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Displayed below are some selected recent viaLibri matches for books published in 1563
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EUSEBIUS PAMPHILUS Caesariensis.
Della Preparatione Evangelica.
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(In fine:) In Venetia, per Michele Tramezzino, 1550. Cc. 8-275-(1), marca tipogr. al front. (Unito:) DIONYSIUS AREOPAGITA. Delli Divini Nomi, Tradotto dal Reverendo Padre Don Valeriano da Bergomo Canonico regulare Lateranense. Con Alcuni Bellissimi trattati della facilità del ben operare.In Venetia, appresso Rutilio Borgominerio al segno di S. Giorgio, 1563. Cc. (2)-184. 2 opere in un vol. in 8 (cm. 14,5x9), iniz. xilogr. figur., solida leg. perg. Antiche annotazioni mss. ad inchiostro. Nella seconda opera manca ritr. del traduttore Valeriano Olmo. -
[Bookseller: Libreria Salimbeni] |
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Ovide], Spreng, Johannes. (1524-1601), Solis, Virgil. (1514-1562)
Metamorphoses Ovidii, argumentis quidem soluta oratione, enarrationibus autem & allegorijs elegiaco uersu accuratissime` expositae, summaq ; diligentia ac studio illustratae, per M. Iohan. Sprengium Augustan. ; una` cum uiuis singularum transformationum iconibus, a` Vergilio Solis, eximio pictore, delineatis.
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Apud Georgium Coruinum, Sigismundum Feyerabent, & haeredes VVygandi Galli (Impressum Francofurti), 1563. - Titre, [18]pp.,178 planches, [4] pp. de table, colophon. Quelques pages très légèrement brunies. In-12 demi-vélin à coins, plats ornés de papier XVIIIème., pièce de titre. Les 178 belles gravures bien encrées de Virgil Solis sont généralement reconnues pour avoir été fortement influencées par celles de Bernard Salomon, mais comme le remarque Ph. Hoch : « Il n?était pas étonnant, [ ] que des gravures d?une qualité aussi affirmée aient exercé une influence souvent forte sur de nombreux artistes, qui ne s?exerçaient pas seulement à la gravure, [ ] mais pratiquaient aussi la peinture ou, plus encore les arts appliqués. L?inventaire qu?en dresse Peter Sharratt ne laisse pas de surprendre et l?on retrouve ainsi des noms aussi prestigieux que Titien, Carrache, Caron, Velázquez, Rubens ou encore Poussin ». Dans le livre de Spreng, la structure de chaque épisode est inamovible : la gravure est précédée du titre et suivie d?un résumé en prose latine, d?un résumé en vers latins et d?une allegoria, sorte de morale en vers. Il en ressort que les gravures forment un ensemble parfaitement cohérent qui fait ressortir les fantaisies d?illustration. Philippe Hoch in la fiche critique de Sharratt, Peter, Bernard Salomon, illustrateur lyonnais (Droz, 2005) [Attributes: Hard Cover]
[Bookseller: villa browna] |
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COLLAERT, Adrian; Basan; ADRIAEN COLLAERT; JOANNES
Album of Five Series of Dutch Prints
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1563 ALBUM OF FOUR SERIES OF FOUR SEASONS AND ONE SERIES OF FOUR ELEMENTS BASAN, Pierre-Francois. [The Four Seasons]. Le Printemps; L'Êté, L'Autonne, L'Hyvert. Painted by Basan. Four lines of poetic verse in French at foot of each engraving. Each: 215 x 288 mm. A Paris: chez Duchange rue St. Jacques, [ca. 1754-1758]. Not in LeBlanc, Préaud/Casselle/Grivel, etc. Dictionnaire des éditeurs d'estampes à Paris sous l'Ancien Régime (1988) p. 42. BOUND WITH: HEEMSKERCK, Maarten van. [The Four Seasons… Quatour Anni Tempestates]. Ver, Aestas, Autumnus, Hyems. The four engravings cut by Philip Galle after Maarten van Hemskerck. Four lines of poetic verse in Latin at foot of each engraving. Each: 220 x 255 mm. [Antwerp, 1563]. Hollstein Heemskerck 353-356. New Hollstein Heemskerck 538-541 III. Kaulbach/Schleier Der Welt Lauf, (Stuttgart 1997) 28. 1-4. BOUND WITH: VOS, Martin de. [The Four Seasons]. Ver Veneri S., Aestas Ceres S., Atumnus Baccho S., Hyems Aeolos S. The four engravings created by Martin de Vos and cut and printed by Adrian Collaert. Four lines of poetic verse in Latin at foot of each engraving. Each: 214 x 262 mm. [NP, nd]. Hollstein IV, 457-460 I. BOUND WITH: COLLAERT, Adriaen. [The Four Elements]. TERRA, IGNIS, AQUA, AER. The set of four engravings designed, cut and printed by Adriaen Collaert. Each plate also signed "Corn. Kil. Duffl." Four lines of poetic verse in Latin at foot of each engraving. Each: 190 x 240 mm. [NP: nd]. Hollstein IV, 453-456. BOUND WITH: STRADANUS, Johannes. [The Four Seasons]. Ver, Aestas, Autumnus, Hiems. The four engravings cut by Philip Galle after Johannes Stradanus. Four lines of poetic verse in Latin at foot of each engraving. Each: 235 x 315 mm. NP: nd. TIB LVI, 087, 2-5. Hollstein VII, 410-413. Each engraving mounted and bound together in oblong folio format, 275 x 345 mm, bound in full polished tan morocco, intricate gilt ornamental tooling on covers and spine, yellow silk endpapers and fly-leaves by Devauchelle. Five finely printed and rich iconographical series of prints, four of the series are variations on the theme of "The Four Seasons: and the series by Collaert depicts "the Four Elements." The subject of "The Four Seasons" was central to the new ethos of Northern European art that moved away from religious subjects to focus on rich portrayals of the landscape and the populace making a living off the land. The artists included in this album: Johannes Stradanus (1523-1605), Flemish mannerist painter, Martin de Vos (1532-1603), Antwerp painter and draughtsman, Adriaen Collaert (1560-1618), Flemish artist and engraver, and Maarten van Heemskerck (1498-1574) Dutch painter known for introducing Italian art into the Northern Netherlands were all influential on the great period of pictorial art, the Dutch Golden Age, in the following century. Very nice, even impressions of suites that are extra-ordinarily rare to find separately or in similar combinations. Superb document to have the five sets together.
