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Displayed below are some selected recent viaLibri matches for books published in 1628

        DEFINIÇÕES E ESTATVTOS DOS CAVALLEIROS & Freires da Ordem de N. S. Iesu Christo, com a historia da origem, & principio da della.

      - EM LISBOA: Por Pedro Craesbeeck, impressor del Rey, Anno M.DCXXVIII. [1628]. In fólio de 26,5x19 cm. com [viii], 274, [xiv] pags. Encadernação do século xviii inteira de pele com nervos, rótulo vermelho e ferros a ouro na lombada. Ilustrado com 2 (de 4) gravuras com as diferentes cruzes da ordem impressas a vermelho. Bela impressão seiscentista com a folha de rosto enquadrada por moldura tipográfica e capitulares xilográficas ao longo do texto. Exemplar da variante com a pag. 215 bem numerada e a 251 mal numerada (253), com ex-libris coevo na folha de rosto ?De Fr. Jozé Meis.es[?] gramoxo comprou a Franc. Corte Real da [?] por 500.?, leves manchas de humidade, antigas e marginais. 1.ª edição. Samodães 1016. ?Livro estimado. Primeira edição. Muito rara.? Inocêncio II, 132. ?Contem, alem do prologo (onde se transcrevem as bullas da fundação da Ordem, e da união do seu mestrado á Corôa, etc.) quatro livros ou partes; na 1.ª se tracta da fundação e creação da ordem, com o que lhe diz respeito: na 2.ª do provimento das commendas, obrigações dos commendadores, etc.: na 3.ª da jurisdicção ecclesiastica, e modo de a exercitar: na 4.ª dos privilegios da ordem; terminando por um rol de todas as commendas, e designação do rendimento de cada uma.? Location/localizacao: 3-A4-E-9

      [Bookseller: Livraria Castro e Silva]
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        Sylva Sylvarum: or A Naturall Historie in Ten Centuries. (and) New Atlantis.

      Printed by J[ohn] H[aviland] for William Lee at the Turkes Head., London. 1628 - [14] + 258pp + [12] + 44 + 4pp. With additional title page signed 'Tho Cecill Sculp'. New Atlantis has a seperate title page. Lacks portrait frontis. Bookplate of James Wharton ' General in the British Army ' on paste down fep, together with signatures of two later previous owners. Worming and flaking to some page edges. Some damp staining and browning. Some pages of 'New Atlantis' cropped, without loss of text. Fair copy only in chipped and rubbed quarter calf with marbled boards. [Attributes: Hard Cover]

      [Bookseller: Elaine Beardsell (ABA,PBFA )]
 2.   Check availability:     IberLibro     Link/Print  


        Celeberrimi fluvii Albis nova delineatio / Das Ertzstift Bremen. Altkolor. Kupferstich von Chr. Moller bei W. Blaeu. Amsterdam, 1628. Zwei Karten auf einem Blatt. Je 15,3 x 53,3 cm.,

      1628 - Gewicht in Gramm: 500

      [Bookseller: Antiquariat Schramm]
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        La sage folie de Spelte. Poëte & historiographe du roy d'Espagne. Traduite d'italien en françois par Louys Garon. [Première partie: La sage folie, fontaine d'allegresse, mere des plaisirs, reyne des belles humeurs : pour la defense des personnes Ioviales, à la confusion des archisages & protomaistres. Seconde partie : La delectable folie, support des capricieux, soulas des fantasques , nourriture des Bigearres : pour l'utilité des cerveaux faibles, & retenuë des boutadeux].

      chez Claude Larjot. 1628 - - chez Claude Larjot., A Lyon _1628, in 12 (9x15cm), (24) 192pp. (12) , (8) 407pp. (1bc) (14)., 2 parties reliées en un vol. - Edition originale française. La première édition du texte italien est de 1607. Illustrée de deux frontispices allégoriques signés Gr. Huret. Edition peu courante. Un exemplaire à la BN de France de 1628, et un autre à la British Library. Rien dans les catalogues collectifs français et anglais. Plein Vélin d'époque à rabats. Dos lisse avec titre à la plume en partie illisible. Traces de lacets. Rousseurs pâles éparses. Antonio Maria Spelta (1559-1632) fut un écrivain, un érudit et un historien de Padoue, c'est en se souvenant de l'Eloge de la folie d'Erasme qu'il écrivit ce recueil composé d'une part de réflexions sur la folie, d'autres de sujets variés allant des astrologues aux chasseurs, d'anecdotes historiques. La première partie tend davantage à dresser un éloge de la folie, malgré la satire toujours présente, alors que la seconde partie dresse un tableau des hommes et des professions en proie à la folie, au fantasque et à la vanité. La plume alerte et mordante de Spelta croque à merveille le portrait de la folie dans ses moindres atours. Livre singulier. (24) 192pp. (12) , (8) 407pp. (1bc) (14). [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Iohn Barclay his Argenis. Translated out of Latine into English: the prose vpon his Maiesties Command...

