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

        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.

      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]
 1.   Check availability:     antiquariat.de     Link/Print  


        [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

      No publisher/printer Odon [Spain]: No publisher/printer, 1628. Bound in half cordovan morocco with marbled paper sides. Light waterstaining at edges and along center fold.. 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.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        Epitome des preceptes de medecine et chirurgie. Avec ample declaration des remedes propres aux maladies.

      8°. 24 n.n. Bl., 764 S., 1 n.n. Bl. Flexibler Pergamentband der Zeit mit handschriftlichem Rückentitel. Hirsch-H. IV, 606. - Dict. hist. de la Medecine III, 716. - Wellcome I, 5038 (für Ausgabe Paris, 1612). - Erste französische Ausgabe gleichzeitig auch in Lyon gedruckt. Erschien erstmals 1612 in Latein. Pigray (1532 oder 1533-1613) war Schüler von Ambrois Pare. Nach Militärdiensten wurde er Leibchirurg von Charles IX, Henri II und Henri IV. - Das Buch, eine eigentliche Zusammenfassung des Werkes von Pare, wurde in Französisch geschrieben, jedoch vom Autor selbst für den Druck in Latein übersetzt. - Wurde bis zum Ende des 17. Jahrhunderts mehrfach nachgedruckt. - Papier leicht fleckig. Am oberen Rand stellenweise knapp beschnitten. handschriftlicher Besitzvermerk auf dem Titel.

      [Bookseller: Daniel Thierstein Buchantiquariat]
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        ALBUM OF THE 36 POETRY IMMORTALS [SANJU^-ROKKASEN]

      1628. SHOKADO SHOJO, artist. ALBUM OF THE 36 POETRY IMMORTALS [SANJU-ROKKASEN]. n.p. [Kyoto?] Kan'ei 5 [1628]. 25.6 X 12.3 cm. 37 miniature paintings with gold and mineral pigments, mounted with calligraphed poems on underpainted poetry papers. The portraits and accompanying poems represent the 36 poetical geniuses in the Japanese literary canon. This album was recently exhibited at the National Institute of Japanese Literature as part of their exhibit KASEN'E OF THE EDO PERIOD (1600-1868) The Transformation and Originality of the Courtly Beauty in Ehon (Illustrated Books). The description of the album (#6 in the exhibit and in its sumptuous catalogue) written by the curator, Doctor Jun Suzuki, is roughly translated below: Shokado Shojo (1582-1639) Japanese calligrapher and painter 36 POETRY IMMORTALS (Poets and Portraits) completed in 1628. Thirty-six paintings and poems mounted as an accordion album. Paintings: ink and color on paper, poems; ink and gold on paper. Length 25.6 cm. Width 12.3 cm. Front & back original 17th century woodblock color diamond pattern with blue and orange design. Front page has the calligraphic title / introduction "This Immortal 36's Poetry / Poems Copied." [Date] Kanei 5. With an image of a bell on red stamp indicating that this was written by a monk. The first accordion page has images of the three Shinto Shrines: Sumiyoshi Shrine in Osaka, Tamatsushima Shrine in Wakayama and Kitano Shrine in Kyoto. The top panel of each page contains the calligraphic name and a famous poem by the Poet. The bottom panel contains the portrait of the Poet. The 36 Immortal Poets are listed below: 1. Kakinomoto no Hitomaro 2. Ki no Tsurayuki 3. Oshikochi Mitsune 4. Lady Ise 5. Otomo no Yakamochi 6. Yamabe no Akahito 7. Ariwara no Narihira 8. Henjo 9. Sosei 10. Ki no Tomonori 11. Sarumaru no Taifu

      [Bookseller: Boston Book Company]
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        DISPUTATIO DE VERA HUMANI PARTUS NATURALIS ET LEGITIMI DESIGNATIONE. In qua de hominis conceptu: Animatione: Efformatione: Gestationis tempore: Editione: Deque partus naturalis limitibus: de Furtivo: Exposito: Subposito: Abortivo: Monstroso: Multiplici: et Superfoetato agitur...

