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Displayed below are some selected recent viaLibri matches for books published in 1593

        A Profitable Booke of Master Iohn Perkins, fellow of the Inner Temple. Treating of the Lawes of Englande. S.T.C. 19639; Beale T425

      The penultimate sixteenth century edition of one of the classics of English land law, one which Holdsworth pairs with Littleton's Tenures; with a significant portion devoted to the law as it affected women, including a lengthy chapter on dower. Early (?17th century) calf, rebacked, title dusty and strengthened at the inner margin, closely trimmed, some running heads just affected; sound. Imprinted . . . in Fleetestreat . . . by Richard Tottel [etc.], London, 1593.

      [Bookseller:  Meyer Boswell Books, Inc.]
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        De Humana Physiognomonia...Libri IIII: Qvi ab extimis, quæ in hominum corporibus conspiciuntur signis, ita eorum naturas, mores & consilia (egregiis ad viuum expressis Iconibus) demonstrant, vt intimos animi recessus penetrare videantur. Nunc ab innumeris mendis, quibus passim Neopolitana scatebat editio, emendati, primumq; in Germania lucem editi.

      Hanoviæ (Hannover), G. Antonium, impensis Petri Fischeri Fr.( Frankfurt), 1593. 8vo. (17x12 cm.). Contemporary full vellum. Title with woodcut printer's device. (16), 534, (55) pp. 2 large woodcut portraits (verso of title-page and verso of last leaf in first quire) and numerous woodcuts in the text, depicting human and animal physiognomies. Title-page a bit soiled and a cut in lower right corner (no loss). 3 leaves in Index repaired in lower right corners with loss of a few letters. Otherwise a fine and well-preserved copy.. The rare second edition (being the first edition printed in Germany) of Porta's seminal work, the richly and well-illustrated "Physiognomia", which is considered the founding work on Physiognomy. Giambattista della Porta was an immensely influential Renaissance thinker, scientist and writer, who contributed greatly to the intellectual era of the Renaissance. His groundbreaking work on physiognomies was originally printed in Italy in 1586 and was planned to appear in a second edition in Italy in 1593, but his work had attracted the attention of the Inquisition, and the printing of the work was prohibited. Thus the rare second edition appeared in Germany in 1593, and after 1600, numerous more editions of the work began to appear. He published his last work in 1610.Porta played a seminal role in the development of the academies of the late Renaissance, and he himself established the Accademia dei Segreti (Academia Secretorum Naturae) some time prior to 1580. It met in Porta's house in Naples, and it was devoted to discussion and study of the secrets of nature. It is thus no surprise that he was examined by the Inquisition - this was probably not only due to his astonishing work on the correspondence between the external form of the body and the internal character of the person (the "Physignomonia"), but also because of the "dangerous" activities of his academy. The academy was thus closed by the Inquisition, and in 1592 all further publication of his works was prohibited. This ban was not lifted until 1598. His academy was a forerunner of the important "Academia dei Lincei" which was founded in Rome by Federico Cesi in 1603, and which Porta himself joined in 1610. Apart from the founder Cesi, Porta was the most influential member, at least until Galilei joined it in 1611.In his seminal "De Humana Physiognomia", Porta sets out to establish a link, in accordance with the prevailing theories of correspondences, between the external form of bodies and the expressions of faces and the psychology of persons by comparing with animal trades. In numerous expressive woodcuts throughout the work, human characters are depicted in comparison with animal counterparts (mammals, birds, etc.). Though credited with having priority in inventing the telescope (due to book XVII, on refraction, of his "Magiae Naturalis, 1589, and his work on concave and convex lenses, De Refractione, 1593), Porta's world image was fundamentally a magical one, as was typical of many Renaissance scientists and thinkers (e.g. Pico della Mirandola). His system of spiritualistic metaphysics led him to draw interesting and later influential analogies between plants, animals and men, and he saw the same shapes, humours etc. in organisms that at a first glance are not related. This created the foundation of his main physiognomic work, and in it he draws interesting parallels between human and animal shapes and physiognomies, throughout documenting this with illustrations.This could perhaps sound as a fanciful work, but in fact he presents a striking and convincing system which should and would not be dismissedPorta's studies in physiognomy became a main inspiration for Johann Kaspar Lavater in the 18th century. "Della Porta preceeded Lavater in attempting to estimate human characters by the features. He was the founder of physiognomy, and this is one of the earliest works on the subject." (Garrison & Morton).Giovanni Battista Della Porta, as he was also known, was born around 1535 and died in 1615, which dates him amidst The Scientific Revolution and Reformation. He was an Italian scholar, scientist, natural philosopher and playwright from Naples, who came to influence Renaissance thought in a number of ways. "His devotion to experiment and his study of mathematics brought him in the 1580's to the verge of greatness, but he was soon overwhelmed again by the lure of the occult and the marvelous. Perhaps Porta's most compelling virtue and weakness was this youthful enthusiasm for the things of nature. There is a joy in his studies that not even the fatigue of working on the telescope and parabolic mirrors could diminish." (DSB XI:98).Graesse V: p.417. - Adams P:1925. - Brunet IV:826. - Garrison & Morton No. 150 (1586-edition)

      [Bookseller: Lynge & Søn A/S]
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        (Historia, Unnd Abcontrafeytungh, fürnemlich der Niederlendischer geschichten, und Kriegss hendeln, mit höchstem fleiss beschrieben durch Merten von Maneuel) (1. Theil) - Historiæ, Unnd Abcontrafeytung fürnemblich der Niederländischer Geschichten und Kriegshändelen. der Andere Theil mit höchstem fleiss beschrieben, durch D.M.M. (2. Theil). (Buch I-VIII und Buch IX-XVII, alles).

