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Displayed below are some selected recent viaLibri matches for books published in 1584

        Belgii veteris typus

      Ortelius A 1584 - "Belgii veteris typus". Kol. Kupf.-Kte von A. Ortelius (aus Parergon, lat. Ausg.), dat. 1594. Mit 4 ausgem. Rollwerkskart. 38:49 cm.

      [Bookseller: Antikvariat Krenek]
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        De Termino Hillarii. Anno xvii Edward tertii [through] De termino Michaelis Anno xxxix E. tertii] [1343-1355]. S.T.C. 9557; 9560; 9564; 9567; 9572; 9575; 9578; 9581. Beale R6; R9; R13; R16; R20; R23R26; R29. Folio

      Richard Tottel [imprints vary] 1584-85, London - Contemporary calf, blind centered lozenges, rubbed, brief annotations throughout, two leaves supplied from a later edition; the Taussig copy A rare run of eight separately printed year books, reporting cases for most of the years of the earliest reign (of Edward III) for which we have early separately printed year books, including those years in which the Black Death swept over England

      [Bookseller: Meyer Boswell Books, Inc., member ABAA]
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        BIBLIA SACRA 1584

      Ex officina Chistophori Plantini 1584 Antuerpiae. 1584. 9h+640Pág+1h. 17X12. Pergamino. Rotulado en lomera. Preciosa Biblia. Ref 8.6 Biblioteca A.

      [Bookseller: Libreria Anticuaria Marc & Antiques]
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        APOLOGIA DEL SIG. TORQUATO TASSO IN DIFESA DELLA SUA GIERUSALEMME LIBERATA. Con alcune altre Opere, parte in accusa, parte in difesa dell'Orlando furioso dell'Ariosto, della Gierusalemme istessa, e dell'Amadigi del Tasso Padre. I titoli tutti si leggono nella seguente facciata.

      Prima edizione. Opera divisa in due parti, dedicata a Ferrante Gonzaga. Cm.15,2x9,4. Pg.(16), (112), (228), tutte non numerate. Legatura coeva in piena pergamena molle con titoli manoscritti al dorso. Minima mancanza al capitello superiore. Restauro cartaceo al margine esterno della seconda carta. Tagli spruzzati. L'Opera si apre con la dedicatoria dell'Autore a Ferrante Gonzaga, e due ulteriori dedicatorie "Al Lettore" di Giovan Battista Licini e "Ai Lettori" dello Stampatore, cui seguono due sonetti in lode del Tasso di Angello Grillo. Inizia quindi il testo vero e proprio, con la prima parte che comprende "Degli Accademici della Crusca. Difesa dell'Orlando Furioso dell'Ariosto, contra 'l Dialogo dell'Epica poesia di Cammillo Pellegrino", Stacciata prima, dedicata a Orazio Rucellai da Bastiano De Rossi. Quindi la seconda parte, con frontespizio autonomo, che comprende: "Apologia del Sig. Torquato Tasso"; "Lettera diverse scritte dal Sig. Torquato Tasso et da altri in materia della Gierusalemme Liberata. Con una del Tasso medesimo, in lode dell'Ariosto", dedicata a Mauritio Cataneo; "Parere del Signor Francesco Patrici in difesa dell'Ariosto"; "Difese dell'Orlando Furioso dell'Ariosto fatte dal Signor Horatio Ariosto". Su ambedue i frontespizi marca tipografica raffigurante una salamandra tra le fiamme e il motto "Illaesa estinguo". "Nel 1584 il letterato Camillo Pellegrino scrisse un dialogo (Il Carrafa overo dell?epica poesia) in cui tesseva lodi altissime della Gerusalemme liberata del Tasso, poema che veniva anteposto all?Orlando furioso dell?Ariosto. In contrasto con le opinioni del Pellegrino i soci della Crusca fiorentina, cioè Lionardo Salviati e altri, presero le difese dell?Ariosto, dichiarando di anteporre all?Amadigi di Bernardo Tasso e alla Liberata del figlio Torquato non solo il Furioso, ma anche il Morgante di Pulci, l?Innamorato del Boiardo e l?Avarchide di Alamanni. Torquato, che era allora rinchiuso nella prigione di Sant?Anna, decise di rispondere, componendo in pochi giorni, tra il marzo e l?aprile del 1585, l?Apologia in difesa della Gerusalemme liberata. Ebbe origine in questo modo la polemica tra ariostisti e tassiani, che fu una delle più fitte e convulse dell?intero Cinquecento" (dal Dizionario Zanichelli on line). L'Opera fu pubblicata di nuovo nello stesso anno dall'Osanna a Mantova.

      [Bookseller: Studio Bibliografico Pera]
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        4 Blatt aus der 7-Blatt-Folge "Die Lebensalter des Menschen".

      . Kupferstiche, auf Bütten. Je ca. 22,3:14,6 cm. Literatur: Franken 1092-1095; Hollstein 493-496. Die vorhandenen 4 Blätter sind betitelt: Infantia - Pveritia - Adolescentia - Virilitas. - Ausgezeichnete Drucke mit ca. 1 cm breitem Rand rundum, etwas stockfleckig.. Crispijn de Passe war nicht nur als Zeichner und Kupferstecher, sondern auch als Verleger und Drucker tätig. 1584/1585 ist er als Zunftmeister in Antwerpen zu dokumentieren. Ab 1588 lebte er in Köln, wo er einen Laden führte, in dem er eigene Blätter wie auch Stiche anderer Künstler vertrieb. Als Anhänger der sozialrevolutionären Bewegung der Täufer wurde er 1611 der Stadt verwiesen und kehrte in die Niederlande zurück.

      [Bookseller: Galerie Joseph Fach GmbH]
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        Decretum Gratiani. Emendatum et notationibus illustratum.

      Roma, In Aedibus Populi Romani 1584 In - 4to (cm. 23) di pp. (84) 1904 (28) con numerose iniziali ornate, Arbor Consanguintatis e Arbor Affinitatis in xil. n.t., marca tip. al fs. Bella legatura firmata "Allegretti" primi '800, piena pergamena con piatti maculati e dso in tinta unita con fregi a secco e motivi con tit. oro: mancanza a una carta d'indice reitegrata con testo ottimamente ripreso a penna, qualche leggerissima usura e alone marginale, lieve rifilatura all'Arbor Consanguinitatis. Alcuni forellini di tarlo alle prime cc. Ottimo es. di bella edizione della Tipografia del Popolo Romano diretta da Paolo Manuzio.

