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Displayed below are some selected recent viaLibri matches for books published in 1638

        Remarques d'histoire, ou description chronologique des choses plus memorables passees, tant en France qu'és pays estrangers, depuis l'an 1610, iusques à present

      New expanded remarks until the year 1637 edition. The first edition from 1632 until 1631 included remarks. Rare. Full Sheepskin brown time. Back tooled raised, roulette tail. Part of title in red morocco. A lack in mind. Part of title and prélliminaires sheets trimmed short. Corners lightly bumped. Pretty good copy, despite a paper yellowed by time. Renowned historian and biographer of King Malingre Claude (1580-1653), known as Saint Lazarus was, if not a great historian, a leading indicator. The Notes are a detailed chronicle of the history of France, from 1610 to 1637 and consisted of factual narratives that are characterized by their commitment to objectivity and neutrality. We are here as opposed to Herodotus and classical history. Chez Claude Collet A Paris 1638 Fort Pet. in 8 (9,5x16,5cm) (8) 960pp. Relié

      [Bookseller: Librairie Le Feu Follet]
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        Sammelband Schlesische Ordnungen, Edikte, Statuten 1638 ff.

      Breslau 1638- 1680. Kl.-Folio. 1. Publication der Röm. Kayserl. Auch zu Hungarn, und Böhaimb, etc. Kön. Maytt. Revidirten, und Reformirten, auch Limitirten Zohl-Mandats in Ober- und Nieder Schlesien. Breslau, Baumann, 1638. Kl.-Folio. 40 unnum. Blätter (das letzte weiß). - 2. Der Kayserlichen und Khöniglichen Stadt Breßlau, Statuta und Ordnungen, auffs Neu umbgefertiget. Breslau, Baumann, 1676. 2 Bll., 37, (3) S. - 3. Der Kayserlichen und Khöniglichen Stadt Breßlaw auffs neu umgefertigte, vermehrte und verbesserte Bau-Ordnung. Breslau, Baumannische Erben, 1668. Titel, 48 S., 3 unnum. Bll. - 4. Der Kayserlichen Stadt Breßlaw Fewer-Ordnung, wie dieselbe anderwerts ubersehen, auffs new umbgefertiget, und verbessert. Am Schluß: Breslau, Baumann, 1630 (richtig: 1644, datiert nach dem Wappen auf dem Titelblatt). Titel rot-schwarz, 1 Blatt, 35 S., 6 unnum. Bll. - 5. Der Kayserlichen und Khöniglichen Stadt Breßlaw New auffgelegt und eingerichtete Ordnung, Wie es bey Hochzeiten, Kind-Tauffen und Begräbnüssen hinfüro gehalten werden solle. Breslau, Jacob, 1665. 8 ungez. Blätter. Titel rot-schwarz. - 6. Der Kayser- und Königlichen Stadt Breßlaw auffgerichte Wechsel-Ordnung. Breslau, Baumann Erben, 1672. 6 ungez. Blätter. - 7. Der Hoch- und Löblichen Herren Fürsten und Stände im Herzogthum Ober- und Nieder-Schlesien neue Infections-Ordnung, De dato Breßlau den 14. Februarii 1680. Breslau, Baumann Erben, 1680. Titel, 33 S. (S. 27-30 in falscher Reihenfolge gebunden). - 8. Medicinisches Pest-Consilium, entworffen Von denen Breßlauischen Physicis. Breslau, Baumann Erben, 1680. Titel, 39, (7) S. - Von den schlesischen Ärzten Gottfried Thilisch und Friedrich Ortlob verfasst, wurde auch in anderen deutschen Provinzen verbreitet. - Zusammen in Pergamentband der Zeit. - Bindebänder fehlen. Rücken mit unbedeutenden Resten ehemaliger Überklebung..

      [Bookseller: Antiquariat Winfried Scholl]
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        Veue du Chasteau neuf de St. Germain en Laye, du coste de la Riuiere

      Paris: late 18th century - This superb hand-colored engraving, VVeue du Chasteau neuf de St. Germain en Laye, du coste de la Riuiere, from the late 18th century measures 19.75” x 26.75” and is in excellent condition with a small pencil mark on the bottom right margin. Illustrated in this engraving is an expansive view of Chateau St. Germain in Laye from across a river. large and small boats sail along the river as courtiers are seen horseback riding in the hills. The use of linear perspective allows for the gardens of St. Germain to be appreciated along with the intricate network of the building's porches and arches. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
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        Veue du Chasteau de Versailles, du coste du Jardin

      Paris: late 18th century - This superb hand-colored engraving, Veue du Chasteau de Versailles, du coste du Jardin, from the late 18th century measures 19.75” x 26.75” and is in excellent condition with slight evidence of previous repair to the central crease. Illustrated in this engraving is a view of Versailles as the royal courts heads from the gardens in carriage and horseback. Peasant workers stop to watch the procession as they pass the large fountains and extravagant facade of Versailles. The courtiers, carriages and horses are brightly colored and finely detailed. Through the use of linear perspective, the whole of the scene can be appreciated. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
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        Plate 60, L'jsle Royalle

      Paris: late 18th century - This superb hand-colored engraving, Plate 60, L'jsle Royalle, from the late 18th century measures 19.75” x 26.75” and is in very good condition with light foxing throughout. This engraving illustrates the courtiers and noblemen and women of King Louis XIV around an expansive fountain within the lush gardens of Versailles. The finely appointed nobles are richly and colorfully dressed as they interact around the fountain. The dramatic and sweeping landscape is lushly colored as is the dusky sky overhead. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
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        Plate 43, Diverses vues du Chateau de Versailles

      Paris: late 18th Century - This superb hand-colored engraving, Plate 43, Diverses vues du Chateau de Versailles, from the late 18th century measures 19.75” x 26.75” and is in excellent condition. This engraving shows expansive views of Versailles and the land and buildings surrounding. Soldiers are seen on horseback as are peasants and the bourgeois in their carriages. Will fine, vibrant coloring, this engraving shows the busy life around the royal place of Versailles. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles, which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles. Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris, was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles, along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
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        Plate 103, Vue du Chateau de Rambouillet Preise de l'Avant Cour

      Paris: late 18th century - This superb hand-colored engraving, Plate 103, Vue du Chateau de Rambouillet Preise de l'Avant Cour, from the late 18th century measures 19.75” x 26.75” and is in very good condition with light foxing in the margins and evidence of previous repair to the central crease. Illustrated in this engraving is a view of Chateau Rambouillet, a castle in the town of Rambouillet, France. This engraving shows the fine buildings and gardens on the property and richly dressed men and women coming to visit the castle. The artist used great visual perspective to create a three dimensional and realistic look of the castle and surrounding areas. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
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        Plate 104, Vue du parterre du Chateau de Rambouillet

