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         De Republica, Quas Discursus Nuncupavit Libri III. & Princeps (Discourses on Livy & The Prince)

      Frankfurt: Sumptibus Lazari Zetzneri Bibliop, 1608. Hardcover. Good. Two books in one. pp. Discourses (iv), 1-546, (xvii Catalogus Omnium Capitum); eight blank pages; The Prince translated by Silvestro Tegli 1-264, (viii Index). In Latin. 19th Century binding with bookmark. Approx. 5.75" tall. Good. Some ink underlining and marginal notations in Latin, date unknown. Text quite legible, a bit of foxing to pages. An early Latin translation of the political philosopher Machiavelli's two best-known works.

      [Bookseller: Burnside Rare Books ]
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         Pièces héroïques et diverses poésies.

      par la veuve de Jacques Colomiez, A Tholose 4228 - A Tholose, par la veuve de Jacques Colomiez, & Raym. Colomiez, 1608.In-12 (150 x 82 mm) de [12], 70, [2] ; 55, [1] ; [6], 33, [1] ; 44 ; 55 [i. e., 71], [3] ; 70, [2] ; 20 pp. Plein maroquin bleu marine, triple filet doré sur les plats, super ex-libris doré au centre du plat supérieur, dos à nerfs richement orné, double filet doré sur les coupes, roulette intérieure dorée, tranches dorées sur marbrure (Chambolle-Duru). ÉDITION ORIGINALE du recueil des écrits poétiques de César de Nostredame, fils de Nostradamus, connu également pour être l?auteur de la première «Histoire de Provence». Il est dédié au duc de Guise qui, au dire de l?auteur dans une lettre qu?il adressa à Peiresc, le gardait de toute nécessité.Il se compose de sept opuscules publiés à Toulouse chez les Colomiez, imprimeurs du roi, en 1606, 1607 et 1608 : Rimes Spirituelles, Les Perles ou les Larmes de la Saincte Magdeleine, Dymas ou Le Bon Larron, La Marie Dolente, Tableau de Narcisse, Le Songe de Scipion, et les Vers Funebres sur la Mort de Charles du Verdier escuyer de Monseigneur le duc de Guise. Exemplaire de Frédéric Lachèvre avec son super ex-libris sur le premier plat et son ex-libris macabre gravé.Le célèbre bibliophile et bibliographe a annoté le recueil au crayon sur les deux premières pages de garde, y soulignant la grande valeur poétique des 4e et 7e parties.Magnifique exemplaire de cet ouvrage très rare.Lachèvre, Bibliographie des recueils collectifs de poésie, t.4, p.161. Bibliothèque Daniel Ruzo (vente 2007), n°104.

      [Bookseller: Librairie d'Apre-Vent]
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         Les Plaidoyers faicts au Grand Conseil sur le Privilège de la Fierté prétendu par les Doyen, Chanoines & Chapitre de l'Eglise cathédrale de Roüen, & les Arrests sur-ce intervenus. Suivi de "Responce de Me Denis Bouthillier, Advocat en la court, sur le prétendu Privilège de la Fierté de Sainct Romain. Contre la deffence des Doyen, Chanoines & Chapitres de l'Eglise Cathedrale de Rouën, Adressée à eux mesme. Ensemble les arrest intervenus au grand Conseil sur la question du prétendu privilège contesté au Procès concernant l'assassinat en la personne du feu sieur de Halot." par Bouthillier, Denis.

      Macé 1608 - Paris, Macé, 1608. Petit in-8, plein vélin époque, dos lisse, titre en noir, 147 pp; titre, 5 ff non chiffrés, 304 pp, 2 ff non chiffrés. Vélin bruni au dos, manque les fermoirs, charnières intérieures affaiblies. Le premier ouvrage raconte la grâce accordée à Pehu, pour le meurtre du sieur de Halot. Grâce accordée par le privilège de la Fierté, qui permettait à l'église de Rouen de sauver un condamné à mort par an. Le second ouvrage est une réfutation de ce privilège dont l'origine se situe au moyen-âge. C'est au VIIème siècle que Saint Romain, évêque de Rouen, décida de dompter la Gargouille qui désolait les marais de la ville. Il demanda une aide, mais seul un condamné à mort accepta de l'aider. La Gargouille fut capturée et le condamné à mort gracié. Dagobert accorda le privilège à l'évêque de Rouen de gracier un prisonnier par an. [Attributes: Hard Cover]

      [Bookseller: Librairie Lang]
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         Commentarien ofte memorien van-den Nederlandtschen staet/ handel / oorloghen ende gheschiedenissen van onsen tyden/etc. . By hem voor de tweede ende leste reyse over-sien, verbetert ende vermeerdert. Oock soo verre ghebrocht totten af-stande van wapenen ende vrede/ in't jaer 1608.

      - Ghedruckt op Schotlandt buyten Danswijck (= Amsterdam ?), by Hermes van Loven, (1609) (colophon Londen, voor Emanuel van Meteren, 1609). Folio. Contemporary vellum (spine sl. dam.; new endpapers). With engraved title-page, engraved portrait, double-page map of the Netherland by Nicolaes van Geelkercken and several woodengraved portraits in the text. (8),244,199,167 (23),27 lvs.First published in Amsterdam in 1599, followed by many enlarged editions. - Very important Dutch history starting with the 14th century up to 1608. It contains also valuable material for the history of the East- and West Indian Companies, and includes details on a Dutch boatsman who stayed for many years in Japan. Emanuel van Meteren (1535-1612) was consul in London for 30 years. - (Several margins restored, some waterstaining).Cf. Sabin 48176; European Americana 609/84; Muller, America, p.14.

      [Bookseller: Gert Jan Bestebreurtje Rare Books (ILAB)]
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         Ephemerides Generales de los movimientos de los cielos por doze años, desde el M. DC. XII. hasta el de M. DC.XVIII. segun el serenissimo Rey don Alonso en los quatro planetas inferiores, y Nicolao Copernico en los tres superiores que mas conforma con la verdad y observaciones, como se dira en el Prologo. Al meridiano de la Villa de Madrid, que tiene de latitud 40. gr. 26. min. Dirigido a Don Diego de Silva Conde de Salinas y Ribadeo, Duque de Francavila. I. En las quales va una tabla copiosissima de los lugares mas principales del orbe con su elevaciô, hor. y mi. que se han de añadir o quitar, en qualquier operacion que por nuestras Ephemerides se hiziere. II. Y unas tables de la cantidad del dia y noche, con la hora à que el Sol sale y se

      Impresso en Madrid, por Juan de la Cuesta, vendense en casa del Autor à la porteria de S. Felipe, 1608. - in-folio. 4ff. 355pp. (i.e. 349). Plein vélin souple du temps, titre inscrit au dos à l'encre, traces de liens (plats tachés). Edition Originale rarissime de ces tables astronomiques imprimées à Madrid par Juan de la Cuesta, le mythique imprimeur de Don Quichotte. Ce volume était vendu à un prix élevé (cf. Palau) chez l'auteur lui-même, un avocat passionné d'astronomie et partisan de Copernic qui avait installé un observatoire chez lui. Cet ouvrage est important à plusieurs égards: d'une part parce que certains des calculs qu'il contient sont basés sur le nouveau système de Copernic, qui avait la préférence de l'auteur pour être "plus conforme à la vérité et aux observations", ce qui témoigne notamment de la bienveillance suscitée en Espagne par les nouvelles thèses héliocentristes censurées dans les autres pays. D'autre part on y trouve pour la première fois la prévision des éclipses de lune et de soleil incluant des territoires du Nouveau Monde. "These carefully calculated ephemerides for 1607-18 are probably the first in any language to mention specific areas of the New World which are to be darkened by eclipses of the sun or moon. It is of great rarity, being unknown to Thorndike and most other historians and bibliographers of astronomy as well as of Americana. Among the eclipses forecast for the Western Hemisphere are one of the moon, 22 November 1612, shadowing the Magellan Straits, Tierra del Fuego, and neighboring regions; of the sun, 13 October 1613, shadowing Mexico, New Spain as far as California, etc.; of the sun, 11 November 1613, shadowing Brazil and other areas of South America; of the moon, 26 August 1616, shadowing Cuba, New Spain, New France, Florida, Trinidad, Nicaragua, etc. Pacific regions such as the Philippines, New Guinea, Solomon Islands, and even Japan, are also frequently referred to. The object, according to the title-page, is to give eclipse information for Spain and for the East and West Indies occupied by or of interest to Spain" (Schab). Nombreuses figures sur bois dans le texte. Infime cerne clair dans la marge supérieur, à peine visible. Bel exemplaire dans son vélin d'origine. Sabin, 93309. Medina, Bibliotheca Hispano-Americana, 542. Picatoste, Biblioteca Científica, 775. Palau, 323807: "Las tablas de este libro demuestran una habilidad y una paciencia dignas de encomio. Probablemente a esto se debe que se fijase su precio a 7 maravedises el pliego, en vez de 3 o 4 como era corriente". William Schab, Catalogue 16, n°33. Cantamessa, Biblioastrology, 778 ter. [Attributes: First Edition]

      [Bookseller: Librería Comellas]
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         8 Antique Master Prints-SEVEN WONDERS-ANTIQUE WORLD-Tempesta-1608

      - 8 Antique prints, titled: 'Septem orbis admiranda', Set of seven prints with associated title page: the seven wonders of the antique world, each shown during construction. As such each print shows figures related to construction: builders, engineers and architects. Etching, on hand laid paper, watermarks: Crossed C and cross of Lotharingen and five pointed foolscap. Description: Famous series of the seven Wonders of the world, 'Septem orbis admiranda', published in 1608 by Josse de Rycke. State: II (2). Ref: Bartsch XVII, p. 103, nrs. 1453-1459. Artists and Engravers: Made by A. Tempesta after own design. Antonio Tempesta (ca. 1555-1630) was a Rome born artist, who specialised in etchings. His prints with hunting scenes, biblical matter etc. attracted great popularity in the early 17th. Century and were copied widely. Condition: Good, with small margins. Nice impressions with some old folds and gluestains verso. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: R1-116 LA The overall size is ca. 11.4 x 9.1 inch. The image size is ca. 11.2 x 8.7 inch. The overall size is ca. 29 x 23 cm. The image size is ca. 28.5 x 22.2 cm.

