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        Elementorum libri XV una cum scholiis antiquiis. A Federico Commandino Urbinate nuper in latinum conversi, commentariisque quibusdam illustrati.

      [Colophon:] Pesaro: Camillo Franceschini, 1572. First edition of "the most important Latin translation [of Euclid] ... it was the foundation of most translations which followed it up to the time of Peyrard [1814]" (Heath, The Thirteen Books of Euclid's Elements, Vol. 1, p. 104). Euclid's Elements is the "oldest mathematical textbook still in common use today" (PMM). The Elements "exercised an influence upon the human mind greater than that of any other work except the Bible" (DSB). Federico Commandino was the most prolific Renaissance translator of Greek mathematical works, as well as the most mathematically competent. His translation was the first to be based upon a tolerably critical Greek original. Although thus far only the chief book-producing centers like Venice had been involved in printing Euclid, this new translation into Latin of the fifteen books of the Elements was produced in Pesaro, a provincial seaport on the Adriatic near Urbino. The first printed Latin translations of Euclid were the medieval translation from the Arabic by Campanus of Novara (Venice, 1482), followed by a Latin translation from the Greek by Bartolomeo Zamberti (Venice, 1505). These two translations, together with the editio princeps of the Greek (Basel, 1533), were the basis for all subsequent Latin editions for more than half a century, and for many translations after that. "However, the better part of this influence was interrupted suddenly and decisively by the fourth major version: the publication at Pesaro in 1572 of the Latin translation by Federico Commandino of Urbino. Commandino--who, in addition to the place he holds in the history of physics deriving from his Liber de centro gravitatis (Bologna, 1565), prepared exacting Latin versions of many other Greek mathematical works--was clearly the most competent mathematician of all Renaissance editors of Euclid. He was also most astute in his scholarship, for we know that in addition to the 1533 editio princeps, he employed at least one other Greek manuscript in establishing the text for his translation. For the first time, save for the anonymous translation in the twelfth century, we now have a version (no matter what language) of the Elements that is solidly based on a tolerably critical Greek original. It even includes, also for the first time, a rendering of numerous Greek scholia. Aware, but critical, of the efforts of his predecessors, Commandino leaves no doubt of the advantage of staying closer to the Greek sources so many of them had minimized, if not ignored. The result of his labors may prove to be of less fascination than other versions, since it so closely follows the Greek we already know, but the importance it held for the subsequent modern history of the Elements is immeasurable. It came to serve, in sum, as the base of almost all other proper translations before Peyrard's discovery of the "pristine" Euclid in the early nineteenth century. Thus, to cite only the most notable cases in point, Greek texts of the Elements with accompanying Latin translation frequently based the latter on Commandino: for example, Henry Briggs's Elementorum Euclidis libri VI priores (London, 1620) and even David Gregory's 1703 Oxford edition of Euclid's Opera omnia (which was the standard, pre-nineteenth-century source for the Greek text). Commandino was also followed in later strictly Latin versions: that of Robert Simson, simultaneously issued in English at Glasgow in 1756; and even that of Samuel Horsley, appearing at London in 1802. Vernacular translations often followed a similar course, beginning with the Italian translation, revised by Commandino himself, appearing at Urbino in 1575 and extending to and beyond the English version by John Keill, Savilian professor of astronomy at Oxford, in 1708" (DSB, under Euclid). "Born ca. 300 BC in Alexandria, Egypt, "Euclid compiled his Elements from a number of works of earlier men. Among these are Hippocrates of Chios (flourished c. 440 BC), not to be confused with the physician Hippocrates of Cos (c. 460-375 BC). The latest compiler before Euclid was Theudius, whose textbook was used in the Academy and was probably the one used by Aristotle (384-322 BC). The older elements were at once superseded by Euclid's and then forgotten. For his subject matter Euclid doubtless drew upon all his predecessors, but it is clear that the whole design of his work was his own ... "Euclid understood that building a logical and rigorous geometry depends on the foundation--a foundation that Euclid began in Book I with 23 definitions (such as "a point is that which has no part" and "a line is a length without breadth"), five unproved assumptions that Euclid called postulates (now known as axioms), and five further unproved assumptions that he called common notions. Book I then proves elementary theorems about triangles and parallelograms and ends with the Pythagorean theorem ... "The subject of Book II has been called geometric algebra because it states algebraic identities as theorems about equivalent geometric figures. Book II contains a construction of "the section," the division of a line into two parts such that the ratio of the larger to the smaller segment is equal to the ratio of the original line to the larger segment. (This division was renamed the golden section in the Renaissance after artists and architects rediscovered its pleasing proportions.) Book II also generalizes the Pythagorean theorem to arbitrary triangles, a result that is equivalent to the law of cosines. Book III deals with properties of circles and Book IV with the construction of regular polygons, in particular the pentagon. "Book V shifts from plane geometry to expound a general theory of ratios and proportions that is attributed by Proclus (along with Book XII) to Eudoxus of Cnidus (c. 395/390-342/337 BC). While Book V can be read independently of the rest of the Elements, its solution to the problem of incommensurables (irrational numbers) is essential to later books. In addition, it formed the foundation for a geometric theory of numbers until an analytic theory developed in the late 19th century. Book VI applies this theory of ratios to plane geometry, mainly triangles and parallelograms, culminating in the "application of areas," a procedure for solving quadratic problems by geometric means. "Books VII-IX contain elements of number theory, where number (arithmos) means positive integers greater than 1. Beginning with 22 new definitions--such as unity, even, odd, and prime--these books develop various properties of the positive integers. For instance, Book VII describes a method, antanaresis (now known as the Euclidean algorithm), for finding the greatest common divisor of two or more numbers; Book VIII examines numbers in continued proportions, now known as geometric sequences (such as ax, ax2, ax3, ax4, ...); and Book IX proves that there are an infinite number of primes. "According to Proclus, Books X and XIII incorporate the work of the Pythagorean Thaetetus (c. 417-369 BC). Book X, which comprises roughly one-fourth of the Elements, seems disproportionate to the importance of its classification of incommensurable lines and areas (although study of this book would inspire Johannes Kepler [1571-1630] in his search for a cosmological model). "Books XI-XIII examine three-dimensional figures, in Greek stereometria. Book XI concerns the intersections of planes, lines, and parallelepipeds (solids with parallel parallelograms as opposite faces). Book XII applies Eudoxus's method of exhaustion to prove that the areas of circles are to one another as the squares of their diameters and that the volumes of spheres are to one another as the cubes of their diameters. Book XIII culminates with the construction of the five regular Platonic solids (pyramid, cube, octahedron, dodecahedron, icosahedron) in a given sphere" (Britannica). Rose (p. 185) emphasizes the importance of Commandino to the mathematical renaissance of the sixteenth century: "Perhaps the clearest perception of the mathematical renaissance is to be found in the writings of the Urbino school. Not only did Commandino, Guidobaldo dal Monte and Bernardino Baldi (1533-1617) pursue the revival of Greek mathematics and the restoration of mathematical certainty, but in their thought there also emerged a strong sense of the historical development of mathematics. The idea of a mathematical renaissance is especially evident in the tributes paid to the founder of the Urbino school by his two important pupils. Guidobaldo writes in 1577: 'Yet in the midst of that darkness (though there were also some other famous names) Federico Commandino shone like the sun. He by his many learned studies not only restored the lost heritage of mathematics, but actually increased and enhanced it. For that great man was so well endowed with mathematical talent that in him there seem to have lived again Archytas, Eudoxus, Hero, Euclid, Theon, Aristarchus, Diophantus, Theodosius, Ptolemy, Apollonius, Serenus, Pappus and even Archimedes himself, for his commentaries on Archimedes smell of the mathematician's own lamp. And lo! just as he had been suddenly thrust from the darkness and prison of the body (as we believe) into the light and liberty of mathematics, so at the most opportune time he left mathematics bereft of its fine and noble father and left us so prostrate that we scarcely seem able even by a long discourse to console ourselves for his loss.' And Baldi: 'Commandino with the greatest diligence and insight restored to light, to dignity and to splendour the works of nearly all the principal writers of the age in which mathematics had flourished.'" Adams E 984; Censimento 16 CNCE 18358; Honeyman Coll. 985; Riccardi I, 362; Steck III.83; Thomas-Stanford 18. Rose, The Italian Renaissance of Mathematics: Studies on Humanists and Mathematicians from Petrarch to Galileo, 1975. Folio (318 x 218 mm), ff. [xii], 255, [1], with hundreds of woodcut geometrical diagrams in text, historiated initials and printed marginal notes, text in roman and italic type. Title-page with woodcut architectural border signed Iacobus Chriegher German[us]. Contemporary limp vellum, remains of ties, old paper repairs to inner hinges, otherwise fine and unrestored. A very large a clean copy.

