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Omnia opera [in Greek].: PLATO

PLATO

Published by Venice, Aldus Manutius and Andreas Torresanus, September 1513 (1513)

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Item Description: Venice, Aldus Manutius and Andreas Torresanus, September 1513, 1513. 2 parts in one vol, folio (292 x 192 mm), ff 488 [including the two blanks, 2/4 and ii4] paginated [xxxii] 502 [2, blank]; 439 [1], Greek type [with some Roman, i.e. on Greek and Latin title, Aldus' dedication to Pope Leo X, Latin table of contents, Greek and Latin colophon], initial spaces with printed guide letters, Aldine device on title and colophon; some marginal waterstaining on corners of first ten and last 20 leaves, not affecting text, otherwise a remarkably clean copy, bound in red morocco for King Charles II by Samuel Mearne, sides with gilt filleted panels with crowned royal cypher at corners, gilt panels on spine with same cyphers, 'C.[arolus] II. R.[ex]' at foot of spine, gilt edges, old repair to head and tail of spine, joints a bit rubbed, in a red-morocco-backed box. £165,000Editio princeps of Plato's Dialogues and of the other works contained, a magnificent copy bound for King Charles II by the Royal binder Samuel Mearne. Plato's dialogues and other writings are the foundation texts of Western philosophy and science and central to the intellectual development of the West. As Alfred North Whitehead remarked, all of Western philosophy can be regarded as 'a series of footnotes to Plato'.Besides the texts of Plato, the edition includes Timaeus Locrus, a Hellenistic paraphrase of the Timaeus, and Diogenes Laertius's Vita Platonis (in Greek) from Plutarch's Lives and sentences of the Philosophers.This work was edited by Marcus Musurus (ca 1470-1517), working closely with Aldus. Musurus apparently utilised manuscripts belonging to Cardinal Bessarion, along with others. Aldus dedicated this work to Pope Leo X.Charles II, upon his restoration to the throne in 1660, appointed Samuel Mearne (1624-83) Bookbinder to the King. Samuel, along with his son Charles, bound over 700 volumes for the Old Royal Library (later incorporated into the British Museum Library).Provenance: Charles II, King of England (1630-1685); British Museum, with eighteenth-century stamp 'Museum Britannicum', and 1804 duplicate stamp on title; early 1800s engraved Lowndes bookplate; tipped in note regarding the Aldine Plato sold at the Sunderland sale in 1882 for £31 but probably not referring to this copy; bookplates of Henry Arthur Bright (1830-1884) and his son Allan Heywood Bright (1862-1941)Adams P1436; Ahmanson-Murphy 97; Norman 1714; Renouard 1513.1 (62.4). Bookseller Inventory # 3879

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Varia Opera Mathematica accesserunt selectae quaedam eiusdem: FERMAT, Pierre de.

Item Description: Hard cover. Woodcut vignette on title, two engraved headpieces, five folding engraved plates, & woodcut diagrams in the text. 6 p.l., 210, [3] pp. Folio, early 19th-cent. half red morocco & red boards (minor browning), flat spine gilt. Toulouse: J. Pech, 1679. First edition, and now rare on the market; this copy belonged to Dominique François Jean Arago (1786-1853), the great French scientist who made important contributions to astronomy, electro-magnetism, and optics (see D.S.B., I, pp. 200-03). This book, Fermat’s only substantial publication apart from his edition of Diophantus (both prepared and published posthumously by his son), contains the majority of Fermat’s mathematical work. Included are Fermat’s important researches on analytic geometry, developed concurrently with, but independently of, Descartes, as well as his method of maxima and minima, based upon which some have proclaimed Fermat the true first discoverer of the differential calculus. It also includes the first printing of Fermat’s important correspondence with Pascal which founded the modern theory of probability. There is also correspondence with other contemporary mathematicians, including Mersenne, Roberval, Wallis, Digby, and Gassendi. Although Fermat published practically nothing during his lifetime, his work was freely communicated to others in correspondence and was profoundly influential. Descartes and Pascal notwithstanding, many scholars regard Fermat as the greatest of all 17th-century French mathematicians. Fermat (1601-65), was shy of publicity and reluctant to communicate his findings. As a result, his discoveries remained comparatively unappreciated until the 19th century when they catalyzed the development of modern algebra. The title-page is in Horblit’s second state (no preference), while leaves a2 and e2 are in his first state (no preference). The rare portrait of Fermat, not present here, was also not found in the Horblit, Honeyman, or Norman copies. A small minority of copies have the portrait; it was printed in a much larger format than the book and was probably intended only for large paper copies, of which a few survive (e.g. one of the two BL copies). A very good and crisp copy. With the signature of Arago on the title-page (his sale, Paris, 1854, lot 824 "in-f. dem. m. r.") and with a slightly later note of an English collector "From the Library of F. Arago, H.S." ? Dibner, Heralds of Science, 108–"The above, published after his death, first presented his work and correspondence." En Français dans le Texte 115. Evans, Exhibition of First Editions of Epochal Achievements in the History of Science (1934), 6. Horblit 30–"Fermat is considered the father of the modern theory of numbers, and herald of differential calculus and analytical geometry.". Bookseller Inventory # JHABES3105

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Opera, quae quidem extant, omnia.: ARCHIMEDES of Syracuse.

ARCHIMEDES of Syracuse.

Published by J. Hervagius, Basel (1544)

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Item Description: J. Hervagius, Basel, 1544. First edition. An outstanding copy, in untouched contemporary binding, of the first complete edition of the greatest classical work on mathematics and physics - fully complete with both Latin and Greek text. Prior to this edition only two small tracts in Latin translation (1501 and 1503) and a partial translation (1543) had appeared. The publication of the present edition marked a decisive step forward in the history of mathematics in that it made Archimedes’ knowledge and sophisticated techniques readily available for study. "Archimedes – together with Newton and Gauss – is generally regarded as one of the greatest mathematicians the world has ever known, and if his influence had not been overshadowed at first by Aristotle, Euclid and Plato, the progress of modern mathematics might have been much faster. As it was, his influence began to take full effect only after the publication of this first printed edition which enabled Descartes, Galileo and Newton in particular to build on what he had begun." (PMM). PMM 72; Evans 2; Grolier/Horblit 5; Dibner 137; Sparrow 9; Norman 61; Honeyman 132.The present edition includes Archimedes’ works On the sphere and cylinder, On the measurement of the circle, On conoids and spheroids, On spirals, On the equilibrium of planes, The sand-reckoner, and On the quadrature of the parabola. "Anticipating the invention of the integral calculus, Archimedes applied a rigorous geometrical technique to the mensuration of curved lines, areas, and solids [his ‘method of exhaustion’]. In particular, he evaluated the circumference and the area of a circle (involving a close approximation to p), the areas of a sphere, a parabolic segment, and spiral, and the volumes of a sphere, a cylinder, and various conoids. Archimedes reduced statics to a rigorous propositional discipline comparable to what Euclid had made of geometry. He determined the centres of gravity of the simpler plane and solid figures, and he rigorously derived from first principles the law of the lever, covering the case where the arms are incommensurable. He founded hydrostatics by establishing that a body floating in a fluid displaces a weight of the fluid just equal to its own weight [his law of buoyancy]" (BDAS)."One of Archimedes’ greatest achievements was his calculation that the area of the surface of a sphere is four times that of the great circle of the sphere and that the volume of the sphere is two thirds the volume of its circumscribed cylinder. In the Arenarius, or ‘Sand-reckoner’, he invented a system of numeration by which he could express any number however large, e.g., the number of grains of sand which could be contained in a sphere the size of the universe. He constructed many machines, a planetarium, burning mirrors, a ship-launching mechanism, etc. In the Arenarius he quotes a passage from Aristarchus which is the earliest evidence we now have that the latter had conceived the heliocentric system long before Copernicus." (PMM)."The manuscript from which the Greek text was printed, now Nuremberg, Stadtbibliothek, MS Cent. V app. 12, had been acquired in Rome by the German humanist Willibald Pirckheimer, to whose circle Venatorius belonged. The source of this text was a 9th-century Greek manuscript, now lost but known to scholars as manuscript A, which had been used in the 13th century by William Moerbeke for his Latin translation of the works of both Archimedes and Eutocius.The translation printed in the present edition was a new one produced in the 1450s by Jacopo da Cremona, who worked under the auspices of Pope Nicholas V. This was made directly from the text of manuscript A, with consultation of Moerbeke’s older Latin version. The pope sent copies to Nicholas of Cusa, whose work De mathematicis complementis was written in response to it, and to Bessarion. Bessarion’s manuscript was copied and corrected by. Regiomontanus, with reference to a copy of the Greek manuscript A also owned by Bessarion. Regiomontanus, who recognized the mat. Bookseller Inventory # 3893

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HIPPOCRATES.

