugal, like other historians of recent events, he was accused of partiality and unfairness - copies soon became extremely rare, the first two "Decades' were translated into Italian before the third appeared, and Pope Pius IV is said to have placed Barros' portrait (or bust) next to the statue of Ptolemy. Barros had prepared himself very thoroughly for his task. Yet he read everything, pored over maps and chronicles and documents from the East, and even bought a Chinese slave to translate for him. With this enthusiasm, his unfailing sense of order and proportion, and his clear and copious style he necessarily produced a work of permanent value. His manner is lofty, even pompous, worthy of the great events described. If his history is less vivid and interesting than Castanheda's, that is because he wrote not as an eyewitness [only the account of the Portuguese fleet leaving Lisbon is firsthand] or actor in them but as Court historian" (A.F.G. Bell, Portuguese Literature, Oxford, 1922, pp. 193-194). Barros' "Decades' has become a classic of voyage literature. They contain references to Columbus and the Americas, but they chiefly deal with Portuguese discoveries in the period between 1415 and 1539. They include the African voyages and the discovery of the Cape of Good Hope; the voyages of Vasco da Gama, Bartholomeo Diaz, Francisco and Alfonso d'Albuquerque, Pedro Cabral, Nuno da Cunhas, and others; the activities of the Portuguese in India, with descriptions of Goa, Malacca, Java and the kingdom of Deccan, and also references to China. "In his "Prologue' [not present in the Italian edition] to the first Década, João de Barros presents an outline account of how he came to write the work. He notes that already in 1520 he had asked the king Dom Manuel to allow him to embark on the project, showing him his text on the emperor Clarimundo as a sample of his style. The king had [Attributes: Hard Cover]

      [Bookseller: Libreria Alberto Govi di F. Govi Sas]
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         Vita dell?Invitissimo Imperator Carlo Quinto nella quale vengono comprese le cose più notabili occorse al suo tempo; cominciando dall?anno MD. infino al MDLX. Con una copiosissima tavola delle cose principali, che nella opera si contengono.

      1562 - Venezia, appresso Vincenzo Valgrisi, 1562, 4to (cm. 21,5 x 16,5) legatura in piena pergamena non coeva, tagli spruzzati, con tassello rosso e fregi dorati al dorso, pp. (24)-336, marca tipografica xilografica al frontespizio. Rara seconda edizione, manca ad Adams ed il Census ICCU registra solo 4 copie nelle biblioteche italiane. - BM STC 704.

      [Bookseller: Libreria Piani già Naturalistica Snc]
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         Johan complaining under the gourd [Jon. 4:1-11].

      Johan complaining under the gourd. Signed and dated at lower right:'MHemskerck inuen (MH interlaced) / .p. galle fecit / .H. Cock excudebat 1562'two lines of Latin text below:'Natura et clementia Dei.... proximorum demonstratur'."Engraving on paper with margins; platemark: 153 x 262mm, total: 190 x 301mm; state I/2, New Hollstein 74 "

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
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         Opusculum perpetua memoria dignissimum, De natura magnetis, et eius effectibus

      Johann Birkmann, Cologne 1562 - First edition, extremely rare, of the second printed work on magnetism, preceded only by the Epistola de magnete of Peregrinus (1558), which is virtually unobtainable. Taisnier?s work is, in fact, a plagiarism of Peregrinus (fl. 13th century), which it reprints verbatim, and of the equally rare Demonstratio proportionum motuum localium (1554) of Benedetti (1530-90), which anticipates Galileo?s theory of falling bodies. ?The Epistola ranks as one of the most impressive scientific treatises of the Middle Ages. Not only did Peregrinus bring together virtually all the relevant, contemporary knowledge on magnetism, he added to it and, of the greatest importance, organized the whole into a science of magnetism. He formulated rules for the determination of magnetic polarity, which then enabled him to enunciate rules for attraction and repulsion, all of which would today form the basis of an introductory lesson on magnetism. As the two magnetic compasses and perpetual motion devices for clock and wheel testify, Peregrinus was also seriously concerned with the practical application of magnetic force. The subsequent influence of his treatise was considerable. The existence of at least thirty-one manuscript versions of it bears witness to its popularity during the Middle Ages. Of greater significance, however, was its eventual impact on Gilbert, who, in his famous De Magnete (1600), built upon the solid empirical rules on magnetic polarity and induction formulated by Peregrinus more than three centuries earlier? (DSB). Benedetti?s Demonstratio sets forth his ?buoyancy theory of fall? [which] is in many respects identical with that which Galileo set forth in his first treatise De motu, composed at Pisa about 1590 but not published during his lifetime? (DSB). Taisnier?s work enjoyed greater circulation than either of the works on which it is based, and thus assisted greatly in the diffusion of their ideas. Johannes Kepler used Taisnier?s book when developing his theory of a magnetic force emanating from the Sun which drives the planets in their orbits (see DSB VIII, 295), and it was through Taisnier?s book that Benedetti?s ideas were transmitted to the Collegio Romano (Encyclopedia of the Scientific Revolution, p. 128). This is the only complete copy of Taisnier?s work listed on ABPC/RBH (the remaining five all lack the leaf at the end with the author?s portrait); the Andrade copy (in modern vellum, lacking the portrait leaf) sold for $1400 in 1965. Only the Honeyman copy of Peregrinus has sold in the last 80 years (£11,000 in 1980), and only the Macclesfield copy of Benedetti (part of a sammelband).Provenance: ?Est Zacharia Caimi? (early title inscription); John Crerar Library, Chicago (bookplate and binding). We have not been able to identify the early owner, but he seems to have owned a significant library: the same inscription can be found in a copy of Della Porta?s De Humana Physiognomonia (1586) currently being offered in the trade, and in a copy of Swineshead?s Calculationes (1520) held by the Thomas Fisher Library at Toronto.?Of the early years of Peregrinus nothing is known save that he studied probably at the University of Paris, and that he graduated with the highest scholastic honors. He owes his surname to the village of Maricourt, in Picardy, and the appellation Peregrinus, or Pilgrim, to his having visited the Holy Land as a member of one of the crusading expeditions of the time. In 1269 we find him in the engineering corps of the French army then besieging Lucera, in Southern Italy, which had revolted from the authority of its French master, Charles of Anjou. To Peregrinus was assigned the work of fortifying the camp and laying mines as well as of constructing engines for projecting stones and fireballs into the beleaguered city.?It was in the midst of such warlike preoccupations that the idea seems to have occurred to him of devising a piece of mechanism to keep the astronomical sphere of Archimedes in uniform rotation for

      [Bookseller: SOPHIA RARE BOOKS]
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         A remarkable volume containing eight books of ornament and seven suites of prints, published at Amsterdam, Antwerp, Augsburg, Frankfurt am Main, Nuremberg, Prague, and Strasbourg, between circa 1562 and 1605, together with three series of drawings executed by a single hand on related papers manufactured at Bern in Switzerland between 1601 and 1608. The paper used by the binder for the paste-downs also was made at Bern, circa 1601-1608, and it may be inferred that the volume was assembled and bound there, probably about 1605

