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Displayed below are some selected recent viaLibri matches for books published in 1545

        Viaggi fatti da Vinetia, alla Tana, in Persia, in India, et in Costantinopoli: con la descrittione particolare di citta, luoghi, siti, costumi, & della porta del gran Turco: & di tutte le intrate, spese, & modo di governo suo, & della ultima impresa contra Portoghesi.

      Venice, sons of Aldus Manutius, 1545.. 8vo. 163 ff. (without final leaf, blank except for anchor on verso). Aldine anchor device on title page. 18th-century English polished calf.. Second edition (first published in 1543) of this collection of Venetian voyages to the Near and Middle East, edited by Antonio Manuzio, son of Aldus. "Tana was the name which the Genoese gave to their factory at Azov at the mouth of the river Don. This volume contains voyages by Giosafat Barbaro (Tana in 1436, Persia 1471), Ambrogio Contarini (Persia 1473-77), and Luigi Roncinotto (Ethiopia 1532, Persia and India in 1529). It also includes Benedetto Ramberti's account of the Turkish Sultan's campaign against the Portuguese settlement of Diu in northern India in 1538" (Atabey). "This appears to be one of the very few travel books from the Aldine press" (Blackmer). - Extremities rubbed and bumped, short cracks in joints. Light dampstain to first few leaves. Contemp. ink ownership to title page, further ownership trimmed away at lower edge (remargined without loss); further contemp. ownership "Gioseppe Custodi" under the colophon. Modern ownership inscription "J. W. S. M. / Caius. / Cambridge. / Jan. 1899" on front pastedown - very likely the Caius-educated English entomologist John William Scott Macfie (1879-1948). Later himself a traveller to the East, he served as director of the Medical Research Institute in Accra between 1914 and 1923, having undertaken the same responsibilities in an acting capacity at Lagos in 1913. - Adams V 624. Blackmer 1071. Göllner 861. Renouard 134 (noting that of the two editions the present is "bien mieux imprimee"). Cf. Atabey 761 (first edition).

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Ruperti Abbatis Monasterii Tutiensis, e regione Agrippinae Coloniae Rheni ripa siti, orinis S. Benedicti, viri & vitae sanctimonia, & sacrarum literarum peritia praeclari, commentariorum Apocalypsim Ioannis libri XII.

      Apud Ambrosium Girault, sub pellicano in via Iacobea, Paris 1545 - Small 8vo. ff. [16], 247. Lacking final blank leaf. 20 Woodcut illustrations depicting imagery from the "Apocalypse of John" accompany the text. Occasional woodcut decorative initials are also present. The title displays Ambroise Girault’s woodcut printer’s device. A clipped area (1.7 x 6 cm) in the upper outer margin of the title page is carefully restored using matching period paper (difficult to notice at first glance). The title is also marked with the addition of red hand-ruled panel lines, well executed, (perhaps done at an early date) imitating a style sometimes seen in 17th century English Bibles and prayer books. Interior contains occasional spots of foxing; the title shows some scattered foxing; a couple of words of extremely faint marginalia are present in the outer margin of the third leaf and p. 107 (Oiii). Bound in full modern off-white vellum over boards after an early style. Apparently at least 5 or 6 printers/publishers shared in the production of this edition; therefore several variations of the imprint and the title page exist. The colophon reads: Gulielmus Thibout imprimebat Parisiis in via vulgo dicta boni putei, sub insigni quinque speculorum, anno domini, M.D.X.LV. Mense Septembris. Rupert de Deutz (c. 1075 – c.1129) was an influential Benedictine theologian who later in life became Abbot of Deutz Abby in Cologne. He wrote many works of Biblical exegesis. Rupert’s commentary on the Apocalypse of John is noted by scholars (alongside the slightly later commentary by Joachim of Fiore) as one of the more original Apocalypse commentaries of the Middle Ages. [USTC 195670; Pettegree, French Books 85309; Not in Adams]. [Attributes: Hard Cover]

      [Bookseller: Robert McDowell Antiquarian Books]
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        Compendiosa totius anatomie delineatio.

      London, [colophon:] John Herford, October 1545 - Folio (398 x 270 mm), ff 44 plus engraved title and 40 engraved plates, one folding; margins of title frayed, not touching image, six plates with old paper reinforcement on blank versos, where the plate edge has cut into the paper, again not affecting images, a few incidental stains, some slight browning to some text leaves and a small area of marginal waterstaining, but still a very good, attractive copy of this work, in contemporary calf, gilt panels and fleurons on covers, rebacked and recornered. £95,000First edition, a very attractive copy of this famous engraved version of the Vesalian plates, the first appearance of these images after the Fabrica itself in 1543. It is one of the rarest and most beautiful anatomical books.'Although by tradition and Vesalius's own comments this work has been considered the first of the many plagiarisms of Vesalius's Fabrica and Epitome, Geminus gave full credit to Vesalius in a bold headline on the first leaf of text. He did, however, redraw Vesalius's woodcuts without permission. This is the second work [and the first of any consequence] printed in England with engraved plates. The new medium of copperplate engraving used by Geminus allowed a sharpness of line impossible for the wood engravers employed by Vesalius. This is in fact the first medical book illustrated with a suite of full-page engraved plates. The title page was called by Hind "the first engraving of any artistic importance produced in England". The book provided a summary of Vesalius's discoveries more complete than the Epitome but without the size and expense of the Fabrica' (Garrison and Morton 376.1).'Five years before the Compendiosa was first printed, anatomy had become an important subject in plans supported by the Crown to further good surgical practice. Henry VIII had, in 1540, given assent to an Act uniting Barbers and Surgeons into one Company, and in this same year another Act authorised the supply of four corpses of executed felons to be available to them for dissection. The Compendiosa was a text for such studies. It was dedicated to the king, who was said to have suggested that the Vesalian plates should be made available to English surgeons' (Roberts and Tomlinson, The fabric of the body).Thomas Geminus (ca 1510-1562) was a Flemish engraver who emigrated to England about 1540. He was also a publisher and scientific instrument-maker, and a surgeon until 1555 when he was examined and penalized by the College of Physicians for practising without a licence. He introduced copperplate engraving into England, and this book is the earliest large-scale production in the new medium. 'Engraved title-pages only become common from the middle of the century: the earliest English example, early even in a continental context, is that to Thomas Geminus' book Compendiosa totius anatomie delineatio of 1545. It shows a tableau in glorification of Henry VIII. Geminus was a Fleming and his pegma is a characteristic example of Flemish Mannerism' (Corbett and Lightbown, The comely frontispiece, pp. 7 et seq. with a detailed analysis of Geminus' composition).This is the first and greatest of the Vesalian sequelae. A second edition, with English translation, appeared in 1553 and a third edition in 1559. The plates were then taken to Paris where they were used for André Wechel's 1564 edition, and for Grevin's edition of 1569. The Geminus engravings were much more influential than the woodcut originals in spreading knowledge of anatomy in England and on the Continent.The plates comprise the title, the folding plate of Adam and Eve, 3 skeletal figures, 16 muscle figures, 5 arterial and venal figures, 4 neural figures, 6 figures of organs, 4 of the cerebrum, and one of ocular parts and surgical instruments. For the Adam and Eve figure, 'Geminus has taken liberties . with the celebrated nude figures from the Epitome, for the male figure in his cleverly copied plate now holds an apple instead of a skull. An enlarged skull is now on the gro

      [Bookseller: WP Watson Antiquarian Books]
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        Ruperti Abbatis Monasterii Tutiensis, e regione Agrippinae Coloniae Rheni ripa siti, orinis S. Benedicti, viri & vitae sanctimonia, & sacrarum literarum peritia praeclari, commentariorum Apocalypsim Ioannis libri XII

      Paris: Apud Ambrosium Girault, sub pellicano in via Iacobea, 1545. Hardcover. Small 8vo. ff. [16], 247. Lacking final blank leaf. 20 Woodcut illustrations depicting imagery from the ?"Apocalypse of John?" accompany the text. Occasional woodcut decorative initials are also present. The title displays Ambroise Girault?'s woodcut printer?'s device. A clipped area (1.7 x 6 cm) in the upper outer margin of the title page is carefully restored using matching period paper (difficult to notice at first glance). The title is also marked with the addition of red hand-ruled panel lines, well executed, (perhaps done at an early date) imitating a style sometimes seen in 17th century English Bibles and prayer books. Interior contains occasional spots of foxing; the title shows some scattered foxing; a couple of words of extremely faint marginalia are present in the outer margin of the third leaf and p. 107 (Oiii). Bound in full modern off-white vellum over boards after an early style. Apparently at least 5 or 6 printers/publishers shared in the production of this edition; therefore several variations of the imprint and the title page exist. The colophon reads: Gulielmus Thibout imprimebat Parisiis in via vulgo dicta boni putei, sub insigni quinque speculorum, anno domini, M.D.X.LV. Mense Septembris. Rupert de Deutz (c. 1075 ?- c.1129) was an influential Benedictine theologian who later in life became Abbot of Deutz Abby in Cologne. He wrote many works of Biblical exegesis. Rupert?'s commentary on the Apocalypse of John is noted by scholars (alongside the slightly later commentary by Joachim of Fiore) as one of the more original Apocalypse commentaries of the Middle Ages. [USTC 195670; Pettegree, French Books 85309; Not in Adams].

      [Bookseller: Robert McDowell Antiquarian Books]
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        Dennmärkische, Swedische, und Norwägische Chronica. Durch den hochberhümpten Albertum Krantzium von Hamburg, von Anfang aller mitt nächtischen Länderen Künigen, iren herzlichen Thatten, und zufälligen Kryegszhandlungen, offs fleissigst, biss off die jarzal Christi M. D. iiii. beschrieben. Newlich durch Henrich von Eppendorff verteütscht.

      - Strassburg, Hans Schotten, 1545. Folio. (8),+ 504,+ (10),+ (2, blanka),+ 305,+ (4),+ (blank),+ 228,+ (6) s. Två nära helsidesträsnitt med riksvapen. Fuktränder på titelbladet och följande 30 blad, därefter endast i neder- och överkant t.o.m. s. 500, samt mot slutet, fläck s. 213 i första delen. Samtida blindpressat skinnband över träpärmar, ryggen med fyra upphöjda bind och senare, beige något skadad titeletikett, pärmarna rikt blindpräglade i speglar, med 1550 präglat på frampärmen, rester av spännen. Främre snittet med ?N 33? i bläck. Lagad spricka i ryggen samt något trasig i nedre främre fals. Senare inre pärmpapper. Delvis bortvättad ägaranteckning på titeln, daterad 1602, möjligen Johannes Buchsius. Ur J. H. Schröders bibliotek, med hans exlibris samt ur Ericsbergs bibliotek. VD16K 2234. Ej i Adams. Bibl. danica II, sp. 593. Warmholtz 2497 not. Carlander III, 368f. & 564ff. Första upplagan av Krantz viktiga krönika om de nordiska länderna, och enda tyska 1500-talsupplagan. Det är ett postumt utgivet verk, skrivet 1504. Utgivaren Henrich van Eppendorf fann Krantz latinska manuskript i Köln och översatte det till tyska. Året efter denna utgåva påbörjade han utgivandet av den latinska originaltexten, ?Chronica regnorum Aquilonarum, Daniæm Suetiæ, Norvegiæ?, vilken tryckes åren 1546-48. Förbättrade latinska utgåvor gavs sedan ut av Johannes Wolfius 1575 och 1583. Verket består av tre delar, ett för vardera land med separata titelblad för Sverige och Norge och separat paginering. Detta är samlingsutgåvan. Eppendorf gav även ut Danmarksdelen separat med annat titelblad, men i övrigt samma tryck (Fredrik III:s vapen dock flyttat från sista preliminärbladet till titelbladet, jmf nummer XXX). Albert Krantz (1448-1517), var dekanus vid katedralen i Hamburg och lärd historiker och teolog. Hans verk om de nordiska länderna hade stor betydelse för den svenska göticistiska historieskrivningen, inte minst för Johannes Magnus, och föreställningen att goterna och goternas krigståg var en del av den svenska historien. Överhuvudtaget var Krantz inriktad på de germanska stammarnas historia, med verk om vandalernas historia (utgivet 1519) och saxarnas (1520), skrivna på renässanshumanistiskt manér, med retorisk utsmyckning efter de antika historikerna. Historieprofessorn Johan Henrik Schröders (1791-1857) bibliotek, ?fullt af gamla sällsynta svenska böcker?, såldes på bokauktion i Uppsala efter tryckt förteckning. Enligt Henrik Klemming rådde auktionsdagen sådan snöyra i Uppsala att många, både anbud och spekulanter, inte kunde komma fram till auktionen i tid. Böckerna såldes ofta mycket billigt.