      [Bookseller: ThePrintsCollector]
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         CONSTITVTIONS AND CANONS ECCLESIASTICALL, TREATED VPON BY THE BISHOP OF LONDON, PRESIDENT OF THE CONUOCATION FOR THE PROUINCE OF CANTERBURY, AND THE REST OF THE BISHOPS AND CLERGIE OF THE SAYD PROUINCE: AND AGREED VPON WITH THE KINGS MAIESTIES LICENCE IN THEIR SYNODE BEGUN AT LONDON ANNO DOM. 1603. AND IN THE YEERE OF THE RAIGNE OF OUR SOUERAIGNE LORD IAMES BY THE GRACE OF GOD KING OF ENGLAND, FRANCE AND IRELAND THE FIRST, AND OF SCOTLAND THE 37. AND NOW PUBLISHED FOR THE DUE OBSERUATION OF THEM BY HIS MAIESTIES AUTHORITIE, VNDER THE GREAT SEALE OF ENGLAND

      London: Imprinted ... by Robert Barker ... Anno, 1608. [120]pp. Collation: A-P4. Quarto. Extracted from pamphlet volume. Elaborate floral headpiece on title. Light dust soiling, faint tidemark affecting last third of text block toward gutter at top, a few early ink annotations, but a good, crisp copy. One of the six printings of the English text dated 1604 distinguished by STC and ESTC. The copy in hand has the catchword 'Reuerence' on D1r, and STC suggests it may have been printed in 1608. ESTC locates four copies in North America (including the present copy). STC 10071.5. ESTC 2623. McALPIN I:179.

      [Bookseller: William Reese Company - Literature ABAA-]
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         Antique Map-BRABANT-BELGIUM-MECHELEN-Ortelius-1608

      - Map : 'Brabantiae Descriptio.' (Map of Brabant.) Copper engraved hand coloured map of Brabant. With an inset showing Mechelen and surroundings. Two decorative cartouches, one with scale. Copper engraving on verge type hand laid paper with watermark. Original old hand colouring. Description: From an Italian version of 'Theatrum Orbis Terrarum' by Ortelius, ca. 1608.Artists and Engravers: Abraham Ortelius was born 1528 in Antwerp. He studied mathematics, Greek and Latin and travelled a lot across Europe. He established a business in dealing with books and drawing maps. His first remarkable map was a 8 sheet world map in the year 1564, but only three copies have survived. In 1570 he issued the "Theatrum Orbis Terrarum", the first modern "Atlas" with uniformly sized maps in a systematic collection. The term "Atlas" was not used until Mercator introduced it 20 years later. Most of the maps in Theatrum have been engraved by Frans Hogenberg. At the time of publication, the atlas was the most expensive book ever printed. Nevertheless it was a big success and around 7000 copies have been printed until 1612 in many editions and six different languages. Beside the Theatrum, Ortelius compiled a series of historical maps and published it in the "Parergon Theatri" which was bound with the Theatrum from 1579 onwards or published separately. Condition: Good. Original middle fold, mith soms small tears, refibred. Small stains, mostly in margin. Small closed hole, in the inset top right, backed with contemporary paper and consolidated with archival tape. General age-related toning and occasional light stains from handling. Please study image carefully. Storage location: B16-02 The overall size is ca. 20 x 16.3 inch. The image size is ca. 18.8 x 14.4 inch. The overall size is ca. 50.8 x 41.4 cm. The image size is ca. 47.8 x 36.6 cm.

      [Bookseller: ThePrintsCollector]
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         L'Arianna tragedia... rappresentata in musica nelle Reali Nozze del Sereniss. Principe di Mantova, e della Serenissima Infanta di Savoia