      London, Printed by Felix Kyngston for Richard Meighen and Henry Seile, 1628. Quarto: [8], 256, 247-489, [1] p. (signatures: A4, B-Ii8, K2). Title continues: "by Sir Robert Le Grys, Knight: and the verses by Thomas May, Esquire. With a clauis annexed to it for the satisfaction of the reader, and helping him to vnderstand, what persons were by the author intended." This romance, written in Latin and first published in Paris in 1621, referred to real historical events and people under the veil of allegory. The Clavis, pp. 485-489: STC (2nd ed.) 1394. Has the armorial bookplate of famed collector Sir William Stirling Maxwel, 1818-1878. Title-page soiled, a few marginal repairs; bound in full leather with Stirling Maxwel's embossed arms; very good. Stock#OB636.

      [Bookseller: The Owl at the Bridge]
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        [Power of attorney, begins:] Sepan quantos esta carta de poder vieren, como you don Luis Geronimo Ferna[n]dez de Cabrera y Bobadilla ... Conde de Chincon ... ortogo todo mi poder cumplido

      Odon [Spain]: No publisher/printer, 1628. Folio (32 cm; 12.5"). [6] ff. In 1628 the Conde de Chinchon had just finished serving as the Treasurer General of the Consejo de Aragon and was preparing to travel to Peru to be the viceroy and captain general of that New World region. He served in that role from 1629 to 1639. The Count had extensive land, business, and political matters that had to be overseen while he was in Southern Hemisphere, and in this printed form => specifically printed for him he gives his power of attorney to Jose de Carvajal Agurto, "my secretary"; Juan de Olabarria, "my accountant"; and Juan de Alderete. They are empowered to administer his estates, collect rents, and to do "other diverse things." Considerable detail is given concerning the extent of their power, including appearing in his stead before courts and councils, dealing with lawyers, agents, and the clergy, and much more. => Never before have we seen a power of attorney printed specifically for a newly appointed viceroy and specifically stating that he needs it because he is to be a viceroy in the New World. Signed by several witnesses and with the Count's paraph. Bound in half cordovan morocco with marbled paper sides. Light waterstaining at edges and along center fold.

      [Bookseller: SessaBks, A Division of the Philadelphia]
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        De Universa Muliebrium Morborum Medicina, Novo Et Antehac a Nemine Tentato Ordine Opus Absolutissimum

      Bibliopolio Frobbeniano, 1628-01-01. 3rd. Hardcover. Very Good. 3rd edition. 4to, contemporary vellum. Folding table. [24], 226, [22]; [4], 541, [41] pages. Internally toned, but clean and unmarked.Rodrigo de Castro (1546-1627) was a Marrano doctor who fled the Inquisition and settled in Hamburg. Friedenwald ('Jewish Luminaries in Medical History', pp 54-56) calls him "one of the foremost physicians in establishing gynaecology in the Renaissance period". The first part of this extensive work treats female anatomy, conception, obstetrics and breast-milk; the second part, describing female diseases, has a section on pregnant women. References: Krivatsky 2287. EJ V, 244. Wellcome II 312.Provenance: Contemporary signature of Olaus Rigelius. From the library of Alfonso Cassuto, a noted collector of books authored by Iberian Jews. Cassutoâ??s book plate on front paste down. An interesting thought is the impact of the loss of men like Castro on Spain and Portugal and its connection to the downfall of Iberian power in the forthcoming centuries.