      In-4 p. (mm. 290x200), 2 opere in 1 vol., p. pergam. coeva, dorso a cordoni, tit. ms., 30 cc.nn., 684 pp.num., 34 cc.nn.; con belliss. antiporta figurata e ritratto dell?A., disegnati dal poeta e umanista Juan Jaùregui (ca. 1570 - ca. 1640) ed inc. in rame da Pedro Perrete; testo su due colonne, ornato da grandi capilett. figur. a vignetta e finali silografati. Il ns. esempl. è completo delle prime due carte (quasi sempre mancanti) che contengono lettere ?a? e ?da? Juan Jaùregui. Nell?opera sono trattati anche: il concepimento, il feto, il parto, la durata della gravidanza (questione molto importante, nelle leggi medioevali e del Rinascimento, ai fini dell?eredità), l?aborto e la nascita di bambini deformi e i parti gemellari. Unita, una ?"Diatriba" super primore temporum doctrina, in libris Pat. Dionys. Petavij, novissimé prostantibus, contenta? (Madrid, 1628), pp. 68. Rarissima "prima edizione", così completa. Cfr. Krivatsy,2179 - Palau,II, p. 64 che cita l?ediz. del 1630. ?Alphonse Caranza, jurisconsulte espagnol, vécut sur la fin du XVI siècle à Séville, et ensuite à Madrid, où il publia divers ouvrages en latin et en espagnol. Le "De partu naturali et legitimo", ouvrage bien estimé sur les droits des enfants naturels et légitimes, offre une nouvelle preuve du crédit que les lois romaines eurent en Espagne. Il a été souvent réimprimé à Genève, Francfort, Cologne, ecc. On trouve à la suite de ce traité, écrit avec beaucoup de clarté, une diatribe du savant juriconsulte, sur la "Doctrine des temps" du P. Petau?. Così Biographie Universelle, VII, p. 111 Solo alc. carte con alone margin., lievi uniformi arross. interc. nel t. ma certamente un buon esemplare.

      [Bookseller: Libreria Antiquaria Malavasi]
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        De miracoli del santiss. sacramento raccolti gia' dal r.d. nicola laghi da lugano. con historie, sentenze, instruttioni, and avvertenze intorno alla santiss. communione, and messa. parte prima. aggiuntovi in questa nuova impressione la seconda parte di altri simili miracoli, con l'historia de' sacri corporali di daroca, dal r.d. girolamo canini d'anghiari d. di s.t. et il propugnacolo della vera e real presenza di christo nell'eucaristia santiss. del r.d. giorgio polacco. in venezia, appresso il bertano, 1628.

      Cm. 21,5, pp. (36) 640 (24). Frontespizio entro cornice architettonica riccamente incisa su legno raffigurante scene bibliche, oltre duecento incisioni xilografiche di sacre rappresentazioni nel testo, testatine, finalini e capolettera sempre in xilografia. Legatura coeva in pergamena molle con nervetti passanti e titoli calligrafati al dorso e al taglio di piede. Una cerniera internamente parz. staccata (che rivela frammenti di possibile incunabolo utilizzato per la legatura). Un chiarissimo alone all'angolo superiore di alcune carte, tracce di tarli ad alcuni margini, che nelle pagine dell'indice finale arrivano a lambire il testo, altrimenti genuino, discretamente marginoso e ben conservato. Interessante sorta di enciclopedia di tutto quanto riguarda l'eucaristia nei suoi vari aspetti teologici, rituali, dogmatici... Cfr. Piantanida...

      [Bookseller: Studio Bibliografico Benacense]
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        Medicina, Novo et Antehac a Nemine Tentato Ordine Opus Absolutissimum. 2 vols bound in one

      ex Bibliopolio Frobbeniano Hamburgi: ex Bibliopolio Frobbeniano, 1628. Third edition. Hardcover. fair. Octavo. [22], 226, [42], [2], 541, [43]pp. Full calf with blind stamped borders on boards and gold lettering on title-label. Raised bands. Woodcut engraved vignette on each title-page. Decorative initials, head- and tailpieces. Fascinating and scarce treatise on gynecology. It is divided in 2 parts; the first devoted to the description of the anatomy and physiology of the female body, the second to the pathology and clinical relevant. In many aspects, in his work, de Castro was bold and modern, as he advised the massage to be given to the pregnant woman in order to facilitate childbirth, and he also recommended the presence of her husband, which was absolutely unique at that time. Some edge wear on binding with front joint cracked, but front board still holding. Rubbing along edges and head and tail of spine (with minor chipping). Abrasion on lower part of back joint, with parts of calf missing. Book plate of previous owner on back of front board. Free front endpaper and fly leaf almost detached from book block. Sporadic foxing and minor browning throughout. Text in Latin. Binding in overall poor, interior in very good condition.