      Mantua, Heirs of Francesco Osanna, 1608. The libretto of Arianna, set to music by Monteverdi (his second opera), and performed on 28 May 1608 in the Sala degli Specchi in the Palazzo Ducale in Mantua, as the first entertainment of extravagant festivities there celebrating the marriage of the heir-apparent, Francesco IV Gonzaga, to Margherita of Savoy. This first edition, printed "Presso gli Heredi di Francesco Osanna Stampator Ducale", may have been distributed before the performance, functioning as advertising for it and as an aid to following the action on stage. Only two copies can be traced in North American libraries ● Chicago, Newberry Library ● Washington, DC, Library of Congress. No other copy has appeared in the auction salerooms for at least fifty years, and the book is thus absent in several of the expected repositories (including British Library, Pierpont Morgan Library, and New York Public Library). Rinuccini, Ottavio Florence 1562 - 1621 Florence L'Arianna tragedia... rappresentata in musica nelle Reali Nozze del Sereniss. Principe di Mantova, e della Serenissima Infanta di Savoia. Mantua, Heirs of Francesco Osanna, 1608 quarto (220 × 158 mm), (26) ff. signed π 2 A-F 4 (blank F4) and paginated (4) 1-46 (2). Woodcut (insignia of the dukes of Mantova and Monferrato) on title-page, woodcut initial I (folio A1 recto), woodcut tail-piece (A1 verso, repeated F3 verso), head-pieces composed of type ornaments. Contemporary pen corrections: p.1, line 7: 'Non perche mortal guardo il cor m'alletti' revised to 'Non perche mortal guardo il cor saetti'; p.1, line 9: 'Di strali armato, e non di face, o d'arco' revised to 'Di cetra armato, e non di strali, o d'arco'. provenance Baron Horace de Landau (1824-1903), his exlibris (inkstamped 9733) on pastedown 1 -- anonymous consignor, Sotheby's, 'Libri e stampe', Milan, 11 December 2006, lot 827 Apart from a few spots, in very good state of preservation. binding nineteenth-century Italian leather-backed boards. The libretto of Arianna, set to music by Monteverdi (his second opera), and per­formed on 28 May 1608 in the Sala degli Specchi in the Palazzo Ducale in Mantua, as the first entertainment of extravagant festivities there celebrating the marriage of the heir-apparent, Francesco iv Gonzaga, to Margherita of Savoy (the formal wedding had been in Turin on 19 February). 2 Several versions of Arianna's lament, 'Lasciatemi morire', are known, the only music from the opera to survive. 3 [img-2518-left-large_default] The libretto of Monteverdi's second opera, in its rare first edition (reduced from 220 × 158 mm) [img-2519-left-large_default] The corrected readings (in pen and ink) are printed in later editions Arianna was immediately enshrined by contemporary theorists as an exemplar of what opera should be and of how music and poetry should relate to one another; modern scholars regard the work no less highly, but examine it in relation to contemporary rhetorical stud­ies, coming of age rituals, and in the context of gender and sexuality. 4 Upon the success of his first opera, Orfeo, per­formed in Mantua during the carnival of 1607, Monteverdi was commissioned to write music for the Savoy-Gonzaga wedding. 5 Rinuccini delivered a preliminary draft of the libretto to him in October 1607, and Monteverdi evidently wrote most of the music over the following two months. Both com­poser and librettist were in Mantua in February 1608, where they met with the superinten­dent of the festivities, Federico Follino, and others. Their intention was to celebrate the wedding during the Carnival season, however in late February 1608, Monteverdi's pupil, Caterina Martinelli, who was to take the title-role, contracted smallpox and died. 6 A replacement for her was soon found in the comme­dia dell'arte actress Virginia Andreini, and a successful rehearsal of the entire work was con­ducted on 15 March. 7 Rinuccini returned to Mantua in April 1608, apparently to super­vise staging, and possibly to supervise the printing of L'Arianna's libretto and make any last-minute changes requested by the composer. The wedding ceremonies however were repeatedly postponed because of diplomatic difficulties. When the bride arrived in Mantua on 24 May 1608, the festivities began immediately. They also fea­tured a performance of L'Idropica, a comedy by Battista Guarini with intermedi written by Gabriello Chiabrera, and a 'Ballo delle ingrate'. This is the first edition of the libretto, printed 'Presso gli Heredi di Francesco Osanna Stampator Ducale', and very probably distributed before the performance, functioning as advertising for it and as an aid to following the action on stage. Certain readings in the prologue - stressing the importance of the house of Savoy at the expense of the Gonzagas, referring to the bride's father, Carlo Emmanuele i, as 'Carlo immortal' - suggest that it was printed at the expense of the Savoyards. 8 A second edition, presenting the text actually heard at the performance (substituting refer­ences to the bride for those to her father), including stage direc­tions, occurs within Federico Follino's commemo­rative account of the wedding festivities, printed by 'Aurelio, & Lodovico Osanna Stampatori Ducal' (i.e. after the transfer of Francesco's press to those heirs) with a dedication dated 1 July 1608. 9 Further reprints of the libretto at Florence 10 and Venice 11 appeared the same year (the 'Carlo immortal' read­ings are printed in these editions). Until recently, scholars were unaware of the textual differences in the sources, and the text generally relied upon was Follino's second edition, derived moreover not from the original, but from an inaccu­rate transcription first published in 1904 by Angelo Solerti. 12 Only within the last ten years has the text offered in our first edition begun to be studied, an undertaking complicated by its relative inaccessibil­ity (there is no published transcription or facsimile). This first edition is rare: just one other copy has appeared in the auction salerooms during the past fifty years, 13 and the book is thus absent in several of the expected repositories (including British Library, Pierpont Morgan Library, and New York Public Library). Two copies of the edition are located in North American libraries ● Chicago, Newberry Library, Y712.R469 ● Washington, dc, Library of Congress 14 and thirteen copies are reported in Euro­pean libraries ● Florence, Biblioteca Marucelliana (located by Sartori) ● Florence, Biblioteca nazionale centrale 15 ● The Hague, Nederlands Muziek Insti­tuut, NMI 4H51 (Collectie Dr. H.F. Scheurleer, inv. 13569) ● Modena, Biblioteca Estense Universitaria, 70.I.15 (14) ● Paris, Bibliothèque de l'Arsenal 16 ● Paris, Bibliothèque nationale de France, YD-1565 17 ● Rome, Biblioteca del Conservatoria di Musica S. Cecilia (located by Sartori) ● Reggio Emilia, Biblioteca Municipale Panizzi (located by Sartori) ● Repubblica di San Marino, Archivio 18 ● Turin, Biblioteca Civica Musicale 'Andrea Della Corte' Mus. Rari. A.34 (now L.O. 2304) ● Turin, Biblioteca centrale della Facoltà di lettere e filosofia dell'Università degli studi di Torino, RMLE01023 ● Venice, Biblioteca del Conservatorio di Musica Benedetto Marcello (located by Sartori) ● Venice, Biblioteca Marciana, Marc. Dramm. 2985 19 references Gaetano Domenico Poggiali, Serie de' testi di lingua stampati (Livorno 1813), ii, p.47 no. 143 ('Questa rara edizione e ignota all' Allacci, e al suo Continuatore'); Claudio Sartori, I libretti italiani a stampa dalle origini al 1800: catalogo analitico (Cuneo 1990), no. 2549 1. Exlibris reproduced by Egisto Bragaglia, Gli ex libris italiani: dalle origini alla fine dell'Ottocento (Milan 1993), no. 2036. The copy is not entered in Fr. Roediger, Catalogue des livres manuscrits et imprimés composant la bibliothèque de M. Horace de Landau (Florence 1885-1890), unless contained within the 'recueil factice de libretti des xvii et xviiie siècles que nous avons réuni et qui comprend plus de 500 pièces' (i, p.237). 2. Jessica Gordon, 'Entertainments for the marriages of the princesses of Savoy in 1608' in Italian Renaissance festivals and their European influence, edited by J.R. Mulryne and Margaret Shewring (Lewiston 1992), pp.119-140. 3. Printed in Monteverdi's Il sesto libro de madrigali a cinque voci (Venice 1614), the first of his madriga­lian publications to appear after the first production, and subse­quently printed in a monodic version. 4. The extensive secondary literature is discussed in Suzanne G. Cusick, '"There was not one lady who failed to shed a tear": Arianna's lament and the construction of modern womanhood' in Early music 22 (1994), pp.21-41; see further, essays by Tim Carter, Anne MacNeil, and Suzanne Cusick in Early music 27 (1999); and Anne MacNeil, Music and women of the Commedia dell'Arte in the late sixteenth century (Oxford 2003). 5. For an account of the events surrounding the creation of the opera, see Paolo Fabbri, Monteverdi, translated by Tim Carter (Cambridge 1994), pp.77-99. 6. Edmond Strainchamps, 'The Life and Death of Caterina Martinelli: New Light on Monteverdi's Arianna ' in Early Music History 5 (1993), pp.155-186. 7. Paoloa Besuitt, 'The "Sala degli Specchi" uncovered: Monteverdi, the Gonzagas and the Palazzo Ducale, Mantua' in Early Music 27 (1999), p.460, with a new dating (15 March 1608) and full tran­scription of a letter from Antonio Costantini to Duke Vincenzo Gonzaga con­cerning this rehearsal. 8. Bojan Bujic, 'Rinuccini the craftsman: A view of his L'Arianna' in Early Music History 18 (1999), pp.75-117, especially pp.78-79; Anne MacNeil, 'Weeping at the Water's Edge' in Early Music 27 (1999), p.413; Anne MacNeil, Music and women of the Commedia dell'Arte in the late sixteenth cen­tury (Oxford 2003), p.156. 9. Compendio delle sontuose feste fatte l'anno mdcviii nella città di Mantova (Mantua 1608), pp.31-65. A facsimile of this extremely rare book has now been published, in Cronache Mantovane 1587-1608, edited by Claudio Gallico (Florence 2004), pp.103-257. 10. L'Arianna. Tragedia del sig. Ottavio Rinuccini (Florence: Giunti, 1608); see I Giunti tipografi edi­tori di Firenze, 1571- 1 625: annali inediti, edited by Luigi Silvestro Camerini (Florence 1979), p.152; J. Rigbie Turner, F our centuries of opera: manuscripts and printed editions in the Pierpont Morgan Library (New York 1983), pp.7-9; 'Per un regale evento': spettacoli nuziali e opera in musica alla corte dei Medici, catalogue of an exhibition held in the Biblioteca nazionale centrale, edited by Maria Adelaide Bartoli Bacherini (Florence 2000), p.171 no. 5. 11. L'Arianna. Tragedia del sig. Ottavio Rinuccini (Venice: Giunti, Ciotti & compagni, 1608); see Le edizioni vene­ziane del Seicento: censimento, edited by Caterina Griffante (Milan 2006), no. 452 (and nos. 453-455 for reprints there in 1622, 1639, 1640). 12. Angelo Solerti, Gli arbori del melodramma (Milan 1904), ii, p.vii (no. 6) and pp.143-187. 13. Bolaffi, 'Libri rari e Autografi', Milan, 30 October 2013, lot 468 (bound with Alessandro Striggio, La Favola d'Orfeo, Manuta: Francesco Osanna, 1607). 14. Oscar Sonneck, Catalogue of Opera Librettos printed before 1800 [in Library of Congress] (Washington, dc 1914), p.140. 15. Title-page reproduced by Claudia Burattelli, Spettacoli di corte a Mantova tra Cinque e Seicento (Florence 1999), fig. 17. 16. La vie théâtrale au temps de la renaissance, catalogue of an exhibition, Institut pédagogique national (France), March-May 1963 (Paris 1963), p.184 no. 354. 17. Suzanne P. Michel and Paul Henri Michel, Répertoire des ouvrages imprimés en langue italienne au xvii e siècle conservés dans les bibliothèques de France (Paris 1967-1984), vii, p.33. 18. Located by Progetto Corago (http://corago.unibo.it; link). 19. Annalisa Bruni, 'Claudio Monteverdi. Mostra bibliogra­fica' [in Libreria Sansoviniana, 27 Novem­ber-12 December 1993] in Miscellanea Marciana 7-9 (1992-1994), p.482, no. 27.

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         1608 Geneva/Breeches bible

      - lovely binding with brass ornamentation. There is no title page for the bible but the Concordances has a title page which tells us it was printed by Robert Barker of London in 1608. The book of Psalmes also has a title page but this is printed for the Company of Stationers is dated 1609. Starts with ‘The First Book of Moses, called Genesis’ and runs for 555 pages right through to Revelations and has ‘The Ende’ printed at the foot of the page suggesting the bible is complete- then comes to the Concordances which has no pagination but looks to run for approx 150 pages and has a finis - then lastly comes the Book of Psalms which runs for 95 pages and has a finis and then there are further 5 pages after this being the Morning Prayer [Attributes: Hard Cover]

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         Algebra.