      [Bookseller: Libreria Antiquaria Insubria]
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        Cosmographia sive descriptio universi Orbis... Adiecti sunt alii, tum Gemmae Frisii, tum aliorum auctorum eius argumenti tractatus ac libelli varij... -

      Antwerpen, Beller, 1584.In - 4. Bella legatura moderna in stile dell'epoca in piena pelle con filetti e fregi dorati sui piatti, titolo impr. in oro, dorso con nervi e fregi impressi a secco. Con un globo sul frontespizio, un mappamondo a doppia pagina, moltissime illustrazioni n.t., 5 con parti mobili, e diversi graziosi capilettera, il tutto inc. in legno. (16), 478 (recte 465), (3) pp.; le pp. 73 - 81 e 426 - 429 saltate per errore di stampa, ma completo; frontespizio con piccoli restauri marginali e alcune carte lievemente ossidate; buon esemplare, completo di tutte le parti mobili e del grande mappamondo che spesso manca. La prima di tre tirature di questa importante edizione che, per l'aggiunta di diversi studi e commentari di vari astronomi (alcuni pubblicati per la prima volta), è molto più ampia delle precedenti composte per lo più da 50 - 70 carte (prima edizione: 1524). Ortroy, Apian, 59. Adams A - 1286. DSB I, pp. 178 - 179: «Apian was a pioneer in astronomical and geographical instrumentation... (his) first major work, Cosmographia, was based on Ptolomy. Starting with the distinction between cosmography, geography, and chorography, and using an ingenious and simple diagram, the book defines terrestrial grids; describes the use of maps and simple surveying; defines weather and climate; and provides thumbnail sketches of the continents. In its later form, as modified by Gemma Frisius, the Cosmographia was one of the most popular texts of the time...» The first of three issues of this greatly enlarged edition (earlier editions have about 50 - 70 leaves only): "Clement pronounces this the best edition" (Sabin 1751). For a list of the many additions by Gemma Frisius, Georg Peurbach, Sebastian Münster a.o., cf. Ortroy 59. With a globe on title - page, many woodcut initials, a folding world map, and many woodcut illustrations and diagrams, 5 with volvelles. Small marginal repairs to title and some occasional light toning of the paper; generally a good and complete copy, in an attractive period - style calf binding with gilt and blind - stamped ornaments.

      [Bookseller: Libreria Antiquaria Rappaport]
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        Orlando Furioso

      Venice: Francesco de Franceschi,, 1584. Nuovamente adornato di Figure di Rame da Girolamo Porro... et di altre cose che saranno notate nella seguente facciata. Quarto in eights (263 × 178 mm). Late 18th century English diced russia, decorative gilt spine, green morocco label, three-line gilt border on sides, all edges gilt, gilt turn-ins, marbled endpapers. Engraved "architectural" title page, 2 engraved divisional titles, 51 plates. From the library of William Cavendish, seventh Duke of Devonshire (1808-1891) with his Chatsworth bookplate; Neatham Mill Library embossed stamp on a rear blank. Front hinge split but sound, small chip at head of spine. A truly handsome copy. First edition with these superb illustrations by Girolamo Porro and one of the most attractive editions of Ariosto's masterpiece. "Ariosto's Orlando Furioso had become wildly successful by the time the author died in 1533. Print records document that the poem was a best seller in the cinquecento, its popularity lasting well into the next century... By 1600 well over 100 editions had been published. Often produced to look like classical texts with commentaries and other accompanying paratexts (for example, the life of the poet, lists of classical allusions, historical notes), these editions helped the poem become an important touchstone in debates over narrative poetry, with readers sometimes arguing that Orlando Furioso was equal or even superior to classical narrative poems. This process of the poem's canonisation as an authoritative text would eventually earn it the status of a new kind of classical work, a vernacular classic that helped to grant the Italian language a degree of linguistic nobility... [in addition] The Orlando Furioso was a source of inspiration for European illustrators and painters [and] the editions of Gabriel Giolito (Venice, 1542) and Francesco dei Franceschi (Venice, 1584) are especially handsome" (Dennis Looney in Italian Literary Studies I, 2007, p. 92).

      [Bookseller: Peter Harrington]
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        The holy Gospel of Jesus Christ according to John, with a Commentary of M. John Calvin

      London: 1584; 464 & [19] pp.; Translated out of Latin into English by Christopher Fethrstone. 464, [19] pp. Rebound 19th century, full leather. Fair condition: joints splitting or begining to split, held by cords; cover is worn at corners; head and tail of spine worn. Interior good. Water stain on lower margin of first 50pp. not affecting text.

      [Bookseller: Red Mill Books]
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        The Art of Riding, set foorth in a breefe Treatise, with a due interpretation out of certeine places alledged out of Xenophon, and Gryson, verie expert and excellent Horssemen: wherein also the true use of the hand by the said Grysons rules and precepts is speciallie touched: and how the Author of this present worke hath put the same in practice, also what profit men may reape thereby [...] Lastlie, is added a short discourse of the Chaine or Cavezzan, the Trench, and the Martingale: written by a Gentleman of great skill and long experience in the said Art.

      London, Henry Denham, 1584.. 4to. (8), 79, (1) pp. With woodcut headpiece on t. p. and initials. 19th century orange-red crushed morocco by Riviere with leading edges gilt and elaborate gilt inner dentelle, rebacked. All edges gilt.. The exceedingly rare first edition of one of the earliest English treatises on horsemanship, derived in part from Xenophon, Federico Grisone's "Ordini di cavalcare", and other authors, and in part from Astley's own experience. This is, in fact, the first translation into English of Xenophon's treatise "Peri hippikes" ("On horsemanship"). - The publication of Astley's The Art of Riding, perhaps his single most lasting achievement, came late in his life as an Elizabethan courtier. Here, he relays the doctrine of the Italian riding schools as he and other Gentleman Pensioners understood it, particularly on training the horse to respond to the hand. Astley was on friendly terms with Thomas Blundeville, whose Grisone translation two decades earlier counts as the first treatise on horsemanship to be published in English. - First three leaves slightly browned, with the upper right corner of each leaf imperceptibly restored from another copy; a closed tear to f. A4. Altogether a remarkable clean and crisp copy in an English master binding. The Fitzwilliam-Gloucester copy, bound with a common companion piece, Claudio Corte's "The Art of Riding" (also published by Denham in the same year) commanded 14,400 at Christie's in 2006. The catalogue notes that the scarcity of these two work "at auction varies markedly; ABPC records some 5 copies of Corte's work at auction since 1975, but none of Astley's". - Huth p. 11. STC 884. Mellon/Podeschi 12. Hoffmann III, 609 (s. v. Xenophon).

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Justitia Britannica: Per Quam Licquet Perspicue, Aliquot in eo Regno Perditos Cives, Seditionis et Armorum civilium authores [etc.] [and] ?Thomas Norton, De Summa Eorum Clementia, Qui Habendis Quaestionibus prefuerant [etc.]. S.T.C. 4904.5

      Londini [Geneva?]: Excudebat Thomas Vautroullerius [J. Le Preux?], 1584. Modern calf, light browning, else a very good copy; with a letter from R.F. Littledale, the 19th century cleric and writer, laid in explaining the works The Latin translation of Cecil's "The Execution of Justice in England", the central work written to justify the torture, treason show trial, and execution of the Jesuit, Edward Campion, and others, as religious conflict threatened to engulf England

      [Bookseller: Meyer Boswell Books, Inc.]
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        Emblemes, ou devises chrestiennes