      [Bookseller: SequiturBooks]
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        Nouvelle histoire des choses plus memorables advenues tant és Indes Orientales, qu'autres pays de la descouverte des Portugais

      A remarkable source of information on Jesuits exploits in India, China & Brazil. 1628. Arras. G. Bauduin. In 12mo (168 mm x 102 mm). 5 ff. + 977 (i.e. 975) + 26 ff. Recent flexible vellum. A very fresh, crisp and clean copy, with minor toning to a few folios, else fine. Third edition of the second part, the only part to be reprinted separately, thus complete ?as this edition does not contain any other parts. First published as a part of Jarric?s ?Histoire des choses memorables advenuestant les Indes Orientales, que autres país de la decouverte des Portugais?, 1610 and the portion the most information on Brazil. This part is mainly based don Luiz de Guzman and deals with Africa, Brazil, India & China and so it constitutes a valuable and early source of information. ?Father du Jarric?s work, in spite of being a compilation (mostly from Fernao Guerreiro, Relacam Anual) is very valuable for the study of the Jesuits in Brazil [making a reference that it is indeed the second part that contains the most references on Brazil]?. Du Jarric (1566 ? 1617) was a French Jesuit Priest; although he never actually got to travel and perform missionary labour himself, he advocated to the narration of the travels of his fellow churchmen, mainly those of the Society of Jesus. The work contains an array of ?mainly- voyages and relations to and from Portuguese domains. Borba de Moraes, 426 (ref.). De Backer ? Sommervogel, IV, 751. Sabin, 35790.

      [Bookseller: Hs Rare Books]
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        The Holy Bible : containing the Old Testament and the New newly translated out of the originall tongues and with the former translations diligently compared and reuised by his Maiesties speciall commandement : Appointed to be read in churches

      Imprinted at London : By Bonham Norton and Iohn Bill Printers to the Kings Most Excellent Maiestie, M.DC.XXVIII., [ 1628 ] . 0. 4to. 9.00" x 6.75" x 2.50". A very good 17th century black letter bible, in a black morroco leather binding (probably 19th century?). Simple blind stamp decoration. Edges rubbed and bumped. Smooth spine with dulled gilt title: Holy Bible - Common Prayer. Brown endpapers. The book begins with; The Booke of Common prayer... (title absent, but otherwise complete). Followed by "The Genealogies..." - Complete. Bound with: "A Description of Canaan..." - Double-page map. Followed by the Holy Bible, beginning with an engraved general title, dated 1628, 7 preliminary leaves, ending with;"The names and order of all the Bookes..." The Old Testament ends on Ss 6a. Family history details to verso - Dawson & Groomes 1792 - 1850. The Apocrypha ends on Eee 2b. Followed by the New Testament, beginning with an engraved title-page (dated 1628). Family history details to the verso; Woodward and Nicholls 1661 - 1744 .The New Testament ends on Rrr 8a with a colophon. Bound with: "The Whole Booke Of Psalmes...Company of Stationers, 1629." - All Psalmes present but missing the last leaf of Prayers. Clean Black letter text in double columns throughout. A well preserved 17th century bible. Referenced by Herbert 412 / Darlow & Moule 316 / STC 2282 . .

      [Bookseller: Beckham Books Ltd]
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        Corpus Iuris Civilis quo ius universum Iustinianeum comprehenditur: Pandectis, ad Florentinum archetypum espressis.

      Paris, Antoine Vitray, 1628. - (24) SS., 96 Spp., (40) SS., 1982 Spp., (1) S. Mit gest. Frontispiz. Goldgepr. roter Maroquinband der Zeit mit Deckelfileten und Eckfleurons sowie floralen Bordüren. Goldgepr. florale Verzierung am Rücken; goldgepr. blaues Rückenschildchen; Stehkantenvergoldung. Dreiseitiger Rotschnitt; Marmorvorsätze. Folio. Eindrucksvoller erster Band des Corpus juris civilis mit prachtvollem Kupferstichfrontispiz. Anstelle der einst von Accursius glossierten Ausgabe erstellt Dionysius Gothofredus eine mit Noten versehene Ausgabe ohne die Glosse, die einen Kompromiss der textkritischen Arbeit darstellte. Sie bestimmte als "Littera Gothofrediana" die juristische Rechtsquellenlage bis zum 19. Jahrhundert. Bestimmend für Markt und Editionen war der Druckort Lyon; daneben entwickelte Paris eine eigene Richtung in textkritischen Editionen und hatten den Beititel "Littera Parisiensis", mit dem man sich von Lyon ("Littera Lugdunensis") abzugrenzen suchte. - Am Vorsatzblatt hs. Besitzvermerk "Ex bibliotheca Petri Davidis Felles" sowie "Cavarik" am Titel. Einband fachmännisch restauriert; innen teils wasserrandig und braunfleckig. Graesse III, 503.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Pia desideria lib. III. Ad urbanum VIII. Editio 5. [!] emendate.

