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         De Astrologia Divinatrice Epistola D. Thomae Erasti: iam olim et in duos ab eodem ad diversos scriptae libros digestae, ac nunc demum in gratiam veritatis studiosorum in lucem editae. Opera et studio Ioannis Iacobi Grynaei. Basileae, Petrum Pernam, 1580. (Relié avec, en tête): 2). (du même). Comitis Montani Vicentini novi medicorum censoris, quinque librorum de morbis nuper editorum viva anatome Basileae, Petri Pernae, 1581.

      - 2 ouvrages en 1 volume in-4. 1). 4ff. 236pp. 6ff. (le dernier blanc). 2). 4ff. 316pp. Vélin souple à rabats (Reliure de l'époque). Réunion en reliure de l'époque de deux ouvrages du médecin et philosophe allemand Thomas Erastus (1523-1583). Il s'appellait en réalité Lieber mais suivant l'usage des savants de son époque, changea son nom vulgaire en un mot équivalent tiré du grec. Erastus fut à l'origine de la création à Bâle, où il enseigna, de diverses fondations d'aide aux étudiants pauvres, longtempos connues sous le nom de "Fondations érastiennes". Scientifiquement il s'opposa à Paracelse et à l'astrologie. A l'égard des dogmes de l'Eglise il défendait la liberté, s'opposant à la censure et aux punitions. Cette position fut à l'origine d'un courant organisé, surtout en Angleterre au cours du XVIIs., connu sous le nom de "Erastianisme". 1). Edition Originale de ce recueil de 15 lettres sur l'astrologie et les prédictions, adressées par Erastus à plusieurs médecins et mathématiciens de son temps. L'édition a été préparée par le savant suisse Iohann Iacob Grynaeus (1540-1617). 2). Edition Originale. Cet ouvrage est une critique d'un livre du médecin italien originaire de Vincenza, le Conte da Monte (mort en 1587), intitulé: "De Morbis et Sententia Galeni libri quinque", paru à Venise l'année précédente. Erastus a ajouté 3 dissertations médicales soutenues sous sa présidence: 1). Wolfhardt (Leo). De Melancolia (pp. 240-256). 2). Mader (Theophil). De morbis totius substantiae (pp. 257-280). 3). (Anonyme). De Convulsione. (pp.280-316). Quelques rousseurs éparses, et brunissures. Bel exemplaire dans son vélin souple d'origine (un peu taché). 1). Cantamessa, Astrologie Ins and Outs, 2402. [Attributes: First Edition]

      [Bookseller: Librería Comellas]
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         La Nowelle Natura breuium du Iudge tresreuerende Monsieur Anthonie Fizherbert dernierement renue & corrige per laucteur [bound with] Thomas Littleton, Les Tenures du monsieur Littleton, ouesque certein cases addes [etc.]. S.T.C. 10962 and 15746

      Two works central to early English law, each of the highest authority, here bound together and glossed (the Littleton's paper format so designed) with the signatures of Thomas and Robert Thornton, conjecturally father and son Lincoln's Inn barristers. Contemporary calf, rubbed, remains of clasps, partly interleaved and the Littleton printed in larger format, extensively glossed; the Taussig copy. In aedibus Richardi Tottelli [imprints vary], London, 1581 & 1583.

      [Bookseller: Meyer Boswell Books, Inc.]
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         Descrittione di tutti i Paesi Bassi, altrimenti detti Germania Inferiore. Antwerpen: Plantijn, 1581.

      - Folio, geb. in half perkament, (20)+558+(18) p., ill. De band is modern, met gebruikmaking van oud, beschreven, perkament. Het werk telt 68 platen en prenten in plaats van de gebruikelijke 55. Op de Franse titel in oud handschrift: "Del conti Inpolito Mario Vossi de St. Secondo et suoi credi" (?). Lit: Voet 1277, Boele van Hensbroek VI; Tiele 422; Touwaide 1973, 35-60; Touwaide 1974, 5; Guicciardini Illustratos (2001) nr 5. R0462. Eerste uitgave van het werk van Guicciardini door Plantijn. Na de drie (eigenlijk twee) uitgaven van Silvius uit 1567 (en de titeluitgave uit 1568) verscheen in 1580 een in Basel gedrukte editie in het Duits, maar veel belangrijker was de editie uit 1581 van Plantijn. Fontaine Verwey zegt over dit boek: "reeds bij de eerste oogopslag blijkt dat het een geheel ander boek geworden is. Plantin’s typografie is uitgesproken superieur aan die van Silvius: de lay-out, het zetwerk, de illustraties, alles is even voortreffelijk en getuigt van vakbekwaamheid, zorgvuldigheid en goede smaak. Ook valt het op dat in de vijftien jaar sinds de eerste druk verscheen de typografische stijl veranderd was: de houtsnede werd vervangen door de kopergravure, de sobere versieringen en de "drukkersbloemen" door weelderige composities met mythologische, zinnebeeldige en emblematische figuren - kortom de Barok had de Renaissance verdrongen! Dank zij de ijver van de auteur is de inhoud belangrijk uitgebreid, al berust de mededeling op de titel dat de tekst met de helft vermeerderd is, op beminnelijke grootspraak. De illustratie echter is meer dan verdrievoudigd: in plaats van de zeventien in de eerste druk zijn er nu 55 kaarten, plattegronden en afbeeldingen, alle van uitstekende kwaliteit." In ons exemplaar is de soms ontbrekende titelprent (Belgia met haar attributen, gegraveerd door A. de Bruyn naar Crispijn van den Broeck) aanwezig. Na de titel zijn het wapen en het portret van Philips II ingeplakt, omdat Plantijn tot het laatste moment niet wist wie bij verschijning van het boek de landsheer zou zijn! Behalve de 55 gravures die in het boek behoren te zijn opgenomen - beschreven door Voet en Boele van Hensbroek - heeft ons exemplaar 13 extra plattegronden: Tienen, Doornik, St. Omer, Kamerijk, Landreci, Avesnes, Cimai, Mariebourg, Philippeville, Beaumont, Charlemont en Walcourt. Hierdoor zijn o.a. de vier blanco bladzijden in het boek waarop Plantijn meedeelde dat hij door oorlogsomstandigheden geen kaarten van Doornik en Kamerijk kon opnemen, gevuld. De in het boek behorende plattegrond van Maastricht en de kaart van Gelderland en Zutphen zijn over een andere kaart geplakt: kennelijk verbeteringen aangebracht door Plantijn tijdens het drukken. Van de boekdruktitel van deze editie bestaan twee varianten (vgl. Guicciardini Illustratos 5). Dit exemplaar heeft variant B.

      [Bookseller: Antiquariaat A.G. van der Steur]
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         Eirenarcha: or of The Office of the Iustices of Peace, in two Bookes: Gathered 1579 and now reuised, and firste published, in the 14 yeare of the peaceable reigne of our gratious Queene Elizabeth. S.T.C. 15163; Beale T387

      London: Imprinted by Ra: Newbery, and H. Bynnemann [etc.], 1581. Contemporary unlettered vellum, well rubbed and worn, remains of ties, yet exceptionally clean with generous (?large paper) margins; the Taussig copy First edition of the work for which Lambard is best remembered, his seminal work on justices of the peace "which must be placed at the head of that long list of books . . . which stretch from the seventeenth to the twentieth century

      [Bookseller: Meyer Boswell Books, Inc.]
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         Innocentii Quarti Pont. Max. In Quinque Libros Decretalium, necnon in Decretales per eundem Innocentium editas, quae modo in sexto earundem volumine sunt insertae, & in huius operis Elencho, ut cunctis pateant adnotatae. Commentaria doctissima, cum Pauli Roselli, adnotationibus, et loco indicis, Baldi Margarita. Nunc vero diligentiori quam antea studio recognita, ab innumerisque erroribus, ex omnibus, quae inveniri statuere, voluminibus hactenus excussis integritati suae restituta.