      1584. DE MONTENAY, Georgette. Emblematum Christianorum Centuria / Cent Emblemes Chrestiens. [8], 100, [8, incl. final blank] ff. Illustrated with an etched portrait of the author and 100 engraved plates by Pierre Woeiriot, printed on rectos. Small 4to., 192 x 147 mm, bound in nineteenth-century purple crushed morocco by Lortic, gilt-lettered spine, gilt board edges, turn-ins, and marbled edges. Tiguri [Zurich]: Christoph Froschauer, 1584. |~||~||~||~| First Latin Edition, Only Emblem Book written by a Woman, the First Emblem Book with Engraved Picturae (instead of woodcuts), and one of the First Protestant Emblem Books. The first edition of 1567 survives in only one copy in the Royal Library in Copenhagen! The latest research by Adams, Rawles and Saunders indicates that de Montenay's Emblemes "was withdrawn from circulation…but this remarkable publishing history does not stop there; in 1620, the first edition (from Lyons) is reissued in La Rochelle: we have to envisage printed sheets being preserved for over 50 years from 1567, and ultimately making their way across France to La Rochelle" (A Bibliography of French Emblem Books, p. 177). The coppperplate engravings by Pierre Woeiriot (1532-1599), French engraver, goldsmith, painter, sculptor and medallist, are all signed with the artist's mark of the Lorraine cross. Woeriot's engraved designs are highly imaginative, delicate and artistic renderings. They are set within in-depth backgrounds of lush landscapes and/or architectural settings of castles, churches, private and public houses, street scenes, and atmospheric cottages in local villages. "The first book of Christian emblems printed in French" and the only emblem book written in any language by a woman (Larsen & Winn, Writings by Pre-Revolutionary French Women, p 125). De Montenay's dedication beginning on a2 is to Jeanne d'Albret, Queen of Navarre, a well-known supporter of Calvinistic ideas, thus offering a clear signal of the author's Calvinist sympathies. The first emblem in the series depicts Jeanne d'Albret laying the foundations of the Protestant faith with bricks (or is it books?). Georgette de Montenay (1540-1581), one of an exceptionally small number of sixteenth-century women poets, was part of the entourage of the daughter of fellow poet Marguerite de Navarre. In the dedication, De Montenay claims to be the first to write religious emblems: "Alciat feit des Emblémes exquis//Lesquels voyant de plusieurs requis//Desir me prit de commencer les miens//Lesquels ie croy estre premier Chrestiens." Woeriot's etched portrait of Montenay is dated 1567. The same engraved plates, including the portrait, were used in Lyon in 1571, then for the present edition published in Zurich 1584, the Heidelberg 1602 (a reissue of this edition), and Frankfurt 1619 with a Latin text. There was also a 1620 reissue in La Rochelle of the 1567/1571 edition. All are very rare. PROVENANCE: S.A.Yates Thompson with his 1894 bookplate on front pastedown (his sale, Christie's, 16 July 2014, lot 137). Adams, Rawles & Saunders, French Emblem Books, F 437. Mortimer, French 380 (1571 edition). Baudrier X, 381. Fairfax Murray French 387. Landwehr, Romantic Emblem Books 533. Landwehr, German 443. Brunet III, 1853. Adams M1715. Praz 431. Vinet 849. See also: Facsimile reprint of Montenay, Georgette de, Emblemes ou devises chrestiennes (1571), ed. Christopher N. Smith (Menston: Scolar Press, 1973); Adams, Alison, 'Les emblemes ou devises chrestiennes de Georgette de Montenay: édition de 1567', BHR 62 (2000), 637-639 and Webs of Allusion: French Protestant Emblem Books of the Sixteenth Century (Geneva: Droz, 2003); Reynolds-Cornell, Regine, Witnessing an Era: Georgette de Montenay and the Emblemes ou Devises Chrestiennes (Birmingham, AL: Summa Publications, 1987).

      [Bookseller: Ursus Rare Books]
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        Schloß und Dorf Hohenlimburg ergeben sich den Truppen des Kurfürsten Ernst am 12.11.1584 ('Lymbvrg').

      . Kupferstich aus Hogenbergs Geschichtsblätter, 1584, 20 x 28. Hellwig, Franz Hogenberg - Abraham Hogenberg. Geschichtsblätter, Nr. 266, Westfalia Picta, Band II, WP 79/4/435. (Bilder zum Artikel auf meiner Homepage, oder bei Anfrage - pictures on my homepage or after request)

      [Bookseller: Antiquariat Norbert Haas]
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        Ritterliche Reutter Kunst ... durch.. den Herrn L.V.C. gewesener Keyserlicher Maiestat Stallmeister

      Frankfurt: 1584. Folio (317 x 205 mm). [44], 254, [5] ff. (the last blank). Title printed in red and black with vignette of a noble rider and his mount, arms of the dedicatee Hans Philip Landschad von und zu Steinach, approximately 145 woodcut illustrations (including some repeats), most after Jost Amman, inserted double-page woodcut of a tournament signed with Amman?'s monogram; woodcut tail-piece, Feyerabend's large woodcut device at end, Fraktur initials. Title browned and stained with corners creased, occasional marginal dampstaining, variable discoloration. Contemporary German vellum over flexible pasteboards, early manuscript title on spine (faded), slits for two fore-edge ties.*** first edition of a splendidly illustrated manual for both the farrier and gentleman horseman, treating the care and maintenance of horses, their breeding, nourishment, training, diseases, and equipment. The third and longest part is devoted to equine medicine. The ?"Knightly Art of Riding?" opens with a parade of 21 nearly full-page woodcut portraits of richly costumed Mummern, or riders in masquerade for carnival, dressed as Bacchus, Neptune, a Turkish pasha, a Moor, Indians, Water, Fire, the Earth, Jupiter, Summer, etc. These are followed by examples of different jousting techniques (20 woodcuts, a few signed with the monogram MF) and the proper attire and equestrian comportment of members of the court and nobles from different regions (41 cuts). In the detailed manual on horse-breeding that follows, the many illustrations of horses ?- mating, alone, with their mounts, grooms, veterinarians, or farriers ?- are shown in their daily habitats, in the stable, being fed, given medicine and receiving bloodletting, providing invaluable insights into contemporary practices. The double-page tournament cut, signed with Amman's monogram and dated 1565, was previously used in Feyerabend's 1566 and 1578 editions of Georg Rüxner's Thurnierbuch, and the block shows some wear in this impression. The many smaller woodcuts show bits, bridles, spurs, and other equine accoutrements. Jost Amman is recognized as one of the most expressive and prolific graphic artists of the sixteenth century. Originally from Zurich, at the age of 21 he established himself in Nuremberg, and soon after, following the sudden death from plague of Virgil Solis, he became the principal illustrator for the Frankfurt publisher Sigmund Feyerabend. Little is known of Amman?'s life, and no paintings of his survive, his extant oeuvre consisting entirely of watercolor drawings, some etchings, and hundreds of woodcuts. Amman supplied the designs (either through drawings on the woodblocks or paper sheets glued to the blocks) for most of the blocks produced for Feyerabend, which were then cut by other Formschneider, such as Lukas Meyer or Meier, whose monogram MF (Nagler 4:1777) appears on a few of the cuts of pairs of jousting knights. As was customary, Amman?'s own monogram signature would have been reserved only for those blocks he cut himself. ?"Imperial stable-master," according to the title, the anonymous author, whose initials L.V.C. remain unidentified, intended the work for a broad audience ?-"allen rittermessigen und adelichen Personen, auch andern so mit Pferden und der Reuttery umbgehen?" (as stated in the lengthy title). Amman?'s splendid woodcut illustrations ensured the book?'s popularity, and only a handful of copies have survived the enthusiasm and no doubt hands-on use of their first owners. Feyerabend reprinted some of Amman's woodcuts with selections from the text later in 1584 (Artliche und Kunstreiche Figuren zu der Reuterei), and in his expanded 1599 edition of miscellaneous woodcuts by Amman, the Kunstbüchlein. Complete copies appear rarely on the market. OCLC lists 5 copies in American libraries. Becker Amman, 39; VD16 R-2539; Lipperheide 2902; Wells, Horsemanship: a Bibliography 6350; Andresen, Deutsche Peintre-Graveur I, Amman Holzschnitte no. 69, state III (tournament block) and 246 note.

