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Displayed below are some selected recent viaLibri matches for books published in 1494

        Processus Satanae contra genus humanum.

      [Leipzig, Gregor Böttiger (Werman), nicht nach 1494].. (24) SS. Gotische Type, 1 Spalte, 34 Zeilen. Eine ausgesparte Initiale mit schwarzer Tinte zeilenhoch ergänzt. (Beigebunden) II: Johannes de Turrecremata. Tractatus de efficacia aque benedicte. (Nürnberg, Johann Stuchs), [nach 1500/um 1515]. (16) SS. Mit ganzseitigem Titelholzschnitt im Kolorit der Zeit und großer Holzschnittdruckermarke am Schluß. (Beigebunden) III: (Surgant, Johann Ulrich). Manuale Curato[rum] predicandi prebens modum tam latino q[uam] vulgari sermone practice illuminatu[m]. (Straßburg, Johann Prüß d. Ä., 1506). (8), CXXVIII Bll. Mit großem Titelholzschnitt, ganzseitigem Holzschnitt am Titel verso, halbseitigem Holzschnitt am Schluß der Vorstücke, ganzseitigem Holzschnitt auf Bl. D8v und 4 schwarzgrundigen Initialen. (Beigebunden) IV: (Lilienstayn, Jakob). Tractatus contra Waldenses fratres erroneos quos vulgus vocat Pickardos fratres sine regula, sine lege, et sine obedie[n]tia. [Nürnberg, Johann Weißenburger, 1505]. (80) SS. (Beigebunden) V: (Stella, Giovanni). Vite duce[n]to[rum] et triginta summor[rum] pontificu[m] [...]. (Basel, Jakob [Wolff] aus Pforzheim, 1507). (92) SS. Mit großem Titelholzschnitt im Kolorit der Zeit. Holzdeckelband der Zeit mit Lederrücken, alt gekalkt und mit hs. Titel. Es fehlt die mittige Schließe. 4to.. Humanistensammelband mit fünf durchwegs sehr seltenen Drucken zur Häresie der böhmischen Brüder sowie zur katholischen Mystik und weltlichen Macht des Papstes. Alle ohne Nachweis auf deutschen Nachkriegsauktionen, darunter die erste und einzige Ausgabe einer bedeutenden Polemik gegen die Irrlehren der Waldenser und Pikarden sowie eine Inkunabelausgabe des Bartolus de Sassoferrato zugeschriebenen Satansprozesses: "Angeregt durch die der mittelalterlichen Soteriologie immanenten juridischen Kategorien entstand seit dem 14. Jh. eine Reihe von Texten, die die Erlösung in der Form eines prozessualen Streitgesprächs diskutieren. In dem in mehreren - darunter einer fälschlich Bartolus de Saxoferrato zugeschriebenen - Fassungen tradierten 'Processus Sathanae [...]' weist Christus als Richter die Klage Satans (bzw. Mascarons) auf Wiedereinsetzung der Hölle in das Besitzrecht an dem durch die 'advocata' Maria vertretenen Menschengeschlecht und dessen Verurteilung ab [...] Noch bis ins 16. Jh. wurden Satansprozesse rezipiert und bearbeitet" (LexMA VII, 1391f.). Einige Marginalien der Zeit. - II: Schöne Ausgabe dieser Abhandlung über das Weihwasser, verfaßt vom spanischen Dominikaner und Kardinal Juan de Torquemada (1388-1468, vgl. Wetzer/W. XI, 1883ff.). Der zeitgenössisch in rot, braun und grün ankolorierte Titelholzschnitt zeigt den Priester vor der Kirche mit Weihwasserkessel, die versammelte Gemeinde besprengend. - III: Noch frühe Ausgabe der erstmals 1503 erschienenen Predigtlehre des "späteren Leutpriesters und herausragenden Gemeindeführers zu St. Theodor im Kleinbasel (Diözese Konstanz)" (Hieronymus II, 75) mit Redebeispielen in deutscher und lateinischer Sprache. Der Titelholzschnitt zeigt den Priester am Weihwasserbecken im Kreise der Gemeinde mit dem Aspergill; verso ein Engel mit dem Schweißtuch der Veronika. - Mehrere Marginalien der Zeit, zum Teil auch recht detailliert und in rot und schwarz ausgeführt. - IV: Einzige Ausgabe dieser sehr frühen Quelle zur Geschichte der Böhmischen Brüder. Der gelehrte Dominikaner Jakob Lilienstayn reiste auf Befehl der Inquisition nach Böhmen und Mähren, wo er ausführliche Streitgespräche mit den Anhängern des Petrus Valdes führte. Auf der Grundlage dieser Kontroversen veröffentlichte er die vorliegende Polemik, welche die 36 wichtigsten Irrtümer der Häretiker verzeichnet; ein Anhang am Schluß widmet sich ihren Sitten und Gebräuchen. - V: Zweite, revidierte und korrigierte Ausgabe; zuvor 1505 in Venedig erschienen. Mit dem schönen, zeitgenössisch in rot und gelb ankolorierten Titelholzschnitt mit Darstellung des Papstes zwischen zwei Wappen sitzend, erstmals 1503 zu Stellas "Vita romanorum imperatorum" verwendet. "The two shields represent the span of the book. On the left are the crossed keys of St. Peter; on the right is the oak tree of Julius II (Giuliano della Rovere)" (Mortimer 486). - Etwas braunfleckig und wasserrandig; durchgehend sorgfältig in roter Tinte foliiert. - Aus dem Besitz des böhmischen Adligen Johann Franz von und zu Tallenberg auf Ratay mit seinem eh. Besitzvermerk (dat. 1702) am vorderen Innendeckel. Einband etwas berieben; die Rückenkalkung stellenweise abgesprungen, im ganzen von sehr schöner Erhaltung. - I: H 2644. Goff B-247. GW 3653. BMC III, 648. BSB-Ink. P-799. IA 11.827. - II: VD 16, J 796. HC 5743*. Goff T-515. GW M48167. BSB-Ink T-543. Proctor 11098. - III: VD 16, S 10231. - IV: VD 16, L 1736. BNHCat. L 249. Proctor 11043. Panzer IX, 108, 12. BMC-STC German 501. W. Jakobsmeier, Der "Tractatus contra Waldenses fratres" des Jakob Lilienstayn: Eine Streitschrift gegen die Unität der Böhmischen Brüder als Beispiel spätmittelalterlicher Ketzerpolemik, 2 Bde. (Theol. Diss., München 1975). - V: VD 16, S 8848.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Apologeticus contra gentes. (Blatt 2a: Q. Septimii Florentis Tertulliani Apologeticus aduersus gentes; Blatt 19a: Impressum Venetiis Bernardinum Benalium)