      Antwerpen, Hieronymus Verdussen, 1628. - (14), 444, (2) SS., l. w. Bl. Mit gest., ill. Titel, gest. Wappenfrontispiz (Wappen des Papstes Urban VIII.) und 46 ganzseitigen Textkupfern (verso zumeist unbedruckt). Pergamentband der Zeit auf 3 durchzogenen Bünden mit übergreifenden Deckelkanten und goldgepr. grünem Rückenschildchen. Bindebänder fehlen. 8vo. Sehr frühe lateinische, wahrscheinlich zweite Ausgabe mit den Kupfern von Bolswert. Diese Ausgabe nicht bei de Backer, Landwehr oder Praz. Das einflußreiche, erstmals 1624 in Antwerpen erschienene Emblembuch des Brüsseler Jesuiten H. Hugo (1588-1629) war seinerzeit sehr beliebt und erlebte bis 1756 allein 42 lateinische Ausgaben. "Each emblem with a Bible quotation engraved in the plate [.] perhaps the most influential religious emblem book" (Landwehr). Die hübschen emblematischen Tafeln sind die Originalkupfer der Erstausgabe; ihr Schöpfer Boetius v. Bolswert (um 1580-1633) gilt als einer der bedeutendsten Kupferstecher des Barock. "Von den mit vielen kleinen Blättern illustrierten Büchern verdien[t] namentlich noch Erwähnung [.] Herm. Hugos 'Pia desider[i]a" (vgl. Thieme/Becker 4, 254f.). - Papierbedingt etwas gebräunt, teils auch (finger-)fleckig. Titel mit zeitgenöss. hs. Besitzvermerk des Kölner Jesuitenkollegs. Am vorderen Vorsatz hs. Besitzvermerk "Ex libris N. J. Houben [.] 1814". Vgl. de Backer/Sommervogel IV, 513, 6. Praz 376ff. Landwehr 345 (EA bei Aertssen, 1624). [Attributes: Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Plate from 'Academie de l'Espee' [Tab. XXX]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving, coloured by hand, by Egbert van Panderen. (Occasional small marginal tears). 18 13/16 x 27 inches. 21 3/16 x 29 7/8 inches. A fine hand-coloured print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
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        Plate from 'Academie de l'Espee' [Tab. IX]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Egbert van Panderen. Very good condition. 18 7/8 x 27 1/4 inches. 21 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
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        Plate from 'Academie de l'Espee' [Tab. III]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Nicolas Petri Lastman. Very good condition apart from some mild creasing and a small orange spot in the lower right side of the image near the plate number. 19 x 27 1/4 inches. 21 x 29 1/4 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
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        Plate from 'Academie de l'Espee' [Tab. XVI]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Pieter van Serwouters. Very good condition. 18 7/8 x 27 inches. 21 x 29 3/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
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        Plate from 'Academie de l'Espee' [Tab. XII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Egbert van Panderen. Very good condition apart from some light soiling in the top left side of the image and margin. 19 x 27 1/2 inches. 20 3/8 x 30 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
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        Plate from 'Academie de l'Espee' [Tab. XXVIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving Andries Jacobsz Stock. Very good condition. 19 x 27 1/4 inches. 21 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 17.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. VI]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Nicolas Petri Lastman. Very good condition apart from a few skillfully repaired losses in the margins and several tears in the top margin. 18 7/8 x 29 1/8 inches. 21 1/2 x 29 1/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 18.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XXV]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Saloman Savery. Very good condition apart from a small brown spot in the lower right side of the image. 19 x 27 inches. 20 3/4 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

