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Displayed below are some selected recent viaLibri matches for books published in 1520

        Secreta sublimia ad varios curandos morbos verissimis auctoritatibus illustrata additionibus nonnullis, flosculis item in margine decorata diligentissime castigata nusquam impressa feliciter incipiunt.

      Venedig, Alessandro Bindoni, 20. XI. 1520.. (8), 127 Bll. (ohne das l. w. Bl.). Halbpergamentband unter Verwendung einer Antiphonarhandschrift. 8vo.. Zweite Ausgabe; die Erstausgabe erschien im Vorjahr bei Garaldi in Pavia. "Early in the 14th century Varignana wrote a remarkable treatise which he entitled 'Secreta medicinae' [...] The plan on which the book is constructed is simple and convenient for rapid consultation. The author begins at the head, and goes through all the diseases in detail right down to the feet" (Ferguson II, Suppl. 2, S. 18). Der Mediziner und Philosoph Guglielmo da Varignana (1270-1339) war Bruder des Bologneser Stadphysikus Bartolomeo da Varignana, der dort die erste gerichtsmedizinische Sektion vornahm. - Durchgehend schwach wasserrandig; etwas knapp beschnitten. Mehrere Anstreichungen von Marginalien von zeitgenöss. Hand. - Edit 16, CNCE 34074. Wellcome 6495. Durling 2198. Hirsch/Hübotter V, 708. Ferguson (Bibliogr. Notes, Index) 317. Nicht in BM-STC Italian, Adams oder Waller.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Biblia Hebraica de Alcala Codex Alfonso de Zamora. Erstausgabe 1996. Vollständiges Testimonio-Faksimile der Pergament-Handschrift G-II-8 in der Real Biblioteca de San Lorenzo de El Escorial.

      Madrid. Testimonio-Faksimile-Verlag.,. Kommentarband: Emilia Fernandez Tejero, T.O. Monasterio, J.de Azcarraga Servert. Auf 980 Ex. lim. Aufl.,mit Zertifikat. Kommentarband spanisch. 772 Seiten. Verziert in Farbe und Gold mit Filigranleisten und labyrinthischen Ornamenten. Text in punktierter spanischer Quadratschrift in 2 Kolumnen. Originalformat Groß-Oktav (27,5 x 20 cm.) lederbezogene Holzdeckel mit Silberprägung im Stil Mudejar.. In Alcala de Henares bei Madrid entsteht diese bedeutende hebräische Bibel mit der ersten kritischen Ausgabe des Vulgata-Textes. (Al-Qal'ah, Al-Kalage: 'die Stadt' nannten die Araber das um 1000 zerstörte römische Complutum). Kardinal Francisco Ximenez de Cisnero, der spätere Erzbischof von Toledo und Primas Spaniens, gründet die Universität von Alcala, die jetzige Complutense, und veranlasst auf seine Kosten die Polyglotte (vielsprachige) Bibel in 6 Bänden (1520). Er gewinnt den besten Hebraisten der Zeit, Alfonso de Zamora mit seiner umfassenden Kenntnis der biblischen Sprachen für den 6. Band, dem Wörterbuch für Hebräisch, Chaldäisch und Latein. Dafür bearbeitet Alfonso die "Biblia Hebraica" in der Lorentina und versieht sie mit Anmerkungen. Der Codex ist der wichtigste der sieben, die für die Complutenser Polyglotte benutzt wurden. Escorial, Biblioteca del Monasterio, G.II.8 Coleccion Scriptorium, 9. 2 vols, 772, 128 pp. This 15th-c. Hebrew Bible, created in Madrid, is exquisitely ornamented with filigree and calligraphic vignettes and labyrinthic designs. It is known that the rabbi Alfonso of mora worked on this codex in the University of Alcala de Henares, and it is believed that part of the MS was taken to Flanders by Aries Montano. It comprises the complete Judeo-Palestinian canon, with the exception of Genesis 38, 24-42 and 16, where folios were lost; apart from a few differences it agrees with the "textus receptus". The book of Psalms is divided into four sections beginning with Ps. 1, 42, 73 & 107. The bible contains a number of fascinating codicological and textual irregularities: Zamora first wrote in the top margins all the folios, the Latin names of the books of the bible, and the corresponding chapter numbers; in the side margins, using the same signs as in the Madrid original, he inserted the chapter divisions which appear in the Polyglot Bible. The Hebrew Books of Samuel, Kings and Chronicles are changed to the Latin titles Kings I & II, Kings III & IV, and I & II of Paralipomena. At a latter date the same famous rabbi removed the titles and numbers in the margins, replacing the former by the original Hebrew names, and the latter by rabbinical alphabetical numbers. In some places only the erasures can be detected, while in other, the original annotations can still be observed. Commentary by Emilia Fermandez Tejero, Maria Josefa de Azcarraga, & Maria Teresa Ortega Monasterio. Limited edition of 980 copies, bound in leather with silver inlay in the Mudejar Gothic style, after the original. Bl

      [Bookseller: Versandantiquariat Karl Heinz Schmitz]
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        Collectanea antiquitatun in urbe, atque agro moguntino repertarum.

      1520 - Collectanea antiquitatun in urbe, atque agro moguntino repertarum. Moguntiae, Ioannis Schoeffer, 1520. 293 x 205 mm, Pergamino moderno, lomo rotulado. hojas, incluida portada grabada [A6, B4-E4].    Magnífica impresión alemana post-incunable con la riqueza ornamental característica de las ediciones ilustradas alemanas del período gótico y pre-renacentista.   El autor fue un arqueólogo y numismático de Mainz, que reflejó en esta obra los hallazgos arqueológicos en dicha ciudad alemana, todos ellos ilustrados con bellas xilografías a toda página. Portada encuadrada en orla xilográfica compuesta por cuatro tacos. Ejemplar restaurado, con refuerzo y sello eliminado en la primera y última hoja Ref:  Brunet, III-391; Graesse, III-402.   Arqueologia, post-incunable

      [Bookseller: ArteyGrafía. com / Elena Gallego]
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        MORALE REDUCTORIUM,

      Lugduni, Impressum in officina libraria Jacobi Marechal, 1520.. super tota[m] Biblia[m] fratris Petri Berthorij Pictavie[n]sis ordinis divi Benedicti divinaru[m] litteraru[m] studiosissimi, quattuor [et] triginta libris consummatu[m], singulisq[ue] ([cu]m materie exigentia[m]) capitibus aptissime distinctu[m], ubi notabiliorum historiaru[m] ac figuraru[m] veteris [et] novi testamentoru[m], premissa compendiosa textus summa, tropologica seu allegorica atq[ue] no[n]nunque [quamquam?] anagogica subnectit[ur] explanatio, adiectis Biblie [con]corda[n]tijs ... 1520, date taken from colophon. Large 8vo, approximately 250 x 175 mm, 10 x 7 inches, Latin text, title page printed red and black, architectural border with portrait of Bercheur at the top and 14 portraits of scholars reading or writing at the sides and along the bottom, plus the printer's pictorial device below the text, numerous pictorial and decorated initials large and small, black letter printed in two columns, leaves: (12), CCXVIII (misprinted CCVIII), leaves LI to LIIII bound out of order, collated and guaranteed complete, bound in later vellum, no label or lettering, all edges red, marbled endpapers. Vellum lightly marked, spine very slightly darkened, upper cover slightly bowed, original front endpaper slightly creased and slightly torn, repaired, remains of small label to lower margin of title page, small ink number in fore-edge margin of title page, some pale damp staining to lower margin of first 32 leaves, the same to upper margin of first 12 leaves, both recurring occasionally, name of Bible book in faint tiny hand in upper outer corner of rectos, small area of worming to fore-edge margin of 7 leaves, 1 with small piece missing, nowhere near text, 10 of the last leaves in the volume have pale water staining all over the page, showing worst on the final leaf which also has an old repair to a hole in the lower margin. Binding tight and firm. A good copy of a post incunabula printing. Pierre Bercheur (ca. 1290-1362), a French Benedictine scholar was a translator, encyclopaedist, and the author of several works, including the Ovidius Moralizatus (Ovide Moralise) (1340), a work of mythography. The Gesta Romanorum, a Latin collection of anecdotes and tales, is sometimes attributed to him. In the 1340s, Bercheur became a student at the University of Paris and met Petrarch there again, having first met him in Avignon in the 1320s. The Italian poet was on an embassy to the French court. Bercheur translated into French Petrarch's reassembly (in Latin) of Livy's history of Rome. He was an eloquent preacher and a voluminous homiletical writer. His most important work is the Repertorium morale, for the use of preachers, a kind of Biblico-moral dictionary, in which the principal words of Scripture are arranged alphabetically and moral reflections attached thereto. His Reductorium morale to the Sacred Scriptures in thirty-four books, embraced all the books of the Bible and was first printed at Strasburg in 1474. See: Catalogue of Books Printed on the Continent of Europe, 1501-1600 In Cambridge Libraries, Volume 1, page 118, this edition not listed; Brunet, Volume I, 819. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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        AN. LUCANI BELLORUM CIVILIUM SCRIPTORIS ACCURATISSIMI PHARSALIA: ANTEA TEMPORUM INIURIA DIFFICILIS: AC MENDOSA. Novissime autem a viro docto expolita: & emendata: Scribentibus Ioanne Sulpitio: & Omnibono Vicentino... Additis insuper de novo Grecis: que ubique deerant... Una cum figuris...

