Description du livre: Venice: Aldus Manutius, November 1503, 1503. Aldine octavo (149 × 93 mm). 19th-century French red straight-grained morocco by Thouvenin, covers panelled with gilt fillets and blind foliate tooling, gilt spine, gilt edges, green silk marker. Extremities lightly rubbed, occasional very light browning at head, an excellent copy. Collation as Ahmanson-Murphy. Woodcut device on title, repeated on final verso. Greek type 4:79 (text), roman 10:82 (title, register and colophon only). First Aldine edition, a handsome copy. Based on the 1494 editio princeps edited by Janus Lascaris, this was the second edition of the anthology assembled by the early 14th century Constantinopolitan monk Planudes, with additions including the editio princeps of the 6th-century Byzantine poem "In Thermas Pythias et aquarum miracula" by Paulos Silentiarius. Planudes' recension of the Anthology was the only collection of ancient Greek epigrams known to the west until the discovery of the Palatine codex in 1606. The Anthology is based on the lost compilation of Meleager of Gadara (1st century BCE), whose title, The Garland, reflected the common comparison of small beautiful poems to flowers; hence the Greek anthologia ("flower-gathering"; Latin florilegium), which metaphoric use led to the modern sense of the English "anthology". Aldus Adams A-1181; Ahmanson-Murphy 62; Renouard Alde 42.9. N° de réf. du libraire 59684
Description du livre: Zacharias Callierges (para Cornelio Benigno), 1515, 13 de agosto, Roma:, 1515. 4º. (21,9 x 15,6 cm.). 244 hojas, incluyendo las dos blancas. Las primeras hojas de la Olympia y Pythia, impresas en negro y rojo. El comentario están impresos rodeando al texto. Encuadernación del siglo xix en piel con gran supra-libros dorado en ambos planos. Adams 1219. Censimento 16. El primer libro impreso en tipos griegos en la ciudad de Roma.Los textos de Píndaro que han llegado a nuestros días son en su mayor parte estos epinicia, odas corales en honor a los ganadores en los juegos. Están agrupadas por juego: Olympia, Pythia, Nemea e Isthmia. Aldo publicó la editio princeps en 1513, pero con un texto reducido y sin las scholia aquí presentes.Zacarias Callierges habia trabajado como impresor previamente en Venecia, donde realizó cuatro obras en griego entre 1499 y 1500 y cuatro más en 1509; entre 1500 y 1509 trabajó como escribiente en Venecia y Padua. A requerimiento del Papa Leo X se trasladó a Roma en 1514 para que enseñara en el Gymnasio Griego. La imprenta de Callierges fue financiada por el Cardenal Chigi a través de su canciller, Cornelio Benigno y se estableció en Villa Chigi, donde imprimió obras literarias y litúrgicas hasta 1523.Los tipos utilizados para este libro fueron utilizados posteriormente por la imprenta de Giunta en Florencia."The first Greek book printed at Rome and the EDITIO PRINCEPS of the Greek Scholia, it remains the most splendid edition of the Olympia, Pythia, Nemea and Isthia of Pindar, greatest of the lyric poets of Ancient Greece. The works comprise the 'Victory Odes' celebrating the four great festivals and games of the Hellenic calendar. This is the second edition of the text proper, first printed by Aldus two years earlier but the readings for three of the works (which may be partly based on different ms. sources) are preferable to the Aldine. It is also the first production of Kallierges' Roman press, then just established by the wealthy financier Cornelo Benigno, chancellor to Cardinal Agostino Chigi in the Villa Chigi itself. It was probably the prize in the great race with Lascaris and Angelo Coloni to establish the first Greek press in Rome and it is a magnificent example of early Greek printing. Kallierges' fonts were based on those he first used at Venice in the Etymologium Graecum of 1499 "one of the most beautiful Greek books ever produced", Mortimer, Harvard It. C16 II p688 and which demonstrates Kallierges' ingenious solution to the problem of Greek accents which had bedevilled all earlier Greek types. His early scribal training must have helped considerably. Pindar was the star of the Alexanidria Pleiade and an inspiration not just to his Greek successors, but to many moderns, among them Ronsard, Pope, Goethe, Holderlein and Foscolo." [Socal]. N° de réf. du libraire 12577
Description du livre: Venice Aldus Manutius, 1504. First Aldine Edition of Homers "Iliad" HOMER. Homeri Ilias[in Greek. Edited by Aldus Manutius]. [Venice: Aldus Manutius, not before 31 October 1504]. First Aldine edition and second edition in Greek of the Iliad, forming the first half of the great two-volume Aldine Homer. Small octavo (6 1/4 x 3 13/16 inches; 158 x 97 mm.). [56, lives of Homer by Herodotus, Plutarch, and Dion], 277 leaves. Bound without the final blank leaf. (Collation: 1-78 A-Z8 AA-LL8 MM6(-1)). Title in Greek and Latin, text in Greek. Greek and italic types. Thirty lines plus headline. Capital spaces with guide letters. Woodcut Aldine anchor and dolphin device (Fletcher no. 3) on A1 recto. Nineteenth-century vellum over boards. Covers bordered with ink rules, smooth spine decoratively tooled in gilt with dark green morocco gilt lettering label, turn-ins ruled in gilt, all edges gilt, marbled endpapers. Lower blank corner of first leaf of Herodotuss life of Homer renewed, not affecting text. Small intermittent dampstain in the lower margin. Armorial bookplate of George Becher Blomfield on front pastedown. Penciled annotations on verso of front free endpaper. Early ink line numbers in the outer margin of leaves A3 (fol. 3) to C2 (18). Reprinted from Demetrius Chalcondylass 1488 Florentine editio princeps with few corrections. Adams H741. Kallendorf and Wells 77. Murphy 86. Renouard, Alde, pp. 46-47. HBS 66538. $20,000. N° de réf. du libraire 66538
Description du livre: Venice, Aldus & Asolanus 1513 (following the Venecian calendar; according to the usual European calendar 1514)., 1514. Hardcover. État : Fine. 1st Edition. 8vo. (8), 99 lvs., (1) leaf, 152 lvs. With Aldus device (Fletcher Nr. 5) on title and last leaf verso. 16th century gilt-stamped vellum (darkened, soiled, rubbed); new end-papers and fly leaves, lacking ties. First Aldus edition of Strozzis poems, first edition of most of the complete works; scarce. PROVENENCE: The reverse of the title page has an autograph in the form of a six-line dedication to the two Strozzis from Daniel Finus; leaf A8 verso also has a longer laudation to Aldus Manutius by him written in manuscript. Both were published only in the 20th century (A. della Guardia: Tito Vespasiano Strozzi. 1916, p. LVIII, and S. Pasquazi, Poeti estensi. 1966). Daniele Fini, born in Ferrara 1470, son of an Fini Hadrianus" Fino. Like his father before him, he took on political functions in his home city (Chamberlain and University Chancellor) but his main interest was literature. His principle writing activities were chiefly in composing poems in Latin and Italian (see Michaud XIV, 138 and Barotti / Barotti / Baruffaldi: Memorie istoriche de letterati Ferraresi. Vol. I. p. 133 ff). He was a member of Ferrara's humanistic circle and was one of Strozzi's closer friends. The copy of the work here is very likely to be a VOLUME OF DANIELE FINI'S POSSESSION, in which he wrote his poems. FOR FULL DESCRIPTION PLEASE VISIT ON OUR WEBSITE "THE SPECIAL OFFER". The decoration of the binding presents an outer frame with a closely set, slightly spirally winding pattern, copied from Greek art. Centrally there is a floral design, and also floral decoration in the corners of the frame. Light browning throughout (a few leaves somewhat more so) and finger marks mainly concerning the bottom outside page edges; occasional mould or water stains (but mostly to outside edges), two pages with small amount of damage to paper at the lower bottom white margin. On the whole, an unusual document with reference to Humanism in Ferrara and in an extremely rare contemporary binding. Censimento 16 CNCE 37457; Renouard / Ald. I, 98; Fletcher p. 111; Cat. Laur. 111; Ald. Slg. SBB 203; Adams S 1956; BMSTC (Italian Books) 650; Ebert 21848. N° de réf. du libraire 851
Ploutarchou Parallela en Biois Hellenon te kai Romaion [Graece]. Plutarchi quae vocantur Parallela: hoc est, vitae illustrium virorum Graeci nominis ac Latini, prout quaeque alteri convenire videbatur, digestae.
