The viaLibri website requires cookies to work properly. You can find more information in our Terms of Service and Privacy Policy.

Displayed below are some selected recent viaLibri matches for books published in 1600

        Vergilius com commentarijs. Opera Vergiliana: antea corrupta: con mendosa: nunc vero multorum exemplarium collatione in integrum restituta: docte: con familiariter exposita

      Venetiis, per A. de Zannis de Portesio 1600 - Folio. 3 parts in 1. 7 [of 8] preliminary leaves, 122, 250, 47 leaves, illustrations 32 cm. 18th century quarter vellum over marbled boards, leather spine label, page ends washed yellow. Armorial bookplate of M. Bruen. Title page supplied in manuscript as the 1529 Lyon edition. Not in Adams or Brunet. Modified woodcut illustrations based off Gruninger Strasbourg edition of 1502. About half of the woodcuts have been crudely augmented in color wash by an amateurish hand. Contemporary ink annotations. Scattered spotting and staining, some pages trimmed and shaved close. Dampstain affecting text and woodcut to 100 leaves. This is an oversized or heavy book, that requires additional postage for international delivery outside the US. [Attributes: Hard Cover]

      [Bookseller: Sequitur Books]
 1.   Check availability:     AbeBooks     Link/Print  


        Shanameh (Book of Kings)

      circa 1600 - This is a manuscript. Incomplete. Just 2 leaves. In Farsi, of a work authored by the Persian poet Ferdowsi around 1600 A.D., the ShanNameh is the national epic of the Persian speaking world. It tells the mythical and historical past of Iran from the creation of the world up until the Islamic conquest of Iran in the 7th century. 2 folio leaves from teh Book of Kings, written on ivory colored oriental Persian paper, in elegant classic Nastilik calligraphy in black within a polychrome panel whose borders are drawn in liquid gold and blue. Some discoloration standard for the age.

      [Bookseller: Meir Turner]
 2.   Check availability:     AbeBooks     Link/Print  


        Histoire Naturelle et Moralle des Indes, tant Orientalles qu'Occidentalles: Ou,il est traicte des choses remarquables du Ciel, des Elemens, Metaux, Plantes & Animaux qui sont propres de ce pays.

      Paris: Marc Orry, 1600 A good copy of the 2nd French edition of Joseph Acosta's important work on the New World first published in Spanish in 1590. Acosta was a Jesuit, who spent 17 years in South America and Mexico. His work, based on careful observation, formed one of the first accounts of the New World. This copy is in probably contemporary full vellum binding with yapp edges. The original ties have gone. It is difficult to say if the binding was hard or soft cover, because at some point in its history, it has had an old stiff embossed wallpaper with gilt birds and flowers, used to form new endpapers. There are no pages before the title page, which has had a strip added at the bottom and which is coming loose. Contents: title page; dedication pp ii-iv; advert; poems 4pp; Extrait du Privilege du Roi 1p; Text in 7 books pp 1-375; table of contents 34 pp. The text pages are numbered on the recto only. With decorative head pieces and initial capitals. The text is very clean with just the occasional mark, and some light underlining at p 238, but p 58 is missing. P 31 is mispaginated as p 13; p 267 is un-numbered and p 97 is very thin with a hole in the bottom margin. The final third of the book is quite difficult to open fully - probably because of the way the endpapers have been added.

      [Bookseller: E C Books]
 3.   Check availability:     Biblio     Link/Print  


        Satire op de hygiëne - Crispijn de Passe naar Hendrick Goltzius, ca. 1600.

      Worst maken; satire op de hygi?ne, ?Jannot en Margot", kopergravure uit ca. 1600 door Crispijn de Passe.Het idee voor de sc?ne komt van Hendrick Goltzius (?HGoltius jnve[n]t[or]??), hetgeen zeer uitzonderlijk is in Goltzius? verder zeer sophisticated oeuvre. Een oudere vrouw (Margot) vult een darm en maakt een worst. Een man (Jannot) met een narrenkap op z'n rug legt een hand op haar schouder en wijst naar waar ze mee bezig is. Jannot lacht omdat zij bloedworst maakt in een weinig hygi?nische mand en over het zakje voor haar gezicht dat zou moeten voorkomen dat haar neus in de worst druppelt. Margot antwoordt dat Jannot gek is, zij vindt zich zelf zeer wel hygi?nisch en heeft ook het zwijn binnengelaten dat ze bij de haard laat zitten. Margot meent dat het zwijn het liefst bij Jannot wil zijn, Jannot is immers zo slim als een bloedworst (gemaakt van zwijn). De gevulde worst is een dubbelzinnige verwijzing naar ontlasting. De komische discussie tussen de twee gaat over de hygi?ne op dat gebied.De nabij Venlo geboren Hendrick Goltzius (1558-1616) leerde het vak van glasschilder bij zijn vader Jan Goltz te Duisburg. Van 1574 tot 1576 kreeg hij les in de graveertechniek van de uit Haarlem uitgeweken dichter, graveur, theoloog en wijsgeer Dirck Volckertsz Coornhert te Xanten. In navolging van Coornhert vestigde hij zich in Haarlem, waar hij in 1582 een bloeiend atelier had. Samen met de Vlaamse schilder-theoreticus Karel van Mander en de schilder Cornelis Cornelisz richtte hij in Haarlem een ??Academy? op. In deze periode perfectioneerde Goltzius een extreem elegante stijl, be?nvloed door het mani?risme van Bartholomeus Spranger.In 1590-91 reisde hij naar Itali?, waar hij enkele maanden in Rome verbleef en waar hij de beroemdste antieke beelden natekende. De kennismaking met de werken uit de oudheid en Renaissance betekende een ommekeer in Goltzius? stijl, die soberder en realistischer werd. Na zijn terugkeer in 1591 ontstonden zijn meest beroemde prenten, de zogenaamde ?Meisterstiche??, taferelen uit het leven van Maria gemaakt op de manier van oude meesters als Albrecht D?rer en Parmigianino. Tegen 1600 begon Goltzius ook te schilderen. Zijn schilderijen hebben meestal mythologische onderwerpen. Zijn tekeningen hebben belangrijk bijgedragen aan de ontwikkeling van de kunst in zijn tijd, vooral door zijn weergave van het landschap en de (naakt)figuur. Het Teylers Museum organiseerde in 2003 een grote overzichtstentoonstelling van het werk van Goltzius.De prentenuitgeverij van Crispijn de Passe (1564-1637) was bijzonder productief (ca. 14.000 prenten) met een grote vari?teit aan onderwerpen en genres (onder meer produceerde hij ge?llustreerde boeken in samenwerking met een boekdrukker, wat een tamelijk nieuw fenomeen was). De Passe hield het productieproces voor een groot gedeelte in eigen hand door zelf ook te graveren en ontwerpen te leveren; zijn drie tekenende en graverende kinderen werkten al jong in het bedrijf mee. Zij opereerden eerst vanuit Keulen, later vanuit Utrecht, met nauwe handelscontacten in Londen en Parijs en richtten zich op een internationale klantenkring.Referentie: New Hollstein Dutch XV, nr. 645; Crispijn de Passe and his progeny (1564-1670): a century of print production, door Ilja M.Veldman (2001), p.144 Er ligt een exemplaar van deze gravure in het RijksprentenkabinetPrijs: VERKOCHT.

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
 4.   Check availability:     NVvA     Link/Print  


        Pergrinatie der Patriarchen

      Artist: Allertsz H ; issued in : Amsterdam; date: 1600 - - technic: Copper print; colorit: original colored; size (in cm): 30,5 x 17,5 - description: Map shows on 2 inset maps the holy land and Jerusalem with the contiguous countries with Cyprus. With 6 beautiful biblical scenes.

      [Bookseller: Antique Sommer& Sapunaru KG]
 5.   Check availability:     ZVAB     Link/Print  


        AUREUM VELLUS, Oder Güldin Schatz und Kunstkammer: Darinnen der aller fürnembsten, fürtreffenlichsten / ausserlesenesten / herrlichsten und bewehrtesten Auctorum Schrifften Bücher / aus dem gar uhralten Schatz und ubergebliebnen / verborgenen / hinerhaltenen Reliquien und Monumenten der AEgyptorum, Arabum / Chaldaeorum & Assyrorum Königen und Weysen. Von dem edlen / Hocherleuchten / fürtreflichen / bewehrten Philosopho Salomone Trisamosine (so des grossen Philosophi und Medici Theophrasti Paracelsi Praeceptor gewesen) in sonderbare unterschiedliche Tractetlein disponirt / und in das Deutsch gebracht. Zampt anderer Philosophischen / alter unnd newer Scribenten sonderbaren Tractetlein / alles zuvor niemalen / weder erhört noch gesehen / wie d

      I: Erstlich Gedruckt zu Rorschach am Bodensee. II: Erstlich gedruckt im Gotteshaus S. Gallen Reichshoff / Rorschach am Bodensee. (G. Straub) 1599. (i.e. 1600). - 1.-2. Teil (von 5) in einem Band. 8°. 7 n.n. Bl., 214 S., 1 Bl., Titel, 165 S. Mit einem Holzschnittporträt von Paracelsus und 7 Holzschnitten im Text. Lederband um 1820 mit schwarzem goldgeprägtem Rückenschild und wenig Rückenvergoldung. Brüning 737. - Ferguson II, 469 (incplt.). - Sudhoff 244. - Zweite Ausgabe nach 1598 (dort in Quart). Der fehlende 3. Teil erschien ebenfalls in Rorschach 1600, ein 4. und 5. Teil erschien in Basel 1604 in Quart. - Enthält die Schriften des Salomon Trismosin, -angeblicher Lehrer von Paracelsus, der aber ebensowenig existierte wie Basilius Valentinus, sowie Schriften von Paracelsus und von Korndorff. Offenbar wollte der Herausgeber des Werkes die Bedeutung der Schriften Paracelsus hervorstreichen in dem er ihm einen Lehrer unterschob der in allen Bereichen der alchemistischen Künsten beschlagen war. Trismosin konnte Metalle transmutieren, kannte den Jungbrunnen und die Essenz zum Erfolg bei Frauen. Die Schriften im 2. (und im fehlenden 3. Teil) wurden zum Teil Paracelsus untergeschoben, sind zum Teil aber auch aus den früher erschienenen Druckausgaben übernommen. Der Titel bezieht sich auf die griechische Sage vom goldenen Vlies. Das Holzschnittporträt ist eine verkleinerte Wiedergabe des Holzschnittes aus der Paracelsus Ausgabe von Huser. Die anderen Holzschnitte zeigen Laborgeräte. - Ueber den Druckort streiten sich die Experten. Straub hat seine Offizin offenbar während der Arbeit von Rorschach nach St. Gallen verlegt. - Die vorliegende Ausgabe in Oktav ist im Handel und in den Bibliotheken wesentlich seltener nachweisbar als die 1598 gedruckte Ausgabe in Quart. - Durchgehend stark gebräunt, stellenweise wasserrandig. Haupttitel später neu eingehängt und im Innenfalz hinterlegt. Dadurch das Porträt auf Titel verso mit kleinem Bildverlust. Letztes Blatt mit kleinem Eckabriss (ohne Textverlust).