Published by Venice, Aldine Press, May (1526)

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Item Description: Venice, Aldine Press, May, 1526. Folio, ff. [6], 233, [1], the Aldine device on title and verso of last leaf, Greek type; title with some very slight marginal dustsoiling; eighteenth-century French mottled calf, gilt spine, brown morocco label.a superb copy of the first edition in the original greek of the hippocratic corpus.Assembled in the third century B.C., this collection includes the Hippocratic Oath and many of the foundation texts of western medicine, traditionally attributed to the legendary physician and teacher Hippocrates of Cos. 'It is uncertain which of them, if any, are directly connected with the historical physician Hippocrates of Cos, who flourished in the latter half of the fifth century B.C. Through the writings attributed to him Hippocrates is credited with developing the first system of empirical medicine based on clinical experience, and the Hippocratic Oath has long been regarded as expressing the fundamental ethical and moral standards of the medical profession' (Grolier, Medicine p. 3). The text was edited by Francesco Torresani, using a fifteenth-century manuscript now in Paris (BNF MS gr. 2141), with corrections provided by a second manuscript which belonged to Cardinal Bessarion (Venice, Bibliotheca Marciana MS gr. 269). This edition, comprising 59 works, includes some that were not included in the Latin translation by Marco Fabio Calvo published the previous year in Rome. 'The Aldine Greek edition of Hippocrates marked a significant advance over Calvus's Latin translation. As Franciscus Asulanus [Francesco Torresani] pointed out in his notice to the reader, it repaired a considerable number of accidental omissions and one long repetition that Calvus . made because he followed only one manuscript. Moreover, by presenting the original text, it laid the necessary foundation for all further philological and medical study of the corpus' (ibid).Adams H563; Durling 2316; Grolier, Medicine 1B; Stillwell 405 (with a detailed listing of contents) and 656; Norman 1077; Osler 142; Wellcome 3173.S435. Bookseller Inventory # S435

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HIPPOCRATES

Published by Venice Aldine Press 1526. (1526)

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Item Description: Venice Aldine Press 1526., 1526. Hardcover. Book Condition: Fine. Folio, (6), 233, (1) ff., the Aldine device on title and verso of last leaf, Greek type. Bound in eighteenth-century French mottled calf, gilt spine, brown morocco label. Title with some very slight marginal dustsoiling, else excellent. A fine and fresh copy of the editio princeps of the Hippocratic corpus, a collection of texts assembled in the third century B.C., including the Hippocratic Oath and many of the foundation texts of western medicine, traditionally attributed to the legendary physician and teacher Hippocrates of Cos. "It is uncertain which of them, if any, are directly connected with the historical physician Hippocrates of Cos, who flourished in the latter half of the fifth century B.C. Through the writings attributed to him Hippocrates is credited with developing the first system of empirical medicine based on clinical experience, and the Hippocratic Oath has long been regarded as expressing the fundamental ethical and moral standards of the medical profession" (Grolier, Medicine p. 3). The text was edited by Francesco Torresani, using a fifteenth-century manuscript now in Paris (BNF MS gr. 2141), with corrections provided by a second manuscript which belonged to Cardinal Bessarion (Venice, Bibliotheca Marciana MS gr. 269). This edition, comprising 59 works, includes some that were not included in the Latin translation by Marco Fabio Calvo published the previous year in Rome. "The Aldine Greek edition of Hippocrates marked a significant advance over Calvus’s Latin translation. As Franciscus Asulanus [Francesco Torresani] pointed out in his notice to the reader, it repaired a considerable number of accidental omissions and one long repetition that Calvus. made because he followed only one manuscript. Moreover, by presenting the original text, it laid the necessary foundation for all further philological and medical study of the corpus" (ibid).* Adams H-563; Durling 2316; Grolier, Medicine 1B; Stillwell 405 (with a detailed listing of contents) and 656; Norman 1077; Osler 142; Wellcome 3173. Bookseller Inventory # 3111

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Item Description: The collection has been assembled over a period of some 50 years by Dr. Cowden, a meticulous collector and recognized scholar in the field. He is the author two extensive musical bibliographies, the "Classical Singers" cited above and "Concert and Opera Conductors: A Bibliography of Biographical Materials" (Greenwood Press, 1985). Please note that this collection is being offered en bloc only; individual titles are not available for sale. An important and comprehensive collection. This outstanding collection consists of just over 1,050 biographies of 391 singers in all vocal categories. There are approximately 1,150 volumes dating from the late 18th to the beginning of the 21st centuries, many in their original wrappers or dustjackets, quite a few autographed, and some in limited editions. A number of items in the collection are not held in either the Library of Congress or the British Library; where copies are held, many of the items in the present collection have been determined to be in markedly better condition than those in the library collections. The material offered represents approximately 40% of the titles listed in Dr. Cowden's important bibliography, "Classical Singers of the Opera and Recital Stages: A Bibliography of Biographical Materials" (Greenwood Press, 1994). A full inventory is available upon request. Bookseller Inventory # 17583

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Fermat, Pierre de

Published by Toulouse: Jean Pech (1679)

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Item Description: Toulouse: Jean Pech, 1679. Hardcover. Book Condition: Near Fine. No Jacket. 1st Edition. EXTREMELY RARE FIRST EDITION of Fermat's Collected Works, containing the first publication of most of his work. PROVENANCE: the Inner Temple Library, with small ink stamp on title and a few other leaves; English mathematician Francis Maseres's (1731-1824) copy with his signature on front flyleaf and annotations in text. TOULOUSE: JEAN PECH, 1679. Folio, contemporary calf rebacked. With five engraved folding plates; engraved head and tailpieces, diagrams in text. Scarce portrait not present, as often. Occasional light browning and foxing. An excellent copy. Bookseller Inventory # ABE-10765366603

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De Coelo Animato Disputatio. Leonis Allatii amici: LAGALLA, Giulio Cesare.

LAGALLA, Giulio Cesare.

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Item Description: Hard cover. 2 p.l., 44 pp. Small 4to, cont. limp vellum, arms in gilt of Cardinal Francesco Barberini on covers, panelled in gilt with round gilt flower devices in each corner, silk ties gone, a.e.g. [Heidelberg]: G. Vögelin, 1622. First edition, a gift from Cardinal Francesco Barberini to Galileo’s assistant and co-author Mario Guiducci, inscribed on the title-page "Ex dono Illustrissime Cardinalis Barberini — Marij Guiduccij liber est." This is a very rare book; I can locate only six other copies (see below). This copy represents the intersection of some of the most important dynamics of Baroque Rome. Written by Giulio Cesare Lagalla (1571-1624), medical doctor and professor of logic at the Sapienza University, in 1614, the book was seen through the press in Heidelberg by Lagalla’s former student and future Vatican librarian Leone Allacci in 1622. This copy was given by Cardinal Francesco Barberini to Galileo’s co-author Mario Guiducci in 1623. Lagalla was one of eight select friends and fellow investigators present at Galileo’s famous demonstration of his telescope on 14 April 1611 and at Cesi’s dinner in honor of Galileo which followed. Lagalla’s De Phoenomenis in Orbe Lunae Disputatio (1612) is the best record of this historic evening. Despite Lagalla’s fertile and, at times, antagonistic relationship with Galileo, he has frequently been dismissed as a mere Aristotelian. In fact, as the Coelo animato disputatio makes clear, there was nothing traditional or conservative about his work. The tract was based on an oral dispute organized by the head of the Accademia dei Lincei, Federico Cesi, between Lagalla and the theologian Francesco Diotallevi. The subject of the dispute, held in Cesi’s palace in the Borgo Vecchio in Rome, was the vexed question of the nature of celestial movement. Aristotle and Aquinas are the main authorities discussed, but Lagalla also includes references to the anathemas against Origen. The question of whether celestial bodies were moved by some form of soul was part of a larger debate, to which Lagalla devoted much of his life, on the nature of the human soul and its relationship to the body. The idea that the motions of heavenly bodies required constant intervention from an intelligence within the bodies themselves sat uneasily both with traditional Aristotelian and Christian cosmologies. Lagalla was absolutely aware of the dangerous nature of his ideas is evinced by documentation surrounding this book. In March 1620, he wrote to Galileo, saying: "I am about to have my work De Immortalitate animorum ex Aristotelis sententia printed, along with many other pieces of philosophy, among which there is where I show that the heavens are moved by an active soul (anima informante), not merely following the dogma of Aristotle, but also according to the true philosophy, so greatly reviled by the aforementioned [Jesuit] fathers, and deemed by them to be either erroneous or at least rash as a matter of faith. However, by the grace of God, it has been approved by the Holy Office of Rome as an opinion that, without the slightest scruple of error, may be held and published. Everything will be printed in the Stamperia Camerale, and as soon as they are finished I’ll send you the books in your honor."–OG, XIII, 26, 6th March 1620, Lagalla (Rome) to Galileo (Florence). Lagalla shared with Bellarmine a dissatisfaction with traditional cosmologies, and denied some of Galileo’s conclusions in the Sidereus Nuncius. In 1612, he published with the same printer an attack on Galileo’s analogy between the terrestrial and lunar worlds, which he saw as tending towards Giordano Bruno’s heresies. Lagalla’s arguments on the moon and on the nature of light were taken seriously enough by Galileo for him to prepare a response: his heavily annotated copy of Lagalla’s De Phoenomenis in Orbe Lunae Disputatio (1612) is included in Antonio Favaro’s national edition of Galileo’s works. Far from being a staunch Aristotelian, Lagalla was a supporter of Gal. Bookseller Inventory # JHABES4765