Description du livre: In aedibus Aldi et Andreae Soceri, mense Augusto, 1519. Hardcover. État : Fine. Folio: 30 x 20.5 cm. , 345,  leaves. Collation: *4, (lacking blank *4), a[alpha]-z[zeta]8, aa[2alpha]-tt[2tau]8, uu[2upsilon]10 FIRST ALDINE EDITION. This is the second edition in Greek, following the editio princeps printed by Giunta in 1517. The text was edited by Francesco Asulano, Andrea Torresani's son and Aldus' brother-in-law. Renouard, citing Johann Jacob Reiske, reports that there are apparently two editions of this date that differ in a number of textual points. The first Aldine edition appears to have been formed on the preceding of Giunta; the second differs greatly from it, exhibits a purer text, and was the basis for the Basel and Stephanus editions.' It is unclear which of the two variants our copy represents. Plutarch's Parallel Lives, a series of paired biographies in which the lives of famous Greeks and Romans are compared, is one of the signal achievements of classical literature. Renouard, p. 87, no. 9; New UCLA 182; Hoffmann III, 175; Schweiger p. 259, col. 2 Bound in eighteenth-century mottled sheepskin with a citron morocco label, gilt. A fine copy of the Aldine Plutarch with minor faults. The text is printed throughout in Greek, with capital spaces and printed guide letters at the beginning of each life. With the Aldine anchor and dolphin device on the title page and the verso of the final leaf. The title is a little soiled and there are discreetly backed tears in the margins of the first three leaves. A short worm trail has been expertly repaired in the final three signatures, very slightly affecting the text. There are also discreet repairs to the blank, upper corners of the final leaves. The margins of many of the lives have been heavily annotated in Greek and Latin by an unidentified 16th c. reader. N° de réf. du libraire 2105D
Description du livre: London: A.J. Valpy, 1819-1830. 166 vols, 8vo, uniform full contemporary vellum over boards, double gilt fillet borders on covers, backstrips on each volume also ruled in gilt with two black morocco labels, gilt turn-ins, all edges gilt, blue endpapers. Occasional rubbing to labels, periodic rough texture to a few backstrips, some light soiling to covers. Contents generally very clean with infrequent discoloration. A rare set when complete, here in fine appropriate contemporary bindings. First editions thus. Though Abraham John Valpy (1787-1854) started his printing venture with the The Classical Journal in 1810 and The Pamphleteer in 1828, he dreamed of becoming a grand classical scholar/printer in the tradition of Aldus Manutius and Henri Estienne. He wanted to create affordable, scholarly, accurate and refined editions of the greatest classical authors. The most-significant attempt since the Renaissance to re-print the great Classical authors had been Pierre HuetÕs 17th-century Delphin Classics, so called as they were printed in the 1670s for the education of Louis Le Grand Dauphin, son of Louis XIV. By the time of Valpy nearly 150 years later, examples of this edition were rare, and the enterprising editor/scholar saw an opportunity to claim his rightful succession. Valpy ultimately abandoned his dream, his final publication being Òthe Family Classical Library (1830-1834): English Translations of Greek and Latin Classics, in fifty-two volume.Ó Afterwards, ÒValpy sold his printing materials [in 1837], parted with his large stock of books and copyrights, and retired into private life. From that time he applied his energies to the University Life Assurance Company and other undertakings in which he was interested either as a director or shareholderÓ (DNB). A complete set in 166 volumes, as follows: Apuleius (Seven Volumes); Aulus Gellius (Four Volumes); Ausonius (Three Volumes); Boethius (One Volume); C¾sar (Four Volumes); Catullus (Two Volumes); Cicero (Fifteen Volumes); Claudianus (Three Volumes); Curtius (Three Volumes); Dares et Dictys (Two Volumes); Eutropius (One Volume); Florus (Two Volumes); Horace (Four Volumes); Justinus (Two Volumes); Juvenal (Two Volumes); Livy (Twenty-Two Volumes); Lucretius (Four Volumes); Manilius (Two Volumes); Martial (Three Volumes); Nepos (Two Volumes); Ovid (Nine Volumes); Panegyrici Veteres (Five Volumes); Paterculus (One Volume); Persius (One Volume); Ph¾drus (Two Volumes in One); Plautus (Five Volumes); Pliny (Twelve Volumes); Pompeius Festus (Three Volumes); Propertius (Two Volumes); Prudentius (Three Volumes); Sallust (Two Volumes); Statius (Four Volumes); Suetonius (Four Volumes); Tacitus (Eight Volumes); Terence (Four Volumes); Tibullus (One Volume); Valerius Maximus (Three Volumes); Victoris (Two Volumes); and Virgil (Eight Volumes). N° de réf. du libraire 104980
Description du livre: Aldus Manutius, Venice, 1502. First edition. Pollux, Julius [Poludeukes, Ioulios] (fl. 2nd cent. A.D.). [Onomasticon] Pollucis vocabularii index in latinum tralatus, ut vel graece nescientibus nota sint . . . Folio. ff. Venice: apud Aldum, April 1502. 296 x 201 mm. 18th or early 19th cent. gilt-ruled calf, a little rubbed, rebacked preserving original gilt spine. Fine copy.Editio princeps. Pollux, a Greek grammarian and sophist from Alexandria, was appointed professor of rhetoric at the Academy in Athens by the Roman Emperor Commodus (son of Marcus Aurelius). According to Philostratus's Lives of the Sophists, Pollux was given this post on account of his melodious voice. Pollux was the author of numerous rhetorical works, of which only a few titles survive, and the Onomasticon, a thesaurus of Attic Greek synonyms and phrases arranged thematically in ten books. "It supplies in passing much rare and valuable information on many points of classical antiquity- objects in daily life, the theater, politics- and quotes numerous fragments of lost works. Pollux was probably the person satirized by Lucian as a worthless and ignorant person who gains a reputation as an orator by sheer effrontery, and pilloried in his Lexiphanes, a satire upon the affectation of obscure and obsolete words" (Encyclopaedia Britannica ). The editio princeps of Pollux's Onomasticon, issued by Aldus Manutius in 1502, made the work widely available to Renaissance scholars and antiquaries, and anatomists of the period drew on the Onomasticon for obscure Greek words to describe parts of the body. The Onomasticon was a valuable source of information for several important nineteenth century works of classical scholarship, and has continued to attract the interest of researchers in a variety of fields-in 2004, John H. Dierkx published an article on "Dermatologic terms in the Onomasticon of Julius Pollux" in The American Journal of Dermatopathology. Adams P-1787. Ahmanson-Murphy 54. Renouard, pp. 32-33. N° de réf. du libraire 40354
Libri V de asse, & partibus eius post duas Parisienses impressiones ab eodem ipso Budaeo castigati, idque authore Io. Grolierio Lugdunensi Christianissimi Gallorum regis secretario, et Gallicarum copiarum quaestore, cui etiam ob nostram in eum ob servantiam à nobis illi dicantur.
Description du livre: Aldus & Andrea Asulani Sorceri,, Venice, 1522. 8vo. Contemporary limp vellum with title in ink on spine, parts of ties preserved. Woodcut Aldine printer's device on title and verso of last leaf. , 262 [=260],  ll. Rare first and only Aldine edition of the first printed work on ancient Roman coinage and weights & measures, written by the great French humanist Guillaume Budé. This pioneering study of Roman coinage was the best book on the subject written up to that time. It was this work which gained Budé the greatest reputation. Though his activities were varied, his reputation as a humanist of the greatest erudition was established in 1515 with the publication of De asse et partibus eius: a treatise on Roman coinage. The treatise, however, also contains a manifesto arguing for the necessity of humanism in a Christian education. Budé argues that the truly educated Christian must study not just the Bible and the writings of the church fathers, but all types and forms of knowledge (also on coinage) so that he may recognize truth when he sees it. Although recognized by Budé's contemporaries as a valuable restatement of humanist aims and principles, De asse also attracted criticism because of its heavy, obscure, and ornate style. According to Brunet and Renouard a copy of this work was printed on vellum for the famous bibliophile Jean Grolier (1479-1565), to whom this book is dedicated. This Aldine edition was preceded by two others, printed in Paris in 1514 and 1516 respectively by Badius Ascensius. A French extract of this work appeared in 1522 at Galliot de Pré in Paris, the Italian translation was printed in 1562 at Giunta in Florence.Guillaume Budé (1468-1540) was a French scholar. He went to the University of Orléans to study law, but for several years, being possessed of ample means, he led an idle and dissipated life. When about 24 years of age he was seized with a sudden passion for study, and made rapid progress, particularly in the Latin and Greek languages. He was held in high esteem by Francis I, who was persuaded by him, and by Jean du Bellay, bishop of Narbonne, to found the Collegium Trilingue, afterwards the Collège de France, and the library at Fontainebleau, which was removed to Paris and was the origin of the Bibliothèque Nationale. He also induced Francis to refrain from prohibiting printing in France, which had been advised by the Sorbonne in 1533. Guillaume Budé corresponded with the most learned men of his time, amongst them Erasmus, who called him the 'marvel of France', and Thomas More. Fine copy, with contemp. ms. annotations ink. UCLA 212; Renouard, p. 94, no. 3; Adams B-3101; Graesse I, 565; Brunet I, col. 1374; Kress 28 (Paris 1516 edition), 31 (this edition); cf. Einaudi (Cologne 1528 & Italian Florence 1562 editions); Cat. Goldsmith 16 & 77 (Paris 1524 & Italian Florence 1562 editions). N° de réf. du libraire A5TGBTIPSB1L
Description du livre: Venetijs impressa per Andream de torresanis de Asula: Anno d[omi]ni.1496.xj.mensis aprilis. [Venice, Andrea Torresani, 11 April 1496]., 1496. Rilegato. État : molto buono. UNCOMMON VENETIAN EDITION OF THE MAIN WORK BY POPE GREGORIUS MAGNUS, PRINTED BY ANDREA TORRESANI, ALDUS MANUTIUS FATHER-IN-LAW, DURING THE FIRST PERIOD OF COLLABORATION WITH ALDO: IN THE SAME YEAR, THEY PUBLISHED THE WONDERFUL EDITIO PRINCEPS OF THE THESAURUS CORNUCOPIAE. Folio (310x210 mm), 18th century half vellum binding, gilt titles at spine within red leather labels, ff. 342 (out of 344, lacking the first and the last, both blank). Gothic type on two columns, text in Latin, 50 lines. A TEN-LINES INITIAL RUBRICATED IN RED, WITHIN LIGHT BLUE INSET AND WITH RICH MARGINAL EXTENSIONS IN RED AND BLUE. FIVE EIGHT-LINES AND FIFTY-TWO FIVE-LINES INITIALS RIBRICATED IN RED AND BLUE WITHIN ELEGANT DECORATIVE BORDERS IN RED, BLUE, BLACK AND BROWN. MANY RED RUBRICATIONS ALL ALONG THE TEXT. Moralia is a commentary in 35 books on the 42 chapters of the Book of Job. It gained Gregory a huge fame as theological authority and spiritual master: he took Job as a model of honest man that, in spite of the struggles and the temptations of everyday life remianed pure, and became an example of all the moral virtues. In the authors aim, this work should have been taken as a handbook of Christian life and behaviour, and indeed this text was basic in the moral and spiritual education of Middle Age people. PROVENANCE: Owners signature (faded) at title-page. CONDITION: Reinforcement restaurations to lower margin of first leaf; perfectly restored tear to the lower part of ff. 23 and 197; light red stain to outer margin of f. 203. Overall, fine, tall copy, on brisk paper. REFERENCES: Renouard, 289.1; HC, 7933*; Goff, G433; GW, 11435; BMC, V-312; IGI, 4445; IBP, 2495; IBE, 2719; IDL, 2100; IBPort, 791; Madsen, 1790; Sajó-Soltész, 1476; Proctor, 4739; BSB-Ink, G-321. N° de réf. du libraire ABE89
Platonis opera a Marsilio Ficino traducta: adiectis ad eius vitae & operu[m] enarrationem Axiocho ab Rodulpho Agricola: & Alcyone ab Augustino Datho tralatis.