      [Bookseller: Daniel Thierstein]
 6.   Check availability:     AbeBooks     Link/Print  


        Pianta prospettica della città e delle lagune intagliata in legno dal monogrammista C. S. (Christoph Stimmer) per la "Cosmographia" di Sebastiano Munster, Basilea, 1550

      Basilea: Heinrich Petri, (1600) - Xilografia di mm 247 x 386, foglio di mm 307 x 396. Carta vergata. Edizione tedesca. Marginalmente lungo il lato superiore, al di fuori del legno ed in caratteri romani, i numeri di pagina clxxxviii, clxxxix, il titolo: "'Contrafehtung der furnemen statt Venedig sampt den umbligenden inseln". Nella pianta diversi nomi in latino ed italiano (in tedesco Teutsch-haus: Fondaco dei Tedeschi). In basso a sinistra il monogramma C. S. con sottostante il cavallo. A destra del monogramma due grandi riquadri con inserite due brevi descrizioni della città in caratteri tipografici: "Die Statt Venedig hat 62 pfarkirchen und 41 closter. Sie hat so vil canalen/ oder wasser fluss als sie gassen hat. Es seind darin 400 offentlischer brucken und /steg on die besundere gezelt.Item schiff so man zu allen hantierungen brauchen/ mag findt do bey 8000. Im werckhaus Arsenal genant das mit einer mau/ren umbfangen ist seind stets 400 meister und gesellen dieon underlass grosse /morschiff bereiten undmachen. In der inseln Murano macht man die hubschen/ Venediger undcrystalliner glasser, die man haraus und in alle lender bringt./Es begreifft umsich die stadtt Venedig acht welcher eilen. Und wie wol sie gar-/im more light, ist siedoch beschirmrt vonn demongestimen more durchein naturlich/ gestad so sich umb die statt umbherzencht gleich als ein onberwegliche mauer,das/ dem more demsturm nimpt das es die statt niuberfallen mag. An funft ortern hat es / breite lucken, dardurch man faren mag besunder bey den zweien Castellen zu Latin/ Duo propugnacula genant und bey der bischiffichen statt Chioza, die 25 mey-/len von Venedig ghen Ferrar zu ligt. Es ligen 25 inseln umb die statt und werden fast/ alle von geistlichen leuten bewonet ". Vi è ripetuta la rappresentazione convenzionale città -laguna già ideata da Bordone, ma esasperata ancor di più nella deformazione delle distanze e delle superfici. La prospettiva della città si differenzia per il punto di vista più ribassato rispetto le piante di Giovanni Andrea Vavassore e del Bordone; innegabile è invece, una certa affinità con laconcezioneprospettica del De'Barbari. La prima edizione della Cosmografia con laveduta di Venezia è del 1550, in tedesco, le successive edizioni appaiono fino al 1628. Nel 1559 c'è un'edizione in latino. Malgrado la massiccia tiratura sembra che il legno non sia stato ripassato o rifatto. L'unica modifica notata è la cancellazione della scritta in alto a sinistra "Brenta fl" in alcuni esemplari, tra i quali questo, della tarda edizione in lingua tedesca. Cassini (1982) N°11; Moretto N° 13; Schultz (1970) N° 14; Romanelli, Biadene (1982) N° 8 17mo secolo [Attributes: First Edition]

      [Bookseller: Libreria Emiliana ]
 7.   Check availability:     IberLibro     Link/Print  


        Partie orientale du temporel, de l Archevesche et Eslectorat de Treves

      Artist: Sanson Nicolas ( - 1667 ) Paris; issued in : Paris; date: 1681 1600 - - technic: Copper print; colorit: original colored; condition: Very good; size (in cm): 42 x 55,5 - description: Map shows the Rheinlandpfalz with Trier, Koblenz and Dietz - vita of the artist: Nicolas Sanson (1600?1667) was a French cartographer, termed by some the creator of French geography, in which he's been called the father of French cartography.Active from 1627, Sanson issued his first map of importance, the "Postes de France", which was published by Melchior Tavernier in 1632. After publishing several general atlases himself he became the associate of Pierre Mariette, a publisher of prints.In 1647 Sanson accused the Jesuit Philippe Labbe of plagiarizing him in his Pharus Galliae Antiquae; in 1648 he lost his eldest son Nicolas, killed during the Fronde. Among the friends of his later years was the great Condé. He died in Paris on 7 July 1667. Two younger sons, Adrien (d. 1708) and Guillaume (d. 1703), succeeded him as geographers to the king.In 1692 Hubert Jaillot collected Sanson's maps in an Atlas nouveau. See also the 18th century editions of some of Sanson's works on Delamarche under the titles of Atlas de géographie ancienne and Atlas britannique; and the Catalogue des cartes et livres de géographie de Sanson (1702).

      [Bookseller: Antique Sommer& Sapunaru KG]
 8.   Check availability:     ZVAB     Link/Print  


        Estat et Seigneurie de l Eves. De Lyege ou sont les Comtes de Hasbain, de Lootz et de Horn.

      Artist: Sanson Guillaume ( - 1667 ) Paris; issued in : Paris; date: 1692 1600 - - technic: Copper print; colorit: original colored; condition: Very good; size (in cm): 56 x 32,5 - description: Map shows the area of Lyege and the river Meuse from Roermund to Charlemont - vita of the artist: Nicolas Sanson (1600?1667) was a French cartographer, termed by some the creator of French geography, in which he's been called the father of French cartography.Active from 1627, Sanson issued his first map of importance, the "Postes de France", which was published by Melchior Tavernier in 1632. After publishing several general atlases himself he became the associate of Pierre Mariette, a publisher of prints.In 1647 Sanson accused the Jesuit Philippe Labbe of plagiarizing him in his Pharus Galliae Antiquae; in 1648 he lost his eldest son Nicolas, killed during the Fronde. Among the friends of his later years was the great Condé. He died in Paris on 7 July 1667. Two younger sons, Adrien (d. 1708) and Guillaume (d. 1703), succeeded him as geographers to the king.In 1692 Hubert Jaillot collected Sanson's maps in an Atlas nouveau. See also the 18th century editions of some of Sanson's works on Delamarche under the titles of Atlas de géographie ancienne and Atlas britannique; and the Catalogue des cartes et livres de géographie de Sanson (1702).

      [Bookseller: Antique Sommer& Sapunaru KG]
 9.   Check availability:     ZVAB     Link/Print  


        Bildnis von Oskar Maria Graf. Original Fotografie; Silbergelatine-Abzug (1963; wohl späterer Abzug). Bildformat: 25,5 x 37,7 cm. Rückseitig handschriftliche Datierung, Widmung und Bezeichnung von Stefan Moses in Bleistift sowie Copyright Aufkleber. - Leichte Knickspur, nur im Bildglanz sichtbar, zwei kleine Eck-Klebereste. - Siehe die ABBILDUNG.

      - Sprache: Deutsch Gewicht in Gramm: 1600

      [Bookseller: FOTO-Antiquariat Joachim und Silvia FAHL]
 10.   Check availability:     AbeBooks     Link/Print  


        ANNALS OF THE HONORABLE EAST-INDIA COMPANY. From their establishment by the charter of Queen Elizabeth, 1600, to the union of the London and English East-India Companies, 1707-8 .

      London, printed by Authority of the Honorable Court of Directors, 1810, 1600. FIRST EDITION 1810, 3 volumes, complete set. 4to, approximately 315 x 250 mm, 12½ x 10 inches, pages: viii, 1-572; [4], 1-677; [4], 1-693, all with half-titles, bound in half morocco, gilt lettering to spines, gilt top edges, marbled boards and endpapers. Volume 1 lacking pages 77-78, Volume 3 lacking pages 69-72, the same pages are missing in the Bodleian Library's set, the text appears complete, 22 pages of light foxing and 7 pages with slightly heavier foxing to Volume 1, shallow creases and scoring to some margins, looks like a paper fault, 2 small edge tears neatly repaired, nowhere near text, light foxing to blank endpapers, bookplate on pastedowns and small bookseller's label to lower edge, a few small handling marks otherwise a very good tight clean set. See: Catalogue of the Goldsmiths' Library of Economic Literature, Volume 2, page 86 Commerce section; The Kress Library of Business and Economics 1777-1817, page 284, B. 5619. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton P.B.F.A.]
 11.   Check availability:     maremagnum.com     Link/Print  


        Colonia.

