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Hesperi et Phosphori Nova Phaenomena sive Observationes circa Planetam Veneris.

BIANCHINI, FRANCESCO (1662-1729) Folio (415 mm), contemporary vellum, a wide margined copy (some browning and light marginal foxing, spine repaired). Engraved plate at beginning with portrait of the dedicatee, King Juan V of Portugal, title in red and black with engraved vignette, engraved initials and heading, pp. VIII, 92, with 10 engraved plates (4 are folding). First edition of the first atlas of the planet Venus, and the first work to describe the rotation of Venus around its own axis in its path around the sun and its constant inclination (75°) to the plane of its own orbit around the sun. Huygen’s work on the dark spots of Venus prompted Bianchini to figure out the planet’s rotation, which allowed the spots to be seen clearly. His grasp of the inclination and rotation of the planet was not advanced until the twentieth century. For his observations, the astronomer and mathematician used Roman lensmaker Giuseppe Campani’s 25- and 35-foot aerial telescopes, which are illustrated on two of the folding plates. In addition, there is a small engraved text illustration depicting "the lunar crater, Plato at the right, with Aristotle and Eudoxus at left, and the mountain range of the Alps cut by the dramatic slash of the Alpine valley. Bianchini noted with surprise that the valley did not appear on the great Cassini map, and he was right; Bianchini was the first to see and to portray this most impressive of lunar valleys" (Ashforth/Linda Hall, Faces of the Moon, 11). Brown, Astronomical Atlases, p. 139; Riccardi I:132.

Antidotario romano latino, e volgare. Tradotto da Ippolito Ceccarelli. Li ragionamenti, e le aggiunte dell’elettione de’ semplici, e prattica delle compositioni. Con le annotationi del sig. Pietro Castelli romano. E trattati della teriaca romana, e della teriaca egittia. In questa nova impressione aggiunto, e accresciuto di molte ricette ultimamente publicate dal Collegio de’ Medici di Roma.

PHARMACY] 4to (22 x 16cm), contemporary vellum with manuscript title on spine, some wormholes at inner margin of several leaves, mostly not affecting text, some browning and foxing due to paper quality, but generally a genuine, well preserved copy. Pope’s woodcut arms on titlepage, pp. (16), 358, (2), text in latin and italian on double columns. Fifth edition (plus one printed in Milan), but a quite rare one, of this famous sixteenth-century pharmacopoeia, established and edited by the Collegio dei Medici di Roma in order to categorize the exceptional variety of sixteenth-century pharmaceutical remedies and inspired by the same principles as the Senese Antidotario. Hundreds of remedies and medications, aromatic compounds, preserves, spices, ointments, syrups, oils, etc. The text is translated by the pharmacist Ippolito Ceccarelli, active in Rome under the device of the "Vecchia" (the Old lady). The edition is increased (compared to the first one) of some recipes and the two treatises on Egyptian and Roman teriaca. Rare, as according KVK online apparently no copy of this 1651 edition is held by any german public library.(listed the 1624, 1635, and 1639 edns). Not in Krivatsy, too, who is listing instead nearly all the previous and following editions (and also the edition printed in Milan), but not this one, and not in Piantanida-Vinciana, Catalogo Autori italiani del 600.

Memorie di viaggio passando dall’Italia in Germania dal Tirolo"