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MATTHIOLI M. PIETRO (VENDUTO)
I discorsi di M. Pietro And. Matthioli sanese, Medico del Sereniss. Principe Ferdinando Archiduca d�Austria & c. ne i sei libri di Pedacio Dioscoride Anazarbeo della materia medicinale. I quai discorsi in diuersi luoghi dall�Auttore medesimo sono stati accresciuti di uarie cose, con molte figure di piante, & d�animali nuouamente aggiunte. Con gratia & priuilegio del Sommo Pontefice, dell�Illustrissimo Senato Vinitiano, & d�altri Principi
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Appresso Vincenzo Valgrisi 1563 - Interessantissima opera che, oltre alle famose stampe che contiene (Ã? noto a molti il deprecabile uso commerciale di queste, ritagliate da un gran numero di volumi originali che ne hanno limitato fortemente la reperibilitÃ?Â), tratta delle doti farmaceutiche e curative di queste e specifiche dove si possono trovare Prezzo 5000.00 ? Testo su una e due colonne anche i corsivo; frontespizio, capilettere e finali con incisioni, glosse editoriali. Il volume Ã? completamente illustrato con rappresentazioni di carattere naturalistico - scientifico 1 volume 59 ccnn. 802 pp. 4Ã?°, cm. 30,5 La Libreria Editrice Belriguardo offre il 10% di sconto su tutto il catalogo per un periodo limitato. Il prezzo originario del libro era 5000.00 â? . restauri alla rilegatura e ad alcune pagine tra cui il frontespizio, lievi fioriture, nel complesso buon esemplare pergamena rigida con pelle al dorso con quattro nervature e il nome dellâÂ?Â?autore manoscritto
[Bookseller: Libreria Editrice Belriguardo] |
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V.V.A.A.
Monasterio de San Lorenzo el Real de El Escorial. IV Centenario (1563-1963).
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- Real Monasterio de El Escorial, Biblioteca La Ciudad de Dios, 1964. 24x16 cm. 966 p. Holandesa-piel época, tejuelos, nervios, dorados. Guardas pintadas. Trabajos de Luciano Rubio (Cronología y topografía de la fundación y construcción del Moonasterio), J. Cepeda (Los comienzos del Escorial y el cambio de signo en la política de Felipe II), J.J. Marín González (Yuste y El Escorial), C. Vicuña (Juan Bautista de Toledo, principal arquitecto.), M. Modino de Lucas (Los riores de la construcción en su correspondencia con el rey y sus secretarios), J. Donato Martínez (Fuentes para la historia del Monasterio), L. M. Auerson (San Lorenzo, flor y cumbre de los mártires), G. Andrés (El martirio de San Lorenzo, comedia representada en 1590), J. M. del Estal (Curioso memorial del mayor traslado de reliquias de Alemania a El Escorial), Fr. M. de Granada (Usanza del coro en el monasterio. Sobre un manuscrito desconocido del s. XVIII), S. Rubio (El padre fr. Antonio Soler), C. Fernández (El padre Claret, restaurador de las empresas filipinas escurialenses), G. del Estal (El Escorial en la transición de San Jerónimo a San Agustín), U. A. Mayo (Heráldica escurialense), S. Alvarez Turienzo (El monasterio y su eco en la prosa castellana), Th. Ennerman (El Escorial en la crítica estético-literaria extranjera). N. Teeuwen (Bibliographie non espagnole de l'Escorial), T. Alonso (La Ciudad de Dios, archivo de documentos escurialenses), G. Sabau (Aportación a la bibliografía escurialense). Indices. Primera edición. (Ref. N. 009).
[Bookseller: Libros El Trovador] |
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Taylor, Frederick Winslow
Shop Management. Contained in Transactions of the American Society of Mechanical Engineers [ Asme ] 46th Meeting, New York, Ny 1902, 47th Meeting, Saratoga, Ny 1903, Volume 24 Pages 1337-1480
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The Society, NY, 1903. The first appearance of Taylor's first. Black and white illustrations. Pages: xxv, [ 3 ], 1563. 6 1/4" x 9”. Binding: Dark reddish brown calf backed brown and red marbled boards, gilt titles at spine. Some rubbing at extremities with board exposure just starting at corners. Provenance: University of Wisconsin-Milwaukee Library, Engineers and Scientists of Milwaukee, Inc. bookplate at front paste-down. Interior leaves lightly browned, tight in binding. A solid and generally clean copy. (Reference: DSB vol. 13, DAB vol. 9, PMM 403).
[Bookseller: Alibris] |
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Amasaeus, Pompilius.
De Bononensium scholarum exaedificatione oratio.
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- Bononiae, Ioannes Rubeus, 1563. 4to. Cart. recente. 8 cc.nn. - EDIT 16 vol.I n.1459. Sorbelli, Storia della stampa a Bologna p.107: "celebre orazione pronunziata da Pompilio Amaseo per la costruzione dell'Archiginnasio". Lozzi I,387: "rarissimo". L'Amaseo tenne la cattedra di lingua greca a Bologna dal 1543 al 1582. - Leggere macchiette al front.
[Bookseller: belvederebooks] |
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Navire, Federico
Torino come centro di sviluppo culturale
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Lang . 630 S. Leder Questo libro ha vinto il premio ‘Città di Torino - Domenico Carpanini’. L’immagine dell’Italia continua a essere legata a quella delle sue città d’arte, come Roma, Firenze e Venezia. Ma nessuna come Torino ha contribuito a formare l’Italia nei suoi aspetti politici, industriali e tecnici. Nel 1563 con l’ingresso di Emanuele Filiberto diventò capitale del ducato al posto di Chambéry, da dove venne anche traslata la Sacra Sindone. Nel 1713 sotto Vittorio Amedeo II acquisì il titolo regio. Nel 1848 diventò con lo Statuto albertino il centro politico e intellettuale italiano e la guida del Risorgimento nazionale. Prima capitale italiana dal 1861 al 1865, centralità che riacquistò all’inizio del XX secolo affermandosi come primo centro industriale italiano. Facendo largo uso della letteratura e delle più varie testimonianze, Torino viene qui storicamente presentata nel formarsi e nel trasformarsi del suo mito, della sua immagine, della sua cultura e della sua società. Bis heute wird das Italienbild mit den Kunstschätzen seiner Städte Rom, Florenz und Venedig verbunden. Kaum eine andere Stadt hat wie Turin in so starkem Maße dazu beigetragen, das moderne Italien in all seinen politischen, industriellen und technischen Aspekten zu prägen. Im Jahr 1563 wurde Turin zur Hauptstadt des Herzogtums Savoyen und ersetzte so den Herzogssitz Chambéry, aus dem Emanuele Filiberto einige Jahre später das Leichentuch Christi nach Turin brachte. Unter Vittorio Amedeo II erwarb die Stadt Turin 1713 die königliche Würde. Mit dem Albertinischen Statut von 1848 übernahm die Stadt die politische Führung im Risorgimento. Von 1861 bis 1865 wurde Turin die erste Hauptstadt des geeinten Italiens und behauptete sich im 20. Jahrhundert als moderne Industriestadt. Turin wird hier anhand verschiedener zeitgenössischer und literarischer Quellen vorgestellt, indem die Entstehung und Wandlung der Stadt historisch gezeigt wird. Die Untersuchung orientiert sich an der Kultur, der Gesellschaft, dem Mythos und dem Bild der Stadt Turin. Der Band ist i...
[Bookseller: Lesefreude Buchversand] |
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KLING, MELCHIOR [CLINGIUS].
In Fevdorvm Vsvs Sev Consvetvdines Brevis Et Ervdita Commentatio; Item, Enarrationes Aliqvot Legum Ff. De Legatis & Fideicommissis Primo; Explicatio Et Continvatio Titvlorvm Iuris Ciuilis & Canonici, Eodem Autore.