      - Kupferstich um 1600, Stecher unbekannt., 37 x 50 cm. äußerst seltene Plan der Deutlich verkleinerte Version des Planes von Arnold Mercator. Achtspaltige Legende 1 - 44 in italienischer Sprache unter dem Plan. Der Titel COLONIA in den westlich gelegenen Feldern an der Stadtmauer. Verzeichnet unter Nr. 3 in: Köln in Vogelschauansichten Werner Schäfke 1992. Der Sich ist auf Japanpapier aufgezogen. ** Photos auf Wunsch im JPG-Format erhältlich.**

      [Bookseller: Kunsthandlung Goyert]
 12.   Check availability:     AbeBooks     Link/Print  


        Ecce Homo. Et si hic non esset homo non liberaretur homo. (Urbino 1593-1680, pittore, incisore, architetto)

      1600. Bulino originale, (mm 274x194), un cm. di margine sui quattro lati (lieve restauro al verso del margine inferiore) Il titolo indicato appare su un cartiglio in basso della scena; la firma si legge ai piedi di una colonnina: "Hieronimus Cialdierus Urbinum I.F." . Incisione estremamente rara del Cialdieri (Urbino 1593-1680, pittore, incsore, architetto) artista che ha lasciato pochissimi rami. Il Cristo coronato di spine è a figura intera, mostrato al popolo da Caifa e da tre armati. Il Gesù ha figura dolcissima e colma di dolore umano. (Lieve restauro della carta al verso delmargine inferiore).

      [Bookseller: Libreria Antiquaria Pregliasco]
 13.   Check availability:     maremagnum.com     Link/Print  


        Portugaliae Pars

      1600 - Rare battle plan illustrating the ill-fated Drake expedition to Portugal. N.d. [ca. 1600]. [Frankfurt]. Georg Keller. Trimmed to neat line and remargined, in the style of a Lafreri map, in order to fit into a larger binding. 280 mm x 200 mm. Exceedingly rare map depicting the battle between the English Armada and Spanish Galleons off the Coast of Lisbon, during the failed Drake-Norreys expedition of 1589. This rare map shows the Spanish and English fleets arrayed off the coast of Portugal, during the opening stages of an epic contest. To add artistic drama to the view, the ships take on an exaggerated size, compared to the coastline in the background. Enraged by England's piracy and heresy, in 1588, Phillip II assembled what was by far the largest naval fleet to date. It sailed from Lisbon to attack England. However, a combination of brave and clever English resistance, Spanish incompetence and terrible weather resulted in the complete failure of the mission and the loss of most of the Spanish fleet. The 'Defeat of the Armada' was one of the momentous events of British history. Sir Francis Drake (1540-96) was one of the leaders of the resistance to the Armada. Following the defeat of the Armada, Elizabeth and her ministers quickly moved to strike a deathblow to Spanish naval power. In 1589, the English mounted the Drake-Norreys Expedition, led by Sir Francis Drake as admiral and Sir John Norreys as general. The commanders of the so-called "English Armada" unwisely decided to attack Corunna, in Galicia, on their way to Lisbon. While they managed to create quite a bit of havoc for the Spaniards, the diversion seriously weakened the English fleet and spoiled the element of surprise, as the Spanish garrison in Lisbon was alerted and given two weeks notice to shore up its defences. Once the English arrived off of Portugal, they became bogged down in a protracted series of naval battles, the Spanish maintaining the upper hand. Political leaders in London refused to authorize re-enforcements for the fleet. Drake and Norreys were forced to withdrawal with heavy losses both in lives and ships. The Spanish victory marked a revival of Philip II's naval power.

      [Bookseller: HS Rare Books]
 14.   Check availability:     AbeBooks     Link/Print  


        Satire op de hygiëne - Crispijn de Passe naar Hendrick Goltzius, ca. 1600.

      Worst maken; satire op de hygi?ne, ?Jannot en Margot", kopergravure uit ca. 1600 door Crispijn de Passe.Het idee voor de sc?ne komt van Hendrick Goltzius (?HGoltius jnve[n]t[or]??), hetgeen zeer uitzonderlijk is in Goltzius? verder zeer sophisticated oeuvre. Een oudere vrouw (Margot) vult een darm en maakt een worst. Een man (Jannot) met een narrenkap op z'n rug legt een hand op haar schouder en wijst naar waar ze mee bezig is. Jannot lacht omdat zij bloedworst maakt in een weinig hygi?nische mand en over het zakje voor haar gezicht dat zou moeten voorkomen dat haar neus in de worst druppelt. Margot antwoordt dat Jannot gek is, zij vindt zich zelf zeer wel hygi?nisch en heeft ook het zwijn binnengelaten dat ze bij de haard laat zitten. Margot meent dat het zwijn het liefst bij Jannot wil zijn, Jannot is immers zo slim als een bloedworst (gemaakt van zwijn). De gevulde worst is een dubbelzinnige verwijzing naar ontlasting. De komische discussie tussen de twee gaat over de hygi?ne op dat gebied.De nabij Venlo geboren Hendrick Goltzius (1558-1616) leerde het vak van glasschilder bij zijn vader Jan Goltz te Duisburg. Van 1574 tot 1576 kreeg hij les in de graveertechniek van de uit Haarlem uitgeweken dichter, graveur, theoloog en wijsgeer Dirck Volckertsz Coornhert te Xanten. In navolging van Coornhert vestigde hij zich in Haarlem, waar hij in 1582 een bloeiend atelier had. Samen met de Vlaamse schilder-theoreticus Karel van Mander en de schilder Cornelis Cornelisz richtte hij in Haarlem een ??Academy? op. In deze periode perfectioneerde Goltzius een extreem elegante stijl, be?nvloed door het mani?risme van Bartholomeus Spranger.In 1590-91 reisde hij naar Itali?, waar hij enkele maanden in Rome verbleef en waar hij de beroemdste antieke beelden natekende. De kennismaking met de werken uit de oudheid en Renaissance betekende een ommekeer in Goltzius? stijl, die soberder en realistischer werd. Na zijn terugkeer in 1591 ontstonden zijn meest beroemde prenten, de zogenaamde ?Meisterstiche??, taferelen uit het leven van Maria gemaakt op de manier van oude meesters als Albrecht D?rer en Parmigianino. Tegen 1600 begon Goltzius ook te schilderen. Zijn schilderijen hebben meestal mythologische onderwerpen. Zijn tekeningen hebben belangrijk bijgedragen aan de ontwikkeling van de kunst in zijn tijd, vooral door zijn weergave van het landschap en de (naakt)figuur. Het Teylers Museum organiseerde in 2003 een grote overzichtstentoonstelling van het werk van Goltzius.De prentenuitgeverij van Crispijn de Passe (1564-1637) was bijzonder productief (ca. 14.000 prenten) met een grote vari?teit aan onderwerpen en genres (onder meer produceerde hij ge?llustreerde boeken in samenwerking met een boekdrukker, wat een tamelijk nieuw fenomeen was). De Passe hield het productieproces voor een groot gedeelte in eigen hand door zelf ook te graveren en ontwerpen te leveren; zijn drie tekenende en graverende kinderen werkten al jong in het bedrijf mee. Zij opereerden eerst vanuit Keulen, later vanuit Utrecht, met nauwe handelscontacten in Londen en Parijs en richtten zich op een internationale klantenkring.Referentie: New Hollstein Dutch XV, nr. 645; Crispijn de Passe and his progeny (1564-1670): a century of print production, door Ilja M.Veldman (2001), p.144 Er ligt een exemplaar van deze gravure in het RijksprentenkabinetPrijs: VERKOCHT.

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
 15.   Check availability:     NVvA     Link/Print  


        Brief mit eigenh. U. ("Il Card[inale] di S[anta] Sev[eri]na").

      Rom, 27. II. 1599 [d. i. 1600]. - 1 S. auf Doppelblatt. 4to. Mit Adresse (Faltbrief). Als römischer Großinquisitor an den Bischof von Civita Castellana, d. i. Andrea Longo (1582-1607). Da die Inqusition erfahren habe, daß Orinthio Acquarelli aus Rieti im Hause des Pompeo Rossi an einem Freitag Fleisch verzehrt habe, wird der Bischof angewiesen, die Beweisgrundlagen vor Ort zu überprüfen. - Santorio war Berater mehrer Päpste, eifriger Gegenreformator, Großinquisitor und Großpönitentiar. Der sehr einflußreiche Kardinal, der selbst fast Papst geworden wäre, war als Inquisitor gefürchtet: Er leitete u. a. Verfahren gegen Campanella und Heinrich IV. von Frankreich und zeichnete für die Verurteilung des Philosophen Giordano Bruno verantwortlich, der zehn Tage vor diesem Brief als Ketzer verbrannt worden war. Der hier erwähnte Acquarelli ist aus den Inquisitionsakten als Mithäftling Brunos bekannt. - Die Datierung des Briefes mit "27. Februar 1599" ist als "27. Februar" 1600 zu lesen, da es bis ins 17. Jhdt. hinein in Rom der Brauch war, das Jahr mit dem 25. März beginnen zu lassen. - Stärker wasserrandig und mit Randläsuren; kleinere Löcher durch Tintenfraß.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
 16.   Check availability:     IberLibro     Link/Print  


        Satire op de hygiëne - Crispijn de Passe naar Hendrick Goltzius, ca. 1600.