      [Bern], c. 1562-1605. This highly interesting and well-preserved volume was compiled at Bern about 1605 to provide an architect or artisan with a convenient repertory of exempla for the ornamentation of architecture, sculpture, and metalwork. In it the owner assembled contemporary printed ornament and safe-guarded some drawings - probably his own - to ensure they were easily accessible whenever need for them arose. At the time our volume was assembled, Daniel Heintz the Younger (1574-1633) was establishing himself as the pre-eminent architect of Bern. Heintz gave his library to his nephew, the architect, painter, and cartographer Joseph Plepp, and some books eventually passed into the Burgerbibliothek Bern. Mostly architectural treatises and compendia of ornament, those "Heintz-Plepp" volumes contain no marks of ownership, and are identifiable only through entries in the Library's "Donationenbuch". Several books are in Bernese bindings and for one (a Sammelband of models of Schweifwerk ornament) the binder employed a paper stock found in our volume. There is additional, circumstantial evidence that suggests Daniel II Heintz was the compiler-owner of our volume. Pattern Book of Ornament The Pattern Book of an unknown Bernese artisan A remarkable volume containing eight books of ornament and seven suites of prints, published at Amsterdam, Antwerp, Augsburg, Frankfurt am Main, Nuremberg, Prague, and Strasbourg, betweencirca1562 and 1605, together with three series of drawings executed by a single hand on related papers manufactured at Bern in Switzerland between 1601 and 1608. The paper used by the binder for the paste-downs also was made at Bern,circa1601-1608, and it may be inferred that the volume was assembled and bound there, probably about 1605. Berncirca1605 folio (block 309 × 210 mm, binding 323 × 230 × 75 mm), altogether 401 leaves, intact, the contents organised according to subject, not consecutively foliated. paper the fifty-nine sheets of drawings in the volume are on two papers manufactured circa 1601 by Hans Düring, proprietor of the paper-mill 'Zu Thal' on the River Worblen near Bern, from 1598 until 1608: the figural alphabet and the heraldic escutcheons are on paper related to Lindt nos. 386-387; the drawings of fountains, statues, a tomb, and a cartouche are on paper related to Lindt nos. 511-512. The binder's endpapers are another Düring paper, manufactured throughout the period 1601-1609 (watermark of the climbing bear of Bern on a shield and three large balls below: related to Lindt nos. 269-270). provenance Sotheby's, 'Music, Continental Manuscripts and Printed Books', London, 28 May 1986, pp.38-42 lot 79 -- Robin Halwas Limited ('Catalogue 3: Illustrated and other rare books', London 1995, pp.197-222, item 101) 1 -- Private Collection, London condition the print series retain large margins or have untrimmed sheet edges and are bound in quires; the first two series of drawings are similarly bound, while the drawings of the third series were mounted on guards by the binder. One work was re-margined by the binder up to the size of the volume. Generally, the contents are in fine state of preservation, with some prints in brilliantly fresh impressions (the condition of each item is stated below). binding the volume is bound in white pigskin drawn over paper boards, the covers decorated in blind by three rolls of much earlier date: 2 a 'doppelter Rund-bogenfries' (width 15 mm), repeated to form a wide border; inside it a frame defined by a Biblical roll dated 1548 (Christ, 'Data est mihi ois' - David, 'De Fructu ventris' - Isaiah, 'Sup Solium David' - John the Baptist, 'Ecce Agn[-] Dei', approximately 220 × 20 mm); and within a panel filled by a roll with four heads-in-medallions and foliage (width 10 mm). The binder provided protective overlapping edges and four pigskin ties (remnants survive) and decorated the untrimmed page edges with a yellow-green wash. [img-2488-left-large_default] [img-2489-left-large_default] Binding of white pigskin over paper boards, executed at Berncirca1605 (binding 323 × 230 × 75 mm) This highly interesting and well-preserved volume was compiled at Bern about 1605 to provide an architect or artisan with a convenient repertory of exempla for the ornamentation of architecture, sculpture, and metalwork. In it the owner assembled contemporary printed ornament and safe-guarded some drawings - probably his own - to ensure they were easily accessible whenever need for them arose. The function of the volume as a pattern book is revealed by the underlying programme of the contents and its physical characteristics. Presented first are suites of woodcut and engraved alphabets, then a figural alphabet drawn in pen and ink with wash, after which appear suites of engraved ornament depicting Sea-Gods, the Liberal Arts, the Gods on Parnassus, the Virtues, emblems, and birds, followed by books of architectural ornament and models for surface decoration. At the end are drawings in pen and ink and coloured wash of fountains and statues, a tomb, and a cartouche, and a series of forty-five imaginative escutcheons, each bearing the civic insignia of a town in the region of Bern. All the drawings in the volume were executed by the same hand. The relatively high finish of the figural alphabet and escutcheons suggests that those drawings are copies, made after studies and sketches, if not actually from completed drawings. It could be they were exe­cuted by an apprentice, copying drawings from workshop stock as an exercise and to absorb style and technique. The drawings of fountains have a somewhat freer, more impro­vised quality. They can not be identified as copies of contemporary projects (one is dated 1602) and perhaps are studies for unrealised projects. The first two suites of drawings are executed on folded quires of paper of exactly the same make, very probably taken from the same ream (the series of escutcheons is on a related paper stock, these sheets mounted on guards by the binder). The drawings comprising each suite are of equal dimensions and have a lucid and systematic layout across the pages. The idea of preserving them by binding clearly was not an afterthought, but preconceived. 3 The volume is in excellent state of preservation and shows no sign of any structural changes, such as additions, alterations, removal of parts, or repairs, which might confirm its practical use in a workshop. An alternative hypothesis, that it was put together by a collec­tor and not by an artisan, and is therefore an album or convolute instead of a pattern book in strictu sensu, is unsupported by physical evidence, and can be dismissed for a variety of reasons. There is no mark of ownership inside the volume, no signature, no shelfmark, no label or inscription along the edges or on the spine, nothing which might prove that it was once placed in a library. The artless binding is further reason to doubt it was assembled for a collector. Moreover, the fifty-nine drawings in the album are not autonomous works of art by a master: they are unpretentious, anonymous works, and it is hard to accept that they might have been appreciated for their own sake, considered worthy of gathering into an album as collector’s items, at the time of binding. When drawings appear within albums made by collectors, they are typically loose sheets obtained from various sources, often pasted-in or presented in passe-partout. The drawings in the present volume, however, are materially and structurally related. This material homogeneity of the drawings in our volume - their near-simultaneous execution by a single hand on related paper stocks structured in quires, immediately and locally bound - is persuasive evidence, if short of proof, that our volume was created as a pattern book of ornament for usage by an artisan. A contemporaneous Sammelband in the Museum of Fine Arts, Boston, helps to illustrate the difference between our volume and one produced by a collector. That album was assembled by the bibliophile Ferdinand Hoffmann (1540-1607), Baron of Grünpuhel and Strechau, at Prague, probably in 1603. It contains thirteen suites or books of ornament and architecture (published circa 1567-1603) and a series of thirteen drawings on separate sheets by Giuseppe Arcimboldo, accompanied by a two-page letter from the artist to Baron Hoffmann proposing their elaboration as fresco decorations in his castle. 4 It is thought that Baron Hoffmann bound the drawings, prints, and books together, in order to facilitate a future application of Arcimboldo's plan. The binding is green-stained vellum, decorated in gilt with the collector's heraldic insignia. 5 Comparable volumes, assembled by other bibliophiles, are in the Bibliothèque royale de Belgique, Brussels; 6 Kungliga Biblioteket, Stockholm; 7 Graphische Sammlung, Staatsgalerie, Stuttgart; 8 and Herzog August Bibliothek, Wolfenbüttel. 9 DanieliiHeintz At the time our volume was assembled (circa 1605), Daniel Heintz the Younger (1574-1633) was establishing himself as the preeminent architect of Bern. 10 Like many architects of his time, he had a multifaceted career, working as a construction engineer, water engineer, stonemason, sculptor, and architect. In 1596, aged twenty-two, he had succeeded his father as Stadtwerkmeister; in 1602, he was appointed Münsterbaumeister, 11 and the same year received a patent of nobility (together with his elder brother, Joseph) from the Emperor Rudolph ii in Prague. In 1604 he became a member of the Grossrat. When he died in 1633, an inventory was taken of Heintz's possessions. Numerous drawings were listed, but no books. 12 It seems that Heintz's library already had passed to his nephew, the architect, painter, and cartographer Joseph Plepp (1595-1642), with whom Heintz had been collaborating on and off, for a dozen years. A perspective view of Plepp's studio, drawn by Plepp himself in 1640, shows books upon a worktable, and others ranged on a shelf above the door; some of these might be Heintz's books. 13 After Plepp's death, the books passed through the hands of heirs, until 1694, when sixteen books (in thirteen volumes) were donated to the Burgerbibliothek Bern. 14 Nine of the donated books are still preserved in Bern. 15 The 'Heintz-Plepp' library contained the treatise of Vitruvius in German (1575), 16 Serlio's collection of models of doors with texts in Italian and French (1551), 17 and his first five books in German (1609), 18 works on the orders by Vignola (c. 1562), 19 Guckeisen (1598), 20 and Hondius (1620), 21 Furttenbach's treatises on civil (1628) 22 and domestic architecture (1640), 23 works on mechanics and engineering by Besson (1578), 24 Fontana (1590), 25 and Daniel Mögling (1629), 26 a treatise on perspective by Brunn (1615), 27 and repertories of ornament by Guckeisen (1599) 28 and Veit Eck (1596). 29 Two books in the donation are unrelated to the practice of architecture. 30 Could our Pattern Book have belonged to Daniel ii Heintz, but become separated from the books he presented to Joseph Plepp? The physical evidence is inconclusive. Like our Pattern Book, the 'Heintz-Plepp' books contain no early marks of ownership: neither Heintz nor Plepp wrote his name inside any of the books. 31 Four of the 'Heintz-Plepp' books (Vignola, Fontana, Serlio, Furttenbach) survive in contemporary Bernese bindings, individually bound in vellum over paper boards, the covers decorated in blind by a frame, and closed by green cloth ties. There is nothing which connects those bindings to the shop where our Pattern Book was bound. Another four 'Heintz-Plepp' books (Guckeisen and Ebelmann, Eck, Guckeisen, Besson) were once united in a Sammelband. Only a binder's endleaf survives of the original binding: the paper is the same as a paper used for drawings in our album (Lindt nos. 511-512). While this is evidence of communal origin and date, it does not establish consanguinity. The principal contents of the aforementioned 'Heintz-Plepp' Sammelband are compendia of architecture and columns with models of fashionable Schweifwerk ornament, devised by the Strasbourg joinery architects Jacob Guckeisen, Hans Jacob Ebelmann, and Veit Eck, and published at Cologne 1596-1599. These books were widely distributed and could have arrived in Bern by any number of means; it is worth noting, however, that Daniel ii Heintz is recorded in Strasbourg in 1596. Two similar model books are contained in the Pattern Book. Created by Gabriel Krammer, a joiner from Zurich who became cabinet maker to Rudolph ii in Prague, they were published at Prague in 1600 and 1602. The expeditious appearance of Krammer's works in Bern is remarkable; could these books have been conveyed to Bern by Joseph Heintz, Daniel's elder brother, who had entered the service of the Emperor in 1591 and become court painter? Or did Daniel Heintz himself travel to Prague in 1602 for his 'Nobilitierung', and return with the two books? 32 Little is known of Daniel ii Heintz's early life, except that he was trained as a stonemason by his father, acquiring such proficiency that by the age of fourteen he was teaching in the Münsterbauhütte. 33 In 1597, aged twenty-two, he was admitted to the Gesellschaft 'zum Affen' in Bern, the guild of stone-masons, stone-cutters, quarry-workers and bricklayers, taking the trademark of his late father. About this time Daniel was painted by his brother Joseph (a self-portrait) together with their sister Salome (mother of Joseph Plepp). 34 The owner of our Pattern Book was interested in the still rather young art of calligraphy. The items bound first in the volume (four books and a single-sheet print) provide all the information a designer would need for the creation of different scripts and figural alpha­bets; mastery of these exempla is demonstrated by a drawn 'Menschenalphabet' and by a drawing of a strap-work frame that recollects the engraved borders enclosing some calli­graphic specimens in the Pattern Book. Calligraphy was taught in Bern by the schoolmaster Hans Kiener 35 and by Gabriel Hermann, who in 1594 established a Bern school of calligra­phy and in 1603 published there a book of Frakturschrift models. 36 Was the owner of the Pattern Book perhaps associated, either as a student or as a master? After his appointment as Stadtwerkmeister, Heintz worked on projects initiated by his father, notably the Gesellschaftshaus 'Zu Pfistern' (1595-1598). 37 His earliest original pro­jects were private buildings in Bern and a variety of ornamental stone escutcheons: a figural 'Wappenrelief' for the front façade of the Zeughaus (1601), 38 sandstone reliefs on the south façade of the Kaufhaus (1599-1603), 39 Schloss Münchenbuchsee (1600-1603), and a 'Wappentafel' for Brügg (1605). Decorating with civic insignia has a long tradition in Ratssaale and churches. Bound at the end of our Pattern Book is a series of forty-five drawings depicting the arms of the Bern 'Landschaft' (towns under Bernese dominion). The heavy modelling of the frames sup­porting the insignia indicates that the designs are intended for stonemasons, not for glass painters or metalworkers. The artist presents the insignia in the customary sequence, com­mencing with Burgdorf and concluding with Laupen, with the four Ämter jointly ruled by Bern and Fribourg (Mürten, Grasburg, Grandson, Orben) positioned at the end of the series. Vogtei Grünenberg (a shield charged with a 'Zehnberg') is a conspicuous addition to the series, and may lead to identification of the artist's source, or to an application of his drawings. Numerous design drawings are recorded in the post mortem inventory of Heintz's studio, among them '2 Visierungen zum großen Kilchthurn, sampt etlichen Abrißen so darzu gehörendt', 'etliche Visierungen deß underen Thors allhir, deß Huses Bühren, deß Schloßes Nidouw, unnd anderen Orthen', '1 Visierung einer Ballen', 'etliche Vierierungen von Waßerwärck', '2 Visierungen zur Kilchmuren', and '1 Visierung zum Müliwerck'. 40 Unfortu­nately, none of these drawings is known to survive. Three examples of Daniel ii Heintz's draughtsmanship are known; none corresponds in function or typology with the drawings in our pattern book, and they are of no help in resolving the issue of attribution. The earliest of the three drawings, signed and dated 1591, 41 is a copy of a print of 'Cleopatra' by Jan Harmensz Muller. 42 It may be no coincidence that two drawings in our Pattern Book likewise depend from engraved Mannerist prints. These are a drawing of a strapwork cartouche, related to designs by Jacob Floris, engraved by Harmen Janz Muller in 1564, and afterwards widely disseminated; 43 and a drawing of a freestanding funerary monument with the effigy of a sleeping bearded man, related to designs by Cornelis Floris first published by Hieronymus Cock in 1557. 44 Unlike the 'Cleopatra', which has been faithfully copied, the artist of these drawings appears to show independence toward his sources; he seems to have digested the graphic sources, and turned them into his own, per­sonal style. The other two drawings associated with Daniel ii Heinz both appear in the Liber Amicorum of Claude de Villarzel and can be dated circa 1595. Their attribution to Heintz was made by Donald Galbreath in 1945 and is in need of review. 45 One drawing (folio 163 recto) depicts Cupid seated upon Venus's knee, both armed with arrows; above left is a shield bearing the family's insignia before 1602 (two lilies and Heintz's Meisterzeichen), 46 and above right a scroll lettered 'Il mal mi preme e mi spaventa il [peggio]' accompanying a picture of a dove in an opened cage outside which hovers an eagle. 47 The image and the motto taken from Petrarch (Evil pursues me and fear of worse haunts me) 48 appeared in Hadrianus Junius' Emblemata (Antwerp 1565), and thereafter in collections of emblemata amatoria. The inscription accompanying the drawing is imperfectly dated by Daniel Heintz, at Bern, 3 February 159[-]. The other drawing in the Villarzel Stammbuch associated with Heintz accompanies an entry by Anthoni ii Wyss, the son the Anthoni Wyss (1531-1588), a city councillor of Bern, dated at Geneva, 9 September 1595 (folio 160 verso). Galbreath suggested that that Daniel ii Heintz drew the accompanying scene depicting Venus and Cupid, and Wyss added his name and family insignia below. 49 The attribution of these Villarzel sheets to Daniel ii Heintz seems very questionable; neither exhibits the qualities of the signed 'Cleopatra' in Weimar, and it is likely that they are by the hand of an experienced Briefmaler, whose work appears throughout the Villarzel album. Additional examples of Heintz's draughtsmanship will need to be identified, and more will have to be discovered about his artistic formation, to confirm or disprove the hypothesis that the Pattern Book belonged to him. In particular, it would be helpful to know if the drawings of fountains and of civic insignia in the Pattern Book are associated with any projects executed by Heintz. At the moment, only the creation of the Pattern Book at Bern circa 1605 can be established. Although Daniel ii Heintz is the most likely compiler-owner of the volume, 50 this prove­nance remains entirely circumstantial. [img-2517-left-large_default][img-2516-left-large_default] Comparative illustrations Drawings attributed to DanieliiHeintz.Liber Amicorum of Claude de Villarzel, folios 163rectoand 160verso (Vevey, Musée historique de Vevey, Inv. 1269) Abbreviated References amsterdam catalogue Ornamentprenten in het Rijksprentenkabinet, i: 15de & 16de eeuw, compiled by Marijnke de Jong and Irene de Groot (Amsterdam 1988) arbour Roméo Arbour, L'Ère baroque en France. Répertoire chronologique des éditions 1585-1615 (Geneva 1977) berlin katalog Katalog der Ornamentstichsammlung der Staatlichen Kunstbibliothek, Berlin (Berlin 1939) berliner Rudolf Berliner, Ornamentale Vorlageblätter des 15. bis 18. Jahrhunderts (Leipzig 1925-1926) berns mächtige zeit Berns mächtige Zeit: das 16. und 17. Jahrhundert neu entdeckt, edited by André Holenstein (Bern 2006) bonacini Claudio Bonacini, Bibliografia delle arti scrittorie e della calligrafia (Florence 1953) brussels catalogue Henri H ymans, Catalogue des estampes d'ornement faisant partie des collections de la Bibliothèque Royale de Belgique (Brussels 1907) doede 1958 Werner Doede, Bibliographie deutscher Schreibmeisterbücher von Neudörfer bis 1800 (Hamburg 1958) forssman Erik Forssman, Säule und Ornament. Studien zum Problem des Manierismus in den nordischen Säulenbüchern und Vorlageblättern des 16. und 17. Jahrhunderts (Stockholm 1956) fuhring Peter Fuhring, Ornament prints in the Rijksmuseum.ii : The seventeenth century (Amsterdam 2004) grafica per orafi Grafica per orafi: modelli del Cinque e Seicent o : mostra di incisioni da collezioni italiane, 18 aprile-18 maggio 1975, catalogue of an exhibition held by the Istituto Universitario Olandese di Storia dell'Arte, by Anna Omodeo (Bologna 1975) guilmard Désiré Guilmard, Les Maîtres ornemanistes (Paris 1880-1881) hamburg katalog Katalog der Ornamentstich-Sammlung, compiled by Ludwig Döry (Hamburg 1960) harvard catalogueDavid P. Becker, The Practice of Letters. The Hofer collection of writing manuals 1514-1800 (Cambridge, ma 1997) hollstein, GermanF.W.H. Hollstein, German engravings, etchings and woodcuts, 1400-1700 (Amsterdam 1954-) hollstein, DutchF.W.H. Hollstein, Dutch and Flemish etchings, engravings, and woodcuts, ca. 1450-1700 (Amsterdam 1949-2007) irmscher Günter Irmscher, Kölner Architektur- und Säulenbücher um 1600 (Bonn 1999) jervis 1974Simon Jervis, Printed furniture designs before 1650 (Leeds 1974) jervis 1986Simon Jervis, 'A Seventeenth-century book of engraved ornament' in The Burlington Magazine 128 (1986), pp.893-903 lindt Johann Lindt, The Paper-mills of Berne and their watermarks 1465-1859, Monumenta Chartæ Papyraceæ Historiam Illustrantia, x (Hilversum 1964) mielke Hans Mielke, 'Hans Vredeman de Vries. Verzeichnis der Stichwerke und Beschreibung seines Stils, sowie Beiträge zum Werk Gerard Groennings', unpublished dissertation, Freie Universität, Berlin 1967 ornament and architecture Ornament and architecture: Renaissance drawings, prints and books, an exhibition by the Department of Art, Brown University, Bell Gallery, List Art Center, March 8 through April 6, 1980 (Providence, ri 1980) röhrl Boris Röhrl, 'Nürnberger Schreibmeisterbücher. Eine Untersuchung zur typographischen Buchgestaltung von Neudörfer bis Baurenfeind' in Gutenberg-Jahrbuch 1992 pp.146-160 schüling Hermann Schüling, Theorien der malerischen Linear-Perspektive vor 1601 (Giessen 1973) stadtbibliothek bern 1764 Bibliothecae Bernensis librorum typis editorum catalogus, compiled by Jean Rodolphe Sinner (Bern 1764-1767) stadtbibliothek bern 1811 Verzeichniss aller auf der Stadt-Bibliothek in Bern, vorhandenen gedruckten Werke (Bern 1811) stockholm katalog Isak G.A. Collijn, Katalog der Ornamentstichsammlung des Magnus Gabriel de La Gardie in der Kgl. Bibliothek zu Stockholm (Stockholm & Uppsala 1933) strübin rindisbacher 1995Johanna Strübin Rindisbacher, 'Zwischen Perspektive und Mörtelrezept: zum Bildungshintergrund von Joseph Plepp (1592-1642), dem bernischen Werkmeister, Maler und Kartenverfasser' in Im Schatten des Goldenen Zeitalters: Künstler und Auftraggeber im bernischen 17. Jahrhundert (Bern 1995), ii, pp.141-164 strübin rindisbacher 2002Johanna Strübin Rindisbacher, Daniel Heintz: Architekt, Ingenieur und Bildhauer im 16. Jahrhundert (Bern 2002) vd 16 Verzeichnis der im deutschen Sprachbereich erschienenen Drucke desxvi . Jahrhunderts (Stuttgart 1983-1997) vd 16 onlineVerzeichnis der im deutschen Sprachbereich erschienenen Drucke des 16. Jahrhundertshttp://www.vd16.de/ vd 17 onlineVerzeichnis der im deutschen Sprachraum erschienenen Drucke des 17. Jahrhundertshttp://www.vd17.de/ vienna katalog 1871 Illustrirter Katalog der Ornamentstichsammlung des k.k. Österr. Museums für Kunst und Industrie, edited by Franz Schestag (Vienna 1871) vienna katalog 1889 Illustrierter Katalog der Ornamentstichsammlung des K. K. Österreich. Museums für Kunst und Industrie: Erwerbungen seit dem Jahre 1871, compiled by Franz Ritter (Vienna 1889) vienna katalog 1889 Illustrierter Katalog der Ornamentstichsammlung des Österreichischen Museums für Kunst und Industrie: Erwerbungen seit 1889, compiled by Franz Ritter(Vienna 1919) warncke Carsten-Peter Warncke, Die ornamentale Groteske in Deutschland 1500-1650 (Berlin 1979) zauber der medusa Zauber der Medusa: europäische Manierismen, catalogue of an exhibition held at the Wiener Künstlerhaus, 3 April-12 July 1987, edited by Werner Hofmann (Vienna 1987) zauber des ornaments Zauber des Ornaments. Austellungs- und Bestandskatalog des Kupferstichkabinettes [Staatliche Museen zu Berlin] (Berlin 1969) zierschrift und initiale Zierschrift und Initiale. Ausstellung der Kunstbibliothek Berlin von Mai bis August 1965 (Berlin 1965) zwischen renaissance und barock Das Zeitalter von Bruegel und Bellange. Werke aus dem Besitz der Albertina. Ausstellung, 9. Nov. 1967 bis 18. Feb. 1968, compiled by Konrad Oberhuber (Vienna 1967) [Rogel, Hans] Augsburg 1532 - 1592/1593 Augsburg Capital und Versal Buech Allerhanndt Grosser und Kleiner Alphabeth, Zue den Haubtschrifften und Buechern, Deß gleichen in Canntzleyen unnd gemein, zuegebrauchen ganntz zierlich geordiniert. Durch Ulrich Hainly Brieffmaller Burgern Zue Augspurg, Jm Truckh verfertigtt. Augsburg, Ulrich Hainly [ circa 1600] folio (album dimensions, bound along top edge, fore-edges left untrimmed), (12) ff., a suite of wood­cut title, ten partly-numbered woodcut plates (each 175 × 255 mm, borderlines), and terminal blank leaf; the prints imposed in pairs on whole sheets of paper, then gathered in a single quire (π 6 ), and bound in on their own paper. contents (folio 1) xylographic title; (f.2) six letters a-f signed v [sic] at centre left; (f.3) six letters g-m, block signed av (i.e. Augusta Vindelicorum); (f.4) six letters n-s, block signed av ; (f.5) six letters t-z, block signed av ; (f.6) single alphabet of twenty-four letters in four rows with in between vdmiæ (i.e. Verbum Domini Manet in Aeternum) | a[ugusta] virtvs vin cit vim v[indelicorum] | anno md lxxv. christi and numbered 2 at lower right; (f.7) three alphabets, block signed av ; (f.8) three alpha­bets, block dated twice, 1568 and mdlxxv; (f.9) variations of the letter i, block signed av ; (f.10) variations of letter w, block signed av ; (f.11) further variations of letter w, block signed av and num­bered 5 at lower right; (f.12) blank. paper watermark Gothic p, composed of two lines, surmounted by a shield (?), with letter a below (height 40 mm), in folios 1, 4, 7, 8, 10, 11. In fine state of preservation. A calligraphic model book by the Augsburg writing master, cutter of woodblocks, and publisher, Hans Rogel the Elder, presenting on ten plates six alphabets and single examples of heavily decorated Fraktur initials. The work was first published in 1568 with the title and writing samples all cut white-on-black. 51 In 1575 Rogel recut the same title and examples, in identical size, on this occasion rendering them black-on-white. 52 After Rogel's death (or that of his son, Hans ii Rogel in 1613), his set of white line woodblocks was reprinted by the Augsburg publishers Johann Ulrich Schönig (1589-1654), 53 Johann Jakob Schönig (1657-1694), 54 and Johann Christoph Wagner. 55 The set of black-on-white blocks was acquired by the local publisher Ulrich Hainly (Hainli, Hainlen), who substituted his own name on the title block. 56 [img-2490-left-large_default] Woodcut by Hans Rogel reprinted by Ulrich Hainly (borderline 177 × 278 mm) [img-2491-left-large_default] Woodblock by Hans Rogel, dated 1568 and 1575 (borderline 152 × 252 mm) An edition by Ulrich Hainly apparently dated 1600 is cited by Breitkopf, who refers also to an edition, published at Basel by Ludwig König. 57 No other copy of any Hainly edition can be located by the writer. Bound with Frank (Franck), Paul Gefrees (Oberfranken) fl. 1570 - circa 1610 Schatzkammer Allerhand Versalien Lateinisch unnd Teutsch, allen Cantzleyen Schreibstuben Notarren Schreibern und denen so sich des zierlichen schreibens befleissigen zudienst vnd wolgefallen von neüen in Drückh also verferttiget. Nuremberg, Katharina Dietrich, 'Jn verlegung Conrad Bauern, Buchhendlers', 1601 folio (album dimensions), (68) ff. signed A-R 4 plus three folding plates (bound after R4); not foliated or paginated. contents xylographic title (verso blank), dedication printed letterpress (recto and verso), and sixty-six unnumbered leaves having woodcut initials printed on rectos only (twenty-four folios with one letter per page, twelve with two letters per page, eight with three letters per page, six with four letters per page, eight with six letters per page, and eight with twelve or more letters per page), plus three folding plates (each showing a different size of the initial i). Many letters have the initials pf incorporated in the design; the largest folding plate has also the date 1597. Lower margins reduced by the binder to album dimensions, folio I3 thus folded-in to preserve the design, three specimens and several quire letters touched by his knife. Two of the three large plates have unrepaired tears along the folds, not resulting in significant loss. First edition of a collection of more than four hundred initials drawn by a schoolmaster in Memmingen, dedicated by its publisher, Konrad Bauer (Agricola), 22 March 1601, to the Nuremberg writing-masters Adam Strobel and Augustin Wildsau. 'Frank praktizierte eine neue, sich von dem reglementierten Formen des Johann Neudörfer d. Ä. lösende Manier, bei der jegliche geometrische Konstruktionsprinzipien verneint und die Buchstabenformen verunklart wurden durch die überreiche Beigabe von Zier- und Beistrichen'. 58 [img-2492-left-large_default] Woodcut initialPby the Memmingen schoolmaster Paul Frank (height of page 309 mm) Frank's Schatzkammer anticipated by about six months (2 September 1601) a Schreibkunst published by Anton Neudörfer (1571-1628), scion of the famous Nuremberg family of calligraphers, and provoked Neudörfer to include in his book a bitter critique of Frank's exemplaria and of his initial w in particular. Christoph Fabius Brechtel (1568-1622), the son of another famous writing master of Nuremberg, also entered the controversy, described by Doede as 'eine echte sozusagen avantgardistische Kunstpolemik'. 59 These copies in public collections are known to the writer 60 ● Berlin, Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, OS 4811 61 ● Chicago, Newberry Library, Wing folio ZW 14.F842 (a portfolio containing two fragments of the book, one 23 leaves only, the other wanting title and 'all after sig. R²') ● Frankfurt am Main, Museum für Kunsthandwerk, Buchkunst- und Graphiksammlung, Inv.-Nr. LOZ 2790 62 ● Halle (Saale), Universitäts- und Landesbibliothek Sachsen-Anhalt, Af 5676, 2º ('Verlust 2000') ● Hamburg, Museum für Kunst und Gewerbe (fragment of eight leaves only) 63 ● Nuremberg, Germanisches Nationalmuseum, 4°W 982 cg 64 ● Wolfenbüttel, Herzog-August-Bibliothek, Xb 4° 497 ('Nach Doede fehlt 1 gef. Bl. am Ende') ● Zurich, Zentralbibliothek, Z xvi, 29a A new edition was published as Kunstrichtige Schreibart Allerhand Versalie[n] oder AnfangsBuchstabe[n] Der Teütschen, Lateinischen und Italianischen Schrifften aus unterschiedlichen Meistern der Edlen Schreibkunst zusammen getragen, at Nuremberg, by Christoph Gerhard for Paul Fürst, in 1655. 