      in aedibus Guilielmi de Fontaneto Montisferrati XVIII Februarii 1520 In-4 p. (mm. 304x202), legat. in mz. pelle coeva (restaur.) con piatti in legno (manca il fermaglio in pelle), dorso a cordoni, 4 cc.nn., CCVI cc.num., incluso il frontesp. stampato in rosso e nero entro bella cornice ornamentale tratteggiata; testo inquadrato dal commento (in carattere tondo), ornato da pregevoli grandi capilettera per lo più su fondo nero, e con 10 bellissime vignette nel t., tutto xilografato. Cfr. Essling,854: ?Bois de l?édition 4 juin 1511 avec les différences suivantes: Livre III, Combat devant Dyrrachium / Livre VII, Soldates assaillis par des serpents? - Sander,II,4021 - Adams,L-1566 - Choix de Olschki,IV,4757. ?La "Farsalia", poema epico di Marco Anneo Lucano (Cordova 39 d.C. - Roma 65 d.C.) in dieci libri, è rimasto incompiuto. L?argomento dei primi 8 libri è la guerra tra Cesare e Pompeo, negli ultimi due v?è il racconto delle imprese d?Africa e d?Egitto.. Più che di Cesare, che egli dipinge uomo settario, avido di guerre e stragi, Lucano è fervido ammiratore di Pompeo che eleva a simbolo della libertà repubblicana. Nei suoi ottomila versi la "Farsalia" riesce opera a vero carattere storico.. e vi attinsero anche storici posteriori, tanto più che le decadi di Livio corrispondenti a questa guerra civile sono oggi perdute?. Così Diz. Opere Bompiani,III, p. 301. Ultima c. restaur. per strappi e picc. manc. (non di testo); con uniformi arross. più o meno lievi e fiorit. ma complessivam. un discreto esemplare.

      [Bookseller: Libreria Antiquaria Malavasi]
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        TEXT FROM THE GOSPEL LESSONS

      France, Tours or Paris, ca, 1520. Hardcover. 114 x 64 mm (4 1/2 x 2 1/2"). Single column, 21 lines of text, written in a very fine, tiny, upright humanistic hand. Attractively matted. Rubrics in red, two paragraph marks in black or gold against a gold or white background, two line fillers in black and gold (one in the shape of a knotted rope), a two-line initial in gold on a gray ground with wispy gold decoration, text on both sides within a knotted ropework border in gold and red with convoluted tassels at the bottom; one side of the leaf WITH AN EXTRAORDINARILY FINE, SMALL MINIATURE SHOWING MARK seated with a scroll on his knees, the youthful apostle, dressed in blue and maroon, deep in thought, his elbow resting on his knee, his attribute, the lion, looking on with an especially charming expression of sympathy, the scene in an interior with a window at the top left above a leafy molding, the whole within a plain gold frame (the miniature measuring approximately 21 x 18 mm.). IN EXTRAORDINARILY FINE CONDITION. In this miniature, the painter has been remarkably successful in giving both the Evangelist and his emblematic companion clear expressions of emotion. The depiction of architectural detail like the window molding here is typical of the elegant little touches in these very small miniatures that could only have been executed convincingly by an artist with the highest degree of skill. This splendid item was produced by the celebrated atelier known as the 1520s Hours Workshop. These leaves represent the finest illumination being done during the final and glorious period of French manuscript production, and, frankly, some of the finest illumination ever done. Given its name by Myra Orth as a reflection of the studio's principal type of output and period of operation (though work continued into the 1530s), the 1520s Hours Workshop created, in Wieck's words, "illuminations of the most refined delicacy" ("Painted Prayers," p. 73). In Lilian M. C. Randall's catalogue of French manuscripts in the Walters Art Gallery, a book from the 1520s Hours Workshop (Walters MS 449) is described as "a fine example of the superb level of craftsmanship attained in French manuscript production during the last quarter century of its full-fledged existence" (II, 532). Kay Sutton, describing a manuscript from the workshop (sold as lot 23 at Christie's on 29 November 2000), says that the atelier's manuscripts "are among the highest achievements of French Renaissance painting." And Christopher de Hamel, in discussing what is probably the studio's chef d'oeuvre (sold at Sotheby's as lot 39 on 21 April 1998), says that the painting done by the 1520s artists manifested the "utmost professionalism. It was executed with a microscopic detail and virtuosity of technique probably without parallel even in the long tradition of illumination." Orth in her seminal dissertation on the workshop identifies four closely related painters as being responsible for the devotional manuscripts known to have been produced by the atelier, almost all of them tiny Books of Hours of jewel-like quality done for wealthy patrons. The four artists are all eponymous: the Master of the Rosenwald Hours, the Master of Jean de Mauléon, the Master of the Getty Epistles, and the Doheny Master, who is responsible for our leaf and who, says de Hamel, "may have been the master of the whole enterprise." Although unmistakably French, the workshop's production represented a synthesis of great moment. "The 1520s Books of Hours are the ultimate statements of the reception of Italianate and classical culture into the French court and into books as inherently gothic and northern as Books of Hours, and they illustrate graphically the rediscoveries of antiquity and the natural world which define the Renaissance." (de Hamel) The workshop has traditionally been located in Tours (which had the status at the time of being France's second capital city), but recent scholarship, particularly by Orth, suggests that its home may have been in Paris. Four leaves from our Doheny Master manuscript were first described (as being from a lost Book of Hours) by Orth in "An Exhibition of European Drawings and Manuscripts, 1480-1880," and then cited by her in "The J. Paul Getty Museum Journal," Volume 16, both published in 1988. Shortly afterward, the manuscript, described as an imperfect Hours, appeared as item #39 in Sam Fogg's Catalogue 14.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Marci Hieronymi Vidae Cremonensis, Albae Episcopi, Opera

      575 pages. Duodecimo (5" x 3 1/2") bound in original vellum. (Bibliotheca Van der Linde-Niemeijeriana: 4564)Marco Girolamo Vida was an Italian Humanist. He came to Rome under Julius II; as a priest and canon regular, he presented, in the rather lax Court, the greatest example of severity of morals. The Humanists were called upon to produce a great Christian epic. Vida undertook it, and in order that he might work at it Leo X gave him the priory of St. Sylvester at Frascati. The work, the Christias, was not finished until after the death of Leo X. The subject goes beyond the life of Christ and is in reality the establishment of Christianity, for Vida accords much space at the end of his poem to the spread of the Gospel. There is no mythological element in the six cantos; hence the unity of tone is more perfect than in Sannazaro's De partu Virginis. Vida was also the author of short poems, such as De Bombyce, De ludo scaccorum (on chess), and of a second serious and extensive work, De arte poetica, written before 1520 (published in 1527). This didactic poem is interesting as an expression of the ideas of Humanism concerning poetry and because of its great influence. Vida dealt only with the ancients and their imitators, wholly neglecting writers in the vernacular. The general conception of his Ars poetica is inspired by Qunitillian. The writer takes the future poet almost at the cradle, and describes the education and care which he should receive. He instructs him in invention, composition, and especially style, emphasizing particularly the harmony of the verse and defining imitative harmony, examples of which, taken from Virgil, have passed into classical teaching. While Boileau exaggerates the difficulties of poetry and multiplies the duties of the poet, Vida undertakes to cultivate a taste for poetry and to remove the obstacles from the poet's path. In consequence of his plan Vida treats only of poetry in general. To him the model and prince of poets was Virgil, while he depreciates Homer, criticizing his prolixity, repetition, and low style. He was the source of arguments later made use of in France by the partisans of the moderns; Vida was the first to assert that the word "ass" used by Homer did not belong to the noble style. He carried prejudice so far as to congratulate the Latin language for being ignorant of compound words so frequent in Greek. Vida's own style is elegant, clear, harmonious, and ordinarily simple. He was warm in admiration, especially in his eulogies of Virgil, but he is verbose, and if by chance he imitates Horace he dilutes him. The poem is now of interest only as a manifestation of Classicism in modern literature.Vida's poem Scacchia Ludus [Chess Game], contained herein (pages 520-542), first published in 1527 is among the earliest and most influential works related to the game of chess. This compelling didactic poem centers on a game played between Apollo and Mercury on Mount Olympus. Because of its high artistry, it is said the poem made a tremendous impression on anyone who read it including the renowned Dutch humanist of the Renaissance, Desiderius Erasmus. Scacchia Ludus [aka Scaccia Ludus] did much to spread the game's popularity, and in the process directly inspired many other popular works on the game including Jan Kochanowski's poem Chess (c. 1565), in which the game is described as a battle between two armies; and William Jones' Caissa, or the game of chess (1772), a poem which popularized the pseudo-ancient Greek dryad Caïssa as the "goddess of chess". Another lasting effect Vida's poem had on the game of chess was the introduction of a tower as the Rook. Originally, the queen had a somewhat limited role in chess. At the end of the fifteenth century however, the rules changed, and the queen was granted the power of unlimited moves in all directions that had previously belonged to the bishop. (The king only retained his power to move one square at a time.) In an influential and wildly popular Virgilian-style epic, the Scacchia ludus, Vida celebrates the transformation of the game and the power of the queen. He refers to his martial queens both as 'virgo' and 'Amazon', invoking a tradition that views chess as a battle of the Amazons. The language of this influential poem is thus suggestive not just in comprehending the significance of the sisters playing chess, but in understanding the symbolism of the pieces themselvesCondition:Ties lacking edge wear with back upper edge chipped, rubbed, previous owner's name in neat old pen to title else about very good.