      [Bookseller: Eric Chaim Kline - Bookseller ]
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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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        Der Röm: Kays: auch zu Hungarn und Böheimb/ac. Königl: Majestät Ferdinandi II. Verneuerte Landes-Ordnung. Deroselben Erb- Marggraffthumbs Mähren.

      Prag, 1628. (12) + 256 pp + (30) pp. register. Bound full leather, rededged. Spine richly golddec.. Very fine copy with only little wear on binding. All pages nice and clean. Copperprinted coat of arms on tittlepage. Tittlepage in res and black printing. One innerhinge little loose. Front innerside of binding with marks after exlibris? Text in german. The Introduction: Georg Lehmann. Spinetitle: Mährersche Landesordnung.(Porto kr. 40,- på brevforsendelser i Danmark)

      [Bookseller: Bøger & Kuriosa]
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        THE BOOK OF COMMON PRAYER, AND ADMINISTRATION OF THE SACRAMENTS: AND OTHER RITES AND CEREMONIES OF THE CHURCH OF ENGLAND: WITH THE PSALTER OR PSALMES OF DAVID. Edinburgh: Printed by the Printers to the King's most excellent Majestie ..., 1633. [94]pp. A-F8 (- A1). Bound with: S[peed], J[ohn]: THE GENEALOGIES RECORDED IN THE SACRED SCRIPTURES ... [London: Printed by Felix Kingston], anno Dom 1633. [40]pp. A-B8 C-D2. Woodcut charts, map, title-border. Bound with: THE HOLY BIBLE CONTAINING THE OLD TESTAMENT AND THE NEW ... APPOINTED TO BE READ IN CHURCHES. Edinburgh: Printed by the printers to the Kings most excellent Majestie [i.e. R. Young] ... 1633. [900]pp. A-2X8 2Y4; 3A-3L8 3M4. Engraved title and frontis, and separate title for NT. Bound with: [Downame, John]: A BRIEFE CONCORDANCE TO THE BIBLE OF THE LAST TRANSLATION .... London: Imprinted [by H. Lownes and R. Young], 1630. [100]pp. *2 A-F8. Bound with: THE WHOLE BOOK OF PSALMES, COLLECTED INTO ENGLISH MEETER

      Cambridge: Printed by the Printers to the Vniversitie, 1628.. [10],93,[3]pp (with errors in numbering). A- F8 G4. With music. Small octavo. Five volumes bound in one (with the Concordance bound between the OT and NT). Later gilt paneled mottled calf, gilt spine label, marbled endsheets, to contemporary style. Bookplate of Joseph Yates, Clanna House. Trimmed rather close throughout, frequently costing register and/or page numbers, some head lines and a few catchwords; some scattered loss of some bottom lines late in the N.T., early ink inscription on first title, small discoloration to first several leaves, stain to lower fore-corners of 2M8 and 2N1, some occasional foxing, soiling and minor spotting, lacking A1 (blank) to BoCP; withal, a reasonably good gathering, neatly bound. An uncommon lot, including the first complete King James Bible printed in Scotland, and the first Edinburgh edition of the Book of Common Prayer. The Bible follows a separate printing of the New Testament in 1628. This edition, it is suggested, was printed in connection with the Coronation of Charles I in Edinburgh in June 1633. Some copies of this printing of the NT were accompanied by plates, but these were later additions (ca. 1638), and there are two settings of some of the sheets, which are frequently comingled. In this copy, the catchword at 3G1 is 'But'; 2F6v has the reading 'carkases'; the catchword at 3G1r is '37 But'; and the headline on 3K3r is 'Of Widows'. The Book of Common Prayer is the form with catchword 'pride' at B1r, and anticipates the ill-fated 1637 revision for the Church of Scotland. The editions of Genealogies, the Concordance, and the Psalms are contemporary editions of the sort that are characteristically found bound with various editions of the Bible originating from London and elsewhere. The Edinburgh Bible is scarce: ESTC locates five copies in North America: Folger, Huntington, NYPL, Newberry and Univ. of Pennsylvania. The Prayer book is also uncommon, with three copies located in North America (Harvard, Huntington and this copy, now properly deaccessioned). Of the Psalms, four copies are located in North America: Folger, LC, UT, and again, this copy. ESTC S123370; S122895; S102072; S90766; and S122325. STC 16394; 2311 & 2311a; 23039e; and 2608. BARLOW & MOULE (HERBERT) 476. RUMBALL-PETRE 135. GRIFFITHS 1633.8.