65 references Arthur Lotz, 'Die deutschen Schreibmeisterbücher' in Philobiblon 10 (1938), p.386; Bonacini no. 635; Werner Doede, Schönschreiben, eine Kunst (Munich 1957), figs. 52, 55, 64, 65; Doede 1958 no. 33 and pl.10; Hollstein, German, viii (Amsterdam 1968), p.183; facsimile edition with commentary by Joseph Kiermeier-Debre and Fritz Franz Vogel (Munich: Ravensburger, 1998) Bound with Bry, Theodor de Lüttich 1528 - 1598 Frankfurt am Main Nova Alphati [sic] Effictio Historiis ad singulas literas correspondentibus, et toreumate Bryanaeo artificiose in aes incisis illustrata: Versibus insuper Latinis et Rithmis Germanicis non omnino inconditis. Nejw Kunstliches Alphabet, gezirt mit schonen Figurn, deren Iede sich auff seinen Buchstaben accomodirt; artlich In Kupffer gestochen, durch die Bryen, Auch mit Lateineschen Versen und teutschen Reimen lustig beschrieben. Frankfurt am Main, [Theodor de Bry], 1595 folio (album dimensions), (27) ff., signed A 4 [B-G4] (-G4, blank cancelled), comprising: engraved title, letterpress dedication and preface (A2-A3), and twenty-four engravings (circa 210 × 155 mm, platemarks) each having Latin and German verses printed on verso, twelve prints signed I. Th. Bry sc ., two signed I. Th. B. FE (initials x, z), and ten prints unsigned (initials b, k, l, p, q, r, t, v, x, y); not foliated or paginated. Two thin areas in print of letter v both owing to faults in the paper, a few extreme margins lightly discoloured, otherwise in fine state of preservation. A remarkable figural alphabet decorated with strapwork ornament, birds, fishes, serpents, flowers, fruit, and musical instruments, intended to serve as models for craftsmen, especially goldsmiths. [img-2493-left-large_default] Figural initialAin Theodor de Bry's copybook (platemark 204 × 155 mm) Printed on the verso of each leaf in Latin and German are epigrams descriptive of the designs. On the two leaves following the title-page are verses in Latin and German dedicated to Jean Jacques Boissard, thereafter verses in Latin addressed to Johann Adam Lonicer, and a preface in German, all printed by letterpress. Warncke has designated copies including this letterpress as first issue and copies without them as second issue. 66 An album of fourteen associated drawings is at Harvard. 67 These copies (of both issues) are known to the writer ● Amsterdam, Rijksmuseum, Print Room 68 ● Baltimore, Walters Art Museum, Research Library ● Berlin, Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, OS 5281 mtl 69 ● Besançon, Bibliothèque Municipale, Fonds ancien 61871 ● Cambridge, ma, Harvard University, Houghton Library, Typ 520.95.241 ● Charlottesville, University of Virginia, Typ 1595.B78 ● Chicago, Newberry Library, Wing ZW 15.126 ● Göttingen, Niedersächsische Staats- und Universitätsbibliothek, 2 BIBL UFF 195 ● Hamburg, Museum für Kunst und Gewerbe 70 ● Leiden, Bibliotheca Thysiana, 2177:1 ● London, British Library, 788.d.10 ● New York, New York Public Library, *KB+ 1595 ● Paris, Bibliothèque nationale de France, Arsenal, FOL-BL-1251 ● Paris, Bibliothèque nationale de France, Estampes et photographie, 4-KB-6 ● Paris, École nationale supérieure des beaux-arts, Réserve, LES 1124 ● Paris, Institut National d'Histoire de l'Art, Fonds Patrimonial, 4 Res 67 ● Paris, Musée du Louvre, Collection Edmond de Rothschild, Inv. 7511-7535 71 ● Rome, Biblioteca Universitaria Alessandrina, vol. xiii f.18/18 72 ● Schweinfurt, Bibliothek Otto Schäfer, OS 903 73 ● Stockholm, Kungliga Biblioteket (Royal Library) 74 ● Vienna, Österreichisches Museum für angewandte Kunst 75 ● Wolfenbüttel, Herzog August Bibliothek, Ui 442 The plates were copied and published at Cologne by Johann Bussemacher in 1613. 76 references facsimile edition A New Artistic Alphabet, designed by Theodore de Bry (Edinburgh 1880); Guilmard pp.368-369, no. 38; Hollstein, Dutch, iv (Amsterdam 1951), p.37 nos. 171-195; Bonacini no. 292; Warncke, ii, pp.81-84 nos. 692-716 (reproducing all prints); Hugues Demeude, The animated alphabet (London 1996), pp.98-101; facsimile reprint with commentary by Joseph Kiermeier-Debre and Fritz Franz Vogel (Munich: Ravensburger, 1997) Bound with Anonymous Bernese draughtsman A figural alphabet of twenty-three letters, drawn by a single hand in black ink over pencil, all the letters formed by nude human figures alone or in groups of two or three. [Berncirca1600] folio (album dimensions, fore-edges untrimmed), (23) ff., one letter on each page (each letter approximately 170 mm in height), versos blank; the drawings executed in pairs on whole sheets of paper, and bound in on their own paper (except z, attached to binder's guard). paper watermark two shields, each charged by a bear (the insignia of Bern) and surmounted by a crown (related to Lindt nos. 386-387). Short scissor cuts in blank margins of four leaves (letters q, t, v, x) to protect the extremities from the binder's knife (this proved unnecessary, as he left the leaves untrimmed). All the letters of this handsome alphabet are formed by nude human figures alone or in pairs (except initial b, composed of three figures), holding strenuous, but plausible postures. Only in the designs of six letters (e, f, h, k, m, n) is there recourse to some prop (a tazza, floral garland, baton, fruit, the train of a woman's robe). [img-2505-left-large_default] Anthropomorphic alphabet drawn at Berncirca1605 (height of page 309 mm) Some initials derive from Peter Flötner's influential woodcut 'Menschenalphabet' of circa 1535, mediated by Theodor and Johann Israel De Bry, Alphabeta et characteres (Frankfurt am Main 1596), and by other copies. 77 Bound with Hondius, Jodocus Wakken (near Ghent) 1563 - 1612 Amsterdam Theatrum Artis Scribendi, Varia Svmmorvm Nostri seculi, Artificum exemplaria complectens, novem diversis linguis exarata. [Amsterdam, Jodocus Hondius, 1594?] folio (album dimensions, bound along top edge, fore-edges left untrimmed), (28) ff., comprising title and twenty-seven unnumbered prints (entirely engraved, except for folio [18] where the engraved calligraphic specimen is enclosed by a woodcut cartouche lettered nil usu penna | sed arte); the majority of the prints imposed in pairs on whole sheets, gathered in quires, and bound in on their own paper. contents [folio 1] title; [f.2] 'Agesilaus Roy des Lacedemo' (by Henrix); [f.3] 'Alphabetum Flandricum' (by Henrix); [f.4] 'Alphabetum Capitalium Curs[oriorum]' (by Hondius); [f.5] 'Alphabetum Directorium' (by Hondius); [f.6] 'Pars altera Direc[orii]' (by Hondius); [f.7] 'Bien disoit vray Caton prudent et sage' (by Van de Velde); [f.8] 'Commet her und sehet an die werckh Gottes' (by Van de Velde); [f.9] 'Discretion est en l'homme' (by Van Sambix); [f.10] 'Evite et fuy les fauses et mauvaises accusations des hommes' (by Van de Velde); [f.11] 'Fuy mon enfant les disputes trop curieuses' (by Van de Velde); [f.12] 'Honnestete bien que ne soit en bruict' (by Henrix); [f.13] 'Mijn alderliefste' (by Hondius); [f.14] 'Tu doibs porter souverain honneur apres Dieu' (by Jacomina Hondius); [f.15] 'Like as the cutting of vines and other plants' (by M. Martin); [f.16] 'Yvrognerie est abomination a Dieu' (by Hondius); [f.17] 'Nettoyons la conscience, qui est ouverte devant les yeux' (by Beauchesne); [f.18] 'Quanquam sentiamus ac Anglicana' (by Bales); [f.19] 'Quelque homme reprocha a un aultre' (by Hondius); [f.20] 'Xerse Roy des Persans' (by Henrix); [f.21] 'O Herr Gott Himmelischer Vater' (byVan Houthuys); [f.22] 'Kleyne cloeckheit met Gods vreese' (by Hondius); [f.23] 'ect, tuam matrem & tuum patrem Honora' (by Hondius); [f.24] 'Litera Graeca' (by Hondius); [f.25] 'Il Mag.co M. Pietro Contarini' (by Curione); [f.26] 'Zenon Philosopho' (by Hondius); [f.27] 'Sig. mio Osser.mo in ricompensa di tanti travagli' (by Curione); [f.28] 'Rendez diligemment à toutes personnes' (by Van de Velde). paper watermark (1): shield, with diagonal bend (i.e. Strasbourg Bend), entwined letters lb (i.e. maker Blum of Lörrach) below (60 × 40 mm), in prints [1], [6], [7], [12], [21], [22], [24]; watermark (2): shield, quartered, with diagonal bend and rampant lion (insignia of Baden Hochberg), entwined letters lb below (70 × 50 mm), in prints [3], [4], [9], [10], [11], [15], [16], [17], [20], [26], [28]; 78 watermark (3): crowned shield, indistinct charge between two columns, letters wr (i.e. maker Wendelin Riehel of Strasbourg) below (110 × 45 mm), in folio [18]. Irregular lower margin beneath the title print and the leaf frayed to the platemark, paper defect in another margin, otherwise in excellent state of preservation. An anthology of specimen pages by contemporary writing-masters from various countries, including Jan van de Velde (five exemplars), Salomon Henrix (four), Carlo Ludovico Curione (two), Felix van Sambix, Peter Bales, M. Martin, Jean de Beauchesne, Jacques van Houthuys, Jacomina Hondius (one each), and of course Jacobus Hondius himself (eight signed specimens and two unsigned Greek and Hebrew alphabets presumably also by him), who produced all the copperplates. It is the first writing manual published in the Dutch Republic. According to recent research, 79 the work was first published by Hondius in 1594 as a suite of forty-three engraved plates (title and forty-two unnumbered exemplars) accompanied by four pages of letterpress (a 'Lectori salutem' by Hondius and his discussion of eight 'Regulae'). 80 Twenty-seven of the exemplars appeared within an elaborate strapwork cartouche, both exemplar and cartouche engraved on the same plate (152/164 × 207/224 mm); 81 the other fifteen exemplars were engraved on smaller plates (circa 83 ×128 mm) and presented within a separately printed cartouche (two types: one engraved, 158 × 215 mm; the other woodcut 135 × 200 mm). The letterpress preliminaries in the first edition were printed for Hondius by the Amsterdam printer-publisher Cornelis Claesz (active 1582-1609). Sometime after 1594, Claesz took possession of the copper plates, and until the sale of his business in 1610 he restruck them, reissuing Hondius's manual without the letterpress preliminaries, but otherwise unchanged. In 1614 a new edition was published, with the imprint of Hondius's son in law, Johannes Janssonius engraved on the title. By that date both of the separate cartouches had been lost and Janssonius supplied a new copper-engraved cartouche to frame all fifteen of the smaller exemplars. The full complement of exemplars (forty-two) is not present our copy - fifteen plates are lacking. It can be no coincidence that all but one of these are the smaller exemplars presented within a separately-printed cartouche. Were they - and the preliminary letterpress - purposefully excluded by the owner? Or does the copy represent perhaps a Cornelis Claesz issue of the work, in which fewer exemplars were provided? 82 The large number of 'incomplete' copies of the work allows for the further possibility that the buyer could decide the composition of his copy. 83 Hondius contracted with the Officina Plantiniana in Leiden to sell part of his edition in the autumn 1594 Frankfurt book fair; 84 the copy contained in our volume may have come to Bern around that date. Although in remarkably fresh state of preservation, the frayed corners of the title print betray its life before it was bound circa 1605. It thus is more likely to be an incomplete copy of an early issue, than a complete copy of some (as yet undefined) issue by Cornelis Claesz. An examination of the paper stocks in multiple copies might provide a conclusive answer. references Guilmard p.493 no. 46; Berlin Katalog no. 5007 (first edition); Bonacini no. 813 (first edition); Hollstein, Dutch, ix (Amsterdam 1953), p.99 nos. 55-96 (first edition) Bound with Anonymous printmaker Six Alphabets. [Nuremberg?circa1590] Single sheet engraving (print 250 × 310 mm, platemark; sheet 300 × 380 mm, untrimmed edges), folded across the middle by the binder, the engraver's or publisher's name printed indistinctly or imperfectly erased from the plate. paper watermark Gothic p on a crowned shield (70 × 45 mm). In very good state of preservation. The print displays (1) a twenty-four letter alphabet designed from tools and household implements (for example, a compass forms the letter a and scissors the letter x); (2) a twenty-four letter alphabet designed from single or pairs of human figures; 85 (3) a twenty-four letter alphabet in Fraktur capitals; (4) a Hebrew alphabet; (5) a Greek alphabet; (6) a series of imaginary 'Egyptian' letters. 86 The print is unidentified and may be unrecorded. Bound with Fuchs, Adam Nuremberg 1583 - 1606 Nuremberg Engravings of Sea and River gods. Nuremberg, Heinrich Ulrich, 1605 folio (album dimensions), suite of nine prints on separate folios (eight circa 120 × 160 mm, one 170 × 120 mm platemarks), retaining broad margins. The unnumbered prints are bound in this order (a) Triton, signed A Fuchs scalq H. Vllrich. ex: (Hollstein 63, as pl.9 in series); (b) River god on dolphin (H. 56, as pl.2 in series); (c) Sea god on two-headed monster (H. 60, as pl.6 in series); (d) Male and Female Sea gods on a Sea horse (H. 61, as pl.7 in series); (e) Reclining male figure with a goose, signed af (H. 57, as pl.3; (f) River god with bowl of cherries (H. 59, as pl.3); (g) River god with a sheep and putti (H. 4); (h) Young Sea god on Sea lion (H. 58, as pl.4); (i) Bacchus, signed af and dated 1605 (H. 55, as pl.1). paper watermark crowned shield, with diagonal bend, surmounted by a cross (height circa 45 mm), in prints (a), (c), (f). Extremely fine impressions in perfect state of preservation. A fine series of nine prints of Sea gods, Tritons, and Naiads, engraved by Adam Fuchs after prints by Giovanni Andrea Maglioli (active at Rome 1580-1610), which in turn are derived from sarcophagi and other antiquities. 87 A tenth print of larger dimensions inscribed Paulys Mayr Inventor | 10 (102 × 290 mm) was added to the series by a later publisher (Hollstein 64). [img-2494-left-large_default] ATriton , engraved by Adam Fuchs after Giovanni Andrea Maggioli (platemark 170 × 120 mm) Five states of the prints are known: i before numbers and signatures ii plates before numbers, three signed by the printmaker and dated 1605 iii plates numbered 1-9, same three plates (1, 3, 9) signed and dated iv plates numbered 1-9, same three plates signed and dated, publisher's name H. Vllrich. ex: and date 1605 added on two plates (1, 9) v published by Paul Fürst in dated and undated editions Our impressions are in an state between Hollstein's ii and iv, i.e. before numbering of the plates, yet bearing Fuchs' name and dated 1605 (on plates a, c, i), and with the excudit of Ulrich on plate i only. Impressions of the prints in first state are rare (Hollstein records three impressions only, all at Coburg); sets of the prints in later states are recorded in ● Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett (prints 1-7, 9; located by Kroll) ● Leipzig, Museum des Kunsthandwerks (prints 1, 2, 4-9; located by Kroll) ● London, British Museum, Prints & Drawings, 1932, 0217.14-22 (prints 1-9) ● Schleswig, Schleswig-Holsteinische Landesmuseen 88 ● Vienna, Graphische Sammlung der Albertina (prints 1-9; located by Hollstein) ● Vienna, Österreichisches Museum für angewandte Kunst, KI 2275 F-46 S-7 (print 1 only?) 89 references Andreas Andresen, Der deutsche Peintre-Graveur (Leipzig 1864â€"1878), v, p.43 nos. 21-29; Hollstein, German, ix (Amsterdam 1975), pp.52-58 nos. 55-63; Renate Kroll, 'Andreas Schlüter und der Sommerpalast Peters i ' in Forschungen und Berichte, Staatliche Museen zu Berlin 17 (1976), pp.113-134 (especially pp.121-123) Bound with Passe, Crispijnide Arnemuiden 1564 - 1637 Utrecht The Seven Liberal Arts: Grammatica, Dialectica, Rhetorica, Musica, Arithmetica, Geometria, Astronomia. [Colognecirca1600] folio (album dimensions), suite of seven numbered prints on separate folios, each circa 165 × 95 mm (platemarks) with very broad margins (irregular fore-edges), two lines of Latin text beneath each print, signed Martin De Voss inventor. Crispian De Passe fe et excud. (or version thereof). paper illegible watermark (eagle?) and countermark. Light discolouration, tear in lower margin of 'Astronomia', otherwise in fine state of preservation. [img-2495-left-large_default] Astronomy , from a suite of engravings of the Seven Liberal Arts (platemark 160 × 90 mm) The complete series, engraved after designs by the Flemish painter Maarten de Vos (1532-1603). 90 The preparatory drawing for 'Astronomia' is in the Yale University Art Gallery, New Haven. 91 These sets are known to the writer ● Brussels, Bibliothèque Royale de Belgique, Cabinet des Estampes 89891-89897 92 ● London, British Museum, Prints & Drawings, D.6.1-7 ● Madrid, Biblioteca Nacional, Gabinete de estampas, ER/1493(37)-ER/1493(43) 93 ● Vienna, Hofbibliothek, HB 86, pp.158-159, 445-51 94 references Simon Laschitzer, 'Berichtigungen, Ergänzungen und Nachträge zu "L'oeuvre gravé des van de Passe" décrit par D. Franken' in Repertorium für Kunstwissenschaft 8 (1885), nos. 174-180; Hollstein, Dutch, xv (Amsterdam 1964), p.192, nos. 517-523 Bound with Boissard, Jean Jacques Besançon 1528 - 1602 Metz Parnassus cum imaginibus Mvsarvm Deorumque praesidum Hippocrenes Omnia depicta sunt, & distichs Latinis illustrata. Frankfurt am Main, Heirs of Theodor de Bry, 1601 folio (album dimensions), (36) ff., comprising: engraved title with inscription beneath Io. Theodor de Bry fecit, eight leaves of letterpress dedication and verses (signed *2-**5), portrait of the author beneath letterpress heading (without name of engraver), twenty-five full-page engravings (255/270 × 135/180 mm, platemarks), and final blank leaf. Light discolouration in extreme fore-margins, otherwise in fine state of preservation. [img-2496-left-large_default] Hercules Musagetes,the companion and leader of the Muses, engraved by Robert Boissard (platemark 273 × 180 mm) First edition of a suite of engraved portraits of the inhabitants of Parnassus (Greek gods, nine Muses, and eight Classical poets). Nineteen prints were designed and engraved by Jan Theodor de Bry (1561-1623) and six (nos. 2, 4, 5, 16, 17, 20) were engraved by Robert Boissard (circa 1570-after 1597) after designs of Jean-Jacques Boissard. These copies are known to the writer ● Augsburg, Staats- und Stadtbibliothek, 2 Kst 42 (lacking plates 2, 16) ● Cambridge, University Library, LE.2.19 ● Halle, Universitäts- und Landesbibliothek Sachsen-Anhalt, AB 170022 (2) ● London, University of London Library (Senate House), D.-L.L. CC23 (lacking plate 16) ● Los Angeles, Getty Research Institute, NE654.B79 P37 1601 ● Munich, Bayerische Staatsbibliothek, 2 Arch 48 ● New York, New York Public Library, *KB +1601 ● Paris, Bibliothèque nationale de France, Rés. J 1834 (1) and FB-2090 ● Paris, Bibliothèque nationale, Estampes et photographie, Gc.13 95 ● Wolfenbüttel, Herzog-August-Bibliothek, Xb 4° 476 The work was reissued at Oppenheim by Theodor de Bry in 1613 96 and reprinted under the title Parnassus biceps (with eight additional plates) at Frankfurt am Main by William Fitzer in 1627. references Roméo Arbour, L'Ère baroque en France. Répertoire chronologique des éditions 1585-1615 (Geneva 1977), no. 3242; not in Hollstein, unless to be identified with the nine prints of Muses in the entry for Theodor de Bry (Dutch, iv, Amsterdam 1951, p.45, nos. 14-22) Bound with Eisenhoit, Antonius Warburg (Westfalia) 1553/4 - 1603 The Virtues. Nuremberg, Balthasar Caymox, 1591 folio (album dimensions), suite of eight unnumbered prints (140 × 90 mm, platemarks), imposed in pairs on whole sheets of paper, gathered in two quires, and bound in on their own paper. contents (a) 'Iustitia est virtus suum cuique tribuens', signed bc and Anton: Eisen: (b) 'Fides est justitia in rebus creditis promissum seruans', signed Baltasr. Caimox ex., and Anton Eis: (c) 'Fortitudo est Fiducia et magnanimitas aut patientia et consta[n]tia', signed bc and Anton Eisen:w wfecit. 1591 (d) 'Temperantia est virtus cupiditates moderans', signed bc and Anton: Eisen: f: (e) 'Prudentia est virtus accurate perspiciens id quod in unaquaque actione decet', signed bc and Anton Eis: 1591 (f) 'Patientia est Fortitudo labores doloresque sustinens', signed bc and Anton: Eisn: (g) 'Spes unica nostra Salus, Vita, et redemptio Christus est', signed bc and Anton: Eisen f. 1591 (h) 'Charitas est justitia animos indissolubili nexu devinciens', signed bc and Anton: Eisen: . paper indistinct watermark (height 80/90 mm, an eagle?). Light stain in lower margin of two folios, otherwise perfect state of preservation. The complete series, published by Balthasar Caymox of Brabant, who had settled at Nuremberg in 1590. The impression of 'Fortitudo' seen by Hollstein was undated (our impression and the one in Berlin are dated 1591). [img-2497-left-large_default] PatienceandHope , from a series of the Virtues engraved by Anton Eisenhoit (platemarks 142 × 90 and 145 × 90 mm) These impressions are known to the writer ● Berlin, Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz 97 ● Lemgo, Weserrenaissance-Museum Schloss Brake 98 ● Münster, Landesmuseum für Kunst und Kulturgeschichte 99 ● Vienna, Graphische Sammlung der Albertina (located by Hollstein, German, viii, p.19) references Annamaria Kesting, Anton Eisenhoit, ein Westfälischer Kupferstecher und Goldschmied (Münster 1964), nos. 11-18 and figs. 27-34; Hollstein, German, viii (Amsterdam 1968), p.19 nos. 5-12 and (q.v. Caimox) in volume v (1955), p.191 nos. 11-17 (seven prints only) Bound with [ Passe, Crispijnide] Arnemuiden 1564 - 1637 Utrecht Emblems ('The cycle of the vicissitudes of human existence'). [Cologne] 1601 folio (album dimensions), suite of eight unnumbered prints (each circa 100 × 125 mm, platemarks), imposed in pairs on whole sheets of paper, gathered in two quires, and bound in on their own paper (fore-edge margins untrimmed). contents (a) 'Sedvlitas vigeat, et opvm sic copia crescet mdci' (b) 'Felix terra cvlmvltarum est copia rervm' (c) 'Gignitvr ex nimio sic foeda svperbia lvxv 1601' (d) 'Invidia alterivs rebvs macrescit opimis 1601' (e) 'Iam cvm sangvineo fvrit hev bellona flagello' (f) 'Sera bonos nvnquam ad mores via, iam resipisce 1601' (g) 'Me pietas ivvat et fidei meditatio sanctae 1601' (h) 'Divitiis frvor en mvltoque labore paratis An. mdci '. paper indistinct large eagle watermark. Superb impressions in fine state of preservation. An anonymous series of emblems, each one depicting a female personification within an oval cartouche of strapwork, grotesques, garlands, animals, human figures, fantasy figures, and mascarons. [img-2498-left-large_default] Superbia , from a series of emblems engraved by Crispijn de Passe the Elder (platemark 95 × 126 mm) 'The prints depict a kind of evolution or cycle in which one personified situation is the consequence of the preceding one: labour brings wealth, wealth pride, pride jealousy, jealousy bloody conflict, conflict poverty, poverty humility, and humility, finally, begets prosperity once again'. 100 The series is freely based on one created by Maerten van Heemskerck (1498-1574) and Maarten de Vos (1532-1603). 101 These impressions are known to the writer ● Amsterdam, Rijksmuseum, Rijksprentenkabinet, RP-P-1964-4618.4625 102 ● Berlin, Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, OS 239 103 ● Brussels, Bibliothèque Royale de Belgique, Cabinet des Estampes 104 ● Paris, Fondation Custodia 105 references Daniel Franken, L'Oeuvre gravé des Van de Passe. Catalogue raisonné (Amsterdam 1881), nos. 1220-1227; Berliner Taf.223 nos. 1-2 (Franken nos. 1222, 1227; Hollstein nos. 626, 621); Hollstein, Dutch, xv (Amsterdam 1964), p.210 nos. 619-626 (as 'Emblems'); Warncke, i, figs. 258-259 (reproducing 'Gignitvr ex nimio sic foeda svperbia' and 'Invidia alterivs rebvs macrescit opimis') Bound with Collaert, Adriaen Antwerp circa 1560 - 1618 Antwerp Avivm Vivae Icones, in aes incisae & editae ab Adriano Collardo. [Antwerp, Adriaen Collaert,circa1595] folio (album dimensions, bound along top edge, fore-edges left untrimmed), (16) ff., suite of title and fifteen unnumbered prints (130 × 190 mm, platemarks) on separate folios, retaining broad margins. contents (a) title (transcribed above); (b) Perdix - Aquila, signed Adrian. Collaert fecit et excud. (Hollstein 1421/ i); (c) Strutio - Strutio ex China, signed Adr. Collaert fecit et excud. (H. 1424/ i); (d) Ciconia - Pauo, signed Adrian Collaert fecit et excud. (H. 1425/ i); (e) Gallus cornutus - Gallus Indicus, signed Adrian Collaert fecit et excud. (H. 1423/ i); (f) Gallina Africana - Phasianus, signed Adrian Coll. fecit et excud. (H. 1428/ i); (g) Psitaci duplex genus, signed Adrian Collaert fecit et excud. (H. 1422/ i); (h) Columbus plumipes, vittatus - Picus Cinereus, signed Adrian. Collaert fecit et excud. (H. 1426/ i); (i) Falco, signed Adr. Collaert fecit et excud. (H. 1427/ i); (j) Parus syluaticus - Sturnus, signed Adr. Collaert fecit et excud. (H. 1430/ i); (k) Upupa - Acanthis, signed Adrian. Collaert fecit et excud. (H. 1434/ i); (l) Galgulus - Passer, signed Adrian. Collaert fecit et excud. (H. 1429/ i); (m) Picae glandariae genus, signed Adr. Collaert fecit et excud. (H. 1435/ i); (n) Pica glandaria - Auriuittis, signed Adrian. Collaert fecit et excud. (H. 1435/ i); (o) Alcedo - Ardea, signed Adr. Collaert f. et exc. (H. 1432/ i); (p) Pica, signed A. Collaert fecit et excud. (H. 1431/ i). paper watermark Gothic p (height 72 mm). Title and verso of last print lightly stained (suggesting that the suite circulated unbound before compilation of our album) otherwise excellent impressions in fine state of preservation. The original edition of Collaert's pattern book showing birds in landscape backgrounds, including scenes of human activities and habitations, published at Antwerp as an unnumbered suite of title and fifteen plates. Other impressions in this first state are in ● Amsterdam, Rijksmuseum, Rijksprentenkabinet, BI 326 I3; another set in the Bibliotheek, 326 I 3 ● Brussels, Bibliothèque Royale de Belgique, Cabinet des Estampes, S iv 2381-2397 ● Leiden, University Library, Bibliotheca Thysiana, THYSIA 942:3 ● London, British Library, 436 b 24 (1) 106 ● London, Wellcome Library, 7014/D ● art market 107 A second series of sixteen prints was later engraved by Collaert and an 'editio secunda' of all thirty-two plates was published by him after 1600 (the plates in the first edition are there numbered 16-32). 108 The full set of thirty-two matrices was struck again by Collaert and Theodoor Galle in partnership (before 1618), 109 by Frederick de Wit (after 1659), 110 and by Johannes Galle (the matrices are recorded in an inventory taken in 1677). references F.W.H. Hollstein, The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700: The Collaert dynasty, Partvi , compiled by Ann Diels and Marjolein Leesberg (Ouderkerk aan den Ijssel 2005), pp.123-147 nos. 1404, 1421-1435 Bound with Boillot, Joseph Langres 1546 - after 1603 New Termis Buch, Von allerley grossen vierfüssigen Thieren zugerichtet, Mit beygefügter Thieren Contrarieteten, sampt etlicher massen Beschreibungen, gantz lieblich und lustig, gleichsam als zur hande, und in einem Spiegel vorgestellet, Allen Künstlern, Werckmeistern, Maalern, Bildhauwern, Schnitzlern, Goldschmiden, Schreinern, Glasmalern, und allen Liebhabern dieser Künsten, zu sonderbaren gefallen gestellt, und ans Liecht gebracht. Strasbourg, [Antoine Bertram?], 1604 folio (album dimensions), (32) ff. signed ):( 4 A-D6 E4, unpaginated, comprising: title printed in red and black within engraved border printed from two plates, three leaves of letterpress ('Vorred An den kunstliebenden Leser'), and twenty-eight folios ornamented by fifty-five illustrations of which sixteen are woodcuts and thirty-nine engravings (latter circa 270 × 90 mm signed J. boillot). Extreme margins of some leaves stained, otherwise in fine state of preservation. [img-2499-left-large_default] TheTiger , from a collection of fifty-five zoomorphic terms intended to substitute for human figures as supports of architectural forms (woodcut and engraving eachcirca270 × 85 mm) A German version of the author's Nouveaux pourtraitz et figures de termes (Langres 1592), with its engraved title-border and text illustrations. The anonymous translator was possibly the printer Antoine Bertram, who had published an adaptation of Boillot's treatise on pyrotechnics in 1603. The extensive prefatory material of the French edition is abbreviated and the original dedication and verses eliminated. The new edition thereby becomes a pattern book, addressed to artists, foremen, painters, goldsmiths and sculptors of all kinds ('Allen Künstlern, Werckmeistern, Maalern, Bildhauwern, Schnitzlern, Goldschmiden, Schreinern, Glasmalern, und allen Liebhabern dieser Künsten'). According to an early authority, our reprint was in fact printed at Basel by Ludwig König. 111 In recent years the book has begun to attract widespread scholarly attention. 112 These copies in public collections are known to the writer 113 ● Amsterdam, Universiteit van Amsterdam, OTM: OM 63-1987 ● Berlin, Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, OS 3923 114 ● Chicago, Newberry Library, Wing folio ZP 6471.604 ● London, British Library, 1269.h.2 115 ● Munich, Bayerische Staatsbibliothek, 2 Math. a. 61 and 2 Mil. g. 77 (two copies) ● Vienna, Österreichischen National­bibliothek, 72.P.48 ● Waddesdon Manor, The National Trust, The James A. Rothschild Bequest, Acc. No. 3778 116 ● Washington, dc, National Gallery of Art, N44.B6779 A45 1604 117 ● Wolfenbüttel, Herzog-August-Bibliothek, A: 36.2 Geom. 2º (4) ('Ex. unvollständig, nur [30] Bl. Vorhanden') references Forssman pp.144-147, 240; Warncke, i, p.101, note 170 (repeating the collation of the defective Berlin copy) Bound with Vredeman de Vries, Hans Leeuwarden 1527 - 1609 Hamburg Oval architectural perspective views for intarsia work. Antwerp, Hieronymus Cock, [ circa1560-1566] folio (sheets 297 × 195 mm, slightly smaller than album dimensions, two margins left untrimmed), (22) ff., complete series of engraved dedication and twenty unnumbered prints by Joannes and Lucas Van Doetecum in first state, all except dedication plate imposed in pairs on whole sheets of paper, gathered in quires (π8 2π 14 ), and bound in on their own paper. contents (a) dedication to Count Peter Ernst von Mansfeld, subscribed Hieronÿmus Cock Pictor deuotissimo dedicabat, 210 × 160 mm platemark (Hollstein 51); (b) 160 × 211 mm platemark (H. 56); (c) 212 × 160 mm platemark, signed Vriese Invent (H. 69); (d) 162 × 212 mm platemark (H. 54); (e) 160 × 210 mm platemark, signed Vriese (H. 60); (f) 215 × 160 mm platemark (H. 68); (g) 163 × 213 mm platemark, signed Vriese Invent (H. 62); (h) blank leaf, conjugate with dedication plate (a); (i) 214 × 162 mm platemark, signed H. Cock. Excudebat Vriese Inven (H. 71); (j) 162 × 216 mm platemark (H. 55); (k) 163 × 212 mm platemark (H. 53); (l) 160 × 213 mm platemark, signed Vriese Inventor H Cock Excudebat (H. 66); (m) 162 × 212 mm platemark (H. 63); (n) 162 × 212 mm platemark (H. 67); (o) 212 × 161 mm platemark (H. 58); (p) 162 × 215 mm platemark, signed Vriese Invent Cock Excud (H. 70); (q) 162 × 215 mm platemark (H. 64); (r) 160 × 212 mm platemark Vriese Invent H Cock Excude (H. 61); (s) 162 × 215 mm platemark, signed Vriese Invento Cock excudebat (H. 65); (t) 160 × 215 mm platemark (H. 59); (u) 160 × 212 mm platemark (H. 52); (v) 161 × 212 mm platemark, signed Vriese Invent (H. 57). paper watermark Gothic p surmounted by a quatrefoil (height 55 mm). Before being bound in the album, the prints suffered insect damage to upper margins (reaching platemark of thirteen prints), however the impressions are excellent, and the state of preservation otherwise is perfect. The first of four issues of this suite, subsequently published by Theodoor Galle with title Variae Architecturae Formae (1601 and after), and by Johannes Galle (circa 1636-1640). [img-2500-left-large_default] Models of intarsia work, by Vredeman de Vries (platemarks 213 × 162 mm) These sets in first state are known to the writer ● Berlin, Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, OS 2214 118 ● Madrid, Escorial 119 ● Rotterdam, Museum Boymans-van Beuningen, Tekeningen en prenten 120 ● Vienna, Hofbibliothek, HB 56.2., fols.19-25, nos. 54-74 (reproduced by Hollstein) ● Vienna, Graphische Sammlung der Albertina 121 Janet Byrne identifies these prints as designs for intarsia work, 'probably intended for bone or ivory inlaid in an ebony cabinet'. 122 references Mielke no. vi; Timothy Riggs, Hieronymus Cock (New York 1977), no. 208; Le Temple. Répresentations de l'architecture sacrée, exhibition catalogue, Musée Nati