GERMAN TRAVEL DIARY Manuscript on paper, in the size of a travel handbook, oblong 8vo (100 x 163mm), contemporary green boards, altogether 142 leaves, of which the first 34 leaves contain the account of a travel from Rovereto through Innsbruck to Munich, and the others family chronicles (in the years 1841-1862), and 38 blanks. Here we find a description of the Glyptothek of Munich, of the Alte Pinakotheck, of the collection of the early prints, of the Cathedral, and an interesting first-hand account of the casting and construction of the Bavaria statue, which was commissioned byLudwig I of Bavaria. This monument was cast at the Munich foundry of J. B. Stiglmair between 1844 and 1850 and is the first colossal statue sinceClassical Antiquityto consist entirely of cast bronze. The manuscript records specifically that for its construction (i.e. the head of the Bavaria statue) metal from bronze Turkish cannons salvaged from the 1827 Battle of Navarino was used. These cannons had been sold in Europe as recycling material under the then Greek King Otto, son of Ludwig I, and a number of them had reached Bavaria. Then, in a separate 4-leaf letter (of the same hand of the ms.) there is a very detailed description of the project of the frescoes of K. F. Schinkel which (afterwards) adorned the exterior of the Altes Museum in Berlin, sadly largely lost in the 2nd world war because of the explosion of a tank truck in front of the museum. According the text of the letter, the anonymous traveller affirms to have met personally Schinkel himself, who showed him the preparatory tempera sketches and cartoons, and let him the chance to describe carefully all the cycle of frescoes.

Primera parte de los Commentarios Reales, que tratan, de el origen de los incas, reies, que fueron del Perú, de su idolatría, leies, y gobierno, en paz, y en guerra: de sus vidas, y conquistas; y de todo lo que fue aquel imperio, y su república, antes que los españoles pasaran a él. En Madrid. En la Oficina Real de Nicolas Rodriguez Franco, 1723. (Bound with, of the same author:) Historia General del Peru. Trata el descubrimiento, de el, y como lo ganaron, los Espanoles: las guerras civiles.

VEGA, GARCILASO de la Folio (30cm) 2 works bound together in contemporary brown speckled calf, gilt spine with raised bands, a good, clean genuine copy. Woodcut vignette showing Our Lady with the Child on title of 2nd work, repeated (but engraved) on 2nd leaf, both titles printed in red and black; pp. (32), 351, (17 for index); pp. (24), 505, (63 for index). Second edition of two indispensable first-hand accounts of the pre-conquest Inca Empire, the period of Spanish conquest and later civil war between Pizarro and Almagros, containing unique information and historical records available nowhere else. The two parts of Vega’s history are actually considered to be two separate but complementary works, which were originally published separately. The ‘Historia General’ has been defined’ "the most genuinely American book that has ever been written, and perhaps the only one in which a reflection of the soul of the conquered races has survived." (Menendez y Pelayo) "Like the first part, the second is a commentary rather than a history; (the author) quotes largely from other writers always carefully indicating the quotations and naming the authors. But his memory was well stored with anecdotes that he had heard when a boy; and with these he enlivens the narrative." (Justin Winsor. Narrative and Critical History of America II, p. 569).Garcilasode la Vega, known as ‘El Inca’, was born inPeruand spent his formative years there, living out his later life in Spain. His father was a Spanish conquistador and a participant in the events that his son chronicles, while his mother was an Inca princess born in Cuzco. Alden & Landis 723/58 723/57; Palau 354791, 354793; Sabin 98757, 98755.

Compendium aureum totius lecturae d. abbatis Panormitani super decretalibus, cum nonnullis glossarum flosculis ordine elementario aeditum ab R.P.F. Hieronymo de Ferrariis Nuper autem dedita opera Reuerendi patris magistri Thomae de Scotis Vigleman eiusdem ordinis, in lucem communi vtilitati productum (Colophon:) Venetiis: apud Michaelem Tramezinum, 1564. [Bound with:] LUZI, ORAZIO (1541-1569) – Tractatus, de priuilegiis scholarium. Cum indice rerum, ac uerborum copioso.