      [Bookseller: William Reese Company - Literature ABAA-]
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        OPERA MATHEMATICA OU OEUVRES MATHEMATIQUES traictans de Geometrie, Perspective, Atchitecture et Fortification. ... De nouveau reveue, augmentee, et corrigee par Albert Girard mathematicien

      Amsterdam, Jan Janssen, 1628.. One part only of 4, this being FORTIFICATIONS, the four parts are found singly, in pairs or together. Latin text, in 2 parts, 1628. 4to, approximately 310 x 200 mm, 12¼ x 8 inches, engraved pictorial general title page by W. Akersloot, 1 folding table and 42 double page engraved plates of fortifications, tools, cannon and plans of fortified towns, Ostend, St. Andries and Gulich (Julich), with labelling in Dutch, plates numbered 1-40 plus 2 extra plates numbered 14 and 17, ENGRAVED TITLE PAGE TO FORTIFICATIONS IS LACKING AS IS A DIVISIONAL TITLE PAGE TO THE SECOND PART OF FORTIFICATIONS which was included in the numbering, each part separately numbered, pages (2), 39, (1); 3-40, text and plates complete. bound in full antique stained green vellum, rebacked at some time to match, no lettering or label. Slight wear to tail of spine with 2 tiny nicks to vellum, covers and corners slightly worn, 1 small repair to upper edge of upper cover, some notes in pencil, an ink library number and a small area of worming to front pastedown, lower margin of front endpaper and engraved title page neatly repaired, 4 very short closed tears to fore-edge margin of title, neatly repaired, centre of title page slightly damaged and some letters very neatly inked over, very small grazed patch to border affecting background only, occasional light browning to margins, a little brown spotting to a couple of pages, small repair on reverse of 3 plates where a split had developed next to the tab, a few plates lightly foxed in the margin, 4 plates slightly browned, binding tight and firm. A very good copy (lacking 1 engraved title and 1 divisional title). Samuel Marolois (1572-1627), was a French mathematician who published in the Netherlands. The 4 works listed in the general title first appeared in the Hague from 1614-1621, Fortifications was first issued in French with only 5 plates in 1615 and translated into Latin by Girard in 1627. It was considered to be a very important text on Dutch fortifications at the beginning of the 17th century and was reprinted many times and translated into many languages, the first English edition appearing in 1638. See Cockle, A Bibliography of Military Books up to 1641, page 111, No. 139 and page 212, No. 821. Spaulding & Karpinski, Early Military Books, No.94; Sotherby's, The Library of the Earls of Macclesfield, Volume 10, Mlitary books, page234, number 3641. MORE IMAGES ATTACHED TO THIS LISTING.

      [Bookseller: Roger Middleton]
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        Dissertatiuncula de migrationibus populorum in genere, et in specie gothorum sveonumque veterum, eorumque propagatione, fortunâ ac rebus gestis apud exteros.