      [Bookseller: Centralantikvariatet]
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        Canones, et Decreta Sacrosancti Oecumenici, et Generalis Concilii Tridentini sub Paulo III, Iulio III, Pio IIII, Pontificibus Max [Canons and Decrees of the Council of Trent]

      Rome: Aldine Press/ Aldus [Paulum Manutium]. 1st Edition. Hardcover. Very Good. EXTREMELY RARE FIRST PRINTING of the Canons and Decrees of the Council of Trent, one of the most important publications in the history of the Catholic Church; printed by Paulus Manutius and Aldus the Younger of the Aldine Press and the request of Pope Pius IV. The Council of Trent (1545-63), was "highly important for its sweeping decrees on self-reform and for its dogmatic definitions that clarified virtually every doctrine contested by the Protestants. Despite internal strife, external dangers, and two lengthy interruptions, the council played a vital role in revitalizing the Roman Catholic Church in many parts of Europe. Pius IV confirmed the council's decrees in 1564 and published a summary of its doctrinal statements; observance of disciplinary decrees was imposed under sanctions. In short order the catechism of Trent appeared, the missal and breviary were revised, and eventually a revised version of the Bible was published. By the end of the century, many of the abuses that had motivated the Protestant Reformation had disappeared, and the Roman Catholic Church had reclaimed many of its followers in Europe" (Britannica). 

 Commissioned by Pius IV, Paulus Manutius of the esteemed Aldine Press traveled to Rome to produce the beautifully printed summary of the doctrines, decrees, and conclusions of the Council. With engraved initials throughout and the large familiar Aldine anchor device printed on title. 

 There were several printing of the Canones in 1564. This is the FIRST PRINTING, with undated privilege on verso of title, pagination in Roman numerals, and final dated leaf at page CCXXXIX.

 Canones, et Decreta Sacrosancti Oecumenici, et Generalis Concilii Tridentini sub Paulo III, Iulio III, Pio IIII, Pontificibus Max. Romae: Paulum Manutium, Aldi F., 1564. Folio (210x284mm), eighteenth century full speckled calf. Top of spine chipped. Early owner signature on title page; some underlined passages with old handwritten annotations in the margins.. Early repair in a blank area of the title. Occasional foxing; mild dampstaining towards the end of the book. A large, wide-margined copy in elegant 18th-century binding. SCARCE.

      [Bookseller: The Manhattan Rare Book Company]
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        De rebus gestis Alexandri Magni Regis Macedonum opus . [..] per Christoforum Brunonem I. V. Licentiatum [..].

      in Officina Frobeniana 1545 In - folio (cm. 31), legatura dei primi del XIX secolo in m. pelle e angoli con titolo e decorazioni in oro al dorso (lievi abrasioni ai piatti); pp. [8], 171, [13] in buono stato, con marca tipografica in fine, 2 illustrazioni incise in legno a p. pagina n.t. (ritratto dei duchi di Baviera a cui è dedicata l'edizione, e stemma del curatore Christoph Braun), capilettera xilografici; alcune sottolineature coeve, antica firma al frontespizio, lieve brunitura e qualche sporadico e lieve segno d'uso. «Première éd. qui contient les suppléments des deux premiers livres par Chph. Bruno» [Graesse II, 311]. Buon esemplare.

      [Bookseller: Gabriele Maspero Libri Antichi]
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        Tre libri della sostanza et forma del mondo.

      In Venetia : Per Giouanni de Farri & fratelli 1545. 4, 76, 3 Blatt. Textabbildungen. 15,2 cm x 21,5 cm, Pergament - Sehr guter Zustand. Der Pergamentbezug mit kleinen Fehlstellen. Das Titelblatt in der unteren Hälfte mit Japanpapier überlegt. Notizen alter Hand in lateinischer und itaienischer Sprache auf den Innendeckeln. Spuren alter Feuchtigkeitsschäden durchgehen (Verfärbungen, Wasserränder). Handschriftlicher Rückentitel, handschriftlicher Kurztitel auf dem Fußschnitt..

      [Bookseller: Krull GmbH - Versandantiquariat -]
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        Il primo libro d'Architettura... Il Secondo Libro

      Paris: Jehan Barbé, 1545. Hardcover. Very Good. Fol. [37 x 24.5 cm]. (4) ff., 74 (i.e. 75) ff., including 1 blank (c8) and 1 unnumbered leaf (betw. i3 & i4). Bound in 18th c. stiff vellum, title label on spine. Faint marginal waterstain to final leaves; leaf with printer's mark dusty; minor repaired tear to folio 27; otherwise a very good tall copy. A tall copy of the first edition, first issue of the first two books of Serlio's general treatise, devoted to geometry, perspective and theatrical scenery, and as such considered "the first published account of modern theatrical practice" (Hewitt, The Renaissance Stage, p. 21). As with the whole of the treatise, the outstanding feature of these two books lies in their overwhelmingly practical orientation, a welcome departure from the highly theoretical, not to say abstruse presentation found in earlier architectural works (mainly translations of Vitruvius). Serlio's intention was to offer architects "a pattern book in which the architect could find solutions for all sorts of problems" (Blunt, Art and Architecture in France, p. 73). The work gives two methods for determining perspective, the second a form of the distance point method exemplified by its many woodcut diagrams and exercises. Book II also contains a detailed historical account of the theater Serlio built in Vicenza in 1539. The magnificent woodcuts of tragic, comic and rustic stage scenes "are the first regularly published scene designs" (Hewitt), and with their "Raphaelesque draughtsmanship" (so Kemp), they likely owe something to the hand of Serlio's teacher, Baldassare Peruzzi. The work received numerous subsequent editions in many languages, though the woodcut illustrations were issued only in this edition. * Fowler 303; Berlin Kat. 2563; Dinsmoor, Art Bulletin 24 (l942) pp. 73-4; Schlosser p. 374; Mortimer, French, 492; Vagnetti EIIb12; Kemp, The Science of Art, p. 66; Hewitt, The Renaissance Stage, 21; Kernodle, From Art to Theatre, p. 181. Our copy agrees with Mortimer's second Hofer copy in having a pasted cancel diagram on b5v, and the unpaginated "Scena comica" woodcut bound correctly between i3 and i4.

      [Bookseller: Martayan Lan, Inc.]
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      Ioannes et Franciscus Frellonii, Lugduni 1545 - "VITA HONESTA, SIVE VIRTUTIS: Quomodo quisque vivere debeat, omni state, omni tempore, & quolibet loco, erga deum & homines". SCHOTTENNIO HESSO, Hermanno.- ( "COMO CADA UNO DEBE VIVIR EN TODA EDAD", "LA INSTITUCION DEL HOMBRE CRISTIANO, DE ADRIANO BARLANDO" Y OTROS. MUY RARO). Impreso en LUGDUNI, Sub Scuto Coloniensi, Ioannes et Franciscus Frellonii Fratres, 1545. En 8º, pergamino, 5 h., 92 p., 1 h. De gran rareza e interés. [Attributes: Soft Cover]

      [Bookseller: J Cristobal Soliño]
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      LUTETIAE, EX OFFICINA ROB. STEPHANI, TYOPOGRAPHI REGII, REGIIS TYPYS, 1544- IBIDEM, 1545 (R. ESTIENNE) - Elegante legatura inglese di primo Ottocento in piena pelle avana; ai piatti, elaborate greche e grande fregio centrale impressi a secco; dorso a quattro nervi rilevati, autore, titoli, luogo e data di edizione in oro su doppio tassello rosso e verde; fregi a secco  agli altri scomparti; sguardie marmorizzate; tagli spruzzati. Al contropiatto anteriore, ex-libris di "Charles Joannes Blomfield DD". I parte: 498 pagine numerate, 2 pagine non numerate (l'ultima, bianca); II parte: 318 pagine numerate (errore all'ultima, numerata 138), 2 pagine non numerate, per registro e marca tipografica. Al primo frontespizio, antica nota di possesso cassata. All'interno, eleganti testatine e grandi iniziali ornate a racemi e grottesche, attribuite a Geoffroy Tory. Editiones Princeps di entrambe le opere contenute nel volume, tra le più rilevanti apologetiche di tutti i tempi. I due testi in esame seguirono l'opera dello stesso Eusebio, l'Ecclesiaticae Historiae, pubblicata nel luglio del medesimo anno 1544. Pertanto, le due opere in esame, sono il secondo e terzo libro impresso con il celebre carattere "Grec du Roy". L'elegante carattere in corsivo greco fu commissionato da Francesco I a Estienne e fuso dal grande Claude Garamond; esso si basa sulla scrittura del calligrafo Angelo Vergezio. Esemplare in buone condizioni, qualche spellatura alla legatura, mancanza all'angolo superiore destro del frontespizio, lontano dal testo, interno fresco, privo di macchie, caratteri ben inchiostrati, ad ampi margini. 0 [Attributes: Hard Cover]

      [Bookseller: Libreria Antiquaria Il Cartiglio]
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        Herkules trägt die Säulen von Gades.

      . Kupferstich, 1545, aus der Folge von 12 Blatt "Die Arbeiten des Herkules", auf Bütten. 5,1:7,2 cm. Literatur: Bartsch 103; Pauli 101, I-II, vor der dritten waagerechten Strichlage in der unteren Fläche der linken Säule. - Sehr guter Abdruck. Provenienz: Sammlung R. Peltzer, Köln, Lugt 2231.. Hans Sebald Beham arbeitete gemeinsam mit seinem jüngeren Bruder Barthel Beham (um 1502 - 1540) in der Werkstatt von A. Dürer (1471-1528) als Maler, Kupferstecher und Zeichner. Nachdem Beham sich 1524 gemeinsam mit seinem Bruder der christlich reformatorischen Bewegung der Täufer angeschlossen hatte, wurde er 1525 inhaftiert und wegen Ketzerei der Stadt verwiesen. Auch nach seiner Rückkehr 1528 nach Nürnberg wurde er im darauffolgenden Jahr erneut wegen angeblich anstößigen Verhaltens aus der Stadt verbannt und ging nach München. Nach seiner Umsiedelung um 1532 nach Frankfurt am Main fertigte er zahlreiche Zeichnungen für Holzschnitte (Bibeln und Chroniken) und machte sich einen Namen als Kupferstecher.

      [Bookseller: Galerie Joseph Fach GmbH]
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        Valesiae altera et VII Novatabula & Valesiae prior et VI Nova Tabula". Zwei Blätter zusammen aus der "Geographia Universalis.

      Basel, 1545,. 29.5x37 cm, das obere und untere Wallis, in 2 Holzschnitt-Blättern, schwache Mittelfaltspuren, klarer Abdruck, 2 Blätter (je 31.5x39.5 cm).. Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage.

      [Bookseller: Harteveld Rare Books Ltd.]
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        Il primo libro d'Architettura. Il Secondo Libro.