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


        Plate from 'Academie de l'Espee' [Tab. XXXIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Johann Gelle. Very good condition apart from several skillfully repaired losses in the margins. 19 x 27 1/4 inches. 21 x 29 5/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 20.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. IIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Nicolus Petri Lastman. Very good condition apart from several skillfully repaired small losses and tears in the margins. 19 x 27 inches. 21 x 29 1/4 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 21.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. X]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by 'Rob. beaudoux'. Very good condition apart from a small loss in the lower right corner, a few skillfully repaired tears in the top margin, and several small tears at the extreme edge of the bottom margin. 18 7/8 x 27 1/8 inches. 21 1/2 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 22.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XI]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Peter Isselburg. Very good condition apart from a few several skillfully repaired losses in the top margin, several small tears at the extreme edges of the margins, and an orange spot in the center of the image. 19 x 27 inches. 21 3/4 x 29 5/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 23.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XXVII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Saloman Savery. Very good condition. 19 x 27 1/4 inches. 21 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

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


        Plate from 'Academie de l'Espee' [Tab. VIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Adrian Matham. Very good condition apart from a skillfully repaired loss in the right margin. 19 1/8 x 27 3/8 inches. 21 x 29 3/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 25.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XIX]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Pieter van Serwouters. Very good condition. 18 1/2 x 27 inches. 21 x 29 1/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 26.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Johann Gelle. Very good condition apart from a small orange spot in the left side of the image. 18 7/8 x 27 1/8 inches. 21 x 29 5/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 27.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XXIX]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving Schelte Adams Bolswert. Very good condition apart from some light foxing in the margins, a skillfully repaired 1" tear in the left margin, and a 3/8" tear in the top margin. 18 7/8 x 27 inches. 21 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 28.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. VII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Andries Jacobsz Stock. Very good condition apart from several skillfully repaired small losses and tears in the margins. 19 x 27 1/2 inches. 21 x 29 3/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 29.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XXIIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Saloman Savery. Very good condition. 18 7/8 x 27 1/4 inches. 21 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 30.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XX]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Schelte Adams Bolswert. Very good condition apart from several skillfully repaired losses and tears in the margins. 19 x 27 inches. 21 1/2 x 29 1/4 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 31.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XVIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Johann Gelle. Very good condition apart from a few light foxing marks in the bottom margin. 18 7/8 x 27 1/8 inches. 21 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 32.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. X]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by 'Rob. beaudoux'. Very good condition apart from some mild rippling. 18 7/8 x 27 inches. 21 x 29 1/4 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 33.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XVII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Pieter van Serwouters. Very good condition apart from a few light foxing marks in the bottom margin. 19 x 27 1/4 inches. 21 x 29 3/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 34.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XXIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Adrian Matham. Very good condition apart from several tears along the extreme edge of the top margin and a small brown spot in the top left-hand side of the image. 19 x 27 1/4 inches. 21 x 29 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 35.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XXVI]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Schelte Adams Bolswert. Very good condition apart from a 3/8" tear in the right margin and a few small orange spots in the lower part of the image. 19 x 27 1/4 inches. 19 7/8 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 36.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. VIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Adrian Matham. Very good condition apart from a few small tears at the extreme edge of the top margin and some light foxing. 18 3/4 x 27 1/4 inches. 21 7/8 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 37.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. V]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Johann Gelle. Very good condition apart from some mild creasing. 19 x 27 3/8 inches. 21 x 29 5/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 38.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XXXI]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving Crispyn Van den Queborne. Very good condition. 18 7/8 x 27 1/4 inches. 21 x 29 5/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 39.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. IIII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Nicolas Petri Lastman. Very good condition. 19 x 27 1/4 inches. 21 x 29 1/4 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 40.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. VII]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Andries Jacobsz Stock. Very good condition apart from a few light foxing marks in the top margin. 18 x 27 1/4 inches. 21 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 41.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XXI]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Crispyn Van den Queborne. Very good condition apart from some light foxing in the margins. 18 7/8 x 27 inches. 20 3/4 x 29 3/8 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 42.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. V]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Johann Gelle. Very good condition. 19 x 27 1/8 inches. 21 x 29 1/2 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 43.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. XV]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Willem Jacobsz Delff. Very good condition apart from a skillfully repaired 5/8" tear in the top margin. 19 x 27 1/4 inches. 21 x 29 1/4 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 44.   Check availability:     Biblio     Link/Print  