Description du livre: Paris: Josse Bade for himself and Jean Petit, 27 May 1518, 1518. Folio (336 × 237 mm), complete with final blank. Contemporary blind-stamped calf over wooden boards with partially bevelled edges sewn on four double cords, metal clasps and catches. Skilfully rebacked with original spine laid down and corners repaired, front free endpaper renewed, occasional later pencil or ink marginalia, small worm trace (diminishing in size) to outer margin of first 4 leaves, a few small stains, occasional minor spotting, but generally crisp and clean internally, a handsome copy in a contemporary blind-stamped binding, probably of Parisian execution. Title and woodcut printer's device within elaborate woodcut architectural border, handsome criblé initials. Provenance: (1) from the library of Johann Rudolph von Erlach (15771628), with ink presentation inscription to lower outer corner of title recording its gift in 1609 by Michael Augspurger of Bern and with letterpress book label "Bibliotheque de Spietz" (Schloss Spietz, seat of the von Erlach family) to front pastedown; (2) ownership inscription of Fritz Baur of Basel, dated 1878 to front pastedown, above (3) ink inscription recording posthumous gift from W. Baur to (4) Dr. S. V. Rasmussen of Basel, dated 2 April 1925. The first Plato published by Josse Bade (Jodocus Badius Ascensius) and Jean Petit (Parvus). One of the four important librairies-jurés to the University of Paris, Petit helped Bade, an associate of Erasmus, establish his own press in 1503 and the partnership flourished, producing a stream of finely printed translations of the classics and editions of contemporary writers in the first three decades of the century. Bade's printing shop and bookshop on the rue Saint-Jacques became an important meeting place for French humanists and for foreign scholars like Thomas Grey and Thomas Lupset, who had been Erasmus's students. The text is the famous Latin translation of Marsilio Ficino which, on its first publication at Florence in 1484, was the first printed edition of Plato's works, long preceding the Greek editio princeps published by Aldus in 1513. The volume also includes the pseudo-Platonic dialogue Axiochus by Rodolphus Agricola, and Agostino Dati's version of the pseudo-Platonic Halcyon. "Marsilio Ficino (14331499) [was] the great Renaissance champion of Plato from a Christian point of view and the leader of those who wished to effect an accommodation between Platonism (or more accurately Neoplatonism) and Christianity, as the most distinguished of Plato's several Medicean apologists His enthusiasm for Plato and the Platonic tradition did not blind him to the various differences with Christianity, even to their irreconcilability on certain fundamental issues. Indeed, his willingness openly to confront these differences made him all the more credible and persuasive as an apologist for Plato and for the value of the Platonic tradition as a philosophical propaedeutic to the study of Christian theology" (Michael J. B. Allen, "Marsilio Ficino on Plato, the Neoplatonists and the Christian Doctrine of the Trinity", Renaissance Quarterly, vol. 37, no. 4 (winter 1984), pp. 555584). Adams P1443; Gaselee, Early printed books in Corpus Christi College Cambridge, 217; Renouard, Badius Ascensius, III, 168. N° de réf. du libraire 76745
Description du livre: nelle Case d' Aldo et d' Andrea de Asola, 1515. Hardcover. État : Fine. Octavo: 15.6 x 9.6 cm. , 244,  leaves. Collation: 2, a-z8, A-H8. Complete with blank leaves i2 and H7. SECOND ALDINE EDITION (first 1502), the first illustrated Aldine edition. The first Aldine Dante appeared in 1502, edited by Pietro Bembo. Aldus himself is believed to have prepared this second edition of Dante, which appeared shortly after his death in 1515. The title page announces the inclusion of the new map (the location, shape, and size) of the Inferno. The map -a cross-section of the Inferno- was inspired by the illustrations in Girolamo Benivieni's (1453-1542) Giunta edition of 1506. Aldus also incorporated variant readings included by Benivieni in the Giuntina. The volume opens with a dedicatory epistle by Andrea Torresani, Aldus' partner and father-in-law, to the celebrated Vittoria Colonna (1490-1547). Renouard, p. 73, no. 8; Ahmanson-Murphy 136; Adams D-88 Bound in 19th c. green morocco, paneled and tooled in gold, with a large central stamp of the Aldine device in gold on both boards. The contents are in fine condition. The top margin is cut a bit close in the final signature, just shaving the woodcut rule of the diagrams and illustration. With the bookplate of the Reverend Edward Francis Witts (1813-86). With woodcut schematic diagrams of the sins punished in the Inferno and the moral scheme of Purgatory, as well as a double-paged woodcut illustration of the Inferno, based on the researches of Antonio Manetti (1423-1497). The Aldine anchor and dolphin device appears on the title page and the verso of the final leaf. N° de réf. du libraire 2107D
Description du livre: Rome: Zacharias Callierges, 1516. a little light toning and spotting, ff. , , 8vo, early nineteenth-century mid-brown polished calf, spine gilt in compartments, red morocco lettering piece, edges red, marbled endpapers, corners slightly worn, joints near-invisibly strengthened and front flyleaf re-attached, bookplate of Thomas Gaisford and letter from Earl Spencer to Gaisford glued to front endpapers, Gaisfords ownership inscription and manuscript table of contents to blank endpapers, good The first edition of Theocritus to include the scholia (the fourth edition overall), and also the second book ever printed in Greek at Rome. Callierges, a Cretan native, printed initially at Venice, but in the early 1510s moved to Rome, probably at the invitation of Pope Leo X, and had a fount of Greek type cast. With it he printed Pindar in 1515, and then this edition of Theocritus in January 1516. As a printer of Greek, the achievements of Callierges are second only to those of Aldus. As an engraver of Greek type, he is in a class by himself. Only the potent commercial force of the Aldine press and the magic homogeneity of Griffos types have obscured its fame (Barker, Aldus Manutius and the Development of Greek Script and Type, p. 75).This copy belonged to Thomas Gaisford (1779-1855), Regius Professor of Greek and later Dean of Christ Church, Oxford. It was given to Gaisford in January 1815 by the collector George John Spencer, 2nd Earl Spencer - the prime mover in the creation of the Roxburghe Club - and his letter presenting the volume is tipped in. He writes: Having understood from Mr Grenville that you are desirous of referring to the edition of Theocritus printeed by Callierges & having fortunately a duplicate copy of that book by me; I have desired Mr Bliss who is returning from here to Oxford to take charge of the volume, & beg you would do me the favour to accept it. The copy was in my original library here & formerly belonged to Dr George the headmaster of Eton. It is not in very firm preservation, but will I hope be looked upon by you as a mute testimony of the respect with which I remain, sir, your very obedient humble servent, Spencer. Gaisford was then in the process of editing Theocritus for his collection of Poetae Minores Graeci (1816), in which he also printed the scholia and added a useful critical apparatus. He presumably arranged for the current binding to fix the not very firm preservation that Spencer describes. (Adams T460; Dibdin II 485; CNCE 32693). N° de réf. du libraire 51683
Description du livre: Rome: per Zachariam Calergi Cretensem, 1515. second edition of the text but the EDITIO PRINCEPS of the scholia, first leaf of text printed in red and black, that leaf with two small abrasions and one vertical hole, the hole also reaching (though less so) the next leaf, with one or two letters lost from about 2 dozen words in total, intermittent dampmark in lower margin, some soiling and spotting, foliated in a later hand, early annotations and manicules to last three leaves, ff. [240, incl. blanks iota6 & Theta9], 4to, eighteenth-century calf, spine and corners skilfully repaired, new labels in impeccable period style, leather a little darkened and marked in places, sound The second edition of Pindar (following the 1513 Aldine editio princeps) and the first book printed in Greek in Rome. Callierges, a Cretan native, printed initially at Venice but in the early 1510s moved to Rome, probably at the invitation of Pope Leo X, and had a fount of Greek type cast, producing this book as the first use of it. As a printer of Greek, the achievements of Callierges are second only to those of Aldus. As an engraver of Greek type, he is in a class by himself. Only the potent commercial force of the Aldine press and the magic homogeneity of Griffos types have obscured its fame (Barker, Aldus Manutius and the Development of Greek Script and Type, p. 75).Dibdin calls the Callierges Pindar scarcer and dearer than the Aldine, and records that three of the parts are more accurate. Due to its great merits, the Roman edition became the textus receptus for three hundred years (Fogelmark, The 1515 Kallierges Pindar, in Syngcharmata, p. 38). This is Adams first listed variant, with gathering [beta] in the earlier state and no red printing on [Alpha]3. (Adams P1219; CNCE 23572; Dibdin II 286). N° de réf. du libraire 52028
Description du livre: hardcover. État : very good. Venice, Sons of Aldus 1554. folio contemporary limp vellum (a piece torn from the front paste down, probably by someone investigating the lining); ,54, leaves, 44 woodcuts (6 full page, most quite large). Some light browning and the occasional smudge but a rather good copy with the small stamp of the Bibliotheque Clerici. Cataneo's legacy is this book rather than his buildings. It is, even to an unknowing eye, a book of theory and principles; the plan dominates and the orders were left for a later work (his 1567 L'architettura). The first of his four books is the major; where principle, purpose and site are turned to the design of fortified cities, offering a number of ideal city plans which unify the city itself and its walls. The influences of this are too complex for me to trace; Palladio for example quoted Cataneo wholesale as his own theory of urbanism, Scamozzi's concepts of the ideal city in L'idea della architettura universale are said to be the development of Cataneo, Vasari elaborated on Cataneo's plans . The second book is on materials, the third on ecclesiastical and the fourth on domestic architecture - again purpose and plan are pre-eminent. N° de réf. du libraire 6748
Quae hoc in libro continentur. Origenis in Genesim Homiliae 16. in Exodum Homiliae 13. in Leviticum Homiliae 16. in Numeros Homiliae 18. in Iesum Nave Homiliae 18. in Librum Iudicum Homiliae 8. Divo Hieronumo interprete.