      Bartholomeo Zannetti, Rome 1608 - First edition, author?s presentation copy to the Jesuit College of Tivoli, of this rare and important text by ?the most influential teacher of the Renaissance? (Sarton), ?commonly considered one of the last and fullest syntheses of cossic algebra? (Feingold, Jesuit Science and the Republic of Letters, p. 63). Clavius ?was one of the very first to use parentheses to express aggregation of terms. His Algebra marks the appearance in Italy of the German plus (+) and minus (-) signs and the algebraic symbols used by Stifel? (DSB). Only six copies located in auction records in the last 60 years, and no other author?s presentation copy.It is from this book that many of the leading mathematicians of Europe learned their algebra over the next several decades. ?Leibnitz wrote a letter to Bernoulli in 1703, indicating that he learned algebra from Clavius? book. As a child, I had studied the elementary algebra of one Lancius, and later that of Clavius? (Sigismondi, p. 232). Again, ?Clavius was a key figure in Descartes? earliest (perhaps even initial) study of mathematics. For instance, from a letter of March 1646 written by John Pell to Charles Cavendish, we have good reason to believe that ca. 1616, while a student at La Flèche, Descartes read Clavius's Algebra (1608). Reporting on his meeting with Descartes in Amsterdam earlier that same year, Pell writes in particular that ?[Descartes] says he had no other instructor for Algebra than ye reading of Clavy Algebra above 30 years ago?? (Stanford Encyclopedia of Philosophy). ?Mersenne, Descartes? friend and confidant, would advise reading Clavius? Algebra, for he said that there one would always find interesting questions? (Udías, Jesuit Contribution to Science, p. 7).Clavius? work followed the textbook tradition of algebra of the Renaissance. Among his sources he explicitly mentions Diophantus, Jordanus of Nemore, Cardano, Tartaglia, Bombelli, and, perhaps most interestingly, Pedro Nuñes, who is known to have taught Clavius at Coimbra. ?Clavius? Algebra may be placed historically at the intersection point of the tradition of cossist algebra and Diophantus? Arithmetica. Having adopted the algebraic symbolism of Michael Stifel, Clavius could represent by symbols more than one unknown quantity. Besides, he sometimes denoted certain numbers by signs, as Jordanus?s De numeris datis had done in the thirteenth century. On the other hand, his Algebra was basically freed from the practical tradition of algebra. Clavius re-evaluated algebra as a respectable discipline, invoking the ancient authority of Diophantus and such Renaissance forerunners as Regiomontanus and Bombelli.?Nevertheless Clavius? treatise was a typical product of the sixteenth century textbook tradition of algebra even though it appeared at the beginning of the seventeenth century. It surely provided rather sophisticated techniques for solving both arithmetical and geometrical problems, but it is an open question whether or not it is a work leading straight to the idea of algebraic analysis, which made its full-scale appearance with Viète?s In artem analyticem isagoge of 1591? (Sasaki, Descartes?s Mathematical Thought, p. 81).Viète was mentioned in Chapter XII, ?On the extraction of roots which the rule of algebra is concerned with.? ?Clavius was informed of the existing knowledge on the solution of the cubic equation through Cardano?s Ars magna (1545) and Bombelli?s Algebra (1572) ? Clavius also has certain information on Viète?s method probably developed in the latter?s De numerosa potestatum ad exegesin resolution. Viète?s treatise on the numerical solution of the cubic and biquadratic equations was published in 1600 under the editorship of Marino Ghetaldi, a disciple of both Clavius and Viète? (ibid., p. 75).Cajori discusses Clavius? notations at some length (A History of Mathematical Notations, vol.1, pp. 151?154). He notes that it was Clavius who, in his Algebra of 1608, introduced the notations + and ? for addition and subt [Attributes: First Edition]

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         Consilia Sive Responsa Academica, In quibus Materiae gravissimae inter Principes pariter ac privatos in foris illustribus ventilatae, ex Iure Publico ac Privato, Feudali ac Canonico, per Rationes Dubitandi & Decidendi proponuntur ac nervole resolvuntur : ab eodem, partim privato suo, partim Amplissimae Facultatis Iuridicae Francofortanae nomine, paucis aliis insertis.

      Posthum herausgegeben von Samuel Stryk Brunnemann (1608-1672) war Prof. in Frankfurt/Oder.

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         Algebra.

      Rome: Bartholomeo Zannetti, 1608. First edition, author's presentation copy to the Jesuit College of Tivoli, of this rare and important text by "the most influential teacher of the Renaissance" (Sarton), "commonly considered one of the last and fullest syntheses of cossic algebra" (Feingold, Jesuit Science and the Republic of Letters, p. 63). Clavius "was one of the very first to use parentheses to express aggregation of terms... His Algebra marks the appearance in Italy of the German plus (+) and minus (-) signs and the algebraic symbols used by Stifel" (DSB). Only six copies located in auction records in the last 60 years, and no other author's presentation copy. It is from this book that many of the leading mathematicians of Europe learned their algebra over the next several decades. "Leibnitz wrote a letter to Bernoulli in 1703, indicating that he learned algebra from Clavius' book. As a child, I had studied the elementary algebra of one Lancius, and later that of Clavius" (Sigismondi, p. 232). Again, "Clavius was a key figure in Descartes' earliest (perhaps even initial) study of mathematics. For instance, from a letter of March 1646 written by John Pell to Charles Cavendish, we have good reason to believe that ca. 1616, while a student at La Flèche, Descartes read Clavius's Algebra (1608). Reporting on his meeting with Descartes in Amsterdam earlier that same year, Pell writes in particular that "[Descartes] says he had no other instructor for Algebra than ye reading of Clavy Algebra above 30 years ago"" (Stanford Encyclopedia of Philosophy). "Mersenne, Descartes' friend and confidant, would advise reading Clavius' Algebra, for he said that there one would always find interesting questions" (Udías, Jesuit Contribution to Science, p. 7). Clavius' work followed the textbook tradition of algebra of the Renaissance. Among his sources he explicitly mentions Diophantus, Jordanus of Nemore, Cardano, Tartaglia, Bombelli, and, perhaps most interestingly, Pedro Nuñes, who is known to have taught Clavius at Coimbra. "Clavius' Algebra may be placed historically at the intersection point of the tradition of cossist algebra and Diophantus' Arithmetica. Having adopted the algebraic symbolism of Michael Stifel, Clavius could represent by symbols more than one unknown quantity. Besides, he sometimes denoted certain numbers by signs, as Jordanus's De numeris datis had done in the thirteenth century. On the other hand, his Algebra was basically freed from the practical tradition of algebra. Clavius re-evaluated algebra as a respectable discipline, invoking the ancient authority of Diophantus and such Renaissance forerunners as Regiomontanus and Bombelli. "Nevertheless Clavius' treatise was a typical product of the sixteenth century textbook tradition of algebra even though it appeared at the beginning of the seventeenth century. It surely provided rather sophisticated techniques for solving both arithmetical and geometrical problems, but it is an open question whether or not it is a work leading straight to the idea of algebraic analysis, which made its full-scale appearance with Viète's In artem analyticem isagoge of 1591" (Sasaki, Descartes's Mathematical Thought, p. 81). Viète was mentioned in Chapter XII, 'On the extraction of roots which the rule of algebra is concerned with.' "Clavius was informed of the existing knowledge on the solution of the cubic equation through Cardano's Ars magna (1545) and Bombelli's Algebra (1572) ... Clavius also has certain information on Viète's method probably developed in the latter's De numerosa potestatum ad exegesin resolution. Viète's treatise on the numerical solution of the cubic and biquadratic equations was published in 1600 under the editorship of Marino Ghetaldi, a disciple of both Clavius and Viète" (ibid., p. 75). Cajori discusses Clavius' notations at some length (A History of Mathematical Notations, vol.1, pp. 151-154). He notes that it was Clavius who, in his Algebra of 1608, introduced the notations + and − for addition and subtraction, already used in Germany by Michael Stifel, to Italy. Clavius explains that he prefers these two signs, instead of the letters P and M commonly used at the time for plus and minus, to avoid confusion with the letters used to represent numbers. Clavius (p. 159) writes products of sums of integer multiples of square roots much as we would write the multiplication today, the only difference being that the square root was represented by the radical sign followed by a script letter (probably r). For an unknown quantity, Clavius used a cursive letter (apparently x) and for additional unknowns, he used A, B, etc. Thus, he writes 3x + 4A, 4B − 3A where we might write 3x + 4y, 4z − 3y. Sigismondi has framed Clavius' contribution within the context of an expanding early-modern world and the crucial role played by the Jesuits in the development of science in China: "Clavius' contributions to algebra, geometry, astronomy and cartography are enormous. He paved the way, with his texts and his teaching for 40 years in the Collegio Romano, for the development of these sciences ... all around the world, along the commercial paths of Portugal, which become also the missionary paths for the Jesuits. Clavius' books were translated into Chinese by one of his students, Matteo Ricci ..., and his influence for the development of science in China was crucial. The Jesuits became skilled astronomers, cartographers and mathematicians thanks to the example and the impulse given by Clavius. This success was possible also thanks to the contribution of Clavius in the definition of the Ratio Studiorum, the program of studies, in the Jesuit colleges, so influential for the whole history of modern Europe and all western World" (Sigismondi). The centrality of Clavius' influence on the curricula of Jesuit colleges worldwide makes our copy, a gift of the author to the Jesuit Collegium Tyburtinum, all the more desirable. Macclesfield 539; Seventeenth Century Italian Books in the British Library, I, p. 240; DSB III, 311; Smith, History I, 334. De Backer-Sommervogel II, 1221. C. Sigismondi, 'Christopher Clavius astronomer and mathematician,' 12th Italian-Korean Symposium on Relativistic Astrophysics, July 4-8, 2011, Pescara, Il Nuovo Cimento C, Issue 1, Suppl. 1 (2013), pp. 231-6. 4to (214 x 155 mm), pp. [xxxvi] 383 [1]; with woodcut Jesuit device on title, printer's device on final leaf verso, woodcut initials, head- and tailpieces, numerous woodcut diagrams in text (occasional light foxing). Ink inscription 'ex dono auctoris Collegio Tyburtino', with further inscriptions 'ex bibliotheca Collegii Tyburtini, Societatis Jesu', and 'coll. Tyburtino ex dono auctoris', followed by a later inscription recording the date for a catalogue entry, 1765, all on the title-page (the inscriptions showing through to verso, obscuring a few letters in the imprimatur). Contemporary limp vellum (rebacked, later endpapers).

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         Biblia: Dat is, De Gantsche heylighe Schrift, grondelick ende trouvvelick verduytschet. Met verclaringhe duysterer woorden, redenen ende spreucken, ende verscheyden lectien, die in ander loflicke Oversettinghen ghevonden, ende hier aen de cant toe-ghesettet zijn. Met noch rijcke aenwijsinghen, der ghelijck ofte onghelijckstemmenden plaetsen, op het alder ghewiste, met Scheyt-letteren, ende Versen ghetale (daer een yeghelick Capittel na Hebreyscher wijse, mede onderdeylt is) verteeckent. WAARBIJ: De Psalmen des Propheten Davids, Ende ander Lofsanghen, wt den Fransoyschen dichte in Nederlantschen overgheset, Door Petrvm Dathenvm.