      [Bookseller: The Book Collector]
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        LIBRO DEL PEREGRINO. Diligentemente in lingua Toscha correcto. Et novamente stampato. & historiato.

      per Nicolo Zoppino V april. 1520 In-24 gr. (mm. 147x100), p. pelle coeva, ricche cornici a secco ai piatti, dorso a cordoni, 284 cc.nn. Al frontespizio grande vignetta silografata (mm. 100x75) che raffigura un giovane uomo, quasi nudo, legato ad un albero; nell?aria vola un Amorino che lo mira con una freccia; a destra e a sinistra due satiri suonano strumenti musicali; in alto la scritta ?Ancora spero solver me? e in basso ?P.Amor?. Ciascuno dei 3 libri in cui è divisa l?opera è introdotto da una vignetta (mm. 46x66), pure silografata, che raffigura il Pellegrino che parla ?a Violate, a Theodoro e a Hacate?. Alla c. AA12 inno al lettore inquadrato in cornice architettonica. Dedica a Lucrezia Borgia, Duchessa di Ferrara. ?Romanzo del sacerdote parmense Iacopo Caviceo (1443-1511), pubblicato nel 1508. E? la storia boccaccesca degli amori di due giovani, Peregrino e Ginevra, che l?autore finge d?aver ascoltato (in tre tempi) dall?ombra del protagonista stesso apparsogli in visione.. e reso piccante dalle numerose allusioni a uomini contemporanei e dalla lubricità di parecchi episodi. Godette al suo tempo di una grandissima popolarità; in mezzo secolo fu ristampato 19 volte e tradotto in francese e in castigIiano.? Così Diz. Opere Bompiani, IV, p. 394. Cfr. Sander,I,1876 - Short-Title Cat. British Library, p. 163 - Essling, vol. II-p. I, 1891 - Choix de Olschki,IX,12696 - Brunet,I,1701: ?il y a aussi des éditions de Venise, 1520, 1526, .. qui sont rares?. Solo prime 3 cc. con picc. fori di tarlo margin. (restaurati al frontesp.), altrim. esemplare ben conservato.

      [Bookseller: Libreria Antiquaria Malavasi]
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        OPERE DEL DIVINO POETA DANTHE CON SUOI COMENTI RECORRECTI ET CON OGNE DILIGENTIA NOVAMENTE IN LITTERA CURSIVA IMPRESSE.

      Bernardino Stagnino da Trino de Monferra 1520 In fine: Impressa in Venetia per Miser Bernardino Stagnino da Trino de Monferra, del M.D.CCCCC.XX (1520) A di XXVIII Marzo. In 8vo; pp. 440 erroneamente numerate 441. Pergamana coeva. Lievi restauri al frontespizio ed alle ultime carte con perdita di qualche lettera di testo. De Batines I, pp. 78/79; Mambelli 27; Sander n.2325; Essling 529. 5 immagini allegate.

      [Bookseller: Studio Bibliografico Casella]
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        EARLY 16TH CENTURY MONASTIC MANUSCRIPT, On Vellum, Psalter and Hymnal with Calendar, Spanish]

      [Spain, Circa 1520. 211 manuscript leaves on vellum in black, blue and red ink, with large initials in red and blue, some with scrollwork in a finer pen, occasional use of yellow as well, some initials being quite large, 118 of the leaves being music and with other musical notations throughout. folio (385 x 270mm), bound in full tan calf over heavy wooden boards to correct period style, the blind tooled paneling suggests the original 16th century Spanish binding, the thick boards each with 4 bronze bosses likely reused from an earlier binding. 6ff Calendar, 7-84ff, 1-99ff, [28ff unnumbered pp]. A fine and handsome book, beautifully preserved. A FINE LARGE MANUSCRIPT FOLIO FROM THE EARLY PART OF THE 1500'S

      [Bookseller: Buddenbrooks, Inc.]
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        Historie Fiorentine

      Florence: Bernardo Di Giunta. 1st Edition. Hardcover. Very Good. FIRST FLORENCE EDITION, possibly the first edition overall, of an essential Renaissance text. SCARCE. Niccolo Machiavelli did not write that which we call history today. For him, history and historiography were one and the same, and the Florentine Historie is the best example of that. In 1520, Machiavelli was commissioned by Giulio de' Medici to write an account of the history of Florence. The book he produced "is the first example in Italian literature of a national biography, the first attempt in any literature to trace the vicissitudes of a people's life in their logical sequence, deducing each successive phase from passions or necessities inherent in preceding circumstance, reasoning upon them from general principles, and inferring corollaries for the conduct of the future." (Britannica). It is all the more unusual because Machiavelli followed the humanist style "of inventing speeches. Even though he was not present and could not have been present, he puts appropriate speeches into the mouths of actual historical figures as if they were characters in a play of his... Fact, in their [the humanists] view, needs to be filled out with opinion, and it is the duty of the historian, in the absence of scribes and witnesses, to infer human intention and to make it explicit in speeches, adding sense to actions in order to arrive at truth." (Harvey Claflin Mansfield, Machiavelli's Virtue). The reason behind Machiavelli's historiography as history is that he believed that histories should not just tell an account of what happened and when, but should be beneficial to the people of which they speak. Today, our historians are meant to distance themselves from their subjects; to Machiavelli, an intimate relation to the country about which he wrote was a necessity. The Florentine Historie, therefore, was not solely a commissioned work, but a tribute to "Machiavelli's desire to write a history that would inspire all lovers of the common good of man in whatever age or nation." The speeches he fabricated, the emotions behind the mere events he wrote about "are developed beyond dramatic requirements into expositions of social and political truths suggested by Florentine events. Incidentally, these orations enabled Machiavelli to deal with the problem of the Medici." (Allan Gilbret, Machiavelli). While Florentine Historie would not be considered an honest historical account today, the history that was presented to the Cardinal, by then Pope Clement VII, is perhaps truer than mere factual history. Because "his historical context includes both the facts of his time, which would have influenced his writing of history, and the historiography characteristic of his time, together with the conception of history underlying those historiographic methods," he created a far more complete image of Florence than could ever be garnered from an impersonal examination of the city's archives (Mansfield). ON THIS EDITION: After Machiavelli's death in 1527 there was a rush to publish his remaining works, and a fierce competition began between the Roman printer Blado and the Florentine printer Guinta to be the first to press. Although Giunta had been given the approval of Machiavelli's heirs and rushed to honor his fellow Florentine with elegant editions of his works, both Blado's and Giunta's editions of The Florentine History appeared almost simultaneously. It is now presumed that Blado's Roman edition, dated 25 March 1532, preceded Giunta's by two days. Some copies of the Giunta edition are dated 27 March 1532 in the colophon, while others such as the present copy are dated 16 March 1532. It is possible that Giunta printed an incorrect 16 March date to convince the public that his edition was indeed first. Florence: Bernardo di Giunta, 1532. Quarto, contemporary full blind-ruled decorative calf rebacked. Without the four errata leaves, as usual. Two early signatures to title page. Small hole to title page (not affecting text), occasional light soiling to margins. A beautiful, clean, wide-margined copy of an exceptionally rare and important edition.

      [Bookseller: The Manhattan Rare Book Company]
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        Ioannes Camertis in Polyistoria enarrationes. Additus eiusdem Camertis index

       First edition of the Solinus of American interest, with Camers? commentary. 1520. Wien. Singriener. In folio (305 mm x 205 mm): 8 ff. + 338 + 1 ff. + 15 ff. Contemporary or near contemporary handsome, heavily tooled blindstamped calf, rebacked and restored, missing clasps. A fine, wide margined, clean and crisp copy, upper margin lightly dampstained.First edition. Solinus? Polyhistoria was first published in Venice in 1473; however, this is the first edition with Camers revisions, and the first of American interest, all the previous ones contained no references to the New World. The work is sometimes found with Appianus? cordiform World map, made after Waldseemuller?s (1507), the second map to name ?America?, not present in this copy as is almost always the case. The work is elegantly printed, with Camers? commentary surrounding the Solinus text in double columns; title page with ornamental woodcut borders, colophon with booksellers device and last folio with Singrenius? device.Adams, S, 1391. Sabin, 86390. 