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Opera per doctissimum Philosophum Ioannem Baptistam Memum: APOLLONIUS OF PERGA
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Item Description: Bernardinus Bindonus, Venice, 1537. First edition. Very rare editio princeps of Apollonius’ Conics, the basic treatise on the subject, "which recognized and named the ellipse, parabola, and hyperbola" (Horblit 4, on the later edition of 1566). This is one of the three greatest mathematical treatises of antiquity, alongside those of Euclid and Archimedes. This first edition is very rare, preceding by 29 years the Commandino edition of the same four books canonized by Horblit (and taken over by Dibner and Norman), and this first edition is known to have been used by Tartaglia, Benedetti and, however critically, Maurolico (see Rose). Books I-IV were the only ones to survive in the original Greek; Borelli discovered Arabic versions of books V-VII and published them, in Latin translation, in 1661. "Apollonius (ca. 245-190 BC) was the last of the great Greek mathematicians, whose treatise on conic sections represents the final flowering of Greek mathematics" (Hutchinson’s DSB, p. 16).Apollonius synthesized the work of his predecessors as well as contributing new methods and techniques of his own. "For a modern reader, the Conics is among the most difficult mathematical works of antiquity. Both form and content are far from tractable. The author’s rigorous rhetorical exposition is wearing for those used to modern symbolism. Apollonius has, in a way, suffered from his own success: his treatise became canonical and eliminated its predecessors, so that we cannot judge by direct comparison its superiority to them in mathematical rigor, consistency and generality. But the work amply repays closer study; and the attention paid to it by some of the most eminent mathematicians of the seventeenth century (one need only mention Fermat, Newton and Halley) reinforces the verdict of Apollonius’ contemporaries, who, according to Geminus, in admiration for his Conics gave him the title of The Great Geometer. "The first real impulse towards advances in mathematics given by the study of the works of Apollonius occurred in Europe in the sixteenth and early seventeenth centuries. It is hard to underestimate the effect of Apollonius on the brilliant French mathematicians of the seventeenth century, Descartes, Mersenne, Fermat, and even Desargues and Pascal, despite their very different approach. Newton’s notorious predilection for the study of conics, using Apollonian methods, was not a chance personal taste. It was not until Poncelet’s work in the early nineteenth century. revived the study of projective geometry that the relevance of much of Apollonius’ work to some basic modern theory was realized. "Hipparchus and Ptolemy absorbed his work and improved on it. The result, the Ptolemaic system, is one of the most impressive monuments of ancient science (and certainly the longest-lived), and Apollonius’ work contributed some of its essential parts" (DSB I 97-99). The text was passed down by Eutocius, a Byzantine mathematician of the Justinian period, and translated from the Greek by Giovanni Battista Memo (1466-1536), Public Professor of Mathematics at Venice. A patrician who held a number of important government posts, he was instrumental in establishing the mathematical chair of which he became the first occupant in 1530. This is his principal work, published just a year after his death by his nephew. The Greek manuscript he employed is unknown, though Rose suggests it might have been the one which once belonged to the family of the present work’s dedicatee, Cardinal Marino Grimani. Rose groups Memo with the successors of Valla, Zamberti and Gaurico, who applied the new philology to Greek scientific treatises, especially mathematics. Only five copies located in America (Harvard, Louisville, MIT, UNC, Yale). Brunet I.347; Essling II.667-8; Riccardi I 247 (‘raro libro’); Sander 480; Stillwell II.139; not in Adams; Heath, T.R., Apollonius of Perga: Treatise on Conic Sections (Oxford, 1896); Horblit 4, Dibner 101 and Norman 57 for the Commandino edition of 1566; P.L. Rose, The Italian Renaissance of Mathe. Bookseller Inventory # 3075

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Opera d'Architettura ossia progetto sul foro che: ANTOLINI, Giovanni (1756-1841)

ANTOLINI, Giovanni (1756-1841) - SANQUIRICO, Alessandro (1777-1849).

Published by Milan: Fratelli Bettalli, [1814]. (1814)

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Item Description: Milan: Fratelli Bettalli, [1814]., 1814. Folio (20 6/8 x 17 inches). Engraved vignette of the Foro Bonaparte on the title-page, 14 MAGNIFICENT double-page sepia aquatints plates by Antolinini, Sanquirico and others, and 10 uncoloured double-page engraved plans and aquatints. Contemporary marbled paper boards (rebacked with blue cloth in the 19th-century, worn). Provenance: acquired from Marlborough Rare Books, 1973 by Arthur and Charlotte Vershbow, their sale, Christie's 19th June 2014, lot 113. First edition, issued by subscription. A superb collection of Antolini's designs for the Foro Bonaparte, a grandiose plan to modernise the Castello Sforza, Piazza del Castello, Piazza d'Armi during Napoleon's occupation of Italy. Napoleon had first entered Milan on May 15 1796, by the end of June, the ancient Castello Sforza was under French rule. Napoleon decided to restore and improve the old fortress in spite of local Milanese opposition who wished to see the remains of old tyranny destroyed. In April 1799, Milan was back under Austrian and Russian rule, but on June 14 1800, Napoleon defeated the Austrian army in Marengo, and Milan was proclaimed capital of the Cisalpine Republic. Again, "the castle was used as a barracks and was further damaged. The Ducal Chapel was transformed into a stable, the Ducal Apartments used as a dormitory and the frescos painted during the Sforza period were covered in lime. At the beginning of the 19th century, the population exulted as the old Spanish ramparts were demolished. Great architects such as Luigi Canonica and Giovanni Antolini were called in to redesign the big area in front of the deteriorated Sforza Castle. Antolini designed a circular square with a diameter of about 570 meters. In it were classic-design public buildings (e.g. the Pantheon, the National Museum). Around it were arcades with warehouses, stores and private buildings. This square was named Foro Bonaparte. In the middle of the Foro survived the Sforza Castle, which became the residence of the Government. On one side, the Foro Bonaparte faced the city. The other side opened on a big square in the way to Parco Sempione and Paris. However, after April 1801, the project was set aside and the whole area underwent gradual changes, which led to transform it into a vast square (700x700 meters) called Piazza d'Armi" (Castello Sforzesco online). The extraordinary aquatints include images of the entire square, the Foro Bonaparte, the Faciata Princepale, Barriera Sempione, Faciata del Terme, Spaccato dei Bagni, Spaccato delle Sala delle Terme, the Facciata del Pantheon, Teatro, Borsa, et Museo, the Spaccato del Pantheon, Spaccato per is lungo del Teatro, Spaccato dell Borsa - Facciata posteriore, Spaccato del Musea, Spaccato della Logaria, Facciata, e Spaccato di una delle S. Sale di Publica Istruzione, and the "Monumento decretato dalla commissione provisoria di Governo li 5. Messidoro an.o 8° era francese, per eternare la memoria dell'eroe Bonaparte ; scelto dalla commissione degli artisti istituita per il giudicio del concorso ; e destinato da erigersi nel Foro-Bonaparte in Milano". Antolini is best remembered for his work in the Piazza San Marco, Venice. Berlin Kat. 2649. The first of the large double-page aquatints is an early example of the work of Allessandro Sanquirico, architect, decorator, restorer, inventor, and practiced artist of perspective and lighting, and the chief scenic artist and stage designer at La Scala from 1817 to 1832. While there he instigated a new aesthetic of stage design that was to become indissolubly associated with the art of 19th-century grand opera, and which continued to influence operatic set dressing well into the 20th-century. Sanquirico recorded all of his major stage designs in a series of meticulous aquatint engravings and disseminated them throughout Europe. They were often copied, and so were a major vehicle of his influence, which extended even to fashions in furniture, interior decoration, and clothing. For more information about thi. Bookseller Inventory # 72lib1182

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Opera: HORACE

HORACE

Published by Germany Johann (Reinhard) Grüninger (1498)

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From: Heritage Book Shop, ABAA (Beverly Hills, CA, U.S.A.)

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Item Description: Germany Johann (Reinhard) Grüninger, 1498. The First Illustrated Edition of Horace HORACE. Opera cum quibusdam annotationibus [of Jacob Locher]. Strassburg: Johann (Reinhard) Grüninger (misspelled Gürninger), 12 March 1498. First illustrated edition of Horace and the first edition printed in Germany. Edited by the poet Jacob Locher, called Philomusus (1471-1528). It is also the first edition based on German manuscript sources, one of which was a ninth-century codex from the monastery of Lorsch. Folio (11 11/16 x 8 5/16 inches; 297 x 210 mm.). 220 leaves ([6], CCVII, [1, blank], [6] leaves). Gothic and roman types. Three columns. Seventy-four lines of commentary on either side of text. With 168 woodcut illustrations from 101 blocks by the Terence Master, put together in various combinations, including some repeats. Capital spaces with guide letters. Initials supplied in red and blue. Woodcut printer’s device (Davies 168) on verso of fol. CCVII. Eighteenth-century paste paper over pasteboard. Spine lettered in manuscript. A few leaves slightly browned, slight dampstaining in the upper corner toward the end, with some minor marginal lossa. Short tear to fol. LXXXIX, affecting foliation and just entering woodcut on recto and just touching two letters on verso, short marginal tear to fol. CLXIX, not affecting text, early paper repairs to blank verso of final leaf. Occasional early ink marginalia, early ink drawing in the margin of fol. CXXXI verso, early ink inscription (crossed out) on fol. CXXXII verso, early ink calculations on fol. [C]XLIX verso and fol. [C]L. Early ink ownership inscription at foot of title and ink inscription, dated 1498, at head of title. Leather bookplate of Eduard J. Bullrich on front pastedown. Early ink annotations on front free endpaper. Overall, an excellent copy. Housed in a black cloth clamshell case. In addition to the importance of the text, the great appeal of the book lies in its remarkable woodcut illustrations. Particularly noteworthy is the large woodcut on the title, representing the author seated at his desk, which recurs at the beginning of each of the subsequent eight books. On fol. 2 is a cut showing the Nine Muses with an enthroned Calliope crowning a kneeling Horace. The dedicatory epistle has the arms and portraits of the dedicatee, the Margrave of Baden, and of the editor, Jacob Locher. Following Locher’s treatise on metrics is a large woodcut showing the poet facing his famous patron Maecenas, with two attendants. The beginning of the second ode has a depiction of Cassius and Brutus stabbing Caesar, wearing an oriental costume, complete with scimitar and turban, as well as the Imperial crown. All of the illustrations show persons and scenes of classical Rome in costumes and surroundings of the fifteenth century. Forty-nine of the blocks were used in Grüninger’s Terence (1496), seven are from Locher’s Libri philomusi (1497), eight are from Brant’s Stultifera navis (1497), six are from the Plenarium (1498), and thirty-one are new. BMC I, p. 112. Brunet III, col. 311. Dibdin, Bibliotheca Spenceriana, II, pp. 87-95. Dibdin, Greek and Latin Classics, II, p. 89. Fairfax Murray, German, 205. Goff H-461. Hain 8898. Harvard/Walsh 182-183. Polain 1989. Proctor 485. Schäfer 167. HBS 66537. $60,000. Bookseller Inventory # 66537

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MESUE, Johannes (Yuhannah ibn Masawaih).