      Venedig, Benalius nicht nach 1494. 30 cm. (20) Blatt, 45 Zeilen. Festeinband, Pappband 19. Jahrhundert - GW M45648 - Hain 15443 - Goff T-117 - Wolff, Inc. 757 - "Das einzige Werk dieses Kirchenvaters, das im 15. Jahrhundert gedruckt wurde" (Wolff). Seltener Druck seiner "bedeutendsten apologetischen Schrift" (BBKL XI, 695ff). Wahrscheinlich die erste von nur zwei Einzelausgaben des 15. Jahrhunderts, von Reichling (ca. 1490) datiert (die andere 1493 bei Scinzenzeler in Mailand erschienen). Einbandbezug teils stärker beschabt, unten am Falz einzelne Wurmlöcher, Blatt 13-20 unten am Schnitt schmaler Feuchtigkeitsrand - Sprache / Language: Lateinisch / Latin -

      [Bookseller: Wenner Antiquariat]
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        Divi Bernardi abbatis ad sororem modus bene vivendi in christianam religionem

      [Venezia, Bernardinus de Benalis, 1494]. 8vo.; portada, una hoja de tabla y 96 folios sin numerar. Signaturas a-m8, faltando los ocho útimos folios, correspondientes a la signatura n8. Impresión gótica de 27 lineas, a doble columna. Encuadernación moderna en piel. # Goff, B414.

      [Bookseller: Hesperia Libros]
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        Modus bene vivendi in christianam religionem

      Venice: Bernardinus Benalius, 1494 30 May 1494. [106] leaves. Gothic type. 8vo, New binding, full leather with gilted title. Some light dampstaining and browning, occasional early underscoring. Acid-free clamshell box. Lot Note: One of 2 editions with this date (the other in roman type) produced by Benalius, who also printed the 1490 first edition. References: GW 4048; BMC V, 375; Goff B414. RARE!!! Photo available upon request.

      [Bookseller: Louis Caron]
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        De arte amandi et de remedio amoris cum comento [by B. Merula]. (Diligenter: & accurate compositas a Bartholomæo Merula Mantuano).

