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Auction Description for Bibliopathos: Treasure Of Papers
Viewing Notes:
2 to 7 of May 2014, from Monday to Friday h 9-12 15-18 local time, by appointment only.

Treasure Of Papers

(113 Lots)

by Bibliopathos


113 lots with images

May 8, 2014

Live Auction

via Enrico Toti, 1

Verona, 37129 Italy

Phone: +39 (0)45 592917

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[Surgery, Islam] Paulus Aegineta, 1553

Lot 1: [Surgery, Islam] Paulus Aegineta, 1553

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Description: FIRST AND ONLY ALDINE EDITION OF PAUL AEGINETA'S MEDICAL ENCYCLOPEDIA, ONE OF THE MOST INFLUENTIAL WORK IN THE ISLAMIC WORLDPAULUS AEGINETAS. Pauli Aeginetae Medici Opera. A Ioanne Guinterio Andernaco Medico exercitatissimo summique iudicii conversa, & illustrata commentariis. Adiectae sunt annotationes Iacobi Goupyli medici Parisiensis, in aliquot singulorum librorum capita. Ioanne Baptista Camotio Philosopho novissimè corrigente, cum quibusdam scolijs in margine positis. Venetiis, 1553 [al colophon: Venetiis, Apud Federicum Turrisanum, Anno 1553].8vo, vellum from a medieval manuscript, ff. (8), (26), 383.Text in Latin and Greek.First and only Aldine edition of Paul's medical encyclopedia of medicine and surgery, very appreciated in the Middle Age, especially in the Arabic world.Paul of Aegina or Paulus Aegineta (Aegina, 625?-690?) was a 7th-century Byzantine Greek physician best known for writing this medical encyclopedia in seven books. For many years in the Byzantine Empire, this work contained the sum of all Western medical knowledge and was unrivaled in its accuracy and completeness.William Smith wrote that his reputation in the Islamic world seems to have been very great, and it is said that he was especially consulted by midwives, whence he received the name of Al-kawabeli or "the Accoucheur." He is said by the Arabic writers to have written a work, "De Mulierum Morbis," and another, "De Puerulorum Vivendi Ratione atque Curatione." His great work was translated into Arabic by Hunayn ibn Ishaq.The sixth book on surgery in particular was referenced in Europe and the Arab world throughout the Middle Ages, and is of special interest for surgical history. The first full translation into English, was by Francis Adams in 1834.References: Renouard, 156, 8. CNCE 34792.

Condition Report: Normal traces of use, but a good copy.

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[Italian Language] Alunno, Ricchezze della Lingua, 1543

Lot 2: [Italian Language] Alunno, Ricchezze della Lingua, 1543

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Description: FIRST ALDINE EDITION OF ALUNNO'S TREATISE ON THE RICHNESS OF ITALIAN LANGUAGEOne of the first specialized dictionaries of Italian language using Boccaccio's words as a model for good styleAlunno, Francesco. Le Ricchezze della Lingua Volgare di M. Francesco Alunno. Con privilegio di N.S. Papa Paolo iii. Et della Illustriss. Signoria di Vinegia. In Vinegia, (in casa de Figliuoli di Aldo), 1543 [Venice: Aldo Manuzio's Sons, 1543].Folio (297x200 mm), full vellum binding, author's name handwritten in brown ink at spine, green edges, marbled paste-downs, ff. 226, [1]. Roman type, text in Italian. Dedication letter to cardinal Alessandro Farnese.It contains the first occurrence of the Aldine anchor surrounded by vine leaves among which four heads of chimeras are hidden.First Aldine Edition of Alunno's Ricchezze della lingua volgare, collecting the Italian words used by Boccaccio in his works in order to create a high standard for vernacular prose and dignify it as a language. The author's mission was to supply the Italian vernacular language with a lexical index of all the terms used by the most important writers in their texts, so as to find out the most noble utterances and dignify the language. In his project, as he states in his warning Ai lettori, Alunno had set this matter in two sections: the first was to contain the vernacular words used by the Italian master of the prose Giovanni Boccaccio and a list of all the terms that could be used to describe everything in the world, the so called Fabrica del Mondo (The World's Setting); the second part, on the other hand, should have contained the words used in poetry by Dante and Petrarca. The present work represents the first part of the original project, while the second had been left for a following publication that was never completed in this form. Instead, Alunno published under the title Fabrica del Mondo (Venice, Boscarini, 1546-48) the work corresponding to the entire project, that became one of the most printed works of the Renaissance, with twelve editions before 1612. Le Ricchezze della lingua volgare had a great success among the readers, being one of the first specialized dictionaries of the Italian language. It followed the Renaissance tradition of the auctoritates, impling that using the same expressions of the famous authors of the past meant writing with a nobler style. Giovanni Boccaccio, the author of the famous Decameron, had been usually considered the founder of Italian prose, thus his masterpiece in the 1526 edition by Da Sabbio was chosen by Alunno for the realization of this lexical index. At the end of the work, moreover, Alunno put the Regolette particolari della volgar lingua, a sort of brief grammar of the Italian vernacular after the manner of Pietro Bembo, and a few paragraphs listing the foreign words similar to Italian words. For instance, in the section Voci che usano Englesi che sono conformi alla nostra lingua volgare («words used by the English people which are similar to our vernacular language»), under letter E the following words are included: Elefante analephant. Elmo helmet. Estimato estimed.In this edition for the first time the Aldine anchor can be found surrounded by vine leaves which have, hidden among themselves, four heads of chimera. Francesco (del Bailo, known as) Alunno from Ferrara was born around 1484 in a family of the local minor aristocracy. He was educated in the same town and became a teacher of arithmetics and a renowned calligrapher. He moved to Udine and then to Venice, meeting and becoming friend to Pietro Bembo, Girolamo Ruscelli and the major intellectuals of the time working in the North of Italy. His lexical works, such as the present, the Osservazioni sopra il Petrarca (edited in 1539 by Marcolini together with the Aldine text of Canzoniere and Trionfi of 1501) and the Fabrica del Mondo (Venice, Boscarini, 1546-48) gained him a relevant reputation, but it was his skill as a type-designer and micrographer that left the emperor Charles V and pope Clemens VII speechless in 1530, as Bembo himself states in his letter of 27 November 1537, where he begs Alunno to paint an illuminated alphabet for him. He died in Venice in 1556. References: Not in Brunet and Gamba. Adams A-842; Biancardi-Francese, Prime edizioni italiane, p. 25; Graesse I, p. 88; Haym, IV, p. 8; Renouard, 127, 2: «Première édition d'un livre qui, dans son temps, fut en grande estime».

Condition Report: Traces of foxing, halo at outer margin of the pages, ink stain at verso of f. 60; overall, a good copy.

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[Manuscript on vellum] Antiphonary, Spain 1618

Lot 3: [Manuscript on vellum] Antiphonary, Spain 1618

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Description: GIANT DATED SPANISH ANTIFONARYILLUMINATED AND MANUSCRIPT ON VELLUMIN ITS ORIGINAL BINDING SPANISH ANTIPHONARY. Officium Hebdomadae Sanctae. [incipit: Dominica in ramis Palmaru(m)]. [Spain: 5 January, 1618]. Elephant Folio (ca. 57x40 cm), full calf binding on wooden boards (rebacked and repaired with a cloth ribbon), five metallic bucks, clasps missing, ff. 105. Text in Latin, Rotunda script. Rotunda is a specific medieval blackletter script: sometimes, it is not considered a blackletter script, but a script on its own. It was used mainly in Southern Europe. At recto of the title-page a painted palm (17x17 cm); at verso, a floral border containing the Psalm 118. Three large illuminated initials (18x18), 82 rubricated initials with a delicate penwork in red and blue, 82 initials (8.5 cm to 6.5 cm), some capital letters only in black. Outstanding dated Spanish «Antiphonary» according to the Roman rite, containing the chants for the Masses of Holy Week.Holy Week (Latin: Hebdomas Sancta or Hebdomas Maior, «Greater Week»; Greek: Ἁγία καὶ Μεγάλη Ἑβδομάς, Hagia kai Megale Hebdomas, «Holy and Great Week») in Christianity is the last week of Lent and the week beforeEaster. The text of this antiphonary starts with the psalm 118, Hosanna filio David: benedictus qui venit in nomine Domini, Rex Israel: Hosanna in excelsis, («Hosanna to the Son of David /Blessed is he who comes in the name of the Lord /King of Israel: Hosanna in the highest»), that is the first of the processional antiphons («songs») for Palm Sunday.The antiphonal is one of the most important liturgical books for the Catholic religion, It contains the antiphons to be recited or sung during the Mass, but also hymns, responsories, versicles, responses, psalms and famous prayers like the Te Deum and the Venite Adoremus. The plain-chant melodies of the Roman antiphonary and those contained in the graduals have received the general title of "Gregorian Chant" in honour of St. Gregory the Great (590-604), to whom a widespread, very ancient, and most trustworthy tradition ascribes the great work of revising and collecting into one uniform whole the various texts and chants of the liturgy. The ancient missal contained only those texts which were appointed for the celebrant, and did not include the texts which were to be chanted by the cantor and choir; and the Antiphonarium Missae supplied the omitted texts for the choir as well as the chants in which the texts were to be sung. St. Gregory's work was a compilation of pre-existing material into a coherent and well-ordered whole; the immense importance of his antiphonary is found in the enduring stamp it impressed on the Roman liturgy. Gregorian Chant is the central tradition of Western plainchant, a form of monophonic liturgical music within Western Christianity that accompanied the celebration of Mass and other ritual services. It is named after Pope Gregory I, Bishop of Rome from 590 to 604, who is traditionally credited for having ordered the simplification and cataloging of music assigned to specific celebrations in the church calendar. The resulting body of music is the first to be notated in a system ancestral to modern musical notation. In general, the chants were learned by the viva voce method, that is, by following the given example orally, which took many years of experience in the Schola Cantorum. Gregorian chant originated in monastic life, in which celebrating the «Divine Office» eight times a day at the proper hours was upheld according to the Rule of Saint Benedict. Singing psalms made up a large part of the life in a monastic community, while a smaller group and soloists sang the chants. In its long history, Gregorian chant has been subjected to many gradual changes and some reforms. Gregorian chant had a significant impact on the development of medieval and Renaissance music. Modern staff notation developed directly from Gregorian neumes. The square notation that had been devised for plainchant was borrowed and adapted for other kinds of music. Certain groupings of neumes were used to indicate repeating rhythms called rhythmic modes. Rounded noteheads increasingly replaced the older squares and lozenges in the 15th and 16th centuries, although chantbooks conservatively maintained the square notation. By the 16th century, the fifth line added to the musical staff had become standard. The bass clef and the flat, natural and sharp accidentals derived directly from Gregorian notation. Gregorian melodies provided musical material and served as models for tropes and liturgical dramas. Vernacular hymns adapted original Gregorian melodies to translated texts. Secular tunes such as the popular Renaissance In nomine were based on Gregorian melodies. Beginning with the improvised harmonizations of Gregorian chant known as organum, Gregorian chants became a driving force in medieval and Renaissance polyphony. Often, a Gregorian chant (sometimes in modified form) would be used as a cantus firmus, so that the consecutive notes of the chant determined the harmonic progression. The use of chant as a cantus firmus was the predominant practice until the Baroque period, when the stronger harmonic progressions made possible by an independent bass line became standard. The Catholic Church later allowed polyphonic arrangements to replace the Gregorian chant of the Ordinary of the Mass. This is why the Mass as a compositional form, as set by composers like Palestrina or Mozart, features a Kyrie but not an Introit. Provenance: Some handwritten comments are added in the lines. One smaller page has been inserted with handwritten annotations.

Condition Report: Some pages browned due to use, colour in some parts slightly paled, overall a fine manuscript with still strong colours, in very good condition.

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[Incunable, Philosophy] Aristoteles-Colonna, 1500

Lot 4: [Incunable, Philosophy] Aristoteles-Colonna, 1500

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Description: SCARCE COLONNA'S EXPOSITION ON ARISTOTLE'S ELENCHAARISTOTLES-COLONNA. Expositio Egidii Romani supra libros elenchorum Aristotelis. [together with:] AUGUSTINUS DE MESCHIATIS. Questio defensiva opinionis de medio demonstrationis eiusdem. Venice: Andrea Torresani, 1500. Folio (304x210 mm), 18th century full calf binding, ff. 71, [1, blank]. Scarce commentary on last work of Aristotle's Organon, containing his Sophistical Refutations, called "elenchi". This edition was printed by Andrea Torresani, Aldus' father-in-law. PROVENANCE: At the verso of last leaf of text, handwritten owner's inscription Est Conventus Sanctae Crucis, et omnium santorum Boschi 1578 30 Agosto, meaning that the book in 1578 belonged to the convent of the Holy Cross and All Saints in Bosco Marengo (near Alessandria, North of Italy) that was founded upon request of pope Pius V and whose structure was embellished also by Giorgio Vasari. REFERENCES: H 141 = 142; Sander 2051; IGI 3081; BMC V 576; BSB-Ink A-53; GW 7196; Pellechet 86; CIBN A-42; Hillard 24; IBE 67; IBP 32; Sajó-Soltész 21; IBPort 657; Mendes 487; Martín Abad A-14; Sallander 2160; Günther (L) 3435; Schmitt I 4531,5; Borm 791; Oates 2207, 2208; Bod-inc A-037; Sheppard 4708, 4709, 4710; Rhodes (Oxford Colleges) 601; Proctor 5630.

Condition Report: A small worhmole perfectly restored in the last leaves; otherwise, an excellent copy.

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[Ethics, Fine Binding] Aristoteles, Ethica, 1541

Lot 5: [Ethics, Fine Binding] Aristoteles, Ethica, 1541

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Description: THE MOST RENOWNED COMMENTARY ON ARISTOTLE's ETHICS in its contemporary bindingAristoteles. Aristotelis Stagiritae Moralia Nicomachia cum Eustratii Aspasii, Michaelis Ephesii, nonnullorumq. aliorum Graecorum explanationibus, nuper a Ioanne Bernardo Feliciano Latinitate donata. Venice: Heirs of Lucantonio Giunti, 1541. [at colophon:] Venetiis: apud haeredes Lucaeantonij Iuntae Florentini, 1541 mense Nouembri. Folio, contemporary brown calf with blind-tooled cartouche at the center of both covers, ff. [18], pp. 548, [1]. Some woodcuts in the text. Giuntine edition of Aristotle's «Ethics» with the commentaries of Eustratius, Aspasius, Michael Ephesius translated by Giovanni Bernardo Feliciano. Provenance: I. 17th century ownership's inscription (crossed) of a monastery of Discalced Carmelites in Genua (Italy). I. 19th century signature Curzio Marrè at title-page. Curzio was the son of the most famous Gaetano Marrè (1771-1825), Italian jurist, politician, journalist and patriot from Genua. In his life, he collected hundreds of books also purchasing them by convents and monasteries. References: Cnce, Censimento, 18396. Adams, A-1826.

Condition Report: Minor traces of use, but a fine and unsophisticated copy, in its original binding.

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[Illuminated Blazonry] Armorial, 1887

Lot 6: [Illuminated Blazonry] Armorial, 1887

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Description: ILLUMINATED BLAZONRY MADE BY THE FRENCH PAINTER LE BIHAN LE BIHAN, ALEXANDRE. Armorial [at f. (1):] Commencé le 10 Mars 1886, Terminé le 30 Septembre 1887, Relié le 23 Aôut 1888. [Alençon (France) March 1886-September 1887]. Oblong folio ( mm), contemporary half-calf binding with gilt titles (Le Bihan-Armorial) and gilt decorations at spine, four raised bands, ff. [10], 50, [7]. Text in French. Wonderful Armorial, drawn and illuminated by the French painter Alexandre Le Bihan, that signed each page at the right corner. Content: At f. (3) the full-page illumination of the coats of arms of the author («Le Bihan de Genesté de Bretagne»).The Blazonry contains 500 coat of arms of the noblest families of France. Alexandre Le Bihan (1837-1924) was a French painter, specialized in landscapes. He was disciple of Alexandre Cabanel and Gleyre at Beaux-Arts in Paris. He exposed at Salon from 1869 to 1900.Provenance: Dedicace from the author to his brother at the second unnumbered leaf: A mon frère bien aimé («To my greatly beloved brother»). Alençon, le 1re Septembre 1888.

Condition Report: Very nice.

