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

        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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