      Worst maken; satire op de hygiëne, ?Jannot en Margot", kopergravure uit ca. 1600 door Crispijn de Passe.Het idee voor de scène komt van Hendrick Goltzius (?HGoltius jnve[n]t[or]?'), hetgeen zeer uitzonderlijk is in Goltzius? verder zeer sophisticated oeuvre. Een oudere vrouw (Margot) vult een darm en maakt een worst. Een man (Jannot) met een narrenkap op z'n rug legt een hand op haar schouder en wijst naar waar ze mee bezig is. Jannot lacht omdat zij bloedworst maakt in een weinig hygiënische mand en over het zakje voor haar gezicht dat zou moeten voorkomen dat haar neus in de worst druppelt. Margot antwoordt dat Jannot gek is, zij vindt zich zelf zeer wel hygiënisch en heeft ook het zwijn binnengelaten dat ze bij de haard laat zitten. Margot meent dat het zwijn het liefst bij Jannot wil zijn, Jannot is immers zo slim als een bloedworst (gemaakt van zwijn). De gevulde worst is een dubbelzinnige verwijzing naar ontlasting. De komische discussie tussen de twee gaat over de hygiëne op dat gebied.De nabij Venlo geboren Hendrick Goltzius (1558-1616) leerde het vak van glasschilder bij zijn vader Jan Goltz te Duisburg. Van 1574 tot 1576 kreeg hij les in de graveertechniek van de uit Haarlem uitgeweken dichter, graveur, theoloog en wijsgeer Dirck Volckertsz Coornhert te Xanten. In navolging van Coornhert vestigde hij zich in Haarlem, waar hij in 1582 een bloeiend atelier had. Samen met de Vlaamse schilder-theoreticus Karel van Mander en de schilder Cornelis Cornelisz richtte hij in Haarlem een ??Academy? op. In deze periode perfectioneerde Goltzius een extreem elegante stijl, beïnvloed door het maniërisme van Bartholomeus Spranger.In 1590-91 reisde hij naar Italië, waar hij enkele maanden in Rome verbleef en waar hij de beroemdste antieke beelden natekende. De kennismaking met de werken uit de oudheid en Renaissance betekende een ommekeer in Goltzius? stijl, die soberder en realistischer werd. Na zijn terugkeer in 1591 ontstonden zijn meest beroemde prenten, de zogenaamde ?Meisterstiche?', taferelen uit het leven van Maria gemaakt op de manier van oude meesters als Albrecht Dürer en Parmigianino. Tegen 1600 begon Goltzius ook te schilderen. Zijn schilderijen hebben meestal mythologische onderwerpen. Zijn tekeningen hebben belangrijk bijgedragen aan de ontwikkeling van de kunst in zijn tijd, vooral door zijn weergave van het landschap en de (naakt)figuur. Het Teylers Museum organiseerde in 2003 een grote overzichtstentoonstelling van het werk van Goltzius.De prentenuitgeverij van Crispijn de Passe (1564-1637) was bijzonder productief (ca. 14.000 prenten) met een grote variëteit aan onderwerpen en genres (onder meer produceerde hij geïllustreerde boeken in samenwerking met een boekdrukker, wat een tamelijk nieuw fenomeen was). De Passe hield het productieproces voor een groot gedeelte in eigen hand door zelf ook te graveren en ontwerpen te leveren; zijn drie tekenende en graverende kinderen werkten al jong in het bedrijf mee. Zij opereerden eerst vanuit Keulen, later vanuit Utrecht, met nauwe handelscontacten in Londen en Parijs en richtten zich op een internationale klantenkring.Referentie: New Hollstein Dutch XV, nr. 645; Crispijn de Passe and his progeny (1564-1670): a century of print production, door Ilja M.Veldman (2001), p.144 Er ligt een exemplaar van deze gravure in het RijksprentenkabinetPrijs: VERKOCHT.

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
 17.   Check availability:     NVvA     Link/Print  


        New Testament from an unidentified 16th-century edition of the Geneva

      1600 - BIBLE. NEW TESTAMENT. [New Testament from an unidentified late 16th- century Bible, Geneva version.] Folio. Lacks title page, else the complete New Testament. Leaves 488-626, signed 4M2-5M2. Newly bound in full undyed calf, leather spine label, incorrectly dated "1557" at foot of spine. Margins of first leaf neatly strengthened, else very good. A neatly bound early New Testament in English. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Joseph J. Felcone Inc., ABAA]
 18.   Check availability:     AbeBooks     Link/Print  


        Romane Historie

      1600. First Edition . LIVY. The Romane Historie Written by T. Livius of Padua. Also, the Breviaries of L. Florus: with a Chronologie to the whole Historie: and the Topographie of Rome in old time. London: Adam Islip, 1600. Thick folio (8 by 13 inches), contemporary full paneled brown calf rebacked in calf-gilt, red morocco spine label, raised bands. $12,000.First edition in English of Livy's monumental history of Rome, translated by Philemon Holland, scarce in contemporary paneled calf.Titus Livius commenced his great history between 27 and 25 B.C., completing it only shortly before his death in A.D. 17. His genius lay in lively storytelling rather than critical history; his aim was to rekindle his fellow Romans' patriotic spirit by recounting their ancestors' heroic deeds. ""Livy's heroes were to revive again and again—in 18th-century Virginia and in Revolutionary Paris. There are still statues in the public parks of the founders of the American and French Republics clad in the togas or the armor of Cincinnatus or HoratiusÂ… Livy, not Virgil, gave Rome her epic"" (Rexroth, 92-93). ""This was the first of that stately array of folio translations of the classics which issued from the pens of Philemon Holland, the 'translator generall in his age"" (Pforzheimer 495). ""Holland's knowledge of Greek and Latin was accurate and profound, and his renderings are made in a vivid, familiar and somewhat ornamented English"" (Drabble, 469). The section on the ""Topographie of Rome in old time"" is translated from the work of J. Bartholomew Marlian. With woodcut-engraved title, initials, head- and tailpieces, woodcut portrait of Livy, and a woodcut-engraved portrait of Queen Elizabeth, to whom this edition is dedicated, on verso of title. Occasional mispagination as issued without loss of text; without initial blank. STC 16613. Brueggemann, 634. Harris, 94. Lowndes, 1374. Owner signature. Early inked marginalia.Interior with some leaves expertly cleaned; first two and several other leaves with expert paper restoration, including a bit of loss to one letter on title page; a few leaves with minor wormholing; expert restoration to boards. An extremely good copy.

      [Bookseller: Bauman Rare Books]
 19.   Check availability:     Biblio     Link/Print  


        La Dafne.

      Florence, Giorgio Marescotti, 1600. - 4to. (24) pp. With armorial woodcut to title page and printer's device to verso of final leaf. Modern half vellum with handwritten spine title and marbled covers using old material. Exceptionally rare first publication of the libretto of the first opera in musical history, also the first opera libretto ever printed. The music by Jules Caccini and Jacopoto Peri, composed for the first performance on the occasion of a carnival soirée at the Palazzo Corsi in Florence in 1598, is lost. Ottavio Rinuccini (1562-1621), who also wrote the textbook for "Euridice", was not an occasional librettist, but a court poet among who also composed sonnets and verse drama (cf. Honolka, Geschichte des Librettos, p. 22). The present libretto was probably published for a later performance at the Corsis' in August 1600 (for the history of genesis and performance history cf. the extensive account in Sonneck I, p. 339-345). Rinuccini's "Dafne" was again performed, with new music by Marco da Gagliano (1582-1643), in 1608: this score is preserved to this day, and the opera has been performed repeatedly on European stages throughout the 20th century. - Marescotti's fine woodcut device on the final page shows a naval emblem with the motto "Et vult et potest". Very occasional slight browning. On leaf C2v the setting error "DEL" has been corrected by "AL" pasted over the erroneous word. A fine copy. Edit 16, CNCE 29328. BM-STC Italian 556. Sartori 7015. Sonneck 339. Wotquenne 47. Wolffheim II, 1083. Fuld 61.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
 20.   Check availability:     ZVAB     Link/Print  


        La strega e il capitano

      Con 16 acqueforti su rame, di cui 6 a piena pagina e 10 nel testo, di Aligi Sassu firmate a matita (cm 20x15; 5x14). cm 34x25. pp. 76 (6). . Ottimo (Fine). . Edizione di 130 + X es. numerati e firmati. . Sciardelli aveva inviato all'amico Sciascia, siciliano come lui, alcuni documenti di un processo di stregoneria (Milano 1600) perché potesse svilupparne una storia. Sciascia scrisse il racconto dopo aver riletto il capitolo XXXI dei Promessi Sposi, come lui stesso dichiara: ''Se l'attenzione non mi si fosse fermata, ossessivamente come la puntina del disco che gira sullo stesso solco, alla frase con cui Manzoni, a vituperio del Settala, ricorda l'atroce caso''.

      [Bookseller: Studio Bibliografico Marini]
 21.   Check availability:     maremagnum.com     Link/Print  


        Gesamtansicht.

      - Altkol. Holzschnitt aus Sebastian M

      [Bookseller: Kunsthandlung Goyert]
 22.   Check availability:     ZVAB     Link/Print  


        sive amorum hortus: in quinque areolas divisus & fragantissimis CXLVIII celeberrimorum poetarum flosculis refertus, opera Damasi Blyenburgy Batavi, H.F. (Part 1: Venerum Blyenburgicarum, sive Horti Amoris, areola prima: Ad amicam; 2: Areoloa secunda: Laudes; 3: Areola tertia: Ad se ipsum; 4: Areola quarta, Ad Venerem & Cupidinem; 5: Areoloa quinta: Ad animum, mentem, mortem et similia.

      Dordrecht (Dordraci), Ex typographia Isaaci Canini, impensis Davidis Episcopii, 1600. - 8vo. 5 parts in 1: (XVI),865 (recte 871),(1 blank)(84 appendix) p. Contemporary limp overlapping vellum 16 cm (Ref: Brunet 1,982: 'Ce recueil de pi

      [Bookseller: Antiquariaat Fragmenta Selecta]
 23.   Check availability:     ZVAB     Link/Print  


        Torat Moshe [Commentary on the Book of Genesis]

      1600. JUDAICA. Torat Moshe [Commentary on the Book of Genesis]. Amsterdam: Solomon Proops, 1710. Folio (10-1/2 by 16 inches), contemporary full dark brown calf rebacked in calf gilt, red morocco spine label, raised bands. $5300.Amsterdam edition of Alshekh’s popular commentary on the Book of Genesis, a wide-margined, large folio copy in contemporary calf boards.Rabbi Alshekh reworked his sermons into commentaries on most of the books of the Bible: “Alshekh’s commentaries, which are permeated with religious-ethical and religious-philosophical ideas supported by ample quotations from talmudic and midrashic sources, became very popular and have often been reprinted” (Encyclopaedia Judaica). Alshekh published his commentary on the Book of Genesis during his lifetime in Constantinople circa 1593; Moses’ son Hayyim later expanded his father’s commentary with an index. Text in Hebrew. Vinograd, Amsterdam 925. Light embrowning, beautifully bound.