      Paris: late 18th century - This superb hand-colored engraving, Plate 104, Vue du parterre du Chateau de Rambouillet, from the late 18th century measures 19.75” x 26.75” and is in excellent condition. Illustrated in this engraving are the gardens of Chateau Rambouillet, a castle in the town of Rambouillet, France. The vibrant clothing of the noblemen and women illustrated in heightened by the lush green gardens which they stand among, taking and interacting. The gardens and small ponds are shown in great perspective and seem to be endless. The pale colors of the sky add to the depth of the image and the overall luscious scene. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
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        Veue et perspective du Chasteau de Versailles, du coste de l'entree

      Paris: late 18th century - This superb hand-colored engraving, Veue et perspective du Chasteau de Versailles, du coste de l'entree, from the late 18th century measures 19.75” x 26.75” and is in excellent condition with light staining and discoloration in the margins. Illustrated in this engraving is a frontal view of Versailles. This fine engraving shows the great skill of the engraver as linear perspective is used to make this dynamic plate, the center being the entrance into Versailles. Fine coloring of the courtier's clothes make them visible from the distance and shows the lush trees and gardens of the property. This lively scene has rearing horses, hounds and noblemen interacting, and relates a day in Versailles to the viewer. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
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        Veue Principale du Theatre d'Eau

      Paris: late 18th century - This superb hand-colored engraving, du canal du Chateau de Rambouillet prise du balcon du Roy, from the late 18th century measures 19.75” x 26.75” and is in excellent condition with light discoloration in the margins and evidence of previous repair on the central crease. Seen in this engraving are the canals within the gardens at Chateau Ramboullet. Illustrated through the use of perspective, the canals are shown at angles towards a central point, and the landscape in the distance is shown slightly high on the horizon. The noblemen and women are seen on the banks, finely dressed in vibrant colors and interacting with each other. Delicate swans are illustrated floating in the canals and grazing animals are illustrated on the lawns. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
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        Historia Eclesiástica, principios y progresos de la ciudad, religión Católica de Granada

      Granada, Andrés de Santiago 1638 - Fol. (29 x 19,5 cm.) Frontis grabado al cobre, 10 h., 302 fols. Pergamino de época. Es obra rara y estimada. Desde muy joven, el autor, cronista e historiador, se interesó por la historia de su ciudad natal, investigando en los archivos y crónicas disponibles y publicando en 1608 Antigüedades y excelencias de Granada, obra erudita y llena de curiosidades, que, reformada y ampliada, volvió a publicar en 1637 bajo el título “Historia eclesiástica de Granada”, apoyándose en Luis del Mármol Carvajal para la parte correspondiente a la época islámica. “La obra responde a la necesidad de construir una historia de la ciudad de Granada acorde con las necesidades y valores de la Contrarreforma. Tras la guerra contra los moriscos de 1568-1571 y su posterior expulsión, la ciudad ve cómo se disipan los sueños imperiales forjados durante la época carolina y su prosperidad económica. Granada queda convertida en una ciudad administrativa, despoblada y decaída. En este contexto de abatimiento moral y económico, Bermúdez de Pedraza, entre otros, se propone reconstruir la historia de Granada de acuerdo con las exigencias contrarreformistas de la ortodoxia católica impuesta por Felipe II. En esta empresa, apoyado en las falsificaciones de la Torre Turpiana y del Sacromonte, los falsos cronicones y en autores del pasado reciente como Diego Hurtado de Mendoza, Bermúdez de Pedraza defiende la historicidad de una Granada mítica de remoto pasado cristiano frente a la poco grata sospecha de ser una ciudad de fundación musulmana. El autor exalta la benignidad del clima granadino, la amenidad de sus ríos, la fertilidad de la tierra y la oportunidad estratégica de su enclave. Seguidamente elogia la belleza de sus monumentos, particularmente de la Alhambra a la que considera superior al Partenón y de su aljibe, así como la grandiosidad de los edificios públicos y privados, no sin dejar traslucir una cierta melancolía por el pasado glorioso del Albaicín y el Generalife. Finalmente defiende la autenticidad de las reliquias del Sacromonte, piezas fundamentales de toda su argumentación.” [Academia de Buenas Letras de Granada] Frontis montado, con menor margen inferior y externo, pérdida de un pequeño trozo en el margen lateral; mancha de humedad en la mitad superior generalizada, últimos dos fols. remarginados. [Attributes: Hard Cover]

      [Bookseller: Delirium Books · Susana Bardón]
 11.   Check availability:     IberLibro     Link/Print  


        Hydrodynamica, sive de viribus et motibus fluidorum commentarii.Strasbourgh: Johann Reinhold Dulsseker, 1738. First edition.

      First edition with outstanding provenance, the copy of Comte de Buffon and later his collaborator Philippe Guéneau de Montbeillard. A beautiful and very large copy of Bernoulli's epochal work on fluid dynamics and kinetic gas theory. ❧Norman 215; PMM 179n; Barchas 175; Parkinson pp 155-6; Roberts and Trent, pp 34-5. "Bernoulli's <i>Hydrodynamica</i> [was] one of the major works initiating the mathematical study of fluid flow. Bernoulli presents the following equations for steady, non viscous, incompressible flow: <i>p + ρ v<sup>2</sup>/2 + ρ gy = A</i>, where <i>p</i> symbolizes pressure, ρ density, <i>v</i> velocity, <i>g</i> the acceleration of gravity, <i>y</i> height, and <i>A</i> a constant. He also examines the equilibrium oscillation of an interialess ocean, and explicitly states that the flow equations are appropriate not only for the more common applications of fluid dynamics but also for the flow of blood in veins and arteries. Bernoulli, like Galileo Galilei in 1638 and Christian Huygens, assumes conservation of <i>mv<sup>2</sup></i> rather than conservation of momentum mv, m and v symbolizing a body's mass and velocity respectively" (Parkinson, Breakthroughs). <br/><br/> The <i>Hydrodynamica</i> also "initiates the mathematical study of the kinetic theory of gases ... and analytically deduces Boyle's Law that volume and pressure of a gas are inversely related, a law originally obtained empirically. To establish the analytical derivation, Bernoulli follows Robert Hooke in visualizing the pressure of gas as resulting from huge numbers of impacts on the walls of the container by hard, fast-moving gas particles. Bernoulli's explanation, based on random motions of the gas particles, is more modern than an earlier attempt by Isaac Newton to explain Boyle's Law by assuming relatively motionless particles which repel each other with a force inversely proportional to the distance between them" (ibid).<br/><br/> <i>Provenance:</i> Inscription in the left margin of the title page 'Buffon 1739', crossed out in a different ink, similar to the following signature of Philippe Guéneau de Montbeillard (1720-1785). Rear fly leaf with pencil inscription, probably a dealer's, stating 'Exempl. ayant appartenu a Buffon' (i.e., 'This book was the propriety of Buffon'). The great naturalist Georges-Louis Leclerc, Comte de Buffon (1707-1788) is generally credited as the father of all thought in natural history in the second half of the 18th century. Montbeillard was a close friend of Buffon and collaborated with him on the <i>Histoire des Oiseaux</i>.. 4to (254 x 200 mm), pp [viii] 304, title in red and black, with engraved vignette and 12 folding engraved plates by Johann Martin Weiss, a fine copy in contemporary French polished calf with richly gilt spine, corners a little bumped and worn, capitals chipped and hinges starting. Some leaves with light browning. In all a fine copy with two fine provenances in unrestored state