Published by [Colophon:] Impressa Venetiis [Venice:] per Bonetum Locatellum?impensis?Octaviani Scoti? 1495. (1495)

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Item Description: [Colophon:] Impressa Venetiis [Venice:] per Bonetum Locatellum?impensis?Octaviani Scoti? 1495., 1495. Folio (318 x 217 mm.), 332 unnumbered leaves. Gothic type, printed in double columns, 66 lines, floriated woodcut white-on-black initials, numerous initials supplied in red or blue, headings underlined in red, large publisher?s woodcut device at end. Contemporary blind-tooled half pigskin over beech boards, lettered in manuscript on upper cover. Upper joint just cracking, one upper corner chipped, old and almost imperceptible repair to fore-edge of upper board, clasps missing, wormtrack in lower inner blank corner of first dozen leaves then diminishing, otherwise a fine copy in a very well preserved contemporary binding. Old armorial bookplate on upper cover, two later bookplates on front pastedown. Penultimate and most complete of the incunable editions, and the first to include (as listed on the title-page) the commentary of St. John de Armand on the Antidotarium of Nicolas of Salerno, together with his text, one of the most widely recogniszed pharmacopoeias of the Middle Ages. Also included is the Complementum practicae of Francescus Pedemontanus; a commentary on the Canones of Mesuë by Mundinus, Expositio super canones universales; the Expositio super Antidotarium Mesue by Christophorus de Honestis; the Additiones ad practicam of Petrus de Abano on tumours of the breast and diseases of the stomach and liver; and the Compendium aromatariorum of Saladinus of Ascoli, generally considered the first really modern pharmacopoeia. ?The Grabadin [here called the Antidotarium] of Mesuë junior was for centuries the authority on the composition of medicaments. The book was not only in use in practically every European pharmacy but in addition became the basis of the later official pharmacopoeias. The Grabadin is, as Sudhof calls it, ?the pharmacological quintessence of Arabian therapeutics? and contains the entire armamentarium of compounded medicines which we owe to the Arabians. The arrangement is like that of the later pharmacopoeias. The compounded medicines are divided into groups according to their forms ? confections, juleps, syrups, etc. ? the monographs containing directions for the preparation of the respective products and also notes on their medicinal uses? (Kremers & Urdang, History of Pharmacy, pp. 21?22). Klebs 680.14. BMC V, 444. See Garrison, p. 133. Hagelin, Old and Rare Books on Materia Medica, p. 18 (later edition). Bookseller Inventory # 1832

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Machumetis Saracenorum principis, eiusque successorum vitae, ac: Quran].

Item Description: [Basel, Johann Oporinus & Nikolaus Brylinger, 1543]., 1543. Folio (215 x 306 mm). 3 pts. in 1 volume. (28), 230, (10) pp. (8), 178 pp., 1 bl. f., 163 pp. (Bound with) II: John VI Kantakuzenos. Contra Mahometicam fidem christiana & orthodoxa assertio, Graece conscripta, nunc vero Latinitate donata, R. Gualthero interprete. Adiecta est eadem Graeca scripta. Basel, J. Oporinus, 1543. 2 pts. (12), 124, (4) pp. (8), 108, (2) pp. Contemporary half calf over wooden boards, signed and dated "PAZL 1659". First edition of the first-ever printed Quran translation. "The text of this Latin version is based upon an Arabic manuscript acquired by Pierre de Cluny and Bernard de Clairvaux in Toledo in the 12th century. Pierre de Cluny charged the Englishman Robert von Kent, also in Toledo, with translating the ms. into Latin. Four hundred years later, Martin Luther had a copy of this text, and he commissioned Theodor Bibliander to publish it. Apart from this version, Bibliander used three other mss. he had managed to discover. However, the finished print sheets as well as the set type were seized by the Basel authorities on 1 July 1542. Prolonged negotiations ensued, and Oporinus was arrested on 30 August and imprisoned briefly. It was only the emphatic intervention by Luther and Melanchthon that prevented the work from being destroyed. On 7 December, the Basel council permitted the book to be published under the condition that neither the name of the city nor that of the printer be stated. Luther was compelled to contribute a preface, and the book must be sold in Wittenberg only" (cf. Enay). The second part contains a compilation of earlier writings about Islam and the Quran, some printed in Greek and Latin parallel text, including writings by Savonarola and Nicolaus Cusanus. The third part contains writings about the Ottomans, Islam, and Tamerlane's Mongolian invasion. - II: First edition of this discussion of Islamic teachings and the life of Muhammad by Emperor John Kantakuzenos. Both works are rather clean; worming (especially near beginning and end of the volume) has been professionally repaired. Binding somewhat rubbed and bumped as well as wormed. A similar binding is described in the "Festschrift Otto Schäfer", p. 434: both bear the initials of Placidus Hieber, abbot (1640-78) of Lambach monastery and famous not only for the Baroque splendour of his rule, but also for his death (he was poisoned by his cook). Rare: the last copy in the trade was that in the Burrell collection (sold at Sotheby's, Oct 15, 1999). I: VD 16, ZV 18456. Adams M 1889 (?). BM-STC German 479. Graesse IV, 43. Cf. Göllner 1792-93 and Benzing, Luther, 2766-68 (variants); Enay 102 (2nd ed: Basel 1550). - II: VD 16 J 376. Adams J 261. IA 131.339. Göllner 802. Bookseller Inventory # 31974

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OPERA DI M. BARTOLOMEO SCAPPI, cvoco secreto: SCAPPI

Item Description: Michele Tramezzino, Venise, 1570. Demi-veau. Book Condition: Très bon. Ed. originale. 195 x 142 Mm. In-4 de (6) ff. y compris le titre, la dédicace et le portrait de l'auteur, 369 ff., (7), 28 planches numérotées gravées sur bois à pleine page. 3 premiers ff. renforcés à la gouttière, marge blanche extérieure du titre renforcée, trou de vers dans la marge intérieure des 15 derniers ff. sans atteinte au texte, deux des planches ont été légèrement rognées et placées tête en bas par le relieur. Relié en demi-veau avec le dos ancien du XVIIIe siècle réutilisé, tranches rouges. RARE EDITION ORIGINALE DU LIVRE DE GASTRONOMIE ILLUSTRE LE PLUS INTERESSANT DE LA RENAISSANCE. Cet ouvrage prodigieux est l'oeuvre du cuisinier personnel du pape Pie V. Il est dédié à Matteo Barbini, célèbre cuisinier vénitien. C'est le livre de gastronomie italien le plus détaillé du XVIe siècle. L'illustration, du plus haut interet, est composée d'un portrait de l'auteur gravé dans un médaillon et de 28 planches extrêmement détaillées représentant des intérieurs de cuisines avec toutes sortes d'aliments en préparation, ainsi qu'une grande variété d'ustensiles et de meubles de cuisine. Bon exemplaire de ce livre rare, du plus haut intérêt pour l'histoire de la gastronomie, bien complet de toutes ses planches en premier tirage. Simon, Bibliotheca Gastronomica, 1356 ; Graesse, Trésor de Livres rares et précieux, 290 ; Vicaire 771-773 ; Brunet, V, 180-181 ; Mortimer, Italian Books, 467; Wellcome 5811 (pour l'édition datée) ; Oberlé, Les Fastes de Bacchus et de Comus, n°75 (pour l'édition de 1605). ***Rare first edition of the most interesting illustrated gastronomic book from the Renaissance. It's the most detailed Italian gastronomic book from the 16th century. The illustration of the utmost interest is composed of a portrait of the author and 28 detailed plates depicting interiors of kitchens, food being prepared, kitchen utensils and furniture. A good copy of this rare work, of the highest interest for history of gastronomy, complete with all its plates in the first state.***. Bookseller Inventory # CS0188

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Item Description: Basel, Johannes Hervagius, 1544. Folio. (30,5 x 21 cm.). A very handsome set of both volumes, the Latin being in a very nice a bit later full vellum binding with visible bands and handwritten title to spine, the Greek being in an excellently executed recent binding to match, in all making up a very desireable and lovely set. [Greek part:] (8), 139; (4), 65, (3) pp. incl. the last blank. Many woodcut diagrams throughout, and a fine woodcut initial to each section. Title-page with 2 small stamps, and a stamp on verso of title-page. The first 4 leaves very lightly browned, occasionally very light marginal browning. One leaf with loss of a small portion of lower right corner, no loss of text. Otherwise very nice and clean. [Latin part:] (8), 163, (1); 68, (4) pp. Many woodcut diagrams throughout, and a fine woodcut intial to each section. Title-page with old ex-libris-inscription: "Dom. prof. Rom. Soc. Jesu. Catal. miseris. Bibliot. Comun." in neat hand. The first ab. 6 leaves with a dampstain to lower blank corner, not affecting text. A bit of brownspotting throughout, mostly very light, and mostly marginal. The Eutochius-section (last 68 pp.) with a bit more brownspotting. This section is marked with an old vellum-strip, indicating where it begins. All in all very nice. The seminal editio princeps of Archimedes' Opera, constituting the first edition of the original Greek text and the first edition of the Latin text, as well as the first printing of Eutocius' highly important commentaries, also in both Greek and Latin. The magnificent Archmedian princeps constitutes a Renaissance magnum opus that profoundly influenced the development of mathematical thought as well as the Renaissance and early modern concepts and understanding of the universe. It is in the present publication that we find the first printed statement of the Heliocentric world picture."[i]t was not until the late sixteenth century, then increasingly in the seventeenth, that Archimedes' mathematical work began to have formative influence on the development of mathematics.Of exceptional significance for the beginnings of this modern European inheritance and handing-on of the Archimedes legacy were the first edition ("editio princeps"), in 1544, of an almost complete Greek and Latin Archimedes text based on Codex A, with Latin text by Jacob Cremona". (Grattan-Guinness, p. 183) Both parts, i.e. both the Greek and Latin, were printed by Hervagius in Basle, 1544. The edition is edited by Thomas Geschauff, also called Venatorius. Including the Greek text as well as the Latin translation of both Archimedes' text and the highly important commentaries of Eutocios of Ascalon (ab. 500 A.D.), this publication is a cornerstone in the history of Western thought, marking the beginning of the Archimedean renaissance. No incunable-edition of the work of Archimedes appeared, and the present edition is only preceded by small Latin selections from his works in 1503 and 1543. Archimedes, by Plinius called "the God of mathematics", is arguably the greatest mathematician, physicist and engineer of ancient times and one of the greatest geniuses of all times. "There is no one individual whose work epitomizes the character of the Alexandrian age so well as Archimedes (287-212 B.C), the greatest mathematician in antiquity". (Morris Kline). "He gave birth to the calculus of the infinite conceived and brought to perfection successively by Kepler, Cavalieri, Fermat, Leibnitz, and Newton." (Chasles).With the commentaries of Eutocius, Renaissance thinkers read and understood the works of the Great Archimedes, and one dare say that these commentaries influenced the Renaissance as much as Archimedes' work itself. Had it not been for Eutocius' commentaries, we might not have extant all that we have of Aristotle, and it is no coincidence that these commentaries have followed almost all editions of Archimedes ever since their first appearance in print, in 1544. "The accompanying commentaries by Eutociu. Bookseller Inventory # 40220

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GERSON, Jean [eigentlich Jean Charlier aus Gerson (1363-1420)].