Description du livre: Colophon: Venice: In aedib. Aldi, 1503. some light foxing, thin dampmark to top margin of first few leaves, six gatherings with copious marginalia in an early hand (see below), final leaf with the partly-erased inscription of Antonii Larisi, ff. [vi], 182,[bound with:]Origen. Explanatio. in Epistola Pauli ad Romanos Divo Hieronymo interprete. [Colophon:] Venice: Per Simonem de Luere, 1506, final blank discarded, ff. 73, folio, later vellum, spine and fore-edge lettered in ink, a little bit darkened and rumpled, very good The first Aldine edition of Origen, containing homilies on the Old Testament in a Latin translation by Jerome. A couple of incunable printings of various short works preceded this edition, but Origen was a dangerous author to be associated with, since Jerome himself had alleged him to be a heretic. When Pico della Mirandola attempted a revival in 1486 it resulted in his own arrest for heresy, and only in 1493 was Pico pardoned, freeing other humanists to investigate Origens works. This Aldine edition marked the beginning of the new understanding and was immediately followed by a number of other printings of works by Origen, including the first collected works in 1512 and Erasmuss edition, published shortly after his death. For Aldus the edition is significant in containing the first appearance of the large-format dolphin device, and also a preface acknowledging the partnership of Alduss father-in-law for the first time.Bound with it is a rare printing from this significant period of another exegetical work by Origen, also printed in Jeromes Latin translation, by Simon de Luere of Venice. This text, on Romans, does not survive in the original Greek (the homilies in the Aldine edition saw their Greek editio princeps in the seventeenth century). An early owner has taken advantage of the new freedom around Origens works and read substantial sections of this copy carefully. A number of leaves have frequent annotation in a careful hand in the margins on both sides of the text. Many appear to be keywords but the quantity is greater than usual and others add details or summarise passages. If nothing else, the interests of the reader are made relatively clear: in the table of contents of the first work, every reference to the Pope in the contents of the homily on Leviticus is called out. (First work: Adams O291; Ahmanson-Murphy 72; CNCE 55859; Second: CNCE 31790; not in COPAC or Worldcat). N° de réf. du libraire 51957
Description du livre: Aldus, 1501; Paris: Simon Colines, Venice, 1501. Hardcover. The First Octavo Juvenal, and one of the Earliest Books in Aldus' New Italic Typeface. 165 x 102 mm (6 1/2 x 4"). Juvenal:  leaves; Catullus: 167,  pp. Two separately published works in one volume. First Aldine Edition of Juvenal; reprint of Aldine 1502 Edition of Catullus. Pleasing early--and very probably contemporary--calf, covers with a blind-ruled mitered frame, lower cover with 19th century blindstamped coat of arms (probably German) at center, raised bands, top compartment and a thin strip at bottom of spine expertly renewed, ties missing, PASTEDOWNS FROM A MID-13TH CENTURY MANUSCRIPT with extensive contemporary marginalia (see below). Front free endpaper with early ink inscription "Antonius Dulworth(?) ex dono fratris . . . " and with modern bookplate of Gerald Mander of Tettenhall Wood in Staffordshire; front flyleaf with inscription of Henry Bracegirdle (who bought this volume in Oxford on 6 December 1660); title page with 17th century inscription of Edward Palmer, King's College Oxford; marginalia throughout in Bracegirdle's hand, including an index at the end. Juvenal: Renouard, pp. 29-30; Ahmanson-Murphy 36. Catullus: Renouard, "Simon de Colines," p. 132; Schreiber 52. A handful of small abrasions to front cover, joints and extremities a little rubbed, but the binding sound and rather appealing as a lucky survival without much wear. Two leaves with short closed marginal tears, half-inch wormtrail at tail of gutter on last four leaves, other trivial imperfections, but A REMARKABLY FINE COPY INTERNALLY, the leaves clean and fresh, the Juvenal notably bright. This is a fine copy of the first octavo edition of Juvenal and one of the first books in the new italic typeface, instituted in imitation of the cursive hand in fashion at the time and perfectly suited for the small format editions popularized by Aldus. The collection of 16 satires by the great Roman poet Juvenal (ca. 60 - ca. 130) and six satires by the short lived Stoic Persius (34-62) has provided inspiration for a number of poets intent upon denouncing the vices of society. Among many other examples, Johnson's "London" clearly borrows from Juvenal's third satire, which shows Megalopolis (i.e., Rome) as the seat of vice and corruption. Reflecting Aldus' sustaining commercial goal of providing modestly priced portable editions of the classics to a wide audience, our volume apparently represents the first octavo edition of these satires, and Schweiger points out that the volume comprises a new recension of the text, taken from manuscripts and earlier editions. The work is typographically important as one of the earliest books to appear in italic type. Updike says that "the first books printed in the new font were the Virgil and Juvenal of 1501," and he reproduces the opening page of our text as an example of the new typeface, instituted in imitation of the cursive hand in fashion at the time and perfectly suited for the small format popular editions mentioned above. (In addition to the Virgil, issued in April, and our Juvenal, published in August, Renouard lists a Horace, issued in May of 1501 as the earliest italic printings.) Renouard indicates that there were two Aldine editions dated 1501: our printing (without the printer's famous anchor on the title) and one with the anchor present; the latter edition actually appeared several years later (STC Italian suggests 1515). Like the 1995 auction copy (in 19th century boards, sold at Christie's for £3,910) our copy has two stocks of paper; one bears an "A" watermark very close to, and perhaps identical with, Briquet 7919, while the other matches Briquet 9547. The Juvenal is preceded by a reprint of the 1502 Aldus edition of the Latin elegiac poets Catullus, Tibullus, and Propertius (all first century B.C.) from Parisian printer Simon de Colines (1480-1546). Colines married the widow of the remowned printer Henri Estienne and operated the Estienne press until 1526, when Henri's son Robert took over the busi. N° de réf. du libraire ST12442
Description du livre: 4to (200 x 150 mm [Papiergrösse]). Mit 25 Holzschnitten und Diagrammen im Text, Wechels halbseitengrosser Holzschnitt-Druckermarke (Pegasus und Merkurstab) auf dem Titel und 1 fünfzeiligen Eingangsinitiale in Holzschnitt. 19 Bl. (ohne das letzte leere). [A-D4, E3]. Moderner brauner Maroquinband (207 x 159 mm), mit goldgeprägter Deckeleinfassung und Titel auf dem Vorderdeckel, Goldschnitt. Paris, Andreas Wechel, 1566. Erste Einzelausgabe in Griechisch und erste illustrierte Ausgabe der Aristoteles zugeschriebenen Quaestiones mechanicae, der erste erhaltene Versuch einer antiken wissenschaftlichen Mechanik. Von grösster Seltenheit. Die peripatetische Schrift Mechanica (in den alten griechischen Handschriften auch Mechanica quaestiones genannt) wurde um die Wende des 15. zum 16. Jahrhundert von den Humanisten wiederentdeckt und ins Lateinische übersetzt. Wie kaum ein anderer derartiger Text genoss er bald allergrösste Wertschätzung und beeinflusste, vor allem auch durch die auf den Plan gerufenen Kommentatoren, den Prozess der Ausbildung der exakten Wissenschaften im Allgemeinen und das Verständnis dessen, was eine Maschine auszeichnet, im Besonderen. 'Maschine' wird "darin definiert als etwas durch den Menschen der Natur abgetrotztes und vorteilhaft gegen die Natur Gerichtetes. Als 'erstes Phänomen' und somit Grundlage der Natur wie der Maschine bestimmt die Schrift den Kreis. Dieser vereine Statik und Bewegung, Vorwärts- und Rückwertsbewegung in sich und sei aufgrund dieses Einschlusses von Gegensätzen aussergewöhnlich und bemerkenswert, er sei das erste aller Wunder. Die Maschine verberge die Fähigkeit des Kreises, sie zeige nur deren Effekt und erscheine deshalb als Wunder" (Jan Lazardzig). Anonymer Herausgeber der von dem von 1553 bis 1572 in Paris, danach in Frankfurt am Main, wirkenden Druckerverleger Andreas Wechel (+ 1581) gedruckte griechische Einzeldruck dürfte Pierre de la Ramée (latinisiert Petrus Ramus 1515-1572) gewesen sein, der am Collège Royale in Paris wirkte und um 1566 - obgleich er kein Mathematikprofessor war - die Elementarklassen in den Grundlagen der Geometrie und Arithmetik unterrichtete, "followed by readings of Aristotle's Mechanics and Archimedes's Sphere and Cylinder . " (Robert Goulding). Der auf Grund der Bessarian Handschrift des Corpus Aristotelicum erstmals 1495-98 durch Aldus Manutius in Venedig gedruckte Text der Mechanica fand schliesslich 1599 durch Pierre de la Ramées Schüler Henri Monantheuil die erste grosse griechisch-lateinische kommentierte Ausgabe. - Ein tadellos sauberes, breitrandiges Exemplar dieser Rarität. Schweiger I, 53; Index Aurel. 108.512; Mortimer, French 42; STC French 27; Rose/Drake, The Pseudo-Aristotelian Questions of Mechanics in Renaissance Culture, in: Studies in the Renaissance XVIII (1971), S. 65ff.; Nobis, Naturgesetz und Weltmaschine. Die Bedeutung der peripatetischen Quaestiones mechanicae und ihrer frühneuzeitlichen Kommentare für die Grundlegung der exakten Wissenschaften (2009); Goulding, Ramus, Savile, and the Renaissance Rediscovery of Mathematical History (2010), S. 52; Lazardzig, Die Maschine als Spektakel, in: Schramm u.a., Theatrum Scientiarum: Instrumente in Kunst und Wissenschaft, Bd. II (2006), S. 170f.; Drake, Swerdlow and Levere, Essays on Galileo and the History and Philosophy of Science Bd. III (2000), S. 140 und 158. First separate and first illustrated edition of the Mechanics, extremely rare. 'The fifteenth century in Italy was fruitful of engineering treatises by such men as Da Vinci, Brunelleschi, Taccola, and Martini. It is quite possible that their range of interests and achievements attracted the sympathetic attention of humanists and stimulated among them the revival of neglected classic texts such as the Mechanica The role of Cardinal Bessarion in stimulating the revival of Platonism is well known. Less widely recognized, but perhaps of more importance to the origins of modern science, was his role in bringing to Italy Greek manuscri. N° de réf. du libraire B349661
Epistolarum libri X. ad exemplar manuscriptum Rodol. Agricolae diligentiss. recogniti. Panegyricus Traiano Caesari dictus. Et is ad vetustissimum exemplar emendatus. De viris illustribus rei militaris & administrandae reipub.Acesserunt argumento non admodum abhorrentia. Suetonii Tranquilli liber de claris grammaticis & rhetoribus. Item. Julii Obsequentis, Prodigiorum liber. Latina interpretatio dictionum ac sententiarum Graecarum, quibus Plinius utitur. Indices duo .
