ABAA Virtual Fair 4-7 June 2020 36 Recent Acquisitions from Bruce McKittrick Rare 43 Sabine Ave. Narberth, PA 19072 +1 (610) 660-0132 § [email protected] www.mckittrickrarebooks.com

ONE OF TWO BOOKS PRINTED BY KÖPFEL

Agendbuchlein Der Christlichen Kirchen/ inn des Heiligen Reichs Freystadt Wormbs. M.D.LX. Worms, Paul Köpfel 1560. Small folio. [vi], ci leaves. Multiple sizes of gothic type, woodcut arms of Worms on the title, Agendbuchlein xylographic. Contemporary blind-tooled pigskin over pressed paper boards (worn, stained, front hinge partly cracked), panels with two frames — the outer an Evangelist roll and the inner a roll of Judith and Lucretia (both rolls dated 1558, neither in EBDB or Haebler), central rectangle of acanthus and daisy stamps. $3800.00 First of this handsome vernacular handbook for Lutheran pastors, which recommends A HYMN BY THE FIRST PROTESTANT WOMAN HYMNIST ELISABETH CRUCIGER (c. 1500-35). The main text guides the parish minister through baptism, communion, marriage, confession and absolution. It gives the texts for consoling the infirm and dying and those for funerals. The longest portion is A CATECHISM FOR CHILDREN WITH CONTEMPORARY MANUSCRIPT NOTES numbering the sections and specifying on which day of the week each passage should be taught. The Agenda closes with the order of service for each day of the week, homily and sermon suggestions and hymns by Agricola, Luther and Speratus. On the front pastedown on 12 July 1567, Heinrich Krafft of Biebesheim (25 km NE of Worms) recorded his ?marriage to a member of the Eowaldt family, whose armorial charge he drew next to his own. Below he boldly inscribed a Lutheran motto. The title bears a 1633 gift inscription from ?Moritz Wibling to Christoph Baier; 19th-century bookplate of Franz Anton II, Graf von Thun-Hohenstein (1809-70); 1884 note of the Viennese bookseller Anton Einsle. I have not located a copy outside Europe. In good condition (a few spots throughout, small stains on the title, one leaf torn without loss). Die Evangelischen Kirchenordnungen des XVI. Jahrhunderts ed. Sehling XIX(1): 160-212; Reske, Die Buchdrucker des 16. und 17. Jahrhunderts im deutschen Sprachgebiet 1021; VD 16 online ZV 20211.

BOARD GAME CELEBRATING “ THE GREATEST FEAT OF ENGINEERING IN EUROPE” — ROLT

Andréossy, François. Les Regles Du Jeu Du Canal Royal. Castelnaudry, C.-P. Chrestien 1682. 12mo. [xiv], 53, [7]p. Woodcut arms of the dedicatee Cardinal Bonzy on the title verso, all ornament and margins decorated in manuscript in ink and colors. Old vellum decorated with a coat of arms by the same hand, later gilt-lettered spine label. $9500.00 ONLY EDITION, THE ?FIRST TRANSPORTATION BOARD GAME. It was created by the engineer and cartographer responsible for planning and executing the project, now a World Heritage Site. The game capitalized on the completion in May 1681 of the Canal du Midi (then Canal Royal) linking the Atlantic and Mediterranean coasts of France. The game is played with two dice, which control the progress of the players along the course of the canal from the western limit at the Garonne lock to the deep-water port of Sette at the canal’s southeastern mouth. Engraved by Andréossy, the board is a route map with sixty-eight numbered positions — locks, bridges, stations, layovers, restaurants, towns, etc., their positive and negative values reflecting geography, construction difficulty, distances, size of the body of water, amenities and other features. The booklet includes considerable technical detail on lock dimension, basin surface, and the like. Long thought to be the first book printed in Castelnaudry, an important depot on the canal, this is certainly the most interesting of the five books produced there prior to 1700. I have located eight copies of the Rules, all in France and none with the game board. With the assistance of Dr. Adrian Seville, I have identified four game boards, all also all in France and all independent of the Rules booklet. In good condition; a 20th-century owner has decorated the margins of the book with flowers, birds, etc. Rolt, From Sea to Sea 35-7 & 83-5; Répertoire bibliographique des livres imprimés en France au XVIIe siècle IX: 61,4; Barbier, Dictionnaire des ouvrages anonymes IV: 193.