      Apud Haeredes Nicolai Beuilaque, Augustae Taurinorum 1581 - In-folio (415x270mm), cc. (21), 236, (40), legatura coeva p. pergamena (rimontata) con titolo manoscritto in antico su dorso a 4 nervi. Altro titolo manoscritto al taglio di piede. Frontespizio in rosso e nero con impresa tipografica con toro scalciante che esce da una nuvola entro cornice architettonica con allegoria della Giustizia, putti, festoni, grottesche e motto Mi coelestis origo. Testo su due colonne, fregi tipografici incisi su legno, ampio indice preliminare. Restauri al frontespizio e al dorso, sparsi aloni e lavori di tarlo, alcune bruniture, mancanze marginali e fori ad alcune cc. In buono stato complessivo. Edizione torinese cinquecentesca delle decretali di papa Innocenzo IV, al secolo Sinibaldo Fieschi dei conti di Lavagna. Innocenzo IV fu uno dei più insigni papi giuristi del Medioevo centrale. Al momento della sua elezione, Sinibaldo stava componendo il suo capolavoro, il commento alle decretali di Gregorio IX, l'Apparatus in quinque libros decretalium, un'opera difficile, persino per i contemporanei. La sua legislazione pontificia comprende tre collezioni di decretali. Le due prime avrebbero dovuto essere aggiunte al Liber extra, ma il papa preferì inviare allo Studium di Bologna un elenco definitivo e separato delle sue decretali ufficiali, che furono chiamate Novellae e conobbero una diffusione indipendente. La maggior parte fu incorporata in seguito nel cosiddetto Liber sextus (1298). Con la costituzione Ad extirpandam (1252), I. IV considerò legittimo l'uso della tortura nei processi dell'Inquisizione contro gli eretici. Per I.nnocenzo IV la formazione canonistica è un tutt'uno con il suo governo. Sinibaldo e Innocenzo IV non possono essere disgiunti, dal momento che il giurista e il papa scrivono e agiscono secondo schemi analoghi. Il papa doveva assumere un ruolo di coordinamento generale, di istanza suprema - e dunque anche giudiziaria - della società cristiana. Sinibaldo è canonista e per questo il papa è il giudice e legislatore supremo che ha ricevuto da Dio l'incarico di spiegare e armonizzare il mondo, un mondo che egli identifica, sulla scia di Innocenzo III e dei papi del periodo gregoriano, con una Cristianità potenzialmente illimitata. È una visione di Papato che si fonda sul concetto che il mondo ha bisogno di un regimen unius personae. (Agostino Paravicini Bagliani in Dizionario Biografico degli Italiani, vol. 62, 2004). Bersano Begey, I, n. 323. Adams, I-133. EDIT16 CNCE 33741. Manca a STC Italian. Latino

      [Bookseller: Gilibert Libreria Antiquaria (ILAB-LILA)]
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         Istorie di Matteo Villani cittadino fiorentino che continua quelle di Giovanni suo fratello. Con l'aggiunta di Filippo Suo figliuolo, che arrivano fino all'anno 1364. Nuovamente ricorrette, e ristampate. Et con due tavole, l'una de' capitoli, & l'altra delle cose notabili. Legato assieme: Della historia di Matteo Villani cittadino fiorentino. Li tre ultimi libri, che son' il resto dell'Istoria scritta da lui, che nelli stampati fino ad hora mancano. Con un'aggiunta di Filippo Villani suo figliuolo, ch0arriva fino all'anno 1364. Nuovamente posta in luce. Con due tavole una de' capitoli, e l'altra delle cose più notabili

      Nella Stamperia de' Giunti, 1581. - 1596. 2 volumi in uno, in 4°, rilegatura ottocentesca in mezza pelle, titolo e fregi in oro al dorso, p. (32), 560, (44); (16), 190 (errore di numerazione, in realtà 194 cfr ICCU), (14). Marca tipografica ai frontespizi e ai colophon, iniziali animate, qualche brunitura. Gamba 1029: "nel frontespizio si premette anche l'aggiunta di Filippo... che poi manca ", aggiunta invece presente nel nostro raro esemplare

      [Bookseller: Studio Bibliografico Orfeo (ALAI-ILAB)]
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         DE AUTORIBUS INTERPRETANDIS, SIVE DE EXERCITATIONE

      Antwerp: Christopher Plantin, 1581. FIRST EDITION. This is a short treatise on the art of poetry by Spanish philologist and humanist Francisco Sanchez De Las Brozas (1523-1600), a professor of Greek and rhetoric at the University of Salamanca. Voet, noting that the work was printed at a time when the Netherlands--where Plantin had his press--was in revolt against Spain, suggests that it may have been commissioned for the Spanish market by Plantin's former employee Joannes Pulmannus, who was establishing himself as a bookseller in Salamanca. Plantin printed a short Greek grammar by Sanchez the same year, and a Latin grammar in 1582. Christopher Plantin (1520-89) set up shop in Antwerp as a bookbinder in 1549, but he turned to printing in 1555 and soon rose to the top of his trade, both as a printer and type designer. He produced, among a great many things, the celebrated Antwerp Polyglot Bible of 1569-72 and a steady stream of emblem books. In 1575, he employed nearly 150 workers, who helped to keep more than 20 presses going, and for a time, he established premises in Paris and Leyden. This is not a widely held work: OCLC finds just four in North American libraries (Huntington, University of Illinois, University of Pennsylvania, Boston Athenaeum). ABPC and Rare Book Hub locate no copies at auction in the past 40 years.. 168 x 100 mm. (6 1/2 x 4"). 28 pp., [2] leaves (final blank). FIRST EDITION. Late 19th century tan calf, covers with blind-ruled frame, flat spine with vertical titling. Voet 2176. Joints and extremities lightly rubbed, a few small, dark spots to boards, leaves a shade less than bright, other minor imperfections internally, but certainly a very good copy, the binding scarcely worn, and the text clean and fresh. This is a short treatise on the art of poetry by Spanish philologist and humanist Francisco Sanchez De Las Brozas (1523-1600), a professor of Greek and rhetoric at the University of Salamanca. Voet, noting that the work was printed at a time when the Netherlands--where Plantin had his press--was in revolt against Spain, suggests that it may have been commissioned for the Spanish market by Plantin's former employee Joannes Pulmannus, who was establishing himself as a bookseller in Salamanca. Plantin printed a short Greek grammar by Sanchez the same year, and a Latin grammar in 1582. Christopher Plantin (1520-89) set up shop in Antwerp as a bookbinder in 1549, but he turned to printing in 1555 and soon rose to the top of his trade, both as a printer and type designer. He produced, among a great many things, the celebrated Antwerp Polyglot Bible of 1569-72 and a steady stream of emblem books. In 1575, he employed nearly 150 workers, who helped to keep more than 20 presses going, and for a time, he established premises in Paris and Leyden. This is not a widely held work: OCLC finds just four in North American libraries (Huntington, University of Illinois, University of Pennsylvania, Boston Athenaeum). ABPC and Rare Book Hub locate no copies at auction in the past 40 years.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         Istorie di Matteo Villani cittadino fiorentino che continua quelle di Giovanni suo fratello. Con l'aggiunta di Filippo Suo figliuolo, che arrivano fino all'anno 1364. Nuovamente ricorrette, e ristampate. Et con due tavole, l'una de' capitoli, & l'altra delle cose notabili. Legato assieme: Della historia di Matteo Villani cittadino fiorentino. Li tre ultimi libri, che son' il resto dell'Istoria scritta da lui, che nelli stampati fino ad hora mancano. Con un'aggiunta di Filippo Villani suo figliuolo, ch0arriva fino all'anno 1364. Nuovamente posta in luce. Con due tavole una de' capitoli, e l'altra delle cose più notabili

      Nella Stamperia de' Giunti, In Firenze 1581 - - 1596. 2 volumi in uno, in 4°, rilegatura ottocentesca in mezza pelle, titolo e fregi in oro al dorso, p. (32), 560, (44); (16), 190 (errore di numerazione, in realtà 194 cfr ICCU), (14). Marca tipografica ai frontespizi e ai colophon, iniziali animate, qualche brunitura. Gamba 1029: "nel frontespizio si premette anche l'aggiunta di Filippo. che poi manca ", aggiunta invece presente nel nostro raro esemplare Molto buono [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Orfeo (ALAI - ILAB)]
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         I Quattro Libri di Architettura (The Four Books of Architecture)

      Venice: Bartholomeo Carampello, 1581. Rare second edition after the first of 1570, "the most studied of the architectural treatises of the Renaissance" (Millard). Folio, bound in full morocco, gilt tooling of Renaissance-style panel design, spine ends. General and divisional titles within woodcut historiated architectural border; profusion of woodcut illustrations, mostly full-page. 67, [1]; 78, [2]; 46, [2]; 133, [1] (of [3]) pages, including blank 2K4. Four parts in one volume. In excellent condition with light rubbing and wear, some leaves toned. A very nice example. First published in Italian in 1570, Palladio's treatise popularized classical decorative details, becoming what is probably the most influential architectural book ever printed. Incorporating many of his own designs to illustrate the principles of classical Roman architecture, Palladio strongly influenced 18th-century architecture in the British Isles, Italy and America. While Palladio's work was the most common architectural book owned by designers and builders, it was difficult to obtain in America. Thomas Jefferson commented in 1804 that "there never was a Palladio here [in Washington] even in private hands till I brought one... the chance of getting one in America is slender.

      [Bookseller: Raptis Rare Books]
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         La geneologia de gli Dei de Gentili. Con la spositione de sensi allegorici delle favole, et con la dichiaratione dell'historie appartenenti a detta materia. Tradotta per M. Gioseppe Betussi da Bassano.In Venetia, appresso Fabio et Agostino Zoppini, 1581.