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Item Description: Folio (306 x 211 mm). [50] Bl. (Inventarium), [229 + 1 leeres] Bl.; [285 + 1 leeres] Bl.; [359] Bl. (ohne das letzte leere); [307 + 1 leeres] Bl. Zweispaltiger Druck in einer gotischen Type zu je 53 Zeilen. ILLUSTRATION: Mit 5 (4 wiederholten) Holzschnitten mit jeweils der Darstellung Jean Gersons als Pilger, wovon 4 koloriert sowie gold- und silbergehöht. - Beigebunden in Band I: 4 vor Bl. A1 des Inventariums gebundene Bl. mit handschriftl., alphabet. Inhaltsverz. der 4 Teile sowie 8 zwischen Bl. G8 des Inventariums und Bl. a1 des Textes gebundene Bl., wovon 3½ Bl. mit handschriftl. Verzeichnis der Predigten. Ausstattung: illuminierte Initialen auf Goldgrund mit Rankenausläufern und Wappen des Vorbesitzers auf Bl. a2r° von Bd. I, Bl. A3r° von Bdn. II und III; illuminiertes Wappen mit Goldgrund auf Bl. aa2r° sowie illuminierte Initiale auf Goldgrund mit Ausläufern und im Unterrand eine goldgehöhte Blumenrankenbordüre auf Bl. a1r° von Bd. IV. Durchgehend rubriziert mit Lombarden, Satzmajuskeln und Paragraphzeichen in Rot und Blau. - Vereinzelte Marginalien in roter und brauner Tinte und im Oberrand der Spiegel von Bd. I kurze zeitgen. Notizen zum Buchinhalt in brauner Tinte. Nussbraunes Kalbsleder mit reicher Blindprägung auf Holzdeckeln, Rücken auf 3 Doppelbünden, 4 (von 8) Schliessen. Die ersten drei Bände ähnlich gebunden, unter Verwendung des gleichen Stempelmaterials, Band IV abweichend gebunden. - Details siehe Kommentar. Durchgehend in hervorragendem Zustand, stellenweise gebräunt und vereinzelt mit Wurmlöchern, Einbände nur teilweise leicht berieben, Gelenke und Kapitale teils unmerklich angerissen, Rücken von Band IV etwas verwittert und mit Bezugsfehlstellen an Kopf und Fuss. (Strassburg, Johann Grüninger [z. T. mit Typen von Johann Prüß], 3. Juli bis 10. September 1488 [Bde. I-III] und M. Flach d. J. und M. Schürer, 3. März 1502 [Bd. IV]). Vollständig in vier Bänden vorliegendes Prachtexemplar in den ersten Einbänden. Diese erste illustrierte Gesamtausgabe der Werke des Mystikers und Kanzlers der Pariser Sorbonne, Jean Gerson erschien als Höhepunkt und bedeutendste Leistung des Kreises reformgesinnter Strassburger Kleriker um Johann Geiler von Kaysersberg, Peter Schott d. Ae. und Jakob Wimpfeling. Sie blieb mit ihren zahlreichen deutschen und französischen Nachdrucken für über zweihundert Jahre die beste, massgebende und am häufigsten gedruckte Ausgabe der Schriften Jean Gersons, des herausragenden Theologen des 14. und frühen 15. Jahrhunderts. Die drei ersten Bände wurden von Johann Geiler von Kaysersberg und Peter Schott d. Ae. nach mehrjähriger Handschriftensuche zusammen herausgegeben. Auf einer Reise nach Südfrankreich hatte Geiler von Keisersberg bereits 1484 u.a. in Lyon, wo Gerson gestorben war, Handschriften mit Werken Gersons aufgespürt. Weitere Manuskripte liess Schott in Paris durch Johannes Müller suchen. Ein zusätzlicher bedeutender Fortschritt gegenüber der vorausgegangenen ersten Gesamtausgabe (Köln 1473-84) stellt die hier erstmals vorgenommene Einteilung nach sachlichen Gesichtspunkten dar. Sie ermöglicht eine erste grobe inhaltliche Orientierung über die wesentlichen Aspekte von Gersons Schriften. Von Johann Grüninger gedruckt, lagen von den drei Bänden zuerst der zweite am 3. Juli, der dritte am 6. September und der erste am 10. September vor. Weitere Handschriftenfunde veranlassten in der Folge Jakob Wimpfeling dazu, einen vierten Band zusammenzustellen. Der am 3. März 1502 von Matthias Flach und M. Schürer fertig gedruckte Band enthält vor allem die Predigten sowie die neu aufgefundenen und bis dahin unbekannten Traktate Gersons. Die von Wimpfeling gefundenen volkssprachlichen, d.h. französisch verfassten Originalschriften Gersons liess er durch den Freiburger Theologen Johannes Sutter (Brisgoicus), der im Druck aber keine namentliche Erwähnung fand, ins Lateinische übersetzen. Ein fünfzigseitiges 'Inventarium', das zu Beginn des ersten Bandes eingebunden ist, erschliesst als detailliertes Inhal. Bookseller Inventory # B346442

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Item Description: London, Joannis Haviland, 1623 [later altered in manuscript to 1624]. Small folio. Bound in a lovely early 19th century full vellum binding with gilt borders to boards and gilt ornamentations and gilt title-label to spine.Lower front hinge cracked, but bidning still tight. A bit of edge wear, but overall very nice. Woodcut title-vignettes (burning heart) and woodcut initials in beginning. Text within single woodcut borders. (18), 493, (1 - errata) pp. Complete with both title-pages (no final blank). Old owner's name to title page (along with the dates 1624 and 1648), unlegible scribbles to second title-page, and "collated e perfect" in old hand to last leaf. A very nice and clean copy with good margins. The extremely rare first edition of what is arguably Bacon's main work "De Augmentis Scientiarum", in which he sets out to lay the foundations of science entirely anew and reform the process of knowledge for the advancement of learning. Bacon believes that the advancement of learning will ultimately relieve mankind from its miseries and needs, and as such he not only reformed the foundations of science, he also laid the philosophical foundations for the dawning of the Industrial age. His proposed change of the collective thought of mankind completely reshaped the entire course of science in history. The aim of the present work - to investigate and re-classify philosophy and the sciences - marks a turning point in the rhetorical and theoretical framework for science, which is still essential for our conceptions of proper methodology today.The "De Augmentis Scientarum" constitutes a greatly expanded and completely re-written version of the "Advancement of Learning" (1605). The Latin is by William Rawley, in close collaboration with Bacon himself, who oversaw the entire process. When speaking of "De Augmentis Scientiarum" one never refers the incomparable English forerunner of the work (which was only in 2 books as opposed to the 9 of the "De Augmentis Scientiarum"). The first English translation of the "De Augmentis Scientiarum" appeared in 1640 and is translated by Gilbert Wats as "Of the Advancement and Proficiencie of Learning".The "De Augmentis Scientiarum" was intended as Part 1 of Bacon's proposed, but never completed "Instauratio magna" (PMM 119). "Bacon conceived a massive plan for the reorganization of scientific method and gave purposeful thought to the relation of science to public and social life. His pronouncement "I have taken all knowledge to be my province" is the motto of his work. [His] proposal was "a total reconstruction of sciences, arts and all human knowledge. to extend the power and dominion of the human race. over the universe". The plan for this was to be set out in six parts: (1) a complete survey of human knowledge and learning; this was expounded in the "De Augmentis Scientiarum", 1623 (a greatly extended version of "The Advancement of Learning", 1605). Of parts (3) to (5) only fragments were ever published; part (6) remained unwritten." (PMM 119 - the header being "The Advancement of Learning"). Francis Bacon's Great Instauration for learning and the sciences was thus to be introduced by his most important work, the "De Augmentis Scientiarum", which he himself considered the most fundamental for the project that caused him to be considered one of the fathers of modern science. "In "De augmentis scientiarum", which is concerned primarily with the classification of philosophy and the sciences, Bacon develops his influential view of the relation between science and theology. He distinguishes in traditional fashion between knowledge by divine revelation and knowledge by the senses, and divides the latter into natural theology, natural philosophy, and the sciences of man. Having placed his project within the complete framework of knowledge in true Aristotelian fashion, Bacon proceeds to demolish all previous pretentions to natural philosophy. His aim is to lay the foundations of science entirely anew, nei. Bookseller Inventory # 48295

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Anatomia del cavallo, infermita, et suoi rimedii.: RUINI, Carlo