GOOD TIMES

Arnaud, André. Ioci. Avignon, J. Bramereau 1600. 12mo. [x], 216, [2]p. Occasional Greek type, title and central ornament in a fleuron frame. Contemporary limp vellum (small lacuna in the front panel), manuscript spine title, four pigskin ties. $2200.00 First Edition. This joke book offers amusing stories, witty letters, word play, THE DESCRIPTION OF A WOMAN’S BODY, epitaphs (including the author’s own) and mock defenses of drunkenness, hedonism and cruelty. At least five followed. A good copy (blank marginal worming in one quire), some lower edges uncut; signature of 19th- century antiquary comte Alphonse de La Guère (1846-99). Arbour, L’Ère baroque 2943; Répertoire bibliographique des livres imprimés en France au XVIe I: 279,151; Brunet I: 486; for later editions, see Rosenthal’s Bibliotheca magica 5160 & Gay’s Bibliographie relatifs à l’amour, aux femmes, au mariage II: 722.

“ VERY VALUABLE” — BITTING

Audiger, Maître d’Hôtel. La Maison Reglée, Et L’Art De Diriger La Maison d’un grand Seigneur. Paris, [L. Roulland for] M. Brunet 1692. 12mo. [xxi], [iii blank], 4, 267, [14], [4 blank]p. and SIX FOLDING ENGRAVED PLATES OF TABLE SETTINGS. Contemporary sprinkled calf, spine and red morocco label gilt (crown and base neatly repaired), edges sprinkled red and brown. $4600.00 First Edition, a classic for nearly a century. Audiger fixes a template of domestic economy and management of a grand household in late 17th-century France. He enumerates each office from doorkeeper, coachman and groom to governess, chamberlain and estate manager, specifying the duties of each (and wages for some). He discusses purchasing goods and dealing with merchants, codifies the reception and seating of visitors according to their rank, and calculates the average annual costs of operation — all based on his experience working for the Countess de Soissons (niece of Mazarin) and then the Colbert. “CELEBRATED IN THE HISTORY OF GASTRONOMY” (Livres en bouche, tr.), the text reflects the fashion to simplify the service of soups, main dishes, roast meats and sweets and to integrate cheese into the desserts. This style of dining is illustrated in the six folding plates, which show the placement on the table of six, twelve, eighteen and twenty-four courses. Audiger was among the first to introduce the drinking of chocolate, tea and coffee to France and to promote iced foods and drinks and ice cream north of the Alps. In the final eighty pages he details the preparation of distilled liqueurs, spiced and herbed drinks, custards, powdered sugar, infused wines, syrups, jams and jellies. Of considerable interest, his TWENTY-PAGE AUTOBIOGRAPHY recounts the long and arduous path to a royal privilege for his soft drink business through the creation of exotic beverages for high government ministers, top nobility and royalty for more than a decade. A good copy with all six of the often missing plates (one torn without loss). Bitting, Gastronomic 19; Livres en bouche. Cinq siècles d’art culinaire français 141; Harrison, Une Affaire de Goût 52 “great attention to serving the table”; Notaker, Printed Cookbooks in Europe, 1470-1700. A Bibliography 635.3 “an educated chef d’office”; Simon, Bibliotheca gastronomica 148; Vicaire, Bibliographie gastronomique 53 “indications précieuses”; Mueller, Bibliographie des Kakao 8; von Hünersdorff & Hasenkamp, Coffee: a Bibliography 67; Montandon, Bibliographie des traités de savoir-vivre I: 70. Ad I-II: A NICE EXAMPLE OF LINKED BOOKS, “two or more bibliographic items gathered within a single binding that are linked by a reference within the items themselves other than on their own title- pages” (Hunter & Nash). Though the books have independent quire signings and paginations and different publication dates, they share a privilege and an errata leaf at the end of the second work bearing the corrections for both works. The elegant types, attractive woodcut ornaments and skilled presswork of these two volumes are atypical of late 17th-century Neapolitan production. In fact, Jacques Raillard was French and brought his design sensibility and aesthetic standards with him. He even shared his device, mottoed Non sempre nuoce, with another countryman printer active in Naples at this time, the controversial Antoine Bulifon. I have located one example of each volume in the U.S. Both volumes are in fine condition. Ad I: Only Edition of this illustrated Passion of Christ emphasizing the role and suffering of the Virgin Mary. It is Avinatri’s only published work. Ad II: Only Edition of this anonymous biography of Avinatri. It is the chief source for his life. Hunter & Nash, “Composite Books” in The Book Collector 39 (1990) 504- 528, esp. 518.