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         Delle Orationi recitate a Principi di Venetia nella loro creatione da gli ambasciadori di diverse città. Libro Primo. Nelle quali con grandissimo utile de' lettori si vede la forza dell'eloquenza di molti huomini illustri in una materia sola. Raccolte per Francesco Sansovino.In Venetia, (apud Franciscum Sansovinum), 1562.

      In Venetia, (apud Franciscum Sansovinum) 1562 - Cm. 21, cc. (4) 112. Marca tipografica al frontespizio, graziose testatine e bei capilettera xilografici. Ottima legatura coeva in pergamena morbida con titoli ms. al dorso e al taglio di piede. Qualche sporadica e trascurabile macchietta, esemplare fresco e ben conservato. Francesco Sansovino (1521-1583), letterato e poligrafo, fu al centro della vita culturale del Cinquecento italiano. Fu autore, curatore o traduttore di ben 93 opere in meno di trent'anni di produzione letteraria. Quest'opera raccoglie le orazioni degli ambasciatori a Venezia (Vicenza, Udine, Capo d'Istria, Belluno, Bergamo, Crema, Pirano, Rovigo, Lendenara, Adria, Chioggia, Servarolo, Cavargere, Verona, Brescia, Feltre e Parma) all'atto degli insediamenti dei nuovi dogi. Il curatore prevedeva un seguito che però non fu mai edito. Edizione originale. Cfr. Iccu. [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Apuleio]
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         Geographia