Description du livre: Antonius Dumaeus,, Antwerp, 1542. 8vo. Extraordinary well preserved contemporary blind tooled pigskin binding; rolls with square and oval portraits and panels with passion scenes and saints on both covers; floral motives are stamped in the central spaces of the covers and in the four compartments of the spine; in the middle of the front cover, between two paragraph signs, the initials 'E' and 'K' are stamped and decorated with black ink. Some woodcut initials. 3 fly-leaves, 494, (40) pp. and 3 fly-leaves. This rare Antwerp edition of the Letters by Plinius Secundus is virtually a reprint of the edition by Johannes Sichardt published in 1530 by Andreas Cratander at Basel. Sichardt (ca. 1499-1552) was since 1527 professor in Rhetoric in Basel. His dedicatory letter to Georgius Ilsungus (ca. 1510-1580), dated Augsburg, March 1530, is reprinted here also. Although the editio princeps of these famous letters was printed at Venice in 1471, all later editions, including the 1530 edition at Basel, are based on the Aldus edition of 1508 which added many new letters. Also the dedicatory letter by Aldus Manutius to Aloisius Mocenicus, a Venetian senator who had brought some manuscripts of the letters from France to Venice, is re-printed in our present edition.Writing in the first century AD, the younger Pliny (ca. 61-112 AD) was in a position to provide essential information for historians of a poorly documented period: the reigns of Domitian, Nerva and Trajan. In his letters he comments elegantly on social, domestic, juridical and political events. His remarks on the early Christians are well-known and are very important. Nine books of his personal letters - 247 in all - survive, as well as his official correspondence with the emperor Trajan, posthumously published and later added as the tenth book. These official letters are a major source for understanding Roman provincial government.Of his speeches delivered during his successful senatorial career only the one of thanks to Trajan for his consulship in AD 100 survives and is known as the Panegyricus Traiano Augusto dictus, and is added on p. 321-405 of our edition.Also included are:On p. 405-448: SUETONIUS TRANQUILLIUS, De viris illustribus liber. Suetonius (c. 69- c. 130 AD) was a contemporary of Pliny the younger and is refered to in the letters of Pliny through whose patronage Suetonius had a military cereer in Britain and Bithynia. His De viris illustribus, a now incomplete set of biographies of Roman men of letters is arranged in categories: poets, orators, historians, philosophers. On p. 449-468 follow the categories grammarians and rhetoricians, published separately.On p. 468-494: JULIUS OBSEQUENS, Ab anno urbis conditae quingentesimoquinto, prodigiorum liber imperfectus. Obsequens, the tabulator of Roman prodigies most plausibly lived in the 4th or early 5th century AD. His collection, based on the historical works of Livy, covers prodigies from 249 to 12 BC and is extant for 190-12 BC.Further are added on 40 unnumbered pages:p. (1)-(8): Latina interpretatio dictionum & sententiarum Graecarum quae hoc in volumine habentur.p. (9)-(17): Index of the letters and famous men, grammarians and rhetoricians.p. (18)-(36): Index rerum memorabilium, & propriorum nominum.p. (37)-(39): Johannes Maria CATANAEUS, C. Plinii Caecilii secundi Vita: the life of Pliny by the Italian humanist Cataneo (living in the second half of the 15th century), originally published in the edition of the letters of Pliny at Milano, 1506. Very good copy in an interesting binding - Ownership's entry on the title: 'sum Wolfgangi Joechlinger Anno 1610 (?)'. Machiels 990; Belg. Typ. 4018. N° de réf. du libraire 17030
Opera. Urania, sive de Stellis libri quinque. Meteororum liber unus. De Hortus Hesperidum libri duo. Lepidina sive postorales pompae septem. Item Meliseus. Maeon Acon. Hendeca syllaborum libri duo. Tumulorum liber unus. Neniae duodecim. Epigrammata duodecim. Quae vero in tot opere habeantur in Indice, qui in calce est, licet videre.
Description du livre: Aldus Manutius,, Venice, 1505. 2 parts in 1 volume. 8vo. Modern speckled brown calf in 16th-century style, frontcover with Aldus' printer's device stamped in gold, ribbed spine lettered in gilt. Title and final page with Aldus' woodcut printer's device.  ll. Second edition, published posthumously, of Pontanus' collected works. The first edition was published in Venice, during his lifetime, in 1501.Giovanni Pontano (1429-1503) is an Italian poet, historian, and statesman, who used also the Latin form Jovianus Pontanus. He was protected by Alfonso of Aragón, who made him his chancellor of Naples (1447) and later his secretary. He was one of the leading statesmen of Naples, serving the Aragonese kings as tutor, secretary, councillor and diplomat. Pontano personally surrendered Naples to the French invaders. A noted humanist, he discovered Donatus' commentary on Vergil. His verse, in Latin, is notable for its grace, harmony, variety of subject matter, and natural expression of sentiment, reflecting the diversity of interests and knowledge of the Renaissance. His supple and easy Latin style is considered, with that of Politian, to be the best of Renaissance Italy. He wrote Latin as if it were his native tongue, with unusual flexibility, smoothness, and humour. Pontano studied language and literature in Perugia. From 1447 to 1495 he served the Aragonese kings of Naples as adviser, military secretary, and, after 1486, chancellor, an office he handled with great distinction. He was dismissed in 1495 for negotiating peace with the French and, though pardoned, did not return to power.Pontano became a major literary figure in Naples after 1471 when he assumed leadership of the city's humanist academy. Called the Accademia Pontaniana, it became one of the major Italian literary academies of the 15th century."Un des écrivains les plus élégants du quinzième siècle italien, . Pontano fut un très grand poète néo-latin. Certains lui ont reproché d'avoir dans ses poésies amoureuses introduit autant d'obscénités que les Anciens, mais personne ne lui conteste la pureté de son style, sa fécondité et la grande varieté de ses conaissances" (Oberlé). "Pontano, the most important humanist of fifteenth-century Naples, composed many works of poetry, social commentary, and philosophy. His poems . celebrated human love and the wonders of nature" (Bietenholz). In the Ciceronianus Erasmus himself praised Pontano profusely, but denied that he was truly a Ciceronian, for he used many words not found in Cicero. Apart from a few unobtrusive small defects a fine, well-bound copy. Ahmanson-Murphy 91; Brunet IV, p. 807 ("241 ff. non chiffrés"); Ebert 17743; Graesse V, p.406; Renouard 49, no. 4 ("241 feuillets non chiffrés"); STC Italian p. 532; not in Adams, Gardner, Bibliotheca Astrologia nor Gay-Lemonnier. On the author: Contemporaries of Erasmus III, p. 113-14; Oberlé, Poètes néo-latins en Europe (XI-XXe s.), p. 160. N° de réf. du libraire AB6FOXFYRTE0
Description du livre: Vinegia Figlioli di Aldo (Aldus) 1545, 1545. A very early and rare printing of Castiglione by Aldus in the original folio format mirroring the 1528 printing. Elaborate Aldine device impressed on the title and at the end on the verso of the colophon leaf. Dedication to Michel de Selva, vescovo di Viseo. Folio, handsomely bound in fine Italian vellum. 122 ff. pp. A beautifully preserved copy, handsome and clean. RARE ALDINE EDITION OF THE CLASSIC LANDMARK IL CORTEGIANO. Castigliones great work is one of the most famous books of the Italian Renaissance and represents the highest level of committment to the prince and the new political and social order. The Courtier is the prototype of the courtesy book, written as conversation between members of the court. At the time of its composition Castiglione was at the court of Guidobaldo de Montefeltre and Elizabetta Gonzaga at Urbino, together with Bembo, Giuliano de' Medici, Federico Fregoso and other Renaissance luminaries; members of that court feature as speakers in the conversation. Castiglione, after serving the Sforzas at Milan and the Gonzagas at Mantua, came to the Court of Urbino in 1504 where de Montefeltre and his consort Elizabetta Gonzaga were the center of the most brilliant court in Italy, which counted among its members Bembo, Bibbiena, G. deMedici and many other eminent men. This brilliant book is based on Castigliones experience of life among these dazzling figures. The Courtier depicts the ideal aistocrat, and it has remained the perfect definition of a gentleman ever since. It is an epitome of the highest moral and social ideas of the Italian Renaissance and is written in the form of a discussion between members of the court. The fundamental idea that a man should perfect himself by developing all his faculties goes back to Aristotles ETHICS and many of the Aristotelian virtues reappear---honesty, magnanimity and good manners. The ideal man should also be proficient in arms and games, be a scholar and connoisseur of art; he should develop graceful speech and cherish a sense of honour. Relations between the prince and the courtier, forms of government, and rules for the conduct of a lady are also discussed and the book ends with the celebrated pronouncement on platonic love by Bembo. This Renaissance ideal of the free development of individual faculties and its rules of civilized behaviour formed a new conception of personal rights and obligations in Europe. The book was translated into most European languages and between 1528 and 1616 no less than one hundred and eight editions were published. It had great influence in Spain where traces of it can be found in DON QUIXOTE and in France in Corneilles writings. But its most potent influence was probably in England. Its influence can be seen in Shakepeare, Spenser, Ben Jonson, Sir Philip Sidney, Robert Burton and Shelley. It had a great impact on the development of English drama and comedy. The beautiful and highly important printings of the house of Aldus are exceptional and revered in their own right. This, one of the most exceptional of Italian Renaissance works published by the great Renaissance printer of Italy. N° de réf. du libraire 25180
De arte amandi et de remedio amoris cum comento [by B. Merula]. (Diligenter: & accurate compositas a Bartholomæo Merula Mantuano).