      (Venice, Ioannes de Tridino alias Tacuinus, 1494, Tertio Nonas Maias). Small folio. Late 17th/early 18th century full mottled calf with five raised bands and gilt red leather title-label to richly gilt spine. All edges of boards gilt. Binding worn at extremities, especially capitals. Front hinge weak. Corners neatly repaired. Internally very fine, with only a bit of light occasional browning. A 7 line inscription in contemporary hand and a red wax seal (with a small piece of paper over) to first leaf. Beautifully printed. Woodcut initials at beginning of both works. Ruled in red throughout, paragraph marks in red and blue throughout. Some capitals touched in yellow. Woodcut printer's device at end. Occasional contemporary, neat marginal markings. A line on f. 24v. supplied in contemporary hand. Final leaf mounted on a stub. 56 ff. (a-g6 + A6, B-C4). Text surrounded by commentary.. Very rare first edition thus of Ovid's "De Arte Amandi" and "De Remedio Amoris", being the first edition by the Mantuan humanist, scholar, and poet Bartholomaeo Merula, with his excellent and learned commentaries, which came to profoundly influence the reading of Ovid's two works The Art and the Remedy of Love. Merula is one of the most important Renaissance commentators on Ovid. This edition became extremely popular and numerous new editions of it kept appearing throughout the next century. Within the first 35 years, at least 15 new editions and re-issues had appeared. Ovid was prominent among the ancient authors who first interested the humanists, providing a great deal of inspiration for the Renaissance idea of humanism. His influence extended to both Renaissance scholars, poets, painters and writers. Merula's version of the present texts became highly influential among Renaissance readers of Ovid; his famous commentaries on "De Arte Amandi" and "De Remedio Amoris", taking up more space than the texts themselves, became more or less standard throughout the Renaissance and early modern times and are to a high degree responsible for centuries of understanding of the texts. "Marlowe, like many other early modern readers of classical literature, consulted (and may have been led astray by) a commentary". (note: "Actually, many fulsomely annotated Continental editions were available to early modern readers, e.g., Bartholomew Merula on the erotic poetry (Venice, 1494)" [the present edition]). (Scott and Stapleton (edt.): Christopher Marlowe, the Craftsman, 2010). Bartolomeo Merula edited a number of Latin texts for the press of Tacuinus during the last decade of the 15th century and thus gained a certain status in Venetian intellectual society. When Marco Corner was given a cardinalcy in 1500, Bartolomeo became his secretary instead of his tutor, "and was in due course rewarded for his services by the appointment of apostolic protonotary." (Martin Lowry: The World of Aldus Manutius). One of the reasons why his Ovid-editions and -commentaries found such resonance is that "[h]is main concern is to make the sense of the text clear by paraphrasing difficult passages and enlarging on historical, geographical and mythological allusions, with the help of recognized authorities. His is a grammatical, rather than a rhetorical commentary." (Ann Moss: "Ovid in Renaissance France"). The "Arte Amandi" (or "Ars Amatoria", as it is also called) and the sequel "De Remedio Amoris" are both highly controversial texts; since the years immediately following their publication, they have been victims of moral outcry. Like the rest of Ovid's works, they were burned by Savonarola in 1497, Christopher Marlowe's translation of the work was banned in 1599, and another English translation of the "The Art of Love" was seized by U.S. Customs as late as 1930.Concerned with teaching basic male and female relationship skills and techniques, one can see how "The Art of Love" came to both emotionally thrill and morally outrage the millions of readers of the two millennia to come. Written, in 2 AD, as an instructional book series elegy in three books, book one shows a man how to find a woman, book two shows how to keep her, and book three, written two years after the first two books, gives women advice on how to win and keep the love of a man. Giving erotic advice to both men and women, the work is also a milestone in feminist literature, indicating a broad understanding of female psychology. Offering advice to men on how to seduce and keep a woman, and to women on how to attract men, it is no wonder that the book was considered scandalous to religious thinkers of the Renaissance (as well as earlier and later times). For those same reasons, it is also no wonder that the work became such a great success, enduring lasting popularity and continually influencing modern literature as well as our understanding of the relation between men and women. The work was indeed so popular, from the time of its appearance, that Ovid wrote a sequel to it, the "Remedies for Love"."The Art of Love" was included in the syllabuses of Mediaeval schools from the second half of the 11th century, and its influence on 12th and 13th centuries European literature was so great that the German mediaevalist and palaeographer Ludwig Traube dubbed the entire age 'aetas Ovidiana' ('the Ovidian Age'). It has remained, to this day, an inevitable classic of Latin literature, read and taught in schools around the world.But perhaps no age was influenced so profoundly by this erotic work as that of the Renaissance, which, in turn, was so greatly influenced by the commentaries of Bartolomeo Merula. It served as a main inspiration for Renaissance Humanism and directly inspired vast amounts of poetry, art, and literature. Furthermore, being one of the first works by an ancient male writer to give women a voice in literature, "The Art of Love" came to profoundly influence the way that women were viewed in society. "If there be anyone among you who is ignorant of the art of loving, let him read this poem and, having read it and acquired the knowledge it contains, let him address himself to Love." (The Art of Love, Book 1. "Siquis in hoc artem populo non novit amandi,/ Hoc legat et lecto carmine doctus amet.").OCLC lists merely 5 copies in libraries world-wide (2 in British Library, 2 in the US, and 1 in France). Graesse V:74; Hain: 12219