      [Bookseller: Musinsky Rare Books, Inc.]
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        PSALTERION Propheteu kai Basileos tou David (en grec) - Davidis Regis ac Prophetae Pslmorum Liber. Ad exemplar Complutense.

      Anvers, Plantin, 1584. - in-12. 267pp. 6ff. Veau marbré, dos lisse orné (Reliure du début du XIXs.). Très rare édition bilingue Grec-Latin, à deux colonnes, des Psaumes de David. Elle a été faite sur la célèbre édition de la Bible du Cardinal Ximenès, imprimée à Alcala de Henares. Belle impression de Plantin, avec la marque sur le titre. Bel exemplaire.

      [Bookseller: Librería Comellas]
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        Trostspiegel in Glück und Unglück. Trostbücher, von Rath, That, und Artzeney in Glück und Unglück... zu Nutz und trost auß dem Lateinischen mit fleiß verteutscht....

      Frankfurt, Egenolffs Erben, 1584.. circa 28,5 x 20 cm. 4, 222 num., 3 Bll., mit etwa 260 Holzschnitten vom Petrarcameister im Text und fast ganzseitiger Druckermarke von Hans Burgkmair Pergament d. Zt. mit erneuerten Bindebändern. VD 16 P 1730; Musper L 217; Lipperheide Cg 54. - Spätere Frankfurter Ausgabe eines der schönsten deutschen Holzschnittbücher der Renaissance in der Übersetzung des Stephanus Vigilius und mit den prachtvollen Holzschnitten des nach diesem Werk benannten "Petrarca-Meisters". "Die Illustrationen geben ein anschauliches Bild ihrer Zeit. In lebhaft bewegten Kompositionen werden Menschen aller Stände bei ihrer Arbeit, bei der kultischen Feier, beim Streit und im Krieg, in Glück und Not geschildert... auch in der Wiedergabe von Gestik und Mimik erweist sich der Künstler als den besten Kunstlern seiner Zeit ebenbürtig." (Slg. Schäfer zur Ausg. 1532). - Etwa die ersten 6 Blatt wasserfleckig, durchgehend etwas gebräunt, aber nur vereinzelt fleckig, meist recht sauber, ein Bild mit kleinem altem Papierabrieb. Die ersten sechs Blatt in den Rändern papierverstärkt, Titel mit hinterlegten alten Ausschnitten, drei Blatt am Ende mit ergänzten Ecken - alles immer ohne Textverlust. Einband recht hübsch, Rückenschild beschabt, sonst dekorativ.

      [Bookseller: Antiquariat Thomas Rezek]
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        RITTERLICHE REUTTER KUNST DARINNEN DEUTLICH BEGRIFFEN WIEMAN ZUVOR DERST DIE RITTERLICHE UND ADELICHE UBUNG DER REUTTEREY BEVORAB IN TEUTSCHLAND mit musterhafftigem Geschmuck, Ritterspiel, Mumerey, Kleidung, und allem andern

      Franckfurt am Mayn, (printed by M. Lechler, in Verlegung S. Feyrabends), 1584.... Dessgleichen ein uberauss nutzlicher und eigentlicher Underricht der Marstallerey, und Rossartzeney: aus nemlich von Art, Natur, Eygenschaffe, ... Allen Rittermessigen und Adelichen Personen, auch andern, so mit Pferden und der Reutterey umbgehen: als Stallmeister, Marstellern, Reisigen, Huffschmiden, Rosstammen, Kosstauschern, re. zu besonderm Nutzen und Ehren jetzt auffs neuw an tag geben: und mit schonen artigen Figuren gezieret: dergleichen nie im Truct aussgangen. 1584, GERMAN TEXT, BLACK LETTER. FOLIO in 4s, approximately 305 x 190 mm, 12 x 7½ inches, TITLE PAGE LACKING and now supplied in facsimile on old paper, printed red and black, 19 of 21 splendid full page illustrations of horsemen, cavalry including Turkish, Moorish and Persian, classical gods equipped as horsemen, 140 text illustrations mainly one third of the page with text above and below, mainly of horsemen and jousting, LACKING DOUBLE PAGE ILLUSTRATION OF TOURNAMENT, there are many images of shoeing and caring for horses, a few repeated, sometimes more than once, in the long section on the medical treatment of horses, c3 - Rr6, leaves Oii - Xiv contain many images of items of horse tack of difference styles and type, bits, harness etc., all illustrations by Swiss artist Joss Amman, some pictorial tailpieces and a few decorated initials, leaves: [39 of 44], 1 - 254, (4 of 6) - index, LACKING 3 PRELIMINARY LEAVES INCLUDING TITLE, C2 and C3 AND FINAL 2 LEAVES (index complete), collation: pi4 ( - pi1 - 3), A4 - Z4 ( - C2 and C3), a4 - z4, Aa4 - Qq4, Rr6 - Ss6 ( - Ss5 & 6), bound in full elaborately blind decorated leather, raised bands to spine, no lettering or label, edges speckled red, remains of clasps. Binding worn and slightly chipped at head and tail of spine, small area of leather missing at top corner of lower cover next to head of spine (wooden board showing), lower hinge cracking, small crack to upper hinge at tail, some worm holes to spine near top and to upper cover next to top of spine, insect damage to edges of both pastedowns, inner paper hinges cracked, old repairs of varying sizes to margins of pi4 - Eii, this includes some inner margins repaired with very slight loss at inner edge to a few images, and some small repairs to edge chips, a few other small repairs to edges up to leaf K4, some margins lightly browned and lightly soiled, lower corners slightly thumbed, leaves A4 and B4 have been replaced out of order and B4 reversed, G2 and G3 are out of order, large very pale damp stain to top third of leaves A1 - K4 gradually diminishing, 1 letter from caption of B1v missing, catchword on B2v lacking 2 letters, small loss to each line of verse below illustration on H3v (still understandable), small loss to last 2 lines on K4 but otherwise repairs do not obscure text, small ink smudges on text of D2r, no loss of legibility, illustration on leaves G4 and H3 have been quite neatly watercoloured, occasional further small mends, damp stains and other small light stains, a few small ink crosses in margins of veterinary section, a former owner has signed with the date 1694 pages n4v and Ss4v. A good copy (facsimile title page, lacking 2 prelims, a double page illustration, 2 leaves in the first section of full page illustrations, and final 2 leaves following the index, one of which had the colophon). See: Huth Library No. 6358; Bibliography of Costume by Hiler, page 753. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton P.B.F.A.]
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        RIME ET PROSE. Nuovamente poste in luce.