TEDESCHI, NICCOLÒ (1386-1445) 4to (203 x 150 mm), 2 works bound together in one volume in an attractive, original German blind-tooled pigskin gilt on boards with multiple roll-borders depicting small portraits of the Evangelists, probably by an anonymous (possibly) Cologne binder (see a copy of the same work now in the Bibliothèque Saint-Genevieve, INV 642 RES, with a similar framework); lacking ties; some dampstaining at the lower inner corner at beginning (first 8 leaves), but for else a clean, and fresh copy inside, with good margins. Tedeschi: Woodcut device on title, leaves [4], 378, [2, last blank present], roman type. Luzi: pages [24], 131, [1]; text mostly in cursive type. Provenance: beautiful 16th-Century original fullpage woodcut bookplate, in contemporary colouring, on pastedown: "INSIGNIA DAVIDIS, BYRGLII/ UTRIUSQUE, IURIS, DOCTORIS" belonging to the jurist David Bürglin from Augsburg (1528-1598; Haemmerle 83; Leiningen-W. S. 155; not in Warnecke); 17th-Century German inscription on title page: "F. Büschii D." Bookmark at beginning of 2nd work. I work, Tedeschi : First edition. The Author (1386-1445) entered the Benedictines in 1400, and was sent (1405-6) to the University of Bologna to study under Zabarella; in 1411 he became a doctor of canon law, and taught afterwards in Parma (1412–18), Siena (1419–30), and Bologna (1431–32). Meanwhile in 1425, he was appointed abbot of the monastery of Maniace, near Messina (in Sicily), whence his name "Abbas", to which has been added "modernus" or "recentior" (in order to distinguish him from the s.c. "Abbas antiquus", a thirteenth-century canonist who died about 1288); he is also known as "Abbas Siculus" on account of his Sicilian origin. In 1433 he went to Rome where he practised as auditor of the Rota and Apostolic referendary. The following year he relinquished these offices and took the service of Alfonso V of Aragon, King of Sicily, obtaining the See of Palermo in 1435, whence his Latin name "Panormitanus" (Palermo in Latin is Panormus). During the troubles that occurred during the pontificate of Pope Eugene IV, Nicolò at first followed the party of this pope, whom he represented briefly at the Council of Basel; but subsequently he allied with the antipope Felix V who, in 1440, named him cardinal. Pius II, in an early work, depicts Panormitanus as lamenting that the orders received from Alfonso V made him oppose quick action to depose Eugene IV. Panormitanus was delegated by the Council of Basel at imperial diets that discussed the fight between Eugene V and the council itself. In his "Tractatus de concilio Basileensi" he upheld the doctrine of the superiority of a general council to the pope. This was written for the 1442 Diet of Frankfurt, when he was opposed by Nicholas of Cusa. His canonical works, especially his "Lectura in Decretales" "In Sextum", and "In Clementinas" won him the title of "lucerna juris" (lamp of the law) and gained for him great authority; he also wrote "Consilia", "Quaestiones", "Repetitiones", "Disputationes, disceptationes et allegationes", and "Flores utriusque juris"». This work has been edited by the Dominican theologian Tommaso Scotti Roccheggiano, commissary of the Inquisition since 1557, and curated by the Dominican theologist Girolamo Fantoni (1462-1532), both them from Vigevano. Very rare outside of Italy, Worldcat apparently doesn’t list any copy in the USA. Not in Adams; not in Bibl. Giuridica Zauli-Naldi; not in Sapori, Antichi testi giuridici. Tinto, Annali del Tramezzino, n. 212. II work, Luzi: First edition. The Author (1541 – 1569) was born in Cagli, near Urbino, and studied law at the University of Bologna, and then in Padua. He was appointed by Carlo Borromeo (bishop of Milan, then Saint) as bishop of Vimercate, near Milan, where he died. He is noted for this work, and for his annotations to the Tridentine council ‘Canones’, published in Venice in 1565, then reprinted several times. Adams L-2084; Edit16 CNCE 27868. Apparently 6 copies in USA, at Catholic

Opera Omnia- In 3 parts dated: I) [undated]; II) 8 july 1499; III) 10 Feb. 1497/98.