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Francfurt: Apud Hæredes Christiani Egenolphi, 1563.. Quarto. [vi]ff. 42, 43, [iii], 57, [v] pages. With separate title-pages to parts II and III. Poorly bound, margins trimmed. In some instances, catchwords and signature marks have been cut off, not affecting text. Sheep, somewhat worn. Kleinheyer/Schröder, Deutsche Juristen aus 5. Jhdtn. (1983), 147-149. Bound with: Kling, M. Matrimonialium .. Melchior Kling (1504-1571) from Hanau was an important 16th century German jurist and proponent of the systematic school of jurisprudence.
[Bookseller: Sam Gatteño Books] |
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Ribera, D. de
Escripturas y orden....
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Granada, Rabut, 1563 (Palau 266804). En folio, pergamino de epoca. 10 hojas, 101 folios. Portada con escudo y borderes xylografiadas. Letra Gotica; decenas de iniciales en xylografia. Ejemplar lavado y restaurado, ultima hoja en buen facsimile sobre papel antiguo.* Existe una primera edicion editado en Granada en 1560. La bibliografia de este libro sin embargo es complicada, posiblemente porque es tan rara. Palau dice que "todas las ediciones de este libro se han hecho raras" y dice de nuestro ejemplar: en la biblioteca de Don Eduardo Sainz de Zaragoza existia una primera parte, impresa en Granada.. por Rabut in 1563... la segunda parte de esta, quiza segunda edicion, Granada Rabut, 1564 existe en la Biblioteca Nacional, pero no la primera parte". Palau da por nuestra edicion de Granada por Rabut la colacion de 10 hojas mas 109 folios y la fecha del 20 de junio 1563. El nuestro si embargo es 1563 sin mas, y la colacion completa es 10 hojas, 101 folios. El patrimonio bibliografico da un solo ejemplar de 10 hojas y 98 folios, diciendo que falta el folio XCVIII (98) e adelante. Obviamente hablamos de un libro muy raro en sus primeras ediciones que por su importancia legal tuve muchas reediciones posteriores que empiezan por las ediciones de Luis Sanchez en Madrid en 1596. Su escasez justifica que presentamos nuestro ejemplar, a pesar de sus defectos, con orgullo.#[534]
[Bookseller: Frederik Muller Rare Books] |
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CAMERARIUS, Joachim
Catechesis, seu initia doctrinae in ecclesia christi graece iterum nuper edita, et nunc primum in sermonem Latinum conuersa, cumque indicio [et] notatione locorum quorundam, expressa
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Leipzig: E. Vögelin. 1563. Contemporary blindstamped pigskin (dated 1563) over wooden boards with 2 intact metal clasps.& BOUND WITH& TROTZENDORF, Valentin (Friedland); MELANCHTHON, Philipp. Catechesis Scholae Goltpergensis. Cum praefatione Philip. Melanth. Wittenberg, H. Lufft, 1561. [6], 2 blanks, [120] (last leaf blank). With title woodcut and 23 text woodcuts (some repeats) by J. Lucius von Cronstad after the monogramed artist "D.B." Corner blank margins of last few leaves frayed (not affecting any text) 8vo . I. FIRST LATIN EDITION of this important Protestant catechism which was first composed and anonymously published in a Greek edition in 1552 without place or printer (VD 16, C 447) by the eminent classical scholar and humanist Joachim Camerarius (1500-1574). He was friends with Erasmus and Melanchthon and was very much involved with education from when he was the first rector of the New Latin School in Nuremberg (1526) and later as dean and rector of the University of Leipzig, he made it the leading German university. His familiarity both Luther and Melanchton's theology made him very able to compose this new catechism. After the death of Erasmus Camerius became the most eminent German scholar of the 16th century (see NDB III, 104).& & II. Second edition, first printed in 1558, published posthumously by Trotzendorf's student Matthew Vollandt. Philipp Melanchthon (1497-1556) has supplied an introductory preface (unknown to Hartfelder). The "Catechesis" is the most comprehensive of Trotzendorfs' catechism texts. The order is based on the Lutheran model, but it has the sacraments as the fourth principal part and adds as a fifth major part the teaching the doctrine of a Christian life. Valentin Friedland (called Trotzendorf after his birthplace :1490-1556) was one of the most important educators of his time. The school was established in the town of Goldberg in Silesia and became one of the most respected institutions in Germany. The title vignette is a woodcut interior view of the Goldberg schoolroom with the author lecturing. The fine text woodcuts are by J. Lucius von Cronstad after the monogramed artist "D.B." who was from the the School of Lucas Cranach (cf. Nagler, Monogr. II, 966).& The well preserved binding (with both clasps intact) is beautifully decorated by an unknown Saxon master. Both cover with a roll of arms and medallion portraits (Caesar - Heraldic lion - Cicero - Coat of arms - Ovid - Heraldic Eagle - Vergil - Wappen cure) see Haebler (II, 146, 1) and in the binding database (EBDB r000909). The front cover has the monogram "HSD" and date. The back cover decorated with a heart shaped single stamps [16], 430 pp. 1 blank leaf, [32] pp. Woodcut printer's device on title. § I. VD 16, C 449; IA 130.507; Herzog-Hauck III, 689; Adams, C-1033& II. VD 16, F 2804 (under Friedland); Brüggemann-Brunken 415 (note); unrecorded by Hartfelder, Melanchthon; not in Adams
[Bookseller: Jeffrey D. Mancevice, Inc.] |
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Posthius,J.
Tetrasticha in Ovidii metamor. lib, XV. ... Schöne Figuren, auß
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. dem ... Ovidio, allen Malern, Goldtschmiden und Bildthauwern zu nutz gerissen durch Vergilum Solis, und mit teutschen Reimen kürtzlich erkleret. (Frankfurt/M., Corvinus, Feyerabend u. Gallus Erben) 1563. Kl.Qu.8°. Mit 178 ganzs. Holzschnitten, sowie 1 Druckermarke in Holzschnitt. 8 Bl., 178 num., 6 nn. Bl. Hldr. d. 18. Jhts. mit Rsch. (Gelenke tls. eingeriss., etw. fl., berieb. u. best., Ecken beschabt).. VD 16, P 4496. STC 714. Vgl. Adams, P 2035 (Ausg. von 1569). Fehlt bei Goed. II, 105. - Seltenes Illustrationswerk des Vergil Solis in der Art eines Emblembuches. - Nagler XIX, 99, 29 ("Blätter ... sehr gut gezeichnet ... ") nennt für das Jahr 1563 nur eine latein. Ausgabe und eine dt. erst für 1564. - Tit., die ersten 8 u. le. 6 Bl. in den ob. Blattränd. sehr knapp beschn. (Tit. bis knapp an die Bordüre). Die anderen Bl. oben fast ohne Rand. Einheitl. gebräunt, tls. gelockert, Ende leicht wasserrandig. Die le. 4 Bl. mit kl. Wurmspur. Ohne das le. w. Bl. Hs. Besitzverm. a. T. u. Vors. - Selten. Abbildung siehe auch Tafelseiten Rückgangspreise Auktion 81 incl. Aufgeld und 7% MWSt.