        Plate from 'Academie de l'Espee' [Tab. III]

      [Leiden: B. & A. Elzevir: 1628]. Copper engraving by Nicolas Petri Lastman. Very good condition apart from some mild creasing and several tears at the extreme edges of the sheet. 18 7/8 x 27 1/8 inches. 21 3/4 x 29 inches. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

      [Bookseller: Donald Heald Rare Books]
 45.   Check availability:     Biblio     Link/Print  


        Academie de l'Espée... ou se demonstrent par reigles mathematiques sur le fondement d'un cercle mysterieux la theorie et pratique des vrais et jusqu'a present incognus secrets du maniement des armes a pied et a cheval

      [Leiden: B. & A. Elzevir], 1628. Large folio. (20 3/4 x 15 1/2 inches). Engraved title, portrait of the author, 9 plates of coats-of-arms, 46 plates of fencing (44 double-page) by Crispin de Pass (1), Wilhelm Jacob Delff (3), J. Gilli (6), Crispian Queborn (6), S. or B. Bolswaert (5), Salomon Saurius (3), Andreas Stockius (3) and others. (One plate supplied from another copy with hand-colouring). Early 18th-century vellum over pasteboard, panelled in gilt, the flat spine in seven compartments divided by decorative rolls, lettered in the second and third (wear to head and foot of spine). The most sumptuous book on fencing ever produced, with plates which combine a strong design sense with beauty and historical importance, executed by some of the greatest engravers of their day. Thibault's theories of successful fencing using movement and mathematical principles are all beautifully pictured, and the work as a whole is a triumphant symbiosis of engraving and fine typography. The book was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon...and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present work marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats...As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Brunet V 815; Copinger 4705; Lipperheide 2960; Rosenwald 1427; Vigeant p.125; Willems 302.

      [Bookseller: Donald Heald Rare Books]
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        [ TRIGONOMETRY ] Kurzer doch gründlicher Bericht/ von Calculation der Tabularum Sinuum, Tangentium vnd Secantium. Sampt deroselben gebrauch/ in Solvierung oder aussrechnung aller flachen Triangel: in zweyen Theilen begriffen: ... auss dem Niderländischen transferirt vnd mit einem nohtwendigen Register an Tag gegeben/ Sampt einer Vorrede M. Danielis Schwenters Professoris Norici, vnd angehefften Tabulis Sinuum, Tangentium vnd Secantium, in theilen/ deren der halbe diameter 10000000. begreifft. [ orig. title: Driehouckhandel ]

      Nürnberg: Simon Halbmayer, 1628. Vellum bound First German edition of a Dutch work published earlier in Stevin's Wisconstige Gedachtnissen (Complete Works) (1605-08) Very Good Duodecimo. 2 complementary works bound in one volume. Contemporary vellum over boards. Slight wear to edges and corners. Many pages have foxing, more so in the pages of the Axiomata. A few pages have very slight tears at foredge. A small rectangle has been cut from the lower corner of the first free endpaper. Binding has a small nick at foredge of back board. Vellum slightly scuffed. with light soiling. [24]154 [10], [182] p. Large printer's device on last page. Many simple geometrical woodcut illustrations, primarily of triangles. Contains the first 2 parts of Stevin's work on trigonometry translated into German from the original Dutch, with 4 axioms (Pitisci Axiomata) from Bartolomeo Pitiscus added by Schwenters in his forward. The second part of the book is a work consisting of tables for sine, tangent and secant added by Schwenters. The work does not include the 3rd part of Stevin's Trigonometry, which covered spherical triangles - indeed, Schwenters states Stevin did no writing in this area, which is incorrect. The original edition of this work is titled "Driehouckhandel". The translator for this work is unknown and was perhaps Schwenter himself, but appears not have had access to a complete copy. (Struick, Principle Works of Simon Stevin, II B p. 755). Less desirable than Dutch editions but still a scarce work on Trigonometry by one of the more important mathematicians of the early Dutch independence period. Simon Stevin (1548-1640) was a Dutch bookkeeper, mathematician, engineer, and science advisor to Maurits (Maurice) of Nassau, stadholder of the United Provinces. Stevin helped set up an engineering school and advised in a number of major nautical related projects. Steven in most well known for introducing decimal fractions to Europe in 1585, though his original arcane notation was abandoned shortly thereafter. He is also known for creating a "land yacht", powered by sails that could move before the wind faster than a horse. On at least one instance he, Maurits, and over 20 others put it to entertaining use on a beach. In all a lovely copy of the book.