      Uppsala, Eschilli Mattiæ, 1628. 8:o. (16) s. Lätt fläckig. Sammanbunden med: LOCCENIUS, Johannes. Dissertationes duæ, I. de Scythis veteribus, eorumque ortu, propagatione reip. forma, moribus ac fortitudine, in genere. II. De svecis ac gothis separatim, eorumque politiæ vel regni constitutione, institutis civilibus, moribus av fortitudine militari. Uppsala, Eschilli Matthiæ, 1628. 8:o. (94) s. Lätt fläckig. Bundna efter: LOCCENIUS, Johannes. Antiquitatum Sveo-Gothicarum libri tres. In quibus prisci sveonum et gothorum mores, status regni atque instituta cum hodiernis, pro re nata, comparantur; leges patriæ passim, variaque auctorum loca illustrantur et explicantur. Editio tertia emendatior & auctior. Accedit nunc index rerum et verborum. Uppsala, Henricus Curio, 1670. 8:o. (8),+ 210,+ (14) s. Nära skuren nedtill. Sammanbunden med: SCHEFFERUS, Johannes. Upsalia cujus occasione plurima in religione, sacris, festis, regum electionibus, creationibus magistratuum, concessionibus dignitatum, funerationibus, & similibus, olim per septentrionem & vicinos germanos, gallos, brittanos, omneque pæne occidentem usurpata explicantur, lociq; bene multi veterum aliorumq; auctorum emendantur atque illustrantur. Uppsala, Henricus Curio, 1666. 8:o. (12),+ 192, 195-406 s. Två träsnittsillustrationer i texten. Delvis med hoppande pagineringsföljd. Samtida pergamentband, med fint handtextade titlar på ryggen. Handtextade index i bläck på för- och eftersättsbladen. Försättsbladet med bortklippt namnteckning. Ur C. H. Braads bibliotek med dennes namnteckning på samtliga titelblad, med en äldre Gustav Retzius namnteckning på frampärmens insida, och ur Ericsbergs bibliotek, med Carl Jedvard Bondes exlibris (variant 1). Med Warmholtznummer inskrivna med bläck på varje titelblad, troligen av C. J. Bonde. Collijn sp. 528 resp. 821. Warmholtz 1295, 1415, 1416 resp. 348. Carlander II, 597f. resp. III s. 568. Samlingsvolym med två sällsynta småskrifter av Loccenius, det första är ett inlägg om svearnas och göterna tidiga folkvandringar, ett i tiden viktigt ämne, och det andra ett förarbete till "Antiquitatum", Loccenius svenska kulturhistoria. Även den föreligger här, i tredje upplagan. Carl Jedvard Bonde på Ericsberg samlade huvudsakligen på svensk historia, och ingen privatperson har nog lyckats komma närmare en komplett Warmholtzsamling än han. Även Ostindiefararen Christopher Henrik Braad (1728-81) var en framstående litterär samlare med ett stort bibliotek i historia och antikviteterna

      [Bookseller: Centralantikvariatet]
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        [patricii Veneti] De Republica Venetorum. Libri quinque. Item synopsis reip. Venete, et alii de eadem discursus politici.

      Lugd. Batavorum [Leiden]: Ex Officina Elzeviriana 1628.. 16mo, 431, (1) pp. Engraved title showing a bird's eye view of Venice, marbled paste downs, armorial bookplate of Lord Sinclair. Contemporary calf, a.e.g., covers with double gilt rules, cornerpieces and a central rose, gilt phoenix to the foot of the spine with the motto Rinasce Piu Gloriosa ("It rises again more glorious"), spine slightly worn. A Venetian diplomat, Contarini was made a Cardinal in 1535 despite being of a decidedly secular bent. The second Elzevir edition. Willems 293. First published 1543.

      [Bookseller: Bow Windows Bookshop, ABA, ILAB]
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        L. ANNAEI SENECAE PHILOSOPHI, ET M. ANNAEI SENECAE RHETORIS OPERA QUAE EXTANT OMNIA. Cum omnibus commentariis hactenus editis, ad ordinem & seriem textus literis & numeris praeuntibus....Praeterea hac editione accesserunt D. Gotofredi I.C. Notae, in utrumque Senecam in aliis editionibus omissa....

      In-4 gr. (mm. 350x219), 2 voll. in 1, p. pelle coeva (restaur. per picc. manc.), filetti dorati ai piatti, dorso a cordoni con fregi e tit. oro, pp. (48),947,(69),(1 c.b.),148; (8),424,(22); con 3 frontesp. (di cui 1 generale). Il primo vol., con tit. in rosso e nero e grande vignetta silografata, contiene l?opera del filosofo Lucio Anneo (figlio di Seneca il Retore): ?I. Dalechampio castigata - Th. de Iuges recognita? // Il secondo, con bella e grande vignetta silograf., contiene l?opera di Marco Anneo Seneca (detto il Vecchio o il Retore): ?pluribus quam antea commentariis, variis lectionibus, notis et in his I. Dalechampii hactenus ineditis ad ordinem textus, literis et numeris praeuntibus.. Haec omnia studio et industria T. de Iuges?. Cfr. Graesse,VI,348: ?Dalechamp, n?ayant pas exécuté le plan conçu, de publier les oeuvres de Sénèque, Th. de Juges se servit de son "apparatus" pour cette édition-ci. A la marge de "Suosoriae et Controversiae" il plaça des variantes et ajouta aux "notae varr." ses propres remarques et celles de Dalechamp?. Pagg. ingiallite per la qualità della carta, altrim. esemplare ben conservato. .