      In Venetia, appresso Fabio et Agostino Zoppini 1581 - Cm. 21,5, cc. (8) 263 + 1 c.b. Bella vignetta al frontespizio e numerosi bei capilettera xilografici. Legatura coeva in piena perg. molle con titoli ms. al dorso e tracce di legacci in pelle. Minimi segni del tempo alla legatura, strappetto di qualche cm. al margine esterno del frontespizio (con rinforzo al verso della pagina, senza alcuna mancanza), macchietta al frontespizio e lievi aloni sparsi, più evidenti alle cc. iniziali e finali. Esemplare un po' vissuto, ma genuino e nel complesso in buono stato di conservazione. Quest'opera (tit. orig.: Genealogie deorum gentilium) fu corretta e rivisitata da Boccaccio fino al 1374, anno in cui morì. Scritta in latino, fu pensata come una raccolta enciclopedica in cui sono interpretati allegoricamente molti miti delle divinità pagane. L'Autore cercò di riordinare gli intrecci genealogici tra le divinità del classico pantheon dell'antica Grecia e di Roma. Bella edizione veneziana di questa celebre traduzione cinquecentesca curata dal bassanese Giuseppe Betussi. Cfr. Iccu;Brunet, I, 986; e Graesse, I, 446. [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Apuleio]
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         I Quattro Libri di Architettura (The Four Books of Architecture).

      Bartholomeo Carampello, Venice 1581 - Rare second edition after the first of 1570, "the most studied of the architectural treatises of the Renaissance" (Millard). Folio, bound in full morocco, gilt tooling of Renaissance-style panel design, spine ends. General and divisional titles within woodcut historiated architectural border; profusion of woodcut illustrations, mostly full-page. 67, [1]; 78, [2]; 46, [2]; 133, [1] (of [3]) pages, including blank 2K4. Four parts in one volume. In excellent condition with light rubbing and wear, some leaves toned. A very nice example. First published in Italian in 1570, Palladio's treatise popularized classical decorative details, becoming what is probably the most influential architectural book ever printed. Incorporating many of his own designs to illustrate the principles of classical Roman architecture, Palladio strongly influenced 18th-century architecture in the British Isles, Italy and America. While Palladio's work was the most common architectural book owned by designers and builders, it was difficult to obtain in America. Thomas Jefferson commented in 1804 that "there never was a Palladio here [in Washington] even in private hands till I brought one. the chance of getting one in America is slender." [Attributes: First Edition; Hard Cover]

      [Bookseller: Raptis Rare Books, ABAA/ ILAB]
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         LE SECOND TOME DES HISTOIRES TRAGIQUES, EXTRAITES, QUAND AU SUJET DE L'ITALIEN DE BANDEL, MAIS LE RESTE DE L'INVENTION DE L'AUTEUR

      Paris: Chez Gabriel Buon(1581). 459 pages; François de Belleforest was a prolific French author, poet and translator of the Renaissance. He was born in Comminges, into a poor family, and his father (a soldier) was killed when he was seven. He spent some time in the court of Marguerite of Navarre, traveled to Toulouse and Bordeaux (where he met George Buchanan) , and then to Paris where he came into contact with members of the young literary generation, including Pierre de Ronsard, Jean Antoine de Baif, Jean Dorat, Remy Belleau, Antoine Du Verdier and Odet de Turnebe. In 1568 he became historiographer to the king. He died in Paris. Belleforest wrote on cosmography, morals, literature and history, and he translated the works of Matteo Bandello, Boccaccio, Antonio de Guevara, Lodovico Guicciardini, Polydore Vergil, Saint Cyprian, Sebastian Munster, Achilles Tatius, Cicero and Demosthenes into French. He is also the author of the first French pastoral novel, "La Pyrenee" (or "La Pastorale amoureuse") (1571) modeled on the "Diana" of Jorge de Montemayor. His "Grandes Annales" are a polemic tract against Francois Hotman. His total output comprises more than 50 volumes. His most successful work was most likely his translation and adaptation of the "histoires tragiques" by the Italian Matteo Bandello, which built on the work of Pierre Boaistuau and eventually amounted to seven volumes (1564-1582). One of these tales might be the source for Shakespeare's "Hamlet". One of these tales might be the source for Shakespeare's "Hamlet". One of these tales might be the source for Shakespeare's "Hamlet". Agination: 459 pagesWidth: 3.5" Height: 4.75"Book Details: Condition / Notes: This antique volume is bound in full vellum, with the title and volume number handwritten on the spine. The book shows external wear, with loss of material at the head of the spine. "Paris 1581/2" is written in the top margin of the front cover. The binding is sound. The title page displays loss at the upper outside corner, partially affecting the title. A closed tear appears at the fore edge of the title page. Lacking most of back free blank. The pages exhibit occasional light foxing and faint marginal moisture markings. This work is illustrated with a printer's device on the title page, head- and tailpieces, as well as ornamental initials. Covers punctured for closing ties, now lacking. This is volume II and the only one of this title [series? ], Located on Wordcat which shows 8 copies. ; 0, Good with no dust jacket

      [Bookseller: Poor Man's Books]
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         Architectura, oder Bauung der Antiquen auss dem Vitruuius, woellches sein funff Collummen orden, daer auss mann alle Landts gebreuch vonn Bauuen zu accommodieren