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[Recipes, Wine] Athenaeus, Banquet, 1556

Lot 7: [Recipes, Wine] Athenaeus, Banquet, 1556

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Description: «THE BANQUET OF THE LEARNED», AN EXOTIC BLEND OF PHILOSOPHY AND PLEASURES, WIT AND ANCIENT RECIPESThe most charming witness of Hellenistic culture in its original blind-tooled calf bindingAthenaeus of Naucratis. Athenaei Dipnosophistarum sive coenae sapientum libri XV. Natale de Comitibus Veneto, nunc primùm è Graeca in Latinam linguam vertente: Cum pluribus ex manuscriptis antiquissimis exemplaribus additis: quae in Graecè hactenus impressis voluminibus non reperiebantur. Lugduni, Apud Sebastianum Barptolomaei Honorati, [at colophon:] Iacobus Faure Excudebat, 1556. [Lyon: Faure, 1556]. 8vo (170x100 mm), attractive contemporary full calf binding with two triple fillet frames to each cover, little blind tooled flowers to the corners of inner frames, blind tooled oval plaquette at the centre of both covers, six raised bands spine with blind tooled decorations on the bands and to each compartment, part of the joints and upper head of spine slightly thorn, the lower part of upper cover had been restored in old times, ff. [14], pp. 898, ff. [14, 1, blank]. Very scarce Latin translation, printed for the first time this year 1556, of «The banquet of the Learned», the most charming witness of Hellenistic culture and an extraordinary source of information about Greek cookery, music, luxury, ancient pleasures and habits. This first Latin translation from the original Greek was made by Natale Conti: the book had a great success and was printed twice in this very year, firstly in Venice and then in Lyon. Content: The protagonist, Athenaeus, tells his friend Timocrates about the cultured conversations held during a series of banquets at the house of Larentius, a wealthy patron of arts, whose topics vary from cookery to luxury, from rhetoric to music, from literary gossip to philology. Through an exotic blend of philosophy and pleasures, wit and ancient recipes, Athenaeus gives the readers a unique insight into the life of the Roman upper class of the 3rd century A.D., as well as a basic roundup of the Hellenistic literature and its Greek precursors. As States Sandys: «We are indebted to the quotations in Athenaeus for our knowledge of passages from about 700 ancient writers who would otherwise be unknown to us, and, in particular, for the preservation of the greater part of the extant remains of the Middle and the New Attic comedy». Among the topics discussed, then, we find plenty of recipes and information about ancient eating habits through the description homeric literary banquets, or legendary ones, such as those of Cleopatra, Alexander or the Diaeta Pythagorica; the text of the oldest recipe in any language by a named author, the Greek Mithaecus, is also included. As for what concern social matters, themes of the outmost interest for historians are debated, as homosexuality and pederasty, women's habits and conditions, traditional tastes concerning pleasure in the reigns of those times: this way we come to know that Alcibiades, Pausanias and Sophocles were homosexual and that pederasty was considered a superior kind of love, that Italian women usually did not drink wine, and that the beauty of Lydian women was so famous that their men was the first ones that used other women in place of eunuchs. Aldus Manutius, the greatest printer of every time, was so captivated by this work that thought to publish it before 1500: a test-leaf printed in Greek survives of his first purpose, now preserved in the Bibliothèque Nationale de France in Paris, but he waited for a long time before publishing the editio princeps of complete Greek text, that finally appeared in 1514. Natale Conti (about 1520-1582) was a mythographer and historian, born in Milan but declaring himself Venetus. He became renowned because of his work Mythologiae, which was a wide interpretation of Greek myths as allegories, into which everyone could find archetypical human features. His intellectuals believing and his deep knowledge of ancient Greek culture, that he considered the ultimate esoteric wisdom, drove him first into translating the Deipnosophistae, his version becoming a great success and being printed in the same year both in Venice and in other cities (Lyon, Paris, etc.). Provenance: I. 19th century ownership inscription to the recto of first fly-leaf; II. (?) Hebrew inscription on last fly-leaf. References: Not in Adams, that records only the first Venetian edition of the same year, but not this very one; Vicaire 50; Simon, Bibliotheca Bacchica, II, 59. Sandys I, 337. Graesse, I, 244.

Condition Report: Some light waterstains to the margins of last leaves, overall a very fine copy on strong paper and in its original binding.

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[Poetry, Alchemy, Aldus] Augurelli, 1505

Lot 8: [Poetry, Alchemy, Aldus] Augurelli, 1505

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Description: THE POET ALCHEMISTAUGURELLUS, AURELIUS. Poemata. [at colophon:] Venetiis : in aedibus Aldi, mense Aprili 1505 [Venezia : Aldo Manuzio, April 1505].FIRST AND ONLY ALDINE EDITION OF AUGURELLI'S POEMS, SEVERAL OF THEM STRICLY RELATED WITH ALCHEMY.The volume constitutes the first appearance of all of Augurellus'works, except for book I of the Carminum which had appreared in thevery rare Verona edition of 1491, of which Goff records only two copies;almost the whole of the present text is therefore appearing for the firsttime.Aurelio Augurelli (1454-1537), was an Italian philosopher and alchemist. Born at Rimini,he studied classical literature at Padua and became professor of Greek andLatin at Venice. He was celebrated amongst his contemporaries for hislatin style and it is said that Bembo consulted him on his owncompositions. According to Giovio, he spent most of his time and all ofhis fortune on his alchemical hobbies - which are also a recurring theme inhis poetry. His style is refreshingly clear, simple and direct, and if nota writer of genius he was certainly one of talent.Renouard, 49:2: «Edition belle et rare». Adams, A-2152. Firmin-Didot, p. 274. Duveen, p. 33 (per la Chrysopoeia). Thorndike VIII, pp. 279, 298 e 364. UCLA Ahmanson-Murphy, 73. CNCE 3381.

Condition Report: A fine copy.

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[Bordeaux WIne, Aldus] Ausonius, Opera, 1517

Lot 9: [Bordeaux WIne, Aldus] Ausonius, Opera, 1517

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Description: FIRST AND ONLY ALDINE EDITION OF AUSONIUS' POETICAL WORKSCONTAINING ONE OF THE EARLIEST MENTION ABOUT BORDEAUX WINEAUSONIUS, DECIMUS MAGNUS. Opera. Venetiis, in aedibus Aldi et Andreae Soceri, novembre MD. XVII [Venice, Aldus Manutius and Andrea d'Asola, 1517]. 8vo, 19th century binding in black morocco made in the Renaissance style, blind-tooled fillet frames to covers, small leaves printed to the inner corners of the frames, three raised bands spine with geometric toolings to compartments, green and blue marbled edges,. 107, [1]. Italic type, guide letters in the spaces left blank for the initials. Aldine anchor to the title-page and the verso of the last leaf. Collation: a-n8 o4FIRST AND ONLY ALDINE EDITION of the poetical works by Ausonius, containing one of the earliest mention about bordeaux wine. The text was edited by the italian humanist girolamo avanzo that dedicated it to cardinal marco cornelio. COMPLETE COLLECTION OF THE WORKS BY A MAN CONSIDERED WITH THE HIGHEST CONSIDERATION BY THE ROYAL FAMILY OF LATE ROMAN EMPIRE: after teaching rhetoric for almost thirty years in the school he had founded in Bordeaux, he was summoned to the imperial court to teach the heir-apparent Gratianus, who respected his tutor so much that, once become emperor, bestowed on him the highest titles that any Roman could attain, till the consulate in 379. His being born in the zone of Bordeaux wine deeply influenced his topics: his works give early evidence of large-scale viniculture in the now renowned French wine country, so that he is considered one of the most important personalities of antiquity by historians of winemaking. In the lands that belonged to him, near the river Moselle, a refined wine-producing farm is still working under the name of Château Ausone. On their website, the XIX epigraph by the poet dealing with the common Greek and Roman habit of drinking wine mixed with water: Sed quod vinum non diluis undis, potare immixtum sueta merumque merum(«But because you do not dilute the wine poured into your cup with water, Accustomed as you are to drink unmixed wine, pure merum»)Ausonius contribution to the carpe diem theme is also widely acclaimed: Collige, virgo, rosas dum flos novas et nova pubes et memor esto aevumsic properare tuum(«Pick, girl, the flowers while they are still fresh and the youth is new, remembering that the time goes by») In addiction, within his renowned work Mosella, which is a vivid description of the life and natural environment along the river Mosella in his own lands, Ausonius mentions the working of a watermill sawing marble on a tributary of the river, this giving important information about the different applications of water power in Roman technology. AUSONIUS (ca. 310-395) born in Burdigala (now Bordeaux) from a noted physician of Greek ancestry and a Gallo-Roman aristocratic woman, became a poet and a rhetorician, as well as the tutor of the Western Roman emperor Flavius Gratianus. Having received the highest honors, after the death of the emperor he retired in his native Bordeaux. His being born there deeply influenced his topics: his works give early evidence of large-scale viniculture in the now renowned French wine country, so that he is considered one of the most important personalities of antiquity by historians of winemaking. PROVENANCE: I. Almost faded owner's signature at the lower margin of leaf o3. II. Paper ex-libris of the Collezione Aldina di Stelio Valentini at front paste-down.

Condition Report: Light traces of foxing, but a good copy.

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[Alchemy] Johnson, Lexicon Chymicum, 1660

Lot 10: [Alchemy] Johnson, Lexicon Chymicum, 1660

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Description: JOHNSON'S PRECIOUS LEXICON TO UNDERSTAND ALCHEMIST'S LANGUAGE AND SYMBOLSJOHNSON, WILLIAM. Lexicon Chymicum cum obscuriorum verborum, et rerum hermeticarum, tum phrasium Paracelsicarum, in scriptis ejus, et aliorum Chymicorum, passim occurrentium, planam explicationem continens. Per Gulielmum Iansonium. Excudebat G.D. Impensis Gulielmi Nealand, apud quem prostant venales sub signo Coronae, in vico vulgò vocato Duck-lane: et prostant venales apud L. Sadler, ad insigne Leonis aurati, in vico vulgo vocato Littlle Brittan. [London, Nealand, 1660].2 volumes bound in 8vo, contemporary vellum binding with calligraphic title at spine, (12), 259, (1); (24), 72, (16).The useful Johson's Lexicon, first published by Nealand in 1652, and explaining all the language and the symbols of alchemists and chemists.All editions are rare.References: DSB, VII, 150: «At least five printings attest to the usefulness of such a dictionary, in which the dark phrases of chemists were ordered and classified [...] Johnson was placed among the early followers of Helmont but later was considered a traitor by the dogmatic iatrochemists». Ferguson I, 439; Brüning 1824.

Condition Report: Usual brownings, waterstains;, but unsophisticated and in its original binding.

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[Incunable, Song of Songs] St. Bernard, Paris, 1494

Lot 11: [Incunable, Song of Songs] St. Bernard, Paris, 1494

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Description: RARE PARISIAN INCUNABLE ON THE FINEST BIBLICAL POEM[Incunable] Bernardus, abbot of Clairvaux. Sermones super Cantica Canticorum. Paris: [Georg Wolf], 1494.4to (197x132 mm), 20th century brown morocco with a large cross in brown at the centre of boards, five raised bands spine, decorations in gold, gilt edges, ff. 121 [lacking the last, blank]. Gothic type, text in Latin. Rare Parisian incunable of St. Bernard's Sermons on the celebrated biblical love poem «Song of Songs» attributed to King Solomon. References: Goff B429; HC 2858; C 962; Pell 2097; CIBN B-274; Hillard 331; Aquilon 99; Arnoult 254; Buffévent 82; Girard 89; Lefèvre 80; Neveu 103; Parguez 159; Péligry 159; Richard 94; Torchet 130; Castan(Besançon) 190; IDL 763; IBE 928; IGI 1552; Rhodes(Oxford Colleges) 324; BSB-Ink B-325; GW 3936.

Condition Report: A very fine copy.

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[Anatomy] Berrettini Da Cortona, Anatomical Plates 1741

Lot 12: [Anatomy] Berrettini Da Cortona, Anatomical Plates 1741

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Description: FIRST EDITION OF BERRETTINI'S «ANATOMICAL PLATES: «THE MOST INFLUENTIAL PAINTER OF THE ITALIAN BAROQUE»[Anatomy] Berrettini, Pietro [Pietro Da Cortona]. Tabulae Anatomicae a celeberrimo pictore Petro Berrettino cortonensi delineatæ, & egregiè æri incisæ nunc primum prodeunt, et a Cajetano Petrioli romano [...]. Roma, Antonio De Rossi, 1741. Folio (440x309 mm), very smart full calf binding in 18th century style, gilt decorations and title at spine, red edges, pp. [4], 84, ff. XXVII of copper-plates. 27 COPPERPLATES DRAWNED BY PIETRO BERRETTINI DA CORTONA AND ENGRAVED BY LUCA CIAMBERLANO.Rare first edition of Pietro da Cortona's «Anatomical tables», enhanced by extremely detailed copper-plated illustrations. The tables were drawned by Pietro around 1618, before his becoming a renowned architect, but they were published for the first time in this very same edition almost a hundred years later. The poses of the human subjects represented, are famous for being highly expressive compared with other contemporary examples of the same kind.CONTENT: «The first twenty plates deal chifley with muscles, nerves and blood vessels, with the nerves everywhere emphasized, leading to the conclusion that the book they were originally intented to illustrate was to be neurology texte, and not an anatomy for artists or other general anatomy. The highly dramatic engravings and their landscape backgrounds are, nevertheless, consistent with Pietro's artistic style. Plates 21-23 deal with the brain, the eye, and the ear, plate 24 represents the cutaneous veins and valves of the veins, plate 25 represents the spinal column and the spinal cord taken out of it, plate 26 shows three skeletons in Vesalius' style and plate 27 represents the only female body in the whole collection, with their abdominal cavity open. A side figure on the same plate shows the open uterus with the foetus» (Hagelin)Pietro da Cortona (Cortona, 1596-Rome, 1669) was a very famous Italian painter, architect and stucco worker. Together with Bernini and Borromini, he was one of the most important artists of Roman Baroque. Pietro was higly imaginative: he positioned his scenographic compositions within monumental frames in gold and stucco, with garlands and figures and thus created a new, sumptous decorative style that from Rome influenced all Europe.References: Garrison, 395.2: «27 anatomical copperplates after drawings by the most influential painter of the Italian Baroque movement». Heirs of Hippocrates, 470 : «This rare volume contais 27 large anatomical plates which were engraved by Luca Ciamberlano, but it is not known why they lay unpublished for more than a century». «There is no doubt that among Italian painters must be considered the most influential personality of his generation... His attitudes as well as his forms of expression were in harmony both with the new sense of grandeur and richness of the contemporary Catholic world, and with the spirit of absolutism then establishing itself among the monarchs of Europe ... Behind his formal eloquence there lies a sense of universal participation, a new vision of nature, that was one of the positive achievements of the Seicento. Pietro da Cortona changed the course of Italian painting markedly» (Encyclopedy of Art)

Condition Report: A small tear to a leaf perfectly restored and almost invisible, marginal restaurations to the last leaf of text; overall, a wide-margined copy in a perfect state of preservation.

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[Flying Machines, Airship] Bettoni, The Flying Man 1784

Lot 13: [Flying Machines, Airship] Bettoni, The Flying Man 1784

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Description: THE FIRST EXTANT PROJECT OF AN AIRSHIP WITH OBLONG BALLOON[Bettoni, Carlo]. Bettoni, Carlo. L'uomo volante per aria, per acqua, e per terra. Novissima invenzione di un anonimo italiano dell'anno 1784. Venice, Printed by a Friend of the Author [i.e. Vincenzio Formaleoni], 1784.8vo (208x142 mm), contemporary paperboards covered by hand-coloured paper, pp. 88. 5 FOLDING PLATES engraved in copper representing the structure of the flying machines invented by the author. Extremely scarce first edition of the intringuing work on flying machines by the Italian Carlo Bettoni, containing the first extant project of an airship with oblong shape.Few years after the flight of the Montgolfier brothers in France, the passion for flying invaded the world. In 1784, Carlo Bettoni, founder of the Agricultural Academy of Brescia, developed some projects for new machines, observing that an oblong shape beginning with a cone would meet less resistance in the air than a sphere. This is the first allusion in scientifical literature to the zeppelin's structure, better explained in the first plate's illustration. Provenance: Handwritten inscription in brown ink at title-page (faded and not identified).References: G. Boffito, Il più antico progetto italiano di dirigibile moderno (1784) del salodiano C.B., in «Rivista aeronautica», V (1929), pp. 197-201. No copies on the market.

Condition Report: Binding slightly worn at spine and the lower part of covers, small restauration to a plate, very light halo to the low part of title-page, otherwise very fine copy, untrimmed.

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Boccaccio, Decameron, 1816

Lot 14: Boccaccio, Decameron, 1816

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Description: SUMPTUOUS EDITION OF A MASTERPIECE OF EROTIC LITERATUREBOCCACCIO, GIOVANNI. Il Decameron di Messer Giovanni Boccaccio. Italia (Pisa): Co' Caratteri di F. Didot, 1816. 4 parts bound in 2 folio volumes, quarter vellum binding, gilt title at spine. Wonderful edition of Boccace's Decameron, a masterpiece of medieval erotic literature.References: Brunet I, 1003. Ebert, 203: «A splendid edition». Only a copy in ICCU.

Condition Report: Traces of foxing, but a good copy of this sumptuous edition.