      [Bookseller: Bauman Rare Books]
 24.   Check availability:     Biblio     Link/Print  


        Lettera autografa indirizzata ad un Cardinale veneziano. Datata Venezia, 17 marzo 1600

      1600. 1 pag. scritta in italiano, datata in fine Venezia, 17 marzo 1600. Interessante missiva inerente a disordini e tumulti in Cividale. Il Capello come si legge dalla lettera ha tentato più volte di accomodarli con tutte le sue forze e autorità ma senza ottenere risultati positivi. Vincenzo Cappello fu celebre patrizio veneziano (1570-1648).

      [Bookseller: Libreria Antiquaria Pregliasco]
 25.   Check availability:     maremagnum.com     Link/Print  


        Nagasaki miyage [= Souvenir of Nagasaki].Nagasaki, Yamato-ya Yoshihei juo, Koka 4 [= 1847]. 23 x 15.5 cm. Text and illustrations printed from 42 woodblocks, with an astrological figure and constellation on the title-page, 12 double-page and 6 full-page illustrations. Original publisher's blue paper wrappers in the traditional Japanese fukurotoji manner.

      - Hillier, Art of the Japanese book, passim; Huibert Paul, Nederlanders in Japan, 1600-1854, p. 58; WorldCat (8 copies); for Bunsai: Masanobu Hosono, Nagasaki prints and early copperplates, p. 45. Beautiful copy of a rare and gorgeously illustrated woodblock tour of sights in Nagasaki and surroundings, giving special attention to the Dutch (and Chinese) traders, with text mostly in Japanese characters and woodcuts with landscapes, interiors, festival processions, and city views by Isono Bunsai (also known as Bunsai Madaki). Hillier notes that "although separate sheet prints of the Dutch and Chinese traders were produced in some numbers in Nagasaki from c. 1750, the earliest book on the town and its foreign commerce published in the town itself [the Nagasaki miyage] did not appear until 1847".With 2 Japanese owner's stamps. With a water stain in the first 7 and last 8 double leaves, but otherwise in very good condition. The wrappers are slightly worn, but remains in good condition overall. A lovely example of Edo art spreading to a new market and a fascinating Japanese view of the Dutch and other foreigners.

      [Bookseller: ASHER Rare Books]
 26.   Check availability:     ZVAB     Link/Print  


        S.Salvador

      Artist: Ogilby John ( - 1676 ) London; date: 1700 1600 - - technic: Copper print; condition: Very good; size (in cm): 23,5 x 32 - description: Total view and harbour of S. Salvador in Brasil - vita of the artist: John Ogilby was a Scottish translator, impresario and cartographer. Best known for publishing the first British road atlas, he was also a successful translator, noted for publishing his work in handsome illustrated editions.

      [Bookseller: Antique Sommer& Sapunaru KG]
 27.   Check availability:     ZVAB     Link/Print  


        Lectionum memorabilium et reconditarum [with] Index Absolutiss

      Leonhard Reinmichel, Lauingen 1600 - 3 volumes bound in 2 in contemporary vellum, soiled, spines split and spine strips loose, scattered foxing, pages uniformly browned, occasional dampstains, generally minor, pencil ticks in the margins throughout. The necessary 1608 index bound at the end with a separate title. 1012pp; 1074pp; (104)pp. Relentlessly anti-catholic, often echoing Joachim of Fiore's much earlier works. Often described as a history, it contains legends, folklore (the Jackdaw of Rheims, various talking animal stories), prophecy (the Sybelline oracles) and a host of strange collected stories, religious (stories of the popes including Pope Joan) and secular. There is a portrait and description of Wolf in Dibdin's Bibliomania (1811, pages 146-147). He describes it as "a commonplace book of as many curious, extraordinary, true and false occurences as ever were introduced into two ponderous folios." and notes that "The number of strange cuts in it used to amuse my dear children". Size: Octavo (8vo). Illustrator: Jost Amman, Jacob Lederlein etc. Quantity Available: 1. Shipped Weight: 2-3 kilos. Inventory No: 046364. [Attributes: Hard Cover]

      [Bookseller: Pazzo Books (ABAA-ILAB)]
 28.   Check availability:     AbeBooks     Link/Print  


        Dell'istorie fiorentine di Scipione Ammirato. Libri venti dal principio della città insino all'anno MCCCCXXXIIII nel quale Cosimo de Medici il Vecchio fu restituito alla patria. Con una tavola copiosissima delle cose più notabili

      In Firenze, nella Stamperia di Filippo Giunti, 1600 - In 4°, piena perg. coeva, tassello al dorso con tit. in oro, pp.(8nn)-752-(56nn) + (2nn di Errata e Registro). Marca xilografata al front. (in ovale stemma mediceo tra due figure che tengono tra le mani giglio fiorentino. Testatina xilografata raffigurante veduta panoramica di Firenze alla dedicatoria ("Al Serenissimo Sig. il Signor Don Ferdinando de Medici"), bei capilettera xilografati, al registro giglio fiorentino sorretto da putti, appoggiato su un basamento che reca il motto "Nil candidus". Importante opera sulla storia di Firenze. Minimi segni d'uso alle cuffie compless. Qualche arrossatura alle prime pagine. Edizione originale assai rara. (cfr) Adams, 982 - Gamba 1196 in nota, Brunet I, 238

      [Bookseller: TABERNA LIBRARIA - ALAI - ILAB]
 29.   Check availability:     AbeBooks     Link/Print  


        Mosè e il serpente di bronzo

      1600. "Bulino, 1600, firmata in lastra, nel margine inferiore "Dominicus Custos Chalcographus humill. obseruantiae ergo DDdt. Augustae Vindelicor.". Da un soggetto di Ferraù Fenzoni. Nel margine inferiore, l'iscrizione latina: "Hic serpens animat, quos exanimauerat alter; Vnus ut innumeras mortes tulit anguis Auerni. Ore extincta salus quae fuit, aere redit. Sie vitas Agni mors tulit innumeras." ; "Reverendiss.o Principi et Dno. D. Wolfgago Praeposito ac Dno [...]lvacensi. Principi svo Clementiss.o" . Nell'immagine, in basso su una pietra, il nome dell'inventor "Ferav. Fenson. Fav. Inv" Ferraù Fenzoni. Bellissima prova, impressa su carta vergata coeva con filigrana ""grande scudo con vaso e grappolo d'uva"", rifilata al rame, leggere pieghe centrali, per il resto in buono stato di conservazione. Margine inferiore rifilato con perdita dell'ultima riga di testo, contenente le parole "Anno Santo." La splendida opera riproduce l'omonimo affresco realizzato dall'artista Ferraù Fenzoni (1562-1645), detto anche Ferraù da Faenza, per decorare la Scala Santa. Il pittore faentino, tra il 1587 e il 1591, fu coinvolto, insieme ad una ventina di artisti, nella decorazione della Scala Santa, diretto da Domenico Fontana per volere di Sisto V. Il progetto prevedeva un ciclo di affreschi che ricopriva volte e pareti delle scale, annullando qualsiasi elemento murario e mirando al raggiungimento di una esclusiva rappresentazione pittorica. Del Mosè e il serpente di bronzo sono noti due disegni preparatori: uno conservato presso il Museo nazionale di Budapest, dove è rappresentato un nudo che si contorce cercando di liberarsi da un serpente, e l'altro nel Gabinetto dei disegni e stampe degli Uffizi, che presenta uno schizzo dell'intera composizione. La scena biblica rappresentata è basata sul Libro dei Numeri 21, 4-9, Dopo che Edom si rifiuta di far passare Israele, Mosè decide di aggirare da sud l'ostacolo, il popolo fa voto a Jahvé per poter vincere il re di Arad che sbarrava il cammino di Atarim. Nonostante la vittoria, Israele prese a lamentarsi ancora una volta con Mosè. Come punizione Dio invia loro dei serpenti velenosi che, coi loro morsi causarono la morte di diversi Israeliti. Il popolo allora supplicò Mosè di pregare il Signore per allontanare i serpenti.). Il Signore disse a Mosè: ""Fatti un serpente e mettilo sopra un'asta; chiunque, dopo essere stato morso, lo guarderà resterà in vita"". Mosè allora fece un serpente di rame e lo mise sopra l'asta; quando un serpente aveva morso qualcuno, se questi guardava il serpente di rame, restava in vita. L'affresco di Fanzoni fu tradotto a bulino anche da Francesco Villamena, nel 1597. Questa incisione del Custos fu realizzata in occasione dell'Anno Santo del 1600." "Engraving, 1600, inscribed at lower margin "Hic serpens animat, quos exanimauerat alter; Vnus ut innumeras mortes tulit anguis Auerni. Ore extincta salus quae fuit, aere redit. Sie vitas Agni mors tulit innumeras." ; "Reverendiss.o Principi et Dno. D. Wolfgago Praeposito ac Dno [...]lvacensi. Principi svo Clementiss.o. Dominicus Custos Chalcographus humill. obseruantiae ergo DDdt. Augustae Vindelicor." . After a subject by Ferraù Fenzoni. A very good impression, printed with tone on contemporary laid paper with ""large shield with a vase with grapes"", trimmed to the paltemark, light central folds, otherwise good conditions. Lacking the last line of text, with words "Anno Santo" (Holy Year). The scene reproduces the famous fresco by the artist Ferraù Fenzoni (1562-1645) for the Scala Santa. All the frescoes in the palace were executed by a group of painters directed by Giovanni Fontana. Two preparatory drawings of the fresco are known: one kept at the Budapest National Museum, which shows a naked writhing trying to get rid of a snake, and the other one in the Cabinet of Drawings and Prints of the Uffizi, that presents a sketch of the entire composition. The biblical scene represented is based on the book of Numbers 21: 4-9, In the biblical story, following their Exodus from Egypt, the Israelites set out from Mount Hor, where Aaron was buried, to go to the Red Sea. However they had to detour around the land of Edom. Frustrated and impatient, they complained against Yahweh and Moses, and in response God sent ""fiery serpents"" among them. For the sake of the ones who were repentant, Moses was instructed by God to erect a ""serpent of bronze"" which was used to heal those who looked upon it. Moses made a bronze snake and mounted it on a pole. The fresco was also engraved by Francesco Villamena in 1597. Custos' work was printed for the Holy Year 1600." Scavizzi, 'Bollettino', xlv (1960), p. 111 e ss. 376 510