FRENCH TASTE IN 17TH- CENTURY NAPLES

Avinatri, Vincenzo. C.O. Calix Inebrians Ex Suavissimo Christi Passi Botro Eliqvatvs. Naples, Giacomo (Jacques) Raillard 1694- 1695. 8vo. [ii], frontis., [xvi], 415p. ENGRAVED FRONTISPIECE AND NINETEEN FULL-PAGE ENGRAVED PLATES (A. Magliar). Contemporary calf, gilt frames and corner lilies, blind central azured arabesque medallion, spine and lettering gilt. With: Epitomes Vitæ. Naples, G. Raillard 1695. 8vo. Engr. portrait [iv], 125, [3 blank]p. ENGRAVED FRONTISPIECE PORTRAIT (A. Magliar after a G. Trombator painting), fine woodcut title ornament. $1650.00

The three cubical dice have a different combination of one to six THE GAME OF VIRTUE vowels as pips on each face. The tetrahedral die has four different consonants as pips on each face. Players acquire virtues by rolling the four dice simultaneously. The three cubes determine which virtue is in Baldericus, Bp. of Noyon & Tournai. Chronicon Cameracense Et play. It can be claimed only if all the vowels in that virtue appear in the Atrebatense. Douai, J. Bogard 1615. 8vo. [xl], 607 [r. 623], [17]p. top faces of the cubical dice and at least one consonant in the virtue and three plates — TWO FOLDING ENGRAVED AND LETTERPRESS appears on the bottom face of the tetrahedral die. Each virtue can be PLATES PRINTED ON BOTH SIDES AND ONE FOLDING ENGRAVED PLATE. claimed just once. When all the possibilities had been exhausted, the player with the most virtues wins. Seven small text engravings, an engraved Bogard title device. The third plate eliminates the use of dice entirely. It shows a wheel 18th-century gilt-ruled sprinkled calf (front hinge worn, with a rod at the center that players spin. Each end points to one of the lower portion of the rear hinge cracked), spine and red morocco fifty-six virtues around the perimeter. The game’s complex rules label gilt, board edges and turn-ins gilt, red edges, green silk conclude with Latin verses revealing the name of the author: VVIBOLDVS. marker. $7500.00 The 12th-century Chronicle of Cambrai and Arras is “one of the most important contemporary works in local history” (Manitius, tr.). It EDITIO PRINCEPS OF THE LUDUS REGULARIS: THE “PROTOTYPE OF ALL records the dramatic upheavals on the border between Frankish WAGERING GAMES WITH THREE DICE” (Lhôte, tr.). Devised by Wibold, bishop of Cambrai (d. 965), as a virtuous kingdom and German empire between c. 445-1070. alternative to the common game of dice, this medieval board game is Bound in at the end is a forty-four-page 19th-century manuscript here illustrated with three large plates. Two show different board French translation, Supplement à la chronique De Baldéric, a continuation configurations — one carved in a wooden table, the other laid out as a of the Chronicle, discovered in 1787. In good condition, manuscript notes square — and the markings of all faces of the dice. The boards have fifty- on the front flyleaves, bookplates of George Sens and de Surmont. six positions, with a Christian virtue and three numeric values assigned Lhôte, Histoire des jeux de société 201-3 & 536-7; Knuth, “Two Thousand to each. Years of Combinatorics” in Combinatorics: Ancient & Modern edd. Wilson & Watkins 13-14; Manitius, Geschichte der lateinischen Literatur des Mittelalters II: 337-44; Molinier, Les Sources de l’histoire de France II: 161- 62,1730; Potthast, Bibliotheca historica medii ævi 514 “One of the best editions of a medieval author” (tr.).