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[Illuminated Incunables] Blondus Flavius, 1481-82

Lot 15: [Illuminated Incunables] Blondus Flavius, 1481-82

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Description: FOUNDATION OF ARCHEOLOGY AND HISTORICAL GEOGRAPHYTwo scarce illuminated incunables printed in Verona: «Rome restored» and «Italy illustrated»by the Croatian printer Dobrić DobričevićBlondus Flavius. Roma instaurata. [at colophon:] Veronae per Boninum de Boniniis de Ragusia. an[n]o salutis M.cccc.lxxxi. in vigilia sancti Thomae apostoli. [Verona, Bonino de Boninis, 20th December 1481] [with:] Italia illustrata. [at colophon:] Veronae Millesimo quadrige[n]tesimo octuagesimo secu[n]do Die septimo februarii [Verona, Bonino de Boninis, 7th february 1482]. 2 volumes bound together in folio (285x200 mm), original monastic binding, ff. [58] = 116 pages for the first volume; ff. [94] = pp. 188 for the second volume. Text in Latin, Gothic letter on 46 lines. Two elegant large illuminated initials, representing a letter "U" and a "Q" in red and fuchsia on blue background, embellished by white filigrees and inserted in a gilt compartment with rich floral extensions. Twenty large initials in red and blue on ten, nine and eight lines. Red and blue rubrications all along the text.Scarce illuminated unique edition of Biondo Flavio's «Rome Restored» and «Italy Illuminated», printed by the Croatian printer Dobrić Dobričević, one of the pioneers of printing in Europe. Flavio's first work was De Roma instaurata («Rome Restored»), a reconstruction of ancient Roman topography. It was and remains a highly influential humanist vision of restoring Rome to its previous heights of grandeur by recreating what Rome used to look like based on the ruins which remained. At the time the ruins of ancient Rome were overgrown and unexplored: this work was the first systematic and well documented guide to the ruins of Rome, or indeed any ancient ruins, and he has thus been called the first modern archaeologist. The Italia Illustrata («Italy Illuminated») is his masterpiece, a geographical work based on the author's personal travels, and a history of eighteen Italian provinces. Unlike medieval geographers, whose focus was regional, Biondo, taking Strabo for his model, reinstated the idea of Italy to include the whole of the peninsula. Through topography, he intended to link Antiquity with modern times, with descriptions of each location, the etymology of its toponym and its changes through time, with a synopsis of important events connected with each location. This is considered the first historical geography: it starts with the Roman Republic and Empire, through 400 years of barbarian invasions and an analysis of Charlemagne and later Holy Roman Emperors. He gives an excellent description of the humanist revival and restoration of the classics during the first half of the fifteenth century. Flavio Biondo (1392-1463) was one of the first authors accepting the division of historical time in three ages (ancient, medieval and modern); the first usage of the term 'Middle Age' has traditionally been attributed to him. Because of the carefulness of his studies about ancient Rome ruins and the attention he paid to historical references, he is considered the first modern archeologist. Flavio published three encyclopedic works that were systematic and documented guides to the ruins and topography of ancient Rome; subsequent antiquaries and historians built on the foundations laid down by Flavio and by his older contemporary, Poggio Bracciolini. As already told, at the time the ruins of ancient Rome were unexplored. When in 1430 Bracciolini climbed the Capitol he saw only deserted fields. The Forum, buried in eroded topsoil, was grazed by cows-the Campo Vaccino- and pigs rooted in its unweeded vegetation. Flavio and fellow humanists like Leone Battista Alberti began to explore and document the architecture, topography and history of Rome, and in the process revived a vision of Rome's former glory. Dobrić Dobričević (1454-1528) also known with the Italianized name Bonino De' Boninis was born on the small Adriatic Island of Lastovo in the Republic of Ragusa (modern Croatia). He was one of the pioneers of printing in Europe, and printed in Venice, Verona, Brescia and Lyon. His printed works included those of the ancient classics Tibullus, Catullus, Propertius, Virgil, Plutarch, Aesop and Dante Alighieri's Divine Comedy. His works were considered among the best examples of printing in his epoch. His bilingual (Latin-Italian) editions of Aesop, Dante's Cantica and Divine Comedy were printed first in Brescia in 1487, and then also in Lyon (France). We know about 50 of his editions, the greatest number belonging to the period of 1483-1491 that he spent in Brescia (about 40 editions). The present edition is one of the few books printed in Verona. Croatia is in possession of only 19 of his editions: only 3 complete copies of the present edition are recorded in Croatian public libraries (Cavtat N; Zadar DA, only the first volume; Zagreb NL, 2 copies). References: HC, 3243(I) + 3247(II); Goff, B702; BMC, VII-951; GW, 4423; IGI, 1760; BSB-Ink, B-554; GfT, 2095; Pellechet, 2423 + 2425; CIBN, B-498; Hillard, 420; Fernillot, 136; Parguez, 220; Torchet, 179; Polain (B), 702; IDL, 889; IBE, 1081; IBP, 1082; Sajó-Soltész, 693; Sallander, 1637; Collijn (S), 232; Madsen, 735; Günther (L), 3897; Sack (Freiburg), 704; Borm, 516; Mittler-Kind, 10-(I), 853-(II); Walsh, 3375; Rhodes (Oxford Colleges), 382; Bod-inc, B-357; Sheppard, 5701; Proctor, 6920. L. Donati, Alcune note su stampatori dalmati: Bonino de Boninis, in «Archivio Storico per la Dalmazia», IV, p. 58. F. Semi, Bonino de Boninis, in F. Semi-V. Tacconi (editors), «Istria e Dalmazia, Uomini e Tempi.» Dalmazia, Udine, Del Bianco, 1992.

Condition Report: A very fine and crisp copy.

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[Mushrooms] Bresadola, Iconographia Mycologica, 1927-41

Lot 16: [Mushrooms] Bresadola, Iconographia Mycologica, 1927-41

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Description: THE MOST COMPLETE ATLAS OF MUSHROOMSWith 1323 coloured plates representing all the varieties known at the author's timeBresadola, Jacopo (abbot). Iconographia mycologica in XX partes [...]. Mediolani, Societate Italica Botanicorum et Museo Municipali Tridentino, MCMXXVII [Milan, Italic Society of Botanists and Town Museum of Trento, 1927-1941]. 29 carpets containing loose sheets (240x165 mm), green half cloth binding with black letterings at spine and covers, each mushroom has a dedicated issue containing a leaf with a coloured representation of it. 26 parts of the Iconography and three folders containing Supplement I in three parts. Text and notes in Latin. Complete in itself (There are two following supplements not included). Black and white portrait of the author pasted at first issue. 1323 coloured plates representing all the varieties of mushrooms known at Bresadola's time after his personal watercolours.Scarce Italian first edition of Bresadola's «Iconographia Mycologica», the most renowned and complete atlas on mushrooms of the 20th century.The present set includes the original corpus of the Iconography, printed between 1927 and 1933 with 1250 plates, and the first supplement in three parts (1941) containing 73 more species, and then, plates. The work was edited and completed by G.B. Traverso, L. Fenaroli, G. Catoni e G.B. Trener. First scarce edition of this monumental work, one of the most complete and influential on the matter. Each representation of a mushroom is equipped with a descriptive text and the complete list of the scientifical names by with the species is known. The mushrooms included come not only from Italy, but from every part of the world: Bresadola got images and information about the international varieties by renowned collegues as Quélet, Patouillard and Sydow, with whom he was in epistolar contact. In his bio-bibliography of Bresadola, Catoni counts 1017 new species described by the Italian mychologist. The great value of this work lies not only in the accurate description, that includes as well polite revisions of the previous doctrines on the matter, but specifically in the precision of the images, the majority of them coming form Bresadola's own watercolours. Each picture, in fact, represents the mushrooms in their different degrees of development, underlining specific features and diversifying aspects. Giacomo Bresadola (Ortisè, 1847 - Trento, 1929) was the most important Italian mychologist and a priest. After been ordained, he was sent to a mountain village in Val di Sole, near Trento and then he became fond of botany and started his studies on the local vegetation. He observed mosses and lichens and just in second moment he devoted his attention to the mushrooms, under the supervision of father Giovanella from Cembra. The first work that made him famous in the European scientifical societies was the Fungi tridentini novi vel nondum delineati (first volume published in 1881, the second in 1892), a good atlas collecting 281 Trentine varieties. In 1885, he was sent to Trento at the Diocesan Administration and there remained until 1910 when, retired, he continued his activity as a mycologist. After reading the works by Venturi and Vittadini on the matter, abbot Bresadola wrote a letter to prof. Saccardo, asking for his works and declaring his will of helping him research the area near Trento. From that moment on a profitable cooperation started, that let Bresadola come in contact with the most prominent specialists of the world (Lucien Quélet, Patouillard, Sydow, Henning, Barla and Massalongo) and write on the most important botanical reviews. When he died, in 1929, the Italian Botanical Society and the Natural Science Museum of Trento completed and published in his memory the Iconographia Mycologica.References: ICCU, IT\ICCU\SBL\0527683. For more information about the life and works by Giacomo Bresadola, see C.A. Bauer, Frammenti inediti di una vita, Trento, Museo Tridentino di Scienze Naturali, 1979. A digital reproduction of the Iconographia Mycologica can be consulted on the website of the Natural Science Museum of Trento at www.mtsn.tn.it/bresadola/iconographia.asp.

Condition Report: Minor traces of dumpness at the folders, but otherwise original edition in fine condition.

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[Manuscript on Vellum] Breviary, signed 1370

Lot 17: [Manuscript on Vellum] Breviary, signed 1370

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Description: WONDERFUL SIGNED AND DATED GERMAN MEDIEVAL BREVIARY ILLUMINATED AND MANUSCRIPT ON VELLUMBREVIARY-KONRAD HÖNER. Medieval manuscript on vellum, signed and dated. [At leaf 445v:]Anno Domini MCCCLXX. Scripsit hunc librum Cunradus Hoener, ordinis Praedicatorum. Oberrhein (Alsace), 1370. A thick volume in 8vo (140 x 105 mm), 17th century full calf binding on wooden boards (slightly rubbed), clasps partly missing, ff. [458], 15 lines.Written in brown ink, wonderful fine gothic writing on red lines. The pages have a large border, in the calendar slightly cut (little loss of page header. Half written page after fol. 430. 22 large initials with medieval monsters and animals (mystical creatures, dogs, dragons), one initial with a face, many red and blue rubricated intitials. Scarce signed and dated German Medieval breviary illuminated on vellum. The author, that calls himself Konrad Höner, signed and dated the manuscript. CONTENT:Calendar at the beginning of the breviary.Prayers with Vesper, Laudes and the minour hours for the entire ecclesiastic year. The prayers related to Vesper and the minor hours are shown on leaves 368v-441r. Furthermore, the book contains a complete Officium of the Virgin Mary, and an appendix with texts written by a later hand, containing a German translation of Hymns and the Officium (in rhymes) of St. Mary Magdalen. An. At leaf 398v, five lines completed with a later handwriting due to a loss of text. At leaf 382r, four lines of the Symbolum Athanasianum (Trinitarian formula) are crossed for dogmatic reasons. Provenance: The saints Erhard and Odile mentioned in the calendar of the breviary suggest the provenance from one of the many homes of the Alsatian Dominican Sisters, probably the convent Unterlinden in Colmar or that of Saint Nicolas in Schlettstadt (Séléstat) in Alsace (now France), the two most prominent female monasteries in the area, which - especially the latter - were important centers of Dominican mysticism. References: For the decorations, typical of the area of the river Rhine, see Ellen J. Beer, Beiträge zur oberrheinischen Buchmalerei in der ersten Hälfte des 14. Jahrhunderts unter besonderer Berücksichtigung der Initialornamentik, Basel/Stuttgart 1959, Plates 28, 30 and others.

Condition Report: At the end of the breviary, 3 leaves of appendix are missing; some pages with paled colours due to the use, in particular at the end of the book. Some pages slightly cracked in the boarders. The last page with a slight loss of paper and text in the upper corner. Overall in fine condition.

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[War, Military Logs] Caesar, 1595

Lot 18: [War, Military Logs] Caesar, 1595

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Description: ONLY TWO COPIES WORLDWIDE, NONE IN USAA VERY SCARCE MINUSCULE CAESAR EDITIONCAESAR, JULIUS. Opera quae extant. [Heidelberg:] Apud Hieronymum Commelinum, 1595. 16mo, contemporary limp vellum, pp. 504, ff. [ 24]. Very scarce German edition of Caesar's extant «Collected Works»: the renowned war's logs on his campaigns in Gallia (France), Hispania (Spain), Africa and Egypt, including his fragments. Provenance: Inscription at first paste down. References: No copies in Italian public libraries, no copies in USA. OCLC, 163535932 (apparently only two copies worldwide, both in Germany).

Condition Report: Light waterstains in the last leaves, but good and unsophisticated copy.

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[Inks] Canepari, De Atramentis, 1619

Lot 19: [Inks] Canepari, De Atramentis, 1619

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Description: THE EARLIEST COMPLETE TREATISE ON INK, its compositions and uses, a half-way work between alchemy and chemistry applied to writing and printingCanepari, Pietro Maria. De atramentis Cuiscunque generis opera sanè novum hactenus à nemine promulgatum in sex Descriptiones digestum. Venice, [s.t., but Evangelista Deuchino, 1619]. 4to (197x145 mm), 18th century stiff vellum binding with traces of handwritten titles in brown ink at spine, ff. [8], pp. 368. Printer's device at title-page that represents a scale, the sun and the moon, the heads of a man and a woman with a circle frame with the motto: Aequali lance librata nil clarius chaos. Very scarce first edition of Canepari's treatise on the different kinds of ink, describing systematically their composition, preparation and use.Canepari was a physician living in Venice, very fond of chemistry and natural science. The work is divided into six descriptions, the first of which deals with printing ink - Typographorum, Chalcographorum atramentum - while the fourth of that for handwriting during the ancient and middle ages - De atramento scriptorio.The other sections deal with De lapide pyrite metallorum, & atramentorum stirpe, De atramento metallico, praesertim Chalcity, De atramento sutorio, vulgo vetriolo, and De atramento scriptorio. The last chapter is called De varijs operationibus ex Vetriolo gerendis, ac de multiplici modo eliciendi oleum à Vitriolo and is about the vitriol oil, or sulphuric acid. The text includes very nice passages about invisible and secret inks, that let shine through Canepari's alchemic studies; for this reason, De Atramentis is usually included in the bibliographic repertoires about alchemy. Luigi Rusconi, in his 1859 work Dizionario universale archeologico-artistico-technologico, criticized Canepari for a non completely scientifical approach to the matter, but he admitted that he had been the only one following the topic out. Provenance: Ancient handwritten marginal notes and underlinings in brown ink.

Condition Report: A very fine copy.

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[Syphilis & Arthritis] Capodivacca, De lue, 1590-92

Lot 20: [Syphilis & Arthritis] Capodivacca, De lue, 1590-92

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Description: SCARCE FIRST EDITION OF CAPODIVACCA'S TREATISE ON SYPHILISbound withTHE SECOND EDITION OF CAMPOLONGO'S WORK ON ARTHRITIScompleted by Schneeberger's remedies against joints' painsCapodivacca, Girolamo. De lue venerea acroaseis. Pubbliche letture [...] Spirae (Speyer): Typis Bernardi Albini, 1590.[bound with:] Campolongo, Emilio - Schneeberger, Anton. Liber unus de arthritide cui accessit Antonii Sneebergeri tigurini enumeratio medicamentorum facile patabilium adversus omnis generis articulorum dolores. Spirae Nemetum: Apud Bernardum Albinum, 1592. 8vo (160x100 mm), contemporary limp vellum binding with handwritten titles at spine, pp. [8], 88; pp. [16], 111; [1], 270. Woodcut pictures at both title-pages, woodcut initials, head- and tail-pieces. First edition of the scarce and important treatise by Capodivacca about syphilis, bound with the second edition of Campolongo's treatise on arthritis. The illness is analysed through an inductive reasonment to get to its causes. Decoctions of Lignum vitae (or guayacus) and fumigations with mercury are indicated as the best remedies for it. After the Acroaesis de lue venerea, the book includes the second edition of Emilio Campolongo's «De Arthritide», on the causes and painful effects of the arthritis, whose first printing was producted in Venice just six years before (1586). The De Arthritide is formed by a collection of notes taken by Campolongo's pupils during his lessons and checked by him. It deals also with useful natural analgesics and proper alimentation to avoid the onset of the illness. Campolongo's work is enhanced by Schneeberger's Enumeratio medicamentorum, beginning without its own title-page at f. a8r of the second part. This addition, that had already been published separately in 1581, contains a list of remedies known during the Renaissance for the articulations' pains caused by the arthritis. Girolamo Capodivacca (beginning of the 16th century-Mantua, 1589) was an Italian physician, scholar at the university of Padua for more than 30 years. He gained an illustrious reputation as healer of syphilis cases, so important that even the Medici would have wanted him to Florence. His doctrine drew inspiration from Arabic medicine precepts developed through a Scholastic kind of reasonment. Emilio Campolongo (1550-1604) was a Paduan physician that taught at the university of the town and, at the same time, travelled through the Italian reigns in response to many sovereings' callings. Anton Schneeberger (1530-1581) was a Polish pupil of the famous naturalist Konrad Gesner of Zurich. Schneeberger was taught in Greek and inspired with a love for natural sciences and medicine. After the degree in Philosophy and Medicine at the university of Paris, he came back to Poland and settle as a physician in Krakau, where he composed both medical and botanical works. References: First work: Adams, C-600; Durling, 818; Wellcome 1260. Second work: Adams, C-490; Durling 811 (first edition); Wellcome 1245, copy lacking Schneeberger's essay.

Condition Report: Small loss (restored) at the first title-page, waterstain at the lower outer corner of the first half of the leaves, minor waterstains to the margin of few other leaves, light oxidation and some browning to few leaves. Overall, a good copy.

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[Military Architecture, Machines] Capra, 1717

Lot 21: [Military Architecture, Machines] Capra, 1717

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Description: A MILESTONE IN MILITARY ARCHITECTURE AND FORTIFICATION TECHNIQUESCAPRA, ALESSANDRO. La nuova architettura civile, e militare, divisa in due tomi, in questa nuova impressione diligentemente corretta, ed accresciuta. Cremona, Pietro Ricchini for Giuseppe Forbici, 1717.4to ( x mm.) 2 volumes in one, contemporary vellum binding, pp. [28], 356; [12], 184. Woodcut initials, head and tailpieces, woodcut portrait of Capra on p.[9] and *8 verso, architectural woodcut borders on pp. [10], 1, 79, 137, 183, 251, and *2, numerous woodcut diagrams. 7 FOLDING WOODCUT PLATES REPRESENTING MILLS, WAR MACHINES, FORTIFICATIONS AND A VERY INTERESTING MAP OF CREMONA. Numerous illustration along the text, many of them full page. FIRST COLLECTIVE EDITION of Capra's «Military and Civil Architecture», his two masterpieces, originally published separately in Bologna in 1678: the first, under the title of Nuova architettura famigliareand in 1683 the second, under the name of Nuova architettura militare. The first part is divided in 5 chapters, dealing with constructions techniques, hydraulics, civilian machines and mills . The second part is divided in three books, dealing with geometry, fortifications and war machines. A great importance has been given to machines, to which are dedicated more than 80 woodcuts. Alessandro Capra, an architect from Cremona, was in the employ of the Spanish governors of Milan and devised many different machines to help the town of Cremona withstand a siege during the Thirty Years'War. Among the other works he designed the Pontremoli Cathedral.References: Riccardi I, 235; Cicognara, 462.

Condition Report: A waterstain through the volume, but unsophisticated and untrimmed copy in its first binding.