Description du livre: (Venice, Ioannes de Tridino alias Tacuinus, 1494, Tertio Nonas Maias). Small folio. Late 17th/early 18th century full mottled calf with five raised bands and gilt red leather title-label to richly gilt spine. All edges of boards gilt. Binding worn at extremities, especially capitals. Front hinge weak. Corners neatly repaired. Internally very fine, with only a bit of light occasional browning. A 7 line inscription in contemporary hand and a red wax seal (with a small piece of paper over) to first leaf. Beautifully printed. Woodcut initials at beginning of both works. Ruled in red throughout, paragraph marks in red and blue throughout. Some capitals touched in yellow. Woodcut printer's device at end. Occasional contemporary, neat marginal markings. A line on f. 24v. supplied in contemporary hand. Final leaf mounted on a stub. 56 ff. (a-g6 + A6, B-C4). Text surrounded by commentary. Very rare first edition thus of Ovid's "De Arte Amandi" and "De Remedio Amoris", being the first edition by the Mantuan humanist, scholar, and poet Bartholomaeo Merula, with his excellent and learned commentaries, which came to profoundly influence the reading of Ovid's two works The Art and the Remedy of Love. Merula is one of the most important Renaissance commentators on Ovid. This edition became extremely popular and numerous new editions of it kept appearing throughout the next century. Within the first 35 years, at least 15 new editions and re-issues had appeared. Ovid was prominent among the ancient authors who first interested the humanists, providing a great deal of inspiration for the Renaissance idea of humanism. His influence extended to both Renaissance scholars, poets, painters and writers. Merula's version of the present texts became highly influential among Renaissance readers of Ovid; his famous commentaries on "De Arte Amandi" and "De Remedio Amoris", taking up more space than the texts themselves, became more or less standard throughout the Renaissance and early modern times and are to a high degree responsible for centuries of understanding of the texts. "Marlowe, like many other early modern readers of classical literature, consulted (and may have been led astray by) a commentary". (note: "Actually, many fulsomely annotated Continental editions were available to early modern readers, e.g., Bartholomew Merula on the erotic poetry (Venice, 1494)" [the present edition]). (Scott and Stapleton (edt.): Christopher Marlowe, the Craftsman, 2010). Bartolomeo Merula edited a number of Latin texts for the press of Tacuinus during the last decade of the 15th century and thus gained a certain status in Venetian intellectual society. When Marco Corner was given a cardinalcy in 1500, Bartolomeo became his secretary instead of his tutor, "and was in due course rewarded for his services by the appointment of apostolic protonotary." (Martin Lowry: The World of Aldus Manutius). One of the reasons why his Ovid-editions and -commentaries found such resonance is that "[h]is main concern is to make the sense of the text clear by paraphrasing difficult passages and enlarging on historical, geographical and mythological allusions, with the help of recognized authorities. His is a grammatical, rather than a rhetorical commentary." (Ann Moss: "Ovid in Renaissance France"). The "Arte Amandi" (or "Ars Amatoria", as it is also called) and the sequel "De Remedio Amoris" are both highly controversial texts; since the years immediately following their publication, they have been victims of moral outcry. Like the rest of Ovid's works, they were burned by Savonarola in 1497, Christopher Marlowe's translation of the work was banned in 1599, and another English translation of the "The Art of Love" was seized by U.S. Customs as late as 1930.Concerned with teaching basic male and female relationship skills and techniques, one can see how "The Art of Love" came to both emotionally thrill and morally outrage the millions of readers of the two millennia to come. Written, N° de réf. du libraire 48751
Description du livre: Hard cover. Engraved vignettes on titles & numerous engraved head- & tail-pieces throughout. Six vols. Large 4to, cont. half-calf & boards (boards with some wear or rubbing, Vol. III with some dampstaining and mildew now dormant towards end), spines gilt, red & green morocco lettering pieces on spines. [Amsterdam]: 1776. A nice set of this rare and famous catalogue, privately printed in three hundred copies; it is one of the most highly appreciated 18th-century catalogues of a private library. Crevenna (d. 1792), a passionate and scholarly Italian bibliophile from Milan, spent most of his life in Amsterdam where he assembled his collections, rich in rare and excellent editions of the Greek and Latin classics and other important books and MS. including over 1000 incunabula, books printed by the Aldine and other presses, and important groups of Italian and French literature. By trade, he was a tobacco merchant who married Antoinetta Maria Bolongaro, the daughter of a very wealthy Italian merchant also living in Amsterdam. Assisted by his librarian, the Milanese author CarlAndrea Oltolina, he himself compiled this richly annotated catalogue, well-known for its many learned bibliographical notes. The catalogue also serves as an early catalogue of autograph MSS. The last volume comprises extensive indices, including incunabula arranged according to date, a list of the Greek and Latin authors, chronological lists of books printed by Aldus, the Giunti, Gryphius and others. Very good and large set with all the errata leaves. Two spine labels partly flaked away and one head-cap a little chipped. From the library of Duke Albrecht of Saxe-Teschen with his characteristic binding style and endpapers. ? Gustave Brunet, Dictionnaire de Bibliologie Catholique, col. 593"Ouvrage recherché, assez rare; les descriptions des premières éditions y sont faites avec grand soin." Peignot, p. 92"Excellent ouvrage, assez rare, les descriptions des premières éditions y sont faites avec exactitude. On y relève quelquefois Debure." Pollard & Ehrman, Table XXXII. Taylor, Book Catalogues, p. 8"Crevenna assembled a gentlemans library of expensive standard works and, as the preface relates, took much pleasure in the task. The catalogue lists more than a thousand incunabula and was important for that reason in a time before the appearance of larger and better bibliographies" (& see pp. 100, 129, 135, & 238). N° de réf. du libraire JHABES2074
Galeni librorum pars prima. . . . The first 2 volumes of the Aldine Galen (5 volumes were published).