      Venise, 1562 - Plein maroquin chocolat, dos à nerfs, titre, auteur, lieu et date dorés, double filet doré sur les coupes, dentelle intérieure, double filet doré sur les coupes, tranches dorées. [S. DAVID]. [4]ff, 112pp, 286pp, [32]ff index. Texte seul, en deux parties, sans les 64 planches de cartes.Belle édition XVIe avec lettrines, figures in-texte gravées sur bois qui regroupe l'essentiel des connaissances géographiques, historiques et topographiques générales du milieu du XVIe siècle. Accompagné d'un important index qui facilite la consultation de l'ouvrage.Exemplaire de la Bibliothèque de Louvain, avec un ex-libris manuscrit sur la page de titre. Exemplaire lavé. Infimes frottements à un coin et à la coiffe supérieure. [Attributes: Hard Cover]

      [Bookseller: Librairie Gaëlle Cambon]
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         De concilio liber.

      Romae: Apud Paulum Manutium Aldi F., 1562. 4to (21 cm; 8.25"). [8], 64 ff. The first Aldine published at Rome, here in its earlier state with errata on S4r: It is printed in roman type with marginal notes, with guide letters in initial spaces, and => with the famous anchor and dolphin device at large size on both the title-page and the final one. At Rome the Aldine press was essentially an extension of the papacy, which capitalized on its fame to disseminate, with great cachet, Vatican-approved texts in the publication war that was such an integral part of the Protestant and Catholic Reformations.    Among the very few English writers that the Aldine press published was Cardinal Pole (1500–58), who served as the papal legate to England during Mary's brief reign and participated in the Council of Trent. In addition to Pole's De concilio, which consists of a series of questions and answers about the Catholic faith with numerous scriptural references, this offering contains a lengthy preface from Paulus Manutius to Pope Pius IV, a foreword addressed to Giovanni Maria Cardinal del Monte and Marcello Cardinal Cervini (later Pope Julius III and Pope Marcellus II), and a lesser-known work by Pole entitled De baptismo Constantini Magni imperatorus.    Binding: 19th-century calf, spine compartments elegantly stamped in gilt and now lettered in blind where a label once lay; covers bordered with a gilt rule, board edges with an attractive gilt roll. Marbled endpapers and all edges speckled brown.    Evidence of Readership: About a fifth of the pages have been underlined or marked in early ink.    Provenance: Early ownership signature of R.P.D. Thomas de Perusio Abb. and large handsome old rubber-stamp of the Bib. M. Morcini de Perusia (i.e., Monastero di Monte Morcino. Biblioteca, Perugia, Italy) on title-page; most recently in the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.         Adams P1744; Renouard, Alde, p. 185, no. 3; UCLA, Aldine Press: Catalogue of the Ahmanson-Murphy Collection (2001), 672. On the Aldine press at Rome, see: Curt Buhler, "Manutius and his first Roman printings," Papers of the Bibliographical Society of America, 46, pp. 209–14. Bound as above, rubbed and refurbished, paper of the hinges (inside) cracked and front top joint (outside) starting but covers firmly attached. Bookplate on front pastedown overlain by a label covering its information; some ink dots to fore-edge occasionally running into margins. Provenance and readership markings as above. Light to moderate age-toning, especially along foremargins, very small hole affecting title-page and first three leaves of text. => Interesting Aldine imprint of the Counter-Reformation.

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         Johan complaining under the gourd [Jon. 4:1-11]

      Johan complaining under the gourd. Signed and dated at lower right:'MHemskerck inuen (MH interlaced) / .p. galle fecit / .H. Cock excudebat 1562'two lines of Latin text below:'Natura et clementia Dei.... proximorum demonstratur'. Engraving on paper with margins; platemark: 153 x 262mm, total: 190 x 301mm; state I/2, New Hollstein 74

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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         Assertio septem sacramentorum Adversus Mart. Lutherum, Henrico VIII. Anglia Rege auctore. Cui subnexa est Eiusdem Regis epistola, Assertionis ipsius contra eundem defensoria. Accedit quoque R. P. D. Iohan. Roffen. Episcopi contra Lutheri Captivitatem Babylonicam, Assertionis regiae defensio.

      Parisiis (Paris), Gulielmum Desboys, 1562. . 24mo (12x8.5 cm). Pp. 130 double-pages i.e. 260, (11). Woodcut initials, shoulder notes. Hardcover, bound in near contemporary speckled full calf, spine with raised band, gilt mahogany morocco lettering-piece to second compartment, rich gilt tooling in remainders, gilt tolled edges, marbled endpapers, all edged sprinkled red. In fine condition. A precious little copy, spotless interior. ~ First edition of this Paris edition. First published 1521. The King's, or rather the royal theologian's reply to the Babylonian Captivity. On his work he received from the pope the title "Defender of the Faith". The Captivity marked Luther's final and irreparable break with the Church of Rome. Extremely rare.

      [Bookseller: Librarium of The Hague]
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         LA BIBLE QUI EST TOUTE LA SAINCTE ESCRITURE CONTENANT LE VIEL ET LE NOUVEAU TESTAMENT : OU LA VIEILLE ET NOUVELLE ALLIANCE. QUANT EST DU NOUVEAU TESTAMENT, IL A ESTE REVEU ET CORRIGE SUR LE GREC, PAR L'AVIS DES MINISTRES DE GENEVE. AUSSI AVEC LES FIGURES, ON A ADJOUTE DES ANNOTATIONS FORT AMPLES SUR TOUTE LA BIBLE. LE NOUVEAU TESTAMENT C'EST À DIRE LA NOUVELLE ALLIANCE DE NOSTRE SEIGNEUR IESUS CHRIST. REVEU DE NOUVEAU & CORRIGE SUR LE GREC PAR L'ADVIS DES MINISTRES DE GENEVE. AVEC ANNOTATIONS REVEUES & DE NOUVEAU AUGMENTEES. LES PSAUMES MIS EN RIME FRANÇOIS PAR CLÉMENT MAROT ET THÉODORE DE BÈZE

      FRANÇOIS JAQUY & FRANÇOIS PERRIN 1562 - Édition illustrée extrêmement rare mais avec manques et altérations : - Partie I : Manque page de titre + 4 feuillets liminaires et ff 7;33;133. sur (4)-349- ff. Nous trouvons 18 figures sur bois en 2 dimensions (7x9 et 9x14 cm). - Partie II : Manque page de titre, 1 lettrine découpée folio 21 (environ 5x5 cm) occasionnant un dommage recto/verso. Complet des (86) ff. - Partie III : Manque page de titre, folio 1, lettrines découpées aux ff 2;22;76 occasionnant dommages recto/Verso. Complet des -100- feuillets. - Il s'ensuit "Recueil d'aucuns mots et manières de parler difficiles du Nouveau Testament./ Indice ou table des choses es livres tant du Vieil que du Nouveau testament(16) ff = complet - Dernière partie "LES PSAUMES MIS EN RIME." soit (25) feuillets sur (42). Volume cousu sur doubles nerfs, cartons d'époque mais peau absente. Salissures, parfois déchirures, mouillures, manques de ci de là. Exemplaire modeste, à restaurer mais d'une insigne rareté. Chambers In French Bibles 15/16 th n°285, Adams B 1139 [Attributes: Hard Cover]

      [Bookseller: GABALIS]
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         Opusculum perpetua memoria dignissimum, De natura magnetis, et eius effectibus ...

      Cologne: Johann Birkmann, 1562. First edition, extremely rare, of the second printed work on magnetism, preceded only by the Epistola de magnete of Peregrinus (1558), which is virtually unobtainable. Taisnier's work is, in fact, a plagiarism of Peregrinus (fl. 13th century), which it reprints verbatim, and of the equally rare Demonstratio proportionum motuum localium (1554) of Benedetti (1530-90), which anticipates Galileo's theory of falling bodies. "The Epistola ranks as one of the most impressive scientific treatises of the Middle Ages. Not only did Peregrinus bring together virtually all the relevant, contemporary knowledge on magnetism, he added to it and, of the greatest importance, organized the whole into a science of magnetism. He formulated rules for the determination of magnetic polarity, which then enabled him to enunciate rules for attraction and repulsion, all of which would today form the basis of an introductory lesson on magnetism. As the two magnetic compasses and perpetual motion devices for clock and wheel testify, Peregrinus was also seriously concerned with the practical application of magnetic force. The subsequent influence of his treatise was considerable. The existence of at least thirty-one manuscript versions of it bears witness to its popularity during the Middle Ages. Of greater significance, however, was its eventual impact on Gilbert, who, in his famous De Magnete (1600), built upon the solid empirical rules on magnetic polarity and induction formulated by Peregrinus more than three centuries earlier" (DSB). Benedetti's Demonstratio sets forth his "buoyancy theory of fall" [which] is in many respects identical with that which Galileo set forth in his first treatise De motu, composed at Pisa about 1590 but not published during his lifetime" (DSB). Taisnier's work enjoyed greater circulation than either of the works on which it is based, and thus assisted greatly in the diffusion of their ideas. Johannes Kepler used Taisnier's book when developing his theory of a magnetic force emanating from the Sun which drives the planets in their orbits (see DSB VIII, 295), and it was through Taisnier's book that Benedetti's ideas were transmitted to the Collegio Romano (Encyclopedia of the Scientific Revolution, p. 128). This is the only complete copy of Taisnier's work listed on ABPC/RBH (the remaining five all lack the leaf at the end with the author's portrait); the Andrade copy (in modern vellum, lacking the portrait leaf) sold for $1400 in 1965. Only the Honeyman copy of Peregrinus has sold in the last 80 years (£11,000 in 1980), and only the Macclesfield copy of Benedetti (part of a sammelband). Provenance: 'Est Zacharia Caimi' (early title inscription); John Crerar Library, Chicago (bookplate and binding). We have not been able to identify the early owner, but he seems to have owned a significant library: the same inscription can be found in a copy of Della Porta's De Humana Physiognomonia (1586) currently being offered in the trade, and in a copy of Swineshead's Calculationes (1520) held by the Thomas Fisher Library at Toronto. "Of the early years of Peregrinus nothing is known save that he studied probably at the University of Paris, and that he graduated with the highest scholastic honors. He owes his surname to the village of Maricourt, in Picardy, and the appellation Peregrinus, or Pilgrim, to his having visited the Holy Land as a member of one of the crusading expeditions of the time. In 1269 we find him in the engineering corps of the French army then besieging Lucera, in Southern Italy, which had revolted from the authority of its French master, Charles of Anjou. To Peregrinus was assigned the work of fortifying the camp and laying mines as well as of constructing engines for projecting stones and fireballs into the beleaguered city. "It was in the midst of such warlike preoccupations that the idea seems to have occurred to him of devising a piece of mechanism to keep the astronomical sphere of Archimedes in uniform rotation for a definite time. In the course of his work over the new motor, Peregrinus was gradually led to consider the more fascinating problem of perpetual motion itself with the result that he showed, at least diagrammatically, and to his own evident satisfaction, how a wheel might be driven round forever by the power of magnetic attraction. Elated over his imaginary success, Peregrinus hastened to inform a friend of his at home; and that his friend might the more readily comprehend the mechanism of the motor and the functions of its parts, he proceeds to set forth in a methodical manner all the properties of the lodestone, most of which he himself had discovered ... The letter was addressed from the trenches at Lucera, Southern Italy, in August, 1269, to Sigerus de Foucaucourt, his "amicorum intimus," the dearest of friends ... "An analysis of the Epistola shows that (1) Peregrinus was the first to assign a definite position to the poles of a lodestone, and to give directions for determining which is north and which south; (2) He proved that unlike poles attract each other, and that similar ones repel; (3) He established by experiment that every fragment of a lodestone, however small, is a complete magnet, thus anticipating one of our fundamental laboratory illustrations of the molecular theory; (4) He recognized that a pole of a magnet may neutralize a weaker one of the same name, and even reverse its polarity; (5) He was the first to pivot a magnetized needle and surround it with a graduated circle; (6) He determined the position of an object by its magnetic bearing as done today in compass surveying; and (7) He introduced into his perpetual motion machine the idea of a magnetic motor, a clever idea, indeed, for a thirteenth century engineer. This rapid summary will serve to show that the letter of Peregrinus is one of great interest in physics as well as in navigation and geodesy. For nearly three centuries, it lay unnoticed among the libraries of Europe, but it did not escape Gilbert, who makes frequent mention of it in his De Magnete (1600); nor the illustrious Jesuit writers, Cabasus [Cabeo], who refers to it in his Philosophia Magnetica (1629), and Kircher, who quotes from it in his De Arte Magnetica (1641); it was well known to Jean Taisnier, the Belgian plagiarist, who transferred a great part of it verbatim to the pages of his De Natura Magnetis (1562), without a word of acknowledgment. By this piece of fraud, Taisnier acquired considerable celebrity, a fact that goes to show the meritorious character of the work which he unscrupulously copied" (Introduction to the English translation). "If Peregrinus' attempt to apply magnetic force to perpetual motion was misconceived, his use of it in the improvement of the compass was surely not. He described two compasses, one wet and one dry. The first (pt. 2, chap. 1), a floating compass, represents a considerable improvement over those that had been in use ... With this instrument, perhaps the first mariner's compass with divisions, not only could the direction of a ship be determined, but also the azimuth of the sun, moon, and stars ... The second compass (pt. 2, chap. 2), dry and pivoted, was deemed by Peregrinus an improvement over the floating compass ... Peregrinus appears to have been the first to describe such a compass" (DSB). "Benedetti's first important contribution to the birth of modern physics was set forth in the letter of dedication to his Resolutio [omnium Euclidis problematum aliorum. ad hoc necessario inuentorum, 1553]. The letter was addressed to Gabriel de Guzman, a Spanish Dominican priest with whom he had conversed at Venice in 1552. It appears that Guzman had shown interest in Benedetti's theory of the free fall of bodies, and had asked him to publish a demonstration in which the speeds of fall would be treated mathematically ... His demonstration was based on the principle of Archimedes, which probably came to his attention through Tartaglia's publication at Venice in 1551 of a vernacular translation of the first book of the Archimedean treatise on the behavior of bodies in water. Benedetti's "buoyancy theory of fall" is in many respects identical with that which Galileo set forth in his first treatise De motu, composed at Pisa about 1590 but not published during his lifetime. "Although no mention of Benedetti's theory has been found in books or correspondence of the period, lively discussions appear to have taken place concerning it, some persons denying the conclusion and others asserting that it did not contradict Aristotle. In answer to those contentions, Benedetti promptly published a second book, the Demonstratio (1554), restating the argument and citing the particular texts of Aristotle that it contradicted. In the new preface, also addressed to Guzman, Benedetti mentioned opponents as far away as Rome who had declared that since Aristotle could not err, his own theory must be false ... "Two editions of Benedetti's Demonstratio, which was by no means a mere republication of the Resolutio, appeared in rapid succession. The first edition maintained, as did the Resolutio, that unequal bodies of the same material would fall at equal speed through a given medium. The second edition stated that resistance of the medium is proportional to the surface rather than the volume of the falling body, implying that precise equality of speed for homogeneous bodies of the same material and different weight would be found only in a vacuum. This correction of the original statement was repeated in Benedetti's later treatment of the question in Speculationum (1585). "Benedetti's original publication of his thesis in 1553 was designed to prevent its theft; perhaps he had in mind the fate of Tartaglia's solution of the cubic equation a few years earlier. But even repeated publication failed to protect it, and indeed became the occasion of its theft. Jean Taisnier, who pirated the work of Petrus Peregrinus de Maricourt in his Opusculum ... de natura magnetis (1562), included with it--as his own--Benedetti's Demonstratio. Taisnier's impudent plagiarism enjoyed wider circulation than Benedetti's original, and was translated into English by Richard Eden about 1578. Simon Stevin cited the proposition as Taisnier's when he published his own experimental verification of it in 1586. But since Taisnier had stolen the Demonstratio in its earlier form, he was criticized by Stevin for the very fault which Benedetti had long since corrected in the second Demonstratio of 1554. Taisnier's appropriation of his book ultimately became known to Benedetti, who complained of it in the preface to his De gnomonum (1574). The relatively small circulation of Benedetti's works is evidenced by the fact that it was not until 1741 that general attention was first called to the theft, by Pierre Bayle" (DSB). Jean Taisnier (1508-62) was a mathematician, philosopher, musician, astrologer and author of several books, among which are, as well as the present work, Astrologiae (1559), De usu annuli sphaerici (1550) and Opus mathematicum (1562). He travelled throughout Europe and a great part of Africa, Asia and America, collecting, he says, the views of the most expert men wherever he went. He taught at the universities of Rome, Ferrara, Venice, Padua, Florence and Palermo. Between 1530 and 1550 he was a member of the court of Emperor Charles V. He retired to Germany after the Emperor's death, where he became choirmaster to the archbishop of Cologne, to whom the present work is dedicated. Wheeler Gift 53. The letter of Petrus Peregrinus on the magnet, A.D. 1269 (New York, 1904). Small 4to (187 x 138 mm), pp. [iv], 84, [1]. Device on title, woodcut portrait of the author on title verso and on recto of final leaf, illustrations, diagrams and initials in woodcut (title with two faint water-stains, browning and marginal light water-staining throughout, ink from title inscription showing through to portrait on verso, short tear in outer margin of K2). Modern blue panelled calf gilt, gilt library stamps on front cover.