      [Bookseller: SOPHIA RARE BOOKS]
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        Candia" und "La Cita de Corfu

      Artist: Braun/Hogenberg Franz/ Georg ( - 1618) Cologne; issued in: Cologne; date: ca 1595 1572 - - technic: Copper print; - colorit: colored; - condition: Very good; - size (in cm): 32 x 46; - description: 2 island-views at one sheet: Crete und Corfu; -vita of the artist: Frans Hogenberg (1535 ñ 1590) was a Flemish and German painter, engraver, and mapmaker.Hogenberg was born in Mechelen as the son of Nicolaas Hogenberg In 1568 he was banned from Antwerp by the Duke of Alva. He travelled to London, where he stayed a few years before emigrating to Cologne. He is known for portraits and topographical views as well as historical allegories. He also produced scenes of contemporary historical events.George Braun (1541-1622), a cleric of Cologne, was the principal editor of the "Civitates Orbis Terrarum".The first volume of the Civitates Orbis Terrarum was published in Cologne in 1572. The sixth and the final volume appeared in 1617. This great city atlas, edited by Georg Braun and largely engraved by Franz Hogenberg, eventually contained 546 prospects, bird-eye views and map views of cities from all over the world. Braun (1541-1622), a cleric of Cologne, was the principal editor of the work, and was greatly assisted in his project by the close, and continued interest of Abraham Ortelius, whose Theatrum Orbis Terrarum of 1570 was, as a systematic and comprehensive collection of maps of uniform style, the first true atlas.

      [Bookseller: Antique Sommer& Sapunaru KG]
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        Brixia Tirolis

      Incisione in rame, 197x495. Pianta prospettica della città tratta da "Civitates Orbis Terrarum", pietra miliare del vedutismo, stampata dal 1572 al 1615 ca. in 6 volumi pubblicati in anni differenti. Ottime condizioni, margine inf. breve come consuetudine.

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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        Stultifera navis mortalium in qua fatui affectus, mores, conatus atque studia, quibus vita haec nostra, in omni hominum genere, scatet, cunctis sapientiae cultoribus depinguntur, & velut in speculo ob oculos ponuntur : liber salutaribus doctrinis & admonitionibus plenus olim a clariss. viro d. Sebastiano Brant iurisconsulto, Germanicis rhythmis conscriptus ; & per Iacobum Locher Suevum Latinitati donatus ; nunc vero revisus, & elegantissimis figuris recens illustratus.

      Basileae : [Sebastian Henricpetri], (Basel Heinrich Petri), 1572 [Mense Martio (Kollophon)]. - [14 Bl., 2 weisse Blätter] 274 S. [1 Bl.] Mit einer Textholzschnittvignette und 114 Textholzschnitten (ein Holzschnitt ankoloriert) VD 16, B 7081; Admas B 2673; Brunet I, 1205; IA 123.749; Wilhelmi 248; Kat. Stimmer, Basel 1984, 54a; Erste Oktav-Ausgabe der lateinischen Narrenschiffbearbeitung und erste Ausgabe mit den hier vorliegenden Illustraionenen. Die Holzschnitte wurden u.a. von Nagler (Vgl. XIX, 469) Tobias Stimmer zugeschrieben und sind keine blossen Wiederholungen der Dürerillustrationen für die EA von 1494, sondern zeigen eine durchaus eigene Auffasung. Andresen (Vgl. III, 210) schlägt die Schule von H. R. Manuel Deutsch vorschlägt. Etwas gebräunt und im oberen Viertel durchgehend etwas wasserrandig. la Gewicht in Gramm: 1800 8° Ganzpergament des 19 Jahrhunderts mit goldgeprägtem Lederrückenschild [Attributes: First Edition]

      [Bookseller: Antiquariat Michael Solder]
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        Kreuterbuch. Darin underscheidt, Namen unnd Würckung der Kreutter, Stauden, Hecken und Beümen, sampt iren Früchten, so inn Teütschen Landen wachsen auch derselbigen eigentlicher und wolgegründter Gebrauch inn der Artzney, fleissig dargeben, Leibs gesundheyt zu fürdern und zu behalten sehr nutzlich und tröstlich, vorab dem gemeynen einfaltigen Mann .

      Strassburg, Josias Rihel. 1572 - Kl.-Folio. (20), 369, (16) Bl. Lederband mit blindgeprägten Rollstempel- und Plattenverzierungen und 2 Schliessen. VD16 B 6021. - Nissen 182. - Pritzel 866. - Spätere illustrierte Ausgabe. - Im Gegensatz zum humanistisch geprägten Brunfels und eher in der volkstümlichen Tradition des "Gart der Gesundheit" stellte der Hornbacher Pfarrer Bosch sein Werk zusammen, "indem er sich ganz den heimatlichen Pflanzen widmet. Nicht nur erwanderte er sich deren Kenntnis in der freien Natur; zeitweise scheint er auch , als Leiter eines Botanischen Gartens in Zweibrücken, Gelegenheit zu eigenen Kulturversuchen genommen zu haben. Dementsprechend finden wir bei ihm reichhaltige Fundangaben und treffsichere phänologische Bemerkungen. Auch die ungemein anschauliche, humorgewürzte Beschreibung der Pflanzen zeugt von seinem nahen Verhältnis zur Natur". (Nissen S. 51). - Die Darstellungen, die an Weiditz und Fuchs erinnern, sind direkt nach Vorlagen aus der Natur geschnitten worden. - Bocks Kräuterbuch wurde bis ins 17. Jahrhundert mehrfach aufgelegt. – Titelblatt mit Gebrauchsspuren, leimschattig, verso mit alten handschr. Besitzereinträgen und montiertem Papierausschnitt mit alter Handschrift. Papier nur vereinzelt fleckig und wasserrandig. Beide fliegenden Vorsätze fehlen. [Attributes: Hard Cover]

      [Bookseller: EOS Buchantiquariat Benz]
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        [15] Henri met de Bles (Pictorum aliquot celebrium, præcipué Germaniæ Inferioris, effigies; series title)

      Portrait of Henri met de Bles. In the background to the left an owl in a niche and on the right a landscape. 15th plate of the series; I part. Monogrammed on the left: 'Hh ex.' Inscription on the bottom: 'HENRICO BLESIO, BOVINATI, PICTORI./ Pictorem urbs dederat Dionatum Eburonia, Pictor / Quem proximis dixit poeta versibus / Illum adeo artificem patriae situs ipse, magistro / Aptissimus, vix edocente fecerat. / Hanc laudem invidit vicinae exile Bovinum, / Et rura doctum pingere Henricum dedit / Sed quantum cedit Dionato exile Bovinum / Ioachime, tantum cedit Henricus tibi.' Copy in reverse to Cock's 1572. Engraving with margins; plate mark: 208 x 123, total: 230 x 146; some dirt and foxing in the region of the text; Hollstein 137; New Hollstein (Hondius) 96

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        Harlemias sive enarratio obsidionis urbis Harlemi quae accidit anno 1572. Leiden, Paets, 1605.