      [Bookseller: Sophia Rare Books]
 12.   Check availability:     Antikvariat     Link/Print  


        Perversa ultimi seculi militia, oder Kriegs-Belial, der Soldaten-Teufel, nach Gottes Wort und gemeinem Lauff der letzten Zeit beschrieben. Die vierdte Edition, mehr als an 200. Orten verbessert und mit 6 neuen Capiteln ergäntzet, wie auch mit einem vierfachen Register versehen. Leipzig, J. Lüderwaldt 1687. 8°. 15 Bll., 744 (recte 734) S., 20 Bll., mit gestoch. Titel.- Angeb., Ders., Tobias conscientiosus, das ist: Theologischer Bericht und Antwort, auff die,... hochnöthige Gewissens-Frage, was zu halten und zu gewarten sey, wenn einer Stadt Einwohner, den auff dem Lande... gesamlten Raub, von Soldaten und Mercadentern an sich losen, kauffen und partiren. Leipzig, J. Lüderwaldt 1686. 1 Bl., 102 S., Prgt. d. Zt.

      . . I) VD17 23:242589F - Faber du Faur 82b - vgl. STC M 849 (Ausg. 1638).- II) VD17 23:242591B - Faber du Faur 82a - vgl. STC M 850 (Ausg. 1638).- Erstmals 1638 bzw. 1637 erschienene Sammlung von Predigten des lutherischen Theologen Arnold Mengering (1596-1647). Er war Superintendent und Gymnasialprofessor in Halle. "Passionate indignation drove his pen, compelling him to describe the atrocities of the Thirty Years' War in all their horror. Moscherosch's 'Soldatenleben' is foreshadowed here, and thus the form which leads to the 'Simplizissimus' of Grimmelshausen. The old 'Teufelsliteratur' is surpassed in intensity to culminate in a gigantic picture of the century of wars" (FdF).- Vorsatz mit Notizen von alter Hand, Titel mit kleinem ergänzt. Ausschnit, nur wenig fleckig u. leicht gebräunt.

      [Bookseller: Antiquariat Johannes Müller]
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        DELL'HISTORIA DI PIETRO GIOVANNI CAPRIATA. Libri dodici, Ne' quali si contengono tutti i movimenti d'arme successi in Italia dal MDCXIII fino al MDCXXIV. In Genova, Nella Stampa di Pietro Giovanni Calenzano, e Gio: Maria Farroni Compagni, 1638.

      Prima edizione, dedicata a Ottaviano Raggi. Cm.20,7x14,7. Pg.(20), 850, (38). Legatura in piena pergamena semirigida, con titoli manoscritti al dorso a quattro scomparti. Testatine, finalini e capilettera incisi. La prima e l'ultima parte del volume sono interessate da un alone diffuso, che non inficia la fruibilità del testo. Ex libris nobiliare all'antiporta. Si tratta della edizione originale della prima parte della "Historia" del Capriata, giurista e poligrafo genovese, che fu in seguito continuata in due altri volumi, trattando rispettivamente fatti avvenuti negli anni 1634 e 1644 e poi sino al 1650. Il figlio Giovanni curò una edizione con gli avvenimenti sino al 1660, mentre Henry Montmouth curò una versione inglese.

      [Bookseller: Studio Bibliografico Pera]
 14.   Check availability:     maremagnum.com     Link/Print  


        A DISPLAY OF HERALDRIE: MANIFESTING A MORE EASIER ACCESSE TO THE KNOWLEDGE THEREOF...

      Printed by Thomas Cotes for Jacob Blome, 1638, Hardcover, Book Condition: Good, Dust Jacket Condition: No Jacket, Third EditionSize: 4to - over 9? - 12" tall, Title continues: "...than hath beene hitherto published by any, through the benefit of Methods; Whereinto it is now reduced by the study and industry of Iohn Gvillim, late Pursuivant at ARMES. The third Edition; Corrected and much enlarged by the Author himselfe in his life time; Together with his owne Addition of explaining the Termes of Hawking and Hunting, for the use and delight of mGentlemen." [14] 433pp, 25p(A most exact alphabetical table for the more speedy finding of all Their Names and Sirnames, whose Coat-Armes are contained in Guillim his Display of HERALDRY. M.DC.XL." 9 full-page 'Achievments'; numerous armorial figures and embellishments. Bound in full leather with 5 raised bands and title label to spine. The covers show moderate wear, but the contents are clean and complete, with the exception of htwo hand-written notes on the front endpapers, name of a previous owner to the top of the title page, and minor offsetting of ink on some pages. Illustrations available on request, Book

      [Bookseller: Old Authors Bookshop]
 15.   Check availability:     Bookzangle     Link/Print  


        The whole booke of psalmes. Collected into English meeter

      London: E. Griffin & I. Raworth Folio (35.1 cm, 13.75"). [2], 113, [9] pp.. 1638 Sternhold and Hopkins's influential and enduring metrical psalmody, which first appeared in 1562. Opening with a large woodcut headpiece incorporating the lion and unicorn, the text is printed in two columns of roman type, with => music included. When produced in folio, with elegant layout as here, this familiar "title" => breathes grace. Later period-style black morocco framed and panelled in double gilt fillets and gilt roll with gilt-stamped corner fleurons, spine with gilt-stamped title and gilt-ruled raised bands; boards slightly bowed, gilt showing small spots of rubbing. Lower (closed) page edges (only) institutionally rubber-stamped. Last few leaves with portions of inner and outer margins waterstained; pages slightly cockled, age-toned with occasional small spots.

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


        Tesserae Gentilitiae. Ex legibus Fecialium descriptae.

      . Romae, Corbelletti 1638. Folio. 8 Bl., 678 S., 15 Bl. Mit 1 illustrierten Titelblatt nach Ramanelli, gestochen von Greuter, 1 Portraittafel (Th. Barberini), 1 Wappentafel und viele hundert Textkupfer mit Wappen. Pgmt.d.Zt. mit handschriftl. Rückentitel. Main work of Petra Sancta. Petra Sancta was the inventor of the modern hatching method in heraldry. Einband etwas fleckig. Gutes und sehr sauberes Exemplar. -CHF 2500.00.