      appresso Giulio Vasalini, In Venetia 1584 - Opera dedicata alla Sig.ra Bradamante Bevilacqua da Este. Cm.13x7,4. Pg.(24),228. Modesta legatura in pergamena rigida, con titoli manoscritti al dorso. Marca tipografica incisa in ovale al frontespizio. Alcuni capilettera e piccoli cartigli incisi. Due restauri cartacei, uno a mendare piccola mancanza rettangolare che interessa il frontespizio e la prima carta della dedicatoria, l'altra per recuperare un tassello circolare (del diametro di cm.1,5) rimosso alle ultime due carte: ciò crea una minima mancanza nel testo al recto della carta U5 e al Registro, mentre la carta U6 è bianca. Il volume comprende: "Rime", i Dialoghi "Il Messaggiero al Serenissimo Prencipe di Mantova", "Il Gonzaga, del Piacere honesto à seggi", "Il Cavalier amante, e la Gentildonna amata, al Signor Giulio Mosto", "Il Gonzaga secondo, del giuoco, al Sig.Alessandro Pocaterra" e i Discorsi "Della virtù Heroica, & della Charità, al Card.Cesareo" e "Della virtù Feminile, & Donnesca, alla Serenissima Duchessa di Mantova". Il presente volume costituisce il terzo di una serie di sei che lo stampatore ferrarese Giulio Vasalini (o Vassalini) pubblicò a Venezia e a Ferrara tra il 1583 e il 1587, riprendendo precedenti edizioni aldine e giuntine. In particolare i Dialoghi "Il Messaggiero" e "Il Gonzaga secondo" e i due Discorsi sulla Virtù avevano visto la luce nel 1582, all'insaputa del Tasso, per i torchi di Bernardo Giunta. 150 gr.

      [Bookseller: studio bibliografico pera s.a.s.]
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        DISCORSI Al Serenissimo Francesco Medici Gran Duca di Toscana. Recati à luce da' Deputati per suo testamento.

      Fiorenza, nella Stamp. di F. e I. Giunti e Fratelli, 1584-1585. In-8 p. (mm. 228x160), 2 voll., cartonato mod., tit. ms. al dorso. L?'opera e?' cosi?' composta: - Vol. I: 4 cc.nn., 476 pp.num., 18 cc.nn. di Indice (numeraz. delle carte irregolare e scorretta, ma completo come da esempl. descritto dal Gamba,243); al frontesp. vignetta con l'arme medicea e al fine grande marca tipograf. dei Giunti. "Mancano 4 tavv." di vedute, inc. su legno. - Vol. II: 2 cc.nn., 336 pp.num., 2 cc.nn., da 337 a 598 pp.num., 28 cc.nn. di Indice; al frontesp. marca tipograf. giuntina e al verso il ritratto del Borghini in medaglione; fra le pp. 336 e 337 trovasi il frontesp. per il "Trattato della Chiesa e Vescovi fiorentini" che porta al verso altro ritratto dell'A. in medaglione; la dedica è al cardinale Alessandro Medici; al fine grande marca giuntina. In questo vol. figurano 3 tavv. f.t.: 1 ripieg. con l'epitaffio della famiglia Ubaldini e 2 con l'illustrazione di 32 armi delle famiglie fiorentine; nel t. sono silografate numerose altre armi. Entrambi i voll. sono ornati da grandi e bei capilett. figur. a vignetta. Questa importante e rara opera tratta: "Della origine di Firenze; della città di Fiesole; della Toscana e sue città; de' municipii e colonie romane; delle colonie latine; delle colonie militari; de' fasti romani" - "Dell'arme delle famiglie fiorentine; della moneta fiorentina; se Firenze fu spianata da Attila e riedificata da Carlo Magno; se Firenze ricomperò la libertà da Ridolfo Imperadore; della chiesa e vescovi fiorentini". "Edizione originale". Cfr. Gamba,243 (con lunga descriz.): "Raro, soprattutto il vol. II" - Choix de Olschki,I,712: "Ouvrage estimé et recherché, difficile à trouver complet" - Brunet,I,1114. Corto del marg. sup. ma fresco esempl., ben conservato.

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        Clavdivs Domitivs Nero, tragoedie,

      Guilliam van, Nieuwelandt, 1584-1635. Clavdivs Domitivs Nero, tragoedie, T'Hantwerpen, By Guilliam van Tongheren, boeckvercooper inde Camerstraet, inden Griffoen. 1618. , According to Houbraken, Willem van Nieulandt II (1584ñ1635) was a Dutch Golden Age painter and engraver from Antwerp. He was a pupil of Roelant Savery in Amsterdam, and he left him to travel to Rome, where he became a student of Paulus Bril. He returned to Amsterdam (via Antwerp) in 1607, and became a respected poet there as well as Italianate painter. , His work displays similarities with Renaissance dramas of progressive Amsterdam authors, although he was prone to writing ìblood soaked dramasî as in Nero. The dramatic title-page engraving is done by the author., OCLC: North America - Harvard

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        Organon [Greek]. Principis Organum, Hoc est libri omnes ad Logicam pertinentes, Graecè & Latiné. Iul. Pacius recensuit: è Graeca in Latinam linguam conuertit: capitum & particularum distinctionibus, argumentísque: praeterea variis lectionibus, necno perpetuis notis, tabulis synopticis illustrauit. Ad Illustrem & Generosum Dominum, Dominum Carolum A Zerotin...