      Jehan Barbé, Paris 1545 - (4) ff., 74 (i.e. 75) ff., including 1 blank (c8) and 1 unnumbered leaf (betw. i3 & i4). Bound in 18th c. stiff vellum, title label on spine. Faint marginal waterstain to final leaves; leaf with printer¿s mark dusty; minor repaired tear to folio 27; otherwise a very good tall copy. A tall copy of the first edition, first issue of the first two books of Serlio's general treatise, devoted to geometry, perspective and theatrical scenery, and as such considered "the first published account of modern theatrical practice" (Hewitt, The Renaissance Stage, p. 21). As with the whole of the treatise, the outstanding feature of these two books lies in their overwhelmingly practical orientation, a welcome departure from the highly theoretical, not to say abstruse presentation found in earlier architectural works (mainly translations of Vitruvius). Serlio¿s intention was to offer architects ¿a pattern book in which the architect could find solutions for all sorts of problems¿ (Blunt, Art and Architecture in France, p. 73). The work gives two methods for determining perspective, the second a form of the distance point method exemplified by its many woodcut diagrams and exercises. Book II also contains a detailed historical account of the theater Serlio built in Vicenza in 1539. The magnificent woodcuts of tragic, comic and rustic stage scenes "are the first regularly published scene designs" (Hewitt), and with their "Raphaelesque draughtsmanship" (so Kemp), they likely owe something to the hand of Serlio's teacher, Baldassare Peruzzi. The work received numerous subsequent editions in many languages, though the woodcut illustrations were issued only in this edition. * Fowler 303; Berlin Kat. 2563; Dinsmoor, Art Bulletin 24 (l942) pp. 73-4; Schlosser p. 374; Mortimer, French, 492; Vagnetti EIIb12; Kemp, The Science of Art, p. 66; Hewitt, The Renaissance Stage, 21; Kernodle, From Art to Theatre, p. 181. Our copy agrees with Mortimer¿s second Hofer copy in having a pasted cancel diagram on b5v, and the unpaginated ¿Scena comica¿ woodcut bound correctly between i3 and i4. [Attributes: Hard Cover]

      [Bookseller: Martayan Lan]
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        Nuovo Lume. Libro di arithmetica. Intitulato Nuovo Lume, imperoche molte propositioni che per altri auttori, sono falsamente concluse: in questo si emendano, & castigano... Con un breve trattato di geometria... - (Colophon:)

      Venezia, Nicolini da Sabio, 1545.In - 4. Legatura coeva in pergamena molle; lievi tracce d?uso e qualche macchia. Con numerose formule aritmetiche, calcoli e diagrammi nei margini. 129, (1 bianco) ff.; diverse antiche annotazioni sui primi due fogli bianchi e antica nota di possesso nel margine inferiore del frontespizio; qualche macchiolina ma buon esemplare marginoso conservato in una scatola in mezza pelle. Terza edizione (con collazione identica alle due precedenti del 1534 e 1544), del celebre testo di aritmetica mercantile. Nell?introduzione il matematico senese Sfortunati cita e loda Pacioli, Calandri, Borghi e Feliciano, sottolineando tuttavia i miglioramenti apportati nel suo trattato. Indubbiamente l?opera ebbe un notevole successo e venne molto utilizzata da mercanti e uomini d?affari del tempo. Riccardi II, 453: «Lo Sfortunati, il cui nome figura nella famosa questione fra Cardano e Tartaglia, viene meritatamente noverato tra i migliori autori aritmetici del principio del sec. XVI». Cerboni 22. Sotheran I, 435. Smith, Rara Arithmetica, pp. 174 - 177: «Sfortunati wrote his treatise along the lines followed by Borghi and Felicano... he was a popular writer, as the seven editions of this book go to prove. His work is fairly complete as to the operations with integers and fractions, and is satisfactory as to the examples illustrating the Italian business life of the 16th century?» Third edition of this influential work (first: 1534). Numerous arithmetical examples and various woodcut diagrams in the margins. Early owner?s name on lower blank margin of title and some mild soiling; contemp. limp vellum, a little loose and covers slightly stained; generally a good and large copy, preserved in a box.

      [Bookseller: Libreria Antiquaria Rappaport]
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        IL PETRARCHA con l'espositione d'Alessandro Vellutello di novo ristampato con le figure a i Triomphi, et con piu cose utili in varii luoghi aggiunte.

      Gabriel Giolito de Ferrari 1545 Un volume in 8vo (15x22 cm) di [8] - 197 - [7] carte - Bel frontespizio inciso con titolo incorniciato tra cariatidi e putti, colonne floreali e colomba (una piccola macchia). Capilettera incisi, Ritratto di Petrarca e Laura alla carta aiii. Carta geografica incisa, ?Descrittione del sito di Vauclusa?, a piena pagina. Sei graziose incisioni riquadrate di un terzo di pagina ad ogni inizio dei Trionfi. La numerazione dei fogli comincia con 3 (uno sbaffo d'inchiostro al f.3), qualche brunitura e gore marginali, da f.7 a 10 e 183 - 193; strappi ai margini bianchi di f. 22,23,42 (senza toccare il testo); piccolo foro a f. 91. Al foglio 137, da ?De l'empia Babilonia fino a ?che 'l sostiene?, versi biffati con inchiostro, ma la lettura dello stampato resta possibile; piccola macchia al f. 138; al foglio 141 vecchio manoscritto incollato sopra le note con i versi da ?L'avara Babilonia ha colmo il sacco...? fino a ??...e pien de l'opre antiche?. Al retro del f. 170 tratti di penna nella parte bianca; al f. 177 piccolo strappo al margine bianco superiore. Legatura coeva in tutta pergamena, rimontata modernamente, con tassello al dorso. Tracce di antico ornamento dorato ai tagli. - Uno dei più interessanti Petrarca figurati del 500, in una copia che porta nelle sue pagine traccia delle polemiche che il testo ancora suscitava a metà del 500, con le sue accuse alla corruzione della corte pontificia (le censure ai versi della ?empia Babilonia?, gli altri versi di accusa manoscritti...). Bell'esemplare, con le raffinate incisioni in ottima stampa.

      [Bookseller: Libreria Bacbuc]
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        Lucidario in Musica di alcune oppenioni antiche, et moderne con le loro Oppositioni, & Resolutioni, Con molti altri secreti appresso & questioni da altrui anchora non dichiarati

      In Vinegia appresso Girolamo Scotto 1545. Octavo, 200 x 140 mm. Full mid-tan calf with decorative gilt and blind tooling to upper and lower boards, bands on spine in decorative compartments gilt, inner dentelles gilt, all edges gilt, marbled endpapers, blue silk ribbon marker. 4 preliminary leaves consisting of 1f. (recto bust-length woodcut portrait of the author with a poem by Nicolo d'Arco in praise of Aaron below), verso privilege dated August 30, 1545), [i] (title), [ii] (contents Libro Primo-Quarto), [i] (dedication to Count Fortunato Martinengo of Brescia), [i] ("Pietro Aron A Lettori"), [i] ("Pietro Aron Alli Spiriti Armonici, et Gentili"); 8 unnumbered leaves ("Libro Primo"); 41 numbered leaves + 1 blank leaf. With musical examples throughout and occasional historiated and decorative initials. In four books: Libro Primo: Precetti del canto piano da molti non bene intesi Libro Secondo: Dichiaratione del canto figurato Libro Terzo: Dichiaratione del tempo musico deto naturale, et accidentale Libro Quarto: Della musica doria With bibliographical notes in pencil to front and rear endpapers, partially in Alfred Cortot's hand, and contemporary manuscript notes in ink to lower margin of final leaf. Provenance - Count Gustavo C[amillo] Galletti (1805-68), a jurist in Florence, with small decorative collector's handstamp ("Bibl. Gust. C. Galletti Flor.") to margin of first leaf - The Landau Collection, with small decorative rectangular bookplate with inventory number 6329 to front pastedown and printed auction catalogue description to verso of front free endpaper from the "Catalogue of The Renowned Library of the late Baron Horace de Landau... The Second Portion The Famous Musical Collection. London, Sotheby & Co... 17th of October, 1949, lot 132 - The Collection of Alfred Cortot, with pictorial bookplate to front pastedown and small collector's monogrammatic handstamp to first and one other leaf Binding slightly worn; upper joint cracked. Occasional light staining; small hole to ff. 2 and 3 with loss of one letter to each leaf; small hole just affecting image to first leaf professionally repaired; contemporary underlining in ink to rectos of two leaves (26 and 27).. First Edition. Rare. Hirsch I, 5. Gregory-Bartlett I, p. 5. Wolffheim I, 433: "Eine der seltensten Schriften Aarons." Gaspari I, p. 186. Bernstein- Scotto no. 399 (6 copies in the U.S.). Not in Cortot (due to his acquisition of this item either at the Landau sale in 1949 or later, after the publication of the catalogue of the theoretical works in his library in 1936). RISM BVI pp. 97 (3 copies in the U.S., all cited by Bernstein- Scotto). "Lucidario in musica was the fourth of five treatises published by the Florentine music theorist Pietro Aaron. Very little is known about Aaron's early life. Blackburn (in Blackburn et al., Correspondence of Renaissance Musicians, 88-92) speculates that his unusual name, his deficient musical education, and his reference to being born in tenuous circumstances intimate that he may have originally been Jewish... This is the only known music book dating from 1545 to 1547 signed by Scotto... Lucidario consists of a digest of Aaron's observations on all aspects of music theory." Bernstein: Music Printing in Renaissance Venice The Scotto Press (1539-1572), p. 897 "This work discusses many opinions held by different authorities on points of musical interest, and in it we find a list of some of the principal musicians of the day, both professional and amateur, including many ladies, so that the book is of great historical interest." Matthew: The Literature of Music, p. 28 "... Aaron held no formal position as singer or choirmaster, an unusual situation that might be due to his Jewish origin... [He] seems to have been largely self-taught; this may be the reason for his less systematic approach and questionable statements..., but also for his valuable insights into contemporary practice... He is especially informative on counterpoint and compositional process..., the modal system in polyphonic music and the application of musica ficta. He is one of the first theorists to discuss mean-tone temperament... [He] spans the generation between Franchinus Gaffurius and Gioseffo Zarlino. His roots lie in the teachings of John Hothby, Johannes Tinctoris, and above all in Gaffurius's Practica musice... Aaron owes much to his friend and fellow theorist Giovanni Spataro...; in the Lucidario Aaron quoted Spataro frequently... The Lucidario is an interesting and unusual treatise on a wide range of theoretical disputes: plainchant, notation and counterpoint, and further thoughts on topics from his earlier treatises, with replies to some of Gaffurius's criticisms of the Libri tres. Book 4 incorporates the 1531 pamphlet, a few more questions of notation and accidentals, a disquisition on the Greek mode-names and the famous list of singers 'a libro' and 'al liuto'. The Compendiolo, an elementary manual largely derived from his first two treatises, is of less interest." Bonnie J. Blackburn in Grove online

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        Les Obres. Novament revistes y estampades ab gran cura y diligencia. Posades totes les declarasions dels vocables scurs molt largament en la taula.

      (à la fin:) Barcelona, Carles Amoros Provençal, 1545. - Petit in-8. 4ff. CLXXIIpp. Plein maroquin brun, encadrement doré autour des plats avec fleurons dans les angles et un ornement central, dos à nerfs orné, tranches dorées et ciselées (reliure de l'époque, infimes traces de restauration ancienne). Précieuse édition portative en catalan, "de toute rareté" (Heredia). Elle fut réimprimée mot à mot sur l'édition princeps du texte original complet qui était parue deux ans plus tôt, chez le même imprimeur, au format in-4. "Poète valencien, digne de figurer parmi les plus grands écrivains du XVe siècle européen, Ausiàs March (1397-1459) rompt avec une tradition vieille de trois siècles qui voulait qu'au royaume d'Aragon la seule langue admise en poésie fût le provençal, et rédige son œuvre exclusivement en catalan. Véritable créateur de la poésie catalane, traduit en espagnol dès le XVIe siècle, sans cesse lu, imité ou plagié, inspirateur hier de Garcilaso de la Vega et aujourd'hui de Blai Bonet, il est considéré comme un poète difficile, obscur, dont la pensée et le style posent d'insolubles énigmes" (Encyclopædia Universalis). Parues pour la première fois en 1539 à Valence, dans une édition bilingue espagnol-catalan ne contenant que 46 poèmes, les œuvres d'Ausiàs March furent éditées à moins de dix reprises dans le cours du 16e siècle. Toutes ces premières éditions sont extrêmement rares, comme la traduction latine parue à Tournay en 1683, moment à partir duquel l'œuvre d'Ausiàs March tomba dans l'oubli pendant plus de 200 ans. Extraordinaire exemplaire dans sa reliure de l'époque à décor doré et tranches ciselées, d'exécution probablement espagnole. Cette condition est de la plus grande rareté pour les exemplaires de cet ouvrage qui furent pour la plupart reliés modestement à l'époque en vélin. Marge inférieur du titre découpée et refaite anciennement. Tache brune à un feuillet, quelques rousseurs éparses. Palau, 151295. Heredia, 1832 (qui avait racheté l'exemplaire de Salvá, relié postérieurement et affecté de trous de vers): "Edition de toute rareté; c'est la réimpression de la précédente, avec la seule différence que dans cette dernière l'explication des mots difficiles est dans la marge, tandis que dans celle-ci ces mots sont groupés dans une table alphabétique. Jimeno ne dût jamais voir cette édition car il l'indique à tort comme étant de format in-4". [Attributes: Hard Cover]

      [Bookseller: Librería Comellas]
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        Leyes del q[ua]derno nueuo d[e] las re[n]tas de las alcaualas y fra[n]quezas. Hecho enla vega de granada: por el qual el rey y la reyna n[uest]ros señores reuocan todas las otras leyes delos otros q[ua]dernos fechos de antes. MDxlv.