      [Bookseller: Antiquariat Fatzer]
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        INFORME AL EMINENTÍSIMO Y REVERENDÍSIMO SEÑOR DON IOAN BAPTISTA PAMPHILIO, PRESBYTERO, CARDENAL DE LA SANTA ROMANA IGLASIA, Y PROTECTOR DIGNISSIMO DE LA ORDEN DE NUESTRO PADRE SAN BASILIO. / DOCUMENTO II: INFORME SOBRE LA COGULLA VESTIDA POR LOS MONJES BENITOS Y BASILIOS. Título completo; AL ILUSTRÍSIMO Y REVERENDISSIMO SEÑOR DON LAURENCIO CAMPEGI OBISPO DE SINIGALLA, NUNCIO EN ESTOS REYNOS DE ESPAÑA, CON POTESTAD DE LEGADO A LATERE POR LA SANTIDAD DE URBANO VIII, N. SEÑOR. EN RAZON DE LA PRETENSIÓN QUE TIENEN DE TRAER CAGULLA DE SAN BENITO LOS PADRES BASILIOS DE ESPAÑA.

      SEVILLA 1638 - PORTADA ? 15 p [1] h. INTERESANTE INFORME REALIZADO DESDE SEVILLA AL FUTURO ?INOCENCIO X? EN DEFENSA DE LA ESTAMPA DE SAN BASILIO MAGNO, APORTANDO DETALLES ICONOGRÁFICOS E HISTORICOS DE SU REPRESENTACIÓN Y LA IMPORTANCIA DE LA PINTURA Y EL GRABADO EN EL CULTO. Rara, bella y curiosa obra. SIN ENCUADERNACIÓN. / PORTADA ? [24] h. ? [1] h.- IMPRESO DEL SIGLO XVII QUE DA CUENTA DE LOS DESACUERDOS POR LOS HÁBITOS QUE UTILIZAN LOS MONJES BASILIOS Y LOS BENITOS . Rara y curiosa obra. SIN ENCUADERNACIÓN. Excelente. Texto limpio. Muy buen ejemplar. Portada calcográfica con el escudo del Cardenal Pamphilio. 280x200 mm. / 190x140 mm.

      [Bookseller: LIBRERIA MARGARITA DE DIOS]
 18.   Check availability:     AbeBooks     Link/Print  


        Itinerarium Sacrae Scripzturae. 4 Tle. in 1 Bd. Braunschweig, Kirchner, 1638. 7 Bll., S. 23-43 , Pag. springt auf 48-240, 3 Bll. (Register); 3 Bll., S. 1-78, 83-102, 2 Bll. (Register); 1 Bl., 24 (recte 30) S.; S. 1-23 und 26/27 (statt 28). Mit 5 (von 10) Holzschnitt-Karten (davon 3 doppelblattgr.) und 1 (von 2) doppelblattgr. Holzschnitt-Ansicht. 4°. Hldr. d. Zt. (Rücken fragmentarisch, bestoßen).,

      1638 - 'Das ist: Ein Reisebuch uber die gantze heilige Schrifft, in drei Bücher getheilet. Zuvor gemehret mit einem Büchlein De Monetis et Mensuris.' (Untertitel).- Vgl. Graesse I, 572. Bewährtes Handbuch zur biblischen Geographie anhand der im Alten und Neuen Testament geschilderten Reisen.- Es fehlen die Karten: Welt (2x), Europa, Asien, Afrika und die Ansicht des Tempels.- Seiten 79-82 aus dem zweiten Teil und Seiten 24/25 und 28 aus dem letzten Teil fehlen.- Teils gebräunt, teils mit Wurmspuren im Innen- bzw. Fußsteg, 11 Blätter lose, Titel und ca. 18 Blätter mit hinterlegten Abrissen oder angerändert (teils leichter Buchstabenverlust). Gewicht in Gramm: 500

      [Bookseller: Antiquariat Daniel Schramm e.K.]
 19.   Check availability:     IberLibro     Link/Print  


        Veue et Perspective du Chateau de Versailles du coste de l'orangerie

      Paris: late 18th century - This superb hand-colored engraving from the late 18th century, Veue et Perspective du Chateau de Versailles du coste de l'orangerie, measures 19.75&#148; x 26.75&#148; and is in excellent condition with light discoloration around the edges. This engraving illustrates the king's court riding back to Versailles from a hunt. This lively scene shows the horses and hounds in motion, coming in from all angles of the plate, and gives a sweeping view of Versailles and the orangery, or lush gardens of the property. The noblemen are all finely dressed in rich colors and the lush greenery of the trees and deep blues of the ponds and fountains show the great expertise of the artist. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles, which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles. Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris, was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles, along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
 20.   Check availability:     AbeBooks     Link/Print  


        LES PLANS ET PROFILS DE TOUTES LES PRINCIPALES VILLES ET LIEUX CONSIDERABLES DE FRANCE Ensemble les cartes générales de chacune province: & les particulières de chaque Gouvernement d&#39;icelles. Seconde partie.

      Paris, chez Michel Vanlochon, 1638. In-24 gr. (mm. 148 x 205), mz. pergam. antica, fregi e tit. oro su tassello al dorso, pp. 44 di descrizione, con 229 (su 230) tavv. inc. in rame f.t. di cui: 1 frontespizio, 1 indice generale, 1 carta geografica della Francia, 10 titoli e 8 indici, e con 208 "plans et profiles des principales villes des provinces de: Bourgogne (21 tavv.) - Dauphiné (38) - Principauté d'Oranges et contat de Venaissin (4) - Provence (16) - Languedoc (45) - Villes de Foix & Bearn (6) - Guyenne (21) - Poictou (24) - Loire (17) - Beaulce (16)". "Manca" 1 tav. della Provence. La carta geografica della Francia, ripieg., è mutila di una piccola parte. Cfr. Christie's "Antique Maps", p. 127: "Nicolas Tassin (1633-55) was appointed royal cartographer at Dijon before setting up as an engraver in Paris where he issued various collections of small maps and plans of France, Switzerland, Germany and Spain" - Tooley, p. 610. Nel ns. esempl.: frontesp. restaur. e con pesanti tracce d'uso, restauri margin. per piccole manc. o fori di tarlo sulle carte di testo, antiche note manoscritte al verso di numer. tavv. ma complessivam. ben conservato.