Description du livre: Aldus, Venice, 1525. The Aldine GalenGalen (A.D. 129 / 130-199 / 200). Galeni librorum pars prima [secunda]. . . . Two volumes only (of five). 2 vols. in 1, folio. , 24, 180 [i.e., 181], 108; , 184, 106ff. Vol. I colophon leaf (p4) misbound after p1; Vol. I also lacking blank leaves F4 and &6. Venice: in aedibus Aldi, et Andreae Asulani soceri, April 1525 (colophon). 317 x 227 mm. Full morocco, antique. First three leaves of Vol. I repaired, fore-edges of some leaves a little frayed, minor staining but a very good tall copy. Signature on title of the 19th-century scholar Joseph R. Gasquet, author of "The Radical Medicine of Galen in his Time" Brit. & Foreign Med.-Chir. Rev. 11 : 472-88). Editio Princeps in Greek. Garrison-Morton 27. The first two volumes (of five) of the magnificent Aldine Galen, which, by publishing in one place all the known Greek texts of Galen, marked a new era in both medical and philological scholarship. The collection's five folio volumes, the climax of nearly 100 years of active scholarship, represent the largest single body of text issued by the Aldine press, which had by then passed into the hands of Aldus Manutius's father-in-law Andreas Asulanus, Aldus having died in 1515 before he could fulfil his long-held desire to issue a new edition of Galen. Asulanus, with the help of his sons Franciscus and Fredericus, continued Aldus's scholarly tradition, bringing out a number of Greek literary and historical editiones principes; "but whereas the family's not unlimited linguistic expertise might have sufficed to produce creditable editions of geographers and poets, it was clearly not up to the challenge the works of Galen presented. . . . To meet this challenge, the Pavian professor of medicine G. B. Opizzoni (ca. 1485-ca. 1532) was placed in charge of a large group of assistants recruited mainly from northern medical scholars then studying in Italy: John Clement (ca. 1495-1572), Edward Wotton (1492-1555), William Rose (ca. 1490-1525), and Thomas Lupset (1495-1530), all Brittani and followers of Thomas Linacre (ca. 1460-1524), and the Saxon Georg Agricola (1495-1555), of De re metallica fame." . . . The significance of the first printing of a classical author cannot be overestimated, especially a prolific one like Aristotle or Galen, whose works were not to be found in a single or even very few manuscripts, but had to be pieced together from as many manuscripts as the printer could lay his hands on. Not only did the texts of these authors go from being the private reserve of a few fortunate manuscript-owners and their friends to being available throughout the scholarly world-and that in a standard, corrected form-but their survival from the naufragium of the middle ages was once and for all assured" (Paul Potter, in Norman, 100 Books Famous in Medicine, no. 5). The Aldine Greek Galen was quickly adopted as authoritative, and was relied on heavily by subsequent translators of Galen's works. One of the rarest of Aldine publications, only two or three complete sets of this work have been sold during the past 30 years. A complete set, if it could be found, would be worth in the range of $50,000 or more. We are offering the first two volumes of this work at an affordable price; these volumes contain 37 (nearly one-quarter) of the 160 Galenic texts identified in Durling's bibliography. Among these are the Anatomici libri novem, Galen's major anatomical work; De motu muscularum, containing the first description of artificially stimulated contraction of dissected muscle tissue; works on dissection of the nerves, veins and uterus; the embryological De foetum formatione; and ten works on pharmacology and drug therapy, comprising all of Vol. II. Renouard, p. 101. Adams G-32. Ahmanson-Murphy 202-203. Stillwell III-374. N° de réf. du libraire 22177
Index Eorum, Quae Hoc In Libro Habentur. Iamblichus de mysteriis Aegyptiorum, Chaldaeorum, Assyriorum. Proclus in Platonicum Alcibiadem de anima, atquae demone. Proclus de sacrificio, & magia. Porphyrius de divinis, atque daemonibus. Synesius Platonicus de somniis. Psellus de daemonibus. Expositio Prisciani, & Marsilii in Theophrastum de sensu, phantasia, & intellectu, Alcinoiu Platonici philosophi. liber de doctrina Platonis. Seusippi Platonis discipuli, liber de Platonis definitionibus. Pythagorae philosophi aurea verba. Symbola Pitagorae philosophi. Xenocrates philosophi platonici, liber de morte. Mercurii Trismegisti Pimander. Eiusdem Asclepius. Marsilii Ficini de triplici vita. Lib. II. Eiusdem liber de voluptate. Euisdem de Sole & lum
Description du livre: Aldus [Andrea Torresano], Venice: 1516., 1516. Folio. 300 x 204mm. A-Y8. Complete. 175,ff=352pp. [last text leaf with incorrect foliation.] Contemp. vellum over boards, small cracks in vellum, rear upper turn-in slightly sprung; old ownership inscriptions of "Michaelis Berii Marosticensis Theologi Collegiati Latavini, et Pub. Professoris comtus libris," followed by "Nunc Egani," and then by the stamp of "G.R.S. Meade, Theosophical Head Quarters.Regent's Park" on f.f.e.p., inner front hinge opened, inner margin dampstain affecting a few leaves, occ. notes and underlines, minor marginal worming to last three leaves,contempoaray notes on rear free endpaper; a fine large copy with very slight foxing and crisp paper. Large Aldine devices on t.p. and verso of last leaf. Second Aldine Edition. Ficino's edition of these important neo-Platonic texts was first published in 1497 by Aldus. This the "superior" second edition which includes new materials including Ficino's influential De vita libris tres."Ficino (1433-1499) son of the physician to Cosimo d'Medici, dedicated himself to the study of Plato and neo-Platonic thought. His translations of the whole of Plato and Plotinus into Latin were key elements in the Renaissance rebirth of Platonic thought. His interest in Porphyry, Proclus, Dionysius the Pseudo-Areopagite, and the Hermetic corpus were likewise the basis for occult investigations into neo-Platonism. "He took over and reinterpreted Plato's theory of love.and combined it with ancient theories of friendship that were known to him primarily through Aristotle and Cicero; he also tried to identify it with the Christian love (charitas) praised by St. Paul. He even added some touches from the tradition of medieval courtly love as it was known to him through Guido Cavalcanti, Dante, and other early Tuscan poets. This doctrine of love, which exercised a tremendous influence during the sixteenth century." [Ency.of Philosophy.]"From 1490 to 1530, one great intellectual and publisher dominates the scence. Aldus Manutius, who settlede at Venice in 1494, produced during the next twenty years a series of editiones princeps for virtually all the classics Greek authors." [Camb. Hist. of Reniassance Philosophy.] EDIT 16 on-line cnc 37529 (& 53385). Adams I1. Renouard 77:8. Ahmanson-Murphy 131. Kallendorf/Wells 135. BM STC (Ital.) 338. Marshall II,151. Hoffmann II,389. Casanatense 627. Caillet 5489. Lamoen 32. Cornell, Witchcraft,311. Kristeller, Ficinianum, n2. "Editio superioris." Coumont I1.2. N° de réf. du libraire 17909
Orationes Graeci.] [Greek Text:] Logoi tutoni ton Rhetoron. Orationes horum Rhetorum. Aeschines, Lysi¾, Alcidamantis, Antisthenis, Demadis, Andocidis, Isaei, Dinarchi, Antiphontis, Lycurgi, Gorgi¾, Lesbonactis, Herodis. Item Aeschinis vita, Lysi¾ vita.
Description du livre: Aldus Manutius & Andrea Torresano, Venice: 1513., 1513. Folio. 2 vols. [of 3] in 1. a1[lacks second leaf of Aldus preface and the leaf with instructions to the binder which is missing from virtually all copies] b-m8,n3 [lacks blank n4]; 3a-3i8, 3k10 [Lacks 3k 5.6]. T.p., 3-197,; 162p. Early 20th c. green morocco with the gilt device of Morris Morgan: griffin with laurel wreath; rebacked with title gilt; gilt dentelles; marbled edges; marbled endpapers; bookplates on front paste-down; Bookplates of : Lewis Andrew de la Chaumette F.R.S & F.S.A. (1787-1836); William Hepworth Thompson (1810 Ð1886) was an English classical scholar and Master of Trinity College, Cambridge; Morris H. Morgan (1859-1910) American classicist who taught at Harvard from 1887 until his death. His crest is on the front cover and a long acquisition note in on front flyleaf; Herbert Weir Smyth,bequest to Harvard, (1857 Ð 1937) American classical scholar ; and Houghton Library label (in rear) with deaccession stamp. Stains on first t.p., else a very nice copy with good margins. Aldine anchor devices on t.p.s. Editio Princeps. First Greek Edition. The very important editio princeps of most of the Attic orators, the works of Demosthenes being published previously. It really is one of the most important and beautiful books printed on the famous Aldine presses.Contents:Part1: Aeschines (p.3), Lysias (p. 86), Alcidamas, Anthisthenes and Damades.Part 2: Andocides (p.3), Isaeus (p. 32), Dinarchus (p. 81), Antiphon (p.99), Lycurgus (p. 132), Gorgias (p. 151), Lesbonax (p. 155), Herodes (p. 160)."Ce precieux recueil est une des productions les plus importantes e l'imprimerie Aldine." Renouard.A third volume published a bit later is not present here. The first two volumes are often found together without the third."The art of public speaking was first developed by the ancient Greeks. Greek oration is known from the works of classical antiquity. Greek orators spoke as on their own behalf rather as representatives of either a client or a constituency, and so any citizen who wished to succeed in court, in politics, or in social life had to learn techniques of public speaking. These skills were taught first by a group of self-styled "sophists" who were known to charge fees, to "make the weaker argument the stronger," and to make their students "better" through instruction in excellence. Plato, Aristotle, and Isocrates all developed theories of public speaking in opposition to the Sophists, and their ideas took on institutional form through the development of permanent schools where public speaking was taught. Though Greece eventually lost political sovereignty, the Greek culture of training in public speaking was adopted virtually wholesale by the Romans. " [wkpd] VD16 cnce 37441. Ahmanson-Murphy 112. Adams O244. BM STC 411. Hoffmann III,14. Renouard, 60-62; Kallendorf & Wells 99. N° de réf. du libraire 20171
CARMEN. Revista Chica de Poesía Española. Núms. 1, 2, 3 - 4, 5 y 6-7 (completa). Junto con LOLA. Amiga y Suplemento de Carmen. Núms. 1, 2, 3-4, 5 y 6-7 (completa). Director: Gerardo Diego. Secretario-Administrador: Luis Alvarez Piñer. Depositario: Manuel de la Escalera.