      [Colophon, f. xxvi verso] Seville, en las casas de Juan Cromberger que dios aya en gloria, acabose a ij. de Enero . M.D. [y] xlv años (2 January 1545). - Title page has woodcut arms of Emperor Carlos V, a good impression but printed in reverse (with the arms of Spain at the upper right and lower left), in front of a double-headed eagle surmounted by a crown, within a double-rule border (11.6 x 10.2 cm.); the whole set within an ornamental woodcut border incorporating dragons and floral ornaments. Woodcut initials (7- and 6-line) on verso of first leaf. Gothic redonda type, 56 lines. Printed marginal summaries. Tabla (f. xxvij verso-xxviij recto) in 2 columns. xxviij leaves, a@28. Folio (28.2 x 20 cm.), twentieth-century beige cloth over boards with earlier pastedowns and flyleaves of laid paper; crimson morocco lettering piece on spine with gilt-lettered short title and date; text-block edges with old marbling. Two small brownstains, faint dampstain, and a few flyspecks on title page. Very minor marginal soiling in rest of text. Overall in good to very good condition. A few early (sixteenth-century) marginal notes in Spanish and Latin, and some equally early underlining. ---- One of many editions of these laws setting out who pays taxes in Spain and how much. The earliest edition of the @Quaderno listed in Palau is Burgos, 1486; the latest is Alcalá, 1560. This is the last of the numerous editions by the Crombergers: it appeared the year Juan died. Palau lists Cromberger editions of 1510, 1514, 1520, 1529, 1535, and 1540.The 146 laws were issued by Los Reyes Católicos (D. Fernando and D. Isabel) and by "Juana la Loca," nominally queen of Castile and Aragon 1504-1555, who was imprisoned after 1509 on orders of her father D. Fernando and kept imprisoned by her son, D. Carlos (later D. Carlos I of Spain and Emperor Carlos V).In Spain in the early sixteenth century, the crown's main source of revenue was the @alcabala, a flat 10% sales tax that was supposed to be collected on every mercantile transaction. The laws reprinted here make it startlingly clear how many exemptions and changes were accepted into the seemingly simple flat-tax code. There are special laws applying to goods used on Crusades, goods captured from Moors in time of war, and fairs held in various towns. (Such fairs, especially the one at Medina del Campo, had become the financial markets of the sixteenth century.) There are rules for tailors, spinners, and rag collectors. Dozens of laws regulate landlords and tenants. One restricts Jews and Moors: "Que los judios y mores no sean arrendadores menores saluo en lugar que tenga jurisdicion y sea de dozientes vezinos arriba" (Law 58). One can also see the trend toward taxing basic foodstuffs rather than all sales. The @Quaderno includes dozens of taxes relating to those who sell oil, meat, wine, and bread.Although the title page states that these laws were issued in the @vega de Granada, the laws themselves mention Seville, Cordoba, Cadiz, the Basque town of Fuenterrabia (in Guipúzcoa), Guadalupe (Extremadura), Val de Palacios (near Madrid?), Villa Franca del Arzopisbado, Santa Maria la Nieva (Segovia), Valladolid, Madrid, Toledo, Cordoba, Jaen, Badajoz, and Ubeda (Andalusia).Revenues from the @alcabala far outstripped even the income from the gold and silver being mined in Spain's American colonies. When D. Carlos wore his his Holy Roman Emperor crown, his wars were still funded mainly by taxes such as the @alcabala, levied in Spain. When he could not raise adequate funds by such taxes, he had to borrow at rates as high as 43%. Collection of taxes was therefore a matter of great urgency. However, the income from the @alcabala was problematic: many towns had set a fixed sum that had not kept up with inflation, receipts often went to local nobles rather than the king's coffers, and, as is clear from this collection of laws, exemptions were frequent.The Crombergers were a publishing dynasty founded by Jacobo Cromberger, a German immigrant who was active in Seville from 1503 to 1528, and at the invitation of D. Manuel I of Portugal, printed in Evora and Lisbon from 1521 t [Attributes: Hard Cover]

      [Bookseller: Richard C. Ramer Old and Rare Books]
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        GRAMATICES EPITOME / ELOCUTIONES. Atque clausulae e singulis M.T.C. Epist. fam. selectae, Vernaculaque; lingua expositae.

      Apud Franciscum Rampazetum"Una cum clausulis eiusdem ex Orationibus pro lege Manilia, pro Archia, atque è septem lib. Accusationum in Ca.Verrem". "Dialogus de Ratione interpretandi. De puro, & emendato sermone. Rhetorices Epitome. Auctore Hieronymo Capharo Salernitano". Due Opere raccolte in unico volume. Testi latini. Cm.14,3x9,4. Pg.48; (8), 320 (numerate solo al recto). Legatura coeva in piena pergamena molle, che presenta vistose spellature. Ritratto dell'Autore inciso al frontespizio del primo testo. Alcuni capilettera incisi. La seconda Opera è interessata da piccole tarlature diffuse, che ledono alcune lettere del testo. Girolamo Cafaro, latinista e professore di grammatica, retorica e poetica, nacque a Salerno e morì alla fine del secolo XVI. La prima edizione delle presenti Opere è del 1545.

      [Bookseller: Studio Bibliografico Pera]
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        Astronomia. Teutsch Astronomei. Von Art/ eygen-schafften/ vnd wirckung. Der xij. Zeychen des Himels. Der vij. Planeten. Der xxxvj. Himelischen Bildern vnd jren Sternen. Von den Spheren des Himels. Bedeutung der finsternus Sonn vnd Mon. Gestalt vnd bedeutung der Cometen. Verenderung des luffts/ nach art der Planeten vnd Zeychen. Aspect vnd anblick der vij Planeten. Exaltation vnd erhoehung eynes Planeten vber den andern [et]c. Auß den alten hochgelerten der kunst Astronomei gezogen/ vñ in eyn kurtze summ gestelt/ yetzt new in truck verfertiget. Jtem C. Ptolomei. Von Vffgang vnd Nidergang bedeuttung vnd wirckung <in verenderung des luffts durchs gantze Jar alle tag> der Himelischer bilder vnd jrer sternen verteutscht

      Franckforth am Meyn : Bei Cyriaco Jacob zum Barth, 1545. 4to. 200 x 282 mm. 71 leaves. Sewn but not bound. Lacks last signature with 4 leaves, supplied in color facsimile. Marginal repairs with occasional loss of text; some stains. Zinner, 1869.

      [Bookseller: Alan Wofsy Fine Arts]
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      Frankfurt am Main: Christian Egenolph, 1545 - (4 leaves), 141 leaves,(2 leaves), 145*95 mm. nevertheless small Octavo. Leaves numbered. Real first Latin edition edited by Curio and Crellius for Egenolff. With 1545 in the colophon. 17th century vellum over marbled boards, see the picture. Copies with identical year and collation are in Weimar and Rostock (Only descriptions compared); a fully identical copy, including misprints in Leiden (autopsy). No other copies known. Gambacorta p. 77 [also stating an earlier 1538 Egenolph edition, that cannot be found in any library however. Must be a ghost edition, Gambacorta only referring to Haller]. Durling 3817. PROVENANCE: the Van der Hoeven library, their bookplate at fpep, and J van der Hoeven MD, 1907 at ffep. Extremely rare in this early edition, the first with Curio as editor and produced as a modern book. [Attributes: First Edition; Hard Cover]

      [Bookseller: THE STOA COLLECTION]
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        Cosmographia .. apud lovanienses medicum & mathematicu insignemiam demum ab omnibus vindicata mendis, ac non-nullis quoq, locis aucta. Additis eiusem argumenti libellis ipsius Gemmae Frisii.

      Antwerpen, Aegidius Coppenius Diesthensis for Gregorius de Bonte, 1545.4to. Contemporary limp vellum, in modern cloth box. With large woodcut on title-page depicting a geographical globe, folding worl map, woodcut initials and ca. 50 woodcut maps, diagrams, etc. in the text including 5 with volvettes and 1 with original lead plumb line. (2), 66 lvs.* First published in 1524 by Apianus, the augmented edition was first published in 1529 and republished many times throughout the 16th century; with contemporary annotations on endpapers. - A fundamental work on cosmography, augmented by the Flemish mathematician Gemma Frisius. The world map is one of the earliest maps to contain the name of America. An attractive copy of one of the most significant and influential books for navigators and travellers. Extensively illustrated Shirley 82; European Americana 545/3; Sabin 1748.

      [Bookseller: Gert Jan BESTEBREURTJE]
 23.   Check availability:     NVvA     Link/Print  


      Romae, apud M. Valerium Doricum & Ludovicum, fratres, Brixianos, 1545. In-8 p. (mm. 202x142), 2 opere dello stesso A. in 1 vol., p. pergam. antica (risg. rifatti), 10 cc.nn. Unito, con proprio frontespizio, "Apologia de sectione venae in gravida muliere, pro cautione abortus". Ut illa subinde maladicendi occasio malevolis nulla reliqua esse possit, 28 cc.nn. Bella marca tipograf. ai frontespizi (raffigura Pegaso che colpisce con uno zoccolo la roccia da cui scaturisce una sorgente. Motto: in via virtuti nulla est via); ornate da grandi iniziali su fondo criblé, inc. su legno. Entrambe "seconde edizioni" (le prime sono del 1544), molto rare. Cfr. De Renzi,III, p. 465: ?"G. Antonio Bozzavotra, celebre filosofo e medico, professore nell?'università di Napoli, godeva grande riputazione come pratico e come scrittore; tradusse da Galeno e comentò i quattordici trattati sui metodi di medicare che pubblicò nel 1549, otto anni prima della sua morte - Minieri-Riccio, p. 63. Lunga annotazione in latino (anticamente manoscritta) alla fine della prima opera; solo qualche lieve fiorit. altrimenti ben conservato.

      [Bookseller: Libreria Malavasi sas]
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        Divinae scripturae, Veteris ac Novi Testamenti, omnia ....

      Basel, Johannes Herwagen, 1545.. Folio. (4) leaves, 969 p., (3) leaves, including blank Tt4. Title-page with paper restauration to upper right corner, Late 16th to early 17th century blind tooled calf, corners & spine with a few restaurations, joints splitting in upper and lower compartments. Endpapers 19th century. Tiny little hole to last quires, no loss of text and nearly not visible except very last leaves. Waterstaining, confinde to the extremely wide margins: 37 mm to the head, 56 mm to the outer, and 52 mm to the lower margin. No foxing or browning.Fourth edition only of the Greek Bible, preceded by Venice 1518, Alcala 1514-1522, and Strasbourg 1524-1526. Preface by Philipp Melanchthon. - Adams, B-978; Hieronymus, Griech. Geist ..., Nr. 382; Darlow-Moule II, 4614; Dibdin, Introduction ... p. 86.Fotos on .

      [Bookseller: Antiquariat Jürgen Dinter GbR]
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        De harmonia mundi totius cantica tria. Cum indice eorum, quae inter legendum adnotatu digna visa fuere, nunc recens addito.