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[Medicine & Philosophy] Cardano 1557-59

Lot 22: [Medicine & Philosophy] Cardano 1557-59

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Description: Cardano's natural observations and medical opuscula collected in their 16th century first editionsCardano, Girolamo. De rerum varietate libri XVII. Adiectus est capitum, rerum & sententiarum notatu dignissimarum Index. Basileae, per Henricum Petri, Anno M.D.LVII [Basel, Heinrich Petri, 1557].[bound with:] Cardano, Girolamo. Opuscula. [at colophon:] Basileae, ex officina Hieronymi Curionis, impensis Henrici Petri, Anno M.D.LIX [Basel, Hieronymus Curio for Heinrich Petri, 1559]. Folio (302x200 mm), elegant full calf binding on wooden boards with many blind-tooled decorations positioned in concentric frames, gilt monogram S B at front cover, five raised bands spine with blind-tooled decorations and gilt lettering at second compartment, lacking brass clasps, pp. [12], 707, [1, blank], [32]; pp. [12, the last blank], 210, [2]. Woodcut illustrations all along the text and, between pp. 438 and 439 a paper volvelle on a small leaf that still needs to be cut out. First edition of Cardano's «De Rerum Varietate», renowned sequel and integration of the «De Subtilitate» (1550), bound with the extremely scarce medical «Opuscula» of the same author in their first and unique edition. Both «De Subtilitate» and «De Rerum Varietate» belong to the Renaissance gender that today we would rather call trascendental philosophy. They are the result of naturalistic speculations of neoplatonic kind, made in order to unveil the arcane knowledge at the basis of the universe and the relationships among the elements. These works gather Cardano's empirical observations, as well as his opinions in the about of supernatural and magic, as the titles of some of the chapters let shine through: De mundi partibus divinioribus (meaning "The most divine parts of the world", including the essay on light Lux & lumen), De metallis (On metals), De lapidibus (On stones), De divinatione occultiore (Discovering the most occult things), De divinatione artificiosa (with reference to palmistry, witches, predictions, etc.). For the first time in this book, Cardano describes a shaft with universal joints, which allows the transmission of rotary motion at various angles and is used in vehicles to this day. In his honor, this device is still called the Cardan shaft. The De rerum varietate is here bound with the first and unique edition of the Opuscula, one of the most scarce books among Cardano's production. It deals with medical phenomena and some of its most interesting sections are De Aqua & Aethere, De Cyna radice as a therapy against syphilis, Consilium pro Fluxu sanguinis coërcendo. The book ends with a praise to medicine and a passionate response to some critiques against the De Subtilitate. Girolamo Cardano (1501-1576) was an Italian philosopher, physician (he's told to have been second just to Vesalius) and mathematician, famous for his querelle with Niccolò Tartaglia about the resolution of the cubic functions. He studied in Pavia and Padova, where he became doctor of medicine in 1524. From 1534, he used to teach mathematics in Milan and performing as well as a physician. From 1547 to 1551 he taight medicine in Pavia, and from 1562 in Bologna and then in Rome, where he spent the last years of his life and was also taken to trial for heresy. Cardano's life was adventurous and troubled, as can be desumed from his autobiography De vita propria (1563). Provenance: I. At the title-page, just under the portrait of Girolamo Cardano, handwritten inscription in brown ink Sum Francisci L. F[?]ghis 1561 followed by Latin quotations ending by the renowned motto prudens simplicitas. II. At the verso of the second front fly-leaf, handwritten note by the philosopher Heinrich Gomperz who bought the book in 1917 from the important German bookseller Otto Harrassowitz (1845-1920). Heinrich Gomperz (1873-1942), was a philosopher and classics scholar, son of philosopher Theodor Gomperz. Gomperz was on the periphery of the Schlick Circle in Vienna, a pluralistic discussion group organized in 1924 by the physics professor Moritz Schlick, committed to the ideals of the Enlightenment. The Circle sought to make philosophy scientific with the help of modern logic on the basis of scientific and everyday experience. He was a patient to Sigmund Freud. In 1938, Gomperz emigrated to the United States, where he lived until his death. His father and his own collection of letters to many important scholars of his time belongs now to the Honnold/Mudd Library of the Claremont Colleges (California).

Condition Report: Minor traces of use and some losses to the back cover, anciently restored. The title-page has been reinforced to the inner white margin, light shadows at the first and last leaves, but overall a very fine copy, with wide margins.

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[Agriculture, Farming, Fishing] Cato (& others) 1533

Lot 23: [Agriculture, Farming, Fishing] Cato (& others) 1533

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Description: THE MOST IMPORTANT TREATISES OF ROMAN AGRICULTURE, FISHING AND FARMING CATO, VARRO, COLUMELLA, PALLADIUS ET ALII. Libri De Re Rustica. M. Catonis Lib. I. M. Terentii Varronis Lib. III. L. Iunii Moderati Columellae Lib. XII. Eiusdem de arboris liber separatur ab alijs. Palladii Lib. XIIII. [...] Venetiis, in aedibus haeredum Aldi, et Andreae soceri, mense decembri MDXXXIII [Venice: Aldus Manutius, 1533]. 4to, 18th century French calf binding with blind-tooled decorations to covers, five raised band spine with red labe and gilt title, gilt decorations in compartments, ff. (54), 295, (1). Woodcut diagrams along the text. SECOND ALDINE EDITION OF THE MOST IMPORTANT TREATISES ON AGRICULTURE, FISHING AND FARMING FROM THE ROMAN AGE. With the 15th century commentary by Giorgio Merula.Provenance: Some not identified annotations in a contemporary hand.References: Adams, S-812; Renouard, pp. 109-110, n. 9; Simon, Bibliotheca bacchica, vol. II, p. 599; UCLA, n. 264.

Condition Report: A very good copy.

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[Erotic Poetry, Aldus] Catullus, 1502

Lot 24: [Erotic Poetry, Aldus] Catullus, 1502

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Description: FIRST ALDINE EDITION OF CATULLUS POEMSCATULLUS, GAIUS VALERIUS. Carmina. Venetiis in aedibus Aldi, mense Ianuario MDII. [Venice: Aldo Manuzio 1502].8vo, 19th century amateur blue morocco, gilt anchor on both covers, six raised bands spine with gilt title, gilt decoration at compartments, inner gilt dentelles, ff. [152]. Aldine anchor at title-page.First Aldine edition and one of the first libri portatiles, the handy octavo size books that Aldus popularized. «In their dedications to Marino Sanudo (1466-1536) Aldus and Avanzi emphasize that their Catullus is new. "Moreover, our Catullus will please you", writes Aldus, "because he will not at all the same as he did before, because of many emendations and verses both added and restored to their original position". After ten years of collating manuscripts and printed editions -and attempting to solve the puzzle of Catullan metrics- Avanzi produced a much-improved text. The growing interest in Catullus at the turn of the century, coupled with the popularity and portability of Aldus' octavo format, made Avanzi's text of Catullus the definitive text of the early sixteenth-century. «The novelty of the Aldine consists not only in its text, which is far superior to that of any previous edition and contains many changes even from Avanzi's 'Emendationes', but also in the physical aspect of the book, for Aldus' handy octavo, with its almost unprecedented press run of 3,000 copies, made Catullus far more widely available than he had been in the unwieldy tomes of the fifteenth-century» (Gaisser, Catullus and His Renaissance Readers, p. 52 ff.). References: Renouard, 39.16. Adams, C-1137 and C-1138; Schweiger (latino), I, p. 77, col. 2; FLETCHER, New Aldine Studies, pp. 100-106. CNCE 1035.

Condition Report: A very fine copy.

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[Erotic Poetry, Inner Temple] Catullus, Poems, 1691

Lot 25: [Erotic Poetry, Inner Temple] Catullus, Poems, 1691

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Description: THE MASTER OF EROTIC POETRY IN THE ROMAN AGETHE INNER TEMPLE COPYCATULLUS, Gaius Valerius. Opera, cum recensione Isaaci Vossiium ejusdem notis ac observationibus. Editio secunda cum indicibus necessariis, Lugduni Batavorum (Leiden), Gaesbleck, Boutesteyn, De Vivie and Van der Aa, 1691.4to, full calf binding with blind-toolings on both covers, pp. 327, (29),Title-page printed in red and black.Second edition of Catullus «Collected Poems» with the precious commentary of Isaac Voss.Provenance: Ex-libris Inner Temple Library at first fly-leaf. The Inner Temple Library is a renowned of jurists, bartenders and lawyers existing since Middle-Age. Over the centuries, the library had ups and downs, and many duplicates were sold to members to raise funds.«The history of the Temple begins soon after the middle of the twelfth century, when a contingent of knights of the Military Order of the Temple of Solomon in Jerusalem moved from the Old Temple in Holborn (later Southampton House) to a larger site between Fleet Street and the banks of the River Thames. The new site originally included much of what is now Lincoln's Inn, and the knights were probably responsible for establishing New Street (later Chancery Lane), which led from Holborn down to their new quarters. Following their custom, the knights built a round church patterned on the Holy Sepulchre in Jerusalem. An inscription on the Round recorded that it was consecrated by the Patriarch Heraclius on 10 February 1185, in honour of the Blessed Virgin Mary. It is thought that King Henry II was also present on that day, inaugurating a long association between the royal family and the Temple».References: Only one copy in ICCU. No copies on the market.

Condition Report: Hinges restored, but a good copy with a distinguished provenance.

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[Birth of Novel] Cervantes, Quixote, 1780, 4 vols

Lot 26: [Birth of Novel] Cervantes, Quixote, 1780, 4 vols

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Description: IBARRA EDITION OF CERVANTES' QUIJOTE: THE FOUNDATION OF THE MODERN NOVELthe crash of medieval chivalric traditions and the most famous work of the Spanish literatureCervantes Saavedra, Miguel (de). El Ingenioso Hidalgo Don Quixote de la Mancha. Madrid, Joaquin Ibarra, 1780.4 volumes in 4to (298x220 mm), contemporary full roan calf binding, geometric frame printed in gold to covers, gilt decorations on the whole lenght of the spine except for the two red leather labels containing titles, marbled fly-leaves, pp. [4], xiv, [2, Licencia], [2, portrait], ccxxiv, [4], 199, [1, blank] at first volume; pp. [6], 418, [2, blank] at second volume; pp. [4], xiv, 306, [2, blank] at third volume; pp. [6], 346, [2, blank] at fourth volume. In addition, each volume has full-page plates not included in the pagination. 31 full-page copper plates engraved by the most renowned artist of the 18th century Spain as Carmona, Fabregat, Gil and Selma, folding map of Spain, two engraved title-pages. The most famous illustrated edition of Cervantes' «Don Quijote de la Mancha», Spain's literary masterpiece printed by Joaquín Ibarra. It was 1773 when at the Real Academia Española the literates began to think at a new edition of the most famous novel of their national literature. In the previous two centuries several printings and translations had brought the text to a subversion, full of ortographic mistakes and variations from the original. Hence the will of producing an ultimate, perfect edition philologically correct under every point of view. This is that perfect edition, realized with the cooperation of the best craftsmen of the 18th century: the types were designed and funded by Jéronimo Antonio Gil, the Joaquín Ibarra printed the text that the Royal Spanish Academy had desumed by the first editions of 1605 and 1608 for the first part (Madrid, De la Cuesta) and of 1615 and 1616 for the second (Madrid, De la Cuesta and Mey). The best paper on the market was found in the factory of Joseph Llorens and the life and analisis of the novel were Vicente de los Ríos', that based his writings on first hand information from 16th century historical recounts. The illustrations were commissioned mainly to Antonio Carnicero and José del Castillo, but also to Bernardo Barranco, Gregorio Ferro, Jerónimo Antonio Gil, José Brunete and Pedro Arnal. The engravers were the same Jerónimo Antonio Gil, Manuel Carmona, Joaquín Fabregat, Rafael Ximeno and Fernando Selma. Since philological purity had to match with typographical perfection, the metal plates on which the images were engraved were to be bigger than the paper, in order to avoid the blank impression of the plate's shape.The Novel: Cervantes' work narrates the travel adventures of an old gentleman who goes insane from misreading chivalry novels and thinks he is a knight errant. He abandons his home to search for adventure in the rural landscape of imperial Spain, from his small village in La Mancha to the forests of the Sierra Morena. His encounters with other characters often take place at roadside inns which in his madness he believes to be castles: his goal is to right all manner of wrongs and to gain fame for his valorous deeds, that ought to honor his beloved Lady Dulcinea, which was actually a harlot. Two of the principal themes of the first part of the novel are, then, chivalry and its absurd and often comical relationships to 'real' life and love, both courtly and conjugal. Cervantes often uses these encounters between Don Quijote and other characters to satirize the society in which these characters exist and to comment on the various codes of behavior reflected by their actions. The knight is accompanied on his travels by his neighbor Sancho Panza, an illiterate but shrewd peasant primarily interested in eating and drinking. The conflict between art and nature, that is, between Don Quijote's idealized and fictional world on the one hand, and Sancho's natural world of biological existence on the other, points to an incompatible relationship between the two worlds in which nature always seems to gain the upper hand. When Don Quijote is convinced that the windmills he encounters are giants, Sancho rightly insists that they are only windmills. The second part of the novel, published ten years after the previous, is more complex, since Don Quijote and Sancho meet many characters who have read the first part of the story, and thus already know about the pair's previous adventures. Instead of confronting what they believe to be 'reality' as they did in the first part of the novel, Don Quijote and Sancho often participate in adventures that are staged by and for the benefit and amusement of the characters themselves. The metaphor of the world is a stage becomes literally true and often it seems as if the world were more insane than Don Quijote himself. Don Quijote is more than a book about other books or about fiction and its relationship to reality. Cervantes explores real people's struggles with what is real and what is not, and in so doing he addresses the readers of his novel as well. The critical reading of this work, in addition, underlines the distance between Cervantes' own time and the medieval traditions that survived in Spain already empty with their meaning, in a moment where the perception of the Renaissance harmonic universe with the man at the centre of everything and its organized rules was beginning to crash.Miguel de Cervantes Saavedra (1547-1616) is Spain's greatest literary figure. We know little of his early life: he was born in Alcalá de Henares, near Madrid, the fourth of seven children. Despite his father's frequent travels, Cervantes received some early formal education. In 1569 he traveled to Italy to serve in the household of an Italian nobleman and joined the Spanish army a year later. He fought against the Turks at the Battle of Lepanto in 1571, where lost the use of his left hand. After a lengthy period of recovery and further military duty, he departed Italy for Spain in 1575, only to be captured during the return journey by Barbary pirates. He was taken to Algiers and imprisoned for five years, until Trinitarian friars paid a considerable sum of money for his ransom. This experience was a turning point in his life, and numerous references to the themes of freedom and captivity later appeared in his work. In 1584 he married a woman almost twenty years younger and soon managed to obtain a position as a government official in the south of Spain; some years later he requested permission to emigrate to the New World, most likely to improve his situation, but was turned down and told to find some gainful employment "at home". By 1590, Cervantes was already known as a promising author. In 1585 he published his first work in prose, La Galatea, a pastoral romance and he was also writing for the theater. At this time he also began to write short stories, some of which were later included in his Exemplary Tales. His most famous work, Don Quixote de la Mancha, was published in two parts in Madrid: part I appeared in 1605, whereas the second in 1615. The novel was an immediate success. The first part went through six editions the year of its publication, and was soon translated into English and French. The fame of Don Quixote brought Cervantes to the attention of a wide audience. In 1613 his completed collection of short stories appeared in Madrid; his satiric poem, Journey from Parnassus was published a year later; and in 1615, Cervantes was able to publish some of his theatrical works. His final prose fiction, The Travails of Persiles and Sigismunda, generally described as a Byzantine romance - whose dedication he finished four days before his death - was assessed by Cervantes as among the best of his work. Provenance: Armorial ex-libris with the motto Viriliter age at the first paste-down of each volume, referring to Count Sanminiatelli.References: Ashbee, Iconography of Don Quixote, 72; Benages & Fonbuena, 60; Biblioteca Nacional de Madrid, Exposición Conmemorativa del Quijote, 52: «Magnifica edicion»; Bland, 233; Brunet, I, 1749: "Cette édition est un vrai chef-d'oeuvre typographique"; Cohen - de Ricci, 218-19; J. Givanel Mas, Colección Cervantina, 365; Palau, 52024; PMM Fine Printing, 123; Ruis, I, 53; Updike, Printing Types, I, 7: «The finest edition of Don Quixote that has ever been printed».

Condition Report: Few light traces of foxing, otherwise fine copy with perfectly preserved illustrations, in contemporary binding.

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[Gastronomy, Carving] Cervio, Trinciante, 1622

Lot 27: [Gastronomy, Carving] Cervio, Trinciante, 1622

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Description: THE MOST RENOWNED RENAISSANCE TREATISE ON THE ART OF CUTTING AND CARVING FOODCervio, Vincenzo. Il trinciante di M. Vincenzo Cervio, Ampliato, e ridotto a perfettione dal Cavalier Reale Fusorito da Narni, Trinciante dell'Illustrissimo & Reverensiss. Signor Cardinal Farnese. In Venetia, MDCXXII Appresso Alessandro De Vecchi [Venice: De Vecchi, 1622]. 4to (194x147 mm), 19th century water colured stiff paperboards with paper label and handwritten title at spine, pp. ff. [4], 39 [1, blank] (= pp. 88). Printer's device at title-page, woodcut initials to the first pages. Roman and Italic type, text in Italian. Two woodcuts representing the carver that presents a roasted chicken to a Renaissance table and, in the other room, his assistant preparing other spit-roasted poultry. Uncommon edition of «Trinciante», the most famous Renaissance treatise about the art of cutting and carving food at the nobles' banquets. The earlier works by Romoli (Singolare dottrina, 1560) and Scappi (1570) would have been familiar to Cervio, but they were no doubt considered by him to be insufficiently comprehensive. Such a criticism could not be made of his own book, which devotes 10 chapters to the status and duties of a carver, and no fewer than 76 chapters to the carving of particular foodstuffs. In contrast with the German practice of carving foods anchored on a plate or table, Cervio believed that the only true method of carving was the Italian one, that is to hold the meat or other food up in the air, on a fork, and apply the knife to it in this posture. This technique transformed a practical operation into a spectacular exercise of virtuosity that contributed to the exaltation of the richness and magnificence of the host of the banquet. Cervio's book provides, in addition, much information about the foods eaten at an Italian court of the Renaissance. In particular, the wide variety of meats from different animals calls the attention, such as peacock, pigeon, heron or crane; then plenty of fishes are listed and, finally, the fruit, whose king is said to be the melon that was to be eaten with salt. Vincenzo Cervio (ca. 1510-1580) was for most of his life an officer of the household of Cardinal Alessandro Farnese. He became very famous as a carver and he is now remembered for his posthumous book on the subject. The extent of Cervio's own contribution to the book remains uncertain, as the identity of the editor of the book, the Royal Knight Fusoritto da Narni, whom is thought by the scholars to be the same Cervio under a pseudonym. Provenance: At verso of the last blank leaf, a not identified contemporary inscription on two lines. References: ICCU, 039660 (six copies). Only one copy in USA (Florida State Univeristy).Vicaire, Bibliographie gastronomique, 159 (for the first edition). Bitting, p. 81 (only the 1603 edition). Paleari Henssler, p. 178; Westbury, pp. 45-46; see Alan Davidson, The Oxford Companion to Food, Oxford University Press, 1999, p. 156.