BOETHIUS Folio, a composite set with the 3 volumes in different bindings: vol. I (Aristotelian comments) bound in contemporary half brown calf over wooden boards (spine expertly restored and partly renewed); vol. II (De Arithmetica, de Musica etc) in 18th century half brown calf with boards covered with marbled paper, vol. III (De consolatione philosophiae) in 19th century half brown calf with boards covered with marbled paper. Contents: In Porphyrii Isagogen editio prima et secunda; In Praedicamenta Aristotelis; In librum Aristotelis Perihermenias editio prima et secunda; De divisionibus; Introductio ad categoricos syllogismos; De differentiis topicis; Commentaria in Topica Ciceronis; De differentiis topicis; De syllogismo categorico; De syllogismo hypothetico; Opuscula sacra; De arithmetica; De musica; De consolatione philosophiae. Comm: (Pseudo-) Thomas Aquinas. (Pseudo-) Boethius: De geometria [II and I]; De disciplina scholarium. Comm: (Pseudo-) Thomas Aquinas. Gaius Marius Victorinus. Second collected edition of the works of Boethius, already issued in 1491/92 in Venice by the same printer De Gregori. Although best known to us for his Consolation of Philosophy, Boethius was equally known and widely read in the Middle Ages for other things, notably those of his works which formed a mainstay of the medieval educational system, the Quadrivium, namely his works on mathematics and music (along with astronomy). Only his works on arithmetic and music have survived intact; the treatise on geometry is probably not his work. The Musica is a translation of Greek works by Nicomachus and Ptolemy, and it was chiefly through Boethius that these were known in the Middle Ages. The set of Boethius’ works when complete is very rare on the market, as most public libraries have only single volumes. Goff B768; H 3352*; C 1124 (II) + 1118 (III); Klebs 192.2; Sander 1101; IGI 1817; BMC V 351 + V 350;BSB-Ink B-619;GW 4512.

La Comedia, con la vita di Dante e il commento di Cristoforo Landino.

DANTE ALIGHIERI "Folio (380 x 240 mm), in 20th century binding in imitation of a contemporary one, half brown calf over wooden boards, the first leaves restored in margins (not affecting text), 3 other leaves restored in the margins at the end (one with some missing text supplied by a 18th cent hand), a few leaves with some repaired tears, otherwise still a clean and wide copy for study, also with a few interesting textual manuscript additions or corrections. Several leaves are supplied from another slight shorter copy. Collation: Lacking leaves *1 (beginning, ‘Proemio’ letter by Landino), *7 (supplied in manuscript in an 18th century hand), **2 (supplied in manuscript by a 18th cent hand), a1 (preliminary leaf by Landino before the beginning of text of Inferno), b1 (text, should have contained the 2nd illustration), i3-4-5-6 (text), aa1 (preliminary leaf by Landino before the beginning of text of Purgatorio), aaa1 (preliminary leaf by Landino before the beginning of text of Paradiso). Lacking also the 6 blank leaves. In this copy are not present illustrations (usually present in cantos I-II of the Inferno in the most part of copies), here the leaf with beginning of canto I is trimmed under the layout of text at bottom – where the illustration was expected to be placed – and the leaf b1 with beginning of canto II is lacking. First illustrated edition of Comedy, first edition with the commentary of Landino, the first printed in Florence, birthplace of the poet, and at the same time one of the earliest books bearing copper engravings as illustrations to be printed in Italy. As known the typographical phase of printing the illustrations encountered substantial difficulties (the publisher aimed to illustrate all the songs of the poem) because of the enormous technical difficulty in printing the copper plates in the text (the double passage in the print would have entailed probable losses of sheets already printed), and so was limited to the first two cantos; the remaining 16 or 17 engravings were printed separately and sometime pasted in to the appropriate spaces in a minority of copies. There are in fact a few copies known with some more illustrations (till the number of 19, but mostly we find 2 or 3 illustrations, where the 3rd is a repetition od that one placed in Canto II). The engravings are by Baccio Baldini, based on drawings by Sandro Botticelli. For more information on the origin and subsequent history of the corpus illustrative Botticelli, see the work of K. Clark "The drawings by Sando Botticelli for Dante’s Divine Comedy". Hain/Cop. *5946; GW 7966; BMC VI, 628; IGI 360; Sander 2311; Arnim 115; Goff D-29; Pellechet 4114; Cat. Martini 145; De Batines, Bibl. Dante I, 36-40: " Prima edizione figurata per l’esecuzione tipografica bellissima edizione veramente magnifica"; Mambelli, Annali delle ediz. dantesche, 17-22: "stampata in bellissima veste con bellissimi caratteri tondi, assai ricercata". "
Epistolae [Latin]