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         Assertio septem sacramentorum Adversus Mart. Lutherum, Henrico VIII. Anglia Rege auctore. Cui subnexa est Eiusdem Regis epistola, Assertionis ipsius contra eundem defensoria. Accedit quoque R. P. D. Iohan. Roffen. Episcopi contra Lutheri Captivitatem Babylonicam, Assertionis regiae defensio.

      Parisiis (Paris), Gulielmum Desboys 1562 - 24mo (12x8.5 cm). Pp. 130 double-pages i.e. 260, (11). Woodcut initials, shoulder notes. Hardcover, bound in near contemporary speckled full calf, spine with raised band, gilt mahogany morocco lettering-piece to second compartment, rich gilt tooling in remainders, gilt tolled edges, marbled endpapers, all edged sprinkled red. In fine condition. A precious little copy, spotless interior. ~ First edition of this Paris edition. First published 1521. The King's, or rather the royal theologian's reply to the Babylonian Captivity. On his work he received from the pope the title "Defender of the Faith". The Captivity marked Luther's final and irreparable break with the Church of Rome. Extremely rare.

      [Bookseller: Librarium of The Hague]
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         Paesaggio con villaggio e castello

      1562 - Acquaforte e bulino, circa 1562. Della serie Paesaggi con scene di villaggi, da disegni di Hans Bol. Esemplare nel secondo stato di due, con il numero 9 aggiunto. Bellissima prova, impressa su carta vergata coeva con filigrana "scudo con stemma", rifilata al rame o con sottili margini, in ottimo stato di conservazione. La serie consta di 12 paesaggi, tutti tratti da disegni di Bol. Pubblicati per la prima volta da Hieronimus Cock ad Anversa, sono ristampati in seguito da Hendrick Hondius a L’Aia. Rara. Etching with engraving, circa 1562. From the Landscapes with scenes of villages, after drawings by Hans Bol. Example In the second state of two, with the number 9 added. Beautiful proof, printed on contemporary laid paper with watermark "shield with coat of arms", trimmed to the copperplate or with thin margins, in excellent condition. The series consists of 12 landscapes, all taken from drawings of Bol. Published for the first time by Hieronymus Cock in Antwerp, are reprinted later by Hendrick Hondius in The Hague. Rare. Hollstein pp. 55/63, 229 II/II. Dimensioni 320x223. Dimensioni [Attributes: Soft Cover]

      [Bookseller: Libreria Antiquarius]
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         The accedens of Armory

      London, R. Totell, 1562. 12o, 19th century full leather. Some writing in ink on the title page, a few annotations in the margins. Cut short, with some loss. Exlibris of Daniel de Bruin. (18)+464 (numbered 1-232) + (6) pag. Illustrated with a woodcut title (coat-of-arms partly hand coloured), 2 full page woodcuts in the text and numerous woodcuts of coats-of-arms in the text. This first edition does not have the folding Hercules plate. Gerard Legh (?-1563) produced only one publication, of which this is the first edition (later editions 1568, 1572, 1576, 1591, 1597, and 1612). This indicates the wide popularity of the book, probably the most read heraldic work in the 16th century. It is written in form of a colloquy between ‘Gerarde the Herehaught and Legh the Caligat Knight.' Richard Argall of the Inner Temple supplied a prefatory address and probably part of the latter passages of the book. In endeavouring to explain the art of heraldry, Legh is purposely obscure from fear of trenching on the official privileges of the College of Arms. The work supplies what appears to be a portrait of Legh himself in the fictitious character of 'Panther Herald'. The author died of the plague on 13 October 1563, and was buried on the 15th at St. Dunstan-in-the-West, where a monument was erected to his memory. H79

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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         Quaestiones CXI Perutiles, Quotidianaeque, Super Statuto de Lucro..

      1562. Roman Laws Concerning Dowry Della Valle, Rolando. Quaestiones CXI Perutiles, Quotidianaeque, Super Statuto de Lucro Dotis, Ad Communem Omnium Utilitatem Editae, Et Copiosissimo Indice Instructae. Venice: Apud Franciscum Bindonum, 1562. [lxiv], 349, [3] pp. Octavo (5-3/4" x 4"). Recent paper-covered boards, gilt-stamped calf lettering piece to spine. Light soiling, some rubbing to extremities, corners bumped. Moderate toning to text, light foxing in a few places, small faint stains to a few leaves, light soiling to title page. $1,250. * Third edition. This humanistic treatise on the Roman marriage law concerning dowry by a noble and state official from Montferrat appears to have been a well-received book. First published in 1559, it went through four more editions, the last in 1567. All editions are scarce. OCLC locates 5 copies in North America, 2 in law libraries (Harvard, University of Minnesota), none of the third edition. Censimento Nazionale Delle Edizioni Italiane del XVI Secolo CNCE16597.

      [Bookseller: The Lawbook Exchange, Ltd.]
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         Liber canonis. De medicinis cordialibus. Cantica. De removendis nocumentis in regimine sanitatis. De syrupo acetoso.

      Venice, heirs of Lucantonio Giunta, 1562. - Folio (260 x 370 mm). 2 vols. (6), 590 (but: 592), 20, 76 ff. With woodcut device on title, colophon and index, a nearly full-page woodcut diagram of the ocular anatomy (fol. 406v), two full-page woodcuts with a total of six illustrations showing the practice of osteopathy (fols. 480f.), and 5 small woodcuts of plants and anatomical instruments in the glossary of Andreas Bellunensis. Modern vellum bindings preserving much of the old material for covers, entirely rebacked, on 3 raised bands. Rare, early 16th-century edition of "the most famous medical text ever written" (Garrison/M. 43). Giunta's was the first edition ever to contain illustrations (six meticulous woodcuts of a physician performing chiropractic treatments, as well as a diagram of the human eye anatomy). Includes Giulio Palamede's general index added in 1557 with a separate title page. - Ibn Sina's "Keta-b al-qanun fi'l-tebb" ("Canon of Medicine"), written in Arabic but widely translated throughout the Middle Ages and the basis of medical training in the West as late as the mid-17th century. Finished in 1025, the Qanun is divided into 5 books, devoted to the basic principles of medicine, the Materia Medica (listing about 800 drugs), pathology, diseases affecting the body as a whole and finally the formulary. - Ibn Sina (c. 980-1037), in the West known by his Latinized name Avicenna, was physician to the ruling caliphs. The influence of his Qanun can hardly be overestimated. Translated into Latin in the 12th century, it became a standard textbook of Galenic medicine, influencing many generations of physicians. "From the early fourteenth to the mid-sixteenth century Avicenna held a high place in Western European medical studies, ranking together with Hippocrates and Galen as an acknowledged authority" (Weisser). "[T]he final codification of all Greco-Arabic medicine. It dominated the medical schools of Europe and Asia for five centuries" (Garrison/M. 43). - Occasional worming and dampstaining throughout, light soiling to a few leaves. Handwritten ownership, dated 1660, on title page (Frater Ferdinandus de Regaddini, gift of the physician Giovanni Battista de Sardi of Cremona); a few annotations by the same hand. Stamps of the Biblioteca degli Israeliti di Mantova. Edit 16, CNCE 3550. Durling 387f. M. H. Fikri, Heritage Library, Scientific Treasures, p. 57, no. 23. This edition not in Adams or BM-STC Italian. Cf. Norman 1590; PMM 11. [Attributes: First Edition]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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         Geographia Cl. Ptolemaei Alexandrini Olim a Bilibaldo Pirckheimherio translata, at nunc multis codicibus graecis collata, plurisque in locis ad pristinam ueritatem redacta a Iosepho Moletio Mathematico.

      Vincenzo Valgrisi, Venice 1562 - 4to. Vellum binding. 4 unnum., 112 pp; 286 pp., 1 blank, 64 double page engraved maps, 32 unnumm. pp.; with woodcut printer’s mark on title, ornamental woodcut initials, a few woodcut diagrams and as well tables in text. Illustrated with sixty-four double page fine engraved maps, throughout in strong and excellent impressions. A very well internally preserved copy, throughout all engraved maps are in very good impressions on crisp excellent paper. Some of the maps, outside the image in the lower blank margins near the guards, with small worm holes in the paper. Contemporary vellum binding of the period, gilt letter-title on spine, the covers, spine and corners slightly worn, the front cover with soiling near the lower edge, else very good. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Reinhold Berg eK]
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         The accedens of Armory.

      - London, R. Totell, 1562. 12o, 19th century full leather. Some writing in ink on the title page, a few annotations in the margins. Cut short, with some loss. Exlibris of Daniel de Bruin. (18)+464 (numbered 1-232) + (6) pag. Illustrated with a woodcut title (coat-of-arms partly hand coloured), 2 full page woodcuts in the text and numerous woodcuts of coats-of-arms in the text. This first edition does not have the folding Hercules plate. Gerard Legh (?-1563) produced only one publication, of which this is the first edition (later editions 1568, 1572, 1576, 1591, 1597, and 1612). This indicates the wide popularity of the book, probably the most read heraldic work in the 16th century. It is written in form of a colloquy between ‘Gerarde the Herehaught and Legh the Caligat Knight.’ Richard Argall of the Inner Temple supplied a prefatory address and probably part of the latter passages of the book. In endeavouring to explain the art of heraldry, Legh is purposely obscure from fear of trenching on the official privileges of the College of Arms. The work supplies what appears to be a portrait of Legh himself in the fictitious character of 'Panther Herald'. The author died of the plague on 13 October 1563, and was buried on the 15th at St. Dunstan-in-the-West, where a monument was erected to his memory. H79

      [Bookseller: Antiquariaat A.G. van der Steur]
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         CANDIDO LECTORI. HAEC est illa insignis insula creta, in medio ponto sita, centum urbibus clara, ab incolis iam curete dicta: hodie Candia dicitur: Venetorum reip parens imperio cuius circuitus octo et quinquaginta supra quigenta miliaria habet longitudo, ducenta septuaginta latitudo, quinquagi[n]ta nullum in èa noxium èst animal. vino optimo quod vulgo malvasia vocatur nobilis. vale. VENETIAE. M.D.LXII. Ferrandus bertellus. Exc.

      Bertelli Ferrando, 1562. Incisione in rame, mm 174x245, firmata in basso a destra sotto al cartiglio Marius cartarus fecRara carta "lafreriana" di Creta pubblicata dall'editore Bertelli. Stato unico. Stato di conservazione perfetto ma con margine sup. anticamente rifilato e successivamente rimarginato per dividere la carta di Creta dall'analoga di Cipro, stampate sullo stesso foglio.La carta della tipografia Bertelli dell'isola di Creta è realizzata in collaborazione con l'incisore viterbese Mario Cartaro. L'opera è, dal punto di vista cartografico, un'esatta replica della carta romana di Sebastiano dal Re, con misure leggermente ridotte. La forma del mare è quella più consona alle carte del periodo, mentre la toponomastica e l'orografia ricalcano fedelmente il prototipo. L'opera si trova spesso stampata in un solo foglio con l'analoga carta dell'isola di Cipro, sempre incisa dal Cartaro, della stessa tipografia. La carta è altresì inserita nell'esemplare del Civitatutm Aliquot insignorum et locor[um] di Ferrando Bertelli conservato all'Università di Helsinki. (Bifolco-Ronca, "Cartografia e topografia italiana del XVI secolo. Catalogo ragionato delle opere a stampa" (scheduled for february 2018). Nordenskiöld (1981): n. 12(19); Tooley (1939): n. 175; Zacharakis (1992): n. 222; Zacharakis (2004): n. 14a; Zacharakis (2009): n. 353

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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         La Bibia, che si chiama Il vecchio Testamento, nuouamente tradutto in lingua volgare secondo la verità del testo Hebreo ... Quanto al nuouo Testamento è stato riueduto e ricorretto secondo la verità del testo Greco....

      [Geneva]: Stampato Appresso Francesco Durone, 1562. 4to (26.2 cm; 10.375'). [6] ff., 465 (i.e., 467), [1], 110, [18] ff., [1] folding plt. (facsim), [1] folding table (facsim); illus. A much revised edition of Brucioli's Old Testament married to Massimo Teofilo's New Testament, printed for Genevan Protestant refugees and meant to be spirited into Italy for crypto-Protestants. Darlow and Moule note that "this edition closely resembles certain contemporary French and English Bibles printed at Geneva. The woodcuts are the same as those in the French Bible of 1560 printed by Antoine Rebul . . . , and the type is that of the English Geneva Bible of 1560." Of the two variations described in Darlow and Moule, this copy is variant A, meaning that the N.T. has marginal notes similar to those of the rest of the text; Darlow and Moule also tell us that "[t]his revision. . . has been ascribed to Filippo Rusticio, or Rustico."    The work offers a handsome printer's device on its title-page, along with => 24 in-text woodcuts of various sizes, all located in the Old Testament, and a folding plate, "La forma de la restauration del Tempio." A second folding plate contains a table of the passion timeline. At the end of the edition's O.T. is a two-page commentary on "Lo stato dei giudei sotto la monarchia dei Romani," i.e., the state of the Jews in [ancient] Rome.         Adams B1198; Darlow & Moule 5592. For more on Italian editions of the Bible, see: Pelikan, The Reformation of the Bible; the Bible of the Reformation, p. 60. 18th-century vellum over boards with narrow yapp edges, spine ruled in gilt, covers framed in gilt with gilt arabesque centerpiece, remnants of green silk ties; small sticker on spine, front joint just starting, pastedowns lost with turn-ins starting to warp and fly-leaves (due to this) tattered at edges. Light pencilling/inking on inside front board, and evidence of bookplate no longer present. Age-toning variously with light, often very faint waterstaining to most bottom corners; signature on title-page, a few worn edges or unevenly trimmed leaves, one repaired corner, occasionally a spot, and a number of leaves creased across lower outer corner. Folding plate and folding table both in excellent facsimile, laid in. => A sturdy, affordable copy of this beautiful book.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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         Descrittione del Ducato di Savoia Novamente posto Novamente posto in luce in Venetia L'anno M.DC

      Copper engraving, mm 320x435. Rarissimo terzo stato di una pietra miliare della cartografia della Savoia, a lungo considerata la prima carta a stampa della regione, finchè nel 1903 non si scoprì un esemplare della rarissima carta di Gilles Boileau de Buillon del 1556. Forlani copia questa carta operando piccole variazioni alla toponomastica. Il primo stato viene pubblicato nel 1562, poi la lastra viene stampata da Bertelli che aggiunge la nota "Ferando Bertelli Libraro exc"; il nostro esemplare presenta la nota "Donato Rasciotti forma" mentre la precedente è cancellata; la data diventa MDC. Esiste poi un ulteriore quarto stato in cui viene abrasa la firma di Rasciotti sostituita da "F. Valeggio forma" Ottimo esemplare a pieni margini originali. Aliprandi, Le grandi alpi nella cartografia, vol 1, pag 163; lago, Imago Mundi et Italiae, pag 250; Meurer, Strabo illustratus atlas, n. 69; Woodward, Paolo Forlani, n. 17; Bifolco-Ronca, Cartografia rara italiana: XVI secolo, n. 42; Valerio, L'Italia e le sue regioni, pag. 32-33

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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         Martyrologium. Der Kirchen Kalender, darinnen angezeigt werden die Christlichen Feste und Heiligen Gottes [.].