Condition Report: Neat repairs at the blank margins of the last five leaves; very light usual brownings, but overall, a good copy.

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Cicero, De Philosophia, 1583, 2 vols

Lot 28: Cicero, De Philosophia, 1583, 2 vols

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Description: Cicero, Marcus Tullius. In M. Tullii Ciceronis De philosophia volumen primum [et secundum] Aldi Mannuccij commentarius.[Venice: Aldus Manutius, 1583].2 volumes bound together in-folio, 19th century half calf on marbled paper. Portrait of Aldus Pius Manutius on each title page. Head-pieces; initials; type ornaments.Scarce folio aldine edition of all Cicero's philosophical works with the commentary of Aldus Manutius the Younger.References: CNCE 64614.

Condition Report: Neat repairs at the inner upper corner of several last leaves of the second volume, with the text rewritten in ink sepia. Not brilliant, but honest.

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[Ethics, Philosophy ] Cicero, Gli Uffici, 1756

Lot 29: [Ethics, Philosophy ] Cicero, Gli Uffici, 1756

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Description: WONDERFUL FLORENTINE EDITION OF CICERO'S «ON DUTIES», A CORNERSTONE OF CIVIL COMMITMENTCICERO, MARCUS TULLIUS. Gli ufficj di M. Tullio Cicerone e sopra di essi commentarj di giurisprudenza d'etica filosofica di politica e di filologia opera dedicata a sua altezza reale il serenissimo principe don Filippo infante di Spagna duca di Parma [...] dal marchese Andrea Luigi de Silva. In Florence: appresso Andrea Bonducci, 1756.Folio (344x235 mm), paperboards, spine covered by flowered paper with handwritten titles on paper label, pp. [2], X, [2], 348. Title-page printed in red and black, copper-plated and woodcut initials. Copper-plated frontispiece drawn by Tommaso Gentili and engraved by Carlo Gregori.Ethics, politics and the commitment for one's homeland: Cicero's De officiis («On Duties») is a cornerstone of civil sense and contains his analysis, in a Greek theoretical framework, of the political and ethical values of the Roman governing class in the late Republic. Cicero claims that the absence of political rights corrupts moral virtues. In this work, Cicero lays out cases of apparent conflict between honestum and utile, what is morally good and what is expedient, arguing that they are reconcilable: 'there is one rule for all cases either the thing that seems beneficial must not be dishonorable, or if it is dishonorable, it must not seem beneficial' (De Officiis 3.81). He also discusses the needs of the public, the fellowship (societas) of the human race as a whole, stating that any individual's self-promotion at another's expense is detrimental for everybody. «Cicero himself seems to have regarded this treatise as his spiritual testament and masterpiece» (Michael Grant).References: Graesse, II, 185. For more information about this work see E. M. Atkins, M.T. Griffin, Cicero: On Duties (Cambridge Texts in the History of Political Thought), Cambridge University Press, 1991.

Condition Report: A very fine copy, printed on wonderful paper, in its first paperboards binding.

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[Occult, Ghosts] Cicogna, Palagio degli incanti, 1605

Lot 30: [Occult, Ghosts] Cicogna, Palagio degli incanti, 1605

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Description: FIRST EDITION OF THIS WORK ON SUPERNATURAL AND GHOSTSCicogna, Strozzi. Del palagio de gl'incanti, & delle gran meraviglie de gli spiriti, & di tutta la natura loro. Diviso in libri XXXXV. & in III. prospettive. Spirituale, celeste, et elementare. Vicenza, Roberto Miglietti, 1605. 4to (205 mm x 152 mm), stiff vellum binding with handwritten title at spine, light-blue edges, pp. [32], 423, [1]. THe leaf A4 (blank) was replaced by the extremely scarce portrait of the author, full-page and copper-plated. Scarce first edition of this refined work on occult beliefs, both ancient and modern. The text includes the description of many examples supporting the narration. Provenance: Handwritten signature A. Alpia and the word amicorum in brown ink at title-page.References: Caillet I, 2374; Spini, Le edizione bresciane del Seicento, p. 21 n. 89; Michel-Michel II, 98. Faggin pp. 127/8.

Condition Report: Invisible repair at title-page, light waterstain at the lower margin of the first and last leaves, small stains at pp. 110 and 111. Overall, a very good copy.

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[Incunable] Clavasius, Summa, 1486

Lot 31: [Incunable] Clavasius, Summa, 1486

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Description: FIRST EDITION OF ANGELO CARLETTI SUMMA ANGELICAONLY BOOK PRINTED IN CHIVASSO IN XV CENTURYANGELO CARLETTI (FROM CLAVASIUS). Summa angelica casibus conscientiae. Impressus hoc opus Clavassii: Jacobinus de Suigo, 13 maggio 1486. 4to (210x155 mm), contemporary full vellum binding, blind tooled geometrical impression at boards and geometrical central medallion (light scratches at boards), spine renewed , original clamps partially present, ff. 388. Gothic type, 55 lines. The two blank pages between registrum and index, almost always missing, are present in this copy. Entirely rubricated in red. Scarce first edition of the celebrated Carletti's handbook for confessors and first and unique book printed in Chivasso (near Turin) in 15 century. Despite bibliographies didn't mention different issues of this work, this copy presents interesting variants compared to other copies of the same edition present in public libraries. This variants, together with the dense annotations, suggest that this copy could be a work copy owned by the printer (or by the author himself ). Arranged in 659 chapters, in alphabetic order, the work is a tool for confessor and a kind of dictionary of moral Theology. Considered a symbol of Catholic orthodoxy it was burnt by Martin Luther, who called the opera "Summa plus quam diabolica", in Wittemberg on December, 10th, 1520 togheter with the Bull of Excommunication, The Code of Canon Law and Saint Augustin "Summa Theologica" . A chapter is devoted to prostitution, others to Sortilegium («Divination») and necromancy. Also included a chapter on the Inquisition Role. According to Thorndike (IV, 354) Clavasius was one of the few lawyers in his age that strongly attacked alchemy, adfirming that according to his knowledge no one has ever produced gold and for this reason is mentioned by Mangetus in his Bibliotheca Chimica, I, 214. Angelo Carletti (1411-1495) from Chivasso was a noted moral theologian of the Order of Friars Minor. He attended the University of Bologna, where he received the degree of Doctor of Civil and Canon Law. It was probably at the age of thirty that he entered the Order of Friars Minor. PROVENANCE: I. Interesting comments and annotations, both of corrections and additions, from two different contemporary hands. II. Ex libris "Pro viribus summis contendo" with noble coats of arms on paper label at front inside board.III. Ex libris Bibliotheca Broxbourniana J.P.W.E. ex dono A & RE 17 march 1949 from the renowned Ehrman collection , with John Patrick William Ehrman, founder's son, initials, on paper boards at back inside board. The remaining part of the collection is now at the Cambridge University. References: HC 5382. CBB 205. Ce³ A-713. CIH 193. IBE 355. IBP 349. IBPort 102. IDL 289. IGI 559. Pell 3812. Rhodes: Greece A7. CRF I 75. CRF III 51. CRF VIII 26. CRF XI 39. CRF XII 51. CRF XIV 28. VB 2852.10. CIBN A-383. Pr 7323. BMC VII 1111. Bod-inc A-285. Günther 561. Madsen 194. Mendes: Lisboa 82. Oates 2725. 2726. Sallander: Uppsala I 2029. Walsh: Harvard 3584. ISTC ia00713000.

Condition Report: Light waterstain at the external margin of few leaves, Good copy printed on strong and crispy paper.

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[Aldus] Colonna, Hypnerotomachia Poliphili, 1545

Lot 32: [Aldus] Colonna, Hypnerotomachia Poliphili, 1545

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Description: POLIPHILO'S DREAM: THE MOST BEAUTIFUL ILLUSTRATED BOOK OF THE RENAISSANCETHE LEO OLSCHKI COPY, WITH ALCHEMICAL ANNOTATIONSCOLONNA, Francesco. La Hypnerotomachia di Poliphilo, cioè pugna d'amore in sogno. Dou'egli mostra, che tutte le cose humane non sono altro che sogno: et doue narra molt'altre cose degne di cognitione. In Vinegia: in casa de' figliuoli di Aldo, 1545. [Venice: Sons of Aldus 1545].Folio, 20th century full calf binding with gilt titles at spine, ff. [234]Types 2:115R (text), 10:82R (titles, errata, a few chapter headings), 7:114 Greek (occasional words), 9:84 Greek (on errata page), and a square Hebrew font (inscriptions on b8r-v).Aldine anchor and dolphin device on title and on verso of leaf F4.170 large woodcuts traditionally attributed to the illuminator Benedetto Bordone, nine of which are full-page: sometimes were also attributed to Giovanni Bellini or to Raffaello.39 woodcut initials.Very scarce second issuance of Hypnerotomachia Poliphili, the most renowned book of Italian Renaissance and the most beautiful illustrated book of its century.Probably the most desired book by collectors of every time, the Poliphilo, the Hypnerotomachia served as a sort of pattern-book, influencing book illustration styles all over Europe.As states Goldschmidt: «[A]rtists...craftsmen...decorators got hold of this incomparable album of compositins in the antique taste. In the countries beyond the Alps its repercussions are even more clearly traceable than in Italy itself, where a greater variety of other sources for the study of clasical forms were to be found. In the north an astonishing proportion of all Renaissance ornament and accessory design can clearly be proved to derive from Colonna's Polifilo».George Painter, in his fascinating essay, gives an appropriate context to the book: «Gutenberg's forty-two-Line Bible of 1455 and the Hypnerotomachia of 1499 confront one another from opposite ends of the incunable period with equal and contrasting pre-eminence. The Gutenberg Bible is sombrely and sternly German, gothic, Christian, and medieval; the Hypnerotomachia is radiantly and graciously Italian, classic, pagan, and renascent. These are the two supreme masterpieces of the art of printing, and stand at the two poles of human endeavour and desire». CONTENT: In search of his lost love, Polia, Polifilo is carried through a dream-world of pyramids and obelisks, ruined temples, bacchanalian festivals, and other classical scenes before finding her and attaining enlightenment at the temple of Venus. It «teaches that all human existence is no more than a dream, and along the way records many things most worthy of knowledge».Provenance: 1. Very interesting contemporary annotations, probably with alchemical or symbolic meanings. 2. The Leo Olschki copy (his ex-libris at the corner of the first paste down). References: Adams C-2414; Mortimer Harvard Italian 131; Renouard, Alde, pp.133-34; Essling Pt. I, vol.2:2, no.119; Sander 2057. CNCE 12823. E.P. Goldschmidt, The Printed Book of the Renaissance, 1950, p. 52.

Condition Report: An excellent copy, very clean and crisp, with the Priapus woodcut unmutilated and with a distinguished provenance.

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[Apologetic Literature, Aldus] Cyprianus, 1563

Lot 33: [Apologetic Literature, Aldus] Cyprianus, 1563

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Description: FIRST AND ONLY ALDINE EDITION CYPRIAN'S COLLECTED WORKSTHE FIRST GREAT LATIN WRITER OF CHRISTIANITYCYPRIANUS, CAECILIUS. Divi Caecilii Cypriani Episcopi Carthaginensis, et gloriosissimi Martyris Opera. Ad veritatem vetustissimorum exemplarium summa fide emendata, addito etiam quinto epistolarum libro, antea numquam edito. Alia eidem Cypriano adscripta. [...]. Romae, Apud Paulum Manutium Aldi F, 1563. [Rome: Paolo Manuzio, 1563]. Folio, 18th century stiff vellum binding, pp. [28], 424, [52]. The work was devoted by Paolo Manuzio to the cardinal Borromeo. This sumptuous edition was edited by Latino Latini. FIRST AND ONLY ALDINE EDITION OF THE COLLECTED WORKS OF CYPRIAN, BISHOP OF CARTHAGE, THE FIRST GREAT LATIN WRITER OF CHRISTIANITY. Some treatises and letters were never published before this edition, that can be partly considered an editio princeps.TASCIUS CAECILIUS CYPRIANUS also know as Saint Cyprian (210-258 AC), African rhetorician converted to Christianism, was particularly committed in theological-pastoral controversies where, with chaste e impassioned tones, he showed his literary gift and his charisma; through his work, the necessity for the early Catholic Church to remain united under a safe guide is strongly stated and this realistic representation of Christianity became very popular during the Renaissance. REFERENCES: Renouard, 188, 3: «Cette édition, dédiée par Paul Manuce au Cardinal Charles Borromée, est faite sur d'excellents manuscrits, et contient plusieurs lettres et traités de S. Cyprien, qui n'avoient pas encore été imprimés».

Condition Report: Usual traces of foxing, but a good copy.

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[Surgical Instruments] Dalla Croce, Cirugia, 1583

Lot 34: [Surgical Instruments] Dalla Croce, Cirugia, 1583

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Description: THE MOST COMPLETE BOOK ON SURGICAL INSTRUMENTS ALSO CONTAINING THE FIRST ILLUSTRATION OF AN OPERATING ROOM AND THE FIRST ILLUSTRATION OF A NEUROLOGICAL SURGERY OPERATIONDalla Croce, Giovanni Andrea. Cirugia uniuersale e perfetta di tutte le parti pertinenti all'ottimo chirurgo. Di Gio. Andrea Dalla Croce medico vinitiano. Nella quale si contiene la theorica, et prattica di ciò che può essere nella cirugia necessario, come più ampiamente nel sommario si dichiara. Di nuouo con li dissegni di tutti gl'istromenti antichi & moderni in tal'arte necessarij, posta in luce. Con la tauola de' capitoli di ciascun libro. In Vinegia, appresso Giordano Ziletti, 1583. [Venice, Francesco Ziletti, 1583].Folio, later stiff vellum binding with black-lettered title on spine, ff. [8], 100, 109, [1], 59, [1], 13, [1], 54, 24, 41, [1], 35, [1]. Woodcut typographical device at title-page. Hundreds of woodcuts containing the most complete apparatus of surgical instruments and the first illustration of an operating room. Nearly all of the best known and most frequently used surgical instruments are depicted in historical sequence. The various types of arrows, spears, and bullets used in the warfare of his day are also illustrated as well as several scenes of the typical operating room of the sixteenth century, with wound and surgical operations including dentistry. Scarce second, revised and increased, Italian edition of Dalla Croce's fundamental treatise «On Surgery», the most complete Renaissance book of surgical instruments and one of the most beautiful surgery book of every time.The work is an exhaustive compilation of the surgical operations of the most important authorities of the past, from Hippocrates to Abulcasis, and it is distinguished by the surprisingly modern recommendations for wound management and its high quality of illustration. Divided into 7 books, the work covers all branches of contemporary medicine and is highly renowned for its description of surgical instruments; it analyzes cures for abscesses and tumors and considers the best ways to treat gunshot wounds; it describes ways to prevent bleeding, and gives treatments for ulcers, bone fractures and many other illnesses. Garrison-Morton: «Croce improved the instruments for trephination, and published classic woodcuts depicting the operation, including the first illustration of a neurological surgery operation actually taking place. The work is also important for Croce's descriptions of cranial and cerebral diseases. In hundreds of woodcuts of instruments and procedures Croce illustrated all of the instruments used before and during his own time. The depictions of the operations are also the first illustrations of an operating theatre».Plicher: «Dalla Croce, native of Venice, lived in the last half of the sixteenth century. To him are due, especially, the improvements in the apparatus for trephining. He is the first author who has given illustrations of all the instruments for the operation of trephining which had been in use up to his time. The collection of surgical instruments figured in his book is the most complete published to date. Besides the figures which represent these surgical instruments, the illustrations present many figures of men undergoing operations, and of these are three which have particular interest in the history of costumes; two other, full-page size, the manner of givind aid to wounded in war».Poletti and Diotallevi (De re dentaria) also emphasize the importance of this work for the dentistry. Giovanni Andrea Dalla Croce was an Italian physician and surgeon. He was born at Venice, where is known to have been a member of the College of Surgeons. About 1560 is mentioned as being one of the city's most successful surgeons. The present work is Croce's major contribution and is chiefly an historical compilation of the writings of the important authorities from Hippocrates to Abulcasis. Croce's recommendations for wound management are surprisingly modern and are similar to some of those used during the early years of this century. The work was first printed in Latin in 1573 and translated into Italian in 1574 (the present edition), then republished in 1587 and 1596 in Latin: it had several editions in the following centuries and was also translated into German. It became a classic work, particularly noteworthy as one of the most important iconographic sources for early surgical instruments, depicting the most important instruments in historical sequence from antiquity to the time of publication. Provenance: I. Contemporary signature Jacopo Perelli (or Peretti?) at title-page II. Large woodcut ex-libris of the noble French family E. Malan de Mérindol (signed Giuffredi) at the rear pastedown. References: Censimento, CNCE 16510. Not in Adams, who quotes the 1573 edition (C-2992). Garrison-Morton, 4850.4. Wellcome, I, n. 1669; BMC, p. 274; Hirsch, II, p. 145. Durling, 1085. Cushing, C-477. Heirs of Hippocrates, 266. Sallander, Bibliotheca Walleriana, 2275. Mortimer, Italian sixteenth century books, 142. Parkinson-Lumb, Medical Books in Manchester University Library, 609. Castiglioni, Storia della Medicina, I. pp. 409-410. Pazzini, Bibliografia di storia della chirurgia, p. 80. E. J. Gurlt, Geschichte der Chirurgie und ihre Ausübung, II, pp. 335-360.R. A. Leonardo, Lives of Master Surgeons, 1948, pp. 132-133. L. S. Plicher, Old Masters of Medicine and Surgery, p. 148. G.B. Poletti-L. Diotallevi, De re dentaria apud veteres, Görlich 1951, p. 49.