      [Bookseller: Hs Rare Books]
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        IVLII SOLINI POLYHISTOR. CUM INDICE SUMMATIM OMNIA COMPLECTENTE. [bound with:] Mela, Pomponius: POMPONII MELAE GEOGRAPHIAE, LIBRI TRES

      Vienna: Johann Singriener for Lukas Alantse, [1520].. [8],151,[32]pp.; [56] leaves. Contemporary green-stained vellum. Some light wear and soiling, ties lacking. Minor foxing and soiling. Very good, in unsophisticated original condition. A contemporary sammelband containing a pair of works by two important early geographers. Solinus (ca. 250 A.D.) was a Roman geographer of some repute. His POLYHISTOR... was first published by Nicholas Jenson in Venice in 1473. Mela was the earliest Roman geographer, writing around 43 A.D. Both works have extensive indexes. Only four copies of either title are located by VD16 online. An interesting and handsome volume combining the two most important geographical sources of the ancient world. VD16 S6965, M2312.

      [Bookseller: William Reese Company - Americana]
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        TEXT FROM THE SUFFRAGES

      France, Tours or Paris, ca, 1520. 114 x 64 mm (4 1/2 x 2 1/2"). Single column, 21 lines of text, written in a very fine tiny upright humanistic hand. Attractively matted. Rubrics in red, four paragraph marks in black or gold against a gold or black background, four line fillers in black and gold or gold and red (one in the shape of a knotted rope, another a pruned branch), two two-line initials in black on a gold ground with red filigree embellishment or gold on a black ground with wispy gray decoration, text on both sides within a knotted ropework border in gold and black with convoluted tassels at the bottom. RECTO WITH AN EXTRAORDINARILY FINE SMALL MINIATURE OF JOHN THE BAPTIST in his brown camel hair shirt with a maroon mantle, holding a book and pointing his finger prophetically at his symbol, the Lamb of God (a small white sheep with a nimbus), resting on top of the book; these figures set against a beautifully detailed forested backdrop, and the whole within a simple gold frame (the miniature measuring approximately 21 x 20 mm.). THE VERSO WITH A LOVELY SMALL MINIATURE OF SAINT JOHN in a simple white shirt and maroon mantle, the Evangelist raising his right hand in a tranquil salute, his left hand grasping a gleaming chalice from which emerges a vicious rampant green reptilian bird, the scene set against a rich black background, the whole within a simple gold frame (the miniature measuring approximately 22 x 19 mm.). IN EXTRAORDINARILY FINE CONDITION. This is an especially appealing leaf in that it contains two superb, delicately realized miniatures. Particularly impressive is the depiction of the background of the John the Baptist scene, where the artist has used three different greens to make his trees three-dimensional and consequently to give the scene a genuine sense of depth. At least as remarkable is the painter's ability to individuate the hairs on John's shirt, face, and head. The hideous green creature in John the Evangelist's chalice is a variation of the more usual image depicted of several dark snakes wriggling over the brim. The artist's delicacy and subtleness can be seen again here: the painter has used tiny slivers of a lighter shade of green along the top of the dragon's body to indicate reflected light from above, and this technique not only keeps the green from being lost against its black background, but also pulls our eye immediately toward the one focus of discordance in the miniature.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        EXIMII DOCTORIS MAGISTRI NICOLAI DE ORBELLIS Ordinis Minorum SUP [=SUPER] SENTENTIAS COMPENDIUM SINGULARE, Elegantiora Doctoris Subtilis [ie. Duns Scotus] Dicta summatim complectens, quod nunc dudum multis viciatum erroribus: castigatissime recognitum noue extat

      Paris: Francis Regnault, 1520. Hardcover. Very Good. Fine woodcut elephant device of Francois Regnault on titlepage. Octavo near contemporary laced vellum with manuscript spine title (vellum crinkled and hinge starting to split at front of spine). Titlepage in red & black (early ownership neatly written on either side of Regnault's elephant device) Unpaginated but 374 leaves most neatly numbered in manuscript, collated complete. Colophon dated Paris 8th May 1521. *Nicolas de Orbellis' commentary on John Duns Scotus' work on Peter Lombard's Sententiae (referenced by Adams O251).

      [Bookseller: Abbey Antiquarian Books]
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        MORALE REDUCTORIUM,

      super tota[m] Biblia[m] fratris Petri Berthorij Pictavie[n]sis ordinis divi Benedicti divinaru[m] litteraru[m] studiosissimi, quattuor [et] triginta libris consummatu[m], singulisq[ue] ([cu]m materie exigentia[m]) capitibus aptissime distinctu[m], ubi notabiliorum historiaru[m] ac figuraru[m] veteris [et] novi testamentoru[m], premissa compendiosa textus summa, tropologica seu allegorica atq[ue] no[n]nunque [quamquam?] anagogica subnectit[ur] explanatio, adiectis Biblie [con]corda[n]tijs ... 1520, Date taken from colophon. Large 8vo, approximately 250 x 175 mm, 10 x 7 inches, Latin text, title page printed red and black, architectural border with portrait of Bercheur at the top and 14 portraits of scholars reading or writing at the sides and along the bottom, plus the printer's pictorial device below the text, numerous pictorial and decorated initials large and small, black letter printed in two columns, leaves (12), CCXVIII (misprinted CCVIII), leaves LI to LIIII bound out of order, collated and guaranteed complete, bound in later vellum, no label or lettering, all edges red, marbled endpapers. Vellum lightly marked, spine very slightly darkened, upper cover slightly bowed, original front endpaper slightly creased and slightly torn, repaired, remains of small label to lower margin of title page, small ink number in fore-edge margin of title page, some pale damp staining to lower margin of first 32 leaves, the same to upper margin of first 12 leaves, both recurring occasionally, name of Bible book in faint tiny hand in upper outer corner of rectos, small area of worming to fore-edge margin of 7 leaves, 1 with small piece missing, nowhere near text, 10 of the last leaves in the volume have pale water staining all over the page, showing worst on the final leaf which also has an old repair to a hole in the lower margin. Binding tight and firm. A good copy of a post incunabula printing. Pierre Bercheur (ca. 1290-1362), a French Benedictine scholar was a translator, encyclopaedist, and the author of several works, including the Ovidius Moralizatus (Ovide Moralise) (1340), a work of mythography. The Gesta Romanorum, a Latin collection of anecdotes and tales, is sometimes attributed to him. In the 1340s, Bercheur became a student at the University of Paris and met Petrarch there again, having first met him in Avignon in the 1320s. The Italian poet was on an embassy to the French court. Bercheur translated into French Petrarch's reassembly (in Latin) of Livy's history of Rome. He was an eloquent preacher and a voluminous homiletical writer. His most important work is the Repertorium morale, for the use of preachers, a kind of Biblico-moral dictionary, in which the principal words of Scripture are arranged alphabetically and moral reflections attached thereto. His Reductorium morale to the Sacred Scriptures in thirty-four books, embraced all the books of the Bible and was first printed at Strasburg in 1474. See: Catalogue of Books Printed on the Continent of Europe, 1501-1600 In Cambridge Libraries, Volume 1, page 118, this edition not listed; Brunet, Volume I, 819. MORE IMAGES ATTACHED TO THIS LISTING.

      [Bookseller: Roger Middleton]
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        Esopo con la vita sua historiate vulgare & latino

      [Colophon]: Milan: Bernardino de Castello, 1520., 1520. 2 Parts in 1. small 8vo. ff. [78]; [54]. first part lacking 2 leaves, K1 & K8, the latter blank; part II lacking 28 leaves (G1, G8, and quires H-K). Latin & Italian text. large woodcut of a master & his pupils on title to each part & 68 (of 84) smaller woodcuts in the text. full dark blue morocco by Zaehnsdorf, gilt inside dentelles (small hole in last 2 leaves with loss of several letters, marginal fraying & soiling to some leaves, dampstaining to last few leaves, other occasional stains, several small wormholes in centre gatherings but text legible). Rare. The woodcuts are quite different from those illustrating the Milan 1503 edition printed by Leonardus Pachel (see Mortimer 4). Sander notes that they were executed by several artists, those in the fables being particularly interesting and, but for the date given in the colophon, suggestive of a later, more mature style. Our copy, like that cited by Sander as being described by Leighton, has variant reading ‘Impressum Mediolani…’ in colophon to first part. There are no copies located in North American libraries by NUC. Sander 93. BM, STC Italian, p. 8. This edition not in Adams, Mortimer, or Rosenwald..

      [Bookseller: D & E Lake Ltd. (ABAC, ILAB)]
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        Svenskt silversmide 1520-1850.