      Leyden, Jan Paedts Jacobsz. 1608 - (32) 531, (69) folia. 18e-eeuws Perkament met stempels, 8° H. x L. x B. cm (Een enkel wormgaatje in de bovenste marge vanaf de 'Handelingen', boekblok plaatselijk licht gebruind. Mooie editie van de Deux-Aes Bijbel in klein formaat, bestaande uit het Oude en Nieuwe Testament, de Apocriefen, de Psalmen van Petrus Dathenus 1531-1588 en enkele Formulieren. De Deux-Aes Bijbel was de eerste Bijbelvertaling na de Hervorming die speciaal bedoeld was voor de gereformeerden. De Bijbel werd door de gereformeerden gebruikt tot aan de komst van de Statenvertaling en was voor die tijd een goede vertaling. De naam van de Bijbel is afkomstig uit de kanttekening bij Nehemia 3 vers 5: 'Deux aes en heeft niet, six cinque en gheeft niet, quater dry die helpen vrij’. Een gaaf exemplaar van deze compacte uitgave.) Darlow, T.H./Moule, H.F. (1963). Historical Catalogue of the Printed Editions of Holy Scripture, 3302: Vol.II p. 307 / Hollander, A. (2014). The Edition History of the Deux Aes Bible, found in Religious Minorities and Cultural Diversity in the Dutch Republic, p. 41-72 / Long, Isaac le (1764). Boek-Zaal der Nederduitsche Bybels, p. 738 / Poortman, W.C. (1986). Bijbel en Prent. Deel I: Boekzaal van de Nederlandse Bijbels, p. 112-121

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         Compendio delle sontuose feste fatte l'anno MDCVIII nella città di Mantova per le reali nozze del Serenissimo Principe D. Francesco Gonzaga con la Serenissima Infante Margherita di Savoia

      4to (194x140 mm). [8], 149, [1 blank] pp. and 1 folding engraved plate (Disegno della battaglia navale et del castello de fuochi trionfali fatti..., 230x350 mm). Signatures: [π]4 A-T4. Leaf [π]4 is a blank. Lacking the final blank leaf and a second folding plate (Dissegno del carro...), which is often missing. Contemporary flexible vellum with inked title on spine (bottom of spine and large portion of front panel restored, lacking ties). Book block partly detached from the front cover, lacking the lower outer corner of the front flyleaf, some marginal foxing, a few stains to leaves 46-49, but all in all a very good, genuine copy.First edition, dedicated by Federico Follino to Margherita Gonzaga, the sister of the spouse. The dedication is dated 1 July 1608. The chaplain Federico Follino was responsible for the design and organization of the festivities for the marriage of Francesco Gonzaga and Margaret of Savoy. The plate shows the mock naval battle and the castle built on a platform in the middle of the Mantua lake, work of the engineer Daniele Bertazzolo.The description, among other things, contains the full text of Ottavio Rinuccini's Arianna (pp. 29-66), set to music by Claudio Monteverdi, at the time choirmaster of the duke of Mantua, and performed during the festivities. Rinuccini, invited from Florence, had written the libretto on purpose for the occasion. The account describes in detail the staging of the opera, which lasted two hours and half. The libretto of the Arianna was published as a separate text three times in the same year, 1608, at Florence, Mantua, and Venice.After that, were staged the Idropica (pp. 72-99), a comedy by Battista Guarini, with the intermezzi by Gabriello Chiabrera and a music prologue by Monteverdi, and Il ballo delle ingrate ('The Ballet of the Ungrateful Ladies', pp. 129-134), a semi-dramatic ballet written by Rinuccini and set to music by Monteverdi. The representation of the Ifigenia (pp. 142-149) by Alessandro Striggio closed the celebrations."The 1608 luxurious feasts for the marriage of prince Francesco to Infanta Margherita of Savoia maybe the most impressive expression of Vincenzo Gonzaga' taste and cultural-political design. Federico Follino provides us with a precious Compendio of them, which includes all the texts of the spectacles and two plates, which illustrate the naumachia planned by Bertazzolo. By analyzing Follino' text the festival and spectacular events of the entire cycle were reconstructed; furthermore it is noticed how the court was most attentive to all the spectacular novelties and excellences like the 'commedia musicale' or the ballet as autonomous genre, as well as to the more known spectacular varieties. It is also pointed out how a great importance was attributed to the scenic aspects and the stage-designing skill of the time" (A. Mignatti, Compendio delle sontuose feste..., in: R. Brunelli, ed., "Vincenzo I Gonzaga 1562-1612. Il fasto pel potere", Mantua, 2012, pp. 159-162).This festival book is extremely rare on the market. Of the recorded copies, only a few have both plates.Catalogo unico, IT\ICCU\MUS\0319364; Sartori, Libretti italiani a stampa, 5974; Watanabe-O'Kelly & Simon, Festivals and ceremonies, 463.

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         Mr IACOB CORNELISZ DIENAER DER GEMEINTE CHRISTI.... (portrait of Jacob Cornelisz. van Daalen)

      Portrait of Jacob Cornelisz. van Daalen (1608-1663) preacher and surgeon in Amsterdam. He is sitting on a chair looking towards right with a booklet in his left hand. On the left of the composition a couple of opened books: one is showing a print with a standing body evidencing the muscles, while the on the other rests a piece of paper with Dutch inscription. Hanging from the table another piece of paper with two lines after the Gospel of Luke. Lettered on the bottom:'Mr IACOB CORNELISZ DIENAER DER GEMEINTE CHRISTI., EN CHIRURGYN BINNEN / AMSTERDAM GEBOREN TOT ROTTERDAM, A. MDCVIII / Siet hier het Beeltnis... en Lichaemi te genesen.' Signed on the bottom left: 'C.de Visscher ad vivum delineavit' and on the right:'F. H. van den Hoove sculpsit'. Engraving on paper with small margins; platemark:381 x 298 mm , total: 389 x 302 mm; some foxing; on the verso collector's marks of the Museum der bildenden K

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         Aristotelis Stagiritae Organum, quod logicam appellant. Opera. Cum rerum omnium indice locupletissimo (7 volumi)

      apud Iacobum Stoer, Ginevra 1608 - 7 voll. in-12° legatura in mezza pelle ottocentesca, dorso a quattro nervi, titolo e fregi in oro, conservati in custodia in legno. Ex-libris alle carte di guardia, firme di appartenenza ai frontespizi. I volumi sono così suddivisi: Vol. I: Aristotelis Stagiritae Organum, quod logicam appellant. Cum rerum omnium indice locupletissimo. pp. 637,(36), capilettera e fregi in xilografia, diversi diagammo n.t.; Vol. II: Aristotelis Stagiritae Physicorum libri VIII. Quibus adiecimus omnia illius opera, quae ad naturalem philisophiam spectare videbantur. Quorum seriem versa pagella indicabit. Cum rerum omnium indice locupletissimo. Tomus secundus. pp. 796, (68), capilettera e fregi in xilografia. Vol. III: Aristotelis Stagiritae Metaphysicorum Libri 14. Theophrasti Metaphisicorum Liber. Quorum omnium recognitionem et additamentum versa pagina ostendit. Cum omnium rerum Indice locupletissimo. Pp. 582,(40), capilettera e fregi in xilografia. Vol. IV: Aristotelis Stagiritae Libri omnes, quibus Historia, Partes, Incessus, Motus, Generatioque Animalium, atque etiam Plantarum naturae brevis descriptio. pp. 842,(166). Vol. V: Aristotelis Stagiritae Libri omnes, quibus tota moralis philosophia, quae ad formandos mores tum singulorum, tum familiae, tum civitatis, spectat, continetur. Omnia ad graecum exemplar recognita . Cum rerum omnium indice locupletissimo. Tomus quintus. pp. 827, (125). Vol. VI: Aristotelis Stagiritae Rhetoricorum artisque poeticae libri omnes. Quorum seriem, iuscriptionemque altera ab hac pagina commonstrabit. Cum rerum omnium indice locupletissimo. Tomi sexti pars prior - Tomi sexti pars altera. pp. 302, (34); 302-751, (56), due frontespizi con numerazione continua. Vol. VII.: Index rerum omnium quae in Aristotelis operibus continentur absolutissimus. Lugduni, Apud Ioannam Iacobi Iuntae, 1579. Cerniera superiore staccata. [Attributes: Hard Cover]

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         Cristoffel Wagnar - Auerhahn (Bildnis des Christoffel Wagner mit Affe als Auerhahn). Original-Kupferstich.