      [Bookseller: Libreria Antiquaria Malavasi]
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        Archontologia cosmica, sive imperiorum, regnorum, principatuum, rerumque publicarum omnium per totum Terrarum Orbem commentarii luculentissimi (..) Opera et studio Jo. Ludovici Gotofredi ...

      Lucas Jennisius, Frankfurt am Main 1628. Small folio. 3 parts in 1 volume (complete). (2)+(40)+690+267+81+(44) pages. Woodcut vignette on titlepage. Woodct initials and decorations at chapter-ends. Titlepage printed in black and red. Contemporary binding of white pigskin with blindtooled ornamentations to boards. Title and year of publication added to spine in later black handwriting. Bookblock slightly browned throughout. Bookplate on front pastedown. A well-preserved copy.. Graesse III,122 mentions a later edition, Frankfurt 1649. The first Latin edition of this important cosmographic work. Johann Ludwig Gottfried (1584-1633) based his work on the French book "Les Estats, empires, et principautez du monde" (1613) by Pierre d'Avity (1573-1635). He edited and added substantially, thus taking ownership on the work himself. The Latin edition was followed by a German version. In 1638, Matthäus Merian used the German text for a richly illustrated edition. Gottfried's Archontologia describes all the world, of course with emphasis on Germany, the Netherlands and France. The book does, however, cover Africa and the New World. The text describes a.o. the climate, culture, history and religion of each country and area

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        De republica Venetorum libri quinque.

      Item synopsis reip. Venetæ et alii de eadem discursus politici. Editio secunda auctior. Leyden, Elzeviriana, 1628. 16mo. Engr. title,+ 3-447,+ (1) pp. Minor spotting. Bound together with: (SEGETHUS, Thomas. Ed.) De principatibus Italiæ, tractatus vary. Leyden, Elzeviriana, 1628. 16mo. Engr. title,+ 3-318,+ (15) pp. Contemporary full vellum. Willems 293 & 301. Berghman 1720 & 1726. Contarini's Venice in the second and enlarged Elzevir edition and Segethus' Italy in the first

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        [Della misura dell'acque correnti]. Traicté de la mesure des eaux courantes... traduit de'italien en françois. Auec un discours de la ionction des mers... Ensemble un traicté du mouuement des eaux d'Euangeliste Torricelli... Traduit du latin en françois [by Pierre Saporta].Castres: F. Barcouda, 1664.