      4°, gebonden in geheel leren band uit de tijd, (106) pag. Grieks gedicht met Latijnse vertaling betreffende het Haarlemse beleg. Opdracht aan stadsbestuurders van Haarlem. Drempelverzen van D. Heinsius, P. Scriverius, M. Fabricius e.a. B1798.

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
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        Divi Gregorii Papae, hvivs nominis primi, cognomento Magni, Omnia, qvae extant, opera...; & Tomus Secundus Operum D. Gregorii Pape, Huius Nominis Primi...

      Antverpiae: Apud hæredes Arnoldi Birckmanni, 1572. Both volumes: White, decoratively-stamped vellum/boards. 8 raised bands on spine. Metal bracket closures (2) at fore edge side. No illus. but for decorative title pages. First "volume": 232 LEAVES; second "volume": 392 LEAVES + [109] pp. index. Heavy at 18 pounds and will require extra postage. In Latin. Presumably the works of Pope Gregory. The first volume seems to contain expository writings on moral living, based upon the scriptures. The second volume includes homilies (sermons), more writings, antiphons, hymns, and two indices (one being the scriptures explained in brief. Both volumes: binding solid but covers darkened and with faint library markings. Ex-libris Rev. Johannes Shanahan (most likely Bishop John Shanahan of the Harrisburg, PA Catholic Diocese, 1899-1916) on fep; old, unreadable ink inscription on ffep.; 1779 ownership notation on verso of ffep. various odd notations on end papers, title page.Vol. I: Irregular blackening to page tops/parts of edges (presumably for worm damage?, unless burnt in a fire); blackened areas very brittle, and pp. 152-155 have some areas of text covered by the black; old splatter stain on back cover (red wine?). Metal closures broken. Vol. II: Metal closures not broken, but book has expanded, so they don't close. Text still clean and pages mostly bright; binding solid.

      [Bookseller: Mullen Books, Inc.]
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        Imperatorum ac Caesarum Romanorum, a C. Iulio Caesare, usque ad Maximilianum II. Austriacum, breves, & illustres descriptiones.

      Leipzig, Ernst Vögelin für Andreas Schneider aus Ortrant, 1572. 8°. Mit Holzschn.-Titelvignette. 1 Bl., 221 S. - Vorgeb. - Chateillon, Sébastien (Bearb.). Sibyllina oracula de graeco in latinum conversa, et in eadem annotationes. Sebastiano Castalione interprete. Basel, Johann Oporinus, 1546. Mit einigen figürl. Holzschn.-Initialen. 12 Bll. (das letzte weiß), 135 S., Etw. späterer Pgmt.-Bd. m. handschriftl. Rückentitel u. dreiseitigem Farbschnitt. Ad 1) Chronologische Auflistung der römischen Kaiser von Julius Cäsar bis Maximilian II., tlw. mit kurzen biographischen Angaben und am Ende mit einer tabellarischen Übersicht. - Ad 2) Erste lat. Ausgabe der Übersetzung von Chateillon (1515-1563), der seit 1544 in Basel lebte und dort 1553 die Professur für griechische Sprache erhielt. Berühmte Sammlung vermeintlich prophetischer Schriften aus jüdischen, christlichen und anderen Quellen. - Einband leicht berieben u. etw. fleckig. Vorderes Vorsatzbl. m. alt gestrichem Besitzvermerk. Eine Titelzeile von 1) mit einigen alt in Tinte nachgezogenen Buchstaben. Etw. gebräunt bzw. fleckig. - Ad 1) VD16, S 88; Adams R 418; BM STC, German Books 734. - Ad 2) VD16, S 6280; Adams S 1060; Hieronymus, Griech. Geist 461; Schweiger I, 288. Versand D: 12,00 EUR Reusner, Sabinus, Imperatorum ac Caesarum Romanorum, a C. Iulio Caesare, usque ad Maximilianum II. Austriacum, Chateillon, Sibyllina oracula de graeco in latinum conversa, Sammelband

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Corpus Doctrinae Christianae. Quae est summa orthodoxi et catholici dogmatis complectens..

      Leipzig: Sax, 1572. Early Edition. Hardcover (Full Leather). Very Good Condition. Contemporary full rolled pigskin, remains of clasps, much darkened, but still sound and attractive. Old and copious notes on endpapers and title, a few notes in preface, botton of front endpaper excised, modest general browning and scattered foxing, old ink burn through first few pages touching some letters but no affecting sense. (22), 888pp.A nice copy in an original binding. First published in 1560, Melanchthon's Corpus was a posthumous collection of his works that was used as a sort of Lutheran Catechism and as such, was one of the guiding documents of early Lutheranism. Size: Octavo (8vo). Quantity Available: 1. Shipped Weight: Under 1 kilo. Category: Religion & Theology; Philosophy. Inventory No: 046455.

      [Bookseller: Pazzo Books ]
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        Autricum, Prolemeo in Gallia Lugdunensis Urbs; vulgo, cum Villa nouano, Chartres / Chasteaudunum, Comitatus vulgo Dunoys in Gallia Oppidum primorium

      Braun & Hogenberg, Cologne - Two bird's-eye plans on one sheet. Copper engraving with original hand coloring. Image measures 13" x 18.75" These two bird's-eye plans on one sheet depict the French cities of Chartres and Châteaudun. Chartres is shown from the southeast, with its famous cathedral at the center of the frame towering over the comparatively diminutive city around it. This prized church became the model for many other Gothic churches and is nearly synonymous with the city in which it is located. A number of lesser churches are also shown in detail, as are houses, fields, and gardens. Similarly detailed is the map of Châteaudun, shown from the east as to clearly illustrate how the city leans up against the ridge of the hill to its right. This city's prominent buildings are the 12th-century chateau at the top right and the church of La Madeleine at the upper left. Its seal and coat of arms are also rendered. he print is from Braun's city atlas "Civitates Orbis Terrarum", a collection of city views and plans created as a companion to Ortelius' "Theatrum Orbis Terrarum" and published between 1572 and 1617. Latin text on verso. The plans are in very good condition with some overall toning and wear to the title of the Chartres view. Chips in the margins not affecting the image. Some mat burn and margin folds from being previously framed. Georg Braun (1541-1622) was a Catholic cleric who edited the "Civitates orbis terrarum," a collection of 546 prospects, bird's-eye views and maps of international cities. Hogenberg created the tables for the first 4 volumes. Together, these two geographers created a work that set new standard for cartography for the next century. These views demonstrate the high quality of their work.

      [Bookseller: Argosy Book Store, ABAA, ILAB]
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        Gesamtansicht aus der halben Vogelschau ('Aich.- Aquisgranum .').

      - altkolorierter Kupferstich v. Braun & Hogenberg, 1572, 30 x 36,5 Nicht bei Koeman u. Bachmann. Fauser 01. - Seltener erster Plattenzustand der Braun & Hogenberg-Ausgabe.

      [Bookseller: Antiquariat Norbert Haas]
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        Gesamtansicht aus der Vogelschau, mit zwei Wappen u. Textkartuschen, "Colonia Agrippina.".