      Ohne Jahresangabe (um 1608).. Format ca. 16 x 13 cm. In der Platte unten rechts bezeichnet: „CVSichem jn: sculp: et excudit.", oben links: „Cristoffel Wagnar", oben rechts: „Auerhaen". Mit schmalem, umgehenden Rändchen um die Einfassungslinie. Am oberen Rand auf Trägerkarton montiert. Schöner, fleckenfreier Abdruck. Selten und gesucht. - Hollstein Bd. 27, Nr. 51b. - Szene aus den Faustlegenden, Wagner an einem Tisch in zeittypischer Studententracht mit Mantel und Barett sitzend. Vorne rechts in Gestalt eines Affen Auerhahn, der Dämon, der Wagner auf Faustens Geheiß zu dienen hat, und der diesem mit den Fingern seiner rechten Hand Zeichen macht, welche Wagner ungläubig dreinblickend nachzuahmen versucht. Im Hintergrund weitere Szenen aus der Faust-Legende (Faust im Zaubermantel fliegend und von Wagner - auf einem großen Vogel sitzend - gefolgt; sowie Wagner im Zauberkreis, vor ihm Auerhahn & ein Vogel auf einer Brüstung). Das Blatt bildet das Gegenstück zum im gleichen Jahr angefertigtem Doppelportrait des Fausts und Mephistopheles von van Sichem. Es entstand im Zuge von Illustrationsarbeiten für ein holländischés Werk über Wiedertäufer („Historische Beschrijvinge", 1608); jedoch wurde es von Anfang an auch als Einzelblatt vertrieben (vgl. Kat. Göttingen, 1995)

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         MEMORIE VANDE GHEWICHTIGHE REDENEN DIE DE HEEREN STATEN GENERAEL BEHOOREN TE BEWEGHEN, OM GHEENSINS TE WIJCKEN VANDE BANDELINGHE ENDE VAERT VAN INDIEN [caption title].

      [Amsterdam? 1608]. - [7]pp. Small quarto. Gathered sheets. Minor toning and soiling. Very good. Second edition, improved. Willem Usselinx, a leading Dutch merchant and one of the founders of the Dutch West India Company, advises against a treaty with Spain. The treaty would cause Holland to relinquish trade with the West Indies. He cites as evidence the riches acquired by Spain in Cuba and Hispaniola and argues for Holland's right to free trade. ASHER 38. BELL 189. SABIN 98216n.

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         Iacobi menochii iurisc papiensis regii ducalisque senatoris ac redituum extraordinariorum Regiae Maiestatis Catholicae.. - De presumptionibus, coniecturis, signis et indiciis Commentaria.. Varia, recondita, perfectaque eruditione referta, e omnibus, iudicia presertim exercentibus, oppido quam necessaria

      Apud Viduam Antonij de Harfy, 1608. rilegato. DISCRETO. 22,5 36. I, II USATO

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         Compendio delle sontuose feste fatte l’anno MDCVIII nella città di Mantova per le reali nozze del Serenissimo Principe D. Francesco Gonzaga con la Serenissima Infante Margherita di Savoia

      Mantua: Aurelio & Lodovico Osanna, 1608. 4to (194x140 mm). [8], 149, [1 blank] pp. and 1 folding engraved plate (Disegno della battaglia navale et del castello de fuochi trionfali fatti…, 230x350 mm). Signatures: [Ï€]4 A-T4. Leaf [Ï€]4 is a blank. Lacking the final blank leaf and a second folding plate (Dissegno del carro…), which is often missing. Contemporary flexible vellum with inked title on spine (bottom of spine and large portion of front panel restored, lacking ties). Book block partly detached from the front cover, lacking the lower outer corner of the front flyleaf, some marginal foxing, a few stains to leaves 46-49, but all in all a very good, genuine copy.First edition, dedicated by Federico Follino to Margherita Gonzaga, the sister of the spouse. The dedication is dated 1 July 1608. The chaplain Federico Follino was responsible for the design and organization of the festivities for the marriage of Francesco Gonzaga and Margaret of Savoy. The plate shows the mock naval battle and the castle built on a platform in the middle of the Mantua lake, work of the engineer Daniele Bertazzolo.The description, among other things, contains the full text of Ottavio Rinuccini's Arianna (pp. 29-66), set to music by Claudio Monteverdi, at the time choirmaster of the duke of Mantua, and performed during the festivities. Rinuccini, invited from Florence, had written the libretto on purpose for the occasion. The account describes in detail the staging of the opera, which lasted two hours and half. The libretto of the Arianna was published as a separate text three times in the same year, 1608, at Florence, Mantua, and Venice.After that, were staged the Idropica (pp. 72-99), a comedy by Battista Guarini, with the intermezzi by Gabriello Chiabrera and a music prologue by Monteverdi, and Il ballo delle ingrate ('The Ballet of the Ungrateful Ladies', pp. 129-134), a semi-dramatic ballet written by Rinuccini and set to music by Monteverdi. The representation of the Ifigenia (pp. 142-149) by Alessandro Striggio closed the celebrations."The 1608 luxurious feasts for the marriage of prince Francesco to Infanta Margherita of Savoia maybe the most impressive expression of Vincenzo Gonzaga' taste and cultural-political design. Federico Follino provides us with a precious Compendio of them, which includes all the texts of the spectacles and two plates, which illustrate the naumachia planned by Bertazzolo. By analyzing Follino' text the festival and spectacular events of the entire cycle were reconstructed; furthermore it is noticed how the court was most attentive to all the spectacular novelties and excellences like the 'commedia musicale' or the ballet as autonomous genre, as well as to the more known spectacular varieties. It is also pointed out how a great importance was attributed to the scenic aspects and the stage-designing skill of the time" (A. Mignatti, Compendio delle sontuose feste…, in: R. Brunelli, ed., "Vincenzo I Gonzaga 1562-1612. Il fasto pel potere", Mantua, 2012, pp. 159-162).This festival book is extremely rare on the market. Of the recorded copies, only a few have both plates.Catalogo unico, IT\ICCU\MUS\0319364; Sartori, Libretti italiani a stampa, 5974; Watanabe-O'Kelly & Simon, Festivals and ceremonies, 463.

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         Mr IACOB CORNELISZ DIENAER DER GEMEINTE CHRISTI.... (portrait of Jacob Cornelisz. van Daalen).

      Portrait of Jacob Cornelisz. van Daalen (1608-1663) preacher and surgeon in Amsterdam. He is sitting on a chair looking towards right with a booklet in his left hand. On the left of the composition a couple of opened books: one is showing a print with a standing body evidencing the muscles, while the on the other rests a piece of paper with Dutch inscription. Hanging from the table another piece of paper with two lines after the Gospel of Luke. Lettered on the bottom:'Mr IACOB CORNELISZ DIENAER DER GEMEINTE CHRISTI., EN CHIRURGYN BINNEN / AMSTERDAM GEBOREN TOT ROTTERDAM, A. MDCVIII / Siet hier het Beeltnis... en Lichaemi te genesen.' Signed on the bottom left: 'C.de Visscher ad vivum delineavit' and on the right:'F. H. van den Hoove sculpsit'."Engraving on paper with small margins; platemark:381 x 298 mm , total: 389 x 302 mm; some foxing; on the verso collector's marks of the Museum der bildenden K"

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         Dell'Historia di Piemonte Libri tre. Ne' quali con brevità si vedono tutte le cose più degne di memoria occorse in essa Patria, et altre vicine sin'all'Anno 1585

      Per Agostino Disserolio,, In Torino, 1608 - Cm. 20, pp. 270 + (2) con sonetto di Francesco Antonio Olivari ed errata. Frontespizio con grande marchio centrale inciso e capolettera istoriati. Solida legatura settecentesca in piena pelle, doso liscio con filetti in oro e titoli manoscritti su etichetta. Alcune antiche firme di possesso al frontespizio e qualche nota ms. marginale. Esemplare con piccole gore chiare, ma complessivamente assai genuino e ben conservato. Edizione originale, rara, di uno dei primi tentativi di storia dei territori piemontesi. Per la sua compilazione l'autore attinse direttamente ai documenti originali degli archivi dello stato sabaudo. [Attributes: First Edition; Hard Cover]

      [Bookseller: Studio Bibliografico Benacense]
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         Cruydt-Boeck van Rembertus Dodonaeus, volgens sijne laetste verbeteringe: Met Biivoegsels achter elck capittel, uut verscheyden Cruydtbeschrijvers Item in't laetste een Beschrijvinge vande Indiaensche gewassen, meest getrocken wt de schriften van Carolus Clusius

      Leiden: Francoys van Ravelingen. Very Good. 1608. First Edition. Hardcover. First flemish edition of the great botanical encyclopaedia by Rembert Dodonaeus. Vellum over wooden boards. Ca. 1483 woodcut illustrations of plants. Covers wrinkled, chipped and with tears, soiling. The final leaf of the text/woodcuts (1580) has a small tear below the illustration with the loss of a few words of text. Following that leaf, the index has severe damage and tears and is very defective including the loss of large portions of the index proper. ; 4to 11" - 13" tall; [8], 1580, [79] pages .

      [Bookseller: William Chrisant & Sons' Old Florida Boo]
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         Arrival of the five Spanish ambassadors in The Hague, February 1608 [Scenes from the war in 1608 and 1609 (Serie title)]

      Arrival of the five Spanish ambassadors in The Hague through Rijswijk in February 1608: Maurits and Spinola on the left are greeting each other; to the left the small village of Rijswijk and in the distance The Hague. Etching on paper; trimmed to platemark; total: 151 x 245mm; two worm holes in the sky; only state New Hollstein 61; Burchard 25b; Muller 1249; v. Stolk 1213 OMP Fr (8)

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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         Dell'Historia di Piemonte... Libri tre. Ne' quali con brevità si vedono tutte le cose più degne di memoria occorse in essa Patria, et altre vicine sin'all'Anno 1585...