      (No Place, no Printer, Kölln, Ebda ?), (1593)-1596. Small folio. (28x19 cm.). Contemporary full Dutch vellum over wood, rectangular blind-toolings and blind-tooled centrepieces on covers. Raised bands. Lower corners bumped. A little soiling and brownspots to covers, a few tears and scratches. Internally fine, a few marginal dampstains and a few brownspots, light yellowing to a few quires. There is no standard-collation for this work, so here follows a collation in detail for this copy.Collation Erster Theil: Lacking engraved title. - pp. 1-16 (of ?). - Buch 1-2: 121 + (1) pp., 2 portraits and 21 plates. (lacks pp. 93-94, a plate supposed to be printed on verso ?) - Buch 3: 48 + (2) pp. (mixed roman and arabic numbering), 1 portrait and 14 plates. - Buch 4: 65 + (1) pp. (mixed roman and arabic numbering, faults in pagination), 21 plates. - Buch 5: 57 + (1) pp., 1 portrait and 11 plates. - Buch 6: (1) + 51 pp. and 16 plates. - Buch 7: (1), 39 + (1) pp., 1 portrait and 9 plates. - Buch 8: 51 + (1) pp. and 19 plates - "Register" to 1-8: (10) pp. Collation Andere Theil: Engraved title, showing the re-use of the first title by means of a new printed title-label pasted onto the old lettering in middle of the ornamental engraved title. - Buch 9: (1), 59 + (1) pp., 1 portrait and 6 plates. - Buch 10: (2), 97 + (1) pp., 1 portrait and 12 plates. - Buch 11: (2), 63 + (1) pp. and 10 plates. - Buch 12: 87 + (1) pp., 2 portraits and 18 plates. - Buch 13: 84 pp., 3 portraits and 15 plates. - Buch 14: 83 pp. and 7 plates. - Buch 15: 71 pp., 1 portrait and 6 plates. - Buch 16: 83 + (1) pp. and 16 plates. - Buch 17: 89 + (1) pp., 1 portrait and 7 plates (5 double-page, 2 single-page).In all 13 engraved portraits and 208 (of 209 ?) double-page engraved plates by Frans Hogenberg (2 plates single-page). 2 portraits shaved in margin and with tear to centrefold. On the Hogenberg-plates used for this work all the engraved lettering has been erased from bottom of the copper-plates, leaving the engraved plates with no text. The plates are printed on verso of text and are unnumbered. (Measuring ab. 20/22 x 28/30 cm.).. Extremely scarce first edition and the only edition of this main historical source work illustrated by engravings from Frans Hogenberg's "Geschichtsblätter". When W.D. Verduyn wrote his book on Van Meteren's historical work in 1926, he could only find one copy in German and Dutch libraries, and no library had both parts of the work. He states that the only known copy of the first part was in "Stadsbibliotheek te Elbing bij Danzig" (p. 165) and the only known copy of the second part was found in "Koninglijke Bibliotheek in Den Haag" (p. 167), now the library has both parts. - It is unknown to Graesse where the German edition from Hamburg 1596/97 is wrongly called first edition. - Not in Adams; not in Brunet, -though he lists many editions, he does not have this one; not in BMC, which only lists the unillustrated edition from 1596. The work ran through many editions in German, Dutch, Latin etc. and was supplemented with descriptions of recent incidents and developments up to 1618, many of these editions were illustrated, not by sceneries but by engraved portraits. Van Meteren (1535-1612) was a Flemish historian and Consul for "The Traders of the Low Countries" in London in which position he was able to collect much information. In this work he became a chronicler of the events of his time, a first-hand eyewitness to the events in the wars in the Low Countries, here covering the 40 years between 1555 and 1595. The work stands as one of the main sources for the history of these great 16th Century revolutions.Van Meteren was a cousin to the great carthographer Abraham Ortelius, and it was Ortelius who convinced him to put to use the documents about the wars which he had collected, and to write their story. The whole history of the printing of this first edition is very obscure and partly unclarified. Van Meteren brought his manuscript to Germany in order to have it illustrated, but somehow it appeared in print as this German translation, illustrated by Hogenberg's "Geschichtsblätter", but unauthorized; Van Meteren himself disclaimed this edition and finally had his original manuscript published in Delft in 1599.Frans Hogenberg, engraver and publisher together with Braun of "Civitatis Orbis Terrarum" 1572 ff. and responsible for many maps in Ortelius's Atlas, published his "Geschichtsblätter" between 1564 and 1631 in the form of pictures documenting contemporary events - and here we have a happy unification of text and illustration. The plates, from which the original engraved text at the bottom of the pictures has been erased for this work, depict town-views from the Low Countries and Germany (Antwerpen, Brussel, Nimwegen, Neuss, Geldern, Rheinberg, Köln, Bonn etc.etc.), sceneries from daily life, battles and sieges, cities surrounded by armies, processions, coronations, festivals etc. etc.W.D. Verduyn: Emanuel van Meteren. s'Gravenhage, 1926. - NBG. - Not in Adams, Graesse, Brunet or BMC

      [Bookseller: Lynge & Søn A/S]
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