      [Bookseller: Lynge & Søn A/S]
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        SCRIPTORES REI MILITARIS (works by five Roman and Greek military authors). [bound with] HERODIANUS. HISTORIA DE IMPERIO POST MARCUM

      Rome: Eucharius Silber 1494; Bologna: Bazalerius de Bazaleriis, 1493. FIRST EDITION of the first work. Hardcover. 225 x 155 mm (8 3/4 x 6"). [104] leaves, single column, 40 lines in roman type; [64] leaves, single column, 38 lines in roman type. Two separately published works bound in one volume. The first work edited by Johannes Sulpitius Verulanus; Herodianus translated into Latin by Angelus Politianus. FIRST EDITION of the first work. Excellent contemporary calf-backed wooden boards, contemporary ink titling on upper board, leather on boards tooled with vine of rosettes, raised bands, original brass and leather clasps. In a new cloth clamshell box. First work with decorative woodcut initials throughout and several typographical diagrams of troop formations in the the text. Front pastedown with book label of Kenneth Rapoport; title page of first work with two heraldic shields drawn in red ink by an early hand, final page with outline drawing of one of the eschutcheons. Goff S-344; BMC IV, 116; Goff H-87; BMC VI, 834, Half-inch chip from head of spine, small chip from tail, light dampstain to leather, other minor external imperfections, but the original binding quite solid and generally very pleasing. Minor worming to pastedowns, to margins of first three leaves, and to last two leaves (affecting a half dozen words in all), four gatherings with unobtrusive small brown stains at gutter, titles faintly dusty, other trivial imperfections, but A VERY FINE, EXTREMELY FRESH COPY, the contents quite clean and crisp, with deep impressions of the type. Offered in an unrestored contemporary binding of considerable appeal, this is the first printing of a famous collection of works on the Roman military system and methods, usually listed under "Vegetius," the 4th century imperial bureaucrat whose "De re Militari" is the chief treatise in the group. The text also includes the "Strategemata" of Sextus Julius Frontinus (30-104 A.D.), Roman magistrate and governor of Britain from 74-78; "De Instruendis," a work on tactics by Aelianus (2nd c. Greek); the "De Vocabulis rei Militaris" of Julius Modestus, a Roman grammarian in the time of Augustus; and "De Optimo Imperatore," the Latin translation of "Strategikos," a comprehensive guide to being a good general by the Greek Platonic philosopher Onosander (1st century A.D.). This collection was bound by the original owner of our volume with the third edition of a Roman history by the Greek historian Herodian of Antioch (ca. 170-240). Written about events during the author's own lifetime, this colorful history in eight books covers the period from the death of Marcus Aurelius in 180 to the beginning of the reign of Gordianus III in 238. The author apparently used Thucydides to some extent as a model, both in the outline of the work and in its style, which Photius compliments as being "clear, vigorous, and agreeable." Our edition comprises the first printing of the graceful and fluent Latin translation of the text done by the preeminent 15th century Italian classicist and poet Angelo Poliziano (1454-94). Roman printer Eucharius Silber was a clerk from Würzburg who set up his press in the sunnier clime of Italy in 1480, and continued printing there until his death in 1509, when he was succeeded by his son Marcellus. He surpassed his most immediate rival and fellow emigré Stephan Planck in both quality and quantity of work, producing around 200 incunabula, some of them running to editions as large as 1,500 copies. He specialized in large octavo copies of Latin classics, typified by the present item. Bazalerius de Bazaleriis began printing in Bologna in 1480, moved briefly to Reggio (1488-89), came back to Bologna and printed there until 1495, and finally removed permanently to Reggio. The Herodianus is one of a number of works he reprinted, apparently by agreement, after the editions of Plato de Benedictis.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Doctrina del Beato Lorenzao patriarcha della vita monastica