      Per Agostino Disserolio, 1608. Cm. 20, pp. 270 + (2) con sonetto di Francesco Antonio Olivari ed errata. Frontespizio con grande marchio centrale inciso e capolettera istoriati. Solida legatura settecentesca in piena pelle, doso liscio con filetti in oro e titoli manoscritti su etichetta. Alcune antiche firme di possesso al frontespizio e qualche nota ms. marginale. Esemplare con piccole gore chiare, ma complessivamente assai genuino e ben conservato. Edizione originale, rara, di uno dei primi tentativi di storia dei territori piemontesi. Per la sua compilazione l'autore attinse direttamente ai documenti originali degli archivi dello stato sabaudo.

      [Bookseller: Studio Bibliografico Benacense]
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         Arrival of the five Spanish ambassadors in The Hague, February 1608 [Scenes from the war in 1608 and 1609 (Serie title)].

      "Arrival of the five Spanish ambassadors in The Hague through Rijswijk in February 1608: Maurits and Spinola on the left are greeting each other; to the left the small village of Rijswijk and in the distance The Hague. "."Etching on paper; with small margins; platemark: 151 x 244 mm; total: 155 x 248 mm; great conditions; only state New Hollstein 61; Burchard 25b; Muller hit. pr. 1249; v. Stolk 1213 OMP Fr (8)"

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
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         Beeldenaer ofte figuer-boeck, dienende op de Provisionele ordre vander Munte, uyt-ghegeven by de M.E.H. de Staten Generael, op den 6-10-1608. Gravenhage, H. Jacobsz, 1608.

      4°, zonder omslag. Titelpagina licht beschadigd.

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
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         Maniement D'Armes D'Arquebuses, Mousquetz, et Piques. En Conformite De L'Ordre De Monseigneur le Prince Maurice, Prince d'Orange, Comte de Nasau & Gouverneur et Captain General de Geldres , Hollande, Zeelande, Utrecht, Overyssel .

      Imprimé a Amsterdam chez Robert de Baudous 1608. On les vend' ausi a Amsterdam chez Henry Laurens. - Folio, text size 360 x 277mm, pp: [xiv] & 117 plates (text 14 unnumbered pages) - 3 parts in 1 volume, 42, 43 & 32 plates, complete as issued. Fine engraved & coloured title page, imprint date on title page changed in the plate from 1607 to 1608, text in French - Dutch version issued earlier the same year under the title: 'Wapenhandlinghe'. Plates with contemporary colouring, ornate title page with the arms of Maurice, Prince of Orange (shield with bugles & lions rampant), fully coloured and 117 plates with figures and arms fully coloured & including the extensive use of silver in colouring & occasional use of gold, excellent margins throughout. The principal, classic and important work of Jacob de Gheyn (1565-1615). Not in STC, corresponds to title page variant 3 of STC 11810-1 with French text. Front endpapers creased, title page browned with old dampstain to tail of title page, lower fore-edge corner torn with slight loss, plates occasionally browned & marked, mostly confined to outer margins & with a damp stain at end lightly affecting the final 2 plates, otherwise contents very good, bound in near contemporary full brown stained vellum, blind stamped rules to boards & spine with a paper title label in ink, worn, rubbed & spine darkened, however sound, tight & very good condition."The most influential military manual of the 17th century which provides instructions for handling arquebuses, pikes and muskets, together with standardized commands for drill masters. The detailed collection of plates provide step-by-step guidance for using weaponry, as well as depicting contemporary military dress, each image appears to be a real portrait of an individual Musketeer. Not necessarily affordable for soldiers, but was aimed at gentlemen in command of militias. Jacob de Gheyn II (also Jacques de Gheyn II) (c.1565-1629) a Dutch painter & draughtsman was renowned as a master engraver. He was born in Antwerp and received his first training from his father. He moved to Leiden in the 1590's where his work attracted the attention of wealthy sponsors and his first commission was from Maurice of Nassau, Prince of Orange. He originally produced the 117 engravings for the military manual in the 1590s, on the instruction of Maurice of Orange, but they were not published as engravings until 1607-8. Some of the plates in this work are signed by him." References: cf Spaulding & Karpinski 80; Cockle 79. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Offas Dyke Books]
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         Arrival of the five Spanish ambassadors in The Hague, February 1608 [Scenes from the war in 1608 and 1609 (Serie title)]

      - Arrival of the five Spanish ambassadors in The Hague through Rijswijk in February 1608: Maurits and Spinola on the left are greeting each other; to the left the small village of Rijswijk and in the distance The Hague. Etching on paper; with small margins; platemark: 151 x 244 mm; total: 155 x 248 mm; great conditions; only state New Hollstein 61; Burchard 25b; Muller hit. pr. 1249; v. Stolk 1213 OMP Fr (8)

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


         Commentarien ofte memorien van-den Nederlandtschen staet, handel, oorloghen ende geschiedenissen van onsen tyden, etc. Mede vervattende eenige haerder ghebueren handelinghen (...) totten af-standt van wapenen ende vrede in ‘t jaer 1608.

      ‘op Schotland buyten Danswijck' [1608?]. (18)+488+398+334+(46)+54 pag. Geheel leren band. Geillustreerd met gegraveerde titelpagina met 8 voorstellingen en houtsneden in de tekst. Aan het slot ‘Appendix of by-voegsel vande vrede handel' gedateerd ‘Tot Londen voor Emanuel van Meteren, 1609'.

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


         [HOLY BIBLE] Biblia Sacra Vulgatae Editionis, cum necessaria, versiculorum distinctione & concordantiarum ad marginem annotatione edita

      Frankfurt: Vincent Steinmeyer, 1608 pp [1] + [3] + 884 + 275 + [79] Goat skin binding - could be contemporary , elaborate gilt decoration, AEG, floral endpapers - later but not recent. Internally very good with a few neat annotations/underlinings (old hand), two signatures (one 20th century) on first blank, signature (old hand) on title page, binding sound, boards bright with a couple of tiny white marks, spine rather worn with slight loss to top edge. An uncommon edition. Full-Leather. Good. 12mo - over 6¾" - 7¾" tall.

      [Bookseller: Longland Books]
 32.   Check availability:     Biblio     Link/Print  


         Beginning of the consultation of the States about the Truce in The Hague, February 1608 [Scenes from the war in 1608 and 1609 (Serie title)].

      "Beginning of the consultation of the States about the Truce in The Hague, February 1608; below platemark title added in black ink:'Zitting der Gevolmachtigden tot de Vredehandeling A. 1608'. On the verso collector's mark of the Gemeentemuseum Den Haag (L.1096)"."Etching on paper; trimmed to platemark; total: 160 x 243 mm; evenly yellowed, signs of foldings; only state New Hollstein 60; Burchard 25a; Muller hit. pr. 1252; v. Stolk 1218 OMP Fr (8)"

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


         Sancti Athanasii Magni, Alexandrini Archiepiscopi Omnia quae extant opera

      Apud Michaelem Sonnium 1608 - Ships from the UK. Quarto. Leather Bound Hardcover, 1608 . . 669 pp. Vignette. Hinges, intact and textblock sturdy. Pages, mainly clean with pen notations to some pages scoring through some text passages and in margins. Pages, intact. Some foxing and age toned. Previous owner inscription on title page. Bound chestnut brown leather with raised bars and gilt lettering on spine. Corners are bumped, with partial crack to spine and with head and tail of spine edges missing. Early edition of Athansius' work, first published in 1601. While we seek perfection, we are still human and occasionally make mistakes. Photographs available on request. Offered by the Rare & Collectable Books department of Better World Books UK, 100% Money Back Guarantee. Your purchase supports literacy charities [Attributes: Hard Cover]

      [Bookseller: BetterWorldBooksRareUK]
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         C. Plinii Secvndi Historie Mvndi Libri XXXVII. Cvm Castigationibvs Et Adnotationibus doctiss. & variis praeterea lectionibus ex mss. compluribus ? Ex nouissima & laboriosiss. editione Iacobi Dalechampii ? Acceduntiam primum Pavli Cigalini Comensis praelectiones duae eruditiss (etc.)

      Frankfurt, Claude Marne u. Johann Aubry Erben 1608. - VD17 1:047311F. Vgl. Georgi 2,226 - bedeutende, in kleinen Lettern gedruckte Frankfurter Ausgabe d. für die Naturwissenschaft in der Rennaissance wichtigsten Referenzwerkes, verfasst v. Plinius d. Jüngeren (61/62-ca.114), mit d. Anmerkungen d. bekannten französischen Botanikers u. Arztes Jacques Dalechamps (1513-1588) u. den Plinius-Vorlesungen des Paolo Cigalini (gest. 1598), Professor für Medizin in Pavia. 8° (In 2 Bänden gebunden) Titelbl., 7 nn. Bll., Ss. 1-752 u. Ss. 753-1688, 94 Bll. (Index), mit e. Druckermarke am Titelblatt, Kopfleisten, Initialen, Schlussvignetten u. zwei schematischen Darstellungen im Text. Pergamentbände d. Zeit, Rücken v. alter Hand beschriftet, etwas fleckig, Rücken nachgedunkelt u. geringfügig eingerissen, Bindung gelockert, 3 d. fliegenden Vorsatzblätter fehlen, etwas Wurmfraß in den Innendeckeln. Seiten mäßig vergilbt u. stockfleckig, aus d. Mitte u. von d. Unterkante d. Titelblattes jeweils ein Streifen, ohne Textverlust, weggeschnitten (Entfernung v. Besitzanzeigen?) Mit verschiedenen durchgestrichenen alten Besitzvermerken am Titelblatt recto u. e. weiteren verso (Ex Libris Joannis Michaelis Köhler . 1795-96), einigen, teilweise durchgestrichenen, Anmerkungen u. Besitzvermerken am vorderen Innendeckel u. einzelnen Anstreichungen im Text.