Epistolae [Latin], Franciscus Griffolinus Aretinus, translator

Phalaris 4to (198×139 mm), early 19th century brown half calf with gold fillets on spine, and title on red label, a clean good copy. Roman letter in 29 lines, 40 leaves with signature a-e8. The first Latin edition of these spurious letters, written in the period of Roman Emperor Antonius under the name of Phalaris of Agrigento (570-555 bC), was printed in Rome: [Han, about 1468]. The work had significant success with more than 35 editions before 1500, even if the Greek editio princeps was printed only 30 year later (1498) than the Latin edition. In this collection of letters, Phalaris, the prototype of a Tyrant, is depicted as a benefactor of Human Studies and a close friend and generous supporter of the most important writers and oligarchs of Sicily: "You remember none of the good services I have done you, and I continue still to serve you" To Megareans in The Epistles of Phalaris, London: Barnes, 1706, ep. 2. (leaf a5 in 1481 edition). A remarkable copy with many contemporary manuscript text corrections. It seems to be a copy used by a later printer in order to publish a corrected text of Phalaris. The manuscript emendations in our copy are correctly printed, for example, in the subsequent edition printed by Planck in Rome: 1481-1487 (Goff P560). In the Roman edition the final manuscript Disticon "Qui modo notus erat nulli penitusque latebat / Nunc Phalaris doctum protulit ecce caput" here added in manuscript by a contemporary hand is instead properly printed. See also i.e. some interesting corrections: ff. a1v l.9 cuiusn ominis : cuis nomini; ff. a2v, ll. 7-8 ut si laudo : ut simulando; ff. a3r, l. 27 medicae attis inuentoraes culapius : medicae artis inuentor Aesculapius; ff. d4v, l. 20 admonitione poenas iure : admonitione poenas lueree; ff. 3r, ll. 24-25 malus et inimicus : malus et iniquus. Goff P559; HC 12895*; IBE 2391; Voull(B) 3920; Hubay(Augsburg) 1653; BMC V 297; BSB-Ink P-415; GW M32901. Rare, only 3 copies in public libraries in America, but not at either Yale or Harvard.

Persio tradotto in verso sciolto.

STELLUTI, FRANCESCO 4to (218 x 158 mm), contemporary vellum with manuscript title on spine, light waterstain to the lower/outer margin of the leaves towards the end, but still a genuine copy in good condition. Engraved title-page by Matthaeus Greuter, pp. [24, including the title and a full-page engraved portrait of Persius], 218, [20], with text engravings, including full-page image of the parts of a bee observed with the aid of a microscope (at p. 52). First Edition of the first book to contain images of organisms as viewed through the Microscope. The full-page image of a magnified bee (p. 52), showing minute details of the antennae, legs, sting, head and tongue, "still has the capacity to arouse the wonder of modern experts" (Freedburg, p. 189). On page 127 is a smaller illustration of a magnified grain weevil, including a detail of the tip of the insect’s snout and mandibles. The ‘Accademia dei Lincei’ is one of Europe’s first scientific societies, and was founded by Stelluti, Federico Cesi and Johannes Eck in 1603; in 1624 Galileo Galilei (another member of the Academy) had sent a microscope to his friend Cesi, and it was most likely this instrument that the latter and Stelluti used to prepare such pioneering images of insects under magnification. Garrison-Morton 259; Nissen ZBI 3988; Cinti 86; NLM/Krivatsy 8806; Wellcome I:4917. Ford, Images of Science: A History of Scientific Illustration, pp. 172-173, 179-180. Freedburg, The Eye of the Lynx: Galileo, His Friends, and the Beginnings of Modern Natural History (2003).