      - Kupferstich aus Braun - Hogenberg, 1572, 33 x 47,5

      [Bookseller: Antiquariat Nikolaus Struck]
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        \"Decem et Tria Loca Confoederatorum Helvetiae\". Sammelblatt mit 13 Gesamtansichten Schweizer Städte.

       Altkol. Kupferstich aus Braun-Hogenberg, 1572, 37 x 47 cm. Die Gesamtansichten zeigen: Schwyz, Unterwalden, Zug, Glarus, Basel, Zürich, Bern, Luzern, Uri, Freiburg, Solothurn, Schaffhausen und Appenzell. In kräftigem, sehr dekorativem Kolorit. Versand D: 6,00 EUR Europa, Schweiz

      [Bookseller: Antiquariat Bierl]
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        [Quae extant opera] Plutarchi Chaeronensis quae extant opera, cum Latina interpretatione. Ex vetustis codicibus plurima nunc primum emendata sunt, ut ex Henr. Stephani annotationibus intellliges: quibus & suam quorundam libellorum interpretationem adiunxit. Aemylii Probi De Vita excellentium imperatorum liber. [Together with: [Quae extant opera] Variorum Plutarchi Scriptorum Tomus Secundus.] / [Together with: [Opuscula Varia: Quae Magna Ex Parte sunt Philosophia: Vulgo autem Moralia Opuscula Nimis Angusta Appelatione Vocantur]

      [Geneve]: Henr(icus) Stephanus. Editio princeps.. Contemporary name in ink to titlepage: Thomas Hortonus] Binding firm and only slightly rubbed. Gilt lettering and ornamenting on spine slightly faded. Faded dampstain throughout.. Editio princeps. [Geneve], Henr(icus) Stephanus, 1572. 8°. 2 volumes with continuous pagination Volume I: 1 - 778 pages / Volume II: (779)-1381 pages. / Volume III: 683 pages / Volume IV: 731 pages. Hardcover / Original 18th century full calf. Contemporary name in ink to titlepage: Thomas Hortonus] Binding firm and only slightly rubbed. Gilt lettering and ornamenting on spine slightly faded. Faded dampstain throughout. Henri Estienne, also known as Henricus Stephanus, was a 16th-century Parisian printer and classical scholar. The eldest son of the great Robert Estienne (1503–59), he was born in Paris in 1528 (some sources say 1531), and died at Lyon in 1598.

      [Bookseller: The Time Traveller's Bookshop]
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        Mathematicum opus absolutissimum: ... Including :(1) MAROLOIS, Samuel. Geometria theoretica ac practica: ...Amsterdam, Janssonius, 1633. With 47 double-page engraved plates, numbered 1-42 and 1-5. (2) MAROLOIS, Samuel.. Artis muniendi, sive fortificationis, pars prima: ...Amsterdam, Janssonius, 1644. (3) MAROLOIS, Samuel.. Fortificationis, sive artis muniendi, pars secunda.Amsterdam, Janssonius,1644. With 40 double-page engraved plates. (4) VREDEMAN DE VRIES, Joannis. Architectura: ...Amsterdam, Janssonius,1633. With 30 double-page engraved plates by Henricus Hondius after the designs by Vredeman de Vries, one dated 1601. (5) MAROLOIS, Samuel. Opticae, sive perspectivae, pars prima: ...Amsterdam, Janssonius 1633. With 80 double-page engraved plates, some by Henricus Hondius, incl. 6 views of buildings in Rome (nos. 54-59) in roundels, after the drawings by Petrus Stephanus. (6) VREDEMAN DE VRIES, Joannis. Perspectiva theoretica ac practica.Amsterdam, Janssonius, 1633. Including: (7) VREDEMAN DE VRIES, Joannis. Perspect

      STCN (4 copies); WorldCat (4 copies); ad 1: cf. Bierens de Haan 3027; ad 2: Bierens de Haan 3026; Jähns, p. 1094; Cockle 821; ad 3: cf. Fowler 191; Bierens de Haan 3024; ad 4: Fowler 434; ad 5: Bierens de Haan 3031; ad 6 & 7: Vagnetti EIIIb3; cf. Fowler 432. Complete works of Samuel Marolois (1572-1627), including the works of his predecessor Jan Vredeman de Vries (1527-ca. 1606/08) that were edited with numerous additions by Marolois. Marolois was a French mathematician, who published in the Low Countries and taught Henricus Hondius. Here all the works are edited, corrected and revised by Albert Girard, who also revised the mathematical works of Simon Stevin. Marolois's Geometria presents a thorough pictorial course of all aspects of geometry and its application to measurement, proportion, surveying, perspective, etc. His Fortificationis , first published at The Hague in 1615, represents the most outstanding text book, richly illustrated, on the Dutch art of fortification at the beginning of the 17th century. Vredeman de Vries's Architectura , originally the third volume of his Perspectiva , gives a pictorial course in the basic rules of architectural design, with plates by De Vries and his most gifted pupil and successor, Hendrik Hondius (1573-1650). The text consists mainly of the explanations of the plates.In good condition, with the lower outside corner of the first part of the second volume frayed, without affecting the text; some minor water stains and foxing. Bindings worn but skillfully repaired. Rare early editions of Marolois's works, issued with a general title-page and in a contemporary binding.

      [Bookseller: Antiquariaat FORUM BV]
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        FRANCE,FLANDRE ROMANE FRANKREICH 1635 Titel: Gallo Flandria, in qua Castellaniae Lilana, Duacena & Orchiesia, cum dependentibus : nec non Tornacum, & Tornacesium autore Martin Doué

      Landkarte, map, altkoloriert, von Martin Doué (1572-1638) und Willem Jansz Blaeu (1571-1638), ca, 50 x 38 cm, verso deutscher Text (Atlas Novus.) Bonacker 80 Landkarte

      [Bookseller: ANTIQUARIAT.WIEN Fine Books & Prints- Fl]
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        Terentius, a M. Antonio Mureto locis prope innumerabilibus emendatus. Eiusdem Mureti argumenta in singulas comoedias, & annotationes quibus tum correctionum magna ex parte, ratio redditur, tum loci obscuriores explicantur

      Apud Hieronymum de Manref, & Gulielmum Cavellat, sub Pelicano monte D. Hilarii, 1572. in 16°, 13 cm, rilegatura recente in pelle, p. 526, (1). Marca tipografica incisa al frontespizio e in fine, alcune iniziali decorate

      [Bookseller: Studio Bibliografico Orfeo (ALAI-ILAB)]
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        Sechs Gesamtansichten auf einem Blatt (je 10 x 23 cm): München, Freising, Regensburg, Ingolstadt, Nördlingen, Straubing.

       Altkol. Kupferstich aus Braun-Hogenberg, 1572, 31 x 47 cm. Vgl. Fauser 9252 (die Ansicht von München). - Das seltene Blatt breitrandig und gut erhalten. Versand D: 6,00 EUR BAYERN, Oberbayern

      [Bookseller: Antiquariat Bierl]
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        BAYERN. Sechs Gesamtansichten auf einem Blatt (je 10 x 23 cm): München, Freising, Regensburg, Ingolstadt, Nördlingen, Straubing.

      - Altkol. Kupferstich aus Braun-Hogenberg, 1572, 31 x 47 cm. Vgl. Fauser 9252 (die Ansicht von München). - Das seltene Blatt breitrandig und gut erhalten.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Gesamtansicht von Mainz, Würzburg und Sitten ('Ments. - Wurtzburg. Sitten.').