      Paris, Andreas Berthelin, 1545.. Folio. (68), 467 leaves (without last blank). First 4 leaves frayed in outer margin, wormhole in lower blank margin of first 80 leaves. Light waterstaining to upper margins of a number of quires. Contemporary French calf with eight small fleurons and gilt ornamental centrepiece. The binding rubbed, loss of leather to corners, upper joint weak and splitting. - Adams G-468; Caillet 4472 ; Risse, Bibliographia philosophica vetus VI, 74. "Giorgi, Francesco, c. 1460/6; d. 1540. Italian philosopher. Joined Franciscans before 1482. Perhaps studied at Padua in early years. Critical of Aristotelian-Averroistic doctrines. His De harmonia mundi combines Hermetic, Platonic and cabalistic ideas on astrology, musical theory, psychology and cosmology; depicts universe as a musical harmony governed by numerical laws. Familiar with the works of Ficino and Pico, although carefully avoided Ficino's magical interests ..." (Cambridge Hist. of Renaissance Philosophy, p. 821)."... the main theme of the De Harmonia ... is the generative process that from the unchanging 'lone' Monad leads to the multiplicity of things, and the reverse process which takes these things back to their unique eternal 'root'... F. Giorgio exalts divine creation that has moulded the world according to the 'Vitruvian' norms of the most perfect architecture and the sublimest music but he cannot and doesn't want to ignore the fact that evil has always crept into the world ... The worst of all evils, the greatest suffering that can afflict man is 'impiety' - i. e. an irremediable break in the divine bond between the soul and the Word, renouncing the celestial destiny which is the gift for those who free themselves from the perfidious toils of matter ... These are the premises on which Zorzi begins to develop his own 'wisdom' theology, which does not hesitate to tackle the most crucial religious controversies of his time ... Zorzi's theological development is quite independent and is even, at times, at odds with the scholastic teaching-tradition and its leading auctoritates. The themes are worked out with 'spiritualist' inspiration in ways and forms that were considered completely unacceptable by the censors, well aware of the risks for Counterreformation orthodoxy from such an esoteric interpretation of the fundamental themes of the scientia de divinis. Both Zorzi's great works were placed on the Index. This condemnation signalled that the Roman auctoritas would no longer tolerate this vein of hermetic, neoplatonic, kabbalistic religiousness, which in fact had become rather widespread beyond confessional demarcations ..." (C. Vasoli, Hermetism in Venice. From Francesco Giorgio Veneto to Agostino Steuco, in: Gilly/Heertum, Magic, alchemy and science 15th - 18th centuries. The influence of Hermes Trismegistus. Venice 2002, p. 50-67)."Giorgi's De harmonia mundi was not the work of a fantastic eccentric. It belonged to the centre of Renaissance thought at its most productive ... De harmonia mundi was a dominant philosophy in the Elizabethan age, and so likely to have been passed on, perhaps by subterranean routes, to Robert Fludd and the Jacobean age." (F. A. Yates, The occult philosophy in the Elizabethan age, London 1979, p. 29ff.).

      [Bookseller: Antiquariat Jürgen Dinter GbR]
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        Historia di M. Bernardo Giustiniano gentilhuomo Vinitiano, dell'origine di Vinegia, et delle cose fatte da Vinitiani. Nella quale anchora ampiamente si contengono le guerre de' Gotthi, de Longobardi, et de' Saraceni. Nuovamente tradotta da M. Lodovico Domenichi. (Text Italienisch).

      Vinegia (Venedig): Bernadino Bindoni Milanese 1545. 219 römisch num. Blatt, 1 weißes Blatt. Flexibles Ganzpergament der Zeit mit handschriftlichem Rückentitel, Klein-8°, 16 x 11 cm.. (Einband etwas berieben, fleckig und wellig, Bindebänder fehlen, Vorsätze auf Spiegeln fehlen, Schrift auf Titel und unter Kolophon, einige Blätter mit dezentem Feuchtigkeitsrand, sonst innen sauber und erstaunlich frisch) Bernardo Giustiniani war venezianischer Adliger und Diplomat und wurde um 1485 Mitglied im Rat der Zehn. Seine Reden und Briefe wurden 1492 publiziert. Berühmt wurde er durch seine Geschichte Venedigs "De origine urbis Venetiarum rebusque ab ipsa gestis historia", die ebenfalls 1492 erschien. Die vorliegende Ausgabe ist die erste Übersetzung ins Italienische durch Lodovico Domenichi (Piacenza 1515 - 1564 Pisa). Der bedeutende Drucker Bernardino Bindoni druckte zahlreiche Texte für die italienischen Humanisten, sein Druckerzeichen auf der Titelei zeigt eine Palme und drei nackte Kinder. Die gedruckten Initialen zu Beginn der 15 Abschnitte des Buches zeigen teilweise ebenfalls Kinder, ähnlich den Kinderinitialen von Holbein. Der Druck ist gleichmäßig und schön. Besondere Bedeutung bekommt das vorliegende Exemplar durch seine Provenienz: Bellisario Bulgarini war Dichter und Gelehrter in Siena (1539 - 1619) und Mitglied der dortigen "Accademia degli Intronati" und der Akademie von Venedig. Unter dem Kolophon hat sich Bulgarini mit der zweizeiligen Inschrift in brauner Tinte verewigt: "Di Bellisario Bulgarini. etc. / Lode a Dio ora, e sempre. -" und auf der Titelei: "Di Bellisario Bulgarini Sanese, etc. / A Dio lode et onore." Dieser Eintrag ist dezent durchgestrichen und durch einen unleserlichen Besitzeintrag aus dem Jahr 1788 ergänzt worden. - Ein äußerst seltener Druck, über KVK konnten wir weltweit nur 4 Exemplare nachweisen! Weitere Bilder auf Anfrage oder auf unserer Homepage.

      [Bookseller: Versandantiquariat Bürck]
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        l'Histoire Palladienne, traitant des gestes & genereux faitz d'armes et d'amours de plusieurs grandz princes et seigneurs, specialement de Palladien filz du roy Milanor d'Angleterre, & de la belle Selerine soeur du Roy de Portugal ... Paris, Estienne Groulleau, 1555. Folio. With 39 woodcut illustrations in text (including 15 repeats), each in a 4-piece border of foliated and grotesque ornament, usually with a coat of arms in the lower border, woodcut thistle initials. Gold-tooled calf (ca. 1780?), with large central arms of John Ker (1740-1804), 3rd Duke of Roxburghe, and crowned D & WS cornerpieces added ca. 1812 for William Spencer Cavendish (1790-1858), 6th Duke of Devonshire and one of the founding members of the Roxburghe Club. Rebacked with the original backstrip preserved.

      BMC STC French, p. 335; USTC 41284 (4 copies); WorldCat (2 copies). First edition of Claude Colet's posthumously published free adaptation of the first part of the Spanish romance Florando de Inglaterra (Lisbon, 1545), which claimed an unidentified and probably non-existent English original. Etienne Jodelle contributed a preface and a poem "Aux cendres de Colet." The fine woodcut illustrations came from the large stock of woodcuts made for the Amadis de Gaule, published by Janot and Groulleau from 1540 to 1556. The beautiful white thistle initials also first appeared in the Amadis de Gaule, in 1540. There are four different issues of the present first edition, all with Groulleau in the colophon, but other imprints and publishers' devices for other booksellers.With an early owner's name on the title-page and the armorial bookplate of William Cavendish (1808-1891). In very good condition and with large margins, with occasional very minor foxing. Binding rebacked and somewhat worn, with the loss of some gold-tooling on the spine. The Duke of Roxburghe's copy of a 16th-century pseudo-English romance.

      [Bookseller: ASHER Rare Books (Since 1830)]
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        De dissectione partium corporis humani libri tres. - Neuroantomie.

      . Paris, Simon de Colines, 1545, Folio, pp. 249-250, 1 ganzseitiget Holzschnitt.. ... the work's eight dissection of the brain give more anatomical detail that had previously appeared.

      [Bookseller: Antiquariat für Medizin - Fritz-Dieter S]
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        Enchiridium Psalmorum. Ex Vulgata sive Septuaginta interpretum editione. Eorundem ex veritate Hebraïca versionem, ac Io. Campensis e regione paraphrasim, sic ut versus respondeat versui, complectens. Concionem Praeterea Salomonis Ecclesiastae.

      Parisiis, Martini Iuuenis 1545. 528 p. Contemporary Vellum, 12°.

      [Bookseller: Antiquariaat De Roo]
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      GIRAULT 1545 - R160118829: Incunable de 158 + 566 pages (pagination double pages 79 +283) Ouvrage en latin. Lettrine sur le débuts de chapitre. Réliure plein veau Caisson dorée sur le dos à 5 nerfs. Quelques petits manque de cuir sur le dos. Coins et coupes des plats frottés. Epidermures sur le dos. Tâches d'encre sur la tranche en tête. Traits à la plume sur la page de titre. Passage de vers en marge et parfois dans le texte (altérant peu la lecture du texte) sur les 100 premières pages. Suivi de : MI EPISCOPI CONSTANTINOPOLITANI INFANCTUM IEFU CHRIFTI EUANGELIUM FECUNDUM LOANNEM COMMENTARIJ, DILIGENTER AB ARRIANORUM FAECIBUS PURGATI, & IN LUCEM IN FACRAE PAGINAE TYRONU GRATIA MOD RECENS FUB MINORI FORMA AEDITI. Suite du titre : In-12 Broché. Etat passable. Couv. convenable. Dos abîmé. Intérieur frais Classification Dewey : 93-Incunables [Attributes: Soft Cover]

      [Bookseller: le-livre]
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        Samson and Delilah

      ca. 1545. Woodcut. 320 x 500 mm. Laid down with repairs to tears. Most of margin intact.& Passavant, VI, p. 223, no. 5; Titian and the Venetian Woodcut, no. 39; Tizian und Sein Kreis Holzschnitte, Nr. 10.

      [Bookseller: Alan Wofsy Fine Arts]
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      Basileae: Ex Officina Ioannis Oporini, March 1552; Tubingae: Per Ulrichum Morhardum, 1546; Parisiis: Apud Joannem Lodo[v]icum Tiletanum, 1545. n. Hardcover. A Rare and Remarkably Well-Preserved Example of a 16th Century Binding for an Impecunious Scholar. 171 x 102 mm (6 3/4 x 4"). 137 (i.e., 134), [2] pp.; 451, [5] pp.; 51, [3] pp. Three separately published works bound in one volume. EXCELLENT PERIOD FLEXIBLE VELLUM WALLET-STYLE BINDING composed of a single sheet of vellum folded around spine and fore edge, the edges overlapping on the front cover and held together with the original brass clasp and catch, flat spine with two apparently original exposed cords, vellum fragments of old (12th century?) manuscript leaves used as sewing guards, modern repair (approximately two inches square) to upper corner of left flap. In a fine recent folding cloth box with thick plush lining. Title page of Aesop with decorative woodcut border by Holbein; title page of Cebes with woodcut printer&#39;s device. Front flyleaf with modern armorial bookplate of Hermann Kunst. Rear flyleaves with six pages of notes in Greek and Latin in an attractive 16th century hand. First work: VD16 X 31; not in Adams, Schweiger, or Hoffmann. Second work: Hoffmann I, 64; Schweiger I, 13; VD16 A 420; not in Adams. Third work: not in Adams or Hoffmann; Schweiger I, 77 (citing a 1562 Paris edition translated by Theodore Adams). Front cover with very small tear in vellum flanked by a total of five holes (as a vestige of an early sewed repair), front flyleaves a little dusty, curled, and with a two-inch slit near the top (one slit with old, neat paper repair), first title page a little soiled, some of the text with very faint overall yellowing, but almost entirely quite fresh and clean internally, and the binding markedly well preserved. Containing three Greek classics with their Latin translations, mostly on facing pages, this is an unusually well-preserved specimen of a seldom-seen early binding style. In addition to Aesop&#39;s well-known "Fables," composed in the 6th century B.C., the present volume contains Xenophon&#39;s "Cyropaedia" (an early 4th century B.C. idealized biography of Cyrus the Great) and the "Tablet" of Cebes (a moralistic consideration, in the Socratic manner, of the significance of human life, probably not by the 4th century Greek philosopher it is attributed to, but rather by a pseudonymous author of the 1st or 2nd century A.D.). All three of our editions are obscure, and it is instructive to imagine how they would have been purchased--no doubt in original sheets--from a stationer handling the products of presses from Switzerland, Germany, and France and then assembled, perhaps by a university scholar, to provide an anthology of works likely meant for language study. Wallet-style bindings were used in the 16th century on books that were either very luxurious or put to hard use. Elaborately decorated wallet bindings might be used to protect precious manuscripts, while plainer versions were commonly used to protect ledger or account books, which were frequently used in open-air settings and which could encounter very hard wear. Few of these bindings have survived, and the present example is the first 16th century wallet binding we&#39;ve had in our inventory in 35 years. It is a utilitarian binding, simply stitched onto the text block, and with no embellishment other than the brass clasp--perfectly designed for an impecunious student or teacher who would appreciate inexpensive protection beyond that given by the usual book with the fore edge of its text block exposed.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
 33.   Check availability:     ABAA     Link/Print  