      Venice: Bernardinus Benalius/Lazarus de Soardis, 1494 Doctrina del Beato Lorenzao patriarcha della vita monastica. Justiniano, Lorenzo. (Dottrina della vita monastica). [Venice: Bernardinus Benalius/Lazarus de Soardis] 20 October 1494. With 3 full page woodcut engraved plates (the last in facsimile), including the portrait of Justiniano attributed to Bellini. Initials. In quarto (5.25" x 8"), 114 unnumbered leaves, Gothic type, 35 lines, 4- and 8- line black and outline woodcut lombard initials. Contents: a1r woodcut beneath 1-line letterpress title, a1v-2r table, a2v woodcut, a3r-09v text, 09v colophon Anno MCCCC.lxxxxiiij....laquale impressione fo compiuta a .xx. De Octobrio del anno supra notato...olOr blank, olOv woodcut beneath 1-line letterpress title. Condition is good. The book is bound in old vellum paper with a handwritten title to the spine, blue label with handwritten information (in Italian) on the front. Front end papers have worming, old notes in Italian. Title plate/original cover has some old repairs affecting the plate in two places, one small worm hole and staining. The second plate (the portrait of the Saint) has a few small worm holes in the plate as well as some old inking. The last plate/original back cover is printed on vellum paper and has some darkening. -- it is a facsimile done on old but not contemporary paper that has been married to the book with old sewing. Text has some worming occasionally affecting text, one small repair affecting text, some occasional small stains and humidity staining but in general quite clean and sturdy. Binding is solid. Goff J-500, Hain 9477, Essling 757, BMC V 378. This is a very scarce and important incunable, "one of the most remarkable Italian woodcut books of the 15th century." The book contains three woodcut plates (one facsimile) two of which are used as ornamental covers, "one of the few Italian incunabula to be issued by the printers with decorative wrappers." The first shows John the Baptist and Saint Peter upholding a scroll enclosing the holy name. The back "cover" engraving, printed on vellum paper, which is the facsimile, shows Saint Francis and another figure (sometimes described as Mary Magdalene, sometimes as Saint John) upholding the name of Mary, mother of God. The third woodcut is the most remarkable. It is "definitely known to be based on" a portrait of Justiniano by Gentile Bellini. The portrait shows the tall, austere figure of the Patriarch walking, preceded by a small acolyte bearing a cross and advancing toward a church door, which renders in reverse Bellini's picture of 1465 that now hangs in the Academy, Venice. The modifications, deleting the halo and simplifying the background, may have been provided by Bellini himself in a new design for the woodcutter (Hind). "This is one of the few instances in which we are enabled to trace the relation between a woodcut of the period under consideration and an undoubtedly contemporaneous painting." The book is a collection of devotional tracts attributed to Saint Lawrence Justinian (Lorenzo Giustiniani), Bishop and first Patriarch of Venice who was born in 1381 and died 1456. The identity of the printer is now presumed to be Bernardinus Benalius. However, at one time Paul Fridenperger was credited with the book, based on another book printed by him in 1495 with a similar font and a woodcut that resembled the 3rd woodcut in this book. "The stronger evidence is that the font seems to be Benali's and he was granted in February 1494 a privilege for what must be the present edition of Justiniano. Lazarus de Soardis was granted a similar privilege for Justiniano the same day, so we may see in him the publisher, in Benali the printer of this edition...." This copy includes the one-line letterpress title above the first woodcut, as noted in Hain 9477 and Esslin 757. Printer Bernardino Benalio was born in Bergamo c1458 and died in Venice in 1543. He settled in Venice c. 1480 and in 1483 was running a bookshop at the sign of St Jerome in the Merceria. He published (alone or with other publishers) over 100 texts of classical and contemporary authors, treatises on law and medicine, as well as several books of a religious nature, mostly in Latin. He was noted for his illustrated editions, including those of Dante Alighieri (1491) and Ovid (1493-4), as well as this beautiful edition of the Patriarch with its three full page woodcuts. 1st. Soft Cover. Good/No Jacket. 4to - over 9¾" - 12" tall.