      - kolorierter Kupferstich v. Braun & Hogenberg, 1572, 43 x 47,5

      [Bookseller: Antiquariat Norbert Haas]
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        Gregorio XIII

      1572 - Bulino, 1572 circa, privo di firma e dati editoriali. Bella impressione, nitida e ben contrastata, impressa su carta vergata coeva, con filigrana "doppia stella nel cerchio", margini di circa 1,5 – 2 cm, in ottimo stato di conservazione. Nella parte inferiore dell’immagine, una didascalia in latino su due righe 'Gregorius XIII Pont Max Assumptis Pontificalibus insignis quod coronationis munus nuncupatur populo benedicens vaticanum ingreditur VIII KAL M.D.LXXII' La scesa rappresenta papa Gregorio XIII, al secolo Ugo Boncompagni, sulla sedia gestatoria che benedice la folla, mentre fa il suo ingresso in Vaticano, il 24 giugno 1572. Il cardinale Boncompagni, bolognese fu eletto pontefice il 13 maggio del 1572, il giorno di S. Gregorio Magno, per cui scelse per sé il nome del santo. Com'è noto, Gregorio XIII riformò il calendario giuliano, allora in vigore, da allora denominato calendario gregoriano; mentre splendida testimonianza dei suoi interessi scientifici, storici e letterari è la Galleria delle carte geografiche in Vaticano, oggi inserita nel percorso dei Musei. La Galleria è lunga 120 metri, larga 6. Le pareti sono per intero ricoperte dalla rappresentazione delle regioni d’Italia nella restituzione cartografica del grande matematico e geografo Egnazio Danti. La stessa lastra verrà utilizzata da De Cavalleris, per l’insediamento di Sisto V, successore di Gregorio XIII, nel 1585, correggendo lo stemma araldico, la data e il nome del Pontefice. L’abrasione della lastra è visibile e lascia intravedere il testo sottostante. Interessante e rara opera. Engraving, ca. 1572, without date and signature. Lettered along bottom 'Gregorius XIII Pont Max Assumptis Pontificalibus insignis quod coronationis munus nuncupatur populo benedicens vaticanum ingreditur VIII KAL M.D.LXXII' A very good impression, printed on contemporary laid paper, with watermark "double star", and margins of about 150/200 mm, in a very good condition. The scene depicts pope Gregorius XIII, seated on the gestatorial-chair, giving his blessing to his loyal and devoted supporters. Cardinal Ugo Boncompagni was elected pope on May 13, 1572 after a one-day conclave. He is best known for commissioning and being the namesake for the Gregorian calendar, which remains the internationally accepted civil calendar to this day. Splendid testimony of his scientific historical and literary interests, is the Gallery of Maps in the Vatican. The same plate was late printed by De Cavalleris in 1585, in honor of Sisto V. Dimensioni 380 267mm

      [Bookseller: Libreria Antiquarius]
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        BAYERN., Sechs Gesamtansichten auf einem Blatt (je 10 x 23 cm): München, Freising, Regensburg, Ingolstadt, Nördlingen, Straubing.

      Altkol. Kupferstich aus Braun-Hogenberg, 1572, 31 x 47 cm. Vgl. Fauser 9252 (die Ansicht von München). - Das seltene Blatt breitrandig und gut erhalten. BAYERN, Oberbayern

      [Bookseller: Buch- und Kunstantiquariat]
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        Nova urbis Hierosolymitane descriptio, qua forma & situ nostro seculo se conspiciendam praebet

      Colonia 1572 - L’opera è inserita nel Civitatie Orbis Terrarum, il primo atlante devoto esclusivamente alle piante e vedute delle principali città del mondo. Stampato in sei volumi tra il 1572 ed il 1617 ebbe grande fortuna e diffusione, tanto che ne furono stampate diverse edizioni tradotte in latino, tedesco e francese; gli intagli dei rami sono attribuiti a Franz Hogenberg e Simon van de Noevel. Incisione in rame, bella coloritura coeva, in ottimo stato di conservazione. Striking early pair of plans of Jerusalem, from Braun & Hogenberg's Civitates Orbis Terrarum, the most famous and influential book of town plans published in the 16th Century. Fascinating engraving containing two aerial views of Jerusalem. At the left, Jerusalem is illustrated based upon illustrations and accounts of Biblical Jerusalem as it was at the beginning of the first century BC. At the right, a modern view of the City, as it appeared in the 16th Century. Each is accompanied by legends listing important structures and places that are keyed to the plans. In the lower right is a vignette of Moses receiving the Commandments along with Aaron, whose garments and accouterments are listed in the table to the right. Dimensioni 490 350mm

      [Bookseller: Libreria Antiquarius]
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        Opuscolorum theologicorum. Accesserunt nunc eiusdem S. Patris aliqui mira eruditionis, ac sanctitatis libelli, qui iam temporum iniuria pène interciderant.

      Scotum, 1572. 2 voll., in 4°, m. pelle. 1°vol. cc. nn. 28 (di Index)+pp. 489. 2° vol., pp. 650. Front. figurati. Marca tipografica sull'ultima p. di entrambi i voll. Capilettera. Le prime 9 cc. nn. del 1°vol. risultano sciolte. Nervi. Lettere in o. ai d. Mende alle copp.

      [Bookseller: Libreria Cicerone M.T.]
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        Oeconomia Bibliorum, siue Partitionum theologicarum libri quinque: quibus Sacrae Scripturae dispositio, seù artificium & vis, atque ratio in tabulis, velut ad viuum exprimitur, & ita ob oculos ponitur, vt non modò absolutissimam complectantur vniuersae theologiae summam, atque methodum, sed commentarii etiàm vice haberi queant. . Authore D. Georgio Edero . His adiecimus etiam, . Partitiones Catechismi catholici Tridentini, eodem D. Georgio Edero authore.

      Ex officina haeredum Melchioris Sessae, Venetiis. 1572 - 714, [2], 119 p., 30 cm, perg., tagli marmorizzati. Esemplare buono, segni d'uso alla pergamente, probabilmente mancante la prima carta bianca, ex libris.

      [Bookseller: Studio Bibliografico Adige]
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        Rime