      - Del I. Renässans och barock. 1520-1700. Del II. Senbarock, Fredrik I:s stil och rokoko 1700-1780. Del III. Gustaviansk stil, empire och romantik. 1780-1850. Äldre guldsmedsteknik av Bengt Bengtsson. Nordisk Rotogravyr 1941-45. 4:o. Rikt illustrerad. 248,(146); 250,(248); 315,(3),(216) s. Original falsade pergamentband med övre guldsnitt. Röda och blå titeletiketter. (Nordiska Bokhandelns bokbinderi). 30 x 22 cm. I ett specialtillverkat skåp med intarsia i rutmönster på sidor och ovandelen. Höjd 66,5 cm. Bredd 39 cm. Djup 27 cm.[#2616]

      [Bookseller: Antiquaria Bok & Bildantikvariat AB]
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        La Madonna con il Bambino in fasce

      Bulino, 1520, datato e monogrammato in lastra in basso a sinistra. Esemplare nella prima variante di cinque descritta dal Meder. Magnifica prova, ricca di contrasti, impressa su carta vergata coeva priva di filigrana, irregolarmente rifilata alla linea marginale, lievi restauri nella parte sinistra perfettamente eseguiti, nel complesso in ottimo stato di conservazione. L?opera rappresenta in ordine cronologico l?ultima interpretazione del soggetto del maestro di Norimberga. Insieme alla Madonna allattante del 1519 (Meder 39) e alla Madonna col Bambino incoronata da un angelo (Meder 41) questo lavoro forma un gruppo affine che viene ricordato come ?nuove immagini di Maria? nel diario del viaggio ai Paesi Bassi di Dürer. Il Panofsky fa notare che questo la schematizzazione delle forme del corpo espressa da questo bulino ricorda il poliedro della Melancolia, e rappresenta la migliore espressione di valori plastici raggiunta dalla grafica del Dürer Engraving, 1520, dated and signed with monogram on lower left. Example in the first state of five, as described by Meder. Magnificent work, printed on contemporary laid paper without watermark, irregularly trimmed to the borderline, minor repairs on left part perfectly executed, otherwise in excellent condition. The work depicts the last representation the Nuremberg Master realized of this subject. Together with the Breast-feeding Madonna of 1519 (Meder 39) and the Madonna with Child crowned by an Angel (Meder 41), this work is part of a group that Dürer called "new images of Mary? in his journal of the trip to the Netherlands. Panofsky states that the schematization of the figures realized with the engraving technique recalls the Melancholia polyhedron, and represents the best example of plastic model Dürer has ever achieved in his graphic production Meder 40 a/e; Bartsch 38; Strauss 94; ; Fara pp. 80/81, 21. Dimensioni 96x142.

      [Bookseller: Libreria Antiquarius]
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        Opere... - (Colophon:)

      Venezia, Stagnino, 1520.In-4. Pergamena molle del '900, titolo sul dorso. Titolo in rosso e nero entro bella cornice ripetuta al principio del poema, una tav. f.t., 98 graziose illustrazioni n.t., e 2 marche tipografiche, il tutto inc. in legno. (12), 440, (mal num. 441) ff.; esemplare buono e fresco; margine superiore un po' corto e piccolo restauro ad un angolo degli ultimi 5 fogli. «Edizione in caratteri corsivi, rara e molto stimata... fu intitolata Opere probabilmente perché contenente il Credo, il Pater Nostro e l'Ave Maria parafrasati in versi italiani da Dante...» (De Batines I, 78). Essling 539. Sander 2325. Harvard, Mortimer I, 144, descrive l'edizione del 1512 di cui questa è un'esatta ristampa.

      [Bookseller: Libreria Antiquaria Rappaport]
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        Venere ed Amore

      Bulino, circa 1520. Da un soggetto di Raffaello. Magnifica prova, impressa su carta vergata coeva, rifilata al rame, in buono stato di conservazione. La stampa è una ripetizione dell?opera di Marcantonio Raimondi (Bartsch 279), rispetto alla quale è in controparte. Il tema, senza alcuna variante, è affrontato anche da Marco Dente. La storia dell?arte è piena di artisti di scuola che replicavano le opere del Maestro; il Bartsch le denomina ?ripetizioni? mentre altri studiosi preferiscono chiamarle ?repliche?. Secondo Landau esistono ben 42 lavori di Marcantonio che sono interpretati anche da artisti della sua cerchia come Agostino Veneziano, Marco Dente ed altri che, non firmandosi, sono di difficile, e comunque dubbia, individuazione. Bellissimo e raro esemplare. Timbro di collezione al verso. Engraving, about 1520. After Raphael. Magnificent proof, printed on contemporary laid paper, trimmed with copper, in good condition. The print is a repetition of the work of Marcantonio Raimondi (Bartsch 279), with respect to which it is party. The theme, without any variant, is also addressed by Marco Dente. The history of art is full of artists of school that replicated the works of the Master; Bartsch calls the "reps" while other scholars prefer to call these "replicas". According to Landau there are no less than 42 works of Marcantonio which are understood by artists in his circle as Agostino Veneziano, Marco Dente and others, not signing his letters are difficult, and in any case doubtful identification. Beautiful and rare example. Collection mark on the reverse. Bartsch 279 B; Landau & Pershall, The Renaissance print 1470-1550, p.131. Dimensioni 133x170.

      [Bookseller: Libreria Yelets]
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        Madonna con Bambino sulla luna crescente

      Bulino 1520, datato emonogrammato in lastra in basso a sinistra. Buona prova, impressa su carta vergata coeva, rifilata al rame, in ottimo stato di conservazione. Bibliografia: Bartsch 17; Pauli 18. Dimensioni 58x83. Engraving, 1520, dated and signed with monogram on lower left plate. Good work, printed on contemporary laid paper, trimmed to platemark, in excellent condition.

      [Bookseller: Libreria Antiquarius]
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        La Crocifissione

      Xilografia, circa 1520, monogrammata in basso al centro. Magnifica prova, impressa su carta vergata coeva, completa della linea marginale, in ottimo stato di conservazione. Testo al verso. Bibliografia: Bartsch 30; Hollstein 27. Dimensioni 130x198. Woodcut, circa 1520, signed at lower left. A magnific impression, printed on contemporary paper, in very good conditions. Rare.Bartsch 30; Hollstein 27. Dimensioni 130x198.

      [Bookseller: Libreria Antiquarius]
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        Salomè con la testa di San Giovanni

      Bulino, monogrammato in lastra in basso al centro. Bellissima prova, impressa su carta vergata coeva, rifilata la rame, in ottimo stato di conservazione. Bibliografia: Bartsch 29; Hollstein 34. Dimensioni 76x48 Engraving, signed with monogram on lower centre plate. Excellent work, printed on contemporary laid paper, trimmed to platemark, in very good condition.

      [Bookseller: Libreria Antiquarius]
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        Ercole e Anteo.

      [Roma, c. 1520, ma tiratura della fine del XVI secolo], incisione calcografica a bulino, mm. 210x281. Rifilata alla scena incisa e applicata su cartoncino. In basso a sinistra monogramma AV [Antonio Veneziano]. Si tratta della versione del Veneziano di un disegno di Giulio Romano inciso negli stessi anni anche da Marcantonio Raimondi (Bartsch 346). Piccola abrasione all'angolo superiore destro. Bartsch 347.

      [Bookseller: Libreria Antiquaria Gozzini]
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        OPUSCULUM MULTARUMBO NARUM, RERUM REFERTUM UT SUNTDIVI AUGUSTINI MEDITATIONES & EIUSDE SOLILOQUIA & MANUALE

      BERNARDINUM DE LISONAEdito nel 1520, in Venetis, In 16¯, legatura in piena pergamena, capilettera.Opera suddivisa nei seguenti capitoli: Divi Augustini Meditationes&eiusde Soliloquia & Manuale, Bernardi Abbadis Epistola nò vulgaris eius fermo de passione dni, Petri Damiani Sermo, Anselmi Meditationes sunt, Carmina.N. fratris ordinis predicatoru in quibus suprascriptor opusculoru per optime comendantur, Pii.Pont. Max& carmina, Maphei vegii carmè laudesce Monice, Item qui totum concludit... Buon esemplare.

      [Bookseller: Libreria Internazionale Ulrico Hoepli]
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        Svenskt silversmide 1520-1850.

      Del I. Renässans och barock. 1520-1700. Del II. Senbarock, Fredrik I:s stil och rokoko 1700-1780. Del III. Gustaviansk stil, empire och romantik. 1780-1850. Äldre guldsmedsteknik av Bengt Bengtsson. Nordisk Rotogravyr 1941-45. 4:o. Rikt illustrerad. 248,(146); 250,(248); 315,(3),(216) s. Original falsade pergamentband med övre guldsnitt. Röda och blå titeletiketter. (Nordiska Bokhandelns bokbinderi). 30 x 22 cm. I ett specialtillverkat skåp med intarsia i rutmönster på sidor och ovandelen. Höjd 66,5 cm. Bredd 39 cm. Djup 27 cm

      [Bookseller: Antiquaria]
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        ON APLAS VON ROM kan man wol selig werden durch anzaigung der götlichen hailigen geschryfft.

      No printer, place, nor date (Melchior Ramminger, Augsburg c. 1520). 4to. With a large and extremely interesting woodcut on titlepage + 10 pages, ie. 6 leaves in all. Bound in a modern half vellum binding with nice sidepaper with floral pattern. Thorough antiquarian bookseller description inserted on the inner cover.. Kuczynski 1306, Schottenloher 34296.** Anonymous protestant pamphlet written against indulgences from Rome. The book consists of quotations from the Bible, especially the New Testament, and is noteworthy for being not Latin but in translation. Of special note is the great initial woodcut showing the inside of a church. A preacher is on his pulpit reading out an indulgence, a seemingly unwilling 'customer' is dragged to a table in the center where indulgences are being sold. At the center is a cross, but no Jesus, who has left. The woodcut, which is in style of Hans Holbein, is attributed to Heinrich Vogtherr (1490-1556)

      [Bookseller: Vangsgaards Antikvariat]
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        Das büech der gemeinen land-pot. Landsordnüng. Satzüng. und Gebreüch. des Fürstennthumbs in Obern- und Nidern Bairn. Im fünftzehnhündert und Sechtzehendem Jar aüfgericht.