      Very rare first edition in French of two works which founded the modern science of hydraulics, and including <b>an original contribution by Fermat</b> which appears here for the first time. Only one other scientific work of Fermat was published in his lifetime (see below).<br/><br/> The first work is a translation of <i>Demostrazioni geometriche della misura dell'acque correnti</i> (1628). "Castelli's work is considered one of the cornerstones of modern hydraulics, and its importance is such that he is often claimed to have been the founder of the Italian hydraulics school. This treatise on the speed of liquids in channels and on the measurement of that speed is the first to enunciate the well-known theorem in hydraulics known by the author's name. Castelli proposed the first accurate and effective methods for measuring the volume of moving water. This fundamental step in hydraulic mechanics and engineering was accomplished by the geometric method of using the cross-sections of a river to measure the volume. He also discusses the relation of velocity and head-in flow through an orifice. Castelli's work is quoted by almost every major survey of hydraulics..." (Roberts & Trent, p. 66). <br/><br/> The present French translation of Castelli's work has a lengthy preface, 'a messeigneurs les commissaires... pour la jonction des mers,' signed by Saporta, on the great scheme (actually carried out under Louis XIV) to join the Mediterranean to the Atlantic by means of a canal joining the Garonne river to the Etang de Thau in the south, the famous Canal du Midi. It exerted a great influence on the French engineer Pierre-Paul Riquet Caraman (1609-80), the architect of the Canal du Midi, who had read Castelli's work in this first French edition. <br/><br/> The second work is a translation of a set of propositions entitled <i>De motu aquarum</i>, part of Torricelli's work <i>De motu gravium</i>, which was first published in his <i>Opera geometrica</i> (1644). "The treatise [De motu gravium] also refers to the movement of water in a paragraph so important that Ernst Mach proclaimed Torricelli the founder of hydrodynamics. Torricelli's aim was to determine the efflux velocity of a jet of liquid spurting from a small orifice in the bottom of a receptacle. Through experiment he had noted that if the liquid was made to spurt upward, the jet reached a height less than the level of the liquid in the receptacle. He supposed, therefore, that if all the resistances to motion were nil, the jet would reach the level of the liquid. From this hypothesis, equivalent to a conservation principle, he deduced the theorem that bears his name: The velocity of the jet at the point of efflux is equal to that which a single drop of the liquid would have if it could fall freely in a vacuum from the level of the top of the liquid to the orifice of efflux. Torricelli also showed that if the hole is made in the wall of the receptacle, the jet of fluid will be parabolic in form; he ended the paragraph with interesting observations on the breaking of the fluid stream into drops and on the effects of air resistance. Torricelli's skill in hydraulics was so well known to his contemporaries that he was approached for advice on freeing the Val di Chiana from stagnant waters, and he suggested the method of reclamation by filling" (DSB XIII, 437). <br/><br/> The translator, Pierre Saporta (1613-85), a Montpellier lawyer, was a correspondent of Henry Oldenburg. Fermat, normally associated with Toulouse, where he was conseiller du roi, had for many years close links with Castres, a strongly Huguenot town on the banks of the river Agout. In fact, he died and was buried there in 1665. In 1648 a protestant Academy was founded at Castres amongst whose members were Pierre Bayle, Pierre Borel, the physician and writer on alchemy, de Ranchin and Pierre Saporta. It was thus that Fermat and Saporta became acquainted and eventually close friends. The second work has a preface by Saporta addressed to Fermat, whom he terms 'le souverain legislateur de tous les scavans'. Fermat had prompted Saporta to undertake the translation as a sequel to that of Castelli. <br/><br/> The last four pages of the book contain the 'Observation sur Synesius' which in translation begins as follows: "The pages which remain empty in this quire made me think of filling them with the splendid observation which I learned some days ago from the incomparable M. Fermat, who does me the honour of being my friend and of frequently talking with me. It is in the fifteenth letter of Synesius, Bishop of Cyrene, which deals with something not understood by any of his commentators, not even by the learned Father Petau, as he himself avows in his notes on this author. I give this observation even more willingly as it has much in common with the treatises here printed." The ailing Synesius (378-430 AD) wrote in 402 to his friend and teacher Hypatia asking for an instrument he called a hydroscopium or baryllion, and provided detailed instructions as to its construction. When the works of Synesius were published by the Jesuit theologian Denis Petau (1583-1652) in 1640, Petau confessed that he was unable to understand Synesius' letter. Castelli asked Fermat for his opinion, and the latter's response was published as the 'Observation sur Synesius'. Fermat showed that the instrument described by Synesius was a hydrometer, used to measure the specific gravities of liquids, and he gives a detailed description of its construction, with a diagram. The only other scientific work of Fermat to be published in his lifetime was <i>De linearum curvarum</i>, which appeared as an appendix to Antoine de Lalouvere's <i>Veterum geometrica promota</i> (1660). <br/><br/> Three other rare works on hydraulics (none of them in Roberts & Trent) are bound up in the present volume, two of which are incomplete. <br/><br/> [CEREDI, Giuseppe].Tre discorsi sopra il modo d'alzar acque da luoghi bassi. Per adaquar terreni. Per levar l'acque sorgenti, & piovute dalle ca[m]pagne, che non possono naturalmente dare loro il decorso. Per mandare l'acqua da bere alle città, che n'hanno bisogno, & per altri simili usi. Opera non piu stampata. Parma, Seth Viotti, 1567. 