      Comin da Trino, 1572. 8vo (151x102 mm). (15, lacking the first blank leaf), 121 [i.e. 126, leaves 54, 63, 64, 107 and 108 repeated in numbering], (6) leaves. With a woodcut device on the title-page and at the end. Contemporary vellum, spine covered by a red paper with label and ink title, slightly rubbed and worn, a good and genuine copy. FIRST EDITION (variant issue in which the blank leaf Q7 is replaced by a bifolium containing a sonnet by Domenico Venier and the errata). The volume is dedicated by Celio Magno to Giulio Contarini (Zara, October 20, 1572) and also contains a life of Molino written by the painter Giovanni Mario Verdizzotti, a pupil of Titian. This verse collection represents a kind of summa of the Venetian neo-Petrarchism and contains at the end a "tombeau poétique' in Molino's memory, including verses by Lauro Badoer, Girolamo Fioretti, Federico Frangipane, Giorgio Gradenigo, Pietro Gradenigo, Nicolò Macheropio, Celio Magno, Domenico Vernier, and some anonymous authors (cf. E. Taddeo, Il manierismo letterario e i lirici veneziani del tardo Cinquecento, Rome, 1974, pp. 73-91). "Nel 1569 muore Girolamo Molino. Gli amici, Domenico Venier in primo luogo, promuovono la pubblicazione delle sue rime; Celio Magno le dedica a Giulio Contarini. Il compito di scrivere la vita dell'autore è affidata al Verdizotti. Anche in questo caso egli coglie l'occasione per dare al libro un particolare sapore. Si celebra la collaborazione fra grandi personaggi di generazioni diverse: si ricorda l'amicizia del giovane Molino con i vecchi maestri, il Bembo, Triphon Gabriele, il Trissino, e con personaggi illustri, con cui minore era lo stacco generazionale, come Domenico Venier, il Navagero, Daniele Barbaro, Bernardo Cappello, Luigi Cornaro, lo Speroni, Bernardo Tasso, Giulio Camillo. Il Verdizotti ricorda anche che l'amore per la poesia volgare conviveva nel Molin con l'interesse per la pittura, la scultura, la musica, e che anche conosceva la lingua ebraica, oltre al greco e al latino. Interessante è anche il ritratto morale del personaggio, non si sposa per non turbare l'otium degli studi letterari, ma non è certo insensibile al fascino delle belle donne; accetta raramente incarichi pubblici, ma si indigna per il cattivo uso che altri ne fanno: si arrabbiava, scrive il Verdizotti, contro coloro che "carichi di ricchezza e ornati di grande autorità, non facessero molte cose degne di loro, come si può tener per certo ch'egli fatto haverebbe'. La vita del Molin scritta dal Verdizotti tende dunque a tramutarsi nella celebrazione di un ambiente, nella appassionata rievocazione di un momento magico della vita culturale veneziana" (L. Bolzoni, La stanza della memoria. Modelli letterari e iconografici nell'età della stampa, Turin, 1995, p. 36). "Since musical activity in Venier's salon functioned as a pastime rather than a central activity, and since the academy kept no formal records of its meetings, concrete evidence of links between musicians and men of letters is scarce... Among literati the most intriguing link may be found in the figure of Molino, Venier's aristocratic poet friend and acquaintance of Parabosco. Molino's stature in Venetian society was considerable, despite family battles that cost him an extended period of poverty and travail. A bust sculpted by Alessandro Vittoria for the tiny Cappella Molin in Santa Maria del Giglio - where a great number of reliquaries owned by the family are still preserved - portrays Molino as the embodiment of gerontocratic wisdom. In 1573 his posthumous biographer, Giovan Mario Verdizzotti, wrote that of all the arts Molino had delighted in understanding music most of all. The remark is supported by earlier evidence. Several composers based in Venice and the Veneto - Jean Gero, Francesco Portinaro, and Antonio Molino (no relation) - set Molino's seemingly little-accessible verse to music before its publication in 1573, four years after the poet's death... Molino himself may have performed solo song, as Stampa seems to hint in a sonnet dedicated to him with the words "Qui convien sol la tua cetra, e "l tuo canto, / Chiaro Signor' ("Here only your lyre is fitting, and your song, / eminent sir'). In Petrarchan poetry the idea of singing, and singing to the lyre, is of course a metaphorical adaptation of classical convention to mean simply poetizing, without intent to evoke real singing and playing. But Stampa's poems make unusual and pointed separations between the acts of "scrivere' and "cantare' that suggest she meant real singing here. Other contemporaries specifically point up Molino's knowledge of theoretical and practical aspects of music. In 1541, Giovanni del Lago dedicated his extensive collection of musical correspondence to Molino, whom he declared held "the first degree in the art of music' ("nell'arte di Musica tiene il primo grado'). Further, he claimed, "Your Lordship... merits... the dedication of the present epistles, in which are contained various questions about music... And certainly one sees that few today are found (like you) learned... in such a science, but yet adorned with kindness and good morals'. Del Lago's correspondence was theoretically oriented in church polyphony. One of its most striking aspects is its recognition of connections between music and language that parallel those embodied in the new Venetian madrigal style. Del Lago insisted that vernacular poetry be complemented with suitable musical effects and verbal syntax with musical phrasing. In discussing these relationships he developed musically the Ciceronian ideals of propriety and varietas. His dedication to Molino therefore presents a fascinating bridge between patronage in Venier's circle and developments in Venetian music. Yet taken in sum these sources show Molino's musical patronage embracing two different traditions, each quite distinct: one, the arioso tradition of improvisers and frottolists; the other, the learned tradition of church polyphonists. Molino's connection with both practices reinforces the impression that Venetian literati prized each of them" (M. Feldman, City culture and the madrigal at Venice, Berkeley, CA, 1995, pp. 113-116; see also E. Greggio, Girolamo da Molino, in: "Ateneo Veneto", ser. 18, vol. 2, 1894, pp. 188-202 and 255-323). The printing of the volume has been attributed to Comino da Trino, a typographer active in Venice from 1539 to 1573, and probaly represents his last work (cf. E. Vaccaro, Le marche dei tipografi ed editori italiani del XVI secolo nella Biblioteca Angelica di Roma, Florence, 1983, p. 254). Edit 16, CNCE48399; Universal STC, no. 843040; I. Pantani, Biblia. Biblioteca del libro italiano antico. La biblioteca volgare. Vol. 1: Libri di poesia, Milan, 1996, no. 2974; H. Vaganay, Le sonnet en Italie et en France au XVIe siècle, Lyons, 1902, I, p. XXX, no. 7..

      [Bookseller: Libreria Govi Alberto]
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        Al Molto Mag.co Sig. Gentile Carbonana da Gubio. Qui rappresento a V.S. brevemente il Successo della mirabile vittoria della armata di la S.ta Lega christiana contra la potentissima et orgogliosa di Sultan Di Vinegia l’Anno 1572.

      Venezia 1572 - La presente tavola raffigura la Battaglia di Lepanto, la celebre battaglia navale del 1571 che si svolse di fronte a Lepanto, all’estremità occidentale del Golfo di Patrasso (Grecia). Il casus belli era stato l’attacco turco alla città di Famagosta, nel possedimento veneziano di Cipro, avvenuto l’anno precedente, il 22 agosto 1570. La vittoria cristiana contro le armate turche del 1571 ne fermò l’avanzata in Europa e verso Roma, segnando anche l’inizio della decadenza marittima ottomana. Vide coinvolte la flotta turca comandata da Mehmet Ali Pascià (un apostata di origini calabresi, convertitosi all’Islam) e quella della Lega Santa, creata il 20 maggio del 1571 da Papa Pio V: Stato Pontificio, Repubblica di Venezia, Repubblica di Genova, Ducato di Savoia, Granducato di Toscana, Ducato di Urbino, Ducato di Parma, Repubblica di Lucca, Ducato di Ferrara, Ducato di Mantova, Impero spagnolo (con il Regno di Napoli e di Sicilia) e Ordine di Malta, al comando del ventiseienne Don Giovanni d’Austria, figlio naturale di Carlo V e fratellastro del regnante Filippo II. Questo evento costituì un punto focale della storia europea sotto molteplici aspetti: politici, militari, religiosi e tecnologici. Solo poche battaglie sono state tanto celebrate e descritte come quella del 7 ottobre 1571, ed esercitò un poderoso effetto sui contemporanei, anche grazie al determinante contributo dato dagli artisti dell’epoca alla diffusione della sua rilevante e clamorosa importanza, in tempo quasi reale: fogli volanti nelle più diverse lingue diffusero in tutti i paesi d’Europa la notizia del grande avvenimento, sia con resoconti, sia con rappresentazioni di questa storica battaglia navale, ancor oggi considerata la più grande del Mediterraneo.Diverse sono le interpretazioni del soggetto che si ebbero a Venezia (anche per gli enormi interessi economici della Serenissima coinvolti nell’evento), dovute a incisori, cartografi ed editori quali Nelli, Zenoi, Bertelli, Rota e Camocio, del quale sono conosciute più rappresentazioni differenti su questo tema. A Roma (in cui erano prevalenti gli interessi religiosi della vittoria), fervente fu l’attività editoriale di Lafreri su tale evento, con la pubblicazione di numerose incisioni; dello stesso Cartaro, sono conosciute due versioni sul medesimo tema. Quest’opera, come era usuale per Camocio e altri editori suoi contemporanei, fu messa in commercio come carta sciolta prima di essere poi inserita nel volume Isole famose, porti, fortezze e terre marittime sottoposte alla Serenissima Signoria di Venetia, ed altri Principi Christiani, et al Signor Turco, nouamente poste in luce. In Venetia alla libreria del segno di San Marco (1574). Di questa circolazione separata dal volume, esistono delle prove prive di numerazione, vendute come fogli sciolti, che si trovano in alcune raccolte lafreriane. Gli esemplari con la numerazione sono, invece, quelli inseriti negli Isolari. Raro primo stato di due. In buono stato di conservazione. The plate depicts the Battle of Lepanto, the naval engagement in the waters off southwestern Greece between the allied Christian forces of the Holy League and the Ottoman Turks during an Ottoman campaign to acquire the Venetian island of Cyprus, which took place on October 7, 1571. The battle marked the first significant victory for a Christian naval force over a Turkish fleet and the climax of the age of galley warfare in the Mediterranean. Early in 1570 the Ottoman sultan, Selim II, demanded that the Venetian hand over the island of Cyprus. When the Venetians refused to cede the island, invaded it in 1570. Pope Pius V persuaded Philip II of Spain to join with Venetians to defeat the Turkish attack on Cyprus. Genoa, Savoy, and the Knights of Saint John also agreed to send forces. The Holy League fleet consisted of 108 venetian galley, 81 Spanish galley, and 32 others provided by the pope and other allies. The Turkish fleet consisted of 270 galleys, which were faster and more maneuverable than t [Attributes: Soft Cover]