      Antwerp, Gérard de Jode, 1581. Four "column books", a type of pattern book intended for the man of practice - building masters, stonemasons, sculptors, cabinet makers, stained glass artists, painters of architectural backgrounds, and all "ingenious lovers of architecture", reducing Vitruvius's architectural theory to a more narrow description of column orders, and showing those craftsmen interested the new foreign (Italian) fashion how to choose the right columnar elements and combine them appropriately on real buildings or in decoration. Their author, the productive and multi-talented artist Jan Vredeman de Vries, has only lately been recognised as one of the most successful disseminators in countries north of the Alps of the ideas and forms of the Italian Renaissance, as the "chief motor behind the spread of the so-called Antwerp Mannerist architecture" (Krista de Jonghe), whose "paper architecture" had an impact on a variety of media not just in Europe but also in the New World. Bound with Architectura 3e stuck. De oorden tuschana, in tvveen ghedeylt in XII. Stucken. Antwerp, Widow of Hieronymus Cock [Volcxken Diericx], 1578 Bound with Das ander Buech, Gemacht auff die zvvay Colonnen, Corinthia und Composita sampt jren podien, basen, cornicen, capitellen, architraben, phrisen und coronamenten. Antwerp, [Widow of Hieronymus Cock (Volcxken Diericx)], 1581 Bound with [Das Erst Buch, Gemacht Auff de Zvvey Colommen Dorica und Ionica, sampt iren podien, bases, cornicen, capitelen, architraben, phrisen und coronamenten]. [Antwerp, Widow of Hieronymus Cock (Volcxken Diericx), 1581]Vredeman de Vries, Jan Leeuwarden circa 1527 - 1609? Hamburg Architectura, oder Bauung der Antiquen auss dem Vitruuius, woellches sein funff Collummen orden, daer auss mann alle Landts gebreuch vonn Bauuen zu accom­modieren dienstlich fur alle Bawmaystren Maurrer, Stain­metzlen, Schreineren Bildtshneidren, und alle Liebhabernn der Architecturen ann dag gebracht. Antwerp, Gerard de Jode, 1581 folio (362 × 275 mm), (29) folios, complete, comprising an etched title-page with title transcribed above and armo­rial insignia of the dedicatee Peter Ernst Count of Mansfeld (verso blank), five un­signed and unnumbered leaves of letterpress (headed Tuschana, printed recto and verso, inserted as folio [2]; Dorica, printed recto and verso, inserted as folio [8]; Ionica, printed recto only, inserted as folio [16]; Corinthia, printed recto and verso, inserted as folio [21]; Composita, printed recto only, in­serted as folio [28]), and twenty-three num­bered etchings in their only state (platemarks circa 345 × 255 mm), unsigned, but by Joannes and Lucas van Doetecum: plate 1 lettered Tuscana, plate 6 Dorica, plate 13 Ionica, plate 17 Corinthia, plate 23 Composita, letters (keyed to the relevant text), scale divi­sion lines, and numerals. Bound with Architectura 3e stuck. De oorden tuschana, in tvveen ghe­deylt in xii . Stuc­ken, bequaem en nutteliick voor alle ingenieuse bouvvers, als metsers, steen­houvvers ende andere liefhebbers der antiquer Architecturen. Gheinventeert ende ghemaect naer de leeringhe Vitruuij. Antwerp, Widow of Hieronymus Cock [Volcxken Diericx], 1578 contents (13) folios, complete, comprising a leaf of letterpress with title transcribed above (recto) and address to the reader subscribed by the author (verso), and twelve numbered etchings in only state (platemarks circa 236 × 296 mm), unsigned, but by Joannes and Lucas van Doetecum: plate 1 lettered Tuschana | 1 | Aux quatre vents, the other plates lettered Tuschana with appropriate numeral. Bound with Das ander Buech, Gemacht auff die zvvay Colonnen, Corinthia und Compo­sita sampt jren podien, basen, cornicen, capitellen, architraben, phrisen und coronamenten: Iede inn vier manieren ghezieret und getailet, zu mehrer zierd und schoene. Gezogen auß den berumpten Architecten Vitruuio, Sampt noch anderen zierden dar zu dienlich, den Malern, Bildhavvern, Stainmet­zen, Schreinren, Glaesern, und sunst allen Liebhabren zu gutem. Antwerp, [Widow of Hieronymus Cock (Volcxken Diericx)], 1581 contents (23) folios, complete, comprising a leaf of letterpress with title transcribed above (recto) and address to the reader subscribed by the author (verso), and twenty-two numbered etchings in only state (platemarks circa 300 × 235 mm), unsigned, but by Joannes and Lucas van Doetecum: most plates lettered Composita and/or Corinthia next to the appropriate design, plate 1 lettered additionally Vriese Inventor H. Cock Excudebat 1565, plate 13 lettered Vriese Invent, plate 15 Cock Excu, plate 16 Vriese Inventor 1565, and plate 22 Cock Excu. Bound with [Das Erst Buch, Gemacht Auff de Zvvey Colommen Dorica und Ionica, sampt iren podien, bases, cornicen, capitelen, architraben, phrisen und coro­namenten, eyn jede inn drey manieren gezieret und getailet, zu mehrer zierd und schone, Gezogen auss dem berumpten Architecten Vitruuio, Sampt noch anderen zierden dazu dienlich, den Malern, Bildhavvern, Stainmetzern, Schreinern, Glazmaler, und sunst allen liebhabern den selben zu guten]. [Antwerp, Widow of Hieronymus Cock (Volcxken Diericx), 1581] contents (18) folios, complete (this issue without the above title, which was printed for the 1565 edition only), comprising eighteen etchings numbed a-i, k-s in first of two states (platemarks circa 234 × 300 mm), unsigned, but by Joannes and Lucas van Doetecum: most plates lettered Ionica and/or Dorica next to the appropriate design, plate d lettered additionally Vriese Inv Cock Excud 1565, plate k Hout Die Cock in Eeren, plate q Vriese Inventor Cock Excudebat. provenance Earls of Macclesfield, Shirburn Castle, embossed stamp on three leaves, exlibris on paste down South Library dated 1860 and inscribed with shelfmark 114 G 18 -- Sotheby's, 'The Library of the Earls of Macclesfield, Part Ten: Applied arts and science', London, 30 October 2007, lot 3837. Fore-edge margin of Architectura, oder Bauung der Antiquen repaired at an early date, two paper flaws in plate 9 (a round 5 mm hole in blank area; a 10 mm tear in design), but otherwise a very good copy; the three other works in fine state of preservation. binding contemporary calf; covers decorated to panel design, a gilt roll-tooled border framing a lozenge formed of multiple blind rules and blocked centrepieces; blue paper pasted over covers in the seventeenth-century, and vellum backstrip lettered Fredeman Fr[ie]se Architectura added. [img-2394-left-large_default] Fig. 1 Das ander Buech (folio 19). Platemark 305 × 238 mm [img-2397-left-large_default] Fig. 2 Das Erst Buch (folio o). Platemark 240 × 304 mm Four 'column books', a type of pattern book intended for the man of practice - building masters, stonemasons, sculptors, cabinet makers, stained glass artists, painters of architectural backgrounds, and all 'ingenious lovers of architecture', reducing Vitruvius's architectural theory to a more narrow description of column orders, and showing those craftsmen interested the new foreign (Italian) fashion how to choose the right columnar elements and combine them appropriately on real buildings or in decoration. Their author, the productive and multi-talented artist Jan Vredeman de Vries, has only lately been recognised as one of the most successful disseminators in countries north of the Alps of the ideas and forms of the Italian Renaissance, as the 'chief motor behind the spread of the so-called Antwerp Mannerist architecture', 1 whose 'paper architecture' had an impact on a variety of media not just in Europe but also in the 'New World'. Jan Vredeman apprenticed at first to become a joiner, then as a painter and glass painter in Leeuwarden, before joining the workshop run by the Municipal Painter of Kampen in 1546-1547. In 1549 he took part in creating ephemeral architecture for the entry into Antwerp of the Emperor Charles v and his son, later King Philip ii of Spain. Soon after­ward he is said to have become familiar with the works of Serlio and Vitruvius in the translations published by Pieter i Coecke van Aelst. Vredeman himself never set foot on Italian soil; he obtained most of his knowledge of the new formal language from books and engravings, and used the same medium to present his own contribution. Vredeman began his career as a designer of prints with the Antwerp publisher Gerard de Jode, who brought out two series of his designs for strapwork cartouches in 1555. In the following years, Vredeman designed more series of cartouches, several series of architec­tural perspective views (useful especially in intarsia work), and examples of fountains, vases and tombs, most of which were etched by the brothers Joannes and Lucas Van Doetecum, and published at Antwerp by Hieronymus Cock. He continued meanwhile his collaboration with De Jode, who published his designs of grotesques, terms, and well-heads, among other works. By the mid-1560s, Vredeman's reputation had grown to the point where he - no longer his publisher - was subscribing the dedication and introducing the designs. [img-2396-left-large_default] Fig. 3 Architectura, oder Bauung der Antiquen (folio 21). Platemark 345 × 260 mm The first publications to be brought out under Vredeman's own control were two works exploring the decorative possibilities of the orders of columns: Dorica-Ionica ('Das erst Buch'), structured as three sequences of six plates each, published by Hieronymus Cock in 1565; 2 and Corinthia-Composita ('Das ander Buech'), four unequal sequences of plates, published by Cock later the same year. 3 The plates in these works - both are present in our volume (see Figs. 1 and 2) - show sin­gle architectural details, such as pedestals and capitals with entablature or gable tops; designs for entire columns are not offered, and measurement scales are not always present. It seems Vredeman did not intend his designs to be slavishly copied; he preferred that the reader be stimulated by them into devising his own designs, accommodated to a specific task, and local building practice. [img-2395-left-large_default] Fig. 4 Architectura 3e stuck. De oorden tuschana (folio 9). Platemark 237 × 298 mm The programme thus instituted in 1565 was completed in 1578 with publication by Cock's widow of a third work Tuschana - also present in our volume (Fig. 4) - showing details of bases, columns, entablatures and façades according to the Tuscan order, which Vredeman considered particularly suited to fortifications. Although the 'erst Buch' was reprinted by Cock and his widow in various editions, including one as late as 1601; and the 'ander Buech' appeared in four editions by Cock and his widow, from 1565 until 1581; the plates comprising Tuschana appeared in just this edition. 4 The work bound first in our volume, 'The architecture of building in Antiquity according to Vitruvius', is the only one of the author's publications to feature explanatory text (Fig. 3). 5 Despite its ambitious title, the Architectura is another 'column book', organised in five chapters (one for each of the five orders), each chapter containing etchings and a letterpress text commenting on the etchings. The first plate of each chapter presents the column order itself in five different alternatives of decoration (in the proportions and in the secondary decoration); the other plates are examples of the application of the order, mostly building façades shown frontally, and deal with the problem of how to apply this knowledge on real buildings. The façades are accompanied by a small ground plan which occasionally depicts the space behind the screen of the façade and thus conveys information about the function of the building. The traditional symbolism of the column orders expressed by Vitruvius, Serlio, and Coecke van Aelst, is abandoned by Vredeman, who proposes instead that the choice of order be deter­mined by the degree of prestige the architect wishes to give to the building. The first edition of the Architectura was published in 1577 by Gerard de Jode with German text and reprinted later the same year with French text; another edition in German and a first edition in Dutch appeared in 1581. Apart from alterations to the title-print, the plates are identical in these editions (in some copies of the French edition there is an appendix and additional plate). The letterpress in the 1577 German edition is known in two variants, both set on seven leaves. 6 Although rare copies of the 1581 German edition retain the old letter­press, 7 most provide the second version of the 1577 text reprinted on five leaves. 8 The work passed through at least ten editions before the end of the seventeenth century and influ­enced other books of the same genre. 9 Like most pattern books, Vredeman's have survived mostly in imperfect copies, and very rarely are found complete and in contemporary bindings, even in libraries of an early foun­dation. As Cock and De Jode were competitors, most albums logically present either Cock's editions alone or De Jode's editions alone. Such albums are more suggestive of the marketing practices of the two publishers than the choice or taste of the original owner. An album comparable to our own, presenting the same four works (albeit in different editions), was in the architect Vincenzo Scamozzi's library. 10 Unfortunately, the individual who formed our album has left no recognizable clue to his identity. In structure and decoration, the binding may be localized no more specifically than 'Flemish, probably Antwerp', modi­fied in England during the eighteenth century (when blue paper was pasted over the leather, so that the volume harmonized with others in the Macclesfield Library shelved nearby). There are no inscriptions of ownership antedating those made by Macclesfield librarians. references Peter Fuhring, in Hollstein's Dutch & Flemish etchings, engravings and Woodcuts, 1450-1700: Vredeman de Vries (Rotterdam 1997), xlvii, pp.164-178 nos. 183-200 (Das Erst Buch), pp.179-202 nos. 201-222 (Das ander Buech); Ibid., xlviii, pp.56-85 nos. 408-431 (Architectura, oder Bauung der Antiquen), pp.94-102 nos. 442-453 (Architectura 3e stuck Tuschana) 1. Krista de Jonghe, 'Vredeman de Vries as a Disseminator of Architectural Novelties' in Hans Vredeman de Vries und die Folgen, edited by Heiner Borggrefe and Vera Lüpkes (Marburg 2005), p.83. Vredeman's art was the theme of recent exhibitions and symposia where the importance of his influence on a European scale was underlined: Tussen stadspaleizen en luchtkastelen: Hans Vredeman de Vries en de Renaissance, catalogue of an exhibition held at the Koninklijk Museum voor Schone Kunsten, Antwerp, 14 September-8 December 2002, edited by Heiner Borggrefe, Thomas Fusenig and Barbara Uppenkamp (Ghent & Amsterdam 2002); Hans Vredeman de Vries und die Renaissance im Norden, catalogue of an exhbition held at Weserrenaissance-Museum Schloss Brake, Lemgo, and Koninklijk Museum voor Schone Kunsten Antwerpen (Munich 2002). For Vredeman's influence on building practice, see Petra Zimmermann, 'The Relation to practice in the publications of Hans Vredeman de Vries' in Hans Vredeman de Vries and the Artes Mechanicae revisited, edited by Piet Lombaerde (Turnhout 2005), pp.15-32 (especially p.22). 2. Das erst Buch was first published in 1565 with letterpress title-page and preface in either Dutch or German (Petra Zimmermann, Die Architectura von Hans Vredeman de Vries: Entwicklung der Renais­sancearchitektur in Mitteleuropa, Munich 2002, pp.137-138 figs. 59-60); this letterpress was suppres­sed in later issues. Its designs for windows and curved pediments were especially influential; see Hans Vredeman de Vries und die Renaisance im Norden, op. cit., pp.192-193 no. 16. 3. Das ander Buech was first printed in 1565 with letterpress title-page and preface in German (Zimmermann, op. cit., 2002, p.140 figs. 63-64); a reissue with the German letterpress re-set appeared in the same year, and a new edition followed in 1578. Hans Vredeman de Vries und die Renaissance im Norden, op. cit., pp.193-194 no. 18. 4. Hans Vredeman de Vries und die Renaissance im Norden, op. cit., pp.197-198 no. 21. 5. Besides Zimmermann, op. cit., 2002, see Dieter A. Nuytten, 'Theory and example in Vredeman de Vries's Architectura (1577): Intentions between a modern treatise and a practical model book' in Hans Vredeman de Vries and the Artes Mechanicae revisited, op. cit., pp.33-55, with resume of recent literature. For reproductions, see Hans Vredeman de Vries und die Renaissance im Norden, op. cit., pp.196-197 no. 20 (1577 German edition); Architectural Theory from the Renaissance to the Present, edited by Bernd Evers, Christoph Thoenes, e t al. (Cologne & London 2003), pp.500-509 (ten repro­ductions from 1577 German edition). 6. Zimmermann, op. cit., 2002, pp.82-83: 'Vergleich der deutschen Erstausgabe mit der ersten deut­schen Neuauflage (1581) und der niederländischen Ausgabe (1581)'. The German (1577) text is repro­duced by Zimmermann pp.198-207: 'Anhang i'. 7. Peter Fuhring, in Hollstein's Dutch & Flemish etchings, engravings and Woodcuts 1450-1700: Vredeman de Vries, Partii (Rotterdam 1997), xlviii, p.57, describing an unspecified copy of the 1581 edition with text printed on six leaves (folios 2 recto and verso, 3 recto, 9 recto and verso, 17 recto, 22 recto and verso, 29 recto) and retaining the colophon of Gerard Smits dated 1577. 8. Other copies containing the same title-print (dated both 1577 and 1581) and twenty-three plates, but unknown amounts of letterpress, are described in Architectural theory and practice from Alberti to Ledoux, exhibition catalogue edited by Dora Wiebenson (Chicago & London 1983), III-A-6; Madeleine Van de Winckel, 'Hans Vredeman de Vries' in Les Traites d'Architecture de la renaissance, edited by André Chastel and Jean Guillaume (Paris 1988), pp.453-458 (eight reproduc­tions); Krista De Jonge, 'Vitruvius, Alberti and Serlio: Architectural treatises in the Low Countries, 1530-1620' in Paper Palaces: The Rise of the Renaissance architectural treatise, edited by Vaughan Hart and Peter Hicks (New Haven 1998), pp.286-288 (title-print reproduced). 9. Petra Zimmermann, 'Hans Vredeman de Vries und die Folgen in der Architekturlehre' in Hans Vredeman de Vries und die Folgen, op. cit., pp.91-100. 10. Scamozzi's album contains (bound in this order) Architectura 1577, Tuschana 1578, Das Erst Buch 1578, Das Ander Buch 1565 (lacks six plates). It was acquired by Count Leopoldo Cicognara (Cata­logo ragionato dei libri d'arte e d'antichità posseduti dal conte Cicognara, Pisa 1821, no. 746) and is now in the Biblioteca Apostolica Vaticana (Cicognara vii 746); see Wolfgang Lipmann, 'La biblioteca scamozziana' in Vincenzo Scamozzi: 1548-1616, edited by Franco Barbieri and Guido Beltramini (Venice 2003), p.503.