How are you fixed for Protestant Hexaglot Octateuchs? Look no further…. Professor of Hebrew, a gifted Orientalist, private language tutor to the Elector of Saxony, itinerant printer, publisher and bookseller, Elias Hutter (1553-c. 1605) sought to spread the knowledge of sacred languages and to make Scripture accessible in numerous translations, both ancient and modern, for private philological study. He owned several fonts of Oriental types, and, with the initial backing of the Nürnberg City Council, he undertook to publish a complete Polyglot Old Testament. He began with this six-language Octateuch (the Pentateuch, Joshua, Judges and Ruth) in four variant printings. In each variant, the verso and facing recto have six columns of text. The first five are identical and present the text in Chaldaic (or Syriac), Hebrew, Greek, Latin and German. The difference among the variants is in the sixth column, which is in one of four languages: Slovenian, Low German, Italian or French. Hutter clearly had ambitious plans for his Old Testament, but after the City Council withdrew its patronage, his business failed and he fled his debts. Like many surviving copies, that offered here is a mixed edition. Genesis, Exodus, Leviticus and Numbers have their sixth column in Slovenian (Slovene Lutheran Jurij Dalmatin’s translation). But after three “ HIS GRANDIOSE POLYGLOT BIBLE PROJECT” — full chapters of Deuteronomy in Slovenian, the sixth column switches to BURNETT and finishes in Low German. The last three books, Joshua, Judges and Ruth, are present in the Italian version (Lutheran Antonio Brucioli’s). Bible. O.T. Octateuch. Biblia Sacra, Ebraice, Chaldaice, Græce, “As the work is very rare it is extremely difficult to secure a specimen of each variety” (Collins). Latine, Germanice, Sclavonice [Saxonice & Italice]. Nürnberg, [A.P. A large, complete copy in nice condition with many outer and Dietrich] for Elias Hutter 1599. Two parts in one volume. Large lower edges uncut (a few sheets browned, one marginal repair). folio (387 x 246 mm.). [vi], [ii blank], 287, [1], 851, [1 blank], 319p. Burnett, Christian Hebraisim in the Reformation Era (1550-1660) passim; HEBREW, CHALDAIC, GREEK, ROMAN AND GOTHIC TYPES, six-column Krieg, Mehr nicht erschienen I: 73; Collins, Attempt at a Catalogue of the text pages in ruled frames, the opening of each book with an of the late Prince Louis-Lucien Bonaparte 1570; Borchling & Claussen, Niederdeutsche Bibliographie I: 2635 (Low German); Darlow & architectural woodcut headpiece, title in a single ornate Moule, Historical Catalogue of the Printed Editions of Holy Scripture 1426 architectural, armorial and historiated woodcut border. Var. A-C; Delaveau & Hillard, Bibles imprimées du XVe au XVIIIe siècle 52 Contemporary blind-tooled and gilt pigskin over thick (Slovenian; 2 copies, both defective) & 51 (Italian); VD 16 online ZV 1555 beveled wooden boards (rubbed), outer frame of two impressions (Slovenian) & B 2572 (Low German) & B 2573 (Italian); Brunet I: 851 of an acanthus-leaf roll, inner frame of an elegant vine-and-foliage “rare”. roll, central rectangle with an effaced circular stamp in a large lozenge with gilt fleurons, above and below a small bird, front panel dated 1620 in gilt, brass catches and clasps, early manuscript spine title, dark blue edges. $4500.00