[Bookseller: Antiquariat Kiefer] |
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Fonteno - Simon Fontaine
Historia Catholica de' tempi nostri del s. Fonteno contra Giovanni Slaidano tradotta di lingua francese nella nostra italiana per M. Giuseppe Horologi
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Bindoni, Benezia 1563 - In-8°; cc. (8), 274, 2 cc.bb. al frontespizio marca tipografica incisa su legno ripetuta al verso dell'ultima carta bianca; al fontespizio lieve cancellatura a inchiostro per coprire "divisa in XVII libri"; dedica al cardinal D'Augusta. Unica traduzione in italiano (e forse anche l'unica edizione) dell'originale in francese del 1558; l'opera narra della vita di Lutero dalla sua nascita alla sua morte (a c. 269 v si racconta della morte di Lutero avvenuta il "XVII di febraio" 1546), attraversando tutta la storia della riforma, delle vicende persaonali di Lutero, dei suoi rapporti con la Chiesa. Il libro assai interessante e ricco i dcuriosità è un libello contro Lutero, e un eloquente documento del tempo circa le leggende e le falsità che si raccontavano attorno alal figura di Lutero (ad esempio che sua sua madre lo concepì per opera del Diavolo). Legatura in piena pergamena con titolo manoscritto al dorso. Brunet II, 1327 e Graesse suppl. 309 citano solo l'edizione francese.
[Bookseller: Libreria Antonio Pettini] |
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Jean Calvin
Leçons et Expositions Familieres de Iean (Jean) Calvin sur les Douze Petis Prophetes: Ascavoir Hosee, Ioel, Amos, Abdias, Ionas, Michee, Nahum, Habacuc, Sophonias, Aggee, Zacharie, Malachie. Traduites de Latin en François. BOUND WITH Ioannis Calvini Commentarii in Isaiam Prophetam
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Sebastien Honorati - Excudebat Eustathius Vignon, Lyon - Geneva, 1563. Early Edition. Hardcover (Full Leather). Very Good Condition. Full later calf, dried, joints cracked but binding secure. First published in Latin in 1559, first translated into French in 1560 (Geneva) this is the second French and the first published in France; printed in 2 columns. Bound after an attractively printed Latin edition of Calvin on Isaiah. Each with an attractive title vignette and an old seminary stamp to the title page. Scattered light foxing, generally quite clean. Early French editions of Calvin on the minor prophets are quite scarce.& & (12), 530, (38); 5, (3), 608, (23). With one initial and one final blank. Size: Folio. Text is clean and unmarked. Quantity Available: 1. Shipped Weight: 2-3 kilos. Category: Religion & Theology; Antiquarian & Rare. Inventory No: 041311. .
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Giovanni Battista Ziletti e AA VV
Omnium tractatuum criminalium
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Comin de Tridino, Venezia 1563 - In-quarto , cc (68), pp. 416, marca tipografica incisa su legno al frontespizio, nel testo una vignetta, ritratti e capolettera incisi su legno. Legatura in piena pergamena con titolo manoscritto al dorso. Contiene una raccolta di trattati di giurisprudenza di vari autori: De accusationibus, De crimine laese maiestatis, de persecutionibus, de lamiis, de sortilegiis, de haereticis, de fuga, de carceribus, de indiciis et tortura, de quaestionibus et tortura ecc. Fori di tarlo.
[Bookseller: Libreria Antonio Pettini] |
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[MATTIOLI, Pier Andrea]
[HOLLYHOCK] 'Althea' [Althaea rosea]. Original woodblock used for the printing of Mattioli's Herbar and New Kreuterbuch (Prague 1562, 1563) and Commentarii in sex libros Pedacii Dioscoridis Anazarbei de Medica materia (Venice 1565 and later editions)
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Woodblock 1563 Pear wood block (220 x 157 mm); some small wormholes (in common with the other surviving blocks) not noticeably affecting the image. £7500A remarkable survival, one of the original woodblocks used for one of the greatest series of woodcut botanical illustrations of the sixteenth century. These woodblocks are amongst the most important surviving sixteenth century printing surfaces, and the only major scientific woodcuts existing from that period. The Mattioli blocks were the culmination of technical virtuosity in botanical woodcut design, being images 'of considerable size and unprecedented complexity ... morphologically detailed and carefully shaded images whose style contrasts notably with the airy, simple elegance of Fuchs' illustrations. Apart from the close massing of foliage, fruit and flowers, such details as veins and even hairs are often depicted of suggested with great skill' (Bridson and Wendel, Printmaking in the service of botany p 25). 'Whereas in the work of Brunfels and Fuchs, the beautiful line of a single stalk is often the keynote of the whole drawing, in the work of Mattioli, the eye most frequently finds its satisfaction in the rich massing of foliage, fruits and flowers, suggestive of southern luxuriance. Many of his figures would require little modification to form the basis of a tapestry pattern' (Arber, Herbals, their origin and evolution pp 223-4). 'The laborious skill needed to produce complicated blocks of this nature can be appreciated when one considers that 24 separate knife cuts were required to delineate the intersection of two pairs of parallel lines. The block had to be turned and twisted again and again as hundreds of knife cuts carved out the image' (Bridson and Wendel, op cit).Pier Andrea Mattioli (1501-1577) devoted himself elucidating the text of Dioscorides and describing those plants unknown to the classical author, both those from other parts of Europe and newly discovered species arriving from Asia and the New World. Mattioli's commentary on Dioscorides was the most frequently reprinted herbal of the sixteenth century, but is chiefly known from a small number of editions illustrated with the 'large' suite of some 800 woodblocks designed by Georgio Liberale and Wolfgang Meyerpeck. Georgio Liberale (1527 - ca 1579) was an Italian artist from Udine who was employed by the Imperial court in Prague, where Mattioli was also retained as Imperial physician to Ferdinand I and his son Archduke Maximilian (later Emperor Maximilian II). Wolfgang Meyerpeck was a German artist also active in Prague.The first appearance of these woodcuts was in the Czech Herbar printed in Prague in 1562; a German version, New Kreuterbuch, was also published in Prague in 1563. For the Italian edition, printed in Venice by Valgrisi, further woodcuts were added (zoological figures and genre scenes, and additional botanical images), bringing the total to over 1000. This edition was reprinted, with expanded commentary, in 1583. Almost all other illustrated editions utilised smaller images.The blocks re-emerged in the eighteenth century, when the French botanist Duhamel du Monceau (1701-1788) acquired the majority of the suite, and used 154 of them to illustrate his Traité des arbres et arbustes in 1755. These 154 have never been seen again (they may not have survived the printing process), but the remaining blocks remained with Duhamel's descendants until 1956, at which time several were dispersed. Five were acquired by the Hunt Institute, and three others by the Department of Printing and Graphic Arts at Harvard. In 1988 Niall Hobhouse, Bernard Quaritch Ltd, and Antiquariaat Junk b.v. acquired a cache of 110 blocks. See Watson, Raphael, and Bain, the Mattioli Woodblocks (1989) for a full listing and discussion of the history, and especially Iain Bain's 'Technical note on the blocks'. Remarkably, the majority of the blocks were (and still are) printable from, and a small number of prints were struck off for the special edition of this publication.In common with most other surviving blocks from this suite, this has the common name cut on the back ('althea'), probably to help the printer place the block correctly. There are also some indentations from type metal used to level the block during printing.This illustration appears on p 925 of the 1565 edition.Althea is the parent of many garden varieties of hollyhock, and formerly was used medicinally as well. It was imported into Europe in the sixteenth century from China.