      [Bookseller: Libreria Antiquarius]
 30.   Check availability:     maremagnum.com     Link/Print  


        Les Carreaux de Revetement de l'ancienne russie - 1-re Partie XV-e - XVII-e siecles (Die Wandfliesen des alten Russland) - Russisch/Französisch 1938 komplett

      Die Wandfliesen des alten Rußland - Teil 1. 15 Jh. - 17. Jh. Leinenmappe mit 87 farb. Tafeln auf Einzelblättern. Komplett. Mit einem 91seitigen russisch/französischen Erläuterungsband in Broschurbindung, Inhalt: Apercu historique sur la production et l'emploi des cerreaux de revètement dans l'ancienne Russie. Reliefs et balustres en brique du XVeme siecle. Carreaux vernisses et carreaux de poele de XVIeme siecle. La ceramique de Pskov. Le ceramique de villes Staritza et Dmitrov. La ceramique de Moscou. Carreaux en terre culte du XVIeme siecle. Carreaux emailles a sujets en relief. Die Erläuterung trägt die Nummer 356. Die Leinenmappe ist gering bestoßen, wenig berieben, leicht angeschmutzt, unbeschädigt, Innenklappen gering angebräunt, etwas lichtrandig, Vorderdeckelinnenseite mit kleinem Besitzervermerk, Farbtafeln sehr leicht angebräunt, kaum angeschmutzt, unbeschädigt, Erläuterungsband auf Einband und Rücken etwas lichtrandig, etwas angebräunt, wenig angeschmutzt, Schnitt etwas angebräunt, wenig angeschmutzt, Seiten leicht angebräunt, sauber, Gesamtzustand gut. ca. 1600 gr.

      [Bookseller: Verlag IL]
 31.   Check availability:     booklooker.de     Link/Print  


        Les actes du synode universel de la saincte réformation, tenu à Monpelier le quinzième de may 1598. Satyre menipae

      Rare second edition, first published the previous year. Full sheepskin Tawny late nineteenth back to 5 pet. Nerves, double gilt fillets enclosing the nerves, parts black and red title. Triple fillet border on covers. Little miss at the end of each joint, binding rubbed, clipped short. Guillaume Reboul (1560-1611), famous French writer and pamphleteer which most of the work seems focused on his obsessive hatred of Protestants. Itself from a Protestant family, he converted and will almost immediately excommunicated ultimate satire against Pope will cost beheading in Rome. His work is mainly satirical and pamphleteer, there falls a careful reading and a taste for Rabelais. The Synod makes the scene and the actors of Protestantism whose purpose is sworn atheism and the ruin of souls, the staging is more funny and offbeat it is not a story, but synod with a real profession of faith and action of each major character of Protestantism. His immoderate taste for satire to criticize violently pushed as the Jesuits, the English, the Germans? The Protestant doctrine and his ministers. Note the passages in dialect Languedoc. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! chez le libertin imprimeur juré de la sainte réformation et se vendent au coin de la loge A Montpellier 1600 in 12 223pp. relié

      [Bookseller: Librairie Le Feu Follet]
 32.   Check availability:     Direct From Seller     Link/Print  


        Ivliacum Iulic, oder Gulich, . Johann bussemacher impr.':.

      - Kupferstich v. Matthias Quad aus Geographisch Handtbuch. . b. Johann Bussemacher in Köln, 1600, 23 x 31,5 Meurer Qua 6, 38. - Am rechten Rand Titelkartusche, darunter Rollwerkskartusche mit Maßstab. - Zeigt das Herzogtum Jülich zwischen Venlo, Nordeifel, Bonn und Essen.

      [Bookseller: Antiquariat Norbert Haas]
 33.   Check availability:     ZVAB     Link/Print  


        De Leone Belgico eiusque Topographica atque historica descriptione liber

      Hogenberg, (Köln, um 1600). 53 Kupfertafeln mit 496 S. (248 Doppelblätter) begleitendem Text, Halbleder-Einband, quart-quer, (berieben/bestoßen/etwas fleckig/einige Knickspuren und kleine Randläsuren/einige Tafeln lose) - Fragment dieses Werkes über den Spanisch-Niederländischen Krieg (Achtzigjähriger Krieg) mit Darstellungen von Schlachten, Belagerungen, Prozessen, Hinrichtungen usw. / Titelseite liegt als Kopie bei / Text lateinisch -

      [Bookseller: Celler Versandantiquariat]
 34.   Check availability:     booklooker.de     Link/Print  


        [Album amicorum of Wilhelm Bökel junior].Stettin (Szczecin, Poland), Helmstedt, Jena, Leipzig, Groningen, Leiden and Rotterdam, 1616-1651. 4to. Manuscript on paper, with most entries in Latin, and mottos also in Greek, French and German. Title-page with an elaborate cartouche in coloured gouaches highlighted with gold, with "GVIELMVS BOCKELIVS/IVNIOR" in silver below his coat of arms and above a scene perhaps showing Lucretia. Further with 49 coloured gouaches highlighted with gold showing coats of arms, costumes and various scenes (some cut out and mounted on the album's leaves), a pen and ink wash drawing, 23 full-page engraved portraits, 18 full-page engraved views, an engraved image of Mercury, and 12 full-page engraved emblems. Modern gold-tooled calf, gold-tooled board edges, new endpapers.

      For Wilhelm Bökel: Georg Erler (ed.), Die jüngeren Matrikel der Universität Leipzig, vol. I, p. 37. Elaborately illustrated album amicorum of Wilhelm Bökel junior, with contributions by eminent scholars and noblemen. Bökel (or Böckelius), born in Stendal (Germany) ca. 1600, was the son of a physician and studied law in Stettin (Szczecin in Poland), Helmstedt, Jena and Leipzig. Most of the contributions date from his time in Leipzig (1621-1624), but the album also includes entries from prominent noblemen from Pomerania and the Baltic region, such as Philip II, Duke of Pomerania, and Jacob Kettler, Duke of Courland and Semigallia. Most of the contributions are in Latin (with some mottoes in French, German and Greek) and 25 are illustrated with the coat of arms of the contributor in coloured gouaches, highlighted with gold. The 23 engraved portraits, several by or after Lucas and Wolfgang Kilian, show European rulers and clergymen. Also included is a view of Venice in coloured gouaches, highlighted with gold, and another of a woman throwing herself on a sword, perhaps intended as Lucretia.Loosely inserted is a manuscript index and 4-page manuscript report on the album by Johannes Bodel Nijenhuis, noting that it was sold at auction in Leiden by C.C. van der Hoek on 3 March 1854, as well as a copy of the report by C.W. van der Hoek, dated 30 March 1854. Some soiling and an occasional leaf with a few letters of the text or the edge of a drawing very slightly shaved, but otherwise in very good condition.

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


        Histoire d’un voyage fait en la terre du Bresil, dite Amerique, contenant la navigation et choses remarquables, veues sur mer par l'Auteur. Le comportement de Villegagnon en ce pais la. Les moeurs et facons de viure estranges des Sauvages Bresilians: avec un colloque de leur langage. Ensemble la description de plusieurs Animaux, Poissons diformes, Arbres, Herbes, Fruicks, Racines, et autres c

      Quatrieme edition, Dediee a Madame la Princesse d'Orange. Pour les Heritiers d'Eustache Vignon. [Geneve]. 1600. Small 8vo. a2-c3, 478, (16)pp, errata. 9 woodcut plates, one of which is the folding Indian Battle, one duplicated plate. (Plates p.121, folding p.238/9, p.241, p.248, p.259 (duplicate of 241), p.299, p.312, p.364, p.382.) Engraved headpieces and tailpieces. Musical notation within the text (Eduardo Prado considered this the first Brazilian musical document in existence). Later vellum with new endpapers. Yapped foredge. Woodcut bookstamp laurel wreath crest with initials AIC on title. Slight foxing and toning throughout. A few marginal stains and a couple of closed tears. Repaired paper fault to margin 65/66. Jean de Léry (1536–1613) explorer, writer and Calvinist. He trained for the ministry in Geneva where this volume was published. In 1556, aged 20, he embarked upon the first Protestant Mission to the New World. This is still regarded as the most significant early work on Brazil. Léry's descriptions of the Tupi are so detailed that anthropologist Claude Lévy-Strauss later referred to the Histoire d'un voyage as "the breviary of the ethnographer." It also served as a source for sixteenth-century essayist Michel de Montaigne's famed "Des cannibales." Rodrigues 1397. Borba de Moraes 472. Sabin 40152.

      [Bookseller: Paul Haynes Rare Books ABA ILAB]
 36.   Check availability:     Biblio     Link/Print  


        Bildnis von Herbert Achternbusch. Original Fotografie; Silbergelatine-Abzug (1995) Bildformat: 24,0 x 35,5 cm. Rückseitig von Stefan Moses handschriftliches Namenskürzel des Porträtierten sowie Datierung in Bleistift, zusätzlich ausgeschriebener Name von fremder Hand. Ausserdem befindet sich auf der Rückseite zwei Copyright Aufkleber des Fotografen. - Etwas Knickspur, nur im Bildglanz sichtbar, rückseitig zwei Klebeeckenreste an zwei Blattecken. - Siehe die ABBILDUNG.