      Mit Titelholzschnitt, Titel gedruckt in Rot. 12 nn., LXVII (recte 69) num. Bll. Ldr. d. Zt. mit blindgepr. Wappensupralibros auf den Deckeln, Folio. VD 16 B 966; Schottenloher (Schobser) 167. - In dieser dritten Ausgabe ist die "Vischerey" nicht mehr enthalten. Der Index endet auf Bl. 11r: "Hye enndet sich das Register". - Der Titelholzschnitt zeigt die beiden Herzöge Wilhelm und Ludwig als Wappenhalter. Der Text ist durchweg in Rot und Schwarz gedruckt. - Etwas beschabt und bestoßen, Rücken, Kanten und Vorsätze erneuert. Gering gebräunt, tls. leicht fleckig, in der zweiten Hälfte im unteren Innensteg mit restauriertem Wurmloch. Bis auf den Titel breitrandig.

      [Bookseller: Antiquariat Turszynski]
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        Paulo orosio tradotto di latino in volgare per giovanni guerini da lanciza novamente stampato. (toscolano), alex. paganino, s.a. 1520 (ca).

      Cm. 15, cc. (172). Legatura settecentesca in piena pergamena rigida con nervi passanti. Tagli rossi a spruzzo. Il primo capolettera è ornato a fondo criblè; spazi guida per i capilettera; al verso dell' ultima carta è presente il colophon entro doppio filetto da cui si evince il nome dello stampatore. Esemplare genuino, piuttosto marginoso e ben conservato. Alcune annotazioni ms. coeve. Prima traduzione italiana delle Historie adversus paganos, abbraccianti il periodo compreso fra la narrazione della creazione contenuta nella Genesi ed il 417 a.C., e commissionata dallo stesso Sant'Agostino come conferma storica dell'imponente elaborazione teologica contenuta nel ""De civitate Dei"" (Dante scrisse che del suo ""latino Augustin si provide""). La presente prima versione italiana era stata preceduta soltanto da una traduzione francese del 1491. Il volgarizzatore, Giovanni Guerini, nativo di Lanciza, fiorì nella prima metà del XVI secolo. Cfr. Baroncelli ed Adams, O-311.

      [Bookseller: Studio Bibliografico Benacense]
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        Platinae Hystoria De Vitis Potificum Periucundae: Diligenter Recognita

      Paris: Regnault & Idus, 1520. Leather Bound. Very Good. 2 Vols in 1. [1512]. 12o. CCCLXVII, [i], Index [4], [134] Fully bound in contemporary calf-skin leather. 5 raised bands. 6 compartments. Gilt title plate and decorative flourishes within compartments. Tight binding and solid boards. Minor shelf wear. Professionally repaired and treated with weather-resistant lacquer. Edges slightly worn. joints split. Rubbing to boards. Terminal page: Impressum ludini per Gilbertu de villiers: Impensis honestissimi viri domini Vincentii de pthonariis & costantini fradin. Anno domini Millesimo quingentesimo duodecimo. Die vero x. mensis Martii.) Woodcut on title page, as well as numerous woodcut letter blocks throughout. Seminary library bookplate inside front board. Small ink note in lower margin of title page. Early ink marginalia. Light toning. Minor damp stains, mostly in later portions. Scattered ink notes. Very good condition.<br><br>Bartolomeo Platina, born at Piadena, near Cremona, was a Greek/Roman scholar, known for an array of published historical and philosophical works. He first enlisted as a soldier, and was then appointed tutor to the sons of the Marquis Ludovico II Gonzaga. In 1457, he went to Florence, and studied under the Greek scholar Argyropulos. In 1462 he proceeded to Rome, probably in the suite of Cardinal Francesco Gonzaga. After Pius II had reorganized the College of Abbreviators (1463), and increased the number to seventy, Platina, in May 1464, was elected a member. The two volume VitÃ&#131;¦ Pontificum constitutes a comprehensive history of the lives of Romes Popes. A significant historical volume in excellent condition, this book would make a fine addition to the collection of any religious scholar. Please feel free to view our photographs of this beautiful volume. Ships daily.

      [Bookseller: SequiturBooks]
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        in. C.IVLII Solini [Polyhistora] Enarrationes. - MELA, Pomponius - Joachim Vadianus. Libri De Situ Orbis Tres,

      Vienna: Johannes Singrenius for Lucas Alantse, 1520. THE FIRST AVAILABLE PRINTED MAP TO BEAR THE NAME AMERICA Two works in one volume. Folio (11 6/8 x 8 2/8 inches). Cordiform woodcut world map, woodcut title-page borders, historiated initials, printer&#39;s mark, both works include the final blank leaf. Contemporary limp vellum (sewn on three pairs of pink tawed thongs, early manuscript liners, early ink title and traces of early manuscript paper label on spine, evidence of two fore-edge ties (some minor restoration to covers); modern cloth clamshell box. This volume, actually comprises two works within a single binding, in an instance of a common sixteenth-century book-collecting practice. Both are rare works of signal importance, with the present examples in extraordinary condition. The first is Joannes Camers&#39;s edition of the Polyhistor, an ancient treatise on natural history by Caius Julius Solinus (flourished ca. 250 AD). After Ptolemy, Solinus was the classical authority whose writings most strongly informed Renaissance geographical thought. Camers&#39;s version of the Polyhistor is quite desirable to collectors, for it contains the earliest obtainable map to name America: Peter Apian&#39;s splendid double-page map of the world, at the left of which the new continent appears prominently labeled. Apian, a professor of mathematics at Vienna and Ingolstadt, based his map on Martin Waldseemüller&#39;s 1507 rendering, the only surviving example of which is in the Library of Congress. Waldseemüller&#39;s map supported Amerigo Vespucci&#39;s revolutionary concept that the New World was a separate continent, previously unknown to the Europeans, and his was the first map to show a separate Western Hemisphere with the Pacific as a separate ocean. Although Waldseemüller himself had realized, after 1507, that Vespucci was not the discoverer of the New World, Apian&#39;s duplication of his predecessor&#39;s nomenclature etched the name America into popular consciousness. The second book is an equally marvelous example of a key work published by the same Viennese press: Joachim Vadianus&#39;s edition with commentary of the first-century AD treatise by Roman geographer Poponius Mela. This 1518 edition also contains Vadianus&#39;s letter to his colleague, the Swiss humanist Rudolf Agricola, in which he outlines the geographical problems posed by the recent discovery of the New World and upholds Waldseemüller&#39;s decision to name the continent in honor of Vespucci. This treatise, therefore, was also highly influential in directing popular opinion and in bestowing upon the New World the name that it bears to this day. References: Lloyd Arnold Brown, The World Encompassed, exh. cat. (Baltimore, 1952), n. 61; Rodney W. Shirley, The Mapping of the World (London, 1983), n. 45; Philip D. Burden, The Mapping of North America: A List of Printed Maps 1511-1670 (Rickmansworth, 1996), xxiv-v..

      [Bookseller: Arader Galleries]
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        TEXT FROM THE SUFFRAGES