THE MOST WIDELY READ TEXTS BY A MEDIEVAL WOMAN

Birgitta, Saint, of Sweden. Orationes sancte Brigitte/ cum Oratione sancti Augustini. [Rome, M. Silber not before 1510]. Square 8vo (131 x 98 mm.). [i], [14]p. Roman type (89), 24 lines per page, FULL-PAGE TITLE WOODCUT (90 x 64 mm.) of St. Birgitta kneeling in devotion before the crucified Christ by a candlelit altar with a row of arches behind and a white-line legend below, LARGE TEXT WOODCUT (71/2 x 53 mm.) of St. Augustine in bishop’s robes praying before the Redeemer with a book open before him (legend also white-line). Vellum over boards. $3500.00 Beautifully illustrated, these celebrated prayers revealed by Jesus to the patron saint of Sweden — the so-called Fifteen O’s — circulated broadly in manuscript and had dozens of independent printings in various versions by 1520, nearly all known in a handful of examples. That offered here has particularly elegant unshaded woodcuts. The smaller introduces the final, pseudo-Augustine, prayer for troubled times, while the large title block advertises the main contents. Saint Birgitta, or Bridget, founded the Order of the Most Holy Savior in 1346 after twenty-eight years of married life and raising eight children. She devoted herself to reforming the Church and denounced the abuses of secular and sacred authorities. Having grown up at the Swedish royal court, she advised princes, kings and popes on “most of the burning political and religious questions of her time” (Butler’s Lives of the Saints) and, at the end of her life, made an arduous pilgrimage to the Holy Land, dying in Rome on her return. Four months after her burial, she was exhumed and was carried in a triumphal progress across Dalmatia, Austria and Poland to be laid to rest in the abbey she established at Vadstena (Sweden). In good condition. Tinto, Gli annali tipografici Eucario e Marcello Silber 68; EDIT16 CNCE 48406. La Passion du Christ: Tragédie ed. Tuilier 11-74; Follieri, “Ancora una nota “ THE CHRISTIAN TRAGEDY PAR EXCELLENCE” sul Christus patiens” in Byzantina et Italograeca (1997) 463-8; Krumbacher, Geschichte der byzantinischen Litteratur 746-9; Fumagalli & Belli, — TUILIER Catalogo…di Antonio Blado 66 “rara”; Hoffmann, Bibliographisches Lexicon A MILTON SOURCE- BOOK der gesammten Litteratur der Griechen II: 179; EDIT16 CNCE 14528.

Christus patiens. [Greek title: Tragodia, Christos paschon] Tragoedia, Christvs Patiens. Rome, A. Blado 1542. 8vo. [iii], 48 leaves. Greek type, initial spaces with printed guide letters. Early 19th-century gilt-ruled straight-grained green morocco (hinges and corners rubbed), engraved ticket of Derome le jeune on the blank front flyleaf, marbled endleaves, flat spine, daisies and gilt-lettered title, all edges gilt, pink silk marker. $4800.00 EDITIO PRINCEPS OF THIS ?TWELFTH-CENTURY GREEK PLAY WITH A FEMALE PROTAGONIST. IT INSPIRED MILTON’S SAMSON AGONISTES. “Little Byzantine literature has been read, edited and discussed as much” (Krumbacher, tr.). Mary Mother of God and her sufferings, not Christ’s, are the focus of this Christian passion play in 2600 verses. The work is divided in three parts, the passion and death of Christ, the entombment of Christ and the resurrection of Christ. Each part conforms to the classical unities