4to, pp. [xx], 68, 71-74, 76-77, 79-100 (recte 99), [1], with woodcut printer's device on title, eight woodcuts in text and folding woodcut plate within pagination (numbered 78) (lacking three woodcut plates numbered 69, 70 and 75). <br/><br/> First edition. "[In this work] Ceredi was interested in the construction and use of the Archimedean screw for the irrigation of fields and the draining of swamps. He had found that the devices in use were inefficient, and sought to discover the rules of design by which they might be improved. The results led him to specify a maximum length and optimum dimension for the water-channel, to suggest batteries of screws for lifts higher than the efficient maximum length, and to examine the design of cranks and other devices for turning the screws" (Drake & Drabkin, <i>Mechanics in Sixteenth-Century Italy</i>, pp. 51-2). <br/><br/> D'ACRES, R. (?pseud.). The elements of water-drawing, or a compendious abstract of all sorts and kinds of water-machins or gins, used or practised in the World... London: by Tho. Leach, for Henry Brome, n.d. [?1659/ 1660]. 4to, pp. [8], 41, [1]. Title shaved closely at the head, title-page and last (blank) page lightly dust-soiled; lightly browned throughout. <br/><br/> First edition of "the earliest work exclusively on the subject [of vacuum steam-pumps] by an Englishman" (R.S.Kirby, et al. Engineering in History (1990), p. 155). "R. D'Acres", the signature to the preface, is presumed to be a pseudonym; "ascribed on insufficient evidence to Robert Thornton [1618-79, of Warwickshire]" (ESTC). <br/><br/> VAUGHAN, Rowland. Most approved and long experienced water-workes. Containing, The manner of winter and summer-drowning of medow and pasture, by the advantage of the least, river, brooke, fount, or water-prill adiacent; there-by to make those grounds (especially if they be drye) more fertile ten for one... 4to, pp. [140]. London: by George Eld, 1610. With a 13-page verse "Panegyricke" by his "poore kinsman" John Davies of Hereford, another poem by Davies and others verses by Robert Corbet, John Hoskins, etc. S4v in this copy has a printed certificate by Vaughan dated 1609 (in some copies the page is blank).Lacking the first blank leaf and the two folding plates, side-notes to Davies's' "Panegyricke" shaved. <br/><br/> First edition. Vaughan's idea of regularly flooding water-meadows to boost crops was developed by Sir Richard Weston in the mid-17th-century. <br/><br/> CASTELLI: We have located nine copies of this work worldwide: Two in America (Harvard, Oklahoma), five in France (Albi, Bordeaux, BNF, and two in the Museum of Natural History in Paris), and one each in Germany (Gottingen) and Japan (Keio University). Not in COPAC. Brunet, I, 1625; Riccardi, I, 291; see Pierre Chabbert, "Fermat à Castres", in: Revue d'histoire des sciences et de leurs applications, 1967, vol. 20, n° 20-4, pp. 337-348. The text of 'Observation sur Synesius' was reprinted in the preface of the edition of Diophantus' Arithmetica edited by Fermat's son Samuel (1670), and in Fermat's Oeuvres (Tome I, Appendix). CEREDI: Adams C1280; Hoover Collection 210 (mentioning one plate only); Riccardi I, 339; Wellcome 1411; see Stillman Drake, An Agricultural Economist of the Late Renaissance. in: Humana Civilitas, vol. I, pp. 53-73. D'ACRES: Wing E494. Five copies are recorded (BL (2 copies, one with title mutilated), Cambridge, Bodleian (ex Ashmole; last leaf in facsimile) & Folger). VAUGHAN: STC 24603. Seven copies located in America: Columbia, Harvard (not on HOLLIS), Yale (Beinecke, no plates, & British Art Center, with plates); Folger (2 copies, both lacking plates & one lacking leaf K1), Huntington (ex Bridgewater, with plates handcoloured).. 4to, pp [10], 87, woodcut diagrams in text. Mid-18th-century sprinkled calf, gilt spine, red morocco label, red edges. Provenance: from the Macclesfield library

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        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.

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        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.

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        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.

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        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.

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        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 ]
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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. 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. 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 ]
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        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 ]
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        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.

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        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 ]
 28.   Check availability:     ABAA     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 ]
 29.   Check availability:     ABAA     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 ]
 30.   Check availability:     ABAA     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 ]
 31.   Check availability:     ABAA     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 ]
 32.   Check availability:     ABAA     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 ]
 33.   Check availability:     ABAA     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 ]
 34.   Check availability:     ABAA     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 ]
 35.   Check availability:     ABAA     Link/Print  


        The First Part of the Institutes of the Lawes of England. Or, a Commentarie upon Littleton, Not the Name of a Lawyer onely, but of the Law it selfe [etc.]. S.T.C. 15784. Folio

      First edition of Coke's most single famous work and one of the five greatest books of English law, glossing Littleton's 'Tenures', one of the remaining four, and forming the first part (of four) of his monumental Institutes of English Law. Modern calf, gilt, one leaf in facsimile, without the portraits and table of consanguinity, some browning and staining, early notations; a working copy. Printed for the Society of Stationers, London, 1628.

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

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