[Bookseller: W P Watson Antiquarian Books] |
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ZILETTI, GIOVANNI BATTISTA
Volumen praeclarissimum ac in primis omnibus iurisperitis pernecessarium ac vtilissimum. Omnium tractatuum criminalium.ab omnibus mendis expurgatum ac omnino correctum, & longe diligentius accuratius ac foelicius quam unquam antea, in lucem proditum.
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Comin da Trino, Venetiis 1563 - In-8, pp. 68 cc.non num., 416 cc. num., legatura tutta pergamenta floscia, mancanza di pergamena restaurata al dorso, marca tipografica raffig. una fontana con un vaso sorretto da putti, 32 ritratti incisi (cm. 4x5) dei più celebri giureconsulti, capilettera ornati, titolo manoscritto al taglio inferiore, testo su due colonne. Buon esemplare, con rare fioriture e macchioline, firma di appartenenza con cancellatura antica. Ricco repertorio Cinquecentesco contenente una raccolta di trattati di giurisprudenza di vari autori raccolti ed emendati dallo Ziletti, famoso giureconsulto veneto: de accusationibus, de crimine laese maiestatis, de persecutionibus, de lamiis, de sortilegiis, de haereticis, de fuga, de carceribus, de indiciis et tortura, de quaestionibus et tortura ecc.
[Bookseller: Studio Bibliografico Gribaudi] |
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VERGILIO, Polidoro (1470-1555).
De rerum inventoribus libri octo. Eiusdem in orationem Dominicam commentariolum. Omnia nunc demum ab ipso auctore perfecte aucta . Cum Indice et rerum et verborum .
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- Kl.-8vo (168 x 105 mm). Mit Holzschnitt-Druckermarke auf Titel und Schlussblatt verso. [16] Bl., 578 S., [46] Bl. Index. Flexibler Pergamentband d. Z. mit Überstehkanten (ohne die Schliessbänder, Rücken etwas fleckig). Basel, Thomas Guarin, 1563. Basler Druck von Thomas Guarin. Nach seiner Übersiedlung nach Basel 1557 und Heirat mit der Tochter des Druckers Michael Isengrin, begann er ab 1561 unter eigenem Namen zu Drucken. Die 1499 erstmals veröffentlichte enzyklopädische Abhandlung über die Ursprünge der Sprachen, Nationen, Mathematik, Architektur, Medizin, Literatur usw., begründete das neue Interesse der Moderne an der Figur des Erfinders, wobei Vergilio 'Erfindung' als schöpferischer kultureller Akt der Selbstbehauptung des Menschen verstand. Während sich die ersten Teile vorab mit den Erfindern der antiken Welt befassen, widmen sich die 1521 hinzugekommenen und zuerst durch Johannes Froben gedruckten Kapitel den Anfängen (d. h. Erfindungen) der christlichen Institutionen. - Notiz von alter Hand auf den Vorsätzen. VD 16, V-759; vgl. B.IN.G. II, 2019; Simon, Bibliotheca gastronomica, 144. Rare Basel edition of this encyclopedic work on the origin of almost everything in daily use. In this important and influential treatise Vergil's curiosity is boundless, and his book covers an enormous range of topics. He investigates the origins of languages, nations, letters of the alphabets, poetry, drama, arithmetic, architecture, medicine and magic. First published in three books only in 1499 an expanded version was first published by Johannes Froben at Basel in 1521 with five additional chapters on the origins of Christian institutions. Vergil's attacks on facets of the Church were in similar vein to those of his follow humanist and friend Erasmus of Rotterdam. - Ms. notes on fly-leaves. - Contemporary limp vellum with flaps (ties gone, back somewhat stained).
[Bookseller: Erasmushaus - Haus der Bücher AG] |
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EUSTACHI, Bartolomeo
Opuscula anatomica
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Venice, Vincenzo Luchino, 1563-1564 3 parts in one vol, 4to (202 x 145 mm), pp [lii] 323 [recte 331] [1, blank]; [164]; [8] 95 [1], with woodcut printer's device on titles and last leaf of Libellus de dentibus, and eight full-page engraved plates in text; a few gatherings with some very faint marginal waterstaining, old repair to head of spine and to small marginal tear to title without loss of text or surface, a fine, fresh, crisp copy in contemporary limp vellum, labelled in ink on spine and lower fore edge. £60,000 First edition of one of the two most important anatomical books of the sixteenth century, second only to that of Vesalius, and also the first anatomical book to be illustrated with engraved plates. It contains the first treatise on the kidney, the first account of the Eustachian tube in the ear, the first description of the thoracic duct and the Eustachian valve, and the first treatise on the teeth. 'In 1562 and 1563 Eustachi produced a remarkable series of anatomical treatises on the kidney, De renum structura; the auditory organ, De auditus organis; the venous system' De vena quae azygos graecis dicitur; and the teeth, De dentibus). These were published, together with the two earlier defences of Galen, in Opuscula anatomica... The treatise on the kidney was the first work specifically dedicated to that organ - it displays a detailed knowledge of the kidney superior to that of any earlier work and contains the first account of the suprarenal gland and a correct determination of the relative levels of the kidneys. It was also in this treatise that Eustachi for the first time emphasized the problem of anatomical variation, which had been previously touched upon briefly by Vesalius.'The second treatise on the auditory organ provides a correct account of the tube (tuba auditiva) that is still referred to eponymously by Eustachi's name, and contains a description of the tensor tympani and stapedius muscles...'Eustachi, basing his work on the dissection of fetuses and newborn children, was also the first to make a study of the teeth in any considerable detail. He provided an important description of the first and second dentitions and ... described the hard outer tissue and soft inner structure of the teeth. He further attempted an explanation of the problem, not yet completely solved, of the sensitivity of the tooth's hard structure. In his work on the azygos vein and its ramifications Eustachi described the thoracic duct and indicated a careful and relatively advanced knowledge of the heart's structure.'In 1552 Eustachi, with the help of Pier Matteo Pini, a relative and an artist, prepared a series of forty-seven anatomical illustrations... The first eight large octavo plates, labelled Tabula Prima-Octava, were used in the Opuscula anatomica to portray aspects of the kidneys, the azygos vein and its ramifications, the veins of the arm, the heart, and the Eustachian valve (valvula venae cavae in the right auricle) which is illustrated in Tabula Octava' (DSB).'Had the full series of plates been published at the time of their completion, Eustachi would have ranked with Vesalius as the founder of modern anatomy' (Grolier Medicine p 83).One of Eustachi's innovations in anatomical illustration was the use of numbered scales along the borders so that accurate dimensions could be determined.Bartolomeo Eustachi (ca 1510-1574) studied medicine at the Archiginnasio della Sapienza, the Papal University in Rome, where later he was professor of anatomy and was given permission to obtain cadavers for dissection. He had an excellent knowledge of Greek, Hebrew, and Arabic, and is said to have made his own translations of Avicenna from the Arabic.In common with other copies, the title-page has the date MDLXIII (1563) with an additional 'I' overprinted (1564); the title of the De dentibus is dated 1563.Provenance: two early and only partially legible ownership inscriptions on front free endleaf, the second possibly 'Luce Passinerii lectoris ticenensis [University of Pavia]; ink stamp 'Prof. Giuseppe Franchini' on rear endleafAdams E1103; Choulant-Frank pp 200-201; Durling 1408; Garrison and Morton 801, 1093, 1139, 1228, 1538, 3668; Grolier Medicine 21; Heirs of Hippocrates 322; Norman 739; Parkinson pp 42, 45, 46; Wellcome 2091