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         Herodiani Histor. Libri VIII. Cum Angeli Politiani interpretatione & huius partim supplemento, partim examine Henrici Stephani... (Zosimi comitis et exadvocati fisci, Historia novae...) [with] DIO CASSIUS. Rerum Romanum a Pompeio Magno ad Alexandrum Mamaeæ, Epitome authore Ioanne Xiphilino... [with] DIO CASSIUS. Romanae Historiae Ultimi Libri Tres..

      (I) [Geneva]: Excudebat Henricus Stephanus 1581; (II) Lutetiae [Paris]: Ex officina Roberti Stephani 1551 & (III) Romae [Rome]: Ex Typographia Chracas 1724. Three works bound in one volume, 8vo, (viii), 182, (2), 79, (1); 357, (3); xxviii, 186 pp. Printers' woodcut to each title page, second work cut close to the top margin with some loss of page numbers and headline, brief old inked inscriptions to the first two title pages. Bound in 20th century half vellum over marbled boards, black morocco spine labels detailing only the first work. Herodian's history, first printed 1502, was edited by Henri Estienne using the Latin of Angelo Poliziano. It was dedicated to the English poet and courtier Sir Philip Sidney, whom Estienne had befriended some years earlier. The second publication Estienne had dedicated to Sidney, "...he was concerned lest Sidney should be dissipating his intellectual gifts in the futile life of the court, and begins his dedication with three lines adapted from an epistle of Horace warning him against throwing away the gifts Apollo gave..." (Buxton). The second part is the editio princeps of Zosimus' history, albeit only the first two books. Described by Gibbon as "a very questionable judge of merit", Zosimus wrote in Constantinople around 500 AD. The second work is also an editio princeps, of Xiphilanus' abridgement of books 61-80 of Dio Cassius' history, originally produced in the 12th century and the only source for this part of the work. It is beautifully printed by Robert Estienne (Henri's father) almost entirely in the Grec du Roi type designed for him by Garamond. Three years earlier Estienne had first published the surviving text of the rest of the work. The third work, a later printing of Cassius Dio's history, is, like the Herodian and Zosimus, printed in double column, Greek and Latin parallel. A splendid collection of three early historians. Adams (I) H388 & (II) D513.

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         Dictionarium, quanta maxima fide ac diligentia fieri potuit accuratè emendatum, multisque partibus cumulatum. Adiectae sunt Latinis dictionibus, Hebraeae, Graecae, Gallicae, Italicae, Germanicae, & Hispanicae. Accesserunt insignes loquendi modi, lectiores etymologiae, opposita, translationes, adagia ex optimi, quibusque auctoribus decerpta..