      [Bookseller: Libreria Malavasi sas]
 21.   Check availability:     Biblio     Link/Print  


        Fine portrait engraving by Nicolas de L'Armessin (1638-1695)

      - Komma 256. "[Monte] was an important representative of the last generation of the great Flemish composers of the Renaissance, and was one of the major composers of Italian madrigals." Robert Lindell and Brian Mann in Grove online 184 x 137 mm. plus margins. With letterpress text below engraving and to verso. Extracted from Bullart: Académie des Sciences et des Arts, Bruxelles, 1682.

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS LLC]
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        The Returne Of Prayers, Etc. (1636) With, a CHILDE of Light Walking in Darknes (1638) ; With, AGGRAVATION of Sinne & Sinning, Etc. (1637) With, AGGRAVATION of Sinning Against Mercie (1637) ; With, the VANITY of Thoughts Discovered, Etc. (1638)

      R. Dawlman, 1638, Hardcover (Full Leather), Book Condition: Good Condition, Dust Jacket Condition: No Dust Jacket, First EditionFull leather, edges worn, hinges cracked. Early pages wrinkled, little stained in places. Five works bound together, the works on Aggravation being quite scarce. Goodwin was a member of the Westminster Assembly. Size: Square 8vo. 630 pages. Quantity Available: 1. Shipped Weight: Under 2 lbs. Category: Antiquarian & Rare; Renaissance 16thc to 17thc; Religion & Theology. Pictures of this item not already displayed here available upon request. Inventory No: 2098.

      [Bookseller: Noah's Ark Book Attic]
 23.   Check availability:     Bookzangle     Link/Print  


        Het ghesette Exemplaer der Godlosen, Ofte Historie Sodomae ende Gomorrae, Eertijts verclaert in XXV. Predicatien, uyt Genes. Cap. XVIII. ende XIX. Ende nu uyt sijne Latijnsche Schriften over-geset, ende 't samen ghestelt door Aegidius Becius. Hier by is noch ghevoecht den Spieghel der Cleyne Werelt, ofte verclaringhe van de broosheyt der Alderheylichste, bewesen in het Exempel vanden val Loths, vervolghens beschreven Genes. Cap. XIX. vers 31. &c. in een bysonder Tractaet begrepen vanden selven Autheur. Ende al t'samen ghevisiteert ende geapprobeert by de Theologische Faculteyt der Universiteyt van Leyden.

      Arnhem, Jan Jacobsz. 1638. 4 delen en 1 werk in 1 band, (28) 87, (3) 48, (2) 68, (1) 38, (4) 36 (6) folia. Opnieuw gebonden oud Perkament, 4° (zeldzaam werk, titelpagina en eerste 12 pagina's voorwerk in keurige kopie. SGT B-88 en 92).

      [Bookseller: Antiquariaat De Roo]
 24.   Check availability:     NVvA     Link/Print  


        Raccolta copiosissima di tutte le sentenze, detti, discorsi morali, filosofici, politici, e varij più notabili ed eruditi, che si contengono nell&#39;Eromena, nella Donzella Desterrada e nel Coralbo del Signor G.F.B

      Viterbo: Diotallevi, ad instanza di Filippo de&#39; Rossi, 1638. pergamena (vellum). Molto buono (Very Good). 16mo. Nuova aggiunta. Marca xilografica al frontespizio L&#39;Autore (Isola di Lesina, Dalmazia 1572 - Aubonne, Svizzera 1644) scrisse opere storiche ed una trilogia di romanzi avventurosi ed erotici: l&#39;Eromena del 1624, La Donzella Desterrada del 1627 e il Coralbo. Titolo manoscritto al dorso Strappo con piccola mancanza di circa 1 cm alla pag 25

      [Bookseller: Studio Bibliografico MArini]
 25.   Check availability:     Biblio     Link/Print  


        Les Oeuvres [Works] : ... Mises En Francois Par Matthieu De Chaluet ... Augmentees En Ceste Edition De Plusieurs Traictez Non Encores Veus. Et ... Traduits Sur Le Manuscrit, Par I. Baudoin

      A Paris : Chez Michel Blageart Et Michel Brunet, 1638, Hardback, First EditionFull, contmporary gilt-blocked vellum, raised bands &c. Spine head and tail somewhat rubbed with scattered toning to the panel extremities. Remains an uncommonly positive example overall; tight, bright, clean and sharp-cornered. Scans on request. ; 1 pages; Physical desc. : [4], 259 leaves, 260-'322' [i. E. 330]p. , 331-390 leaves, 391-402p. , 403-'507' [i. E. 517], [14] leaves; [12], 27, [1]p. ; 212p. (2o) . Referenced by: CLC S1056. Pt 3: Les controuerses et suasoires de M. Annaeus Seneca rheteur. Copper-engraved pictorial head & tailpieces, added t. P engraving.

      [Bookseller: MW Books Ltd.]
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        Plate 49, Vue de l'Orangerie de Versailles

      Paris: late 18th Century - This superb hand-colored engraving from the late 18th century, Plate 49, Vue de l'Orangerie de Versailles, measures 19.75&#148; x 26.75&#148; and is in excellent condition with evidence of previous repair on the central crease. This engraving illustrates men and women standing on a balcony overlooking the vast gardens and fountains of Versailles. The vibrant colors, expressive positioning and interactions of the people on the balcony adds energy to this engraving. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles, which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles. Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris, was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles, along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
 27.   Check availability:     AbeBooks     Link/Print  


        De Animalibus Insectis. Libri septem.

      Bononiae, apud C. Ferronium, 1638. Folio (352 x 223mm). pp. (14), 767, (1), (44), with engraved title and about 700 woodcuts. Contemporary vellum, spine in 7 compartments (head of spine worn). Due to the binder's mistake the title-page of Aldrovandi's work on fishes instead of the one on insects is bound in. The first edition was published in 1602. 'The first work of literature dealing with insects, thus finally establishing entomology, and especially systematic entomology as a science' (Smith, R.F. History of Entomology, p. 85). Aldrovandi's complete natural history works consist of 11 works, he spent 45 years amassing the material. The volumes on birds and the present volume on insects were completed by himself, the others by his pupils. The woodcuts of the insects are of great beauty and accuracy. "Although Aldrovandi is not identified with any revolutionary discoveries, his work as a teacher and as the author of volumes that constitute an irreplaceable cultural patrimony earns him a place among the fathers of modern science" (D.S.B. I, p. 110). //Nissen ZBI, 67.