      [Printed by Johannes Grapheus for] Heirs of Joannes Steels, Antwerp 1545 - 171 x 114 mm (6 3/4 x 4 1/2"). [8], 300 leaves. Contemporary calf by the Pecking Crow Binder, covers with blind-ruled frame, oblique gilt fleur-de-lys cornerpieces, and the binder's signature gilt stamps--a hand clutching a spray of flowers, with a bird perched on top--at the center; raised bands, later but well-chosen endpapers, ink titling to fore edge (expertly rebacked in the style of the period, with simple blind and gilt decoration; corners neatly restored). Printer's device on title page. Front pastedown with later pasted-on manuscript note regarding the forgery; title page with contemporary ownership inscription of Fr[ater] Augustinus [illegible]; first and last page with shallow (and scarcely visible) blind stamp of the (now defunct) Theological Institute of Connecticut. Adams B-788. For the binding: Nixon, "Sixteenth Century Gold Tooled Bindings" 17; Foot, "The Henry Davis Gift," I, 129-38; Miner, "History of Bookbinding, 525-1950 A.D." 258-60. Covers a little marked and with minor staining (a narrow inner strip of upper board somewhat darkened and crackled because of rebacking), text printed on inferior stock (and so with overall faint browning), otherwise an excellent example with only insignificant defects, the carefully restored binding sound and pleasing, and the text fresh and clean. This is an early printing of an elaborate and influential literary forgery, offered here in a binding by the celebrated Parisian Pecking Crow Binder, favored by some of the greatest bibliophiles of the period. The Italian Dominican Giovanni Nanni, generally known as Annius Viterbiensis (ca. 1432-1502), came to prominence after preaching and then publishing a series of sermons in which he interpreted the Book of Revelation to predict a Christian victory over the threatening Turks. But the work that brought Nanni his greatest fame--and infamy--was the present book, first published in 1498. Produced at a time when scholars were becoming heroes for discovering and publishing unknown ancient manuscripts, the collection purports to be translations of lost works of several ancient writers, with commentary by Nanni. However, these "ancient" works were composed by Nanni himself, who went so far as to fake stone inscriptions in ancient languages and to bury them near his hometown of Viterbo, to be excavated and "discovered." He was intent on proving that Viterbo and the surrounding region of Etruria had been founded by Noah himself after the flood, and that the area's Etruscan civilization was thus more ancient and influential than Greece or Rome. He ascribed his fraudulent works to real authors, and Nanni's fake history ironically had great influence on the methods of later scholars: reliance on chronology, contemporary inscriptions, and official records superseded unquestioning acceptance of the accounts of ancient authors. According to Foot, the Pecking Crow workshop was active in Paris during the first half of the 16th century, though most bindings with this particular decoration were done between 1535 and 1550. The "bird pecking at grain" tool was first noted by Dorothy Miner in the exhibition catalogue she prepared for the Walker Art Gallery in 1957, and is heraldic in origin. The bird is combined with a tool called a dextrocherium, because its floral spray is held by a right hand (from the Latin "dexter" [right] and the Greek "cheiros" [hand]). The tools appear singly in other, more elaborate, bindings from the workshop (e.g., Miner 258 and 259), but are most famously seen together, as here. The patrons of our Pecking Crow Binder could hardly have been more illustrious, as they included Jean Grolier, Thomas Wotton, Marcus Fugger, and the French king François I. [Attributes: Hard Cover]

      [Bookseller: Phillip J. Pirages Rare Books (ABAA)]
 34.   Check availability:     IberLibro     Link/Print  

        D. Dionysii Carthusiani, In Omnes beati Pauli epistolas commentaria, iam quarto, ex ipso originali, diligentissime recognita. Cui quidem Dionysio, in componendis, exponendisq[ue] sacrarum literaru[m] libris, vix alter similis successit [und Beiband].

      apud Petrum Quentell, Coloniae [Köln], 1545 - Zwei Titel in einem Band. Coloniae [Köln], apud Petrum Quentell Anno M. D. XLV. Mense Aprili. 34 x 23 cm. [8], CXL Bl. [Beiband s.u.]. Mit wenigen figürlichen Holzschnitt-Initialen und einer -Titeleinfassung von Anton Woensam von Worms. Halbleder des 19. Jahrhunderts über vier alten Doppelbünden. Einband berieben und bestossen, Gelenke nach den ersten bzw. vor den letzten Bl. gebrochen, da der Buchblock im 19. Jh. offenbar nur eine neue Decke erhielt. Titelblatt mit handschriftlichem Besitzvermerk und Exlibris des 19. Jhs., kleine Randschäden, verso mit Annotationen zum Autor. Sonst nur vereinzelt Anstreichungen oder Marginalien. Papier gebräunt, teils auch fleckig, wenige Seiten stärker. Vorsätze leimschattig. Wenig Wurmspuren. Eckabriß bei Bl. 59 alt angesetzt. Alter Kurztitel auf dem Vorderschnitt. VD16 D 1871 und VD16 D 1913. Merlo, Kölnische Künstler S. 1034, Nr. 412. Beigebunden: Ders., In Epistolas Omnes Canonicas, In Acta Apostolorvm, Et In Apocalypsim, Piae Ac Ervditae Enarrationes, Köln, P. Quentel 1545 [in fine 1546], [3] Bl., Bl. VI - 163, [1] Bl. Dionysius der Karthäuser (auch Dionysius Carthusianus, Dionysius van Leuven, Dionysius van Rijkel, oder Dionysius von Roermond (1402/03 -1471) &#132;leuchtet im 15. Jahrhundert unter den niederländischen Theologen besonders hervor Von seinen Zeitgenossen ward er nicht nur um seiner Frömmigkeit willen geachtet, sondern auch als gewandter Exeget, ausgezeichneter Kanzelredner und tüchtiger Moralist hochgeschätzt. Als Theolog hing er der mystischen Richtung, welche eine höhere Contemplation als den Gipfel des religiösen Lebens betrachtete, so sehr an, daß man ihn, wie den Johann Ruysbroeck, Doctor ecstaticus zu nennen pflegte. Dabei lag ihm, wie überhaupt den damaligen Vertretern dieser Richtung, die sittliche Reformation der Kirche in capite et membris aufs ernstlichste am Herzen. Das erhellt nicht nur aus seinem freundschaftlichen Verhältniß zu dem Volksprediger Johann Brugman und allen denjenigen in den Niederlanden und Deutschland, welche einer Reformation günstig waren, zu denen auch Philipp von Burgund und Karl der Kühne zu rechnen sind, - sondern auch aus seiner Theilnahme an der Visitationsreise, welche der Cardinal Nikolaus von Cusa 1451 durch diese Länder machte. Besonders aber bezeugen seine zahlreichen Schriften seine reformatorischen Ansichten. Es verdient dabei der Erwähnung, daß er keine Reformation der Kirchendogmen, sondern des kirchlichen und sittlichen Lebens der Geistlichen und Laien beabsichtigte" Jacob Cornelis van Slee in: ADB (1877), S. 246-248. Die schöne, aus vier Stöcken bestehende Holzschnitt-Titeleinfassung zeigt oben den thronenden himmlischen Vater, seitlich je zwei Evangelisten und Kirchenväter, unten aber die Extase des Kartäusers Dionysius, also des Verfassers. Einband berieben und bestossen, Gelenke nach den ersten bzw. vor den letzten Bl. gebrochen, da der Buchblock im 19. Jh. offenbar nur eine neue Decke erhielt. Titelblatt mit handschriftlichem Besitzvermerk und Exlibris des 19. Jhs., kleine Randschäden, verso mit Annotationen zum Autor. Sonst nur vereinzelt Anstreichungen oder Marginalien. Papier gebräunt, teils auch fleckig, wenige Seiten stärker. Vorsätze leimschattig. Wenig Wurmspuren. Eckabriß bei Bl. 59 alt angesetzt. Alter Kurztitel auf dem Vorderschnitt. Halbleder des 19. Jahrhunderts über vier alten Doppelbünden. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Peter Fritzen]
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      París, apud Ioannem Corbon sub Porcellis, 1545 - . 8º (17,5 cm). 27 h. (sign. A-C8, D4). Viñetas y capitulares xilográficas. Enc. en pergamino de época, restaurada. Pérdida en esquina de h. 20, sin afectar al texto. Marca de anterior poseedor en la portada: "Bremond praesentur" (con leve pérdida por oxidación de la tinta). *La obra consta de tres tratados: los dos primeros, sobre el uso del astrolabio, se dividen en 33 y 12 proposiciones, respectivamente. Su autor fue el primer profesor de matemáticas que tuvo el Collège Royal de París según consta en Felipe II, El Escorial y la ciencia europea del siglo XVI (José Manuel Sánchez Ron, Universidad Autónoma de Madrid). Martínez Población, religioso español conocido con gran variedad de apellidos (Silecius, Guijeno, Blasius.) se convirtió en arzobispo de Toledo. El tercer tratado, relativo al uso y la construcción del astrolabio armilar de Ptolomeo por Ioannis de Monteregio, se encuentra entre las hojas 23 a 26. Johannes Regiomontanus es pseudónimo de Johann Müller (1436-1476), astrónomo y matemático nacido en Königsberg (Alemania). Cierran la obra varias consideraciones acerca de las horas y los relojes. El libro se publicó en un momento en el que comenzaban a aparecer los tratados sobre el uso del astrolabio, imponentes obras técnicas repletas de información. Éste tiene la virtud de ser una versión 'reducida' que satisfacía las necesidades de información básica sin requerir un esfuerzo ingente de comprensión ni grandes conocimientos previos. La obra contiene curiosos ejemplos para determinar la altura de una torre a partir de la escala del cuadrante de sombra del astrolabio y a partir de su reflejo en un espejo, ambos casos ilustrados con el pertinente grabado xilográfico. Biblioteca Nacional de Francia FRBNF 31125871. CCPB 000017157-3 (un único ejemplar en la Biblioteca Nacional). astrolabio Telescopis, microscopis, instruments científics Libros antiguos anteriores a 1830 latín [Attributes: Hard Cover]

      [Bookseller: Libreria anticuaria Farré]
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        Institutiones: Auszug un Anzaigung Etlicher Geschriben Kayserlichen

      1545. Voluminous 1545 Collection of Bavarian and Holy Roman Laws with a Treatise on Contracts by Soccini Perneder, Andreas [c.1500-1543]. Hunger, Wolfgang [1511-1555], Editor. Institutiones: Auszug un Anzaigung Etlicher Geschriben Kayserlichen unnd des Heyligen Reichs Rechte/Wie die Gegenwertiger Zeyten inn Ubung Gehalten Werden: in den Titeln Underschidlich nach Ordnung der Vier Bucher Kaiserlichen Institution Gestelt/mit Einfurung Lateinischer Allegation/ Daneben auch Etlicher Lande und Oberkaiten Besonderer Gewonhaiten unnd Statuten... [Bound with] Gerichtlicher Prozess in Wolichem die Gemainen Weltlichen unnd Gaistlichen Recht/ auff Alle und Yede Articul Nicht al Ain Schlecht Allegirt/ Sonder auch als Vil Notwendig/Ordenlich in Ainer Jeden Materi mit Besunder Rainem/ Verstentlichen un Angeneme Teutsch Transferiert un Vordolmetschet Seind... [Bound with] Der Lehenrecht Kurze und Aygentliche Verteutschung nit Allain auss den Kayserlichen Satzungen und Derselben Texten/ Sonder auch Vilen Hochberumpten Doctorn/ die Daruber Geschriben/ Gezogen... [Bound with] Von Straff unnd Peen Aller unnd Yeder Malefitz Handlungen ain Kurzer Bericht/ Genommen unnd Verfaszt auszden Gemainen Kayserlichen Rechten/ mit Lateinischer Allegation Derselben/ auch Daneben Meldung der Gebreuchlichen Hierinn Hochteutschlands Gewonhaiten/ Nit Anders Zuachten dann Ain Gerichtliche Practica/ Aller Criminal oder Peinlichen Sachen... [Bound with] Soccini, Bartolommeo [1436-1507]. [Perneder, Andreas, Editor.] Summa Rolandina: Das ist ein Kurtzer Bericht/ von Aller Hand Contracten unnd Testamenten/was Derselben Wensenliche Stuck unnd Clausel Seind/ auch von Sondern Gebrauch unnd Wurckund Derselben/ auf Gemainen Geschriben Rechten Gezogen Etc.... Ingolstadt: Alexander Weyssenhorn, 1545. [xxiv], 132; [xi], 97 (fol. 39 lacking); [v], 41; [iii], 23; [viii], 59 fols. Five works in one, each with title page. Folio (12" x 8"). Contemporary wooden boards, traces of vellum to spine, "Gerichtsbuch 1545 and Bavarian arms hand-painted to front. Rubbed, front board detached, half of rear board lacking at fore-edge, cords exposed, wear to spine ends, front endleaves lacking. Title page of first work printed in red and black, title pages and initials printed in bold gothic script. Final signature detached with wear to fore-edges

      [Bookseller: The Lawbook Exchange, Ltd.]
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        De Discorsi del reverendo Mon- / signor Francesco Patritii Sanese Vescovo Gaiettano, sopra alle / cose appartenenti ad una città libera, e famiglia nobile ; / tradotti in lingua toscana da Giovanni Fabrini / Fiorentino, a beneficio de figliuoli di mes-/ ser Antonio Massimi nobile Ro-/ mano, M. Domenico, e / M. Horatio, libri / nove.