[Bookseller: W P Watson Antiquarian Books] |
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GILIO Giovanni Andrea
Trattato del Reverendo M. Giovanni Andrea Gilio da Fabriano, de la emvlatione che il Demonio ha fatta a Dio, nel l'adoratione, ne'sacrificii, & ne le altre cose appartenenti alla diuinit`a, Con la dichiaratione di molti nomi essentiali di Dio, et de le parti corporali che si danno a Dio ne la Scrittura, Diviso in tre libri. A la Illust. et Eccellentiss. Sig. la signora Vittoria Farnese Duchessa d'Urbino
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Venetia, Appresso Francesco de' Franceschi 1563 - Gilio, nato nella prima met`a del '500, mor`i nel 1584 nell'eremo di S.Domenico Loricato in cui si era ritirato. In questa opera mira a sottrarre le cerimonie del culto che la Chiesa cattolica tributava tradizionalmente ai santi, alle reliquie e alle immagini, dalle accuse di idolatria mosse dai riformatori protestanti, cercando di distinguere il pi`u precisamente possibile tra osservanza di un culto ortodosso e forme di superstizione. Significativa `e comunque l'opzione, rispetto ai precedenti testuali e culturali, della lingua volgare, che metteva a disposizione di un pubblico molto pi`u vasto e diversificato tematiche altrimenti accessibili a una cerchia assai pi`u ristretta di specialisti, anche per via di una tecnica espositiva e argomentativa di ascendenza scolastica Stampato su una colonna e scritto anche in corsivo. Esemplare rifilato. Marca sul frontespizio: in cornice: Pace. Donna con ramo d'olivo e fiaccola. Motto: Per me qui si riposa, e'n ciel si gode. Iniziali e fregi xilografati ed ornati. 1cb 8ccnn 139cc 1cb : manca l'ultima carta del testo 1 volume 296 complessive pp. 16^0, cm. 15x10 Pergamena rigida con titolo manoscritto al dorso e taglio a spruzzo
[Bookseller: Libreria Editrice Belriguardo] |
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Ribera, D. de
Escripturas y orden....
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Granada, Rabut, 1563 (Palau 266804). En folio, pergamino de epoca. 10 hojas, 101 folios. Portada con escudo y borderes xylografiadas. Letra Gotica; decenas de iniciales en xylografia. Ejemplar lavado y restaurado, ultima hoja en buen facsimile sobre papel antiguo.* Existe una primera edicion editado en Granada en 1560. La bibliografia de este libro sin embargo es complicada, posiblemente porque es tan rara. Palau dice que "todas las ediciones de este libro se han hecho raras" y dice de nuestro ejemplar: en la biblioteca de Don Eduardo Sainz de Zaragoza existia una primera parte, impresa en Granada.. por Rabut in 1563... la segunda parte de esta, quiza segunda edicion, Granada Rabut, 1564 existe en la Biblioteca Nacional, pero no la primera parte". Palau da por nuestra edicion de Granada por Rabut la colacion de 10 hojas mas 109 folios y la fecha del 20 de junio 1563. El nuestro si embargo es 1563 sin mas, y la colacion completa es 10 hojas, 101 folios. El patrimonio bibliografico da un solo ejemplar de 10 hojas y 98 folios, diciendo que falta el folio XCVIII (98) e adelante. Obviamente hablamos de un libro muy raro en sus primeras ediciones que por su importancia legal tuve muchas reediciones posteriores que empiezan por las ediciones de Luis Sanchez en Madrid en 1596. Su escasez justifica que presentamos nuestro ejemplar, a pesar de sus defectos, con orgullo.#[534]
[Bookseller: Frederik Muller Rare Books] |
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MELANCHTHON (Philippus);
Loci praecipui theologici, nunc denuo cura et diligentia summa recogniti, multisque in locis copiose illustrati, cum appendice Disputationis de conjugio. His accesserunt Definitiones?
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Excudebat Johannes Crato (Wittenberg, Krafft), Vitebergae 1563 - In-8 de 749-101 pp., peau de truie sur ais de bois estampée à froid, plaques légendées de Luther et Melanchton, frise d'encadrement, dos à 3 nerfs, traces de fermoir (reliure de l'époque). Edition définitive imprimée à Wittenberg en 1563 par Johannes Kraft, du corpus théologique du réformateur allemand Philippe Mélanchthon (1497-1560) qui eut une immense influence sur le développement du protestantisme au premier siècle de la Réformation. Melanchthon, rédacteur de la Confession d'Augsbourg en 1530, établit le premier exposé systématique de la foi protestante qu'il remania plusieurs fois entre 1521, date de sa première édition jusqu'en 1559. « La Nouvelle Eglise était à peine entrée dans le premier stade de son développement ; elle n'avait guère conscience alors de son existence individuelle ; car loin de vouloir former un parti religieux en dehors de l'Eglise catholique, le premier but des Réformateurs consistait à transformer l'Eglise existante par une régénération complète de la vie religieuse. Il s'agissait de réunir dans un exposé systématique les principes et les conclusions de la nouvelle doctrine. » (Gustave Heyler). C'est en partenariat avec Luther que Melanchton développa les pensées principales de l'Epître aux Romains, pour asseoir et diffuser les idées de la Réforme. Précieux exemplaire copieusement annoté et souligné à l'encre du temps, dans une superbe reliure en peau de truie estampée à froid illustrée des deux figures tutélaires du Lutherianisme, Luther et son disciple Melanchton. Ecriture ancienne sur la garde supérieure « Johan Stel » et « Matthaeus Freisshebius » Bel exemplaire dans sa première reliure. Ex-libris XVIIIe sur le titre. Pâle mouillure marginale sur quelques feuillets. Brunet, III, 1581 ; voir Gustave Heyler, Etude sur les Loci Theologici, (Strasbourg, 1859).
[Bookseller: Bonnefoi Livres Anciens] |
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SALLUSTII C. Crispi
Coniuratio Catilinae et Bellum Iugurthinum Fragmenta eiusdem historiarum, et scriptoribus antiquis ab Aldo Manutio, Pauli F. collecta. Scholia Aldi Manutii.