Description du livre: Gijón (aunque Carmen se imprime en Aldus, Santander, y Lola en Tip. de Rodrigo, Sigüenza), 1927. 18x25 y 16x22.2. 7 números en 5 vols.: Carmen 16pp. cada núm.; Lola 8pp. c.n. Camisas originales; cada número en su sobre editorial, dirigido al torrelaveguense Gabino Teira, fundador de la Biblioteca Popular, y amigo de Diego. Fe de erratas encartada en el nº 5. Colaboraciones de Lorca, Alberti, Cernuda, Guillén, Larrea, Diego, Salinas, Villalón, Altolaguirre, Aleixandre, Quiroga Plá, Adriano del Valle, Max Aub, Emilio Prados, etc. (A la luz de la reciente redescubrimiento triunfal de la obra de Luis Alvarez Piñer, secretario de la revista, esperemos que su otro colaborador principal, el cineasta y escritor Manuel de la Escalera, consiga su merecida revindicación tras largos años de carcel y olvido.) Rarísima colección completa de esta, con Litoral, la mejor de las legendarias revistas del 27, y encima buenos ejemplares, con sus sobres editoriales. Envíos para España: el pago contra reembolso conlleva un recargo de 2 Euros. N° de réf. du libraire 50.15
Description du livre: The Aldine Press;, Venice, 1540. Hardback. État : fine. 1st. Edition. M. TULLII CICERONIS EPISTOLAE FAMILIARES BY MARCUS TULLIUS CICERO; PAOLO MANUZIO by M. Tullii Ciceronis Epistolae familiares by Marcus Tullius Cicero; Paolo Manuzio VG.Printed inVenetiis, Aldus, The Aldine Press;-1540, small8vo,reboundby Grolier, in full leather, Very Rare This Edition. Small 8vo. Book istight, With Printer's device on title & throughout, profuse cont. m/ss notes in parts, lacks rubricated initials, Raised Bands to spine, a very Scarce Book, a good example of early printing. N° de réf. du libraire 291
TERZE RIME (Lo 'Nferno E'L Purgatorio E'L Paradiso Di Dante Alaghieri) [bound with Petrarca:] SONETTI E CANZONI In Vita Di Madonna Lavra
Description du livre: Venice in Aedib. Aldi. Accuratissime men. [and] dAldo Romano 1502 [and] 1514, 1514. Two books bound as one volume. The first Aldine printing of The Divine Comedy and the first Dante in Aldine "pocket book" (8vo) format, bound with the fine Aldine printing of Petrarca. ONE OF THE EARLIEST POCKET BOOKS EVER PRINTED AND THE BEGINNING OF ALDUS' GROUNDBREAKING INTRODUCTION OF THIS NEW STYLE IN PRINTING AND PUBLISHING. ONE OF THE GREAT BOOKS IN THE HISTORY OF PRINTING. With the famous Aldine anchor device on the final leaf of Petrarca. 8vo (146 mm x 95 mm), beautifully bound in full correct period style by Apparuti of Modena in full Italian calf, the spine stamped in ornate blind between tall gilt stippled bands, the covers paneled in blind and gilt and with inner and outer corner-pieces, the upper board lettered in gilt. In all a fine binding in appearance much like one that would have been original to an Italian volume of this time. (244ff) a1-z8 (l2 blank present) A1-H4; (207ff) a2-z8, A1-C8 (A8 blank present). A well preserved copy with some interesting period marginal notations and bracketing in an antique hand, occasional mellowing or typical evidence of age. The Petrarca is complete but for the non-textual a1 introductory leaf, which has been replaced in facsimile. One leaf contains a stanza of text censored but readable. The Dante volume is complete and the binding is fine and handsome. RARE AND IMPORTANT AND ONE OF THE GREAT BOOKS IN LITERARY AND PRINTING HISTORY. The first Aldine printing of Dante's Divine Comedy; the first edition of Dante to appear in a more handy, portable format (all previous editions were folios). According to Brunet, this is a much sought-after edition, and copies are difficult to find in complete and desirable condition. This book for all intents and purposes inaugurated the beginning of literary publishing by Aldus and which allowed for books to become available to the general public. The Aldine printing of Dante is a book of the greatest importance. Bound with the Dante is a very early issue of Petrarca's Canzoni and Sonetti. Petrarca, like Dante was one of the four greatest writers in all Italian literature, Along with Tasso and Ariosto, the four form the cornerstones of Italian literature and language. "Dantes theme, the greatest yet attempted in poetry, was to explain and justify the Christian cosmos through the allegory of a pilgrimage. To him comes Virgil, the symbol of philosophy, to guide him through the two lower realms of the next world, which are divided according to the classifications of the Ethics of Aristotle. Hell is seen as an inverted cone with its point where lies Lucifer fixed in ice at the centre of the world, and the pilgrimage from it a climb to the foot of and then up the Purgatorial Mountain. Along the way Dante passes Popes, Kings and Emperors, poets, warriors and citizens of Florence, expiating the sins of their life on earth. On the summit is the Earthly Paradise where Beatrice meets them and Virgil departs. Dante is now led through the various spheres of heaven, and the poem ends with a vision of the Deity. The audacity of his theme, the success of its treatment, the beauty and majesty of his verse, have ensured that his poem never lost its reputation. The picture of divine justice is entirely unclouded by Dantes own political prejudices, and his language never falls short of what he describes." PMM. N° de réf. du libraire 25575
Description du livre: (On colophon-leaf:) Haguenau, in aedibus Thomae Badensis, 1521). Small folio. Beautiful full calf binding over wooden boards. Recently rebacked. Beautiful blindstamped ornamental borders to boards and remains of clasps, ties missing. A few smaller wormhols to boards, and two drilled holes of ab. the same size to lower part of front board (for a chain?). Ornamented incunable-leaves with red and blue initials used as pasted-down end-papers. Front free end-paper soiled, with neat 19th century inscription (stating editions of the work), and with a beautiful large, engraved armorial book-plate (Collection of Bryan Hall). First leaf with a larger damp-spot to lower part (not affecting any text). Otherwise a very nice copy with only some minor light marginal soiling, a small dampstain to lower inner corner of last ab. 8 leaves, far from affecting text, and a bit of light spotting to a few leaves towards the end. Beautiful large woodcut printer's device to last leaf. (1) f., 776 columns (i.e. 388 pp/ 194 ff.), (1 - colophon) f. The rare 3rd edition of Hesychios' extremely important Greek dictionary, one of the most important works of philology and linguistics ever printed, this edition constituting the first Greek work to be printed in the famous Renaissance printing-city of Hagenau/Haguenau (in Alsace).The first edition of the work was printed by Aldus in Venice in 1514, and in 1520 a re-impression appeared. The present third edition, edited by Marcus Musurus and printed after the edition of 1514 of Aldus Manutius, constitutes the second re-impression of the work, but it is the first to be printed in Hagenau and the first by the notable printer Thomas Anshelm, who had settled in Haguenau in 1516, being the first to seriously rival Henry Gran here. Anshelm is regarded as one of the most important printers of what we now call the Humanist period of the Renaissance. All three editions are rare and important.Hesychios of Alexandria was a highly important grammarian and lexicographer, whose only surviving work is the present lexicon of unusual and obscure Greek words, the richest of its kind ever. It is assumed that the work was executed by Hesychios during the 5th century. The work is extraordinary in that it constitutes a huge and unique listing of peculiar Greek words and phrases, with explanations and often references to the originator or place of origin. As such, the work is of the greatest value to the both the student of Greek dialects as well as for the ongoing work of restoring the texts of classical authors, for which the present lexicon it still an indispensible tool. But Hesychios' work is not only of the utmost importance to Greek philology, it is also a main work in the study of lost languages and obscure non-Greek dialects (e.g. Thracian and ancient Macedonian). Furthermore, the work was instrumental in the reconstruction of Proto-Indo-European, one of the most, if not THE most, important philological tasks ever. Only in the late 18th century did Jones determine the connection between the Indo-European languages, thereby founding comparative philology. Only a very corrupt manuscript, from the 15th century, of the work survives, and it is this manuscript that Marcus Musurus used as the basis for the first printing of the work by Aldus in 1514. As stated, two re-impressions (with modest corrections) appeared of this Aldus-edition (ours being the second), and since then no complete comparative edition of the manuscript has been published, bestowing on these three scarce early editions a huge importance. A modern edition of the seminal work has, however, been in intermittent publication since 1953. The editor of the last wolume states the following about Hesychios' Lexicon: "Hesychius of Alexandria lived in the fifth century A.D. and compiled a dictionary of unusual or difficult Greek words with explanations in Greek. Approximately 51,000 entries make it the richest surviving Greek lexicon compiled until the invention of printi. N° de réf. du libraire 42911
Sylvarum libri quinque. Thebaidos libri duodecim. Achilleidos duo. [Together with:] (Marcus MUSURUS), Orthographia et flexus Dictionum Graearum omnium apud Statium cum accentib(us) et generib(us) ex variis utriusque linguae autorib(us).
Description du livre: Aldus Manutius,, Venice, 1502. 2 parts in 1 volume. Old vellum with red morocco title label on spine, lettered in gold: 'Statii et Pontani opera Aldus 1502. 1503' (The Pontano apparently later taken out of the binding and replaced by blank leaves), blue painted edges. With Aldus' printer's device at the end of the Orthographia; printed in italics; some Greek words. 40, 256 ll. Important Aldus edition of the collected (three) works by Publius Papinius Statius (ca. 45-96), a Roman poet of the Silver Age of Latin literature born in Naples, also known for his appearance as a major character in the Purgatory section in Dante's he Divine Comedy. This edition is the first Aldine and pocket edition of Statius' works.The book opens with the ethymological dictionary of the Greek words used by Statius (Sometimes these 40 lvs. are bound at the end): Title, letter by Aldus to Marcus Musurus (ff. a1v-a2r), 'Orthographia' (ff. a2v-e4v), Aldus lectori and errata (ff. e5r-e7v), Aldus' printer's device (f. e8r (verso blank).The 'Sivarum libri quinque' are on ff. a1r-i7v (f. a1v: letter by Aldus to Joannes Pontanus; i8 blank); the 'Thebaidos libri duodecim' on ff. k1r-G3v (on f. G4r the 'Register', including the collation of the Achilleidos and the anathema 'Ne quis hoc impune queat imprimere cautum est'); the 'Achilleidos libri duo' are on ff. A1r-C3v; on f. G4r the impressum (August 1502) and 'Cautum est et in hoc, ut in caeteris'. Some dampstains. Good copy. Adams S-1670; Machiels S-539; Renouard, p. 35, nr. 7; STC Italian 646; UCLA 61. N° de réf. du libraire C4KFXNNFMRTG
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