      [Bookseller: Libreria Antiquarius]
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        Virorum doctorum de disciplinis benemerentium effigies XLIIII a Philippo Galleo.

      Antverpen (Anvers), 1572. ____ Première édition de cette magnifique et très rare suite de portraits gravés par Philippe Galle. Elle comprend un frontispice et 44 portraits gravés sur cuivre, la plupart représentent des contemporains de Galle, qui les a gravés d'après nature : Ortelius, Alciat, Vésale, Arias Montanus, Christophe Plantin, Erasme, Guillaume Budé, Louis Vives, Tartaglia, Dodoens, Rodolph Agricola, Thomas More... Les vers légendant les portraits sont d'Arias Montanus. Liste des portraits au verso du titre. Le peintre et graveur Philippe Galle (Harlem, 1537- Anvers, 1612), élève de Goltzius, est le premier qui ait fait des recueils de portraits d'hommes savants. Très beau tirage, bien encré de cette rare suite en première édition. Adams G151. Relié à la suite : - GALLE, Philippe. Imagines L. doctorum virorum, qui bene de studiis literarum meruere, cum singulorum elogiis. Nunc primum editae & aeri incisae. Anvers, 1587. Titre, 1 f. de texte, 49 portraits (sur 50). On y voit Marc-Antoine Muret, Andreas Schott, André Tiraqueau, Damhoudere, Charles de L'Ecluse, Alde et Paul Manuce, Sébastien Munster, Mercator, Pierre Belon... Préface et légendes en vers de François Raphelengien. Premier tirage. Brunet II, 1464 : "Ces recueils se trouvent difficilement." Relié à la suite : - GALLE, Philippe. Semideorum Marinorum amnicorumque sigillariae imagines perelegantes... Anvers, Ambivaritor, 1586. Titre , 16 planches (sur 17, la planche n°12 manque). Relié à la suite : 6 planches (numérotées de 4 à 9), puis 7 planches (Portraits en pied de Muses et de Femmes célèbres). Relié à la suite : - GALLE, Philippe. Nimpharum Oceanitidum... Anvers, 1587 : Titre frontispice, 15 planches numérotées de 1 à 17 (manque les planches n° 2 et 7), suivi de 3 planches. Bel exemplaire, très bien relié. *-------*. In-4. [241 x 157 mm] Collation : Titre frontispice, 1 f., 44 portraits. Maroquin brun, dos à nerfs, couronne de feuillage sur les plats, tranches dorées. (Reliure de l'époque.).

      [Bookseller: Hugues de Latude]
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        Marienberg Misniae Civitas

      Artist: Braun/Hogenberg Franz/ Georg ( - 1618 ) Cologne; issued in : Cologne; date: 1617 1572 - - technic: Copper print; colorit: original colored; condition: Very good; size (in cm): 33 x 45 - description: Map shows the city Marienberg - vita of the artist: Frans Hogenberg (1535 ? 1590) was a Flemish and German painter, engraver, and mapmaker.Hogenberg was born in Mechelen as the son of Nicolaas Hogenberg In 1568 he was banned from Antwerp by the Duke of Alva. He travelled to London, where he stayed a few years before emigrating to Cologne. He is known for portraits and topographical views as well as historical allegories. He also produced scenes of contemporary historical events.George Braun (1541-1622), a cleric of Cologne, was the principal editor of the "Civitates Orbis Terrarum".The first volume of the Civitates Orbis Terrarum was published in Cologne in 1572. The sixth and the final volume appeared in 1617. This great city atlas, edited by Georg Braun and largely engraved by Franz Hogenberg, eventually contained 546 prospects, bird-eye views and map views of cities from all over the world. Braun (1541-1622), a cleric of Cologne, was the principal editor of the work, and was greatly assisted in his project by the close, and continued interest of Abraham Ortelius, whose Theatrum Orbis Terrarum of 1570 was, as a systematic and comprehensive collection of maps of uniform style, the first true atlas.

      [Bookseller: Antique Sommer& Sapunaru KG]
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        De spectris, lemuribus et magnis atque insolitis fragoribus, variisque praesagitionibus quae plerunque obitum hominum, magnas clades, mutationésque imporium praecedunt.Geneva, Eustache Vignon, 1575. 8vo. Early 20th-century vellum.

      Adams L300; Caillet 6237; Dorbon 2509 ("très rare"); cf. "Of ghosts and spirits walking by night by Ludwig Lavater, 1572" at: British Library online. Second edition of the Latin translation of a work on ghosts, phantoms and apparitions of people who have passed away, written by the Swiss theologian Ludwig Lavater (1527-1586). Besides ghosts, it deals with strange sounds, voices, inexplicable events and peculiar accidents occurring after someones death. Lavater denies that souls or ghosts of the dead could appear. If someone does see these apparitions, he should be aware that they aren't the souls of the deceased, but the work of demons. "As a Protestant, Lavater rejected the idea of Purgatory... as an outdated Catholic concept. This greatly complicated the idea of 'ghosts', often thought to be visitations by human souls that were not at rest, such as those who died unbaptized or in tragic or violent circumstances. Without Purgatory, ghosts could only be visitations from Heaven or Hell. Lavater felt they were more likely to have come from Hell, and this meant that many ghosts were demonic and their requests dangerous: they could be trying to lure humans into damnation, for example by persuading them to commit murder or suicide" (British Library).Minor water stain in the lower and upper margins of the last 40 leaves and in the upper margins of the first 15 leaves, otherwise a very good copy.