of action, time and place, and all three adopt the ancient Greek convention of a chorus, in this case two, both composed of young women, who alternately query and counsel Mary. NEARLY HALF THE TEXT COMES IN WHOLE OR IN PART FROM EURIPIDES, and portions of the lost end of the Bacchae have been recovered from this cento, which also draws on Aeschylus, Lycophron and Romanos the Melodist. Authorship remains in dispute. Tradition and the most recent scholarly edition (by Tuilier) claim it for Gregory Nazianzenus (329-390), while general consensus places its composition between the eighth and twelfth century, possibly by Constantinus Manasses (c. 1130-c. 1187.). In this first edition, Blado gave the text the title by which it has since been known, Christus patiens, and, without comment, credited it to Gregory. Other printings and translations followed immediately. I have located three examples in the U.S. A good copy, manuscript note of Simon Chandon de la Rochette (1753-1914), gilt black morocco bookplate of the Mexican-Spanish diplomat José Gómez de la Cortina, marqués de Morante (1799-1860), 19th-century signature of Anthony R.L. Moir, Esq., tipped-in entry for this copy from Quartich’s Bindings. Catalogue No. 349 (1883) 13338. The binding is not by Derome le jeune, who placed his tickets centered at the base of the title-page. This is ticket K4 (Ract- Madoux, “Essai de classement chronologique des étiquettes de Derome le Jeune” in Bulletin du Bibliophile (1989) 382-91).

PORTABLE PRIVATE GALLERY

Chronologie collée. Chronologie Et Sommaire Des Sovverains Pontifes Anciens Peres, Emperevrs, Roys, Princes, Et Hommes Illvstres dés le commencement du monde, iusques à l’an de grace mil six cens vingtdeux. Paris, Antoine Saultereau 1631. Tall Folio (410 x 272 x 82 mm.). 299 leaves. TWENTY-ONE ILLUSTRATED SUITES WITH TWO THOUSAND ONE HUNDRED SEVENTY-THREE INTAGLIO PORTRAITS and one suite of text only. The main title has a wide etched cartouche of military scenes in FINE CONTEMPORARY COLOR AND HEIGHTENED IN GOLD with contemporary quartered arms painted in gold on a blue and red ground (three crescents in 1 and 4, lion rampant in 2 and 3). A letterpress Contents leaf follows, text on the recto in a fleuron frame and the verso blank. Each suite has its own letterpress title in an elaborate woodcut gristle-work cartouche.

Contemporary red morocco gilt à la Du Seuil with outer and inner rule frames and corner fleurons (panels scuffed, front stained, hinges and corners neatly repaired), sewn on seven bands, spine gilt in corner-and-center design, marbled pastedowns, blank free endleaves, gilt-lettered spine title CHRONOLOGIG [sic] GENERALES, all edges gilt. $23,500.00 THIS BEAUTIFUL AND COMPLEX HYBRID BOOK BINDS ART, COLLECTING, INSTRUCTION AND ENTERTAINMENT. It was destined for a curiosity cabinet (Man in miniature), an artist or artisan (patterns of ornament, arms and armor, textiles, needlework, precious gems, hair styles, furs and ecclesiastical fashion), a collector of heads, a historian or a wealthy family to home-school women and children in secular, sacred, cultural and military history.