Condition Report: Some neat repairs in the white margins of few leaves (inluding title-page); the blank leaves before each chapter were probably replaced in the 18th century. Overall, a very fine copy. NOTE: It is possible to see other photos of the surgical instruments contained in this book at the following link:

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[Divine Comedy, Counterfeit] Dante, Paganino, 1527

Lot 35: [Divine Comedy, Counterfeit] Dante, Paganino, 1527

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Description: SCARCE COUNTERFEIT OF THE ALDINE EDITION OF DANTE'S «DIVINE COMEDY», PRINTED BY PAGANINO WITH THE RENOWNED ITALIC TYPE DISCOVERED BY ALDUSDANTE. Dante col sito et forma dell'Inferno. [Toscolano, Paganino and Alessandro Paganini, ca. 1527]. 8vo (156x95 mm), French contemporary full calf binding with blind-tooled frames with floral elemnets to both covers, rebacked, ff. (248). Italic type. 4 large woodcut pictures, taken from the Aldine edition of 1515. The first, on two pages, represents the Hell's topography, the second and the third the Hell's Circles and the fourth those of the Purgatory. At verso of the last leaf, the famous device-subscription used by Alessandro Paganino Benacensis, from Toscolano near the Garda Lake (Latin name, Benacus). SCARCE COUNTERFEIT OF THE ALDINE EDITION OF DANTE'S «DIVINE COMEDY», PRINTED BY ALESSANDRO PAGANINO IN ITALIC TYPE. Since no date appears on this book, there have been many philological discussions about this edition. On his Annali delle edizioni dantesche, Giuliano Mambelli quotes the different opinions of the scholars, part of which affirm that this would be a counterfeit of the Aldine of 1502, part that it follows the 1515 edition. At the moment, the second theory sustained by Witte and Barbi is considered more reliable, due to a detailed comparison of the text and the presence of the same illustrations of 1515 Dante in Paganino's edition. Luigi Lechi, who studied deeply Paganino's works, dated this printing back to 1527. DANTE ALIGHIERI (1265-1321) is one of the most renowned poets of Italian literature, CONSIDERED TOGETHER WITH FRANCESCO PETRARCA AND GIOVANNI BOCCACCIO THE FATHER OF THE MODERN ITALIAN LANGUAGE. He belonged to the Florentine minor aristocracy and was educated at the Franciscan and Domenican schools, studying philosophy and teology. Friend to the stilnovist poets, due to his critical opinions towards the papacy he was forced to leave Florence and live exiled for the rest of his life. He wrote Latin and Italian works, entering the number of the world classics' masters with his Comedia, successfully defined Divina by Boccaccio. Among Dante's other compositions there are Vita Nova, Convivio, De Monarchia and De vulgari eloquenza, the latter on the dignity of vernacular as litery language. He also wrote many famous poems, being one of the heads of the Italian poetic movement of the Dolce Stil Novo (namely, the Sweet New Style), that combined the exaltation of love with a refined religious feeling. REFERENCES: Mambelli, n. 21; Olschki, Monumenta Typographica, cat. LIII (1903), n. 651: «impression fort rare, qu'on dit une contrefaçon de l'édition aldine de 1502»; Sander, 2318. For more information about Paganino's printings, see L. LECHI, Della tipografia bresciana nel secolo XV, Brescia, 1854.

Condition Report: Binding slightly worn and spine rebacked, minor traces of use, but a very good copy.

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[Divine Comedy] Dante, Farri, 1569

Lot 36: [Divine Comedy] Dante, Farri, 1569

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Description: VERY SCARCE EDITION OF DANTE'S «DIVINE COMEDY» PRINTED BY FARRIDante Alighieri. La Divina Comedia di Dante, di nuovo alla sua vera lettione ridotta con lo aiuto di molti antichissimi esemplari. Con Argomenti, et Allegorie per ciascun Canto, et Apostille nel margine. In Vinegia appresso Domenico Farri, MDLXIX [Venice, Domenico Farri, 1569]. 12mo (126x68 mm), 18th century stiff vellum binding, vellum label at spine with gilt letterings and decorations, yellow edges, pp. [36], 598, [2, the last blank]. Roman and Italic type, text in Italian. woodcut initials, the biggest ones inhabited by puttos and mythological creatures. Woodcut friezes at title-page and at the beginning of each section. Very scarce Renaissance pocket edition of Dante's «Divine comediy» printed in Venice by Domenico Farri. Giuliano Mambelli, in his Annali delle edizioni dantesche («Annals of Dante's editions») defines this edition very clear and rare, indeed and informs that is was set up following the Venetian version printed by Gabriel Giolito de' Ferrari in 1555. Dante's life and the dedicatory letter to Coriolano, bishop of St. Mark were written by the renowned Renaissance humanist Ludovico Dolce, one of Giolito's contributors. The biography of the poet is preceeded by a praise sonnet by Boccace. THE WORK THAT, MORE THAN ANY OTHER, SHOWED THE CHRISTIAN MIDDLE AGE IN ITS HISTORICAL HAPPENINGS AND "SUPERTERRESTRIAL" VISION AND BECAME A LITERARY CANON FOR VERNACULAR WRITING. Dante's allegorical journey through the three reigns of the au-de-là (Hell, Purgatory and Paradise) was a literary device for showing to the corrupted and confused mankind the way to material and spiritual redemption. Hence, the personal stories of the people positioned by the poet in the afterworld become emblems of deviance, punishment or reward in order to direct the behaviour of Dante's contemporaries. At the same time, the poem gives the present reader an umparalleled repertory about the history, philosophy and antropology of the European Middle Age. DANTE ALIGHIERI (1265-1321) is the most renowned poets of Italian Literature, considered together with Petrarch and Boccace the father of the modern italian language. He belonged to the Florentine minor aristocracy and was educated at the Franciscan and Domenican Schools, studying philosophy and teology. Friend to the stilnovist poets, due to his critical opinions towards the papacy he was forced to leave Florence and live exiled for the rest of his life. He wrote Latin and Italian works, entering the number of the world classics' masters with his Comedia, successfully defined «divine» by Boccace.. LUDOVICO DOLCE (1508-1568) was a prolific Venetian humanist that collaboratedfor a long time with Gabriel Giolito de' Ferrari. He is credited with more than 300editions: his work as grammarian and translator led him to the writing of the osservazioni nella volgar lingua (1550), one of the first and basic grammars of italian language, which was published a few years after Bembo's Prose. Dolce's production includes works that vary from the philosophical, to historical and esoteric matter. Among the most famous there is the Aretino Dialogo della pittura (1557), in which Dolce criticizes the manieristic culture contrasting it with the rea l istic cl assicism of the Renaissance. PROVENANCE: At verso of the paper used for the paste-down, 18th century handwritten notes regarding money transfers. REFERENCES: Mambelli, Annali delle Edizioni Dantesche, n. 42: «Edizione nitida e rara, eseguita su l'edizione 1555 del Giolito». Adams, I, D-105; Brunet, II, 504; ICCU, IT\ICCU\RAVE\010682 and IT\ICCU\CNCE\001173; Graesse, II, p. 330; Haym, Biblioteca Italiana, parte seconda: De' Poeti, p. 11, n. 3;

Condition Report: Minor wormholes at lower and outer edge, partially affecting some typografic gloss. Light yellowing to the leaves, but overall very good copy.

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[Divine Comedy] Dante, Padova 1629

Lot 37: [Divine Comedy] Dante, Padova 1629

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Description: EXTREMELY SCARCE EDITION OF THE DIVINE COMEDYTHE SCARCEST OF THE ONLY THREE EDITIONSPRINTED IN THE 17TH CENTURYDANTE. La visione. Poema [...]diviso in Inferno, Purgatorio, & Paradiso. In Padova: Per Donato Pasquardi, & compagno, 1629. 16mo (100x70 mm), contemporary full calf with letterings and decorations printed in gold at spine, pp. [6], 608, [32]. Woodcut frame with a phytomorphic decoration and Christ's monogram at title-page, woodcut initials and head-pieces. In this copy, leaf A2 (blank) is bound before the title-page and the first fly-leaf was pasted to the front paste-down. THE SECOND AND SCARCEST EDITION OF DANTE'S «DIVINE COMEDY» PRINTED IN THE 17TH CENTURY. Dante's allegorical journey through the three reigns of the au-de-là (Hell, Purgatory and Paradise) was a literary device for showing to the corrupted and confused mankind the way to material and spiritual redemption. Hence, the personal stories of the people positioned by the poet in the afterworld become emblems of deviance, punishment or reward in order to direct the behaviour of Dante's contemporaries. At the same time, the poem gives the present reader an umparalleled repertory about the history, philosophy and antropology of the European Middle Age. DANTE ALIGHIERI (1265-1321) is the most renowned poets of Italian Literature, considered together with Petrarch and Boccace the father of the modern italian language. He belonged to the Florentine minor aristocracy and was educated at the Franciscan and Domenican Schools, studying philosophy and teology. Friend to the stilnovist poets, due to his critical opinions towards the papacy he was forced to leave Florence and live exiled for the rest of his life. He wrote Latin and Italian works, entering the number of the world classics' masters with his Comedia, successfully defined «divine» by Boccace.PROVENANCE: Ex-libris with the name Angeli Bossi at front paste-down. REFERENCES: DE BATINES, i, 102; HAYM, II, 13; MAMBELLI, Gli Annali delle edizioni dantesche, 54: «Ristampa dell'edizione precedente [1613] per il Leni, in caratteri corsivi. Seconda edizione fatta nel secolo XVII, assai rara [...]. Il titolo "Visione" fu giudicato dal Volpi un "capriccio", mentre ad altri bibliografi sembrò più conveniente del titolo di "Comedia"».

Condition Report: Minor traces of use and oxidation, slightly short, but overall a very good copy.

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[Miniature Divine Comedy] Dante, Misserini, 1629

Lot 38: [Miniature Divine Comedy] Dante, Misserini, 1629

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Description: VERY SCARCE MINIATURE EDITION OF THE DIVINE COMEDY PRINTED IN THE 17TH CENTURYDANTE ALIGHIERI. La Divina Comedia [...]Con gli argomenti, & allegorie per ogni Canto [...]. In Venetia: Appresso Nicolo Misserini, 1629.24mo (92x45 mm). contemporary paperboards with handwritten titles at spine, pp. [6], 510, [24]. Architectural frame at title-page, woodcut initials and tail-pieces. VERY SCARCE THIRD AND LAST EDITION OF THE DIVINE COMEDY PRINTED IN THE 17TH CENTURY, RENOWNED FOR ITS MICROSCOPIC ITALIC TYPE. Dante's allegorical journey through the three reigns of the au-de-là (Hell, Purgatory and Paradise) was a literary device for showing to the corrupted and confused mankind the way to material and spiritual redemption. Hence, the personal stories of the people positioned by the poet in the afterworld become emblems of deviance, punishment or reward in order to direct the behaviour of Dante's contemporaries. At the same time, the poem gives the present reader an umparalleled repertory about the history, philosophy and antropology of the European Middle Age. DANTE ALIGHIERI (1265-1321) is the most renowned poets of Italian Literature, considered together with Petrarch and Boccace the father of the modern italian language. He belonged to the Florentine minor aristocracy and was educated at the Franciscan and Domenican Schools, studying philosophy and teology. Friend to the stilnovist poets, due to his critical opinions towards the papacy he was forced to leave Florence and live exiled for the rest of his life. He wrote Latin and Italian works, entering the number of the world classics' masters with his Comedia, successfully defined «divine» by Boccace.PROVENANCE: Handwritten ownership inscription at title-page. REFERENCES: De Batines, I, 102; MAMBELLI, Gli Annali delle edizioni dantesche, 55: «Terza ed ultima edizione della "D.C.", nel secolo XVII; assai rara e singolare per i caratteri corsivi microscopici, modellata su quella del 1613 e riveduta da Angelo Cantini».

Condition Report: Minor wormholes at the margin of the first 70 leaves, some tiny restauration with minor losses of text, but overall a very good copy of this extremely scarce edition in its original paperboards.

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[Divine Comedy] Dante, 1578

Lot 39: [Divine Comedy] Dante, 1578

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Description: THE RENOWNED EDTION CALLED «BIG NOSE»ALIGHIERI, DANTE. Dante con l'espositione di Christoforo Landino, et di Alessandro Vellutello, Sopra la sua Comedia dell'Inferno, del Purgatorio, & del Paradiso. Con tavole, argomenti, & allegorie, & riformato, riveduto, & ridotto alla sua vera lettura, per Francesco Sansovino fiorentino. In Venetia, appresso Giovambattista Marchiò Sessa, & fratelli, 1578.Folio, contemporary full vellum binding, ff. [28], 163, [4], 164-392.Portrait of Dante at title page in an elaborated woodcut medallion.96 FINE WOODCUTS, INCLUDING 12 REPEATED AND THREE FULL PAGES, from the blocks cut for Francesco Marcolini's edition of 1544. Second edition of the renowned Divina Comedia called "Nasone" («big nose»), from the shape of Dante's nose in the portrait inspired in Vasari's tradition. The sources of the portrait have probably to be found in two paintings by Vasari, now at Oriel College of Oxford and at the Museum of Fine Arts in Cleveland. This edition, published for the first time in 1564, is also called "Chat" («cat») in France from Sessa's device. It contains both commentaries of Landino and Vellutello: Landino's comment was printed for the first time in 1481; the Vellutello's comes from the Marcolini 1544 edition. The editor, Francesco Sansovino, wanted them together in this precious edition.References: BMSTC, 210; Adams D-108; Brunet, II, 504; Mambelli, 49; Mortimer, 148 (ed. 1564). .

Condition Report: Some mark of use but overall a god copy.

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[Etiquette, Aldus] Della Casa, Galateo, 1558

Lot 40: [Etiquette, Aldus] Della Casa, Galateo, 1558

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Description: FIRST EDITION OF «GALATEO», THE FIRST RENOWNED TREATISE ON GOOD MANNERSDELLA CASA, GIOVANNI. Rime, et Prose di M. Giovanni Della Casa. Con le Concessioni, & Privilegij di tutti i Prencipi. Impresse in Vinegia, per Nicolò Bevilacqua, nel mese d'Ottobre 1558. [Venice: Nicolò Bevilacqua for Paolo Manuzio]. 4to, later stiff vellum, ff. [6], pp. 170, ff. [1]. Dedicatory letter to Girolamo Quirino.First edition of the treatise universally known as Galateo that became in a short time the fundamental handbook of good manners in Europe. The Galateo, is contained -with a separate title at p. 82 - in this edition comprising Della Casa's collected works: book was printed by Nicolò Bevilacqua with the types of Aldine Press, lended by Paolo Manuzio to his colleague to print for his behalf all the edition of Accademia Veneziana. Galateo (that takes the title from the latinized name of the bishop Galeazzo Florimonte, that suggested the idea to the author) is the expression of a clear intellect, witty, balanced and serene; and of a conversational and urban wisdom, with a deep knowledge of things and men which is the sign of a long experience and the mirror of a high civilization. Any minute special rules are inspired to those ideal principles of civility, decorum, grace, measure that are the result of the humanistic culture at the time of its greatest splendor. Provenance: Some contemporary annotation, not identified.References: Renouard, 175:15: «Ce volume qui porte le nom de Bevilacqua, est très certainement imprimé avec les caractères et les lettres gravées en bois que Paul Manuce venoit de fournir pour l'Accademia Veneziana. Il est bien executé et peu commun; c'est de plus la première édition de ces Opuscules [...]». SANTOSUOSSO, A., The Bibliography of Giovanni della Casa, Firenze 1979, p. 33; SAPEGNO, N., Storia della Letteratura Italiana, vol. II, pp. 116-119. STC, Italian Books, 152; Adams, C-806; Gamba, 278; Graesse II, 59; Brunet I, 1610.

Condition Report: Several traces of use, but a good copy with wide margins.

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[Greek Literature, Aldine] Demosthenes, 1549

Lot 41: [Greek Literature, Aldine] Demosthenes, 1549

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Description: DEMOSTHENES TRANSLATED BY THE YOUNG ALDUS' SONDEMOSTHENES. Demosthenis Orationes Quatuor contra Philippum, A Paulo Manutio latinitate donatae. Venetiis, Apud Aldi Filios, 1549 [Venice: Sons of Aldus, 1549]. 4to, later stiff vellum with handwritten title at spine, ff. [52]. Aldine anchor of Aldus' heirs at tilte-page. Dedicatory letter to Jean Morvilliers.Scarce first edition of this elegant and esteemed translation made by Paolo Manuzio of the four Demosthenes' «Philippics», the Orations against Philip of Macedon who was beginning his conquest of the Greece.In September 1549, Francesco Greco wrote to Paolo Manuzio that, reading this translation, he seemed «to hear Demosthenes speaking Latin».The first oration (351-350 BC) centred on the need for successful resistance for financial reform of the theoric fund to prepare for war and for swift action to avoid defeat. The second (344-343 BC) was a vehement attack against Philip and his Athenian supporters, delivered in the wake of the unsatisfactory Peace of Philocrates, which left Philip's increasing power largely unchecked. Nonetheless it errs on the side of caution, perhaps indicative of Demosthenes' own fear of the King, before whom he is said to have fainted. The third (341), the best of Demosthenes' political orations, contrasts the ancient spirit of Athens with her present degeneracy. Having risen by his oratory to become the most influential politician in Athens, Demosthenes was able to weaken the pro-Macedonian factions, formulating alliances with other small states. He demands resolute action against Philip, a burst of energy from the Athenian people and the immediate dispatch of force. The fourth is the subject of controversy, with Demosthenes' authorship called into doubt, although the sentiment is similar to the third, the style is different. It has been suggested that the text is descended not from his carefully honed speeches, but from notes for a spot oration, hence its unusual lack of finesse. Described by Cicero as «the perfect orator» and extolled as lex orandi by Quintilian, Demosthenes has long been regarded as one of the great minds of the Classical era, and his works remain a benchmark of eloquence and erudition.References: Not in Adams. Renouard, 146, 6: «les exemplaires sont rares, ainsi que ceux de la réimpression de 1551». Lettere volgari, vol. III (Francesco Greco write to Paulus Manutius): «Ho letto le quattro Filippiche di Demosthene, che V. S. ha voltato, anzi ho udito Demosthene parlante in latino, & in che lingua? in quella medesima certo che Cicerone, padre della Romana eloquenza, lo fece già rispondere ad Eschine, suo avversario [...]».BM STC Italian, 213. Dibdin, 486: «This translation is elegant and esteemed". Brunet II, 592: «Traduction estimée».