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Apud Paulum Manutium, Romae 1563 - firme d'appartenenza coeve al frontespizio con marca tipografica (ancora) incisa in legno, ingialliture e lievi tracce del tempo ai primi ed ultimi fogli. "Edition très rare, dédiée par Alde aux Jésuites à Rome." (Graesse, VI, p. 239) 16mo, copertina muta ff. 8 nn.-178-17 nn., qualche segno e nota coeva a penna,
[Bookseller: Studio Bibliografico la linea d'ombra] |
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CAMERARIUS, Joachim
Catechesis, seu initia doctrinae in ecclesia christi graece iterum nuper edita, et nunc primum in sermonem Latinum conuersa, cumque indicio [et] notatione locorum quorundam, expressa
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E. Vögelin, Leipzig 1563 - Contemporary blindstamped pigskin (dated 1563) over wooden boards with 2 intact metal clasps.BOUND WITHTROTZENDORF, Valentin (Friedland); MELANCHTHON, Philipp. Catechesis Scholae Goltpergensis. Cum praefatione Philip. Melanth. Wittenberg, H. Lufft, 1561. [6], 2 blanks, [120] (last leaf blank). With title woodcut and 23 text woodcuts (some repeats) by J. Lucius von Cronstad after the monogramed artist "D.B." Corner blank margins of last few leaves frayed (not affecting any text) 8vo . I. FIRST LATIN EDITION of this important Protestant catechism which was first composed and anonymously published in a Greek edition in 1552 without place or printer (VD 16, C 447) by the eminent classical scholar and humanist Joachim Camerarius (1500-1574). He was friends with Erasmus and Melanchthon and was very much involved with education from when he was the first rector of the New Latin School in Nuremberg (1526) and later as dean and rector of the University of Leipzig, he made it the leading German university. His familiarity both Luther and Melanchton's theology made him very able to compose this new catechism. After the death of Erasmus Camerius became the most eminent German scholar of the 16th century (see NDB III, 104).II. Second edition, first printed in 1558, published posthumously by Trotzendorf's student Matthew Vollandt. Philipp Melanchthon (1497-1556) has supplied an introductory preface (unknown to Hartfelder). The "Catechesis" is the most comprehensive of Trotzendorfs' catechism texts. The order is based on the Lutheran model, but it has the sacraments as the fourth principal part and adds as a fifth major part the teaching the doctrine of a Christian life. Valentin Friedland (called Trotzendorf after his birthplace :1490-1556) was one of the most important educators of his time. The school was established in the town of Goldberg in Silesia and became one of the most respected institutions in Germany. The title vignette is a woodcut interior view of the Goldberg schoolroom with the author lecturing. The fine text woodcuts are by J. Lucius von Cronstad after the monogramed artist "D.B." who was from the the School of Lucas Cranach (cf. Nagler, Monogr. II, 966).The well preserved binding (with both clasps intact) is beautifully decorated by an unknown Saxon master. Both cover with a roll of arms and medallion portraits (Caesar - Heraldic lion - Cicero - Coat of arms - Ovid - Heraldic Eagle - Vergil - Wappen cure) see Haebler (II, 146, 1) and in the binding database (EBDB r000909). The front cover has the monogram "HSD" and date. The back cover decorated with a heart shaped single stamps [16], 430 pp. 1 blank leaf, [32] pp. Woodcut printer's device on title. § I. VD 16, C 449; IA 130.507; Herzog-Hauck III, 689; Adams, C-1033 II. VD 16, F 2804 (under Friedland); Brüggemann-Brunken 415 (note); unrecorded by Hartfelder, Melanchthon; not in Adams [Attributes: First Edition; Hard Cover]
[Bookseller: Jeffrey D. Mancevice, Inc.] |
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EUSEBIUS PAMPHILUS Caesariensis.
Della Preparatione Evangelica.
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(In fine:) In Venetia, per Michele Tramezzino, 1550. Cc. 8-275-(1), marca tipogr. al front. (Unito:) DIONYSIUS AREOPAGITA. Delli Divini Nomi, Tradotto dal Reverendo Padre Don Valeriano da Bergomo Canonico regulare Lateranense. Con Alcuni Bellissimi trattati della facilità del ben operare.In Venetia, appresso Rutilio Borgominerio al segno di S. Giorgio, 1563. Cc. (2)-184. 2 opere in un vol. in 8 (cm. 14,5x9), iniz. xilogr. figur., solida leg. perg. Antiche annotazioni mss. ad inchiostro. Nella seconda opera manca ritr. del traduttore Valeriano Olmo -
[Bookseller: Libreria Salimbeni] |
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VARI: ariosto, Bentivogli, Luigi Alemanni, Pietro Nelli, Anotonino Vinciguerra, Francesco Sansovino, ecc.
Sette libri di sattire
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Bevilacqua, Venezia 1563 - in-8°; cc. (8), 206, marca tipografica al frontespizio, nel testo testatine e capilettera incisi su legno. LEgatura in mezza pelle con tassello e titolo in oro al dorso. Gamba 1603.
[Bookseller: Libreria Antonio Pettini] |
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Von Marcia B. Hall. London 2011.
The Sacred Image in the Age of Art. Titian, Tintoretto, Barocci, El Greco, Caravaggio.
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- Die Sakralkunst der Renaissance entstand vor dem Hintergrund eines Spannungsfeldes, in dem die Bedürfnisse der kirchlichen Auftraggeber und der künstlerische Impuls, etwas Großartiges schaffen zu wollen, die Pole bildeten. Dieses Buch präsentiert religiöse Bilder aus dem 15. und 16. Jahrhundert und führt hin zu zwei entscheidenden Ereignissen des Jahres 1563. Einerseits: Auf dem Konzil von Trient, das den Beginn der Gegenreformation markiert, wurden Auflagen definiert, die die Freiheit der Maler und geistlichen Auftraggeber bei der Ausstattung der Kirchen beschnitten. Andererseits: Mit der Gründung der »Accademia del Disegno« in Florenz wurde symbolhaft der Status des Künstlers anerkannt, der etwas erschafft und nicht bloß Handwerker ist. Die Autorin verfolgt, wie einige der wichtigsten Künstler der italienischen Renaissance, die nicht unbedingt mit christlicher Kunst in Verbindung gebracht werden, trickreich durch das Paradox der »limitierten Freiheit« navigierten, um ihre neuartige Auffassung von Kunst durchzusetzen. (Text englisch) 23 x 28 cm, 352 Seiten, 200 farb. u. 30 s/w-Abb. u. Tafeln, geb. [Attributes: Hard Cover]
[Bookseller: Frölich und Kaufmann] |
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EUSTACHI, Bartolomeo.
Libellus de dentibus.
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Venice, [Vicenzo Luchino], 1563. 4to, pp. [viii], 95, [1], with printer's device on title and colophon leaf; a fine, crisp copy in early eighteenth-century calf, upper joint cracked but sound. FIRST EDITION OF ONE OF THE GREAT BOOKS IN DENTAL HISTORY. 'Basing his work on the dissection of foetuses and newborn children, Eustachi was the first to study the teeth in any considerable detail. He provided an important description of the first and second dentitions and described the hard outer tissue and soft inner structure of the teeth. He also attempted an explanation of the problem of the sensitivity of the tooth's hard structure' (Garrison-Morton).Bartolomeo Eustachi (ca 1505-1574) was one of the most outstanding anatomical researchers in the sixteenth century, and was described as a second Vesalius. Unfortunately, much of his discoveries were embodied in a series of anatomical plates that were not published until their rediscovery in the eighteenth century. 'Had the Eustachian anatomical illustrations not been lost to the medical world for over a century, it seems likely that anatomical studies would have reached maturity in the seventeenth rather than the eighteenth century' (DSB).The Libellus was published as part of Eustachi's Opuscula anatomica, 1564, but with its own title-page dated 1563 and with its own pagination and signatures. Although it is occasionally found on its own, there is no hard evidence that it was issued separately. In any case, it is exceptionally rare, as is the Opuscula.Provenance: contemporary marginalia; Nicolas Foucault, Jesuit College of Paris, with symbols on spine.Garrison-Morton 3668; Reynolds 4758; Waller 10615; (for the Opuscula) Durling 1408; Norman 739; Grolier, Medicine 21; Wellcome 2091.