Adversus mathematicos. Graece nunquam, Latine nunc primùm editum, Gentiano Herveto Aurelio interprete. Eiusdem Sexti Pyrrhoniarum hypotyposeon libri tres. Interprete Henrico Stephano. Accessit & Pyrrhonis vita, ex Diogene Laertio . Item, Cl. Galeni contra Academicos & Pyrrhonios, D. Erasmo Roterodamo interprete.

SEXTUS EMPIRICUS Folio (29cm), contemporary blindstamped pigskin with golden coat-of-arms of Thurn und Taxis Duino’s castle library, and two ex-libris at inner side of upper cover, green edges, an attractive, genuine copy with distinguished provenance (upper corners repaired, a little worming at inner margin of first leaves, light browning). Two parts in one vol., pp. (8), 398, 399-583, (1), (30 of index and 2 orig. blanks). Separate title-page to both parts with woodcut printer’s device. First collected edition of Sextus Empiricus (fl. AD 200), the only sceptic philosopher of antiquity whose works have survived. It includes his two major works, the Pyrrhonian Hypotyposes (or Outlines of Pyrrhonism), which had appeared in 1562 and the Adversus mathematicos here in first edition. This work was shared between Christopher Plantin and the Paris bookseller Martin Le Jeune (whose device appears in hte 2nd part). Edwards, Encyclopedia of Philosophy: "Sextus’ extant works constitute the only lucid and firsthand summary of Greek Skepticism available to us. They are usually divided into two works, the Outlines of Pyrrhonism (Hypotyposes) and the Against the Dogmatics (Adversus Mathematicos). The Hypotyposes is divided into three books, the first of which defines the key terms of Skepticism, while the two others make use of these terms to attack dogmatism The Adversus Mathematicos contains 11 books, 5 of which use the method defined and exemplified in the Hypotyposes in order to refute ‘philosophers’ (logicians, physicists, and ethicists), and six of which use the method to refute ‘scientists’ (grammarians, rethoricians, geometricians, arithmeticians, astronomers, and musicians)". DSB XII, 340; Adams S-1026; Dorbon 4572.;Houzeau & Lancaster 889; Wellcome I, 5956.

Trattato Di Teofilo Gallaccini Sopra Gli Errori Degli Architetti Ora Per La Prima Volta Pubblicato. Venice, Giambattista Pasquali, 1767. [With:] VISENTINI, ANTONIO – Osservazioni di Antonio Visentini Architetto Veneto che servono di continuazione al trattato di Teofilo Gallaccini sopra gli errori degli architetti.

GALLACCINI, TEOFILO Folio (342 x 240 mm), contemporary vellum, a clean, wide and genuine copy. The second work bound as first. Gallaccini: Engraved frontispiece (incl. in pagination), pp. xii, (81), 1 blank, with engraved illustrations and plates in the pagination. Visentini. Engraved frontispiece showing "la Perfezione", printed title with Pasquali’s engraved device, pp. vii, [1 blank], 141, [3 blanks], finely illustrated with 61 full page plates in the pagination. First Editions of both works. Gallaccini (1564-1641) was a Professor of Mathematics at the University of Siena and his tract was completed in manuscript about 1625, but not published until 1767. The ‘Trattato sopra gli errori degli architetti’ expresses Gallaccini’s views on restraint in art and architecture, which brought him to the attention of proponents of neo-Palladianism such as Visentini and Consul Joseph Smith. Visentini had already engraved Canaletto’s views of Venice for Smith and carried out architectural commissions for the Consul, and Smith was involved in the publication of these two architectural treatises. Berlin Kat. 2636 and 2640; Cicognara 513 and 514; Fowler 133 and 390; Millard Italian 43 and 154; Morazzoni 232 and 260; Schlosser-Magnino 544.