      [Bookseller: Greekdrama Books]
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        Repertorium in postillam Nicolai de Lyra super Vetus et Novum Testamentum

      Nuremberg: Anton Koberger, 1494 19 April 1494. Collation: A1r Title, A2r Repertorium, V3v colophon. 155 ff. (without the last blank). 2 columns. Initials in red and blue. Small restoration to title page, small wormhole, slight waterstain in the white margin. Contemporary blind stamped calf over wooden boards, oxydized title on the front cover, spine renewed at an earlier time, rubbed, without the clasps. From the collection of Paul Durrieu. Third and last incunable edition. Good, broad margined copy. VERY RARE! ONLY 7 COPIES IN USA. PHOTO AVAILABLE UPON REQUEST. Goff N150; BMC II 438; HC 10399. // Imprimé en deux colonnes, espaces pour les grandes initiales avec lettres imprimées et initiales en rouge et bleu. (Titre avec petite restauration ancienne et galerie de ver, petite mouillure claire en marge blanche.) Veau de l'époque orné à froid sur ais, dos à nerfs, titre oxydé au plat supérieur (dos et coins anciennement restaurés, reliure frottée, sans les fermoirs). Provenance: ancienne collection comte Paul Durrieu -- par descendance à l'actuel propriétaire. Troisième et dernière édition incunable. TRÈS BON EXEMPLAIRE, grand de marges. TRÈS RARE!! Goff N-150; BMC II 438; HC 10399. PHOTO DISPONIBLE SUR DEMANDE.

      [Bookseller: Louis Caron]
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        Satyrae, Cum tribus comentariis videlicet Domitii Calderini, Georgii Merulae nec non[n] Georgii Vallae. Venice: Simon Bevilaqua, 1496/7 [bound with:] Persius Flaccus: Pauli Flacci Persii poetae Satyrarum opus. Ioannis Brita(n)nici Brixiai commentarii. in Persium ad Senatum populumque Brixianum. Bartolomeii Foncii in persio commentarii. Venice: Johannes Tacuinus de Tridino,1494/5, February 14.

      [1494-1497] Folio. 2 works in 1 vol. 293 x 202mm. 18th century Italian mottled calf, spine extra-gilt with floral devices; two red morocco labels with gilt titles; marbled endpapers; some old notes on first t.p., contemp. 5 line entry from Virgil beginning ?Arma virumque cano? on Persius t.p. in fine hand; a few leaves browned in Juvenal; repaired tear in last leaf in Persius. Large woodcut on t.p. of Persius with Persius at a table and the editors, Giovanni Britannicio and Bartholomaeo de Fonte at their writing desks pens in hand. Composed of two blocks it was also used in Tacuinus' edition of Juvenal but with the right hand block replaced; white on black initials; Tacuino?s printer?s device at end of Persius. Juvenal (fl. A.D. 100)was the last great Roman satiric poet, and although it is not certain, it is generally believed that he was a member of the imperial court of Domitian who fell out of favor for lampooning a court favorite. His work was largely unpopular until the fourth century when Lactantius quoted him by name and Ausonius, among others, imitated him. Juvenal's satire may be seen as a protest against the corruptions of Rome in his day, and the works were greatly admired throughout the Middle Ages and became the model for many satirists in the Renaissance and thereafter. Persius Flaccus (A.D.34-62), Etruscan knight and Stoic, is best remembered for his satires. His works were much read in Anitquity and the Middle Ages, but for his contorted thought, language, and many digressions, they are little read today. Donne emulated him, and his work has been compared for its flavor to that of Auden. Juvenalis: Goff J665. Hain/Copinger 9712*. IDL 2833. IGI 5600. Sajó-Soltész 2003. IBE 3396. Coll(U) 919. Madsen 2411, 2412. Günt(L) 3157 . Voull(B) 4415. Walsh 2523. Oates 2099. Sheppard 4476. Bodleain J318. Rhodes(Oxford Colleges) 106. Proctor 5410. BMC V 521.BSB-Ink I-692. ISTC ij00665000. Persius: Goff P356. Hain/Copinger 12738. Mor(P) 41. Essling 794. Sander 5563. Pell Ms 9251 (9075). Hillard 1548. Péligry 621. IBE 4450. IGI 7505. IBP 4271. Mendes 993. Voull(Bonn) 887. Voull(B) 4418.Walsh 2558. Oates 2107. Sheppard 4523, 4524. Bodleain P146. Rhodes(Oxford Colleges) 1352. Proctor 5429 ; BMC V 529. ISTC ip00356000.

      [Bookseller: Krown & Spellman, Booksellers]
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        Divi Bernardi abbatis ad sororem modus bene vivendi in christianam religionem.

      [Venezia, Bernardinus de Benalis, 1494]. 8vo.; portada, una hoja de tabla y 96 folios sin numerar. Signaturas a-m8, faltando los ocho útimos folios, correspondientes a la signatura n8. Impresión gótica de 27 lineas, a doble columna. Encuadernación moderna en piel. # Goff, B414.