Item Description: Venice, Gaspare Bindoni, 1599, 1599. 2 vols in one, folio (338 x 230 mm), pp. [xxxvi] 295; [iv, including blank] 386 [30, including terminal blank], woodcut devices on titles, titles printed in red and black, with 64 full-page woodcut illustrations, manuscript correction on m1 recto (vol one) as in Mortimer; wormhole in blank margin of several gatherings, only occasionally touching a letter, a few gatherings very slightly browned, overall a very fresh, crisp, unpressed copy in contemporary parchment over pasteboards, spine worn. £30,000First edition, second issue, one of the great rarities in the history of medicine and zoology. It is the first book devoted exclusively to the anatomy of an animal, and is considered comparable to Vesalius' Fabrica, the illustrations of which strongly influenced those of Ruini. 'In thoroughness of treatment and beauty of illustration, Ruini's study of the horse set a pattern in zoological anatomy' (Dibner).'Occupying an isolated position is the splendid monograph on the Anatomy of the horse by Carlo Ruini of Bologna, published posthumously in 1599. It is the product not of a physician, nor of a professional veterinary surgeon, but of a lawyer. Nevertheless, it does for equine Anatomy a similar service to that which the Fabrica of Vesalius had done for human Anatomy; its truly magnificent figures need not fear comparison with those of Vesalius and of Eustachius, by the side of which they may be placed. The text is no less admirable than the figures; the description of the eye, ear, intestines, kidneys, and bladder being especially good. Ruini gives a clear account of the structure of the heart and of the mechanism of the pulmonary circulation. His book is the first devoted to the anatomy of an animal, and is one of the finest achievements of the heroic age of Anatomy' (Singer, The evolution of anatomy, p 153, with three plates reproduced).'At the hands of Ruini the subject of equine anatomy jumped at a single bound from the blackest ignorance to relative perfection, the degree of which it is difficult to exaggerate' (Sir Frederick Smith, The early history of veterinary literature).A total of 15 editions appeared between 1598 and 1769; the original blocks were only used for this first, and were then recut for the 1618 and subsequent editions. This issue differs from the first in having cancel titles dated 1599 and cancel dedication leaf. The remainder comprises the sheets of the Bologna 1598 printing. Bindoni changed the dedicatée from Cardinal Aldobrandini to César, Duke of Vendôme, natural son of Henri IV.Provenance: ownership inscription (crossed out) on title dated 1634; pencil annotation on front pastedown optimistically attributing the illustrations to Titian or Leonardo!Bird 2111; Dibner 186; Durling 3991 (all this issue); Garrison and Morton 285; Mortimer 448; Norman 1858; Cole, History of comparative anatomy p 83 et seq. (with 9 plates reproduced). Bookseller Inventory # 3692

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Opera: EUCLID

EUCLID

Published by Joannes Tacuinus de Tridino, Venice (1510)

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Item Description: Joannes Tacuinus de Tridino, Venice, 1510. Softcover. Book Condition: Very good. THE MOST FAMOUS MATHEMATICAL TEXTBOOK Folio, 240 unnumbered leaves. (10) A-Z8, AA-EE8, FF6, lacking last blank. Theorems in gothic letter, demonstrations in Roman, first two lines of title woodcut with rich gothic decoration, large woodcut device of St. John the Baptist signed BM beneath. First leaf of text printed in red and black with large white on black woodcut border on three sides of putti, mermen, vines vases (taken from the 1504, Legendario delli sancti), printer’s white on black device on verso of last, fine large white on black historiated and floriated initials, outer margins with printed geometrical diagrams on most pages, "nulla virtus sine labore" in contemporary hand in shield on woodcut border, some contemporary marginalia, including a manuscript diagram on B6. Lower outer corner of title a little thumbed, small worm trail in upper blank margin of first few leaves, occasional minor marginal water staining, the odd spot or ink splash. A very good copy, crisp and clean, on thick paper, in contemporary limp vellum, remains of ties, title manuscript on spine, vellum a little creased and stained. A lovely example of a beautiful and important book. "It was a translation into Latin from a Greek text by Bartolomeo Zamberti who claims that he has restored and excluded from the exposition of Theon many things that were ‘subversa et prepostere voluta’ in the version of Campanus. For example, the Pythagorean proposition becomes the 47th of the first book as we know it. Zamberti contributes a long preface on the life of Euclid. The thirteen books of the Elements are followed by the Phaenomena, Specularia etc. The volume itself is a first rate example of the Venetian book of the time. There is an elaborate title-page with the printer’s well known cut of John the Baptist at the foot. The first page of the text has a fine border, and the larger initial letters are a charming set depicting children playing. In 1510, some of the same sheets were reissued with a freshly printed last page. Both issues seem to be among the rarest of early Euclids" Thomas-Stanford pp. 5-6. In fact this issue is entirely reset after gathering O. Zamberti’s was a very significant edition. It was the first publication of a Greek based Latin ‘Elements’ as an integral whole, the Greek text he employed was essentially uncorrupted and it is the first to contain translations of a number of the minor Euclidian works. It may not be as superior to Campani’s recension (the first edition) as Zamberti claims but at least it is free of the errors of the mediaeval copyists. "Euclid's Elements of Geometry is the oldest mathematical textbook in the world still in common use today." Printing and the Mind of Man 25 on first edition. This is a lovely, fresh copy, with wonderfully clear impression of the type and woodcuts of this important work, rare in its original binding. BM STC It. p.238. Thomas-Stanford 5. Essling 284. Sander 2609. Latin. Bookseller Inventory # L1425

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GERSHWIN, GEORGE.

Published by New York: Random House, 1935 (1935)

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Item Description: New York: Random House, 1935, 1935. First Edition; deluxe issue of the piano and vocal score; number 11 of 250 numbered copies signed by both George and Ira Gershwin, Heyward, and director Rouben Mamoulian. Bound in publisher's full red morocco with the original leather labels; spine very slightly darkened; trivial wear; about fine in the original, but seldom present straw-covered slipcase (slightly frayed). With Joan Whitney's bookplate; inscribed to her by George Gershwin on the first page of the score, "For Joan - Admiration - From George G." Joan Whitney Payson, a patroness of the arts, was also one of the founding owners of the Mets. Her brother was a backer of many entertainment ventures, most prominently Gone With The Wind. It seems possible that Gershwin may have courted her support for this, or other productions. A towering and enduring achievement of American music and theater, Porgy & Bess was especially well-served by this tasteful, restrained and elegant book, which is rarely found either in such superb condition or inscribed. Bookseller Inventory # 19949

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LEROUX, Gaston

Published by Bobbs-Merrill, New York (1911)

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From: Between the Covers-Rare Books, Inc. ABAA (Gloucester City, NJ, U.S.A.)

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Item Description: Bobbs-Merrill, New York, 1911. Hardcover. First American edition. Color frontispiece and four striking two-page color illustrations by Andre Castaigne as issued. Contemporary owner name on the front fly, bottom corners a trifle bumped, near fine in a very good example of the exceptionally rare dustwrapper. The jacket has some professional internal repair, and some modest chipping at the spine ends that continues a bit onto the rear panel near the crown. The jacket art repeats the striking Castaigne image of the Phantom descending the staircase of the Paris Opera House, and wraps around onto the spine, and is overprinted in embossed gold. From an older private collection, this was long thought to be the only known jacketed copy (we remember when it last appeared in a catalogue about 30 years ago), but our research has identified two other jacketed copies. One is a variant design with identical text, type, and $1.25 price, but utilizing a different image from the book, while the third known surviving example is the same design as this copy but with significantly more chipping. Housed in a custom cloth clamshell case. Filmed several times, most indelibly with Lon Chaney as the vengeful composer, and in recent decades transformed into a successful musical play, and a less successful musical film. Some modest flaws, but try to find another. A true rarity. See this book in 3D on our site. Bookseller Inventory # 85405

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Titiani Vecelii Pauli Caliarii Jacobi Robusti et: JACKSON, John Baptist

JACKSON, John Baptist (c.1701-c.1780)

Published by J. Baptist Pasquali, Venice (1745)

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Item Description: J. Baptist Pasquali, Venice, 1745. Large folio. (23 1/3 x 18 3/4 inches). Letterpress title page. 24 chiaroscuro woodcuts, each printed in four colours. Expertly bound to style in quarter marbled calf with tips and period Italian patterned paper covered boards, spine with raised bands in eight compartments, red morocco lettering piece in the second compartment, the others with a repeat decoration in gilt Very rare complete set of the twenty-four chiaroscuro woodcuts which make up Jackson's masterpiece: one of the great glories of 18th-century printmaking. Jackson began the Titiani Vecelii. in 1739 with three subscribers, and despite difficulties in obtaining other subscribers due to the outbreak of war in Europe, he managed to complete the twenty-four prints depicting 17 paintings, by 1743, and the work was published in 1745. During the four and a half years Jackson was involved in this project, he included the techniques of embossing in his prints, cut and proofed ninety-four blocks, and brought chiaroscuro forward as a strong alternative to standard engraving as a means of reproducing paintings. In his book of 1754, An Essay on the Invention of Engraving and Printing in Chiaro Oscuro , Jackson comments on his medium; ". there is a masterly and free Drawing [in chiaroscuro], a boldness of Engraving and Relief, which pleases a true Taste more than all the little Exactness found in the Engravings in Copper plates." The set of woodcuts is as follows: 1. The Death of St. Peter Martyr, after Titian, 1739, printed from four blocks in buff, pale greenish gray, brown and dark gray. [Kainen 16]. 2. The Presentation in the Temple (The Circumcision), after Veronese, 1739, dedicated to Charles Frederick Armiger, printed from four blocks in buff, reddish gray, dark gray and dark brown, [Kainen 17]. 3. The Massacre of the Innocents, after Tintoretto, 1739, dedicated to Smart Lethieullier, printed from four blocks in buff, violet-gray, light brown and dark violet-brown, [Kainen 18]. 4. The Entombment, after Jacopo Bassano, 1739, dedicated to Jacob Faccilato, printed from four blocks in buff, light reddish tan, gray and dark brown, slight surface scuff in middle of image. [Kainen 19]. 5. Holy Family and Four Saints, after Veronese, 1740, dedicated to William Windham, printed from four blocks in light gray, light greenish gray, dark greenish gray and dark gray, [Kainen 20]. 6. The Mystic Marriage of St. Catherine, after Veronese, 1740, dedicated to William Windham, printed from four blocks in pale greenish gray, pale violet-gray, medium greenish gray and deep cold gray, [Kainen 21]. 7. The Crucifixion, after Tintoretto, left sheet, printed from four blocks in buff, light brown, gray and dark reddish brown, [Kainen 22]. 8. The Crucifixion, after Tintoretto, center sheet, 1741, dedicated to Richard Boyle, printed from four blocks in buff, light brown, gray and dark reddish brown, [Kainen 22]. 9. The Crucifixion, after Tintoretto, right sheet, printed from four blocks in buff, light brown, gray and dark reddish brown, [Kainen 22]. 10. Miracle of St. Mark, after Tintoretto, left sheet, dedicated to Edward Wright, printed from four blocks in buff, light brown, dark brown and dark gray, [Kainen 23]. 11. Miracle of St. Mark, after Tintoretto, right sheet, printed from four blocks in buff, light brown, dark gray, three tears in image, [Kainen 23]. 12. The Marriage at Cana, after Veronese, left sheet, 1740, printed from four blocks in buff, dark buff, violet-brown and dark brown, [Kainen 24]. 13. The Marriage at Cana, after Veronese, right sheet, 1740, dedicated to Leopold Capell, printed from four blocks in buff, dark buff, violet-brown and dark brown. [Kainen 24]. 14. Presentation of the Virgin in the Temple, after Titian, left sheet, 1742, printed from four blocks in light grayish umber, medium brown, dark gray and dark brown, [Kainen 25]. 15. Presentation of the Virgin in the Temple, after Titian, center sheet, 1742, printed from four blocks in light gray, sienna gray, gray-brown, and dark gray. Bookseller Inventory # 2778