      Dillingen, Sebald Mayer, 1562. - 4to. (16), 400 ff. Title page printed in red and black. Mit 73 (1 full-page) woodcuts in the text. Contemp. blindstamped pigskin over wooden boards with bevelled edges on 3 double bands and with 2 functional clasps. First edition of this collection of Acts of the Saints by the famous Jesuit scholar. The woodcuts show famous saints; a full-page, nine-part gallery is provided at the end of the preliminaries. - Slightly browned and fingerstained throughout; tear to title repaired. The finely blind-tooled binding is severely rubbed and stained, with minor damage to extremeties. From the library of the Tyrolean theologian Johann Stadler from Hall near Innsbruck (his autogr. ownership to t. p.; his engraved bookplate with autogr. ownership, dated 1612, on front pastedown); endpapers show various notes and indices in his hand. Another engraved bookplate (on the lower cover, c. 1700) shows that the book later passed to the Ritter Waldauf Library in Hall. The Imperial Protonotary Florian Waldauf (also: Baldauf; c. 1450-1510; in 1495 countersignatory to the preliminary contract of the Habsburg-Spanish double wedding) and his wife Barbara founded a chapel, a collection of relics, and a ministry for the Hall parish church. As steward of the Waldauf endowment, the City of Hall was responsible for the donations "das alle jar etliche puecher nach anzaigen des predigers zum predigambt gekauft und in der heiligen capellen liberei an ketten gehangen und versorgt werden"; furthermore, the library was directed to acquire books from the estates of religious figures. Contrary to the Waldauf decree, the library was hardly enlarged by systematic purchases, but mainly through the incidental acquisition of books and endowments, primarily from clergymen, monasteries, and schools. The most famous previous owner was Johannes Eck. "After 400 years of existence and only occasional growth, interest in the survival of the Ritter-Waldauf-Bibliothek seemed to dwindle away. In addition, endowment possibilies dropped off completely during the First World War. During the Second World War an unknown number of valuable manuscripts and prints were handed out to private individuals in Hall, in order to secure them from impoundment by the National Socialists. After the War, however, not one of these books was returned" (cf. Hdb. der hist. Buchbestände in Dtl.). VD 16, C 712. BM-STC German 596. IA 131.082. De Backer/Sommervogel II, 669, 11. Bucher 166. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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         Wider de(n) Sauffteufel, gebessert, vnd an vilen örtern gemehret. Item, Ein Sendtbrieff daß Hellischen Sathans, an die Zuetrincker, vor 45 Jaren zuvor außgegangen. Item, Ein Sendtbrieff Matthei Friderichs, an die vollen Brüder in Teutschem Land. Anno 1562.

      Franckfurt am Mayn, bey Weygand Han und Georg Raben (Frankfurt am Main, Weigand Han u. Georg Rab d. Ä.) 1562. - V16 F 2776. Vgl. BM German Books 321. Wurzbach 33,24ff. ? sehr seltenes Sammelwerk, enthaltend drei, im 16. Jh. in verschiedenen Ausgaben in Umlauf gebrachte, Traktate gegen den übermäßigen Alkoholgenuss, darunter eines der bekanntesten dieser Zeit, ?Wider den Saufteufel? des evangelischen Pfarrers Matthäus Friderich (um 1510-1559), ?Ein Sendbrief an die vollen Brüder? vom selben Autor und ?Ein Sendbrief des Höllischen Satans an die Zutrinker? des, u. a. juristisch tätigen, humanistisch gesinnten Freiherrns Johann v. Schwarzenberg (1463-1528). Diese Ausgabe nicht bei BM German Books u. Adams. Kl.8°. Titelbl., 99 nn. Bll., 25 unbedruckte Bll. (hellblaues Vorsatzpapier), Titelblatt in Rot- u. Schwarzdruck mit e. Titelblattillustration in Holzschnitt, Initialen u. e. Schlussvignette. Gut erhaltener neuerer Halbpergamentband, Rückenschildchen goldgeprägt, Einbanddeckel marmoriert, Buchschnitt blau gesprenkelt, gering berieben. Seiten gut erhalten, nur schwach gebräunt u. fast fleckenlos. Mit älteren handschriftlichen bibliographischen Angaben am vorderen fliegenden Vorsatzblatt verso.

      [Bookseller: Antiquariat Löcker]
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         Der Gerichtlich Proceß, Auß geschribenen Rechten, und nach Gemeynen, im Heyligen Reich Teutscher Nation, gebrauch, und übung. Erstlich die Practic Gerichtlicher Terminen [...]. Zum andern die Theorica [...].

      Frankfurt a. M., Christian Egenolff Erben, (1562). Fol. Titel in Rot u. Schwarz mit einer breiten Holzschn.-Bordüre von Hans Sebald Beham u. 2 Holzschn.-Portraits verso. Mit 2 Holzschn.-Vignetten. 6 nn., 157 num. Bll., Späterer Ppbd. m. handschriftl. Rückenschild u. dreiseitigem Farbschnitt. Sechste Ausgabe, zuerst 1536 anonym erschienen. - „Der strafrechtliche Theil [ist] durch Berücksichtigung der Carolina ergänzt“ (Stintzing). Die schöne vierteilige Titelbordüre im unteren Teil mit einer Darstellung des Reichstages, im oberen und seitlichen Teil mit biblischen bzw. allegorischen Szenen wie dem Salomonischen Urteil im Kinderstreit. - Einband berieben, bestoßen u. etw. lichtrandig (Rücken verblasst). Rückenschild m. kl. Fehlstelle. Tlw. kl. Wurmspuren. 2 Bll. m. kl. Tintenflecken, eines m. hinterl. kl. Randeinriss. Durchg. wasserrandig u. etw. gebräunt bzw. stockfleckig. - VD16, G 2301; Pauli S. 500, Nr. 1116; Richter 138; Stintzing/L. I, 584. Versand D: 12,00 EUR Gobler, Der Gerichtlich Proceß, Auß geschribenen Rechten, und nach Gemeynen, im Heyligen Reich Teutscher Nation, Recht, Juridica

      [Bookseller: Antiquariat Wolfgang Friebes]
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         Volumina quaedam nuper excussa - De pulchro et obiter

      [Paolo Manuzio] - Francesco Portonari, 1562. Due opere in un volume in folio (mm 300x210); cc. 83, (1 bianca); (10), 148. Segnatura: A-X⁴; 110a-z⁶A⁶B⁴. Legatura in piena pergamena coeva con titolo manoscritto lungo il dorso, sul quale è stato aggiunto posteriormente un tassello col titolo in oro. Marca editoriale del Manuzio al frontespizio e in fine della prima opera, marca editoriale al frontespizio della seconda. Fregi ed iniziali xilografiche. Mancanza all'angolo superiore del piatto anteriore, piccoli segni di tarlo sul margine del risguardo anteriore e del primo titolo senza danno, minimi aloni marginali su poche carte, macchia alle cc. 52-53 della seconda opera, qualche lieve brunitura, ma bellissima copia di grande freschezza e dai margini molto ampi. Al titolo firma di appartenenza coeva "Carolus Thebaldus Brix."; altra firma posteriore al contropiatto. INTERESSANTE VOLUME MISCELLANEO che raccoglie vari scritti occasionali e storico-filosofici di Marco Antonio Natta. I testi contenuti nella prima opera sono tutti in prima edizione, mentre il De pulchro era già apparso a Pavia nel 1553. Nella prima opera, che si apre con un'introduzione dell'autore sugli scritti che seguono nel volume, spiccano, in particolare, il De principum doctrina, un dialogo che vede come interlocutori Alberto Carretti, Giovanni Battista e Marco Natta, in cui si discutono le caratteristiche e qualità che deve avere un principe, e il De christianorum eloquentia liber, un trattatello sull'eloquenza nell'oratoria cristiana. Il De pulchro costituisce un esaustivo trattato di stampo eminentemente platonico-cristiano sulla bellezza e l'amore, che contiene vari riferimenti all'immortalità dell'animo, al rapporto fra corpo ed anima e fra uomo ed animali, alle arti, alla scienza, alle aree geografiche del mondo e alle differenze degli uomini che le abitano, incluse le terre di recente scoperta che l'autore chiama "Pacifica terra ultra oceanum". L'autore, nacque ad Asti nei primi anni del XVI secolo, da Secondino, signore di Isola d'Asti, e da Andrietta Asinari di Cartosio. I suoi antenati paterni erano riusciti ad accrescere il prestigio del casato ponendosi al servizio dei Paleologi, marchesi del Monferrato, come giuristi. Marco Antonio frequentò l'Università di Pavia, seguendo i corsi di Francesco Corti junior, Filippo Decio, Giasone del Maino. Fu qui che, oltre ad apprendere in modo perfetto le tecniche interpretative del diritto comune, approfondì il suo latino, formandosi uno stile peculiare. Fu chiamato a ricoprire diverse magistrature e fu nominato giudice della Rota di Genova (istituita nel 1529). Seguendo la tradizione familiare di fedeltà dinastica, si mise al servizio dei Gonzaga, legittimi successori dei Paleologi. Fu nominato senatore del Senato di Casale, carica che ricoprì fino alla morte. Si impegnò anche come giurista consulente e saltuariamente nell'attività didattica Pavia. Morì a Casale il 7 settembre 1568 e fu sepolto ad Asti, nella cappella di famiglia nella collegiata di san Secondo. Svolse pure l'attività di giurista consulente, poi raccolta nei Consiliorum sive responsorum... tomi IV (Lione, I, 1558; II, 1559; III, 1567; IV, Venezia, 1572), e, saltuariamente, anche attività didattica nel 1567-68, "extra ordinem", a Pavia. Natta fu sempre cultore delle lettere e cristiano di profonda spiritualità. S'impegnò nella riflessione su temi teologici e letterari coltivati unendo l'umanesimo di stampo erasmiano alla religione e allo slancio didascalico, dottrinale e moralistico. Il suo stile peculiare trasse ispirazione da numerose suggestioni, compresa la lezione del dialogo De vero falsoque bono di Lorenzo Valla (cf. A. Lupano, Natta, Marco Antonio, in: "Dizionario Biografico degli Italiani", LXXVIII, 2013, s.v.). Edit 16, CNCE47076 e CNCE35847; Adams, N-71 e N-70..

      [Bookseller: Libreria Govi Alberto]
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         Euripides poeta, Tragicorum princeps, in Latinum sermonem conversus, adiecto e regione textu Graeco: cum annotationibus et praefationibus in omnes eius Tragoedias, autore Gasparo Stiblino. Accesserunt, Iacobi Micylli, De Euripidis vita, ex diversis autoribus collecta; item De Tragoedia & eius partibus 'prolegomena' quaedam. Item Ioannis Brodaei Turonensis Annotationes doctiss. nunquam antea in lucem editae. Ad haec, rerum & verborum toto opere praecipue memorabilium copiosus index. Cum Caes. Maiest. & Christianiss. Gallorum Regis gratia ac privilegio, ad decennium.