Condition Report: Traces of foxing, but a good copy.

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[Hebrew Lexicon, Poetry] De Oliveyra, 1665

Lot 42: [Hebrew Lexicon, Poetry] De Oliveyra, 1665

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Description: FIRST EDITION OF «SHARESHOTH GAVLUTH»,A LEXICON OF RHYMES IN HEBREW DE OLIVEYRA, SOLOMON. Sefer Sharshot Gavlut. Amsterdam, David de Castro Tartas, 1665. 8vo, brown half leather binding on textured cloth, four raised bands spine, endpapers refreshed, title within architectural framework, ff. 70, [2].Text in Hebrew, organized in traditional format, i.e. reading from back to front and right to left. FIRST EDITION OF SOLOMON DE OLIVEYRA'S «LEXICON OF RHYMES» IN HEBREW, CONSIDERED HIS BEST WORK. A supplement to Ayelet Ahabim, a poetical paraphrase of Genesis 22, this work is a collection of poems and rules for poetry. It contains a eulogy, in verse, for Isaac de Castro Tartas, a martyr of the Portuguese Inquisition who lived for several years in Brazil, who is also the elder brother of the printer of this book. This is considered to be the best work of the author. SOLOMON DE OLIVEYRA (d. 1708, aka Selomoh Ben David de Oliveyra, Shlomo de Olivera, D'Oliveyra, et al.) was born in Lisbon, Portugal, the son of the Portuguese scholar David Israel de Oliveyra of Amsterdam. He was preacher,and a teacher at the Keter Torah in Amsterdam; after Jacob Sasportas' death in 1698, moreover, he became president of the rabbinical college of the Spanish-Portuguese community of the same town. As early as 1652, Oliveyra published a Portuguese translation of Avicenna's Canon, which was used by Sousa in his Vestigios de Lingua Arabica em Portugal (Lisbon, 1798). Even as a youth, he devoted himself to Hebrew poetry, writing occasional and liturgical poems, generally in imitation of older piyyuṭim. These poems are found in the author's «Hebrew riming dictionary» Sharshot Gablut (Amsterdam, 1665), which was published together with his Ayyelet Ahabim, a Hebrew text-book on rhetoric with excellent exercises (ib. 1665). For scholar use, Solomon de Oliveyra published: Eẓ Ḥayyim, a Hebrew-Aramaic-Portuguese lexicon (Amsterdam, 1682), Zayit Ra'anan, a collection of Talmudic and scientific Hebrew terms with some Hebrew riddles (ib. 1683), Ilan she-'Anafaw Merubbin, a Portuguese vocabulary, with additions to Eẓ Ḥayyim (ib. 1683), Yad Lashon and Dal Sefatayim, a Hebrew manual and a short Aramaic grammar (ib. 1688) and Darke No'am, a dictionary of rabbinical terms, published with Darke Adonai (ib. 1688). [For more information about the works by Salomon de Oliveyra, see Jewish Encyclopedia, 1908]. DAVID DE CASTRO TARTAS (c. 1630-Amsterdam, c.1698), was born in southern France, brother of the martyr Isaac de Castro Tartas. He was one of three sons of Portuguese "New Christians", or Marranos who had escaped from Bragança, and settled, under the Catholic names Cristóvão Luís and Isabel da Paz, in the French town of Tartas. In 1640 they moved to Amsterdam to live freely as Jews, retaining the surname "Tartas". David de Castro Tartas started as a typesetter in the printing house of Menasseh Ben Israel, where his name is mentioned in 1647. He later appears in 1662 as owner of his own press and in 1678 as a member of the Amsterdam Printers' Guild. His press competed with that of Uri Phoebus Halevi and the press of Joseph Athias. Between 1662 and 1701, his press printed the Gazeta de Amsterdam, a newspaper of the exiled Jewish community, the earliest known Jewish newspaper printed in Spanish, which dealt particularly with mercantile news. Among the earliest works printed by Castro Tartas were a Pentateuch (1666), and an edition of Rashi on the Pentateuch and the Five Scrolls (1664). He produced a fine printing of the Sermoes que pregarao os doctos ingenios do K.K. de Talmud Torah (Amsterdam, 1675), the seven sermons that leading members of the community preached on successive days at the inauguration of the new synagogue in 1675 and illustrated with eight engravings by Romeyn de Hooghe. He also printed works in Spanish for the use of the Amsterdam Sephardi community. Castro Tartas was actively engaged in the printing trade until 1696. In that year he left the city, selling to Moses b. Abraham Mendes Coutinho all his printing equipment as well as his exclusive rights to produce certain books and left either for Palestine or Hamburg. Associated with Castro Tartas in the business were his brother Jacob and his son-in-law Samuel Teixeira. REFERENCES: All other known copies of this edition are institutionally held. Fuks, Hebrew Typography, 442; Roest, 991; Steinschneider, 6964, 10; Zedner, 716.

Condition Report: Generally clean internally, very good condition.

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[Hebrew Dictionary] De Pomis, 1587

Lot 43: [Hebrew Dictionary] De Pomis, 1587

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Description: THE FIRST HEBREW-ITALIAN DICTIONARYTHE FIRST HEBREW-LATIN DICTIONARY BY A JEWAND THE ONLY HEBREW DICTIONARY BY A JEWISH SCHOLARPRINTED DURING THE 16TH CENTURYDE POMIS, DAVID BEN ISAAC. Zemah Dawid [or] Dittionario Novo Hebraico, molto copioso, Dechiarato in tre lingue [...] Venetijs, apud Joannem de Gara, 1587 [Venice: De Gara, 1587]. Folio (295x198 mm), full vellum with gilt title within frame in gold at spine, blue sprinkled edges, handwritten note at lower edge Dittion. Hebreo, ff. 62 [actually, 64 misnumbered], 238 [ff. 229/230 and 234/233's positions are exchanged, but the book is absolutely complete]. Hebrew, Roman and Italic type, text in Hebrew, Latin and Italian on single, two or three columns. Woodcut arms and initials to the first leaves. THE ONLY PRINTED HEBREW DICTIONARY BY A JEWISH SCHOLAR DURING THE 16TH CENTURY. Dedicated to Pope Sixtus V, Ẓemaḥ Dawid is Hebrew-Latin-Italian dictionary of biblical and rabbinic vocabulary, largely based on Nathan ben Jehiel's lexicographical work Arukh, Radak's Sefer ha-Shorashim and Levita's Tishbi and Meturgeman. Entries are divided into two columns, one for Hebrew and one for foreign words in rabbinic Hebrew. In both parts, the lemmata are explained in Hebrew (with source reference), Latin and Italian, while the work is made more accessible through a Latin and an Italian index, and a list of abbreviations. The Italian words are also provided in Hebrew inscription. The work was criticized by Scalinger, but esteemed by Bochart (see: «Philologia Orientalis» by E.J. Brill (1976), p. 32). Other renowned opinions on this work are those of the lexicologists Richard Simon (in the appendix to De Ceremoniis Judaeorum) and David de Lara (in the introduction to Ir Dawid). DAVID BEN ISAAC DE POMIS (1525-1593) was a noted Italian physician and philosopher, born at Spoleto, Umbria. David was born in a wealthy family that lost its fortune when he was still a child. In fact, when the Imperialists plundered Rome, David's father Isaac, fearing that they would attack Spoleto, sent all his possessions to Camerino and Civita. The troops of Colonna surprised the convoy on its way, and confiscated all of his goods. They moved to Bevegna, where David received his early education and in 1532 to Todi, where his instruction was confided to his uncles Jehiel Alatino and Moses Alatino, who taught the boy the rudiments of medicine and philosophy. David graduated in 1551, as Artium et Medicinae Doctor at the University of Perugia and later settled at Magliano, where he practised medicine, holding at the same time the position of rabbi. The anti-Jewish laws enacted by Paul IV deprived him of his possessions and likewise of his rabbinate. Then he entered the service of Count Nicolo Orsini, and five years later that of the Sforza family. The condition of the Jews of the Pontifical States improved on the accession of Pius IV: David went to Rome and, as the result of a Latin discourse delivered before the pope and cardinals, obtained permission to settle at Chiusi and to practise his profession among Christians. Unfortunately, Pius IV died seven days later, and the permission was annulled by Pius V. David then went to Venice, where a new permission was granted to him by Pope Sixtus V. Besides the present dictionary, De Pomis was the author of the following works: Ḳohelet (Venice, 1571), the Book of Ecclesiastes translated into Italian, with explanatory notes dedicated to Cardinal Grimani. Discorso Intorno all'Umana Miseria, e Sopra il Modo di Fuggirla, published as an appendix to Ḳohelet in 1572 and dedicated to Duchess Margarete of Savoy. David also translated the books of Job and Daniel, but these were never published. Brevi Discorsi et Eficacissimi Ricordi per Liberare Ogni Città Oppressa dal Mal Contagioso (Venice, 1577). Enarratio Brevis de Senum Affectibus Praecavendis Atque Curandis (1588), dedicated to the doge and senate of Venice; in the latter wirk he also quotes a work of his on the divine character of the Venetian republic, which has not been preserved; De Medico Hebraeo Enarratio Apologica (Venice, 1588), an apologetical work, which defends not only Jewish physicians, but Jews in general (see some extracts translated in Winter and Wünsche, «Die Jüdische Litteratur», iii. 698 et seq. ), earned much praise from Roman patricians, such as Aldus Manutius the Younger, whose letter of commendation is prefixed to the book [For more detailed information about De Pomis and his works, see the Jewish Encyclopedia online, from whom most of datas are taken]. PROVENANCE: I. At first paste-down in traditional Hebrew order (that would be the last for western culture), paper ex-libris with the name M.r Ferley printed in black ink. II. At title-page, ownership stamp of the Clongowes Wood College, one of the most ancient Irish Jesuit boarding schools, set in a medieval castle. James Joyce (1882-1941) studied there and settled in that college the beginning of Portrait of an artist as a young man. REFERENCES: Vancil, Dictionaries, p. 195; Adams P1823; OCLC Nos. 27906344; 221458496; 776345013. For more information on this dictionary and David De Pomis see: SHIMEON BRISMAN, History and Guide to Judaic Dictionaries and Concordances (2000), Vol. 3, Part 1, p. 171; JOHN ETHERIDGE, Jerusalem and Tiberias, Sora and Cordova, (1856), p. 454.

Condition Report: A light waterstain affecting the upper part of the first and last pages, some aged restaurations to the upper corner of a couple of leaves and minor traces of use. Overall, a good copy of this worthy edition.

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[Philosophy, Reason] Descartes, Epistola, 1643

Lot 44: [Philosophy, Reason] Descartes, Epistola, 1643

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Description: ORIGINAL EDITION OF CARTESIUS' LETTER TO VOET ON HIS OWN PHILOSOPHY: THE DEFENSE OF THE AUTONOMY OF REASONDESCARTES, René. Epistola Renati Des-Cartes ad celeberrimum virum D. Gisbertum Voetium. In qua examinantur duo libri, nuper pro Voetio Vltrajecti simul editi, unus de confraternitate Marianâ, alter de philosophiâ Cartesianâ. Amsterodami: apud Ludovicum Elzevirium, MDCXLIII [Amsterdam: Elzevier, 1643]. 16mo, contemporary stiff vellum, pp. [12], 282, [6]. Very scarce original edition of Cartesius' letter to Voet in defense of the autonomy of reason and doubt.A fundamental text for the history of philosophy and human thought.br>Gisbertus Voetius (Latinized version of the Dutch name Gijsbert Voet) (1589-1676) was a Dutch Calvinist theologian.In March 1642, while serving as rector of the University of Utrecht, Voetius persuaded the university's academic senate to issue a formal condemnation of the Cartesian philosophy. According to the senate's statement, Cartesian philosophy was to be suppressed because:1.it was opposed to 'traditional' (i.e. Scholastic/Aristotelian) philosophy;2.young people taught Cartesian philosophy would be unable to understand the technical terminology of Scholasticism; and3.it had consequences contrary to orthodox theology.Descartes countered with a personal attack on Voetius: in his long letter, he mentioned Aristotelianism only twice; by contrast, the topics of theology, faith, and atheism were put on the table hundreds times. Both Descartes and Voetius acknowledged that the issue they treated was most of all theological. Voetius pursued the faith-seeking-understanding program whereas Descartes repudiated the faith-lacking-understanding project. The primary concern of Voetius was not to preserve Aristotelianism but to keep the biblical truth that, as he put it, was received from orthodox tradition. Descartes insisted that the article of faith did not fall under the regime of human reason because faith was something one could not fully grasp with reason. He argued that whoever embraced the articles of faith for incorrect reasoning would commit a sin no less grave than those who rejected them. What Descartes desperately defended was the autonomy of human reason and its proper use. In his philosophical enterprise, faith seemed to hinder the autonomy and the use of reason. He believed that his method of doubt would provide a firm road to perfect knowledge. Voetius, however, argued that human reason was surrounded by error and sin, so that perfect knowledge was impossible for humans. He maintained that human beings would be able to learn the truth from divine revelation, which was the only principle in the pursuit of truth. Therefore, for Voetius, Cartesianism was primarily confronted with scriptural truth, not with Aristotelianism. References: Willems, Les Elzevier, p. 253, no. 998. IT\ICCU\TO0E\009693. Han van Ruler: The Crisis of Causality. Voetius and Descartes on God, Nature and Change. Brill, Leiden/New York/Köln, 1995. B. Hoon Woo: The Understanding of Gisbertus Voetius and René Descartes on the Relationship of Faith and Reason, and Theology and Philosophy, in Westminster Theological Journal, 75, no. 1 (2013): 45-63.

Condition Report: A fine and unsophisticated copy.

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[Pharmacy, Poison, Binding] Dioscorides, 1529

Lot 46: [Pharmacy, Poison, Binding] Dioscorides, 1529

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Description: SCARCE EARLY EDITION OF THE MOST IMPORTANT ENCYCLOPEDY OF MEDIEVAL MEDICINE 1. DIOSCORIDES. P. Dioscoridae Pharmacorum simplicium, reique medicae libri 8. Io. Ruellio interprete. Vna cum Herm. Barbari corollarijs, & Marc. Vergilij, in singula capita censuris, siue annotationibus. Adiecto indice duplici singulorum simplicium, & difficilium terminorum. Praeter alia multa, quae in praefatione indicantur, quaeque in prioribus aeditionibus desyderabantur. In inclyta Argentorato : apud Io. Schottum, MDXXIX [Straßurg, Schott, 1529]. [BOUND WITH:] 2. BARBARO, ERMOLAO. In Dioscoridem corollariorum libri quinque. Coloniae: apud Ioan. Soterem, 1529 mense Feb. [Cologne, Soter, February, 1530]. Folio, attractive Renaissance Venetian binding with blind-tooled decorations at both covers, ff. [4], 361, [13] for the first work; ff. [1], [78] for the second work.1.Scarce early edition of the most important encyclopedy of medieval medicine, translated by Ruellius, edited by Brunfels and annotated by Marcellus Vergilius. The edition also includes both Dioscoride's treatises «On poisons» and «On poisonous animals»2. Very scarce edition of Barbaro's «Corollaries» on Dioscorides' work, that appeared as appendix in Soter first Greek-Latin edition of De materia medica. This Barbaro separate edition is different from that included in the text of the previous work and announced in the title.Provenance: II. Several annotation in a contemporary humanistic German handwriting. II. Near contemporary owner's inscription Su(m) Roberti Guidalotti Mod. at the lower blank margin of title-pageReferences 1:. Adams, D-661; VD 16, D 2000; Panzer, VI, 115, 786; Muller 91, 181 = Ritter, Repert. Alsace, 658; Schmidt, Schott, 111; Durling, 1144: «Includes the De materia medica (books 1-5), the De venenis (book 6) and the De venenatis animalibus»; Waller, 2486; Hoffmann II, 115; not in Schweiger. IT\ICCU\MILE\002754. References 2.: VD 16, D 1998 & B 349; Adams D 655 & B 176; Durling 1134 & 470; Wellcome I, 1778 & 666; Waller 2478 & 659; Choulant, Handbuch 78; Schweiger I, 103; Merlo, Woensam 513 & 511.IT\ICCU\BVEE\018104

Condition Report: Usual brownings, but a very fascinating, unsophisticated and annotated copy in its Renaissance binding.