      Morgiis, Guillelmus Laimarius, 1584. Small folio. 18th century half vellum, somewhat soiled and worn. Corners and edges bumped and worn. Handwritten title to spine. Fore-edge with 2-line title in neat (contemporary?) hand and with the "Societas Jesu" (i.e. the Jesuit Society) symbol in white to the otherwise red fore-edge. Internally a very ni8ce copy, with the occasional browning and spotting. A faint damp stain to top marging of some leaves. A small hole to top of title-page, far from affecting print. Last leaves with neat strenthening of blank upper corners, far from affecting text. Old (presumably 18th century) owner's name to title page: "Ioan. Bey A. Vest." Front free end-papers heavily annotated (presumably by this same owner, in Latin, Greek, and German. The annotations include and elaborate handwritten index, information about the edition, and references to the Greek sentences. Verso of last leaf and back end-papers also with notes. A few underlinings here and there. Woodcut ornamental title-border, woodcut vignettes, woodcut initials, numerous woodcut illustrations and diagrams in the text. Greek-Latin parallel-text. (8), 831, (1) pp.. The very rare first edition of Julius Pace's seminal "Organon"-edition, which was the standard-edition of the logical texts of Aristotle throughout more than a century, running through at least 11 editions before 1624. Pace's version of the text, in Greek-Latin parallels, and with Pace's inspired commentaries and interpretations, profoundly influenced Renaissance thought, determining the course of the Organon-interpretation throughout this period and inspiring much original philosophical thought. Pace's interpretation of Aristotle's logical works - arguably the most influential collection of works in the history of Western thought - not only changed the face of Renaissance thought, it has remained the authoritative reading of Aristotle's "Organon" to this day and is still considered the most important and authoritative reading of the texts. As Ross puts it in the Preface to his translation of the logical works (the standard Oxford-edition): "My chief authority in matters of interpretation has been Pacius". ("The Works of Aristotle Translated into English Under the Editorship of W.D. Ross. Volume I". Oxford University Press). To this day, a proper study of Aristotle's "Organon" - and Porphyrios' "Isagoge" - is still unthinkable without references to Pace, his rendering of the text, and his interpretations of it. The famous "Porphyrian Tree" or "arbor porphyriana", which has gone down in history as a standard presentation of the basis of Aristotle's thought, was presented by Porphyrios in his "Isagoge", which since Antiquity has accompanied Aristotle's "Ornanon" as an introduction thereof. The standard presentation of this tree is that of Pace in the present edition, on p. 9. It is that rendering of it, with occasional slight alterations, which has remained standard ever since 1584. That which we ever since Antiquity have called the "Organon" comprises the logical works of Aristotle: 1. Categories, 2. On Interpretation, 3. Prior Analytics, 4. Posterior Analytics, 5. Topics, 6. On Sophistical Refutations - which ever since late Antiquity/early Middle Ages have been accompanied by Porphyrios' (233/34-ca.310) "Isagoge", his introduction to Aristotle's "Categories". During the Renaissance, all editions of Aristotle's "Organon" also comprised Porphyrios' "Isagoge", which was seen as necessary for the understanding of Aristotle's logic. Aristotle's logic has played a seminal role in the history of Western thought. No other collection of writings has had an impact on the history of philosophy that comes close to the "Organon", an impact that remains pivotal to this day. "Aristotle's logic, especially his theory of the syllogism, has had an unparalleled influence on the history of Western thought." (SEP).From Antiquity, the earlier middle ages had inherited Boethius' translation of the two first treatises of Aristotle's "Organon", along with Porphyrios' "Isagoge". These works formed the basis for logical study and teaching until the end of the 11th century. Only during the 12th and 13th centuries, were Aristotle's writings - along with those of the Arabic and some of the Greek commentators - translated into Latin. When the medieval universities reached their full development during the thirteenth century, Aristotle's works were adapted as the standard textbooks for all philosophical disciplines - thus modern terms for many philosophical and scientific disciplines correspond to the titles of Aristotle's works (e.g. Ethics, Physics, Metaphysics). Through Aristotle's works, the West thus acquired, not only the specific problems and ideas that were being dealt with at the universities, but also the terminology used to describe and discuss them and the systematic framework within which all relevant problems should and could be treated. But come the Renaissance, we see a clear change in the use of Aristotle's works. We here witness something other than a mere continuation of the late medieval Aristotelianism. The Humanists began supplying new translations of Aristotle's works and translated all the Greek commentators of Aristotle, many of them for the first time. And thus, a tendency to emphasize the original Greek Aristotle developed, a tendency that became pivotal for the development of modern thought - the development of modern science and modern philosophy is inextricably linked with the Renaissance Humanist editions of Aristotle's works in Greek (with Latin parallel-text). The "Organon", Aristotle's seminal logical writings, occupies a central position within the Aristotelian body of writing and thus within the development of Western thought. Certain Humanist versions of the Greek text and the Latin translations, as well as the interpretations of them, thus came to play a seminal role in the trajectory of Renaissance and modern though, Pace's "Organon"-edition presumably being THE most important and influential edition ever to have appeared. "The medieval traditions of logical writing survived well into the sixteenth century particularly at Paris and at the Spanish universities, though with considerable internal changes. Treatises on sophisms and on proofs of terms ceased to be written; whereas there was a sudden flurry of activity concerned with the various divisions of terms and with the opposition of propositions, i.e. the logical relations between different kinds of categorical proposition. These internal changes were not, however, sufficient to keep the tradition alive, and after about 1530 not only did new writing on the specifically medieval contributions to logic cease, but the publication of medieval logicians virtually ceased. The main exceptions were the logical commentaries by (or attributed to) such authors as Thomas Aquinas and John Duns Scotus, which found a place in their "Opera Omnia", and which benefited from a revived interest in the great medieval metaphysicians.The main changes in the teaching and writing of logic during the sixteenth century were due to the impact of humanism. First, commentaries on Aristotle came to display a totally new style of writing. One reason for this was the influence of new translations of Aristotle, and new attitudes to the Greek text. Another reason was the publication of the Greek commentators on Aristotle's logic, Alexander, Themistius, Ammonius, Philoponus and Simplicius. A third reason was the new emphasis on Averroes, which expressed itself in the great Aristotle-Averroes edition of 1550-1552. The effects of these new factors can be seen in the commentaries on individual works of the "Organon" by such Italians as Agostino Nifo (1473-1546) and Jacopo Zabarella (1533-1589), the latter of whom offered a particularly influential account of scientific method. They can also be seen in the "Organon" edition of Giulio Pace (1550-1635), which was first published in 1584 and contained the Greek text side-by-side with a new translation which was designed not only to read well but also to capture the philosophical significance of Aristotle's words." (Raul Corazzon, "History of Renaissance and Modern Logic from 1400 to Stuart Mill")."No editor better understood the nature of this Treatise of Aristotle than Julius Pacius, who was the preceptor of Casaubon, and profoundedly skilled in all the arcane of the Peripatetic philosophy, in both the Greek and Latin tongues." (Dibdin I: 318)Giulio Pace of Beriga (or Julius Pace/Pacius) (1550 - 1635) was a famous Italian Aristotelian scholar and jurist. He was born in Vicenza and studied law and philosophy in Padua. He was inspired by the Reformation and put on trial by the Inquisition. Therefore he had to flee Italy and escaped, first to Geneva, thereafter to Germany. While in Heidelberg, he converted to Protestantism. He was highly respected as an academic and was widely known for his deep knowledge and understanding of Aristotle, whom he became famous for translating. He was elected public professor in Geneva, where he taught for ten years (1575-1585). The next ten years he spent teaching law at the University of Heidelberg (where he got into different conflicts, especially with the philosophical faculty for giving private tuition in the controversial Ramist logic). After Heidelberg, he taught at different universities throughout Europe, where he was especially well known for his 1584-edition of Aristotle's "Organon", which played a definitive role in Aristotle-scholarship and philosophy in general throughout all of Europe.Dibdin I:318; Adams A:1866

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        M. Verrii Flacci quae extant. Et Sex. Pompei Festi De verborum significatione libri XX. Cum vetusto Bibliothecae Farnesianae exemplari Romae nuper edito, collati; ex quo lacunae pene omnes sunt suppletae. In eos libros Ant. Augustini annotationes, ex editione Veneta, Io. Scaligeri castigationes recognitae, ex Parisiensi, Ful. Ursini notae, ex Romana. Accesserunt nunc denique doctissimorum virorum notae ex eorum scriptis hinc inde collectae