      - Sprache: Deutsch Gewicht in Gramm: 1600

      [Bookseller: FOTO-Antiquariat Joachim und Silvia FAHL]
 37.   Check availability:     ZVAB     Link/Print  


        Album amicorum of Wilhelm Bökel junior].Stettin (Szczecin, Poland), Helmstedt, Jena, Leipzig, Groningen, Leiden and Rotterdam, 1616-1651. 4to. Manuscript on paper, with most entries in Latin, and mottos also in Greek, French and German. Title-page with an elaborate cartouche in coloured gouaches highlighted with gold, with "GVIELMVS BOCKELIVS/IVNIOR" in silver below his coat of arms and above a scene perhaps showing Lucretia. Further with 49 coloured gouaches highlighted with gold showing coats of arms, costumes and various scenes (some cut out and mounted on the album's leaves), a pen and ink wash drawing, 23 full-page engraved portraits, 18 full-page engraved views, an engraved image of Mercury, and 12 full-page engraved emblems. Modern

      - For Wilhelm Bökel: Georg Erler (ed.), Die jüngeren Matrikel der Universität Leipzig, vol. I, p. 37. Elaborately illustrated album amicorum of Wilhelm Bökel junior, with contributions by eminent scholars and noblemen. Bökel (or Böckelius), born in Stendal (Germany) ca. 1600, was the son of a physician and studied law in Stettin (Szczecin in Poland), Helmstedt, Jena and Leipzig. Most of the contributions date from his time in Leipzig (1621-1624), but the album also includes entries from prominent noblemen from Pomerania and the Baltic region, such as Philip II, Duke of Pomerania, and Jacob Kettler, Duke of Courland and Semigallia. Most of the contributions are in Latin (with some mottoes in French, German and Greek) and 25 are illustrated with the coat of arms of the contributor in coloured gouaches, highlighted with gold. The 23 engraved portraits, several by or after Lucas and Wolfgang Kilian, show European rulers and clergymen. Also included is a view of Venice in coloured gouaches, highlighted with gold, and another of a woman throwing herself on a sword, perhaps intended as Lucretia.Loosely inserted is a manuscript index and 4-page manuscript report on the album by Johannes Bodel Nijenhuis, noting that it was sold at auction in Leiden by C.C. van der Hoek on 3 March 1854, as well as a copy of the report by C.W. van der Hoek, dated 30 March 1854. Some soiling and an occasional leaf with a few letters of the text or the edge of a drawing very slightly shaved, but otherwise in very good condition.

      [Bookseller: ASHER Rare Books]
 38.   Check availability:     ZVAB     Link/Print  


        Les Coustumes du bailliage de Troyes en Champaigne. Avec quelques annotations sur icelles.

      Paris, Abel L'Angelier, 1600. ____ Première édition. Un édition posthume des commentaires de Pierre Pithou (1539-1596), établie et augmentée par son frère François. Une biographie de Pithou par Josias Mercier précède l'ouvrage avec plusieurs éloges funèbres. Titre en noir et rouge. Reliure un peu frottée. Une mouillure claire angulaire. Bon exemplaire. Provenance : F. Ragneau (signature contemporaine sur le titre). Gouron & Terrin 2097. Basalmo, Simonin, Abel L'Angelier 346. *****. In-4. [249 x 170 mm] Collation : (20), 222, (12) pp. Vélin. (Reliure de l'époque.).

      [Bookseller: Hugues de Latude]
 39.   Check availability:     Direct From Seller     Link/Print  


        An Abstract of all the penall Statutes which be generall, in force and use: Wherein is conteined the effect of all those Statutes, which do threaten to the offenders thereof, the losse of life, member . . . or other punishment [etc.]. S.T.C. 9532; Beale S79

      Printed by Thomas Wight [etc.]. Pulton's first work in a lifetime devoted to the editing of the English statutes and the first work to attempt to digest or abstract English criminal law, arranged alphabetically and in English; four copies in S.T.C. in this country, one imperfect. Modern unlettered calf, the title darkened and a bit chipped (no text affected), some lightish staining, yet quite crisp and usable; the Taussig copy. Printed by Thomas Wight [etc.], London, 1600.

      [Bookseller: Meyer Boswell Books, Inc.]
 40.   Check availability:     Direct From Seller     Link/Print  


        De magnete, magneticisque corporibus, et de mango magnete tellure; Physiologia nova, plurimis & argumentis, & experimentis demonstrate.

      London: Peter Short, 1600. First edition of "the first major English scientific treatise based on experimental methods of research. Gilbert was chiefly concerned with magnetism; but as a digression he discusses in his second book the attractive effect of amber (electrum), and thus may be regarded as the founder of electrical science. He coined the terms 'electricity,' 'electric force' and 'electric attraction.' His 'versorium', a short needle balanced on a sharp point to enable it to move freely, is the first instrument designed for the study of electrical phenomena, serving both as an electroscope and electrometer. He contended that the earth was one great magnet; he distinguished magnetic mass from weight; and he worked on the application of terrestrial magnetism to navigation. Gilbert's book influenced Kepler, Bacon, Boyle, Newton and, in particular, Galileo, who used his theories [in the Dialogo] to support his own proof of the correctness of the findings of Copernicus in cosmology" (PMM). "Gilbert provided the only fully developed theory ... and the first comprehensive discussion of magnetism since the thirteenth century Letter on the Magnet of Peter Peregrinus" (DSB). Although this book does appear with some regularity on the market, copies such as ours in fine condition and in untouched contemporary bindings are rare. Dibner Heralds of Science 54; Grolier/Horblit 41; Heilbron, Electricity in the 17th and 18th Centuries, pp. 169-179; Norman 905; PMM 107; STC 11883; Wellcome 2830. "During the fifteenth century the widespread interest in navigation had focused much attention on the compass. Since at that time the orientation of the magnetic needle was explained by an alignment of the magnetic poles with the poles of the celestial sphere, the diverse areas of geography, astronomy, and phenomena concerning the lodestone overlapped and were often intermingled. Navigators had noted the variation from the meridian and the dip of the magnetic needle and had suggested ways of accounting for and using these as aids in navigation. The connection between magnetic studies and astronomy was less definite; but so long as the orientation of the compass was associated with the celestial poles, the two studies were interdependent ... "Gilbert divided his De magnete into six books. The first deals with the history of magnetism from the earliest legends about the lodestone to the facts and theories known to Gilbert's contemporaries ... In the last chapter of book I, Gilbert introduced his new basic idea which was to explain all terrestrial magnetic phenomena: his postulate that the earth is a giant lodestone and thus has magnetic properties ... The remaining five books of the De magnete are concerned with the five magnetic movements: coition, direction, variation, declination and revolution. Before he began his discussion of coition, however, Gilbert carefully distinguished the attraction due to the amber effect from that caused by the lodestone. This section, chapter 2 of book II, established the study of the amber effect as a discipline separate from that of magnetic phenomena, introduced the vocabulary of electrics, and is the basis for Gilbert's place in the history of electricity ... "Having distinguished the magnetic and amber effects, Gilbert presented a list of many substances other than amber which, when rubbed, exhibit the same effect. These he called electrics. All other solids were nonelectrics. To determine whether a substance was an electric, Gilbert devised a testing instrument, the versorium. This was a small, metallic needle so balanced that it easily turned about a vertical axis. The rubbed substance was brought near the versorium. If the needle turned, the substance was an electric; if the needle did not turn, the substance was a nonelectric. "After disposing of the amber effect, Gilbert returned to his study of the magnetic phenomena. In discussing these, Gilbert relied for his explanations on several assumptions: (1) the earth is a giant lodestone and has the magnetic property; (2) the magnetic property is due to the form of the substance; (3) every magnet is surrounded by an invisible orb of virtue which extends in all directions from it; (4) pieces of iron or other magnetic materials within this orb of virtue will be affected by and will affect the magnet within the orb of virtue; and (5) a small, spherical magnet resembles the earth and what can be demonstrated with it is applicable to the earth. This small spherical magnet he called a terrella ... "In discussing coition Gilbert was careful to distinguish magnetic coition from other attractions. For him magnetic coition was a mutual action between the attracting body and the attracted body. At the beginning of the De magnete he explained several terms that were necessary for understanding his work. One of these was "magnetic coition," which he said he "used rather than attraction because magnetic movements do not result from attraction of one body alone but from the coming together of two bodies harmoniously (not the drawing of one by the other)" (P. Fleury Mottelay, William Gilbert of Colchester ... on the Great Magnet of the Earth, 1893, p. liv) ... "Book III of the De magnete contains Gilbert's explanation of the orientation taken by a lodestone that is balanced and free to turn, that is, the behavior of the magnetic compass ... the orientation of the compass was simply an alignment of the magnetic needle with the north and south poles of the earth. Gilbert gave numerous demonstrations of this with the terrella as well as directions for magnetizing iron. "By the end of the sixteenth century, navigators were well acquainted with variations from the meridian in the orientation of the compass. Thus, after discussing orientation, Gilbert turned in book IV to the variations in that orientation. Here he again used the comparison of the phenomena that can be demonstrated with the terrella and those that occur on the surface of the globe. Just as a very small magnetic needle will vary its orientation if the terrella on which it is placed is not a perfect sphere, so will the compass needle vary its orientation on the surface of the earth according to the proximity or remoteness of the masses of earth extending beyond the basic spherical core. Also, the purity of these masses (the amount of primary magnetic property retained by them) will affect the orientation of the compass just as stronger lodestones have greater attractive powers than weaker ones. "The next magnetic movement that Gilbert discussed was declination, the variation from the horizontal. This phenomenon had been described by Robert Norman in his book on magnetism, The New Attractive (1581). Although Norman had also given an effective means of constructing the compass needle so that it would not dip but would remain parallel to the horizontal, he had made no attempt to account for this strange behavior. As with the other magnetic effects of the compass, Gilbert explained declination in terms of the magnetic property of the earth and the experiments with the terrella. The small needle placed on the terrella maintained a horizontal position only when placed on the equator. When moved north or south of this position, the end of the needle closer to one pole of the terrella dipped toward that pole. The amount of dip increased as the needle was moved nearer the pole, until it assumed a perpendicular position when placed on the pole. A compass on the earth, according to Gilbert, behaved in a similar manner. "In discussing the variations from the meridian and the horizontal, Gilbert suggested practical applications of his theory. Navigators of the period were concerned with determining the longitude and latitude of their positions on the open seas. Since the deviation from the meridian was constant at a given point, Gilbert thought that if the seamen would record these variations at many points, an accurate table of variation for various positions could be compiled and the problem would be solved. He included detailed instructions for the construction of the instruments necessary for this task ... "The final book of the De magnete, book VI, deals with rotation and in this section Gilbert expounded his cosmological theories. Without discussing whether the universe is heliocentric or geocentric, Gilbert accepted and explained the diurnal rotation of the earth. From the time of Peter Peregrinus' Letter on the magnet, written in the thirteenth century, rotation had been considered one of the magnetic movements. The assumption was that a truly spherical, perfectly balanced lodestone, perfectly aligned with the celestial poles, would rotate on its axis once in twenty-four hours. Since the earth was such a lodestone, it would turn upon its axis in that manner and thus the diurnal motion of the earth was explained. The theory was taken from Peter's Letter; the application to the earth was Gilbert's addition ... Much of the criticism directed by Bacon and others against Gilbert's writing was based upon the sixth book of the De magnete, where Gilbert extended to the cosmos his magnetic theory and the results obtained from his experiments. "Throughout the De magnete, Gilbert discussed and usually dismissed previous theories concerning magnetic phenomena and offered observational data and experiments which would support his own theories. Most of the experiments are so well described that the reader can duplicate them if he wishes, and the examples of natural occurrences which support his theory are well identified. Where new instruments are introduced (for example, the versorium, to be used in identifying electrics), directions for their construction and use are included. The combination, a new theory supported by confirming evidence and demonstrations, is a pre-Baconian example of the new experimental philosophy which became popular in the seventeenth century" (DSB). Folio, pp. [xvi], 240, woodcut printer's device (McKerrow 119) on title, large woodcut arms of Gilbert on title verso, one woodcut folding plate, 88 woodcut illustrations and diagrams in text (4 full-page), ornamental woodcut headpieces and initials. Contemporary limp vellum, manuscript title on spine.