      1520. Five Leaves from the Doheny Master, Showing "Virtuosity of Technique Without Parallel" 114 x 64 mm (4 1/2 x 2 1/2"). Single column, 21 lines of text, written in a very fine tiny upright humanistic hand. Attractively matted. Rubrics in red, one paragraph mark in black on a gold ground, one two-line initial in gold on a black ground, both sides of the text within a knotted ropework border in gold and red with convoluted tassels at the bottom. One side of the leaf WITH A BEAUTIFUL, ANIMATED, AND BRIGHTLY COLORED SMALL MINIATURE SHOWING MICHAEL AND SATAN; the lively diagonal composition depicting an intent golden-haired archangel (dressed in a gold tunic trimmed in pink, and with white, pink, and green wings) brandishing his sword, as he pushes the devil down into the lower left corner with a gold-encrusted blue shield, Satan (painted a lavender color with gold highlights and covered with bristling hairs) pleading for mercy; the scene with a rich black background, and the whole within a plain gold frame (the miniature measuring 21 x 20 mm.). The fore edge slightly oblique (apparently as always, because of a lack of squareness in the vellum piece used here), very small blacked-out place at middle of top margin (presumably to cover up old foliation), but IN ABSOLUTELY SPLENDID CONDITION, the bright paint and the glitter of the gold entirely intact. This splendid item and the following four leaves (as well as item #437, below) were produced by the celebrated atelier known as the 1520s Hours Workshop. These leaves represent the finest illumination being done during the final and glorious period of French manuscript production, and, frankly, some of the finest illumination ever done. Given its name by Myra Orth as a reflection of the studio's principal type of output and period of operation (though work continued into the 1530s), the 1520s Hours Workshop created, in Wieck's words, "illuminations of the most refined delicacy" ("Painted Prayers," p. 73). In Lilian M. C. Randall's catalogue of French manuscripts in the Walters Art Gallery, a book from the 1520s Hours Workshop (Walters MS 449) is described as "a fine example of the superb level of craftsmanship attained in French manuscript production during the last quarter century of its full-fledged existence" (II, 532). Kay Sutton, describing a manuscript from the workshop (sold as lot 23 at Christie's on 29 November 2000), says that the atelier's manuscripts "are among the highest achievements of French Renaissance painting." And Christopher de Hamel, in discussing what is probably the studio's chef d'oeuvre (sold at Sotheby's as lot 39 on 21 April 1998), says that the painting done by the 1520s artists manifested the "utmost professionalism. It was executed with a microscopic detail and virtuosity of technique probably without parallel even in the long tradition of illumination." Orth in her seminal dissertation on the workshop identifies four closely related painters as being responsible for the devotional manuscripts known to have been produced by the atelier, almost all of them tiny Books of Hours of jewel-like quality done for wealthy patrons. The four artists are all eponymous: the Master of the Rosenwald Hours, the Master of Jean de Mauléon, the Master of the Getty Epistles, and the Doheny Master, who is responsible for our leaves and who, says de Hamel, "may have been the master of the whole enterprise." Although unmistakably French, the workshop's production represented a synthesis of great moment. "The 1520s Books of Hours are the ultimate statements of the reception of Italianate and classical culture into the French court and into books as inherently gothic and northern as Books of Hours, and they illustrate graphically the rediscoveries of antiquity and the natural world which define the Renaissance." (de Hamel) The workshop has traditionally been located in Tours (which had the status at the time of being France's second capital city), but recent scholarship, particularly by Orth, suggests that its home may have been in Paris. Four leaves from our Doheny Master manuscript were first described (as being from a lost Book of Hours) by Orth in "An Exhibition of European Drawings and Manuscripts, 1480-1880," and then cited by her in "The J. Paul Getty Museum Journal," Volume 16, both published in 1988. Shortly afterward, the manuscript, described as an imperfect Hours, appeared as item #39 in Sam Fogg's Catalogue 14. Despite its small size, the present miniature of Michael the Archangel is memorable, partly because the artist has focused on the heart of the conflict (the upper frame cuts off all but the pommel of the raised sword, but that is everything we need to see), and partly because the plain richly black background sets off the very bright colors used for the two adversarial figures.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        De Aequinoctiorum Solsticiorumque Inventione Ad R. in Christo patrem, D. Franciscum Molinium Abbatem. S. Maximini, a secretis & consilio. R. Francorum Christianiss. & pijs largitionibus eiusdem praepostium primarium. Eiusdem De Ratione Paschalis celebrationis, Deque Resitutione ecclesiastici Kalendarij. Ad Beatissimum Patrem Leonem. X. Pontificem Maximum

      Title within woodcut border. One woodcut diagram in first section. Criblé initials. xxiii leaves, [2] pp.; xxx leaves. Small folio, attractive antique panelled calf, gilt fleurons in corners. Paris: [C. Resch & P. Vidoue], ca. 1520. First edition of a rare astronomical book. Pighius (1490-1542), theologian, mathematician, and astronomer, "studied philosophy and began the study of theology at Louvain, where Adrian of Utrecht, later Pope Adrian VI, was one of his teachers...He followed his teacher Adrian to Spain, and, when the latter became pope, to Rome, where he also remained during the reigns of Clement VII and Paul III, and was repeatedly employed in ecclesiastico-political embassies. He had taught mathematics to Cardinal Alessandro Farnese, afterwards Paul III; in 1535 Paul III appointed him provost of St. John&#39;s at Utrecht, where he had held a canonry since 1524."-Catholic Encyclopedia. This is Pighius&#39;s treatise on the "equinoxes and solstices and celebration of Easter and the restitution of the ecclesiastical calendar. He admits that Johann Essler of Mainz back in 1508 had written a tract in which he held that the vernal equinox preceded the beginning of Aries in the astronomical tables by four and a half degrees. Pigghe will show that it does so by more than five degrees, which he does with a great deal of bluster and overemphasis. All that his criticism seems to amount to is that the tables refer the movements of the stars to the ecliptic of the primum mobile instead of to the true (as he holds) ecliptic of the eighth sphere and that thereby all astrological predictions are thrown out of gear. It seems probable that anyone who knew how to use the Alfonsine Tables would be perfectly well aware of what they referred the positions of the planets to. This is the treatise by Pigghe which aroused the ire of Marcus Beneventanus, as has been noted in our chapter on the conjunction of 1524. Nunes, the Portuguese mathematician, in his treatise on the art of navigation pointed out a mistake of Pighius in geometry and another concerning the declination of the fixed ecliptic. Indeed, he excoriated Pigghe for some nine pages which he opened with the statement that the writings of Marcus Beneventanus had not come to his hands but that he had read the book of Pigghe on equinoxes and solstices and his Apology and that he was not so often right as he thought he was."-Thorndike, V, pp. 281-82. Fine copy. &#10087; Harrisse, Bibliotheca Americana Vetustissima, 107. Lalande, p. 41. Moreau 2452. .

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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        OPERE DEL DIVINO POETA DANTHE CON SUOI COMENTI RECORRECTI ET CON OGNE DILIGENTIA NOVAMENTE IN LITTERA CURSIVA IMPRESSE.

      In fine: Impressa in Venetia per Miser Bernardino Stagnino da Trino de Monferra, del M.D.CCCCC.XX (1520) A di XXVIII Marzo. In 8vo; pp. 440 erroneamente numerate 441. Pergamana coeva. Lievi restauri al frontespizio ed alle ultime carte con perdita di qualche lettera di testo. De Batines I, pp. 78/79; Mambelli 27; Sander n.2325; Essling 529. 5 immagini allegate.

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        Examen vanitatis doctrinae gentium, et veritatis christianae disciplinae, distinctum in libros sex, quorum tres omnem philosophorum sectam universim, reliqui aristoteleam et aristotelis armis particulatim impugnant. Ubicunque autem Christiania et asseritur et celebratur disciplina.