      [Bookseller: Motte & Bailey, Booksellers]
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        Compendium librorum Politicorum de Papanâ & Hispanicà Monarchià. Zwey Discurs Bruder Thomas Campanellen, Von des Bapsts vnd Spaniers vermeinter rechtmessiger gewalt vnd deroselbigen mit dem Römischen vnd Türckischen Keyser vergleichunge ja vorzuge. Darinne er die sonst von jhme gerichtete Bäpstliche vnd Spanische Monarchie von newest kürtzlich zu stützen ... Allererst aus einem Welschen Mscr. verdeutzscht vnd mit einer widerlegung apostillirt von einem Mannlichen Rivalem der Klugheit

      O. O. und Dr., (1628).. 36 Bll. Marmorierter Pappband. 4°. 20 x 16 cm. VD17 14:003665E. - Motto mit Chronogramm: VbI nos oDIo Papæ, HIspanIqVe, & A More ChrIstI nostrI perseqVentes. - Der erste Diskurs über die Konstantinische Schenkung, der zweite über den Kampf um die Vorherrschaft über die slawische Bevölkerung zwischen Habsburg und dem Ottomanischen Reich. - Campanellas Organisation eines Aufstandes gegen die spanische Herrschaft in Süditalien brachte ihn in lebenslange Kerkerhaft. - Papier altersbedingt gebräunt.

      [Bookseller: Antiquariat Turszynski]
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        Annotationes in praecipua ac difficiliora sacrae scripturae loca

      Duaci [Douai]: Apud Gerardum Patté, sub signo missalis aurei, 1628. Folio in 6's (36 cm, 14.2"). [3] ff. (of 4, lacking title-leaf), 684 pp., [10] ff. Second edition" (but really third?) of commentary on the O.T. and N.T. by Willem Hessels van Est (Gulielmus Estius, 1542–1613), who studied classics at Utrecht and religion at Louvain, and was Chancellor at the University of Douai from 1595 until his death. Famous especially for exegetical writings, as herein, "Estius's reputation became so great among later scholars that the saying . . . 'Estius on the Epistles' became proverbial." (NCE) This edition was edited by Gaspard Dubois (Nemius, 1587–1667), whose dedication to Francis van der Burch, Archbishop of Cambrai, features his => engraved arms as a headpiece. First published in 1617, the text is in Latin printed in roman and italic, double-column, framed on each page by a double-ruled border, with elaborate woodcut initials and head- and tailpieces, many incorporating the Jesuit "IHS" and one of these => censored by an 18th-century hand. (Two large leaves are drawn in ink over objectionable putti parts!) The title-page, wanting in this copy, has been transcribed by the same(?) early hand in ink on the front fly-leaf recto and verso, and the imprint information is confirmed by the colophon on the last page, which features the woodcut printer's device and the date in roman numerals. Provenance: An inscription on the front fly-leaf verso gives three dates, 1682–1739, and the names Fido Springhere and Philippus Coisne(?); there is a second ex-libris inscription with the name Baptista Baelde(?) at top of dedication leaf; and a final inscription, "Fido Springhere 1686" on verso of last leaf, above colophon. Scarce: This edition => not in NUC Pre-1956, and WorldCat finds just three U.S. copies. McCrank, 871. On Estius, see: NCE, V, 558. Contemporary calf with an elaborate cartouche gilt at the center of each cover, rebacked to style with gilt-ruled raised bands and green gilt-lettered spine label; extremities repaired and new endpapers. Ex-library: old oval stamp on first page of dedication and accession number on p. 1 of text. Lacks title-leaf; various markings on verso of front endpaper; final two quires lightly creased; small marginal hole from natural paper flaw on three leaves; a few spots and smudges and one small tear, also from natural flaw. With occasional => underlining and marginalia in Latin, seemingly by the same hand that transcribed the title and inscribed the fly-leaf.

      [Bookseller: SessaBks, A Division of the Philadelphia]
 49.   Check availability:     Biblio     Link/Print  

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