      [Bookseller: Hesperia Libros]
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        Doctrina del Beato Lorenzao patriarcha della vita monastica

      Venice: Bernardinus Benalius/Lazarus de Soardis, 1494 Doctrina del Beato Lorenzao patriarcha della vita monastica. Justiniano, Lorenzo. (Dottrina della vita monastica). [Venice: Bernardinus Benalius/Lazarus de Soardis] 20 October 1494. With 3 full page woodcut engraved plates (the last in facsimile), including the portrait of Justiniano attributed to Bellini. Initials. In quarto (5.25" x 8"), 114 unnumbered leaves, Gothic type, 35 lines, 4- and 8- line black and outline woodcut lombard initials. Contents: a1r woodcut beneath 1-line letterpress title, a1v-2r table, a2v woodcut, a3r-09v text, 09v colophon Anno MCCCC.lxxxxiiij....laquale impressione fo compiuta a .xx. De Octobrio del anno supra notato...olOr blank, olOv woodcut beneath 1-line letterpress title. Condition is good. The book is bound in old vellum paper with a handwritten title to the spine, blue label with handwritten information (in Italian) on the front. Front end papers have worming, old notes in Italian. Title plate/original cover has some old repairs affecting the plate in two places, one small worm hole and staining. The second plate (the portrait of the Saint) has a few small worm holes in the plate as well as some old inking. The last plate/original back cover is printed on vellum paper and has some darkening. -- it is a facsimile done on old but not contemporary paper that has been married to the book with old sewing. Text has some worming occasionally affecting text, one small repair affecting text, some occasional small stains and humidity staining but in general quite clean and sturdy. Binding is solid. Goff J-500, Hain 9477, Essling 757, BMC V 378. This is a very scarce and important incunable, "one of the most remarkable Italian woodcut books of the 15th century." The book contains three woodcut plates (one facsimile) two of which are used as ornamental covers, "one of the few Italian incunabula to be issued by the printers with decorative wrappers." The first shows John the Baptist and Saint Peter upholding a scroll enclosing the holy name. The back "cover" engraving, printed on vellum paper, which is the facsimile, shows Saint Francis and another figure (sometimes described as Mary Magdalene, sometimes as Saint John) upholding the name of Mary, mother of God. The third woodcut is the most remarkable. It is "definitely known to be based on" a portrait of Justiniano by Gentile Bellini. The portrait shows the tall, austere figure of the Patriarch walking, preceded by a small acolyte bearing a cross and advancing toward a church door, which renders in reverse Bellini's picture of 1465 that now hangs in the Academy, Venice. The modifications, deleting the halo and simplifying the background, may have been provided by Bellini himself in a new design for the woodcutter (Hind). "This is one of the few instances in which we are enabled to trace the relation between a woodcut of the period under consideration and an undoubtedly contemporaneous painting." The book is a collection of devotional tracts attributed to Saint Lawrence Justinian (Lorenzo Giustiniani), Bishop and first Patriarch of Venice who was born in 1381 and died 1456. The identity of the printer is now presumed to be Bernardinus Benalius. However, at one time Paul Fridenperger was credited with the book, based on another book printed by him in 1495 with a similar font and a woodcut that resembled the 3rd woodcut in this book. "The stronger evidence is that the font seems to be Benali's and he was granted in February 1494 a privilege for what must be the present edition of Justiniano. Lazarus de Soardis was granted a similar privilege for Justiniano the same day, so we may see in him the publisher, in Benali the printer of this edition...." This copy includes the one-line letterpress title above the first woodcut, as noted in Hain 9477 and Esslin 757. Printer Bernardino Benalio was born in Bergamo c1458 and died in Venice in 1543. He settled in Venice c. 1480 and in 1483 was running a bookshop at the sign of St Jerome in the Merceria. He published (alone or with other publishers) over 100 texts of classical and contemporary authors, treatises on law and medicine, as well as several books of a religious nature, mostly in Latin. He was noted for his illustrated editions, including those of Dante Alighieri (1491) and Ovid (1493-4), as well as this beautiful edition of the Patriarch with its three full page woodcuts. 1st. Soft Cover. Good/No Jacket. 4to - over 9¾" - 12" tall.

      [Bookseller: Greekdrama Books]
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        Carmina de urinarum indiciis.

      4to, 77 leaves (of 78, lacking the final blank). With the initial blank leaf, Gothic letter, 43 lines, initial spaces with guide letters. Careful restorations in some upper corners or margins affecting text only on S4 but without loss, a few small stains in lower margin, faint trace of an old library stamp removed from last page. Modern dark red calf, inner gilt dentelles.