      Paris, apud Arnoldum Sittart, 1584. 8vo. (28),309,(1),(24, last 2 p. blank), 75,(11),216,(24),84 p. Limp vellum. 17 cm (Ref: Smitskamp 61; Schweiger 355 & 1134; Brunet 5,2 1148) (Details: 5 thongs laced through cover; engraved printer's mark on title, motto: 'finis coronat opus') (Condition: The vellum is probably recycled from another book; that is why the cover is wrinkled, dog-eared, sl. soiled, and cut short; a small piece of the outer-edge of the backcover has gone; 3 names and a small inscription on the title, 1 name has been erased; partly slightly waterstained at the lower margin; some hardly visible pinpoint wormholes near the right lower corner of one quarter of the book) (Note: Festus is a 2nd century grammarian, who produced an abbreviation of a lexicographic work by Marcus Verrius Flaccus, a wellknown antiquarian and grammarian living in Augustan Rome. Verrius compiled an enormous lexicon in 80 books, full of unusual, difficult, and archaic words, with discussions about customs, political institutions, beliefs and Roman law. Remains of his work survive in the epitome of 20 books made by Sextus Pompeius Festus. Festus also added examples found in other sources; an other epitome of this epitome of Festus was made in the 9th century by the historian Paulus Diaconus. The original work of Verrius is completely lost, and only 1 manuscript of Festus survived the Middle Ages in a heavily mutilated form. The first reliable text, which was a great improvement compared to earlier editions was published in 1559 by Antonio Agustin, 1517-1586, who made good use of the Farnese manuscript at Naples. He also added a commentary. It remained dominant for 2 centuries. Fulvius added in this edition suggestions concerning Greek material. J.J. Scaliger, 1540-1609, produced a highly acclaimed edition in 1575. He was praised for having successfully completed the gaps and damaged passages of the Farnese manuscript. Grafton says about this edition that 'fluency in conjecture and attention to detail could hardly be raised to a higher level'. (A. Grafton. Joseph Scaliger, a study in the history of classical scholarship, Oxf. 1983, vol. 1, p. 134/160) This edition of 1584 repeats Scaliger's of 1575. The text of Agustin is also printed, followed by 75 p. with his annotations, and followed by a 216 p. commentary by Scaliger; at the end we find the notes of Ursinus) (Collation: +6, *8, a - x8, A - V8 X2, 2A - 2E8 2F2) (Photographs on request)

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        Candia Insula / Archipelagi Insularum Aliquot Descrip

      Antwerpen, 1584. 36,1 : 50,8 cm.. Van den Broecke, M.: Ortelius Atlas Maps, No. 141; Zacharakis, C.G.: A Catalogue of Printed Maps of Greece, 1477-1800, No. 1617. - Kupferstich-Landkarte von Kreta mit weiteren 10 Inseln der Ägäis von A. Ortelius. Zeigt Crete mit den Inseln Lesbos (Metellino), Kithira (Cerigo), Karpathos (Scarpanto), Naxos (Nicsia), Thira (Santorini), Milos (Milo), Lemnos (Stalimene), Euboea (Negroponte), Rhodos (Rodus) und Chios (Scio). Aus der lateinischen Ausgabe des Theatrum Orbis Terrarum von 1584, rückseitig lateinischer Text. Das wunderschöne, original alte Handkolorit wirkt erstaunlich frisch. - Zwei kleine Einrisse im unteren Rand hinterlegt. Ein Einriss im oberen Rand bis ins Bild reichend hinterlegt. Sehr gute Erhaltung. - Beautiful original old coloured copper engraved map of Crete with 10 additional islands by A. Ortelius. Showing Crete and the islands Lesbos (Metellino), Kithira (Cerigo), Karpathos (Scarpanto), Naxos (Nicsia), Thira (Santorini), Milos (Milo), Lemnos (Stalimene), Euboea (Negroponte), Rhodos (Rodus) and Chios (Scio). From the 1584 Latin edition of Theatrum Orbis Terrarum, Latin text on verso. - Two small tears in lower margin backed. One tear in upper margin just into image backed. Very good condition.

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        DE VITA ET REBUS GESTIS SANCTORUM BERGOMATUM COMMENTARII Quos olim a M. Antonio Benalio, immatura morte sublato, imperfectos relictos, Io. Antonius Guarnerius Canonicus ex decreto Decurionum Bergomatum quam diligentissimè expoliuit et auxit.

      Bergomi, Typis Comini Venturae, 1584. In-8 p. (mm. 202x145), p. pergam. molle coeva con legacci, tit. ms. al dorso, 5 cc.nn. (inclusa la c. di imprimatur), 136 cc.num., stemma silografato al frontespizio. La c. d?'errata al fine non è presente (come in molti esemplari). Storia ecclesiastica e civile, della provincia di Bergamo, non comune. Cfr. Coleti,I, p. 16, che dà come autore dell?'opera il Guarnerius. Fresco esempl., ben conservato.

      [Bookseller: Libreria Malavasi sas]
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        I DIECI LIBRI DELL’ARCHITETTURA DI M. VITRUVIO Tradotti e commentati da Mons. Daniel Barbaro eletto Patriarca d’Aquileia, da lui riveduti & ampliati; & hora in più commoda forma ridotti.

      Venezia, appresso Francesco de?' Franceschi, 1584. In-8 (mm. 242 x 180), p. pelle mod., eleganti cornici decorate e tit. oro ai piatti, dorso a cordoni con fregi oro, tagli marmorizz., 4 cc.nn., 505 pp.num., ornato da capilettera figur. e illustrato da numerose xilografie nel t. di vario formato. Terza edizione della traduzione del Barbaro, che deriva da quella veneziana del 1567, con nuovi legni per le xilografie. Il quarto capitolo del V libro di Vitruvio è dedicato all?'armonia e alla proporzione armonica in relazione all?'architettura. Nel trattato vi sono alcuni esempi di pentagrammi musicali, schemi armonici e una tavola nella quale l?'armonia è distinta in tre generi: armonico, cromatico e diatonico. L?'interesse per queste teorie fu in stretta correlazione con alcune problematiche connesse col teatro e con l?'acustica. Con il risveglio culturale del Quattrocento fu ripresa la teoria pitagorica dell?'armonia, teoria che Vitruvio aveva affrontato nel suo trattato, ma che aveva limitato all?'acustica teatrale, seguendo l?'impostazione del ?"Timeo?" platonico. Questa ristampa della traduzione del Barbaro, a 17 anni dall?'edizione precedente, si rese necessaria per l?'irreperibilità del volume, a conferma dell?'estrema importanza e fortuna della lezione dello studioso veneto. Cfr. Studi e documenti d?'architettura, n. 8, 45 - Fowler,413 - Cicognara,720. Leggerm. corto del marg. sup.; con lievi aloni margin. e qualche ingiallitura o fiorit., ma certamente un buon esemplare.

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        Della rhetorica di Giason Denores libri tre, ne' quali, oltra i precetti dell'arte, si contengono vinti orationi tradotte de' pi? famosi, & illustri philosophi, & oratori: con gli argomenti loro, discorsi, tauole, & ruote, .

      appresso Paolo Megietto, libraro in Padoa 1584 In 8, pp. 264. Rilegat. t. pergamena, due tasselli e fregi in oro al dorso. Due marche tipog. xilograf. sul frontespizio e in fine raffiguranti ovale con all'interno una pianta di granturco e ai lati due galli. Motto: Non comedetis fruges mendacii. Capilettera, testatine e una carta ripiegata con rifilatura al margine esterno. Un quarto delle carte presente bruniture. Due fori di tarlo alle prime carte ed alle pagine centrali che non ledono il testo.