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[Utopy] Doni, Les Mondes, 1580

Lot 47: [Utopy] Doni, Les Mondes, 1580

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Description: EXTREMELY SCARCE FRENCH EDITION OF DONI'S «CELESTIAL, TERRESTRIAL AND HELLISH WORLDS»A STRANGE WORK ABOUT OTHER UTOPIC DIMENSIONSTHE PAUL CONTANT COPYDONI, ANTON FRANCESCO. Les Mondes, celestes, terrestres et infernaux. Le monde petit, Grand, Imaginé, Meslé, Risible, des Sages & Fols, & le Tresgrand, L'Enfer des Escoliers, des mal Mariez, des Putains & Ruffians, des Soldats & Capitaines poltrons, des pietres Docteurs, des Usuriers, des Poëtes & Compositeurs ignorans: Tirez des oeuvres de Doni Florentin, par Gabriel Chappuis Tourangeau. Depuis, corrigez & augmentez du Monde des Cornuz, par F.C.T. A Lyon, pour Barthelemy Honorati, 1580 [Lyon: Barthélemy Honorat, 1580]. [BOUND WITH:] CHAPPUIS, FRANÇOIS. Le Monde des Cornuz. [Lyon: Barthélemy Honorat, 1580]. Two parts in a volume in 8vo (175x100 mm), contemporary full calf binding with oval plaquette and single fillet frame printed in gold to covers, five raised bands spine with blind-tooled and gilt decorations to compartments, ff. [8], pp. 476 [misnumbered, actually 477], [11, the last two blank], 264. Roman and Italic type, text in French. Many woodcut initials, head- and tail-pieces. 16 WOODCUT ROUND ILLUSTRATIONS, at the beginning of each dialogue, as it was common for emblem books. EXTREMELY SCARCE FRENCH EDITION OF DONI'S «CELESTIAL, TERRESTRIAL AND HELLISH WORLDS», UTOPIC DIALOGUES DESCRIBING MANY ASPECTS OF AN IDEAL WORLD AND MANY HELLS FULL OF BIZARRE PEOPLE. DONI'S WORK IS FOLLOWED BY «THE CUCKOLDS' WORLD», A PARODIC LITERARY BANQUET ON THE WOMEN'S ADULTERIES. Result of Anton Francesco Doni's biting wit, the Mondes celestes, terrestres and infernaux is an ironic catalogue of possible and improbable worlds following the example of Thomas Moore's Utopia, whose first Italian translation Doni had printed in his own typography in 1548. The first Italian edition of «The Worlds and the Hells» was published in Venice by Marcolini in 1552, while the first French translation (this very same) was made by Gabriel Chappuis and first printed by Honorat in 1578. In this poem Doni sets a division in seven Worlds - Monde Petit, Grand, Imaginé, Meslé, Risible, des Sages & Fols, & le Tresgrand - and SEVEN HELLS POPULATED BY ALL SORTS OF PEOPLE, FROM BITCHES TO PROCURERS, LAZY CAPTAINS, USURERS AND POETS. He devotes the Worlds to the description of his personal utopia, telling how the men changed the natural balances and how they should be regained for living in a perfect, harmonic society. In the dialogue between the Wise and the Fool, in particular, DONI DEALS WITH THE RENAISSANCE TOPIC OF THE "IDEAL CITY", where all activities and hobbies find their place and can coexist. As for the Hells, on the contrary, DONI GATHERS A COLLECTION OF ALL THE WORST EXAMPLES OF HUMAN BEINGS, making them speak with extravagant amusement after the style of Pietro Aretino. Doni's "Worlds and Hells" is followed by a poem attributed to François Chappuis called Le monde des cornuz (The Cuckolds' World), mostly a plagiarism of Giovanni Battista Modio's Convito, overo Del peso della moglie. The poem is a parodic form of literary banquet in which the topic chosen is that of the horns, that is the women's adulteries. The funny text contains many literary quotations from ancient classical literature. ANTON FRANCESCO DONI (1513-1574) was a prolific writer from Florence, whose bizarre and eclectic nature was mirrored by his works and lifestyle. Firstly a fray, in 1540 Doni decided to become a secolar priest and he travelled through the north of Italy passing Genoa, Alessandria, Pavia and then Milan and Piacenza, where he studied law. He then visited Rome and came back to Florence, where he opened a typography that did not last so much time. He then settled in Venice, where he was among the first members of the Accademia Pellegrina with the name Bizzarro (Bizarre): this favorable attitude towards the odd, if not crazy people came from the reading of Erasmus' Praise of folly. After it, Doni thought that the foolness was the most evident sign of a nobelty of mind, restless and puzzled in fron of the human pointlessness and the universal unhappiness. Among Doni's works there are proses and poetry about very different topics, such as Dialoghi della musica (Dialogues of the music), La Zucca (The Pumpkin), I Mondi (The Worlds) and I marmi (The marbles). PROVENANCE: I. FROM THE LIBRARY OF PAUL CONTANT. At the upper margin of title-page, autograph signature Paul Contant 25 T (?) in brown ink. PAUL CONTANT was the author of an illustrated account of his own collection of curiosities, Le Jardin, et Cabinet poétique (Poitiers, 1609), considered one of the earliest scientific collections in Europe, and almost certainly the rarest of all museum books. The catalogue of his curiosities is the first example of museum book in French. THE PRESENCE OF DONI'S BOOK IN CONTANT'S LIBRARY COULD BE INTERESTING FOR THE COMPOSITION OF HIS OWN JARDIN, BECAUSE THIS STRANGE WORK COULD HAVE BEEN AN INTERESTING SOURCE FOR CONTANT'S MUSEUM. II. A 19th century owner's inscription Livre trés rare - 1580 - provient de la Bibliothéque de Paul Contant - apothicaire à Poitiers en 1609. III. At the same fly-leaf, a cut of an ancient bookseller's catalogue, typed in French, at verso of first fly-leaf. CENSUS: No copies in USA. According to World Cat Library, there are just two copies of this book in the world public libraries, namely at the Library of the University of Glasgow (United Kingdom) and at the Niedersächsische Staats- und Universitätsbibliothek of Göttingen (Germany). REFERENCES: Adams, Rowles and Saunders, A bibliography of French emblem books, Droz, 1999, p. 431, f. 223, described as «A discursive work on the boundaries of the emblem genre, disposed as in the edition of 1578»; Baudrier, Bibliographie lyonnaise. Recherches sur les imprimeurs libraires, relieurs et fondeurs de lettres de Lyon au XVIe siècle, Lyon, 1895-1921, IV, p. 137; Lebègue, n. 17; Gay III, 264. For Paul Contant's work see MARRACHE-GOURAUD AND MARTIN, (introduction), Paul Contant, Le Jardin, et Cabinet poétique, Rennes, 2004.

Condition Report: Neat repair at the lower corner of the last leaf; usual light foxing in the last part: overall, a very good copy in its contemporary binding.

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[Herbals, binding] Dorsten, Botanicon, 1540

Lot 48: [Herbals, binding] Dorsten, Botanicon, 1540

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Description: SCARCE FIRST AND ONLY EDITION OF THE FAMOUS DORSTEN TRILINGUAL HERBALDORSTEN, THEODOR. Botanicon, continens herbarum, aliorumque simplicium, quorum usus in medicinis est, descriptiones, & iconas ad vivum effigiatas : ex praecipuis tam Grecis quàm Latinis Authoribus iam recens concinnatum. Additis etiam, quae Neotericorum observationes & experientiae vel comprobarunt denuo, uel nuper invenerunt. Aut. Theoderico Dorstenio medico. Francofurti, Christianus Egenolphus excudebat, 1540 [Frankfurt: Egenolff, 1540]. Folio (300x193), contemporary full calf binding on wooden boards (spine renewed), geometrical and floral blind tooled impression at boards, five raised bands spine with gilt gilt titles on red leather label, gilt decorations at compartments, ff. [10], 306. Title-page with three woodcuts of plants that introduce an index and nomenclature in three languages, Greek, Latin and German with plants presented in alphabetical order. 320 woodcuts in the text, of which 284 of plants with particular evidence to leaves shape, woodcut initials. Scarce first and only edition of Dorsten's Herbal a Latin translation of Rösslin's Kreutterbuch. With its Latin text, and plant captions in Greek, Latin and German, the edition was intended for a more scholarly audience than Egenolff's usual vernacular editions.Provenance: Contemporary handwritten notes along the text (not identified). Referencers: Bird, 735; Adams, D-859; Durling, 1203; Burdet D17; Pritzel, 2378; Wellcome 1861. VD 16, D 2442; Nissen, BBI 522; Benzing, Egenolff 171; Schmid, Krauterbucher, p. 36. Anderson, p. 156: «on Rösslin's death the herbal portion of the work was reedited by Theodore Dorsten, [translated into Latin], and entitled the Botanicon, probably to make it seem to be a new production»

Condition Report: Light waterstain at first leaves, a tear at lower corner of leaf 13 and 51, with an ancient restoration. A Good copy with wide margins, clear inking and strong impression.

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[Gastronomy, France] Dubois, Cuisine Artistique, 1872

Lot 49: [Gastronomy, France] Dubois, Cuisine Artistique, 1872

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Description: FIRST EDITION OF DUBOIS' LUXURY HANDBOOK OF FRENCH ARTISTIC COOKERYDubois, Urbain. Cuisine artistique: études de l'école moderne. Ouvrage en deux parties, renfermant cent et une plances gravées, hors texte [...]. Paris, Librairie E. Dentu, 1872.A large volume (297x223 mm), binding in half calf on violet glazed calico boards, four raised bands spine with gilt titles and decorations, marbled fly-leaves, pp. VIII, 221. Title-page printed in red and black. 53 wonderful lithographic plates in full-page dimensions, representing the disposition of the instruments in the kitchen, sumptuously decked tables, pastries, dishes with fish, poultry and game. First edition of «Artistic cookery», luxury handbook by the French chef Urbain Dubois.Just the first volume: the second was published two years later.

Condition Report: Binding slightly worn, light brownings due to the quality of the paper and especially to the tissue papers protecting the plates, but overall a very fine copy.

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[Religious Orders, England] Dugdale, Monasticon 1661-82

Lot 50: [Religious Orders, England] Dugdale, Monasticon 1661-82

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Description: THE HISTORY OF RELIGIOUS ORDERS IN ENGLANDDUDGALE, SIR WILLIAM. Monasticon Anglicanum, sive Pandectae coenobiorum Benedictinorum Cluniacensium Cisterciensium Carthusianorum a primordiis ad eorum usque dissolutionem ex MSS. Codd. ad monasteria olim pertinentibus; archivis Turrium Londinensis, Eboracensis; Curiarum Scaccarii, Augmentationum; bibliothecis Bodleianâ; Coll. Reg. Coll. Bened. Arundellianâ, Cottonianâ, Seldenianâ, Hattonianâ aliisque digesti per Rogerum Dodsworth, Eborac. Gulielmum Dugdale, Warwic. Three volumes in-folio, (34.5x 23.5 cm), modern full vellum binding, six raised bands spine with gilt title on red label.Vol. I: Londini, Christopheri Wilkinson 1682. Half title page, full page engraved title, title (red and black), 24 preliminary pages, 1-1151. Vol. II: Londini, Typis Aliciae Warren, anno Domini MDCLXI [1661]. Title page (red and black), 18 preliminary pages of prelims, 1-1057, 64 pages of Index.. Vol. III Savoy: Execudebat Tho. Newcomb, & Prostant Venales Ab. Roper, Joh. Martin, & Hen. Herringman. MDCLXXIII [1673].Title page (red and black), 4 pages prelims, 1-392, errata leaf, sub-title page, 3-218 (including indexes). The first volume is a second edition, the second and third volumes are both first editions. 110 plates, including the folding map of the Isle of Thanet very often missing.A milestone representing the history of the various orders in England, and an account of the individual monasteries.A complete set, including the third volume, almost completely destroyed in a fire and scarce to be find in the first edition.Provenance: Volumes I & II have the booksplates of Raymond Burton.

Condition Report: Binding: The leather to the spines, is rubbed, worn and creased, and the top and bottom edges are worn and chipped, with loss, more so to the top of volume II. The boards are a little marked and grubby in places. Content: In volume I, the half title page is a bit grubby, and it, and the following engraved title page, have a small repaired tear to the fore edge. The prelims in volume one are a little surface grubby, and a few have a small nick/crease to the fore edges. Many of the plates have their page position number written in ink to the bottom corners. One plate has a small chip and tear. The folding map foldong map Thanet has been torn at some stage, and has been laid down, and trimmed to edges, with minor crease curl to the bottom inner corners. One plate has a chip to corner, and a text leaf has a chip to the corner margin. One of the leaves of the Index has a few small holes/tears affecting some lettering. Both the title pages of volumes II & III has ink underlining titles, and a few little numbers. Volume II has some pale margin staining to the margins of a small section. One leaf of text in Volume II has a chip to the bottom corner, not affecting text. Volume II has a few little edge nicks and tear, and one double page plate has a small hole and tear to the top inner fold edge. One double page plate looks to have been restuck at the inner edge. Volume III is cracking before the last two leaves, and hige has a touch of movement. The outer page edges of all the volumes (as seen when closed) have a few little ink marks and spots. The contents of all the volumes have some light browning/page toning, and foxing, in varying degrees (a little heavier to a few small sections). A number of the double page plates are lightly wrinkled to the margins, see photos. There is some light grubbiness in places and some minor scattered corner creasing. There is some foxing and dustiness to some top margins in places throughout. Else the contents of all the volumes are in mostly, rather lovely condition for age.

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[Harmony of Bodies] Dürer, Simmetria dei corpi, 1591

Lot 51: [Harmony of Bodies] Dürer, Simmetria dei corpi, 1591

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Description: THE FOUNDATION OF DESCRIPTIVE GEOMETRYFirst Italian edition of Dürer's fundamental treatise «on the simmetries of the human bodies»: the mathematical harmony of the man's limbs represented in hundreds of woodcut illustrationsDürer, Albrecht. Della Simmetria dei corpi humani, libri quattro. Nuovamente tradotti dalla lingua Latina nella Italiana, da M. Gio. Paolo Gallucci Salodiano. [...] Venice, Roberto Meietti, 1594 (at colophon: Venice, Domenico Nicolini, 1591). Folio (324x220 mm), half vellum on marbled paper, two leather labels at spine with gilt titles and decorations, ff. [6], 143 [i.e. 141], [1, the last page blank]. Three folding plates with illustrations and diagrams. Hundreds of woodcut illustrations throughout the book, representing the schemes of proportions of the human body depending on the age, the sex and the personal development. Each body is drawn frontally, half-face and doing movements, while the heads are shown in different positions, such as staring upwards or downwards. This for making clear what kind of perspective the artist should take in order to represent a person better. First Italian edition of Albrecht Dürer's fundamental treatise «On the simmetries of the Human Bodies» about the mathematical proportions of human body representation.First edition in Italian (second issue with the title-page dated 1594) of Albrecht Dürer's Simmetry of the bodies, a cornerstone of the human representation. The work had been published for the first time posthumously in Nurebmberg, in 1528, with the original German title Vier Bücher von menschlicher Proportion. The woodcuts in this edition are directly taken from that very first one. Dürer says that the proportions of the bodies are regulated by geometrical rules, that recover Vitruvius ancient precepts. The harmony of the limbs ought to be recreated by using strictly mathematical and geometrical constructions of the forms, illustrated in the first two books of this treatise. In the central part, Dürer explains his personal belief that Beauty is related to mathematical proportions: this leads to consider the influence of variation and movement on representation, with the resulting deductions on spacial geometry and, in the fourth book, the construction of Dürer's famous "cube-man". The main topic is enlarged in this edition by a fifth book, in which the artist deals with the skill of portraying the features of a single person, making him different from all the others and recognizable. In addition, particular attention is paid to the pictorial effects of passions and the tecniques that should be used in order to convey them. Albrecht Dürer (1471-1528) was a painter and printmaker, generally regarded as the greatest German Renaissance artist. His vast body of work includes altarpieces and religious works, numerous portraits and self-portraits, and copper engravings. His woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. Despite his goldsmith origins, by 1484 Dürer had already begun painting. In 1486 he was apprenticed to the painter and printmaker Michael Wolgumut and began to work with woodcuts and copper engravings as well. Since 1490, Dürer travelled widely for study, including trips to Italy in 1494 and 1505-07 and to Antwerp and the Low Countries in 1520-21. During his visit to Venice on his second Italian trip, Dürer was especially influenced by Giovanni Bellini and Bellini's brother-in-law Andrea Mantegna, each of them near the end of their careers. Dürer's journeys enabled him "to fuse the Gothic traditions of the North with the achievements in perspective, volumetric and plastic handling of forms, and color of the Italians in an original synthesis which was to have great influence with the Italian Mannerists" (Fortis). The period between his Italian trips was one of great productivity and artistic growth, characterized by his publication, in 1496-8, of the portfolio of woodcuts The Apocalypse of St. John. Scholars have suggested that the portfolio may have been intended as a veiled expression of support for the Reformation, with Babylon used as a surrogate for Rome. Approximately since 1512, Dürer became portraitist to the rich and famous of his time, including Emperor Maximilian I (ca. 1518), and Christian II of Denmark (1521). Giovanni Paolo Gallucci (1538-1621 ca.) was an Italian scholar from Brescia, among the foundators of the Accademia degli Unanimi of Salò and the second Accademia Veneta in Venice. After graduating in Padua, in fact, he move to the capital of the Serenissima, where he worked and lived until his death. Gallucci had an intense intellectual life: he was the tutor of many noble Venetian young boys, he dealt with mathematics and astronomy and translated to or from Latin a lot of scientifical treatises, such as John Peckham's I tre libri della prespettiva commune (1593), a basic work of the 13th century about optics. Among his own writings, at least two should be quoted: the Theatrum mundi et temporis (1588) in which he underlines the importance of a correct study of astronomy and geography, freed from every superstition, and the Della fabrica et uso del novo horologio universale (1590), a treatise on clocks, that were one of his greatest passions. Provenance: Two ownership inscription at title-page, both barely readable.References: Adams D, 1055; Cicognara 321; Durling/NLM 1299; Mortimer, Italian 169 (in nota); Wellcome II, 1920. E. Panofsky, Albrecht Dürer, I, pp. 244-245: «Dürer was the first artist, who, brought up in the late-medieval workshops of the North, fell under the spell of art theory as it had evolved in Italy. It is in his development as a theorist of art that we can study in vitro, as it were, the transition from a convenient code of instructions to a systematic and formulated body of knowledge».

Condition Report: Some minor traces of foxing and use, but a very good copy on strong paper.

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