      [Compagnie des libraires de Lyon], 1581. In-folio (388x240mm), pp. 1374, solida legatura settecentesca in p. pergamena rigida con titolo manoscritto in antico al dorso. Tagli spruzzati rossi. Frontespizio in rosso e nero con impresa tipografica con leone rampante che scaccia un nugolo di api e motto entro cartiglio "De Forti Dulcedo". Testo bicolonne. Fregi tipografici in xilografia. Antica firma in parte cassata al titolo. Frontespizio rifoderato (come le ultime 4 cc.), restauro al margine interno della prima c. Fori di tarlo al margine esterno ed interno di alcune cc. Mancanze marginali minime ad alcune cc. Piccole macchie d'inchiostro, talora con limitata perdita di testo. Ottimo stato . Cinquecentina lionese (probabile prima edizione in sette lingue, in quanto l'opera era originariamente uscita solo in latino) del famosissimo Calepino. Frate Ambrogio dei conti di Caleppio, nel bergamasco, visse tra il 1440 e il 1510 e pubblicò nel 1502 a Reggio Emilia la prima edizione del suo celebre dizionario, diffusosi poi in una quantità di ristampe sempre più aggiornate e rivedute da altri linguisti. "La fonte materiale e ideale del dizionario del Calepio è data dalla Cornucopia di Nicolò Perotto e dalle Eleganze di Lorenzo Valla. Col Perotto e col Valla il Calepio condivide il proposito di porre fine al gergo delle scuole, di restaurare la latinità classica. Il dizionario intende offrirsi come guida a chi intenda risalire, oltre l'età di mezzo, alla classicità. La latinità del Calepino si estende da Plauto a Tacito, ai grammatici e, scavalcando il latino tardo e medievale, al latino umanistico, di Valla e Perotto, citati come auctores accanto ai classici. Non ci troviamo dinanzi a un lessico, nel senso moderno del termine, ma piuttosto dinanzi a una mescolanza di lessico ed enciclopedia antiquaria (e non solo): questa appare perché il dizionario include un onomastico (antroponimi, toponimi ecc.), ed anche perché in voci propriamente lessicali sono altresì frequenti le digressioni di tipo enciclopedico (per es., s.v. pingo è accennata una storia della pittura antica e quattrocentesca). L'opera ebbe traduzioni in italiano (nel 1533, a Venezia, apparve quella di Lucio Minerbi), ma soprattutto rifacimenti e adattamenti bi e plurilingui, che aggiungevano, accanto al lemma latino, i corrispondenti greci, ebraici (raramente) e dei vari "volgari" europei. Un più sistematico Calepinus septem linguarum (latino, greco, ebraico, italiano, tedesco, francese, spagnolo) fu redatto nel Settecento da I. Facciolati, maestro del Forcellini." (GG. Soldi Rondinini e Tullio De Mauro in Dizionario Biografico degli Italiani, XVI, 1973). Non in Adams né in STC French Latino

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         L' Amadigi. Nuovamente ristampato, e dalla prima impressione da molti errori espurgato

      appresso Fabio e Agostino Zoppini, in Venetia 1581 - In-4° antico (210x145mm), pp. (8), 731, (1) di registro, legatura settecentesca m. pelle e angoli con titolo in oro su tassello, fiorellini e decori in oro al dorso. Tagli rossi. Impresa tipografica al frontespizio con allegoria della Verità raffigurata, entro cornice figurata, come donna con le braccia aperte tra i simboli dei quattro evangelisti: l'aquila, il leone, il toro, l' angelo. Bordura xilografica ornata a inquadrare il frontespizio. Avvertenza preliminare ai lettori di Lodovico Dolce. Testo bicolonne; 100 capilettera xilografici ornati, uno in principio di ogni canto. Ex-libris moderno. Una firma ottocentesca di possesso di Ulisse Marcheselli, critico e storico della letteratura cui si debbono delle Note di letteratura italiana (Cesena, 1893). Sparsi aloni d'umido. Restauri al verso del frontespizio. Minimi forellini di tarlo all'ultima c. Esemplare ampiamente rifilato. Seconda edizione, riveduta e corretta rispetto alla prima del Giolito del 1560, del principale poema epico del padre di Torquato Tasso (che appassionatamente ne difese il valore poetico nella sua Apologia in difesa della Gerusalemme Liberata), ispirato alla saga di Amadigi di Gaula. Documento del gusto e degli spiriti di un'età (Mario Fubini in Dizionario Bompiani delle Opere, I, p. 102). Dal poema Händel trasse la sua omonima opera lirica Amadigi di Gaula. STC Italian, p. 659. Non in Adams. EDIT16 CNCE 40794. Italiano [Attributes: Hard Cover]

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         Comoedia viginti

      Lugduni, Apud A. Gryphium 1581 - 1 volume in 8°, p.813(3b), leggerissima uniforme brunitura, legatura coeva in pergamena co restauri alle unghie. 1 volume in 8 °, p.813 (3 blank), light uniform browning, contemporary parchment binding with restorations to the squares [Attributes: Hard Cover]

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         Dictionarium, quanta maxima fide ac diligentia fieri potuit accuratè emendatum, multisque partibus cumulatum. Adiectae sunt Latinis dictionibus, Hebraeae, Graecae, Gallicae, Italicae, Germanicae, & Hispanicae. Accesserunt insignes loquendi modi, lectiores etymologiae, opposita, translationes, adagia ex optimi, quibusque auctoribus decerpta.

      [Compagnie des libraires de Lyon], Lugduni 1581 - In-folio (388x240mm), pp. 1374, solida legatura settecentesca in p. pergamena rigida con titolo manoscritto in antico al dorso. Tagli spruzzati rossi. Frontespizio in rosso e nero con impresa tipografica con leone rampante che scaccia un nugolo di api e motto entro cartiglio De Forti Dulcedo. Testo bicolonne. Fregi tipografici in xilografia. Antica firma in parte cassata al titolo. Frontespizio rifoderato (come le ultime 4 cc.), restauro al margine interno della prima c. Fori di tarlo al margine esterno ed interno di alcune cc. Mancanze marginali minime ad alcune cc. Piccole macchie d'inchiostro, talora con limitata perdita di testo. Ottimo stato . Cinquecentina lionese (probabile prima edizione in sette lingue, in quanto l'opera era originariamente uscita solo in latino) del famosissimo Calepino. Frate Ambrogio dei conti di Caleppio, nel bergamasco, visse tra il 1440 e il 1510 e pubblicò nel 1502 a Reggio Emilia la prima edizione del suo celebre dizionario, diffusosi poi in una quantità di ristampe sempre più aggiornate e rivedute da altri linguisti. La fonte materiale e ideale del dizionario del Calepio è data dalla Cornucopia di Nicolò Perotto e dalle Eleganze di Lorenzo Valla. Col Perotto e col Valla il Calepio condivide il proposito di porre fine al gergo delle scuole, di restaurare la latinità classica. Il dizionario intende offrirsi come guida a chi intenda risalire, oltre l'età di mezzo, alla classicità. La latinità del Calepino si estende da Plauto a Tacito, ai grammatici e, scavalcando il latino tardo e medievale, al latino umanistico, di Valla e Perotto, citati come auctores accanto ai classici. Non ci troviamo dinanzi a un lessico, nel senso moderno del termine, ma piuttosto dinanzi a una mescolanza di lessico ed enciclopedia antiquaria (e non solo): questa appare perché il dizionario include un onomastico (antroponimi, toponimi ecc.), ed anche perché in voci propriamente lessicali sono altresì frequenti le digressioni di tipo enciclopedico (per es., s.v. pingo è accennata una storia della pittura antica e quattrocentesca). L'opera ebbe traduzioni in italiano (nel 1533, a Venezia, apparve quella di Lucio Minerbi), ma soprattutto rifacimenti e adattamenti bi e plurilingui, che aggiungevano, accanto al lemma latino, i corrispondenti greci, ebraici (raramente) e dei vari volgari europei. Un più sistematico Calepinus septem linguarum (latino, greco, ebraico, italiano, tedesco, francese, spagnolo) fu redatto nel Settecento da I. Facciolati, maestro del Forcellini. (GG. Soldi Rondinini e Tullio De Mauro in Dizionario Biografico degli Italiani, XVI, 1973). Non in Adams né in STC French Latino

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         1581 PETRARCH Italian Renaissance Poetry Canzoniere Gesualdo Woodcuts Petrarca

      In Venetia, Appresso Alessandro Griffe, MDLXXXI. [1581]. - 1581 PETRARCH Italian Renaissance Poetry Canzoniere Gesualdo Woodcuts Petrarca “Books have led some to learning and others to madness.” Francesco Petrarch Petrarch was a 14th-century Italian humanist known for his discovery of the letters of Cicero and establishment of the study of humanism. He wrote sonnets and poems, many of which were the model of poetry during the Dark Ages. This 1581 edition of the works of Petrarch was edited with commentary by Giovanni Andrea Gesualdo, who was an outstanding Italian poet in his own right. This work includes a ‘life of Petrarch’ and the commentary of Gesualdo attempts to handle many of the questions posed by Petrarch in the centuries before. Throughout this vellum-bound tome are charming woodcut illustrations that depict the poem or song they are paired with. It includes the famous ‘Canzoniere’ which is poems of pastoral living, mythology, themes of Petrarchan Love and pain, politics, and praise of loved ones. Item number: #1716 Price: $750 PETRARCH, Francesco Il Petrarcha con l'espositione di m. Gio. Andrea Gesvaldo. Nvovamente ristampato, e con soma diligenza corretto, et ornato di figvre. Con doi tauole, vna de' sonetti e canzoni, & l'altra di tutte le cose degne di memoria, che in essa espositione si contengono. In Venetia, Appresso Alessandro Griffe, MDLXXXI. [1581]. Details: • Collation complete with all pages: [28], 413 o Signatures: *, **8, ***12, A-Z, Aa-Zz, Aaa-Fff8 • References: Adams P 833; • Binding: Vellum; tight & secure • Language: Italian • Size: ~8.5in X 6.5in (21.5cm x 16.5cm) Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 1716 Photos available upon request. [Attributes: First Edition; Hard Cover]

      [Bookseller: Schilb Antiquarian]
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         Istorie di Matteo Villani cittadino fiorentino. Che continua quelle di Giovanni suo fratello. Con l'aggiunta di Filippo suo figliuolo, che arrivano sino all'anno 1364. Nuovamente riccorrette, e ristampate et con due tavole, l'una de' Capitoli, and l'altra delle cose notabili.In Firenze, nella Stamperia de' Giunti, 1581.