      Basel (Basileae), Per Ioannem Oporinum, (1562) (Colophon at the end: 'Basileae, Ex officina Ioannis Oporini, Anno salutis humanae 1562, mense Martio') Folio. p. 1-667; col. 668-679, (1 p.), col. 680-845; (23 index) p. Contemporary blind-stamped pigskin over wooden boards. 34 cm This Euripides edition is the first to offer a Greek text accompanied by a (complete) translation into Latin. Autograph dedication by the editor on the title. (Ref: VD16 E 4217; Griechischer Geist aus Basler Pressen no. 200; Hoffmann 2,69; Schweiger 1,115; Dibdin 1,528; Moss 1,416; Brunet 2,1096; Ebert 7077; Graesse 2,519) (Details: Signed binding, produced between 1562 and 1570 by Hans Rietzsch, and probably commissioned by Prince-Bishop of Würzburg, Friedrich von Wirsberg, or his chancellor Balthasar ab Hellu. (See below for the binder and his client) Back with 4 raised bands; boards decorated with 3 rows of blind-stamped rolls, the first one with floral motives, the second and third comprising portraits of apostles and other biblical figures, and floral motives; the portraits are accompanied by short texts which are reasonably legible, e.g. King David, playing his harp, he has 'De fructu ventris tui'; This refers to Psalm 131,11, where God promisses David: 'iuravit Dominus David veritatem et non frustrabit eum de fructu ventris tui ponam super sedem suam'. Left and right of David's head the initials H and R. Another blind-stamped portrait depicts the apostle Paul, whose text is: 'Apparuit beningita(s)' (sic!), a quote from a letter of Paul to Titus. (Ep. Pauli ad Titum 3,4) The initials H.R. stand for 'Hans Rietzsch', a Würzburg bookbinder, of whom the University library of Würzburg holds a great number of bindings, which can be dated between 1555 and 1570. Rietzsch often used on 'his' boards rolls depicting King David, John the Baptist, the apostle Paul. (H. Endres, 'Die Zwickauer Buchbinder Hans Rietzsch und Gregor Schenck und ihre Beziehungen zu Würzburg', Archiv für Buchbinderei 26 (1926) p. 13-16) Woodcut printer's mark on the title of Oporinus, depicting Arion, who stands on the dolphin that saved him, he plays the violin; woodcut initials; 1 woodcut text illustration; text printed in 2 columns, Greek text with opposing Latin translation; each play is concluded with a short 'praefatio' of Stiblinus, who added also short notes; the last 185 columns contain the commentary of Johannes Brodaeus) (Condition: Vellum age-toned, spotted, scratched, and worn at the extremes; small piece gone at head of the spine; leather of the lower corner of the backcover loosening and damaged; the lower clasp has been preserved; the upper one is partly gone; small bookplate on front pastedown; ownership entry in ink same pastedown; inscription on the blank lower margin of the title; right edge of the title slightly thumbed; paper sometimes yellowing) (Note: 'With Sophokles Greek tragedy reaches its culmination. Euripides, great poet though he was, represents the first symptom of the inevitable decline, for in him we can recognize a certain impatience with the form he found ready to his hand'. This is how H.J. Rose started his chapter on Greek tragedian Euripides, ca. 480-406 B.C., some 80 years ago. (H.J. Rose, 'A history of Greek literature', p. 177 in the 4th edition of 1965) That opinion has now been superseded. Euripides' play 'The Bacchae', which drew little attention before 1900, 'has come to seem one of the defining models of Greek tragedy and even of tragedy itself, rivalling Aeschylus' Oresteia and Sophocles' Oedipus Tyrannus and Antigone. (The Classical Tradition, Cambridge Mass. 2010, p. 347) For this, Euripides has to thank the German philosopher Friedrich Nietzsche. The upsurge was caused by his 'Die Geburt der Tragödie aus dem Geiste der Musik' (Leipzig 1872) in which he drew attention to the idea of 'the Dionysiac', a key element in the Bacchae. This idea 'has had a massive influence not only on understandings of tragedy, but on theories of theatrical performances itself'. (The Classical Tradition) Until the end of the 18th century especially Euripides' Medea, Alcestis, Trojan women and Hippolytus, with a powerful Phaedra, created the dominant image of Euripides. He was 'admired mainly for creating icons of female suffering'. In Andromaque (1667), Iphigénie (1674) Phèdre (1677), of the French playwright Racine we see the influence of Euripides. Alcestis, a model of self sacrifice, inspired Chaucer, Milton, Woodworth, Rilke, Browning, T.S. Elliot, Yourcenar. Comparable lists can be made for Medea and Phaedra. The play 'The Trojan women', a story of women in a great war, has throughout the 20th century 'frequently been staged in times of war across the globe from Moscow to Brazil and Germany to Japan'. (The Classical Tradition). § This Euripides edition of 1562 is the first to offer a Greek text accompanied by a (complete) translation into Latin. Earlier editions of Euripides had only the bare Greek text. It furthermore is the first Euripides edition to have textual notes. It appears from the dedication that the editor, the German humanist Gasparus Stiblinus (or Gaspar Stiblin, Caspar Stiblin, Kaspar Stiblin, Kaspar Stüblin), who was born in 1526 in the South German village Amtzell, saw more male suffering in Euripides' tragedies. The 'Dedicatio' concerns the emperor Ferdinand I (1503-1564), who had supported his career. He calls Euripides the best of the tragedians, and argues that his tragedies are an emperor worthy. He stresses that Euripides is excellent reading, especially for those in power and the wealthy, for the vicissitudes of fortune which the tragedian writes about, learn the rich and powerful to prepare for misfortune and to lead a virtuous life. The world of power and the republic of letters of the 16th century is however a men's world, so Stiblinus draws the attention of the emperor to the uncertain and often cruel fate of Polynices, Eteocles, Theseus, Amphitryon, Hercules, Menelaus, Agamemnon, Odysseus, and the Cyclops. After the dedication follows a preface (ad lectorem), dated 1558, in which Stiblinus tells the reader that the Basle publisher Oporinus urged him to produce for his press a new translation for a envisaged Euripides edition. Stiblinus honestly admits that he made some use of the Latin translation of Dorotheus Camillus, which had been published in 1555 in Basel by the same Oporinus (expensis Ioannis Oporini). We may assume that Oporinus was not satisfied with the translation of Camillus, and asked Stiblinus to do a better job, for the translator boasts in the preface that his translation is more august, more reliable, and in smoother and more correct Latin. ('augustior, luculentior, et honesto ac Romano habitu commendatior', (p. a4 verso)) Stiblinus goes on to tell that while preparing the edition, the translation (which is more or less iambic) and the annotations, he was able to consult books from the library of the famous classical scholar Beatus Rhenanus (1485-1547). He did so with permission of the government of Schlettstadt, nowadays Sélestat in the Alsace. (Rhenanus had bequeathed his invaluable collection of books to his hometown Schlettstadt, where it is still to be seen in the Humanist Library of Sélestat). Stiblinus furthermore divided, he writes, each play into 5 acts to make the reading easier. He added also at the beginning of each play, and of every act, a short 'argumentum', a kind of plot-summary, and notes. He continues with the acknowledgment of his debt to Johannes Hartung, his teacher in Freiburg (praeceptorem meum), who introduced him to Euripides. He thanks him for lending him his vast collection of notes on Euripides' tragedies and references to other authors. On page 630, at the beginning of the last play, the Electra, (a play that was first published only in 1545 in Rome) Stiblinus has added a second 'praefatio', now dated Freiburg I.Br. 1560, in which he tells the reader that he inserted into his commentary on the Electra many notes of Johannes Hartung, which he dictated to his students. Stiblinus' Latin translation of the Electra is the first to appear. This 1562 edition contains furthermore 2 short texts of Jacobus Micyllus (Molsheym) of Heidelberg, who died 1558, a biography of Euripides and a treatise on tragedy. Added is also a commentary to 11 plays produced by the French scholar Johannes Brodaeus (Brodeau) of Tours, of which the title states that it was never published before. It was however published previously in Paris in 1545. As a scholar and translator of Euripides however Stiblinus met the ill fate of an Euripidean character. In the same year 1562, Holzmann published in Frankfurt a translation in prose of Euripides by the famous German humanist Philipp Melanchthon, a translation which was far better. And the Dutch scholar Willem Canter, 1545-1572, published in 1571 a Greek text that made all earlier editions obsolete. Stiblinus' edition and translation were soon forgotten. 'L'Éuripide de Stiblin avait désormais fait naufrage pour toujours dans la mer grise des entreprises manquées'. (Firpo,L. 'Les Utopies à la Renaissance', Bruxelles, Paris 1963, p. 125/26) This article of Firpo is the beginning of the Euripidean 'renaissance' of Stiblinus. Until recently little was known of Stiblinus. ADB does not know him. Zedler and Jöcher only mention a few titles of him. In VD16 we harvested for Stiblinus 17 hits: 8 own productions, among which an edition of the letters of Phalaris, and 11 contributions to works of others. The oldest title dates from 1555. Johannes Oporinus published in that year Stiblinus' works 'Coropaedia, sive de moribus et uita Virginum sacrarum, libellus planè elegans, ac saluberrimis praeceptis refertus. Eiusdem Eudaemonensium Republica Commentariolus', of which the last one, the 'Eudaemonensium Republica' ('Happinesham', in German 'Seligland') would save him from oblivion. (See hereafter for this utopian treatise) In 1559 Stiblinus was called by the Prince-Bishop of Würzburg, Friedrich von Wirsberg, 1507-1573, to teach Greek at a newly founded Paedagogium Illustre. The bishop, who wanted to revive Greek and Latin studies in his town, did so on the advice of his chancellor Balthasar ab Hellu. 'Désireux de reconstruire dans la capitale de la Franconie (Würzburg) un centre d'études, le prince-évêque Friedrich von Wrisbert (sic!) s'était adressé, peu de mois après son élection (1558), au juriste Balthazar von Hell (sic), alsacien de Haguenau, et sur son conseil appela durant l'été de 1559 'ad docenum bonas litteras ... honestis propositis praemiis' (...) notre Stiblin, pour l'enseignement du grec'. (L. Firpo, o.c. p. 126) After some delay, Stiblinus finally got his chair in Würzburg in spring 1561. His inaugural lecture, read before the bishop and other dignitaries, was on the Holy Spirit. (Firpo p. 130). Stiblinus died shortly after his appointment, probably in 1562, in Würzburg, about 36 years old. (Firpo p. 132) Stiblinus, who was of humble origin, matriculated at the University of Freiburg i.Br. on January 19th 1548. He became 'magister artium' and was immediately appointed professor of Latin in 1551 at a modest salary of 15 florins a year, 'salaire de famine' according to Firpo. (Firpo p. 110) In 1553 he fled from the Plague and went to Schlettstatt in the Alsace, where he was the next 6 years in charge of the famous humanist school, where he taught Latin, and had also time to browse and study in the library of Beatus Rhenanus. There he wrote in the summer of 1553, free from dull lecturing, (scholae molestias pertaesus) his 'Eudaemonensium Republica Commentariolus', the description of a Happy City called Eudaemonia, the capital of the utopian island Macaria, situated somewhere in the Indian Ocean. It was published by Oporinus in Basle in 1555 . This treatise makes Stiblinus the first German Utopist, and the first to create a fictional island society after Thomas More's, who published his Utopia in 1516. If Stiblinus knew More's Utopia is not sure. Interest in this forgotten 'Utopia' of Stiblinus was revived some 50 years ago by Luigi Firpo, who blew the dust from it in an article in 'Les Utopies à la Renaissance, Colloque International (avril 1961)'. Bruxelles Paris 1963, p. 117-134) His article placed Stiblinus in the current and ongoing Utopia discussion, and paved the way for the admittance of the humanist Stiblin in the cultural and literary history of Germany. (J.J. Berns in 'Literatur und Kultur im deutschen Südwesten zwischen Renaissance und Aufklärung', Amsterdam 1995, p. 153/154) Stiblinus has his own street in Amtzell, the village where he was born, the 'Kaspar-Stüblin-Weg'. (A good survey of this born again humanist in: 'Killy Literaturllexikon', Berlin/Boston, 2011, Vol. 11, p. 259/61) The interest in Stiblinus as a classical scholar was revitalized by the American Euripides expert Donald Mastronarde, Melpomene Distinguished Professor of Classics at the University of California, Berkeley, in 2009, when he launched a blog 'Stiblinus’ Prefaces and Arguments on Euripides (1562)'. In it he argues that this 'rare edition is of considerable interest for the early scholarly reception of Euripides because it includes short prefaces and plot-summaries (Latin argumenta) for each play in addition to the Greek epitomes and prefatory material transmitted in the medieval manuscripts. In contrast, most other early printed editions of tragedy simply repeat the scholarly and pedagogical annotations from the manuscripts, if they do not simply confine themselves to the text of the plays themselves'. On this website Mastronarde offers Stiblinus’ prefaces and argumenta, accompanied by an English translation, 'so that they can be studied in connection with the reception of Euripides and tragedy in the 16th century'. (ucbclassics.dreamhosters.com/djm/stiblinus/stiblinusMain.html) (Provenance: 1. Autograph inscription of Gasparus Stiblinus on the title: 'Egregio et summae spei juveni D. Balthasari ab Hellu B.A.H. amico suo chariss.(imo) Gasparus Stiblinus D. D'. From this inscription we learn that Stiblinus donated this book to his good friend Balthasar ab Hellu. Does B.A.H. simply mean 'Balthasar Ab Hellu'? We assume that Stiblinus gave him the book to thank him for his chair in Würzburg. The name, 'Ab Hellu' or in Dutch 'Van Hellu' is found in the Dutch province of Gelderland, where Hellu was a centuries old Seigniory. No mention is made of Balthasar in ADB, nor in the Dutch equivalent NNBW. Balthasar ab Hellu was a descendant of empoverished Dutch nobility. His father emigrated to the Elzas, where he found refuge in Hagenau. Balthasar was born there in 1518. He studied law in Freiburg i.Br., where he matriculated as 'Balthasarius de Heller ex Haganoia" and in 1555 he participated as 'Syndikus und Stadtschreiber' of the city of Colmar in the important 'Reichtag' of Augsburg of 1555, where it was decided 'cuius regio, eius religio', i.e. that the subjects had to adopt the religion of their ruler. In Augsburg he probably met Prince-Bishop Melchior Zobel, who engaged him in 1556 as Chancellor. As Chancellor, which meant also Prime Minister, and diplomat he travelled a lot to promote the interest of the 'Landsberger Bund', a kind of defense organisation of several states in the South of Germany. His salary (Dinstgelt) was 300 florins. (Archiv des Historische Vereins Unterfranken und Aschaffenburg, Würzburg 1840, p. 55) 'Ab 1570 musste er allerdings mehrfach Termine absagen wegen Erkrankungen, so im Oktober 1573 wegen Rückenschmerzen. Wahrscheinlich begann er aber bereits da an einem Geschwür zu leiden, denn im Oktober 1574 bezeichnete das Domkapitel den noch nicht 60jährigen bereits als 'unvermüglich und alt' und beriet über seine Ablösung. (K. Karrer, 'Johannes Posthius, (1537-1597): Verzeichnis der Briefe und Werke', Wiesbaden 1993, p. 153/154). Ab Hellu had an operation in 1575, but remained at his post till the day he died, January 9, 1577. On the internet we found the following scattered data concerning Balthasar ab Hellu, especially in volume V of the correspondence of Petrus Canisius. ('Beati Petri Canisii Societatis Iesu Epistolae et acta' , Volume V, Freiburg.Br., 1910, edited by O. Braunsberger) This volume contains Canisius' correspondence between 1565 and 1567. Canisius doesnot mention Balthasar by name, he refers to him in a few letters (letter 1259, 1290 & 1309) as the 'Cancellarius' or 'Cancellarius Herbipolensis' (= Würzburg) of the Prince-Bishop of Würzburg, Friedrich von Wirsberg. From the letters and the commentary of Braunsberger, we collected the following: Balthasar was a jurist (iuris peritus), and a strong defender of the Catholic church against the protestants. In a letter of 15 november 1565 Canisius complains that the funding of the new Collegium of the Jesuits in Würzburg did not make any progress, because the bishop was too parcimoneous (parcus, si non tenax). This, he tells, was told him by the 'Cancellarius', who asked him to convince his bishop to pump money into the project. (Letter 1259) In november 1566 we see Canisius during one of his visits to Würzburg cooperate with the 'Chancellor' in establishing the Collegium, and finding money for it. (Letter 1290) In february 1566 Canisius writes in a letter that the Chancellor opposed the plans of the bishop to mobilize troops for a war against the Turcs. This story does not end well, as we saw. We found the following epitaph for 'Balthasar de Hellu' among the occasional poetry of Johannes Posthius, 1537-1597: "Epitaphium D. BALTHASARIS AB HELLU, Cancellarii Wirzeburgici" / Balthasar hoc requiem ducit post fata sepulcro,/Qui genus a claris nobile duxit avis./Eloquio praestans, et rebus natus agendis,/Non sine laude suo praefuit officio./Novit id Herbipolis, novit Germania tota,/Huius et est magni Caesaris aula memor./Haud senio fractus, rodente sed ulcere partem/Vesicae, lenta morte miser periit./Nunc gravibus curis omnique dolore solutus/Spiritus astrigeri vivit in arce poli./ (Posthius, Johannes (1537-1597): 'Parergorum poeticorum pars altera', Heidelberg 1595, p. 201) From this epitaph we learn that Balthasar was considered to be of noble birth, known in Würzburg, yes, even through the whole of Germania; that he spoke well, and performed his tasks to the satisfaction of his bishop and the emperor, and that he died a most horrible death (probably caused by prostate or bladder cancer). Now his soul lives on peacefully in the starry sky. No mention is made in the poem of wife or children. This poem is based on first hand knowledge, for Posthius was not only a poet, but also a medicin. He was the personal physician of the Prince-Bishop. In a letter of March 1575 (letter 45) Posthius tells his addressee, his colleague Johannes Crato, the personal physician of the emperor, who had been treating 'Von Hellu', that his (Crato's) patient will pay with wine next autumn. (K. Karrer, 'Johannes Posthius, (1537-1597): Verzeichnis der Briefe und Werke', Wiesbaden 1993, p. 153) In december the next year (letter 74) Posthius writes the classical scholar Joachim Camerarius that Von Hellu is incurably ill. Posthius is looking, he writes, for a physician who can operate him, for the Chancellor suffers from 'urina purulenta'. Three weeks after this letter the poor man died. That Baltasar ab Hellu was a nobleman, and that he never forgot that his roots lay in the Netherlands, is furthermore confirmed by the Dutch bibliographer Van der Aa. He records that one 'Balthasar van Hellu', Chancellor of Würzburg, tried several times to gain possession of the above mentioned Seigniory of Hellu in the 18th century (must be 16th century) on the ground that he had old family rights to that land. ('Zelfs in het jaar 1750 (this must be 1570) deed Balthasar van Hellu, Cantzeler van Wurtzburg, verscheidene pogingen bij het hof van Gelderland, om tot het bezit der heerlijkheid te geraken, waartoe bij, uit hoofde van zijne voorouders, vermeende geregtigt te zijn'. A.J. Van der Aa, 'Aardrijkskundig woordenboek der Nederlanden', volume V, Gorichem, 1844, p. 395) We found indeed in the digital archive of the 'Hof van Gelre en Zutphen' a file (0124/2281) dated 1570, concerning the Chancellor's request to buy the seigniory of Hellu. This village, which lies a few kilometers west of Zaltbommel, was for centuries, some say from 850 A.D, the family property of 'Van Hellu's'. (A good impression of the village, nowadays called Hellouw, and its history, including the mistake of Van der Aa, are to be found at: http://www.hellouw.com/infohellouw.htm) A specimen of the Chancellor's handwriting can be admired in a letter of 1565 held in the Royal Archive in The Hague. The letter is addressed to Prince William of Orange, and in it he asks the Prince to recommend him to the Stadholder of Gelderland, because he wants to renew the ancestral ties of friendship of his father Adriaan van Hellu. (http://resources.huygens.knaw.nl/wvo/brief/4256) 2: Bookplate of the German classical scholar Otto Jahn, cut by Ludwig Richter, has been pasted on the front pastedown. Jahn, 1813-1869, had published in 1852 a biographic sketch of this successful artist. (Mittheilungen über Ludwig Richter) To thank him Richter cut for Jahn a bookplate, which he pasted from then on in his books. (See O.Jahn, 'Biographische Aufsätze', Leipzig, 1866, p. 221-287) Jahn was for the last 14 years of his life professor at Bonn. 'His work on archaeology (...) includes a large number of masterly monographs. (...) His lectures at Bonn were lucid and unadorned in style (...), there was a perfect mastery of all the details' (J.E. Sandys, 'A history of classical scholarship', vol. 3, N.Y. 1964, p. 220/21) 3: The name written on the front pastedown: 'Cary W. Bok, April 1928' is that of the American millionair Cary William Bok, 1904-1970. He was a magazine man, who tried unsuccessfully to run the huge Curtis Publishing Company (Lady's Home Journal, Saturday Evening Post)(Collation: a-z6, A-Z6. Aa-Ss6, Tt8 (leaf Tt8 blank) (Photographs on request) (Heavy book, may require extra shipping costs)

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         Orlando Furioso

      Venice: Vincenzo Valgrisi, 1562. Full leather. Very Good. Well-preserved 1562 edition of Ariosto's epic poem "Orlando Furioso". Text in Latin, the pages crisp, the printing eminently readable. The woodcuts as well have maintained their detail and sharpness. Hand-bound (and signed and dated at the rear pastedown by the binder) in a dark-red, full leather, with raised bands and bright gilt-rule and lettering to the spine. New decorative endpapers, with gilt-flecked accents. Tight and solidly VG, with the binder's personal bookplate at the front free endpaper's verso. The most noticeable flaw to the original text is the rubbing and loss at the title page. Beyond that, light, forgiveable foxing and occasional shadowing thru the text. Fascinating armorial plate of the period at the title page's verso. Thick octavo, 666 pgs.

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        Compendio dell'historie di Monsignor Paolo Giovio da Como vescovo di Nocera, fatto per M.Vincentio Cartari da Reggio, con le postille e con la tavola delle cose notabili.In Vinegia,Gabriel Giolito De Ferrari,

      Venezia,Giolito De Ferrari 1562 - Ex-libris al contropiatto. Piccola mancanza di pergamena alla parte superiore dei piatti. Bellissimo esemplare fresco e marginoso. Edizione originale. Adams I,782. In-16°(mm 154 x 105);(28)+422+(2) pp.Legatura coeva in pergamena floscia. [Attributes: First Edition; Hard Cover]

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