      Venise, Alde 1545 - in-8, 278 ff., [4] ff. n. ch. (table et feuillet avec la marque aldine), signatures A-Z, AA-MM, toutes en 8 sauf la dernière, vélin rigide, dos lisse orné d'urnes et de guirlandes d'oves dorées, pièce de titre cerise, tranches vertes (rel. du XIXe siècle). Bon exemplaire. Première traduction italienne de l'un des deux ouvrages politiques de Patrizi, De Reipublicae institutione, paru d'abord en latin en 1520. Natif de Sienne, Francesco Patrizi (1413-1492) fut nommé évêque de Gaète en 1460. Il gouverna ce diocèse jusqu'à sa mort, et fut également un moment gouverneur "civil" de Foligno. C'est un humaniste de la meilleure formation, dont la réflexion tourne autour du gouvernement et de ses conditions d'exercice. Quant à Giovanni Fabrini (1516-1580), il fut surtout grammairien et traducteur, et se fit un nom par un immense travail de vulgarisation des classiques de langue latine, pas seulement ceux de l'Antiquité, mais aussi des auteurs "néo-latins" comme on dit de nos jours où l'on fait mine de découvrir l'extrême richesse de ce domaine des lettres européennes, la quasi-totalité des érudits et savants ayant composé dans cette langue jusqu'au milieu du XVIIe siècle, et bien au-delà. Renouard, Annales de l'imprimerie des Alde, I, p. 312 (4).

      [Bookseller: Librairie Historique F. Teissèdre]
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        [Greek title.] De ratione examinandae orationis libellus. Ex bibliotheca regia

      Paris: Robert Estienne, 31 Dec., 1545. Quarto (245 × 164 mm). Nineteenth-century blind-stamped vellum over pasteboards, spine neatly lettered in manuscript, old shelf-mark at foot. Greek type; Estienne&#39;s basilisk device as king&#39;s printer in Greek on title-page; foliated and grotesque Greek initials and matching headpieces. Ownership inscription of Sir John Taylor Coleridge (1790-1876; nephew of the poet), dated 1853, noting the previous owner as Dr Butler, Dean of Peterborough, on the front free endpaper. Spine a little dusty, faint stain to upper outer corner through to p.24, not affecting text, else an excellent copy, fresh and clean. Editio princeps. The Byzantine scholar Manuel Moschopulus (fl. Constantinople 1282-1328) had been a student of Maximus Planudes; this grammar formed the basis of the later works by Chrysoloras, Theodore Gaza, and Constantine Lascaris. The book, the only quarto among Estienne&#39;s superb sequence of editiones principes, is only the second text (after Estienne&#39;s edition of Eusebius the previous year) to be printed entirely in the French royal Greek types (grecs du roi) cut by Claude Garamond, widely regarded as the finest Greek types ever cut.

      [Bookseller: Peter Harrington]
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        Il libro del Cortegiano, Nuovamente Ristampato

      Vinegia Figlioli di Aldo (Aldus) 1545 - A very early and rare printing of Castiglione by Aldus in the original folio format mirroring the 1528 printing. Elaborate Aldine device impressed on the title and at the end on the verso of the colophon leaf. Dedication to Michel de Selva, vescovo di Viseo. Folio, handsomely bound in fine Italian vellum. 122 ff. pp. A beautifully preserved copy, handsome and clean. RARE ALDINE EDITION OF THE CLASSIC LANDMARK IL CORTEGIANO. Castiglione&#146;s great work is one of the most famous books of the Italian Renaissance and represents the highest level of committment to the prince and the new political and social order. The Courtier is the prototype of the courtesy book, written as conversation between members of the court. At the time of its composition Castiglione was at the court of Guidobaldo de Montefeltre and Elizabetta Gonzaga at Urbino, together with Bembo, Giuliano de' Medici, Federico Fregoso and other Renaissance luminaries; members of that court feature as speakers in the conversation. Castiglione, after serving the Sforzas at Milan and the Gonzagas at Mantua, came to the Court of Urbino in 1504 where de Montefeltre and his consort Elizabetta Gonzaga were the center of the most brilliant court in Italy, which counted among its members Bembo, Bibbiena, G. de&#146;Medici and many other eminent men. This brilliant book is based on Castiglione&#146;s experience of life among these dazzling figures. &#145;The Courtier&#146; depicts the ideal aistocrat, and it has remained the perfect definition of a gentleman ever since. It is an epitome of the highest moral and social ideas of the Italian Renaissance and is written in the form of a discussion between members of the court. The fundamental idea that a man should perfect himself by developing all his faculties goes back to Aristotle&#146;s ETHICS and many of the Aristotelian virtues reappear---honesty, magnanimity and good manners. The ideal man should also be proficient in arms and games, be a scholar and connoisseur of art; he should develop graceful speech and cherish a sense of honour. Relations between the prince and the courtier, forms of government, and rules for the conduct of a lady are also discussed and the book ends with the celebrated pronouncement on platonic love by Bembo. This Renaissance ideal of the free development of individual faculties and its rules of civilized behaviour formed a new conception of personal rights and obligations in Europe. The book was translated into most European languages and between 1528 and 1616 no less than one hundred and eight editions were published. It had great influence in Spain where traces of it can be found in DON QUIXOTE and in France in Corneille&#146;s writings. But its most potent influence was probably in England. Its influence can be seen in Shakepeare, Spenser, Ben Jonson, Sir Philip Sidney, Robert Burton and Shelley. It had a great impact on the development of English drama and comedy. The beautiful and highly important printings of the house of Aldus are exceptional and revered in their own right. This, one of the most exceptional of Italian Renaissance works published by the great Renaissance printer of Italy.

      [Bookseller: Buddenbrooks, Inc. ABAA]
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        Dialoghi di amore composti per Leone medico di natione hebreo, et di poi fatto christiano.

      Vinegia, In casa de?figliuoli di Aldo [Aldus Manutius], 1545 - Kl.-8°, 2 Bl., 261 num. Blätter. (Nummerierungssprung von 134 auf 155 (also insgesamt 482 S.), Privat-Ldr- des 18 Jhts., Rückenschild u. Goldpräg. marmorierter Schnitt, Exlibris (Wilmont, Viscount Lisburne) a. Vors., Min. fingerfleckig, tadell. (Aldinensammlung Staatsbibliothek Berlin 559. Druckermarke auf Titel und am Schluss. Jehuda (auch: Juda) ben Isaak Abravanel, oft kurz Abravanel oder Abrabanel genannt, italienisch Leone Ebreo, (* um 1460 in Lissabon; ? nach 1521 in Neapel) jüdischer Philosoph, Arzt und Dichter aus Portugal. 1483 Vertreibung wegen Hochverrats aus Portugal nach Spanien. Dort Leiter der Finanzverwaltung von Königin Isabella I. Trotzdem Vertreibung 1492 nach Neapel. 1495 Vertreibung wegen antijüdischen Progromen nach Genua. Als aber 1501 auch die Republik Genua judenfeindliche Maßnahmen ergriff erneute Flucht.Rückkehr nach Neapel, Aufstieg zum Leibarzt des Vizekönigs. 1510 Vertreibung nach Venedig. Nochmalige Rückkehr nach Neapel.Abravanel gehörte zu den prominenten Vertretern des Platonismus in der Renaissance. Er verfügte über eine hervorragende humanistische Bildung und kannte sich in der christlichen ebenso wie in der jüdischen und der islamischen philosophischen Tradition aus. Sein Hauptwerk, die Dialoghi d'amore (?Dialoge über die Liebe?), knüpft an Platons Konzept des literarisch kunstvoll gestalteten philosophischen Dialogs an. Wie bei Platon und in der traditionellen belehrenden Dialogliteratur bemühen sich in den Dialoghi d'amore die Gesprächspartner gemeinsam um Erkenntnis. Abravanel wandelt jedoch das herkömmliche Konzept ab, indem er an die Stelle des üblichen Lehrer-Schüler-Verhältnisses der Dialogteilnehmer einen Gedankenaustausch und zugleich geistigen Kampf zweier ebenbürtiger Gesprächspartner setzt. Der erotische Aspekt des Verhältnisses zwischen den beiden Protagonisten, einem verliebten Mann und einer skeptischen, wissensdurstigen Frau, schafft einen lebensnahen Rahmen für die philosophische Auseinandersetzung mit der Theorie der Liebe. 1100 gr. [Attributes: Hard Cover]

      [Bookseller: antiquariat peter petrej]
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        Expositio in aristotelis, libros de physica auscultatione, cum duobus textibus: comuni: et joannis argyropyli:summa cum diligentia correctos.

      In fine: Venetiis, Heredum B. Luceantonii Junte Florentini, mense octobris. 1545, Venetiis - [Figurato-Fisica-Giunti] (cm.32) bella mezza pergamena antica restaurata, piatti con musica rosso e nero, sguardie antiche. -- cc. 6 nn., cc. 147 + 1 c. bianca. Caratteri gotici, testo a 2 colonne, grande xilografia a carta 1, molte figure e schemi n.t. Edizione elegantissima, capolettera figurati grandi e piccoli. il testo rivisto e illustrato da molte xilografie è quello del rarissimo incunabolo romano del 1481: "Libri auscultationis de natura. J. Argyropolus", (cfr. Bm. Stc. p.51). Edizione molto rara, manca ad Adams, Bm. Stc. e a Cranz "Bibliography of Aristotle". Due macchie di inchiostro per censura sopra il nome di Argyropyli che però non ne impediscono la lettura, altrimenti esemplare assolutamente molto bello, fresco e nitido. * Camerini "Annali Dei Giunti" I 504. Il Census Nazionale Iccu registra solo 5 copie nelle biblioteche italiane. [80] [Attributes: Hard Cover]

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        Practica auff das M.D.XLvj. jar/ durch Doctorem Achillem P. Gasser L. zu Feldkirch gemacht.