      [Bookseller: Antiquariat Löcker]
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         Tre lettere annue del Giappone de gli anni 1603, 1604, 1605, e parte del 1606 Mandate dal P. Francesco Pasio v. provinciale di quelle parti al M.R.P. Claudio Acquaviva generale della Compagni di Giesù

      Appresso Bartholomeo Zannetti, 1608. In 8° piccolo (mm 155x110). Pagg. 318, una bianca; marca editoriale in silografia al frontespizio della compagnia di Gesù, testo romano tondo, capolettera istoriati in legno. Pergamena floscia coeva. Prima edizione di queste rare lettere spedite dal Giappone dai padri Gesuiti, che redigono un dettagliato resoconto delle missioni in Giappone. La prima datata Nagasachi 6, Ottobre, 1603, redatta dal padre Matteo Couros (gesuita portoghese partito per il Giappone nel 1586) al padre Generale Claudio Acquaviva, descrive lo stato in cui si trovava a quel tempo la Cristianità, in terre così lontane, in un periodo storico non facile per i religiosi, dato il clima di persecuzioni imposto dal capo politico e militare; racconta dei vari Collegi (Nagasachi, Arima, Omura, Chycugen, Bugen, e Bungo, Meaco) e delle chiese, descrive episodi particolari di avvenute conversioni da parte della popolazione autoctona. Le altre due lettere datate 1604 e 1605, sono scritte da padre Giovanni Rodriguez Giron (1583-1633), anch'egli a Nagasachi, centro principale dell'evangelizzazione giapponese; padre Rodriguez risiedette molti anni in Giappone, la sua influenza lasciò profonde tracce nella mentalità nipponica.Ottimo esemplare, abili restauri agli angoli sup. A partire da pag. 270; firma di possesso manoscritta al frontespizio. Cordier BJ 251. De Backer-Sommervogel vi, 328. & clns 1578/9 & 1970. Leon Pages, Bibl. Japonaise, 1088to (mm 155x110). Pages 318, 1 blank. Contemporary vellum. First edition. Old ownership inscription on title. A charming copy of these three very rares Jesuit missionary letters sent from Japan about jesuit activities. The first, dated Nagasaki October 6, 1603, is written by Matteo de Courosto father to Claudio Acquaviva. He was a Portugese missionary, born in 1568 and left for Japan in 1586, where he lived for many years. The other two letters, also written in Nagasaki (1604-5) are by Joao Rodriquez (1583-1633). He resided in Japan for many years and became a significant missionary who got a deep insight into the Japanese mentality and language. Professonal restoration on top corner without any loss of text from page 270.Cordier BJ 251. De Backer-Sommervogel vi, 328. & clns 1578/9 & 1970. Leon Pages, Bibl. Japonaise, 108

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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         Dell'arte militare libri cinque [..].

      appresso Pietro Maria Marchetti, 1608. 5 parti in 1 tomo in-4? (cm. 21,5), legatura del XX secolo in m. pelle e angoli con titolo in oro su tasselli e fregi a secco al dorso, piatti in carta marmorizzata; cc. [8] 79 [i.e. 80], 34, 30 [1b], [1] 28 [1b], [2] 34 in ottimo stato, con tavole illustrative n.t. (anche ripiegate) e tabelle, frontespizi con impresa tipografica (?ncora e delfino). Terza edizione completa (dopo l'originale bresciana del 1571 e la ristampa, sempre di Brescia, del 1584) di questa significativa trattazione rinascimentale di tattica e di fortificazione militare. Il Cattaneo aveva fortificato Sabbioneta per conto di Vespasiano Gonzaga. Cfr. Cockle 542; Marini 22-23. Esemplare molto buono.

      [Bookseller: Gabriele Maspero Libri Antichi]
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         CONSTITVTIONS AND CANONS ECCLESIASTICALL, TREATED VPON BY THE BISHOP OF LONDON, PRESIDENT OF THE CONUOCATION FOR THE PROUINCE OF CANTERBURY, AND THE REST OF THE BISHOPS AND CLERGIE OF THE SAYD PROUINCE: AND AGREED VPON WITH THE KINGS MAIESTIES LICENCE IN THEIR SYNODE BEGUN AT LONDON ANNO DOM. 1603. AND IN THE YEERE OF THE RAIGNE OF OUR SOUERAIGNE LORD IAMES BY THE GRACE OF GOD KING OF ENGLAND, FRANCE AND IRELAND THE FIRST, AND OF SCOTLAND THE 37. AND NOW PUBLISHED FOR THE DUE OBSERUATION OF THEM BY HIS MAIESTIES AUTHORITIE, VNDER THE GREAT SEALE OF ENGLAND

      London: Imprinted . by Robert Barker . Anno 1604 [but ca. 1608?]. - [120]pp. Collation: A-P4. Quarto. Extracted from pamphlet volume. Elaborate floral headpiece on title. Light dust soiling, faint tidemark affecting last third of text block toward gutter at top, a few early ink annotations, but a good, crisp copy. One of the six printings of the English text dated 1604 distinguished by STC and ESTC. The copy in hand has the catchword 'Reuerence' on D1r, and STC suggests it may have been printed in 1608. ESTC locates four copies in North America (including the present copy). STC 10071.5. ESTC 2623. McALPIN I:179.

      [Bookseller: William Reese Company - Literature, ABAA]
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        Trattati degli orologi

      Italie (Macerata ?), XVIIe siècle, in-8, 1 ff (1ere de couverture avec titre), 3 grandes planches de poncifs (2 depl. et 1 à double page) et 1 petit poncif découpé à la forme, [15] ff. de texte avec 1 petit papillon de texte et 3 petits poncifs découpés à la forme, [env. 140 x 200 mm] encre brune sur papier vergé, vélin moderne à la bradel, titre en long, planches en tête montées sur onglets, Très beau manuscrit, qui ressemble moins à un véritable "traité" de gnomonique qu'à un carnet de notes personnel, composé en partie sur des feuillets de remploi et enrichi de poncifs montés ultérieurement au début de l'ouvrage. Le premier feuillet forme la couverture d'origine, portant le titre en italien, Trattati degli orologi. La provenance de ce carnet est sans doute jésuite, puisque l'on y trouve, en tête, deux lettres-enveloppes de remploi, avec traces de cachets à la cire, à l'adresse d'un certain Giuseppe Alberti de la Compagnie de Jésus à Macerata, peut-être l'auteur de ce travail ; les dates de ces lettres sont, hélas, difficilement lisibles ([15]99 et 1608 ?). Le carnet a été relié avec 7 poncifs figurant des tracés pour cadrans : 3 grands poncifs, qui ouvrent le traité ; et 4 petits poncifs, découpés à la forme, l'un relié au début de l'ouvrage et les autres contrecollés en marge d'un feuillet de texte. Ces poncifs se reconnaissent aux petits trous qui transpercent le papier en suivant le contour du dessin et qui permettent le report du motif sur une surface par application de poudre de charbon de bois : l'utilisation de charbon explique, par ailleurs, l'aspect noirci de ces feuilles. Le texte comprend deux parties assez distinctes : la première, écrite en latin, comporte des méthode pour tracer des cadrans et réaliser des mesures ; la seconde, en italien, donne plusieurs types de cadrans existant. L'ensemble est illustré de plusieurs figures tracées à la plume dans le texte : schémas mathématiques, tracés de cadrans et cadrans (cadran de berger, cadran cruciforme, cadran vertical mural, cadran diptyque, cadran intégré au contreplat d'un livre, anneau solaire, etc). En outre, l'auteur fait la démonstration intéressante de "cadrans-mains", qui permettent de connaître les heures sans instrument : - Une "horloge-main", graduée de 12 à 20, avec un style placé à la jonction entre le pouce et l'index, représentée à deux reprises. La première main est d'un dessin assez naïf et le dessinateur s'y est repris en réalisant un repentir pour le pouce et l'index. Pour la seconde main, il a remployé un dessin qui semble plus ancien, représentant à l'origine une main guidonienne (procédé mnémotechnique du XIe siècle mis au point par Guido d'Arezzo pour représenter les notes de musique), sur laquelle il a intégré les mêmes graduations. Ce type d'"horloge-main" est connu depuis le XVIe siècle au moins ; on en voit une apparaître dans les Annotationi sopra la lettione della spera del Sacro Bosco de Mauro di Firenze (1550). - Le second "cadran-main" prend la forme d'une horloge à deux mains, jointes par les pouces, qui forment une table horizontale, tandis que les index sont dressés à la verticale. Là aussi, le dessin est naïf et l'on discerne un repenti en-dessous. Cette méthode pour connaître l'heure solaire sans instrument est elle aussi attestée ; nous en trouvons la description chez un coreligionnaire, le père Bobynet qui, dans son Horographie Ingénieuse publiée pour la première fois en 1647 (Paris, Veuve de François Langlois), décrit plusieurs méthodes de "cadrans naturels", dont celui-ci, qui figure à la planche 21, et dont l'utilisation est détaillée aux pages 286 et suivantes. Bobynet affirme être le premier à décrire cette invention qui lui semble nouvelle, "ne l'ayant encore leuë dans aucun autheur". Le principe de ce "cadran naturel" est le suivant : "[il] est tout fait sur 4 doits, sçavoir le pouce & le suivant de chaque main, disposés en sorte qu'ils représentent à peu près un carré parfait (...) Tournez l'index d'une main vers le

      [Bookseller: Librairie Alain Brieux]
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