      In Firenze, nella Stamperia de' Giunti 1581 - Pp. (32) 560 (44). Unito a: VILLANI FILIPPO. Della historia di Matteo Villani cittadino fiorentino. Li tre ultimi Libri. Che son'il resto dell'Istoria scritta da lui, che nelli stampati sino ad"hora mancano. Con un'aggiunta di Filippo Villani suo figliuolo, ch'arriva sino all'anno 1364. Nuovamente posta in luce. Con due tavole una de" Capitoli, e l'altra delle cose più notabili. In Firenze, nella Stamperia de" Giunti, 1577. Due opere in un volume di cm. 22. Bei marchi tipografici a frontespizi e colophon, testatine, finalini e graziosi capilettera istoriati. Legatura settecentesca in piena pergamena rigida, con titoli (anche manoscritti) e fregi in oro al dorso; tagli a spruzzo. Alone nella parte inferiore del volume, più evidente nelle prime pagine e in seguito più velato, sporadiche fioriture, lievi tracce d"uso alla legatura. Esemplare nel complesso genuino e in buono stato di conservazione. I. La celebre Cronica Villani fu compilata dopo il 1300 dallo storico fiorentino Giovanni Villani (1276-1348) che morì nella peste del 1348. L"opera, che delinea una storia universale principalmente incentrata sugli eventi fiorentini, fu proseguita dal fratello Matteo fino all"anno 1363 e quindi conclusa dal nipote Filippo per l"anno 1364. Non comune edizione giuntina. Cfr. Gamba, 1029-31, Brunet, V, 1226; Graesse, VII, 318. II. Rara edizione, citata dalla Crusca erroneamente con la data 1567. Filippo Villani (1325-dopo il 1404), figlio di Matteo e nipote di Giovanni, giurista e letterato, continuò in volgare, con stile più evoluto e con una più approfondita analisi degli avvenimenti, la Cronica del padre e dello zio, dal libro XI; ma non riuscì a realizzare il progetto di estenderla e si fermò alla cronaca dell"anno 1364. Cfr. Gamba, 1030; Lozzi, 1957. [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Apuleio]
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         Tractatus de fluviorum alluvionibus, deque ijs, quae ex alluvione nascuntur commodis, et incommodis [..].

      apud Franciscum Zilettum, 1581. In-folio (cm. 29,3), legatura del XVIII secolo in m. pelle con titolo e filetti in oro ai comparti del dorso, piatti marmorizzati, tagli rossi; pp. [20] 307 [25] con 2 tavole ripiegate f.t. e numerose illustrazioni in silografia n.t.; antica firma di possesso al frontespizio, minuscoli segni di tarlo al margine interno delle prime e ultime carte senza fastidio, Ex libris timbrato al risguardo. Nuova emissione della prima edizione del De alluvionum iure universo (Bologna 1580), con frontespizio e carta solidale corrispondente (+6) sostituiti dal tipografo veneziano. «Alquanto rara» [Riccardi I, 1, 12]. Erudito studio sugli effetti delle alluvioni dei corsi d'acqua. Cfr. Affò, Scrittori e letterati parmigiani, tomo IV, pp. 175-178. [UNITO A:] Torri Benedetto Giuseppe. De Crimine et poena stupri. Parmae, Joseph Pescatori, 1728, pp. [8] 302 [2], prima edizione. Esemplare molto buono.

      [Bookseller: Gabriele Maspero Libri Antichi]
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         Poemata et numero librorum et aliis additis aucta et emendatius denuo edita.

      1581 - Cum privilegio Decennij. Lipsiae 1581. Imprimebat Ioannis Steinman. (16 x 10,5 cm), k. [12], s. 527, [1], sygn. drukarski i inicjały w drzewor., opr. sk. z epoki. (Estr. T. 27). Ślady niew. zawilg., zalanie dolnego marginesu początkowych kart, zapiski z epoki. Oprawa: brązowa skóra z tłoczeniami, otarcia i ubytki skóry szczeg. na grzbiecie. Stan dobry. Zawiera elegie m.in. do Stanisława Łaskiego, Stanisława Hozjusza, Mikołaja Radziwiłła, króla Zygmunta Augusta, Jana Dantyszka, Krzysztofa Kromera i wielu in. Georgius Sabinus (1508-1560), humanista, poeta i pierwszy rektor Uniwersytetu Albertyna w Królewcu. Często odwiedzał Polskę i utrzymywał bliskie kontakty m.in. z Andrzejem Górką Rzadkie. [Attributes: Hard Cover]

      [Bookseller: Antykwariat Wójtowicz]
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         Eirenarcha: or of The Office of the Iustices of Peace, in two Bookes: Gathered 1579 and now reuised, and firste published, in the 14 yeare of the peaceable reigne of our gratious Queene Elizabeth. S.T.C. 15163; Beale T387

      Imprinted by Ra: Newbery, and H. Bynnemann [etc.], London 1581 - Contemporary unlettered vellum, well rubbed and worn, remains of ties, yet exceptionally clean with generous (?large paper) margins; the Taussig copy First edition of the work for which Lambard is best remembered, his seminal work on justices of the peace "which must be placed at the head of that long list of books . . . which stretch from the seventeenth to the twentieth century" [Attributes: First Edition]

      [Bookseller: Meyer Boswell Books, Inc., member ABAA]
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         Escurie

      Lyon, Jean de Tournes 1581 - In-folio de (4), 52 et (4) pages ; exemplaire sous une chemise moderne de conservation dont la reliure de vélin a été conservée conjointement. Unique et peu courante édition de ce magnifique ouvrage bilingue (français et italien) sur l'art équestre illustré de 14 pleines pages de gravures montrant des mors, campanels, brides, etc. Le texte français est imprimé en caractères de civilité. Importantes auréoles marginales sur l'ensemble du volume avec restauration de papier mais sans manque de texte, restaurations dans la marge extérieure de la page de titre et du dernier feuillet imprimé ; dernier feuillet blanc doublet. [Attributes: First Edition; Soft Cover]

      [Bookseller: Le Zograscope]
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         Laurea di Polum Zambeccaris - Diploma dell' Università di Bologna 16/1/1581

      Laurea di Polum Zambeccaris - Diploma dell' Università di Bologna 16/1/1581. Un f. in pergamena in-folio massimo oblungo (77 x 60 cm.) con sigillo in ceralacca conservato entro contenitore in metallo legato al diploma. Grande iniziale e decorazioni miniate a colori nell' angolo superiore sinistro. Famiglia bolognese, nel sec. XVI ascesa al grado senatorio sotto Urbano VIII...

      [Bookseller: Brighenti libri esauriti e rari]
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         A declaration of the recantation of Iohn Nichols (for the space almoste of two yeeres the Popes scholer in the Englishe seminarie or college at Rome) which desireth to be reconciled, and receiued as a member into the true Church of Christ in England ...

      London: Imprinted by Christopher Barker, 1581. Small 8vo (14.5 cm; 5.75"). [98] ff. Nicholls (1555–84?) was educated at Brasenose but did not take a degree. Instead, he left upon completion of his course work and returned to his native Glamorgan, Wales, where he soon obtained a curacy. In 1577 he left his position, gave up his allegiance to the Church of England, travelled to Rome, and voluntarily submitted himself to the => Inquisition where he formally recanted his Protestantism. He was welcomed warmly into the Roman Catholic Church, and in 1580 was back in England.    He was arrested in Islington, London, sent to the Tower, recanted his Catholicism, became an informer denouncing various Catholics of his acquaintance. His allegiance changed yet again in 1582, in Rouen, where he recanted his most previous recantation and was => very cautiously received back in the Church of Rome. Death came soon after.    "Nicholls died on the continent in want and, probably, depression, most likely in 1584. He has been condemned by biographers for his want of constancy in what are assumed to be genuine, if bewildering, changes of faith and profession. Yet it may have been the case that there was a kind of cynical consistency in his animal sense of self-preservation, one actively encouraged by the systems of religious repression and polarization under which he managed for a while to operate with some success" (ODNB). => He was clearly one of the most troubled figures in the history of Recusancy.    This copy of his Declaration has setting 2 of the title-page, setting 1 of leaf N1r, and setting 1 of L1r (see ESTC). The title-page has a handsome, elaborate woodcut frame/border in a typical "Barker" style; the prefatory "epistola" is printed in italics, the preface in roman, and the text in gothic (i.e., black letter).    Searches of NUC, WorldCat, and ESTC locate only seven U.S. libraries reporting ownership of this, not one a Catholic institution.    Binding: Signed binding by Bedford. Full sprinkled calf, round spine, raised bands, gilt spine extra. Gilt triple-rule border on both boards; gilt double-rule on board edges; gilt turn-ins including a gilt dentelle rule and a gilt floral vine roll. Red French swirl marbled endpapers. All edges gilt.         STC (rev. ed.) 18533; ESTC S113205; Franks 6551. Apparently beyond the scope of Allison & Rogers (rev. ed.). Excellent 19th-century binding as above, lightly rubbed along the joints (outside). Very good.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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         Painted escutcheon depicting the coat-of-arms of the Dutch Crabeth family originating from the city of Gouda

      Unsigned, early 19th century. Oil on oak panel, 45x34,5 cm. In a mahogany frame. A little loss of paint in the margin. The Crabeth family started with painter Adriaan Crabeth, eldest son of Pieter Krepel or Krepele Pieter, citizen of Gouda. Adriaan Crabeth (died Gouda 1581) was born in Gouda and changed his name at the same time as his brothers into Crabeth and took as coat-of-arms the three golden eagle (or cock) paws on a blue shield. Crabeth painted the famous stained glass windows in the St. Jan church in Gouda. H163

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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         A declaration of the recantation of Iohn Nichols (for the space almoste of two yeeres the Popes scholer in the Englishe seminarie or college at Rome) which desireth to be reconciled, and receiued as a member into the true Church of Christ in England ...