[Bookseller: Bernard Quaritch Ltd.] |
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BOCCACCIO Giovanni
LABERINTO D'AMORE DI M.GIOVANNI BOCCACCIO DI NUOVO CORRETTO RISTAMPATO & DILIGENTEMENTE CORRETTO PER THOMASO PORCACCHI. CON LE POSTILEL NEL MARGINE, & CON LA TAVOLA FINALE.L
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GABRIEL GIOLITO DE' FERRARI, VENEZIA 1563 - Elegante legatura ottocentesca in pieno marocchino verde smeraldo, firmata Bouzzonet; ai piatti, triplice filetto con ampi angolari a motivi ornamentali impressi in oro; dorso a cinque nervi rilevati e otto scomparti con titolo e data impressi su due scomparti in testa e al piede, agli altri scomparti, raffinate impressioni in oro a motivi ornamentali; tagli dorati, sguardie marmorizzate. 2 carte bianche di guardia; 130 pagine numerate, compreso l'elegante frontespizio con titolo in parte racchiuso entro fregio rinascimentale e ampia marca tipografica ( al recto, vistosa scritta a penna Lodovico alla parte inferiore e, a quella superiore, stessa scritta ma parziale e slavata); 1 carta non numerata con marca tipografica al recto, al verso scritta a penna slavata. Esemplare complessivamente in buone condizioni, salvo i difetti descritti e alcune ossidazioni all'angolo superiore di poche carte. Opera tardiva del Boccaccio. Da Wikipedia: " Il Laberinto d'Amore o Corbaccio fu opera di datazione incerta (tra il1335 e il 1336), così com'è incerto anche il significato del titolo: è possibile che venga da corvo simbolo della cattiveria, l'uccello che becca gli occhi delle prede di cui si ciba, in questo caso sta a rappresentare l'amore che acceca e rovina; oppure deriva dallo spagnolo corbachos', cioè scudiscio, che riporta al carattere prettamente satirico dell'opera. La narrazione è incentrata sull'invettiva contro le donne. Il poeta, illuso e rifiutato da una vedova, sogna di giungere in una selva nella quale gli uomini che sono stati troppo deboli per resistere alle donne vengono trasformati in bestie orribili: il Laberinto d'amore o il Porcile di Venere. Qui incontra il defunto marito della donna che gli ha spezzato il cuore, il quale dopo avergli elencato ogni sorta di difetto femminile, lo spinge ad allontanare ogni suo pensiero da esse lasciando più ampio spazio ai suoi studi, che invece innalzano lo spirito. La notazione misogina appare in alcuni passi della sua "Esposizione sopra la Comedia", ma anteriormente già nella satira VI di Giovenale. Soprattutto nel Decameron, infatti, l'amore era visto al naturale, come forza positiva e incontrastabile e quelle opere stesse erano dedicate proprio alle donne, un pubblico non letterato da allietare con opere gradevoli; ora invece l'amore è visto come causa di degrado e le donne sono respinte in nome delle Muse, emblema di una letteratura più elevata e austera. Esemplare complessivamente in buone condizioni, salvo i difetti descritti e alcune ossidazioni all'angolo superiore di poche carte. [Attributes: Hard Cover]
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CASTELVETRO LOD.)
Giunta fatta al ragionamento degli articoli et de’ verbi di messer PIETRO BEMBO.
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- (In fine): Modena, Heredi di Corn. Gadaldino, 1563, in 4; ottima leg. piena pelle (’600) con tass., ricchi fregi e ferri al dorso di 5 nervi (lieviss. spellature); 14 cc. n.n. + 90 cc. n. Grande marca al frontesp. e, diversa, nel verso dell’ultima c. ESEMPL. VERAMENTE OTTIMO ANCHE INTERNAM. ED A MARGINI AMPI. (qualche fioritura). Edizione originale, rara. Parenti; 139. STC, p. 181. Brunet; I; 1627. Gamba, 1297.
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CAMERARIUS, Joachim
Catechesis, seu initia doctrinae in ecclesia christi graece iterum nuper edita, et nunc primum in sermonem Latinum conuersa, cumque indicio [et] notatione locorum quorundam, expressa
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Leipzig: E. Vögelin. 1563. Contemporary blindstamped pigskin (dated 1563) over wooden boards with 2 intact metal clasps.& BOUND WITH& TROTZENDORF, Valentin (Friedland); MELANCHTHON, Philipp. Catechesis Scholae Goltpergensis. Cum praefatione Philip. Melanth. Wittenberg, H. Lufft, 1561. [6], 2 blanks, [120] (last leaf blank). With title woodcut and 23 text woodcuts (some repeats) by J. Lucius von Cronstad after the monogramed artist "D.B." Corner blank margins of last few leaves frayed (not affecting any text) 8vo . I. FIRST LATIN EDITION of this important Protestant catechism which was first composed and anonymously published in a Greek edition in 1552 without place or printer (VD 16, C 447) by the eminent classical scholar and humanist Joachim Camerarius (1500-1574). He was friends with Erasmus and Melanchthon and was very much involved with education from when he was the first rector of the New Latin School in Nuremberg (1526) and later as dean and rector of the University of Leipzig, he made it the leading German university. His familiarity both Luther and Melanchton's theology made him very able to compose this new catechism. After the death of Erasmus Camerius became the most eminent German scholar of the 16th century (see NDB III, 104).& & II. Second edition, first printed in 1558, published posthumously by Trotzendorf's student Matthew Vollandt. Philipp Melanchthon (1497-1556) has supplied an introductory preface (unknown to Hartfelder). The "Catechesis" is the most comprehensive of Trotzendorfs' catechism texts. The order is based on the Lutheran model, but it has the sacraments as the fourth principal part and adds as a fifth major part the teaching the doctrine of a Christian life. Valentin Friedland (called Trotzendorf after his birthplace :1490-1556) was one of the most important educators of his time. The school was established in the town of Goldberg in Silesia and became one of the most respected institutions in Germany. The title vignette is a woodcut interior view of the Goldberg schoolroom with the author lecturing. The fine text woodcuts are by J. Lucius von Cronstad after the monogramed artist "D.B." who was from the the School of Lucas Cranach (cf. Nagler, Monogr. II, 966).& The well preserved binding (with both clasps intact) is beautifully decorated by an unknown Saxon master. Both cover with a roll of arms and medallion portraits (Caesar - Heraldic lion - Cicero - Coat of arms - Ovid - Heraldic Eagle - Vergil - Wappen cure) see Haebler (II, 146, 1) and in the binding database (EBDB r000909). The front cover has the monogram "HSD" and date. The back cover decorated with a heart shaped single stamps [16], 430 pp. 1 blank leaf, [32] pp. Woodcut printer's device on title. § I. VD 16, C 449; IA 130.507; Herzog-Hauck III, 689; Adams, C-1033& II. VD 16, F 2804 (under Friedland); Brüggemann-Brunken 415 (note); unrecorded by Hartfelder, Melanchthon; not in Adams
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1562