      [Bookseller: Nuovi Quaderni di Capestrano]
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        Histoire des Troubles et Guerre Civile du Pays de Flandres: l'origine et progres d'icelle les Stratagemes des guerre: siegemens et expugnation des Villes et Forteresses: L'Estat de la religion depuis l'an 1559 insques a present. 5 books in 1 volume

      Lyon: Jean Stratius. G : in good condition. Later rebind. Some leather to coners missing. Rubbed and scufffed. Gilt tooling still bright. 1584. Second Edition. Leather cover. 170mm x 110mm (7" x 4"). 367pp. title page wood cut engraving; begining of each 'book' has engraved header. Woodcut full page plate of 'La Figure du Duc L'Albe'. Divise en cinq livres. [History of the Disturbances and Civil War of the Country of Flanders Containing the origins and progress the Stratagy of the wars: sieges and expugnation of the Cities and Fortresses: The state of religion since 1559 to the present]. Some pages missing from table content at front from letter A-F with others mis-bound and wrongly paginated at front and back. Pages 353 - 358 missing - begining of book 5. Notes and pen inscriptions from previous owners on eps and title page. .

      [Bookseller: Barter Books Ltd]
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        Aegyptvs Antiqva

      Antwerp, Ortelius, Abraham, 1584. Egypt. "Aegyptus Antiqua". Orig. copper-engraving, A. Ortelius, Antwerp, 1584. Orig. old colouring. With 3 decorative cartouches (one with inset map of Alexandria with its environs, 8,5:11 cm) and great architectural cartouche with 2 pyramids. Printed from two plates, not joined. 79,5:49 cm (31 1/4 x 19 1/4 inch.).. V. d. Broecke Nr. 219 und 220; Koeman III, maps 8650H/1:31A and 8650H/2:31A, ed. 31:030 (1584 Latin). - A very decorative Ortelius' two sheet map of Ancient Egypt, extending from the mouth of the Nile to the Mediterranean Sea in the North to the source of the Nile in the South. - Two sheets with full margins, not joined.

      [Bookseller: Antikvariat Karel Krenek]
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        Münzordnung]. Gedrucktes Mandat.

      Wien, 20. IX. 1584. - Einblattdruck. 1 S. Qu.-Folio (515:386 mm). Mit papiergedecktem Siegel über rotem Wachs. Gefaltet. Verbot ungarischer "Dreyer" (Denare, Soldinen) in Niederösterreich, da "auch in und umb unser Hauptstatt Wienn durch solche Hungerische weisse Müntz unter wellicher je lenger je mehr falsche und ungerechte, vielleicht aus der Türckey oder derley Ortten, herrürende Dreyer befunden, die gute guldene und silberne Reichsmüntz, insonderhait die guten gültigen Taller, auffgewertet, und ohne zahl aus diesen unsern Landen [.] an frembde ortt verfüert werden". "Binnen drei Monaten haben alle ungarischen Dreier ausgewechselt zu sein, und zwar ist ein ungarischer Dreier gleich 2½ Wiener Pfennige" (Starzer). - Dorsalvermerke des 17. Jhs. zum Inhalt. Unter dem Urkundentext rechts: "Commissio domini electi imperatoris in consilio". Links mit eigenh. Zeichnung des niederösterreichischen Vize-Statthalters Oswald Frhr. von Eytzing und des Kanzlers Dr. Gregor von Ödt, rechts des Eustach von Althan und des Dr. Elias Corning. Starzer, Regesten aus dem k. k. Archiv für Niederösterreich (1906), Nr. 5564. [Attributes: Signed Copy]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Andegavensium ditionis vera et integra descriptio.

      Plantinus., Antuerpiae. 1584 - Carta geografica tratta dal Theatrum Orbis Terrarum, Nomenclator Ptolemaicus, incisa in rame, acquarellata, parte incisa di cm. 35 x 47 , su foglio di cm. 43 x 54. Cartiglio in alto a destra. Scala in basso a sinistra. Sul retro descrizione della carta.

      [Bookseller: Libreria M. T. Cicerone]
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        DAVIDIS REGIS AC PROPHETAE, PSALMORVM LIBER.

      ex officina Christophori Plantini,, Antverpiae, 1584 - Psautier latin du 16e siècle. La tradition attribue les psaumes au roi David, mais la réalité est plus complexe, seuls 73 des 150 psaumes lui sont attribuables. Les psaumes, transmis par voie orale pendant presque mille ans, sont très importants dans les rituels chrétiens et juifs. 267-13 pp. in-24, Reliure d'époque plein veau naturel, vrai dos orné à 5 nerfs (coiffes très usées, avec manque, mors légèrement fendus, frottements; pièce de titre brun, tranches ocre rouge.

      [Bookseller: alphabets]
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        Prussiae regionis Sarmatiae Europeae nobiliss(imae) vera et nova descriptio.

      Antwerpen 1584,. Kolorierter Kupferstich, 41 x 35 cm. Breitrandig und sehr gut erhalten. Prachtexemplar! (aus Abraham Ortelius: Additamentum III. Theatri Orbis Terrarum. Antwerpen: Plantijn 1584).. * Das von dem Mühlhausener Pfarrer Caspar Henneberger geschaffene neue Kartenbild des Preussenlandes (die Erstausgabe war 1576 als grosser Holzschnitt im Format 106 x 96 cm bei Georg Osterberger in Königsberg erschienen) gelangte in die Hände des bedeutenden Landkartenstechers Abraham Ortelius in Antwerpen, der die Karte verkleinerte und 1584 als Kupferstich in seinen Atlas "Theatrum Orbis Terrarum" aufnahm. Aus der grossformatigen Vorlage hat Ortelius auch die ungewöhnlichen dreierlei Meilenmasse übernommen: grosse, mittlere und kleine Meilen. Diese Differenzierungen hatte Henneberger aus den Informationen der bei der Anfertigung der Karte befragten preussischen Fuhrleute entnommen: je nach Jahreszeit und Bodenbeschaffenheit kam man auf gefrorenen, trockenen oder schlammigen Wegen mehr oder weniger zügig voran, deshalb schienen die Distanzen zwischen den Orten grösser oder kleiner zu sein. Auch landeskundliche Details hat Ortelius von Henneberger übernommen: Vor der Samlandküste finden sich zwei Hinweise, dass man hier bei bestimmten Windrichtungen viel Bernstein finden könne: "Flante Zephyro hic multum Succini colligitur" (bei Westwind wird hier viel Bernstein gesammelt), in der Rominter Heide sind drei Hirsche und ein Jagdhaus "Romittisch Jagdtpude" eingezeichnet. (Jäger: Prussia-Karten Nr.19)

      [Bookseller: Antiquariat Ruthild Jäger]
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        Lenz geth ins nezl, das ist: gründliche Widerlegung, unnd außsteuberung deß langen Buechs, M. Salomonis Lenz, bey der newen Pfarr;. In welcher erwiesen wirdt, wie. er sich ober den Purlanen Standt erhebt,. Straubing, S. Haan 1631. 4°. 4Bll. 436S. 2Bll. Prgt. d. Zt.

      - VD17 12:110884P - De Baker-S. III, 420 - Ernst Georg (1584-1662) war Domprediger in Regensburg; Beteiligter war Lenz Salomon (1584-1647).- Nur gering gebräunt, Ebd. etw. fleckig

      [Bookseller: Antiquariat Müller]
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