      [Bookseller: SOPHIA RARE BOOKS]
 41.   Check availability:     Direct From Seller     Link/Print  


        The Principal Navigations, Voiages, Traffiques and Discoveries of the English Nation, made by Sea or over-land, to the remote and farthest distant quarters of the Earth...

      London: George Bishop, 1598-1600. Three volumes in two, folio, woodcut historiated and decor ative initials and head-and tail-pieces; a most attractive set in early nineteenth-century English dark blue straight-grain morocco, spines panelled in gilt between raised bands incorporating anchor devices, sides panelled in blind and gilt, all edges gilt, rose-pink silk flyleaves and doublures within blue morocco outer borders. A handsome set of the best edition of one of the classics of travel literature and the first English collection of voyages; Hakluyt's collection will always be the primary source for the history of early English exploration, as well as one of the gems of Elizabethan letters: "It is difficult to overrate the importance and value of this extraordinary collection of voyages" (Sabin); "an invaluable treasure of nautical information which has affixed to Hakluyt's name a brilliancy of reputation which time can never efface or obscure" (Church).Hakluyt himself was the first lecturer on modern geography and one of the leading spirits of Elizabethan maritime expansion (PMM). The work is devoted to New World discoveries and the British colonisation of America, and although published a few years before the Dutch voyage of the Duyfken to the west coast of Cape York in 1605, it is significant that by the time of this edition, Hakluyt was able to include the first tentative forays of the English into the South Seas, whether round Cape Horn or through the Straits of Magellan. As a result, Hakluyt's book represents the pinnacle of Elizabethan geography, but is also among the earliest published works on British expansion into the Pacific.This is the much preferred second edition, greatly expanded from the single-volume original version of 1589 and effectively a new work - 'the first edition contained about 700,000 words, while the second contained about 1,700,000... This was indeed Hakluyt's monumental masterpiece, and the great prose epic of the Elizabethan period. In design it was similar to the first edition: the first volume concerned voyages to the north and northeast; the second volume, to the south and southeast; the third volume, to America. All sections were expanded; the first two were approximately doubled and the American part was almost tripled.'Much that was new and important was included: the travels of Newbery and Fitch, Lancaster's first voyage, the new achievements in the Spanish Main, and particularly Ralegh's tropical adventures. At first sight the expanded work appears a vast, confused repository, but closer examination reveals a definite unity and a continuous thread of policy. The book must always remain a great work of history, and a great sourcebook of geography, while the accounts themselves constitute a body of narrative literature which is of the highest value in understanding the spirit and the tendencies of the Tudor age... ' (Penrose, p. 318).The third volume of 1600 includes most of the New World material, not only cataloguing many of the early American discoveries, but also representing the cusp of early voyages into the Pacific, notably in the section entitled "A Catalogue of divers English voyages, some intended and some performed to the Streights of Magellan, the South Sea... to the headland of California, and to the Northwest... ". Printed here are not only reports of the voyages of Drake and several of his compatriots, but also an early account of the important 1586 voyage of Thomas Cavendish, and discussions of major voyages which were destined for the South Seas but failed to round Cape Horn, including those of Edward Fenton (intended for China), Robert Withrington, and the failed 1591 second voyage of Cavendish.Volume 1 of this copy has the first state of the title-page (dated 1598 rather than 1599 and mentioning Essex's "famous victorie" at Cadiz in 1596). The seven leaves of text describing the affair were excised from most copies of the book at Queen Elizabeth's behest, following the disgrace of the Earl of Essex; here, as sometimes, they are present in the version printed to complete the censored copies, probably in about 1720. As with virtually all copies, the book does not have a world map which had been intended to accompany the third volume but was only actually issued with a handful of copies.This is an excellent copy of this great book, with engraved armorial bookplates of an earlier collector David Hodgson, and later bookplates of G.W. Hartley. Some slight staining; slight wear to joints.

      [Bookseller: Hordern House]
 42.   Check availability:     Direct From Seller     Link/Print  


        De formato foetu / De formatione ovi, et pulli tractatus accuratissimu.

      Padua: Lorenzo Pasquati / Aloysius Bencius, 1600. 1st Edition. Hardcover. Folio - over 12 - 15" tall. I. De formato foetu. Venice: Francesco Bolzetta, 1600 [colophon: Padua, Lorenzo Pasquati, 1604]. Folio (418 x 279 mm). [10], 1-150 [2] 151 [1] pp. Signatures: ?1 a-b2, A-E4 F-I2 K4 L-O2 P4 Q2 R-Z4, Aa2, ?1. Engraved title by Giacomo Valeggio, 11 double-page, 22 full-page, and 1 half-page copper engraved illustrations, additionally numbered I-XXXIII (illustration on p.41 unnumbered), leaf ?1 with errata bound before p.151, large woodcut device and colophon on p.151 ('Patavii, Ex typographia Laurentii Pasquati, 1604'). Engraved title dust-soiled and with minor paper repair to blank fore-margin, a few plates slightly soiled or shaved just within plate mark, leaf D1 with 'Tab III' supplied, repair in margin of D2 just touching side notes. II. De formatione ovi, et pulli tractatus accuratissimu. Padua: Aloysius Bencius, 1621. Folio (415 x 277 mm). [4], 68, [2] pp. Signatures: 2 A-H4 J2 l4. Woodcut printer's device on title-page, 7 full-page illustrations, errata on final leaf. Nineteenth century half sheep with gilt letting piece (rebacked). Provenance: Library of Hugh Selbourne. A fine, wide-margined set, collated complete. ----I. Norman 751: DSB IV, p.509-11; H. B. Adelmann, The Embyological Treatises of Hieronymus Fabricius of Aquapendente, 1942. FIRST EDITION of the author's treatise on embryology which summarizes his investigations of the fetal development of many animals, including man, contained the first detailed description of the placenta and opened the field of comparative embryology. He also gave the first full account of the larynx as a vocal organ and was first to demonstrate that the pupil of the eye changes its size. "De formato foetu, illustrates the way in which nature provides for the necessities of the fetus during its intrauterine life. It treats specifically of the umbilical vessels, the urachus, the fetal membranes, fetal waste products, the 'carnea substantia' (placenta), and the uterus. The treatise includes comparative studies of morphological details in dogs, cats, rabbits, mice, guinea pigs, sheep, cattle, goats, roebuck, horses, pigs, birds, sharks, and man. Fabrici's description of the umbilical cord and its vessels is accurate, as is his differentiation of the action of the umbilical vessels in various animals; he also provides an adequate description of the right and left atria of the heart, the foramen ovale and the ductus arteriosus, the vena cava, and the pulmonary vein in the fetus" (DSB IV, p.510). II. Norman 752; Garrison-M. 466; DSB IV, p.509-10; NLM/Krivatsy 3826; Osler 2559; Nissen, Zool. 1328; Wood 1621; H. B. Adelmann, The Embyological Treatises of Hieronymus Fabricius of Aquapendente, 1942. FIRST EDITION. Although published after Fabrici's death, De formatione ovi et pulli is his earliest surviving treatise on embryology. The work is divided into two parts, of which the first deals with the formation of the egg and the second with the generation of the chick within the egg. The plates include the first printed illustrations of the development of the chick." (Norman). De formatione ovi et pulli is divided into two parts. The first, in three chapters, deals with the formation of the egg. The first chapter discusses the three bases of animal generation given by Aristotle (the egg, the seed, and spontaneously from decomposing materials). In the second chapter of De formatione ovi et pulli Fabrici states two functions of the 'uterus': the formation of the egg and, immediately thereafter, its nutrition. The chapter closes with a discussion of the formation of the shell; the third chapter concerns the usefulness of the uterus. The second part of the treatise, also in three chapters, is concerned with the generation of the chick within the egg and begins with a description of the eggs of various species. Many of the notions and arguments set forth in the first part of the book are then summarized. The second chapter of the second part deals with the three basic functions of the egg: the formation, growth, and nutrition of the chick. The last chapter of the treatise returns to teleology to consider the utility of both the egg and the semen of the rooster. De formatione ovi et pulli is illustrated with seven plates, of which only the first three are labeled. The last five plates are the most significant since they represent the first printed figures of the development of the chick, beginning with the third or fourth day of incubation (DSB IV, p.509-10). Very Good.

      [Bookseller: Milestones of Science Books]
 43.   Check availability:     Direct From Seller     Link/Print  

______________________________________________________________________________


      Home     Wants Manager     Library Search     562 Years   Links     Contact      Search Help      Terms of Service      Privacy     


Copyright © 2018 viaLibri™ Limited. All rights reserved.