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Hegemon eis tas glossas [graece] id est,: LOCKE, John.) MINSHEU,

Item Description: London: And are to be sold at John Brownes shop, 1617, 1617. Folio (380 × 250 mm) in 2 parts. Contemporary calf, rebacked, relabelled to style, corners repaired. Final text leaf frayed at lower corner with loss of part of border and with hole, but with no loss of text, water-stained, occasional marginal worming, but a good copy. Without the separately printed list of subscribers, double column, first title within woodcut decorative border, with 2 additional dedication leaves to each part not mentioned in the collation given by ESTC, without the final leaf (presumed blank). First edition, John Locke's copy with his ownership inscription and press-mark to the upper inside cover, the usual location for his signature. Minsheu's was the first etymological dictionary of the English language, and only the second etymological dictionary of any modern European language (after the Dutch of 1599). Minsheu spent much of the 1610s seeking funding for its publication, eventually publishing over ten lists of subscribers. (Some authorities claim this to be the first use of subscription publication in England.) Harrison & Laslett's catalogue of Locke's library (2nd ed., 1971) lists this copy in the possession of Miss M. Waller of Oxford. Harrison & Laslett 1997; STC 17944. Bookseller Inventory # 83750

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NICOLAUS DE CUSA

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From: LIBRAIRIE CHAMONAL (Paris, France)

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Item Description: In quibus theologiæ mysteria plurima, sine spiritu Dei inaccessa, iam aliquot seculis uelata & neglecta reuelantur. Præterea nullus locorum communium theologiæ non tractatur. Item In philosophia præsertim in mathematicis, difficultates multæ, quas ante hunc autorem (ceu humanæ mentis captum excedentes) nemo prorsus aggredi fuit ausus, explicantur & demonstrantur. Postremo Ex utroque Iure de maximis Ciuilibus & Eccleciasticis rebus consilia & responsa dantur: Et inextricabiles causæ deciduntur. Librorum Catalogorum uersa pagina indicabit. Basileæ, Ex officina Henricpetrina, août 1565, 3 tomes en 2 vol. in-fol., vélin souple, renforts des nerfs par des bandes de veau brun au dos, traces de lacets de cuir, titre à l'encre en long [Rel. de l'époque], qqs mouillures marginales à la fin du premier vol., qqs rousseurs, réparation au bas de la p. 21, trous masqués par des petites gravures sur bois et des lettrines du XVIe siècle sur les pages de titre des tomes I et II et à la fin des tomes II et III. 48 ff.n.ch., 1176 pp. (pagination continue), 1 f.n.ch. d'errata, 1 f. bl., nombreuses fig. dans le texte (le tome trois est relié après le tome premier pour former le premier vol.) Adams, C-3131. VD 16, N 1545. Très importante édition des ?uvres complètes du savant, théologien et philosophe allemand Nicolas de Cuse (1401-1464), auquel le Dictionary of Scientific Biography consacre pas moins de 4 pages (t. III, pp. 512-516). De son vrai nom Nikolaus Chrifftz (c'est à dire « écrevisse), il était le fils d'un pêcheur à Kues, sur la Moselle, entre Trêves et Coblence. Remarqué pour ses dons et son intelligence, il étudia la théologie, le droit et les mathématiques avant d'être ordonné prêtre vers 1430. Il se distingua durant le Concile de Bâle où il se fit le défenseur de l'infaillibilité ponticale, ce qui lui valut d'être fait cardinal puis évêque de Brixen par Nicolas V en 1450. Esprit ?cuménique et conciliant, il fut chargé d'importantes missions, dont celle de réformer en Allemagne les abus de l'Église. Dans le De concordantia catholica (1433), il prône un juste milieu entre le pouvoir pontifical et les droits du concile. Son De pace fidei (1453) tente de montrer qu'au delà de la diversité des confessions et des rites (christianisme, islam, bouddhisme), il existe une croyance en un dieu unique. Il alla jusqu'à affirmer qu'il y a du bon dans chacune des religions et que nulle n'est parfaite, ce qui le fit parfois taxer de scepticisme. Philosophe, Nicolas de Cuse est l'auteur du De docta ignorantia (1440): la docte ignorance est celle qui est consciente de ses limites ; l'homme ne peut penser Dieu, l'infini où les contraires coïncident, que par une méthode analogique. Parce que Dieu est le centre de l'univers, et que le monde n'est qu'une manifestation de l'Essence divine, il en déduit que le cosmos est, non pas infini, car Dieu seul est infini, mais indéfini, c'est-à-dire que ses limites excèdent les capacités de l'imagination humaine. Cette doctrine fut reprise un siècle plus tard par Giordano Bruno qui appelait Nicolas de Cuse « divus Cusanus ». Descartes le cite, deux siècles plus tard comme un des précurseurs de la pensée scientifique moderne pour l'originalité de sa pensée. Les idées de N. de Cuse se sont épanouies par la suite chez Spinoza, Leibniz et Hegel. De plus, Cuse considère qu'il n'est pas possible d'établir une hiérarchie parmi les éléments qui constituent le cosmos, et qu'on ne peut donc placer la terre au centre du monde. Les conséquences de cette affirmation consistent en une critique de la cosmologie d'Aristote qui fait de Nicolas de Cuse un précurseur de Copernic. Ses travaux scientifiques autant que philosophiques en font l'une des personnalités marquantes qui font le lien entre le Moyen Âge et les temps modernes. Cette édition collective, la plus complète qu'on possède de ses ?uvres, provient des presses d'un des plus grands imprimeurs bâlois du XVIe siècle, Henricus Petri. Bookseller Inventory # 17784

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Nuove inventioni di balli, opera vaghissima di: NEGRI

Item Description: Girolamo Bordone, 1604. Couverture rigide. Book Condition: Très bon. Edition originale. 331 X 220 mm. In-folio, plein veau marbré, dos à nerfs orné, tranches rouges. Reliure italienne vers 1720. PREMIERE EDITION SOUS CE TITRE ET SECONDE EDITION REPRODUISANT CELLE DE MILANO, PICCAGLIA, 1602, AUJOURD'HUI INTROUVABLE DU PREMIER GRAND LIVRE ILLUSTRE SUR LA DANSE AU FORMAT IN-FOLIO. « Les deux ouvrages sont rares et assez recherchés» écrit Brunet. En réalité le bibliographe cite ces deux éditions comme des livres entièrement différents. Il décrit l'édition de 1602 et n'a jamais vu d'exemplaire de l'édition de 1604, d'où son erreur. Le volume dédicacé à Philippe III d'Espagne, est orné du portrait de l'auteur Cesare de Negri, à pleine page et de 58 superbes estampes à toute page à toute page de ballets, danseurs et danseuses, accompagnées de musique notée, dessinés par Mauro Rovere et gravé au burin par Leon Pallavicino. Exemplaire non lavé, conservé dans sa reliure italienne réalisée vers 1720 portant en lettres d'or sur le premier plat le nom « c da ega » et provenant de la bibliothèque napolitaine p. drayton (Naples 1857). Brunet, IV, 34 et Supplément II, 13 ; Cicognara, N°1725 ; Fétis, VI, 295 ; Eitner, VII, 166 ; Hoepli, Cento libri preziosi, etc). *** THE FIRST ILLUSTRATED BOOK ON DANCING TO BE PUBLISHED IN FOLIO. The work which is dedicated to Philip III of Spain is illustrated with the full-page portrait of the author and 58 superb full page engravings showing ballets and dancers. The present copy is unwashed and preserved in its Italian binding, produced about 1720. Bound in marbled calf. ***. Bookseller Inventory # 000031

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Opera (lat.). Comm. Averroes; ed. Nicoletus Vernia.: Aristotle / Averroes.

Aristotle / Averroes.