      Nuremberg J. Petreius 1545. - 4to, [20.5 x 15.4 cm], (12) ff. With two title woodcuts of Mars and Luna. Paper over modern vellum with title plaque and leaves expertly reinforced at fold. Paper has even browning, some faint waterstaining, and thumbing, with marginal notations on one leaf. Only known copy. Sole known copy of a prediction pamphlet for 1546 with the first reference to Copernicus printed in German as well as the first reference to helioicentrism in a vernacular language. The now little-known astronomer Achilles Gasser was intimately connected with the rise of heliocentrism through his patronage of Georg Rheticus, Copernicus&#146; student, who facilitated the 1543 publication of De Revolutionibus. Gasser was one of the first to read Copernicus&#146; completed work, as its printer, Johann Petreius (who also published the present pamphlet), sent Gasser a copy. The present edition of the Practica is unique in its early use of the German vernacular to promote Copernicus&#146; importance, as well as in its choice of a popular context (ie a farmer&#146;s almanach).The Copernicus reference appears in Gasser&#146;s letter to Caspar Joachim Täntzl, a Tyrolean nobleman whose family mining business brought him an amateur interest in science. The dedicatory letter was likely composed in German for Täntzl, who had a non-academic background. Indeed, it is no mere translation of the introduction to the Latin edition, but includes an entirely different text:" . . . the most learned and wonderful man Dr. Nicolaus Copernicus, away off in Prussia, has taken up the task with such seriousness, diligence, and steadfastness, that for the establishment and restoration of astronomy he has had to lay an utterly and completely new foundation, unheard of before, or rather has been compelled to posit hypotheses not employed by other scholars (namely, that the Sun is a light for all creation and stands unmoved in the midst of the whole universe . . .) and thus has not only demonstratively proven his theory among the mathematicians, and with great pains restored the portrait of Astronomy, but has also immediately been regarded as having perpetrated a heresy, and indeed&#151;by many others incapable of understanding this matter&#151;is already being condemned." (Danielson, trans., pp 464-5) Gasser implies that his addressee is not one of those "incapable" others who condemn the new without understanding it. On completing this praise, he reminds the nobleman of his promise to give him a spherical lodestone from the family mine. That coveted magnetic object could be used for further study of the rotation of planetary bodies in miniature. Gasser may well have received his boon from Täntzl, for he would produce a book on lodestones in 1558. Yet Gasser&#146;s German letter boldly overstates the positive reception of Copernicus&#146; work. Indeed, Gasser dedicated his Latin edition to Rheticus, exhorting the scholar to make good on his claim that Copernicus had already "demonstratively proven his theory among the mathematicians." The recently-deceased Copernicus required a new "Theseus," to disseminate his theory&#151;a position only Rheticus could fill. Numerous scholars penned prediction tracts in this era (including another Petreius author, Johannes Schöner); Gasser wrote one for each year from 1544 and 1547. He makes general predictions for the luckiest days of 1546 (B4v)&#151;as well as specifics relevant for mine owners like Täntzl&#151;the relative value of precious metals (B3). Part farmer&#146;s almanac and part horoscope, Gasser&#146;s predictions depend on the movement of celestial bodies. His investment in propagating the importance of heliocentrism in these seemingly modest tracts should therefore come as no surprise. Well-preserved, unique copy of the earliest example of German Copernican eph [Attributes: Hard Cover]

      [Bookseller: Martayan Lan, Inc]
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        LA GEORGICA DI VIRGILIO, nuovamente di latina in thoscana favella per Bernardino Daniello tradotta e commentata

      1545 - un volume, reliure XIXème pastiche plein veau havane moucheté imitation XVIIème siècle (binding pastiche full calf imitation seventeenth century) in-quarto, dos à nerfs (spine with raised bands) décoré or (gilt decoration) filets or (gilt line) et filets à froid (blind-stamping line decoration) - entre-nerfs - compartiments à fleuron au fer plein (floweret with full blocking stamp)- fers spéciaux (specials blocking stamps) - titre frappé or (gilt title), date et éditeur frappés or, - pièce de titre sur fond rouge clair (label of title) avec filet or (label of title with gilt line), trés léger manque de cuir en haut du dos sur 3 millimètres carrés (head of the spine lightly faded), plats décorés à froid (cover blind-stamping) à double filets à froid, toutes tranches jaspées (marbled edges) en rose et bleu (red and blue edges), gouttière rognée (fore-edge smooth), naissances de rousseurs (beginning of the redness marks) + 2 petites taches couleur café au lait (scars of waterstains) sur la page de titre, sans illustration (no illustration) excepté une marque au titre dite "Au Griphon" gravée sur bois (engraving wood) en noir,avis au lecteur + 104 feuillets + errata, 1545 In Vinegia : per G. de Farri e fratelli, VIRGILE (0070-0019 av. J.-C.) 6 en Italien (thoscana favella). Le commentaire encadre le texte.Daniello, Bernardino. Traducteur(Mambelli, 953.).Virgile, en latin Publius Vergilius Maro (Andes, 15 octobre 70 - 21 septembre 19 av. J.-C.), est un poète et écrivain romain.Ce poème didactique se divise en quatre livres (514, 542, 566, 566 vers), abordant successivement la culture des champs, l&#146;arboriculture (spécialement la vigne), l&#146;élevage et l&#146;apiculture. Les Géorgiques sont beaucoup moins un traité d&#146;agriculture qu&#146;un poème sur l&#146;agriculture , elles s&#146;adressent au moins autant à l&#146;homme des villes qu&#146;à l&#146;homme des champs.une rareté.en bon état malgré les petits défauts signalés (very good condition in spite of the smalls defects indicated). . La Librairie Guimard offre aux clients AbeBooks 15% de réduction sur l'ensemble de son catalogue. Prix d'origine : 1800 EUR. [Attributes: Hard Cover]

      [Bookseller: Librairie Guimard]
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        De dissectione partium corporis humani.

      Paris, Simon de Colines, 1545. Folio. 17th century full mottled calf, neatly rebacked preserving the old spine. Title-page a bit dusty and strengthened at inner margin, on blank verso. A small closed tear to inner margin of 2nd leaf, no loss. Last leeaf with a repair to lower corner, no loss of text. Last three pages a bit dusty. A few repaired marginal tears, no loss. Light age yellowing and here and there some soiling and spotting (presumably due to medical use). All in all a good, well-margined copy. (24), 375, (1) pp. Printer's device to title-page, lovely woodcut initials, 62 full-page anatomical woodcuts, and ab. 100 sall medical illustrations to the text. With the 16t century autograph owner signature of Robert Westhawe to title-page and the manuscript ex libris of William Paschall (dated October 1646) to verso of last leaf. Wit Paschall's occasional marginalia.. The very rare first edition of one of the most important works in the history of medicine, being the first published work to include illustrations of the whole external venous, arterial, and nervous systems, and the most magnificent anatomical atlas of the sixteenth century, next to Vesalius' "Fabrica". Although the work was published two years after Vesalius', the anatomy itself is pre-Vesalian and antedates the "Fabrica" by some years in actual composition. "This magnificent folio volume is one of the finest of all anatomical treatises." (Heirs of Hippocrates). "One of the finest woodcut books of the French Renaissance, in which science and art are ideally merged." (Schreiber). It is down to coincidence and a complicated lawsuit that Vesalius's anatomy appeared before Estienne's and thus stole the thunder.Charles Estienne was a member of the famous family of printers (and scholars) bearing the same name. He received his medical degree from the University of Paris of 1542, but had been at work on this his anatomical magnum opus for many years. When Charles's father died in 1520, his mother married Simon de Colines, the famous printer, who also published the present work. It was in Colines's house that Charles Estienne found many of the valuable woodblocks that serve as basis for the magnificent illustrations in the "De Dissectione". The work is divided into three parts, the first two illustrated with full-page woodcuts, the third with smaller woodcut figures in the text. The first woodcut in the text is signed "S.R.", presumably referring to Stephanus Riverus (Estienne de la Riviere), Charles Estienne's friend and co-producer of this magnificent work. Riviere, who was at the time surgeon, artist, and engraver, is supposed to have prepared the drawings for the anatomical details. Eight of the woodcuts are signed by Jean Jollat, a celebrated Parisian engraver. Several of the Jollat blocks bear the dates 1530, 1531, and 1532 and a cutter's signature that points to the workshop of the eminent artist and typographer Geofroy Tory. Most of the magnificent full-page figures have the anatomical portions on separate smaller wood-blocks inserted into the large one. These artistically drawn figures are also interesting in themselves. They are shown in unusual poses against unusual backgrounds. Some are depicted hooked up on trees, sprawling in great chairs, etc. Almost all of them are quite remarkable and many are morbid. They were seemingly all created around 1530 when the first woodcut is dated. Presumably they then came into the possession of Simon de Colines and Geofroy Troy, who was his favourite engraver, who may have wanted to use them for an anatomical atlas for artists. There may have been be several different reasons why Collines never used them, but still kept them in his printing house. In 1538 Charles Estienne, who was a surgeon, decided together with Estienne de la Riviere to prepare a new book of anatomy using the highly valuable, but hitherto discarded, blocks which lay in his stepfather's printing house. Some of them were used as they were, but most of them underwent the appropriate modifications by means of insets. Riviere presumably dissected a corpse to serve as a model for the skeleton figures, and may also have contributed the anatomical details for the insets. Anyway, in 1539, Riviere lodged a complaint before the Parliament against Charles Estienne's claiming of the author's right. This lawsuit delayed the publication of the work, two-thirds of which had already been printed, and only in 1541 could it be submitted to the Faculty of Medicine for approval. "Had "De dissectione" been published in 1539, there is no question that it would have stolen much of the thunder from Vesalius' "Fabrica...". Despite its tardy appearance, however, "De dissectione" was able tomake numerous original contributions to anatomy, including the first published illustrations of the whole external and venous nervous systems, and descriptions of the morphology and purpose of the "feeding holes" of bones, the tripartite composition of the sternum, the valvulae in the hepatic veins and the scrotal septum. In addition, the work's eight dissections of the brain give more anatomical detail than had previously appeared" (Norman).In the preface, Estienne tells that printing was interrupted in 1539 and complains of plagiarism during the six years that the work was delayed. "The costly book was eventually published in 1545, followed in 1546 by the French edition. By that time, however, Vesalius had stolen the show... Herrlinger means that Vesalius profited from Estienne's illustrations after having encountered them during his stay in Paris from 1533 to 1536, when the majority of the woodcuts were already completed." (Hagelin).No matter what, the quality of the plates is extraordinary, and combined with the text, the importance of this work in the history of medicine and art is overwhelming. Choulant describes the work of the engravers as "particularly excellent", and the text "is particularly significant from the view point of the history of anatomic discoveries, since Estienne himself was a dissector and began his work long before Vesalius" (Choulant)."Estienne's best department is, perhaps that of arthrology. He was the first to trace blood vessels into the substance of bone. He was the first to remark upon the valves of the veins. Most remarkable of his observations is that of the canal in the spinal cord." (Singer).The present copy has a highly interesting provenance:ROBERT WESTHAW was an astrologer, prognosticator, author of almanacks, and quack doctor who flourished in the last quarter of the 16th century. His almanacks contained medical information apparently derived, in part at least, from the present volume.WILLIAM PASCHALL (1608-1670) was a pewterer in Bristol. His son, Thomas, emigrated to Philadelphia in 1684, and purchased land from William Penn. He became a prominent member of the Provincial Assembly and Common Council. The present volume may have come with his to the US. Stillwell: 626G&M: 378.Wellcome: 6076.Heirs of Hippocrates: 153.Hagelin, Rare and Important Medical Books in the Library of the Karolinska Institute. Pp. 26-31.Schreiber: 222Norman: 728.Choulant: pp. 152-55"First published work to include illustrations of the whole external venous and nervous systems." (G&M)."Illustrated with 56 figures based upon Estienne's dissections and observations. Contains the first published illustrations presenting the venous, arterial, and nervous systems in their entirety. Five of the cuts bear the Lorraine cross, the mark of Geofroy Tory. Several of the figures are dated 1530, 1531, or 1532, and the cuts reveal that blocks showing a detail of a given area were in various instances superimposed upon a more simply drawn figure, the detail being nortised into the main cut. According to Mr. Albert E. Lownes's description of the copy in his collection, for instance, "there are 62 full-page woodcuts, but six of them are repeated, so that there are only 56 different blocks. Thirty-eight of these have mortises with the anatomical details. Four of the blocks have two mortises." By 1539 the work itself was completed to the middle of the last section. Although not printed until after Vesalius's "Fabrica", the writing of the present text antedated the latter's publication by some years." (Stillwell). "This magnificent folio volume is one of the finest of all anatomical treatises. Certainly it was the finest printed in France in its century, and the sixty-two full-page woodcuts, artistically presenting the anatomical subjects in special poses before unusual background settings, are unusually sumptuous and imaginative. The anatomy itself is pre-Vesalian..." (Heirs of Hippocrates)."First edition of one of the great woodcut books of the French Renaissance and the most magnificent anatomical atlas of the sixteenth century next to Vesalius' "Fabrica". A French edition by the same printer followed in 1546, which has two additional full-page woodcuts... Although Estienne's anatomical atlas was published two years after the "Fabrica" of Vesalius, it antedates it in actual composition." (Hagelin, p. 26)

      [Bookseller: Lynge & Søn A/S]
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        Velitrae vulgo Blitri

      Antwerpen ca. 1545. Karte zeigt die Stadt Velletri, südöstlich von Rom, in Italien, Aus 'Civitates Orbis Terrarum', altkoloriert, Kupferstich, 34,5 x 40,5. Zustand: Perfekt, dem Alter entsprechend

      [Bookseller: Antique Sommer & Sapunaru KG]
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