      [Bookseller: Antiquariaat JUNK B.V. (Natural History]
 28.   Check availability:     NVvA     Link/Print  


        ELECTA SACRA in quibus quam ex Latino, Graeco, ex Latino, Graeco et Hebraico fonte; quam ex Hebraeorum, Gentiliumque ritibus nonnulla divinarum litterarum loca aut novo explicatu donantur .. subque AGNO EUCHARISTICO ita de augustissimo, Deoque ipso diuite Eucharistiae sacramento, eius institutione, excellentia, laudibus .. mysteriis, figuris, ritibus .. ex prophana, & ex nostra schola mutuata publicae notitiae, utilitati publicae exponantur. His insertae variae formae Eucharisticae, ex multis orbis partibus ad nos transmissae, aeri incisae

      Lugduni (ie Lyon: Laurentius Durand, 1638. Hardcover. Good. Allegorical large copperplate printer&#39;s mark + 28 copperplate engravings half being full page plates most of the others nearly full page also. Of the hosts, Monstrances and tabernacle etc. + nice foliated initials, some animals, some gargoyles + head & ta Tall folio blindstamped pig on bevelled wooden boards with 5 raised bands 5 concentric foliated/decorated panels separated by tooled rules central coat of arms in blind with corner fleurons on 5 raised bands leather gilt spine label lacking clasps (top compartment of spine with leather damage/corners worn/some scrapes but hinges sound) all edges blue. Half title + Titlepage +[8pp]=dedic.+To reader +Approbations [32pp]=contents 407pp +[82pp indexes] Inside of front board repaired. TP with old inscription Monastary Schyrensis else very clean neat copy in double columns with printed side notes and includes Hebrew & italic fonts. Deals with the diversity of rites and ceremonies in a fine pig binding complete and without foxing or staining and nice detailed illustrations.

      [Bookseller: Abbey Antiquarian Books]
 29.   Check availability:     Biblio     Link/Print  


        Gesamtansicht ('Dortmündt in Westphalen').

      . Kupferstich aus Thesaurus Philo-Politicus ... (Meisner Schatzkästlein), 1638, 10 x 14,5. (Bilder zum Artikel auf meiner Homepage, oder bei Anfrage - pictures on my homepage or after request)

      [Bookseller: Antiquariat Norbert Haas]
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        Gesamtansicht ('Schleiden.').

      . Kupferstich aus Thesaurus Philo-Politicus ... (Meisner Schatzkästlein), 1638, 10 x 15. (Bilder zum Artikel auf meiner Homepage, oder bei Anfrage - pictures on my homepage or after request)

      [Bookseller: Antiquariat Norbert Haas]
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        Gesamtansicht.

      . Kupferstich aus Thesaurus Philo-Politicus ... (Meisner Schatzkästlein), 1638, 10 x 15. (Bilder zum Artikel auf meiner Homepage, oder bei Anfrage - pictures on my homepage or after request)

      [Bookseller: Antiquariat Norbert Haas]
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        Manifeste du tres-haut et serenissime Prince Charles Louys Comte Palatin du Rhin [.]. adressé a sa Majesté Imperiale, & à tous les Rois, Electeurs, Princes & Estats tant au dedans que dehors l'Empire. Contenant ses droits hereditaires, soit de succeßion en l'electorat, & principautés du Palatinat du Rhin, sa seance, droit de suffrage & d'election, ses terres, seigneuries & subjets. Traduit de l'original Alleman de mot à mot. Premiere & seconde partie: et la protestation de son altesse palatine.

      O. O. u. Dr., 1638. - (4) Bll. (d. l. w.), 192 SS. Flexibler Pergamentband der Zeit mit hs. Rückenschildchen. 4to. Offenbar zweiter Druck der ersten französischen Ausgabe dieser Streitschrift, mit der mitten im Dreißigjährigen Krieg die Kurwürde im Namen des elfjährigen Pfalzgrafen Karl Ludwig verteidigt wird. Karl Ludwig (1617-80) war der Sohn Friedrichs V., des Winterkönigs, und der Elisabeth Stuart; 1652 wurde seine Tochter Liselotte von der Pfalz geboren. Zuvor 1638 auf Deutsch erschienen unter dem Titel: "Manifest undt Außschreiben des [.] Herrn Carl-Ludwig Pfaltzgraven bey Rhein [.] an die Römische Keyserliche Mayestät, und an alle Christliche Könige, Chur:Fürsten und Stände in- und ausserhalb des Reichs, betreffent seiner churfürstl. durchl. Erb: undt Successions Recht, an den Chur- undt Fürstenthumben der Pfaltzgraffschafft bey Rhein, deren Recht, Session, Stimm, Wahl Landt undt Leuthen". - Die vom VD 17 verzeichnete französische Ausgabe 1638 weicht in Titelgestaltung und Kollation der Vorstücke ab; vorliegend offenbar eine Titelauflage jener Ausgabe nur hinsichtlich des paginierten Textes. Dagegen ist unser Exemplar mit Ausnahme des Druckjahrs bis in den Fingerprint identisch mit 14:078634X (hier: vnSi u-ux e"e" pade 3 1638R), welches demzufolge wohl eine Titelauflage des vorliegenden Drucks darstellt. - Etwas knittrig. Am vorderen Innendeckel Buchhändlermarke "Rudolphi & Klemm", Zürich. Vgl. VD 17, 12:126043R (Variante 1638) und 14:078634X (1639).

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Virginiae Item et Floridae Americae Provinciarum, nova Descriptio.

      [Amsterdam]: [Jodocus Hondius/Joannes Janssonius], [1636 or 1638]. - Single sheet, (19 ½ x 22 ¾ inches). Fine engraved map with original hand color in full, with a large cartouche depicting Indian villages and an elaborate compass rose (one or two marginal spots and creases). Later Latin edition, first published in 1606. With signature mark "Ssss" on the verso, indicating a publication date of either 1636 or 1638 according to Koemann. "The most important type map of the region until the Ogilby-Moxon 'Discription of Carolina' ca. 1672; and its influence, both direct and indirect, extends into the middle of the eighteenth century" (Cumming, Southeast, 26). "It is a composite largely of John White's Virginia and Jacques le Moyne's Florida as interpreted by Theodore de Bry in 1590 and 1591, respectively. 'Chesepioock Sinus' representing Chesapeake Bay is still shown in its White delineation. At the end of this year, 1606, a party of Englishmen left England to begin arguably the most important colonization of North America in this very bay, at Jamestown. Within just a few years the entire region would be completely revised cartographically. The area south towards 'C.S.Romano Hispanis' is entirely drawn from White. It is, however, given too much latitude, extending as fa as 32 ½ °, some 2° too far. 'S.Augustine,' however, is shown at the correct latitude. The combined effect is a compacted coastline for the present day States of Georgia and South Carolina. "The area of French 'Floridae' originally comes from de Bry's map 'Floridae Americae Provinciae' of 1591. Here a new interpretation of the cartography had made this map notable; however, the author has noted that it actually first appeared on the wall map of America by Cornelis Claesz, c. 1602. The new rendition of le Moyne's geography is caused by the great lake which is moved from central Florida north so that the 'R.de May' (St. John's River) now flows in a south-easterly direction. It was probably encouraged by the depiction on a number of maps of a similarly flowing large R.Secco like that on the 'FLORIDA et APALCHE,' by Cornelis Wytfliet of 1597. Its influence was considerable. Taken up by Hondius, this error was popularized by the major success of his atlas and lasted for some seventy years. According to Cumming some placenames appear from other sources, namely that of Jean Ribaut. In the 'Apalatcy' Mountains reference are made to the presence of both gold and silver. The map is embellished with various game including a wild turkey. Examples of Indian villages in Florida and Virginia appear in cartouches either side of the title. The map's scale and decorativeness make it very sought after.With the 1634 edition Joannes Janssonius became involved in the publication. The 1636 edition is the first occurrence of the map in the new 'Atlas Novus' issued to replace the old Mercator one" (Burden, pp. 184-185). Burden 151. Cumming 26. For more information about this map, or a warm welcome to see it and other maps and books in our library at 72nd Street, NYC, please contact Megan Scauri, M.A., M.L.S., in the Rare Book Department.