Published by Venice, Andreas Torresanus, de Asula, & Bartholomaeus de Blavis, de Alexandria, for Johannes de Colonia, 1 and 3 Feb. 1483. (1483)

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Item Description: Venice, Andreas Torresanus, de Asula, & Bartholomaeus de Blavis, de Alexandria, for Johannes de Colonia, 1 and 3 Feb. 1483., 1483. Tall folio (250 x 370 mm). 2 pts. (out of 6) in 1 volume. 118 ff. (a-b6, c4, d10, e6, f10, g-k6, l8, m6, n8, o-p6, q10, [*]8: q10 blank; A-C6, CC8, D-Q6: Q6 blank). With woodcut device of Johannes de Colonia, printed in red, at the end of both volumes. Late 16th-century vellum on four raised double bands. Fine incunabular edition of Aristotle's Organon and practical philosophy, including the groundbreaking commentary of Averroes. The volume contains the two parts of the six-part set of Aristotle's Works which Torresanus and de Blavis printed for Johannes de Colonia (the other four parts appeared without his woodcut device). Simultaneously, the two printers produced a small folio edition (Goff A-963; GW 2338) comprising only these present two parts (same dates and same composition, but wrapped for 50 rather than 66 lines, and thus with different page count due to reduced printing space). - Averroes, the outstanding Arab philosopher and physician of his time, is "memorable chiefly for his interpretation of Aristotle which developed into the complete philosophical system of Averroism. The central feature of this was a theory that the world is eternal, not a creation ex nihilo, but actuated by a creative power continuously at work [.] Averroism was essentially an attempt to reconcile reason and philosophy with faith and religion. Averroes was not unique in this, but he expressed it perhaps more intelligently and forcefully than others [.] Averroism deeply influenced both Christian and Jewish thought [.] and initiated the Schoolmen into the knowledge of Aristotle. The earliest editions of Aristotle were published with Averroes's commentaries (both text and commentary were Latin translations, the latter partly from the Arabic, partly from Hebrew versions) in which, and in various tracts, Averroism was adumbrated" (PMM 24). - Contains: Pt. 1) Porphyrius's Isagoge in Aristotelis Praedicamenta; Praedicamenta, De interpretatione, Analytica priora, Topica, Sophistici elenchi (tr. by Boethius); Analytica posteriora (tr. by Jacobus Veneticus). Pt. 2) Ethica ad Nicomachum (tr. by Robertus Grosseteste); Politica (tr. by Guilelmus de Moerbeka); Oeconomica (tr. by Durandus de Alvernia). - Binding rubbed and bumped at extremeties. Some waterstaining to margins; occasional slight edge defects and insignificant worming to first and final pages. From the library of the Florentine humanist scholar Giovanni Battista Ubaldini (fl. 1580), author of "Istoria della casa de gli Ubaldini" (Florence, Sermartelli, 1588), probably bound for him (his autograph table of contents and ownership on flyleaf). Extremely rare on the market: according to ABPC, no complete copies or any parts of copies have appeared at auction since at least 1975. Nearly all copies listed in ISTC are individual parts or incomplete. HC 1660*. Goff A-962. BSB-Ink A-701. GW 2337. Proctor 4701. Cf. PMM 24. Bookseller Inventory # 30909

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Item Description: paperback. Book Condition: Good. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Publisher: Unknown. Folio: 12 openFour Satisfaction guaranteed,or money back. Bookseller Inventory # R108679

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LUCIANUS SAMOSTATENSIS.

Published by (p. 449, colophon:) Venetiis, in aedibus Aldi mense Feb. M.DIII, (in fine:) Aldi mense Iunio, MDIII. (Venezia, Aldo Manuzio,1503), (1503)

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Item Description: (p. 449, colophon:) Venetiis, in aedibus Aldi mense Feb. M.DIII, (in fine:) Aldi mense Iunio, MDIII. (Venezia, Aldo Manuzio,1503), 1503. Book Condition: molto buono. in-folio, pp. (2), 571, (2), impresa di Aldo sul titolo e altra più grande entro riquadro al verso dell'ultimo foglio. Artistica legatura francese del XVIII secolo in marocchino verde oliva, filetti e bordura stilizzata impressi in oro ai piatti, al centro dei quali venne aggiunta da Ridge e Storr per volontà di J.H. Thorold l'ancora aldina tra 1824 e 1831. Prima edizione aldina, e seconda assoluta, che segue la rarissima originale di Francesco Alopa del 1496, delle opere di Luciano di Samosata (II sec.d.C.), tra i più complessi e raffinati scrittori in lingua greca. Splendida elegante impressione di un testo assai affascinante, il primo impresso da Aldo che presenti la numerazione delle pagine, recto e verso, in alto al centro. L'opera di Luciano termina alla p. 447 ed è seguita dagli scritti di Filostrato e Callistrato in edizioni originali. Bell'esemplare, molto marginoso e genuino, completo e immune dalle censure che spesso si trovano in altri, nei quali l'Indice usava sopprimere il "de morte Peregrini" (p. 386) ed il dialogo "Philopatris" (p. 436), oppure eliminare le pag. 385-392 e 435-440. Di illustre provenienza: Syston Park library, Thorold: "The Syston Park library had ben started, about 1785, by Sir J. Thorold.his son, Sir John Hayford Thorold, was truly a great collector. From 1824, till his death, he built up in an incredibily short time, a beautiful collection of incunabula and Aldines" (SEYMOUR DE RICCI, pp. 159-160). Adams L-1602. Dibdin II, 190: ''It exhibits in some places a purer text than the Florentine edition, although, upon the whole, it is not so accurate''. Renouard p.39, n.3: «imprimée sur un papier d'une beauté parfaite». Laurenziana 75. STC 396. Venetiae/Bizantium 17. Bookseller Inventory # 0000000006082

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Item Description: Amsterdam, Jan Janssonius, 1631. Folio. Contemp. hcalf. Raised bands. Compartments gilt with floral stamps. Titlelabel with gilt lettering. Repairs to spine ends and hinges. Marbled coverpapers. Covers a bit rubbed. Endpapers renewed. Engraved frontispiece title, engraved portrait. (24),(10) pp. and 110 fine engraved plates (67 to the first part, 43 to the second), depicting 560 plants, usually life-size. A few minor brownspots. Scarce early (the first 1612) edition of Sweert's famous Florilegium, at first intended to be both a catalogue for selling plants and bulps and a picture-book of plants, but the later editions (as here) became a true Florilegium for collectors and botanical scientists. The first part deals with bulbous species, and the second with species having "fibrous" roots (fibrosae radices). Thirty-three tulip heads are paraded in regular columns. The American contingent is represented by the sunflower, cactus, agave, pineapple and Canna. Sweerts and Johann Theodor de Bry were the first to establish the convention of portraying lower stem with bulb or root alongside severed upper stem and flower in order to reproduce the plant life-size on the page. "Sweert prepared his Florilegium as a guide of his available stock for the Frankfurt Fair of 1612. The plates, depicting some 560 bulbs and flowers, were from the Johann Theodore de Bry Florilegium which in turn was based on that by Pierre Vallet. His attractively depicted bulbs sparked their popularity, leading to 6 editions of the work between 1612 and 1647, and a demand which would later result in "Tulipomania". At the time of the fair Sweert was in the employ of Emperor Rudolf II as head of his gardens in Vienna. He borrowed freely from plates that had been published before, so that many of those that appeared in the Florilegium had been cultivated in the gardens of King Henry IV of France at the Louvre." (Wikipedia).Nissen, 1921. - Hunt, 196 (1612-edition). Bookseller Inventory # 51085

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Anatomia del cavallo, infermita, et svoi rimedii: RUINI, Carlo
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Item Description: Appresso G. Bindoni, il giouane, 1599. Softcover. Book Condition: Gut. 2. Auflage. Folio - over 12 - 15" tall. Two parts in one volume. Folio (321 x 231 mm). [36], 295 [1]; [4], 386, [30] pp., titles-pages printed in red and black and with large woodcut device, 64 woodcut plates within pagination, alphabetical index at end of part II, errata on ***4r of part I and final page of part II, separate title-page to part II. Signatures: ?2 *6 **6 ***4, a-2a? 2b?; ?2 A-2L? 2M? Printed on strong paper. With the two blanks in part II. Contemporary flexible vellum (soiled and browned, binding restored with upper portion of spine repaired), remnant of paper label to spine. Little age-toning of text, occasional spotting and finger-soiling, faint dampstaining mainly to upper portion, repaired tear to upper margin of Dd4 costing two letters of headline text, chipped corners of part I title-leaf restored. Collated complete. A fine, wide-margined copy. ---- Dibner 186 (this ed.); Norman 1858 (1st ed.); BM/STC Italian, p. 592; D.S.B. XI, p.604ff; Nissen ZBI 3514; Garrison-Morton 285; Osler 918; Mortimer Italian 448; Wellcome 5625. - RARE SECOND EDITION of the first book devoted exclusively to the anatomy of an animal, and the first monograph on horses. "Besides being one of the foundation-stones of modern veterinary medicine, it contains a description of the lesser circulation. The admirable woodcuts were inspired by those in Vesalius' De humani corporis fabrica (1543)" (Garrison-Morton). "The fine engravings and fluent text detail the anatomy and physiology of the horse, with the eye, ear, intestines, kidneys and bladder being especially well treated. The heart and the lesser circulation are described but it is stated that left ventricle sent blood and vital spirits to all parts of the body but the lung (which prompted the Veterinary School in Bologna to honor Ruini with a tablet proclaiming him the discoverer of the circulation!) In exactness and beauty of treatment, Ruini's book has been favorably compared to Vesalius' treatment of man (Dibner 186). "One of the finest achievements of the heroic age of anatomy. its truly magnificent figures need not fear comparison with those of Vesalius or Eustachius" (C. Singer, The Evolution of Anatomy, p.153). Of the woodcuts Cole writes "it is impossible to avoid the conclusion that Ruini's work is the direct and logical outcome of the Vesalian tradition, since it resembles, if it does not equal, the masterpiece of the founder of anatomy in almost every detail" (Cole, Hist. of Comparative Anatomy, pp.83-97). The first part deals with horse anatomy, the second part with horse diseases.The second edition was issued one year after the first and differs only in title-page and name of dedicee. It is even rarer than the first edition with only two complete copies recorded at auction in the past 20 years. Bookseller Inventory # 002306

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