      Mirandulae, Ioannes Maciochius Bundenius, 1520 (on colophon). [Mirandola, Mazzocchi]. Small folio. Contemporary full vellum binding with handwritten title to spine. Author written in contemporary hand to lower edge. Binding professionally restored, at lower part of spine, edges of boards, and corners of back board. Free end-papers renewed. First leaf restored, with lower blank part supplied in later paper - no loss of text! This lower part was blank on both recto and verso. A bit of soiling to upper part of this leaf, as well as two old owner's inscriptions. First few leaves a bit browned, not heavily. Otherwise only light scattered browning. Some small marginal worm-holes to inner and lower blank margins, far from affecting text. All in all very fine, nice, and clean. Woodcut device to final leaf. (6), 208 ff.. The seminal first edition of Gianfrancesco Pico's main work, the work which publicly introduces Greek scepticism to the modern world (i.e. the Reniassance) for the first time and thus comes to play a seminal role in the development of modern thought. With this work, Pico becomes the first modern thinker to specifically use the theories of Sextus Empiricus, foreshadowing the great Sceptical Revolution of the later Renaissance as well as the ideas of later modern thinkers such as Montesquieu. The Examen furthermore introduces other important critiques of Aristotle that were not generally known at the time (and works that had not yet been published) as well as a completely new sort of attack upon the theories of Aristotle that come to play an important role in later Renaissance Aristotle scholarship. But his Examen Vanitatis Doctrinae Gentium et Veritatis Disciplinae Christianae is not only a criticism of human knowledge which can, as has been done, be compared with Montaigne. It is also a wholesale destruction of the whole world of human values, of that regnum hominis so dear to the Renaissance. And as such, it inclines one to think that it anticipated Pascal. [...]. (Garin, p. 135)The Examen is considered foundational in anti-pagan historiography of thought, a work that deserves special attention here as the earliest example of an anti-pagan reaction in the Renaissance historiography of thought, and as the first in a line of publications preparing the way for the anti-apologists of the seventeenth century. ... (Hanegraaff, Esotericism and the Academy: Rejected Knowledge in Western Culture, p. 81). It is due to this work that Gianfr. Pico is now remembered as the first modern sceptic. Joining the sceptical arguments of Sextus, which he quoted and used liberally, to Savonarola's negative view of natural knowledge, he presented the first text since antiquity utilizing Pyrrhonism, using it to illuminate knowledge by faith! (Popkin, p. 24). Gianfr. Pico, a learned scholar and apt reader of classical texts, was the first Renaissance thinker that we know to have seriously studied and used the works of Sextus Empiricus, which were not printed until the 1560'ies, causing a revolution in Renaissance thinking. No discovery of the Renaissance remains livelier in modern philosophy than scepticism. (Copenhaver & Schmitt, p. 338). The revived skepticism of Sextus Empiricus was the strongest single agent of disbelief. (ibid., p. 346).The printing of Sextus in the 1560s opened a new era in the history of scepticism, which had begun in the late fourth century BCE with the teachings of Pyrrho of Elis. [...] Before the Estienne and Hervet editions, Sextus seems to have had only two serious students, Gianfrancesco Pico at the turn of the century and Francesco Robortello about fifty years later. (Copenhaver & Schmitt, pp. 240-41).No significant use of Pyrrhonian ideas prior to the printing of Sextus' ''Hypotyposes [in the 1560'ies] has turned up, except for that of Gianfrancesco Pico della Mirandola. (Popkin, p. 19). Giovanni Francesco [Gianfranceso] Pico della Mirandola (1470-1533), not to be confused with his uncle Giovanni Pico della Mirandola (1463-1494) was a highly important Renaissance thinker and philosopher, who was strongly influenced by the Neoplatonic tradition, but even more so by the preaching of Girolamo Savonarola, whose thought he defended throughout his life. Just like his uncle, Gianfr. Pico devoted his life to philosophy, but being a follower of Savonarola and having a Christian mission, he made it subject to the Bible. He even depreciated the authority of the philosophers, above all of Aristotle.It is in the Examen, Gianfr. Pico's main work, that his sceptical arguments are developed to their fullest extent, and it is here that he not only discusses at length Pyrrhonism, based on Sextus' Hypotyposes( which were only published more than 40 years later), and deals in detail with Sextus' Adversus Mathematicos (also only published more than 40 years later), propounding his own ideas and attacking Aristotle, he also provides lengthy summaries of Sextus' texts, which seem more like actual translations than interpretations or paraphrases.As Charles Schmitt also shows, the younger Pico must have read Sextus in a Greek manuscript, as the texts of Sextus were not printed before the 1560'ies, when the Hervet- and the Estienne-editions appear, causing what we would call ´The Sceptical Revolution of the Renaissance, a turning point in the history of modern thought. Apparently, Gianfr. Pico used a codex that belonged to Giorgio Antonio Vespucci. It was during an enforced exile around 1510 that Gianfr. Pico set to work on his Examen Vanitatis Doctrinae Gentium, which was published for the first time in 1520 and dedicated to Pope Leo X. The work was printed in a small edition by an obscure press in his own little principality at Mirandola, which explains its scarcity. In the Examen Pico introduced the actual sceptical arguments of Sextus Empiricus, plus some newer additions, in order to demolish all philosophical views, especially those of Aristotle, and to show that only Christian knowledge, as stated in the Scriptures, is true and certain. (Popkin, pp. 20-21). But although he here carefully set forth the ancient sceptical criticisms of sensory knowledge claims and of the rational criteria that let us judge what is true and false, it is important to remember that he did not as such advocate scepticism, rather, he used it for his own means. Using the ancient sceptical arguments as ammunition to undermine the confidence in natural knowledge, his aim was to lead people to see that the only real and reliable knowledge is revealed knowledge. He denounces all pagan philosophical claims, attacks Aristotle's theory of knowledge with the arguments of Sextus, all the time regarding Christianity as immune to sceptical infection, because it does not depend upon the dogmatic philosophies that Sextus had refuted. In his use of Sceptical arguments, Gianfr. Pico was not only doing something completely new in a Renaissance setting (i.e. reviving and using sceptical arguments at all), he was doing something completely new as such. The original Pyrrhonian formulations were primarily directed against Stoic and Epicurean theories of knowledge, and traditionally they were not directed towards the all-overshadowing dominating theories of Aristotle. As such, Gianfr. Pico makes Aristotelianism more of an empirical theory than it was traditionally viewed, and also in this did the Examen come to have groundbreaking influence. He furthermore introduces several critiques of Aristotelianism that were not generally known at the time, such as that of Hasdai Crecas (15th century Jewish Spanish thinker), whose work had not yet been published and which only existed in Jewish manuscript, as well as that of the late Hellenistic commentator John Philoponous, who later came to play an important role in Renaissance readings of Aristotle. As early as 1496 [originally printed 1497], in one of his first works, On the Study of Divine and Human Philosophy, he distinguished divine philosophy, rooted in scripture, from human philosophy based on reason; he denied that Christians need human wisdom, which is as likely to hinder as to help the quest for salvation. By 1514 he had completed a longer and sterner work, The Weighing of Empty Pagan Learning against True Christian Doctrine, Divided into Six Books, of Which Three Oppose the whole Sect of Philosophers in General, while the Others Attack the Aristotelian Sect Particularly, and with Aristotelian Weapons, but Christian Teaching is Asserted and Celebrated throughout the Whole. As its title suggests, the Examen, published in 1520, hardened Pico's hostility to pagan philosophy. Just when Luther was making the Bible the sole rule of faith, Pico discredited every source of knowledge except scripture and condemned all attempts to find truth elsewhere as vanitas, emptiness; profane knowledge is at best a distraction from the work of salvation, as some of the greatest Fathers had taught. Pico's purpose was sincerely religious and only incidentally philosophical; much of Renaissance scepticism remained true to his pious motives, though they were not fully appreciated for forty years after he wrote. By demolishing secular thought, Pico hoped to empty the human mind of reason and make a clear channel for God's grace; man's only intellectual security lay in church authority. Convinced of Christianity's unique value, he turned his uncle's eirenic learning to contrary purposes, working skillfully with Greek manuscripts to make his humanism a potent weapon against religious error. [...].Pico devoted most of his first three books to reproducing the arguments of Sextus Empiricus against the various schools of ancient philosophy; in Books IV and V he turned scepticism against Aristotle. His extensive borrowings from Sextus often come closer to translation than paraphrase or analysis, and his choices are therapeutic rather than theoretical. Aristotle had to go because he was the chief source of secular contagion among the faithful, and Sextus was the best medicine available. Pico regarded Christianity itself as immune to sceptical infection because it does not depend on the dogmatic philosophies that Sextus had refuted. [...]. (Copenhaver & Schmitt, pp. 245-46). The Examen marks a turning-point in the history of Renaissance thought and the development of modern philosophy. The importance of the revival of scepticism can hardly be over-estimated, and Gianfr. Pico's use of the sceptical arguments which he utilizes in the Examen would prove to be highly important and influential. But the revival that Gianfr. Pico is thus responsible for, not only comes to serve his own purpose, as history will prove, the sword is two-edged.Claiming in the Examen that the works assigned to Aristotle were doubtfully authentic; his sense-based epistemology could not produce reliable data; his doctrines, often presented with deliberate obscurity, had been disputed by opponents and followers alike and had been criticized by Christian theologians; even Aristotle himself was uncertain about some of them. Aristotelian philosophy, the pinnacle of human wisdom, was therefore shown to be constructed on the shakiest of foundations. Christian dogma, by contrast, was built on the bedrock of divine authority and therefore could not be undermined by the sceptical critique. Or so he believed, unaware that scepticism, which he had revived as an ally of Christianity, would eventually become a powerful weapon in the hands of its enemies. (Jill Kraye: Two Cultures: Scholasticism and Humanism in the Early Renaissance, in: The Philosophy of the Italian Renaissance). Defended by ancient philosophers such as Sextus Empiricus, refuted by Augustine (De civitate dei (11,26): Even if I am mistaken, I exist; a clear anticipation of Descartes' cogito), Scepticism was revived in the Middle Ages by Nicholas of Autrecourt (whose works were burned by papal order in 1347). By the Renaissance, this tendency came to be linked with fideism (Gianfrancesco Pico della Mirandola, Erasmus, Montaigne, Gassendi, Daniel Huet, and Pierre Bayle, to name but a few), leading, in one way or another, to its modern culmination in Hume. (Black Swans, the Brain, and Philosophy as a Way of Life : Pierre Hadot and Nassim Taleb on Ancient Scepticism).Gianfrancesco's most important philosophical work, probably written sometime after 1510 and published in 1520, was Examen vanitatis doctrinae gentium, which is especially important because it marks the first serious attempt to adapt the Pyrrhonist (radically skeptical) philosophical ideas of the Hellenistic philosopher Sextus Empiricus to contemporary intellectual discourse. (Charles G. Nauert: Historical Dictionary of Renaissance, 2004).See: Popkin: The History of Scepticism. From Savonarola to Bayle, 2003; Schmitt: Gianfrancesco Pico della Mirandola (1469-1533) and his critique of Aristotle, 1967; Copenhaver & Schmitt: Renaissance Philosophy, 1992; Garin: Italian Humanism, 1965.Adams P:1156

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        Ioannis francisci camoeni miradoniae libri duo continentes aeglogas, epithalamium, elegias, epicoedia. venetiis, per guilielmum de fontaneto montisferrati 1520.

      Cm. 21, cc. xliiii. Con capolettera decorati. Esemplare privo di legatura e del frontespizio. Edizione originale di quest'opera dello scrittore cinquecentesco perugino Cameni, spesso trascurato dalle principali bibliografie letterarie. Si tratta di una raccolta di liriche latine dedicata al perugino Alfano Alfani e costituisce, nel complesso, un'offerta lirica giovanile pubblicata quando l'autore fu assunto per la prima volta presso il ginnasio cittadino Le poesie toccano quasi tutti i generi del grande genere umanistico: spunti bucolici e intenti celebrativi, meditazioni sulla morte, notizie autobiografiche, temi mitologici si alternano indiscriminatamente. Cfr. Vermiglioli (bibl. degli scrittori perugini): ""libro rarissimo"".

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