      [Bookseller: Arader Galleries]
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        Plate 105, Vue du canal du Chateau de Rambouillet prise du balcon du Roy

      Paris: late 18th century - This superb hand-colored engraving, Plate 105, Vue du canal du Chateau de Rambouillet prise du balcon du Roy, from the late 18th century measures 19.75&#148; x 26.75&#148; and is in excellent condition with light discoloration in the margins and evidence of previous repair on the central crease. Seen in this engraving are the canals within the gardens at Chateau Ramboullet. Illustrated through the use of perspective, the canals are shown at angles towards a central point, and the landscape in the distance is shown slightly high on the horizon. The noblemen and women are seen on the banks, finely dressed in vibrant colors and interacting with each other. Delicate swans are illustrated floating in the canals and grazing animals are illustrated on the lawns. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
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        Marais artificed, entoure de Jones d'airain, et de Jets d'esu dans les jardins de Versailles

      Paris: late 18th century - This superb hand-colored engraving, Marais artificed, entoure de Jones d'airain, et de Jets d'esu dans les jardins de Versailles, from the late 18th century measures 19.75&#148; x 26.75&#148; and is in excellent condition. Illustrated in this engraving is courtiers of Versailles in a fountain garden, the main fountain reminiscent of a marsh, with swan fountain heads. The onlookers interact as they roam around the fountains in this lush and serene setting. The rich blues of the water blend well with greens of the gardens and the pale shades of the dusky sky. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
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        Veue du Chasteau des Jardins, et de la Ville de Versailles, du coste de l'Estang

      Paris: late 18th century - This superb hand-colored engraving, Veue du Chasteau des Jardins, et de la Ville de Versailles, du coste de l'Estang, from the late 18th century measures 19.75&#148; x 26.75&#148; and is in excellent condition with light staining in the margins and evidence of previous repair to the central crease. Illustrated in this engraving is a view of Versailles from across a river, showing many courtiers and peasants working and riding horses. Through the use of linear perspective, this dynamic view of Versailles can be appreciated for its size and grandeur. The rich colors of the grass and river add to this lush landscape engraving. During the mid to late 18th century, the trend amongst European artists, printmakers and publishers, was to visually record their own country's architectural treasures, and the natural beauty of their gardens. Motivated by national pride, artists and printmakers began to publish views of their most-admired estates and grounds. In addition to being a visual record of the countryside, they were meant to encourage public recognition of national treasures. These prints were meant to be purchased by the English and foreign tourists whom desired a memento of their travels. Louis XIV (1638-1715), the Sun King of France, had grown up during a civil war between rival factions of aristocrats, known as the Fronde, and wanted a site where he could control the French government by absolute rule. Louis settled on the royal hunting lodge at Versailles , which had been acquired by Louis XIII in 1632, and over the following decades expanded it into the largest palace and grounds in the world. It was Louis XIV's hope to create a center for the royal court at Versailles . Beginning in 1669, the architect, Louis Le Vau (1612-1670), began a detailed renovation of the château. The Château of Versailles, outside of Paris , was converted into a spectacular royal palace in a series of four major and distinct building campaigns. By the end of the third building campaign, the Château had taken on most of the appearance that it retains to this day, except for the Royal Chapel in the last decade of the reign. Louis XIV officially moved to Versailles , along with the royal court, on May 6, 1682. Louis had several reasons for creating such a symbol of extravagant opulence and stately grandeur, and for shifting the seat of the monarch. By moving the royal court and the seat of the French government, Louis XIV hoped to gain greater control of the government from the nobility, by requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power and kept them from countering his efforts to centralize the French government in an absolute monarchy. Thus, many noblemen had to either to give up all influence, or to depend entirely on the king for grants and subsidies.

      [Bookseller: Arader Galleries San Francisco]
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        De Calculo Renum & Vesicae Liber singularis. Cum epistolis & consultationibus magnorum virorum.