      [Bookseller: ASHER Rare Books (Since 1830)]
 31.   Check availability:     NVvA     Link/Print  


        Virorum doctorum de disciplinis benemerentium effigies XLIIII a Philippo Galleo

      Antverpen (Anvers) 1572 - ____ Première édition de cette magnifique et très rare suite de portraits gravés par Philippe Galle. Elle comprend un frontispice et 44 portraits gravés sur cuivre, la plupart représentent des contemporains de Galle, qui les a gravés d'après nature : Ortelius, Alciat, Vésale, Arias Montanus, Christophe Plantin, Erasme, Guillaume Budé, Louis Vives, Tartaglia, Dodoens, Rodolph Agricola, Thomas More. Les vers légendant les portraits sont d'Arias Montanus. Liste des portraits au verso du titre. Le peintre et graveur Philippe Galle (Harlem, 1537- Anvers, 1612), élève de Goltzius, est le premier qui ait fait des recueils de portraits d'hommes savants. Très beau tirage, bien encré de cette rare suite en première édition. Adams G151. Relié à la suite : - GALLE, Philippe. Imagines L. doctorum virorum, qui bene de studiis literarum meruere, cum singulorum elogiis. Nunc primum editae & aeri incisae. Anvers, 1587. Titre, 1 f. de texte, 49 portraits (sur 50). On y voit Marc-Antoine Muret, Andreas Schott, André Tiraqueau, Damhoudere, Charles de L'Ecluse, Alde et Paul Manuce, Sébastien Munster, Mercator, Pierre Belon. Préface et légendes en vers de François Raphelengien. Premier tirage. Brunet II, 1464 : "Ces recueils se trouvent difficilement." Relié à la suite : - GALLE, Philippe. Semideorum Marinorum amnicorumque sigillariae imagines perelegantes. Anvers, Ambivaritor, 1586. Titre , 16 planches (sur 17, la planche n°12 manque). Relié à la suite : 6 planches (numérotées de 4 à 9), puis 7 planches (Portraits en pied de Muses et de Femmes célèbres). Relié à la suite : - GALLE, Philippe. Nimpharum Oceanitidum. Anvers, 1587 : Titre frontispice, 15 planches numérotées de 1 à 17 (manque les planches n° 2 et 7), suivi de 3 planches. Bel exemplaire, très bien relié. *-------*. In-4. [241 x 157 mm] Collation : Titre frontispice, 1 f., 44 portraits. Maroquin brun, dos à nerfs, couronne de feuillage sur les plats, tranches dorées. (Reliure de l'époque.). [Attributes: Hard Cover]

      [Bookseller: Hugues de Latude]
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        Novesium cca annum 1206. .

      Artist: Braun/Hogenberg Franz/ Georg ( - 1618 ) Cologne; issued in : Cologne; date: 1595 1572 - - technic: Copper print; colorit: original colored; condition: Very good; size (in cm): 33 x 43 - description: Map shows the city of Neuss - vita of the artist: Frans Hogenberg (1535 ? 1590) was a Flemish and German painter, engraver, and mapmaker.Hogenberg was born in Mechelen as the son of Nicolaas Hogenberg In 1568 he was banned from Antwerp by the Duke of Alva. He travelled to London, where he stayed a few years before emigrating to Cologne. He is known for portraits and topographical views as well as historical allegories. He also produced scenes of contemporary historical events.George Braun (1541-1622), a cleric of Cologne, was the principal editor of the "Civitates Orbis Terrarum".The first volume of the Civitates Orbis Terrarum was published in Cologne in 1572. The sixth and the final volume appeared in 1617. This great city atlas, edited by Georg Braun and largely engraved by Franz Hogenberg, eventually contained 546 prospects, bird-eye views and map views of cities from all over the world. Braun (1541-1622), a cleric of Cologne, was the principal editor of the work, and was greatly assisted in his project by the close, and continued interest of Abraham Ortelius, whose Theatrum Orbis Terrarum of 1570 was, as a systematic and comprehensive collection of maps of uniform style, the first true atlas.

      [Bookseller: Antique Sommer& Sapunaru KG]
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        Civitas Francofordiana ad M. Altkolorierter Kupferstich.

      unter Passepartout Bildausschnitt: 33x47,6 cm Außenmaß: 47,4x60,6 cm Mittelfalz, an den Seitenrändern des Blattes zwei ca 1x1,5 cm große gebräunte Stellen (nicht störend), verso lateinischer Text. Ansicht von Frankfurt am Main aus dem ersten Band der sechsbändigen "Civitates orbis terrarum" von Georg Braun und Frans Hogenberg (1572). Blick von Südwesten. Das Straßennetz ist stark vereinfacht, in der Altstadt fälschlich rechtwinklig, die Neustadt flächenmäßig zu klein wiedergegeben. Vorne links drei Figurinen in Landestracht.

      [Bookseller: Antiquariat Löcker]
 34.   Check availability:     booklooker.de     Link/Print  


        [Quae extant opera] Plutarchi Chaeronensis quae extant opera, cum Latina interpretatione. Ex vetustis codicibus plurima nunc primum emendata sunt, ut ex Henr. Stephani annotationibus intellliges: quibus & suam quorundam libellorum interpretationem adiunxit. Aemylii Probi De Vita excellentium imperatorum liber. [Together with: [Quae extant opera] Variorum Plutarchi Scriptorum Tomus Secundus.] / [Together with: [Opuscula Varia: Quae Magna Ex Parte sunt Philosophia: Vulgo autem Moralia Opuscula Nimis Angusta Appelatione Vocantur]

      [Geneve]: Henr(icus) Stephanus. Editio princeps.. Contemporary name in ink to titlepage: Thomas Hortonus] Binding firm and only slightly rubbed. Gilt lettering and ornamenting on spine slightly faded. Faded dampstain throughout.. Editio princeps. [Geneve], Henr(icus) Stephanus, 1572. 8°. 2 volumes with continuous pagination Volume I: 1 - 778 pages / Volume II: (779)-1381 pages. / Volume III: 683 pages / Volume IV: 731 pages. Hardcover / Original 18th century full calf. Contemporary name in ink to titlepage: Thomas Hortonus] Binding firm and only slightly rubbed. Gilt lettering and ornamenting on spine slightly faded. Faded dampstain throughout. Henri Estienne, also known as Henricus Stephanus, was a 16th-century Parisian printer and classical scholar. The eldest son of the great Robert Estienne (1503–59), he was born in Paris in 1528 (some sources say 1531), and died at Lyon in 1598.

      [Bookseller: The Time Traveller's Bookshop]
 35.   Check availability:     Biblio     Link/Print  


        Autricum, Prolemeo in Gallia Lugdunensis Urbs; vulgo, cum Villa nouano, Chartres / Chasteaudunum, Comitatus vulgo Dunoys in Gallia Oppidum primorium

      Cologne: Braun & Hogenberg. unbound. Two bird's-eye plans on one sheet. Copper engraving with original hand coloring. Image measures 13" x 18.75" These two bird's-eye plans on one sheet depict the French cities of Chartres and Châteaudun. Chartres is shown from the southeast, with its famous cathedral at the center of the frame towering over the comparatively diminutive city around it. This prized church became the model for many other Gothic churches and is nearly synonymous with the city in which it is located. A number of lesser churches are also shown in detail, as are houses, fields, and gardens. Similarly detailed is the map of Châteaudun, shown from the east as to clearly illustrate how the city leans up against the ridge of the hill to its right. This city's prominent buildings are the 12th-century chateau at the top right and the church of La Madeleine at the upper left. Its seal and coat of arms are also rendered. he print is from Braun's city atlas "Civitates Orbis Terrarum", a collection of city views and plans created as a companion to Ortelius' "Theatrum Orbis Terrarum" and published between 1572 and 1617. Latin text on verso. The plans are in very good condition with some overall toning and wear to the title of the Chartres view. Chips in the margins not affecting the image. Some mat burn and margin folds from being previously framed. Georg Braun (1541-1622) was a Catholic cleric who edited the "Civitates orbis terrarum," a collection of 546 prospects, bird's-eye views and maps of international cities. Hogenberg created the tables for the first 4 volumes. Together, these two geographers created a work that set new standard for cartography for the next century. These views demonstrate the high quality of their work.

      [Bookseller: Argosy Book Store]
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