      [Bookseller: Nigel Phillips]
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        Liber de Scriptoribus Ecclesiasticis

      147 leaves (of 148, without final blank), Roman letter (except for the two-line title in gothic type), 51 lines & headline, capital spaces with guide letters. One 8-line initial in red & blue, other initials & some underlining in red. Folio (283 x 187 mm.), modern blind-stamped calf in antique style (first leaf a little stained). Basel: J. Amerbach, 1494. First edition of the "first bibliography to be compiled as a practical work of reference."-Grolier Club, Bibliography, 7. Tritheim (1462-1516), one of the leading polymaths of his age, was appointed the 25th abbot of the monastery at Sponheim in 1483. "One of the first of his many self-imposed tasks was the reorganization and cataloguing of the monastic library, if one can call reorganization the process of transforming forty-eight mongrel volumes into a splendid collection of 2,000 printed books and manuscripts, many of great importance and rarity... "It was during the progress of this work, no doubt, as his exceptional knowledge of books caused inquiries frequently to be addressed to him, that he conceived the notion of compiling a new and ambitious bibliography of ecclesiastical writers. He began work in 1487, and by the spring of 1492 he was able to send the complete manuscript to the bishop of Worms. He then revised it, and in 1494 the Liber de scriptoribus ecclesiasticis, a folio of nearly 300 pages, issued from the Basle press of Johann Amerbach... "From Alexander, bishop of Cappadocia, down to himself, Tritheim sets out in chronological order nearly a thousand writers, largely but not exclusively ecclesiastical, giving a short account of each followed by a list of his (or her) writings. Nor are these lists merely perfunctory: it is obvious from such a heading as that for St. Augustine, under which he enumerates 277 works, that Tritheim must have lavished an immense amount of genuine research on his bibliography. In all about 7,000 books are recorded. An alphabetical index of authors, arranged of course by Christian names, is added. The contrast between the feeble theological bibliographies of the manuscript age and this first attempt in the printing era is very striking."-Besterman, The Beginnings of Systematic Bibliography, pp. 7-8. The title of the book is somewhat misleading since the work is not restricted to ecclesiastical writers but also includes authors such as Dante, Poggio, and Sebastian Brant. A very good copy of a book which has become uncommon. Final twenty leaves with some unimportant worming, mostly marginal. Bookplate of J.R. Ritman. ❧ Goff T-452. .

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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        Monumenta omnia mathematica, quae extant ... ex traditione ... Francisci Maurolici ...Palermo: Cyllenius Hesperius, 1685.

      First edition of Maurolico's translation of Archimedes, one of the two most important versions of the sixteenth century (the other being Commandino's). Francesco Maurolico (1494-1575) "ranked with Commandino as a first-rate student of Archimdes, and indeed these two ... were the outstanding interpreters of Archimedes in the first three-quarters of the century. However, Maurolico's interest, unlike Commandino's, was not in establishing a philologically sound version or translation of the Archimedean texts that survived but in presenting mathematically coherent texts that achieved Archimdedes' objectives. This will become particularly clear when we examine ... those texts in which Maurolico skillfully grafted medieval material onto the traditional Archimedean texts" (Clagett, Archimdes in the Middle Ages, vol. 3, part III, p.749; all of his chapter five, 'Francesco Maurolico in the Medieval Archimedes', pp.749-1053, is devoted to this translation). <br/><br/> "This paraphrase of Archimedean texts was made by the Sicilian Francesco Maurolico (1494-1575) probably between 1534 and 1550. A partial edition was printed at Messina between 1670 and 1672 by Paolo Bonacota, printer to the Senate of Messina, which largely paid for the edition. This was, however, never published, as the editor, Borelli, had to leave Sicily for Rome. The sheets of what had been printed remained stored in the house of one Lorenzo di Tommaso, an apothecary, who had obtained the original manuscript from the family of Maurolico. In 1678 these were confiscated by the Spanish authorities and taken to Palermo. This is recorded in a letter here printed. <br/><br/> "Juan Silvestre Salva says that he acquired the sheets: we know from a letter that he acquired 425 copies of the original aborted edition, but it is difficult to determine to what extent these sheets may be present in this edition, although the preliminaries and sheets Mm-Rr would seem to be from a different press (the paper is different, they are signed differently, etc.). The statement that six books had been printed would take us to the end of De lineis spiralibus on Ff1 recto (followed by a line of ornaments)." (Arnaud de Vitry 32).. Folio: 302 x 201 mm, pp. viii 296, title printed in red and black, with woodcut arms of the dedicatee,18th century calf with richly gilt spine. A fine and clean copy. Scarce

      [Bookseller: Sophia Rare Books]
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