      - Leyden, Elsevir, 1638, 12°, (16), 305, (15) pp., Pergamenteinband der Zeit; feines Exemplar. First Medical Treatise to contain an Endorsement of Harvey's Discovery! - - The rare first edition of Johan van Beverwijck's (1594-1647) monograph present in the first book (pp. 1-208) Beverwijck's treatise on calculi in the kidney and bladder. The second part (pp. 209-305) contains letters addressed by Beverwijck to some prominent physicians, including Nuñez, Back, Saumaise, and Zacuto whom he consulted on that subject, along with their replies. Several consilia by Sanctorius, Spiegel, Horst, and others follow. - At the end of 1637 Beverwyck wrote a letter to Harvey in which he expressed his admiration for Harvey's discovery of blood circulation. At the same time he sent him a copy of the present book. It is the first medical treatise to contain an endorsement of Harvey's discovery, a remarkable fact in view of the negative attitude within the academic circles in Holland. The passage in question "Harvei doctrina de Circulatione sanguinus comprobata" (pp.20-24) is discussed by Walter Pagel in his William Harvey's Biological Ideas (1967), who reproduces the title-page of our book and two pages of the passage on Harvey. Harvey replied to Beverwijck's letter in April 1638, praising his book as "learned and elegant, and truly original." Osler notes the significance of Beverwyck's correspondence with Harvey but was unable to obtain a copy of this rare book. - - Beverwijck , was born in Dordrecht on 17 November 1594. He was the son of Bartholomeus van Beverwijck ( -1615), a textile trader, and Maria Boot van Wezel, a relative of Vesalius. On 25 May 1611 he matriculated at Leiden University to study arts and philosophy but switched to medicine He is said to have taken his doctoral degree with a disputation on apoplexy, but this almost certainly refers to a disputatio exercitii gratia, a public or private disputation meant as an exercise (see Lindeboom, 128). In 1615 Van Beverwijck and Cornelis van Someren (1593-1649) travelled to Caen, Paris, Orléans, Montpellier and Avignon. He also visited Rome and Siena. Meanwhile in this last town he contracted the plague. Van Beverwijck also visited Bologna and Padua, where he entered the university as a student of medicine on 14 May 1616. Under the supervision of Hieronymus Fabricius ab Aquapendente (1537-1619) he graduated on a disputation on the 79th Aphorism of book IV (De calculo) of Hippocrates. On his return journey he visited Basle and Leuven (Louvain) in the company of a Dutch physician called Buggen. In Dordrecht Van Beverwijck set up a medical practice. On 8 November 1625 he was appointed town physician of Dordrecht in succession to Jorden van Foreest (1568-1625). On 25 October 1634 Van Beverwijck inaugurated the anatomical theatre of Dordrecht with a speech on the necessity of anatomy with the "Oratie van de nootsakelickheyt der anatomie" (1634). He also became professor of medicine and anatomy at the Illustrious School (founded 1635) as well as librarian (since 1636) and administrator (1648) of the municipal library in succession to Jacob Cats (1577-1660). Van Beverwijck was a prolific writer, publishing several books on practical medicine in Dutch, like Schat der gesontheyt (1635-1636) and Schat der ongesontheyt ofte genees-konste van de sieckten (1642), as well as literary works (Spaensche Xerxes, 1640) and essays on historical topics ('t Begin van Hollant in Dordrecht, 1640). In 1639 Van Beverwijck published Van de wtnementheyt des vrouvvelicken geslachts, a collection of texts (prose and poetry) in praise of (famous) women. In 1644 he also published Epistolicae quaestiones, a work on several popular subjects containing the answers of great men. Van Beverwijck's friends include a wide range of intellectuals, like Sir Kenelm Digby (1603-1655), Constantijn Huygens, Menasseh ben Israel (1604-1657) and Anna Maria van Schurman (1607-1678). - Epistolica quaestio de vitae termino, . [Attributes: First Edition; Hard Cover]

      [Bookseller: Medicusbooks]
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        Arboretum genealogicum annotationibus in arbores singulas illustratum. Exhibens omnes fere Imperii Principes et Europae hodie reges linea recta descendetes a Rudolpho I Imperatore.

      APUD IOANNEM KINCHIUM, COLONIAE AGRIPPINAE; KÖLN 1638 - [8 dont titre gravé]-59-[3] pp., ill. Seconde édition (orig : Prague, Bilina, 1635) dédiée à l'empereur Ferdinand III et illustrée de 15 fines eaux-fortes à pleine page : titre gravé (Rodolphe I (?) à cheval) et 14 arbres généalogiques avec paysages en arrière-plans. Commentaires sur 2 colonnes sur les descendances des empereurs allemands depuis Rodolphe I à Ferdinand III et sur les branches latérales. Le jésuite Gans (Wurzburg 1591-1662 Vienne) fut professeur de philosophie, mathématiques et théologie, prédicateur puis confesseur de Ferdinand IV, prince duquel il reçut le serment de défendre l'Immaculée Conception (serment imposé ensuite à toutes les universités des États héréditaires d'Autriche). # De Backer-Sommervogel III-1183/1184; # pas dans Brunet; # ni Graesse. Provenance : Bibliothèque d'Afflighem 1785 (mention ms. en latin); Camberlyn d'Amougies, famille belge de noblesse récente (ex-libris à la devise "strenue fideliter"; # Armorial de la noblesse belge I-449, IV-1388). 1 volumes. Quelques usures avec pet. épidermures, taches, griffes. Reliure de l'époque : plein veau, dos fleuronné doré à nerfs, tranches rouges

      [Bookseller: de KunstBurg]
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        Virgilii Evangelisantis Christiados Libri XIII In quibus omnia quae de Domino nostro I. Christo in utroque testamento, vel dicta vel praedicta sunt, altisona divini Maronis tuba suavissime decantantur.

      Typis Iohannis Legate, sumptibus Richardo Thrale 1638 - Inflante Alexandro Rosaeo Aberdonense, 1 vol. in-8 (138 x 92 mm) reliure de l'époque pleine basane marron, dos à 5 nerfs orné, Typis Iohannis Legate, sumptibus Richardo Thrale [ Richard Thral ; Richard Thral ], Londini [ Londres ; London], 1638, 11 ff. n. ch., 311 pp. (the last page blank), with Imprim. Guil. Bray Iune 14, 1637; signatures : first leaf unsigned A8 a2 B-V8 X4 Rare exemplaire bien complet du beau titre gravé par Will. Marshall, ainsi que du titre imprimé. Exemplaire conforme à l'exemplaire n°1 de la Bibliothèque de Standford. Edition en partie originale (édition très largement étendue et révisée du "Virgilius evangelisans, sive Historia Domini" de Ross, publié en 1634), dédié au roi Charles Ier d'Angleterre. Cette longue déclamation en vers, composée de passages de divers auteurs disposés sous un nouvel ordre (selon la forme poétique dite du "cento"), exalte les intuitions pré-chrétiennes de Virgile (ancienne petite restauration marginale au titre gravé, marges parfois un peu courtes, coins frottés, bon état par ailleurs). Langue: Latin [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie du Cardinal]
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        Panegyrique de Trajan.

      Chez Antoine de Sommaville 1638 - - Chez Antoine de Sommaville, A Paris 1638, In 4 (16,5x22,5cm), (28) 359pp., relié. - Edition originale de cette traduction de PIlet de Ménardière. une vignette de titre à l'effigie de l'empereur (répétée après la préface). Plein Velin d'époque. Dos lisse avec titre à la plume rouge estompé. Coutures apparentes. Ce panégyrique, nous annonce la première page de texte, fut prononcé par Pline le second devant le sénat, en présence de l'empereur, alors que Pline était Consul. En fait, le discours prononcé par Pline était beaucoup plus court que celui-ci et il fut écrit pour remercier l'empereur de l'avoir choisi comme consul, c'est seulement plus tard que Pline remania son texte en l'étoffant historiquement et lui donna ce titre. Certains pensent que Trajan et pline étaient proches dès l'accession au pouvoir d'empereur. Une préface du traducteur. (28) 359pp. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        DOMINICI BAUDII AMORES

      Elzevirium, Amstelodami [amsterdam] 1638 - Latin erotic poetry; Rebound in gold-tooled vellum, minor dust, small bookplate; Contains the only know portrait of Baudius ; 12mo [Attributes: First Edition; Hard Cover]

      [Bookseller: Gravelly Run Antiquarians]
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