      Imprinted by Christopher Barker, 1581. Nicholls (1555-84?) was educated at Brasenose but did not take a degree. Instead, he left upon completion of his course work and returned to his native Glamorgan, Wales, where he soon obtained a curacy. In 1577 he left his position, gave up his allegiance to the Church of England, travelled to Rome, and voluntarily submitted himself to the => Inquisition where he formally recanted his Protestantism. He was welcomed warmly into the Roman Catholic Church, and in 1580 was back in England. He was arrested in Islington, London, sent to the Tower, recanted his Catholicism, became an informer denouncing various Catholics of his acquaintance. His allegiance changed yet again in 1582, in Rouen, where he recanted his most previous recantation and was => very cautiously received back in the Church of Rome. Death came soon after. "Nicholls died on the continent in want and, probably, depression, most likely in 1584. He has been condemned by biographers for his want of constancy in what are assumed to be genuine, if bewildering, changes of faith and profession. Yet it may have been the case that there was a kind of cynical consistency in his animal sense of self-preservation, one actively encouraged by the systems of religious repression and polarization under which he managed for a while to operate with some success" (ODNB). => He was clearly one of the most troubled figures in the history of Recusancy. This copy of his Declaration has setting 2 of the title-page, setting 1 of leaf N1r, and setting 1 of L1r (see ESTC). The title-page has a handsome, elaborate woodcut frame/border in a typical "Barker" style; the prefatory "epistola" is printed in italics, the preface in roman, and the text in gothic (i.e., black letter). Searches of NUC, WorldCat, and ESTC locate only seven U.S. libraries reporting ownership of this, not one a Catholic institution. Binding: Signed binding by Bedford. Full sprinkled calf, round spine, raised bands, gilt spine extra. Gilt triple-rule border on both boards; gilt double-rule on board edges; gilt turn-ins including a gilt dentelle rule and a gilt floral vine roll. Red French swirl marbled endpapers. All edges gilt.

      [Bookseller: PRB&M/SessaBks (Philadelphia Rare Books ]
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         "Painted escutcheon depicting the coat-of-arms of the Dutch Crabeth family originating from the city of Gouda. ".

      "Unsigned, early 19th century. Oil on oak panel, 45x34,5 cm. In a mahogany frame. A little loss of paint in the margin. The Crabeth family started with painter Adriaan Crabeth, eldest son of Pieter Krepel or Krepele Pieter, citizen of Gouda. Adriaan Crabeth (died Gouda 1581) was born in Gouda and changed his name at the same time as his brothers into Crabeth and took as coat-of-arms the three golden eagle (or cock) paws on a blue shield. Crabeth painted the famous stained glass windows in the St. Jan church in Gouda. H163".

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
 29.   Check availability:     NVvA     Link/Print  


         Harmonia Confessionvm Fidei, Orthodoxarum, & Reformatarum Ecclesiarum, quae in praecipuis guibusque Europae Regnis, Nationibus, & Prouinciis, sacram Euangelij doctrinam purè profitentur: quarum catalogum & ordinem sequentes paginae indicabunt. Additae sunt ad calcem breuissimae obseruationes: quibus, tum illustratur obscura, tum quae in speciem pugnare inter se videri possunt, perspicuè, atque modestissimè conciliantur: & si qua adhuc controuersa manent, syncerè indicantur. Quae omnia, Ecclesiarum Gallicarum, & Belgicarum nomine, subiiciuntur libero & prudenti reliquarum omnium, iudicio.

      Geneva, Petrus Santandreanus 1581. (24, folding table) 224, 298 (6), (40, 6) p. Contemporary folding Vellum with 4 raised bands, 4° (The text block is slightly browned throughout, the bottom corner of page 115-118 is teared off, therefore a few letters of the marginal comments are missing. Rare and important collection of confessions, edited by the Swiss Reformed theologian Jean-François Salvard, c.1530-1585 (with the help of Theodore Beza and Lambert Daneau). The work contains a compilation of a total of 11 Protestant confessions of faith, beginning with the Confession of Augsburg of 1530 and ending with the Bohemian Confession of 1575. The work incorporates Swiss, French, English and Dutch Confessions and was intended as a defense of the Protestant, and particulary Reformed, doctrine against the constant attacks of Romanists and Lutherans.) Bakhuizen van den Brink, J.N. (1949). De Harmonia Confessionum van 1581 en de Gereformeerde Kerken in Nederland, in Nederland Archief voor Kerkgeschiedenis Volume 37 / Büsser, F. (1984). Freedom in reformed confessions of the 16th Century, in Zwingliana Band XVI Heft 4.

      [Bookseller: Antiquariaat De Roo]
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         PASSAU. Prachtvolle Gesamtansicht mit 5 Kostümfiguren im Vordergrund, 2 Wappen und Erklärungen in 2 Kartuschen.

      - Kupferstich aus Braun-Hogenberg, 1581, 36,5 x 50 cm. Lentner 9723. - Im unteren Rand sowie der Darstellung kaum sichtbare Papierdurchbrüche, das Blatt unten verso doubliert. - Aufwendig in Echtgoldleiste gerahmt.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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         Funerailles & Diverses Manieres D'ensevelir Des Rommains, Grecs, & Autres Nations, Tant Anciennes Que Modernes, Descrites Par Claude Guichard Docteur Es Droits,& Dediees A Treshaut, Trespuissant, & Tresmagnanime Prince, Charles Emanuel Duc De Savoye.

      Par Jean De Tournes Imprimeur Du Roy, Lyon 1581 - Avec Privilege. Reliure d'époque plein veau brun, dos à nerfs caissons et titres dorés, petite consolidation en queue et en haut du premier plat, coins légèrement usés. Feuillet manuscrit d'une page et demie non identifié, joint à la première garde. Titre gravé, 3 (f) non paginées, 546 p, 11 (f) non paginées. Texte illustré de figures sur bois, bandeaux, et majuscules ornées. Légère auréole en marge du texte, puis dans le texte à certains endroits, mais très légèrement. De la page 540 à la fin de l'ouvrage, le coin supérieur gauche a été restauré sur environ 1 cm, tête légèrement rognée. Size: In8 [Attributes: First Edition]

      [Bookseller: Rossignol]
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         L'Opere di'Oratio poeta lirico comentate da Giovanni Fabrini da Fighine il lingua vulgare Toscana, con un bellissime ordine, che'l Vulgare è Comento del Latino: et il Latino è Comento del Vulgare, ambedue le lingue dichiarandosi l'una con l'altra. Di nuovo in questa Terza Editione da molti errori eme

      VENEZIA: Appresso Gio. Battista Sessa, et fratelli - Venetia, 1581. III ED.. Rilegato. DISCRETO. 14,3 20. USATO

      [Bookseller: Biblioteca di Babele]
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         Painted escutcheon depicting the coat-of-arms of the Dutch Crabeth family originating from the city of Gouda.

      - Unsigned, early 19th century. Oil on oak panel, 45x34,5 cm. In a mahogany frame. A little loss of paint in the margin. The Crabeth family started with painter Adriaan Crabeth, eldest son of Pieter Krepel or Krepele Pieter, citizen of Gouda. Adriaan Crabeth (died Gouda 1581) was born in Gouda and changed his name at the same time as his brothers into Crabeth and took as coat-of-arms the three golden eagle (or cock) paws on a blue shield. Crabeth painted the famous stained glass windows in the St. Jan church in Gouda. H163

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


        [MAP OF IEPER] Hypra Flandriarum Civitas Munitissima.

      Köln, G. Kempen, 1581-88. One sheet. Ink on paper. Copper engraving. Hand coloured. One fold. Slightly warped, a little grimed. 424x534 mm. City map of Ieper (Ieperen, Ypres) in Belgium. From: Civitates Orbis Terrarum.

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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