The present example has twenty-one illustrated individual narratives, spanning Eastern and Western rulers, biblical figures, intellectuals, statesmen, nobles, clerics and pagan gods. The iconography expressly draws on coins, medals, statuary, painting, architecture, manuscripts and printed books. The most celebrated series, Famous Frenchmen since 1500 (here no. 18), was cut by Léonard Gaultier. We find Vesalius, Fernel, Rondelet, Joubert, Paré, Belon, Erasmus, Scaliger, Ramus, Nostradamus, Gaguin, de Thou, Budé, Alciati, Hotman, Mercator, Ortelius, Thevet, Rabelais, Marot, Ronsard, the Du Bellays, Robert Estienne, Plantin, Garamond and one hundred twenty more soldiers, aristocrats, lawyers, poets, politicians and painters, INCLUDING THE ONLY KNOWN PORTRAITS OF ARTISTS FRANÇOIS CLOUET AND GERMAIN PILON. For more information about those in this pantheon, the Advertissement directs the reader to Sainte-Marthe’s biographies, Rouillé’s Promptuaire des Medailles and the of Du Verdier and Gesner. Another unusual feature is the incorporation of thirteen small views and buildings in the suite devoted to Savoy (14), while in the Kings of Naples we find the latest dated event (1631, matching the year given in the imprint of the finely colored main title). Wholly letterpress, the final suite (22) is a universal history from Creation to the mid-1620s. The Chronologie collée, or “glued history”, exploited a loophole in the law barring print dealers from selling codices and directly competing with the book trade. The printsellers circumvented this restriction by commissioning broadsides of numbered intaglio portraits and broadsides of numbered letterpress biographies — both to be divided — and support sheets with four elaborate fleuron frames (two per side), their centers blank, each support sheet to be folded once. The broadside sets of illustration and text were to be cut into strips and the numbered portraits and numbered lives paired. The matched strips were then sequentially mounted within the support sheets’ fleuron frames and lastly supplied with a woodcut and letterpress title leaf to make a bespoke illustrated biographical folio of from eight to twenty-five leaves, available independently or in established collections. Dismemberment and assembly could be done in the shop of the print dealer, by a binder, by the buyer as a family project or, as likely the case with this carefully planned and executed volume, by a purveyor of personal luxury items and interior furnishings (marchand-mercier) such as Antoine Saultereau.

To meet varying demand, each of the three components — intaglio, letterpress and support sheets — could be produced as needed, so this volume presents the work of several or many shops over some years, as evidenced by the series with four different generations of letterpress (21). Conversely, shared fleurons tie fourteen series to the same still anonymous printer (1, 4, 5- 6, 8-9, 12, 14-20). The series are (in order, titles translated): 1. Hebrew Patriarchs (112 portraits, 9 leaves total), 2. Sibyls (12 ports., 8ff.), 3. Pagan Gods and Goddesses (59 ports., 9ff.), 4. Persian Kings and Queens (53 ports., 13ff.), 5. Roman Emperors (295 ports., 25ff.), 6. Rulers of Constantinople (84 ports., 13ff.), 7. Popes (247 ports., 13ff.), 8. French Kings and Queens (158 ports., 2 coats of arms, 23ff.), 9. Spanish Kings and Queens (185 ports., 25ff.), 10. English Kings (138 ports., 11ff.), 11. Portuguese Kings and Queens (47 ports., 11ff.), 12. Rulers of Naples (29 ports., 15ff.), 13. Polish Kings (45 ports., 7ff.), 14. Rulers of Savoy (59 ports., 13 views, 9ff.), 15. Venetian Doges (96 ports., 13ff.), 16. Dukes of Brabant (93 ports., 13ff.), 17. Masters of the Knights of St. John (55, 13ff.), 18. Famous Frenchmen (144, 13ff.), 19. Chancellors of France (99 ports., 13ff.), 20. Jurists of Roman Law (66 ports., 9ff.), 21. Latin (and Neolatin) Poets (96 ports., 9ff.), 22. Universal Chronology (text only, 23ff.). Contemporary manuscript title inscription Ex libris Courtin de Rozay, bookplate and stamps of aristocrat and military officer and scientist François-César Le Tellier, marquis de Courtanvaux (1718-1781), bookplate of marquis Hubert de Ganay, who inherited the collections of Martine-Marie-Pol de Béhague, comtesse de Béarn (1870-1939). The whole is in fine condition. Lipperheide, Katalog der…Kostümbibliothek Ab4; Zerner, “Lettre à Margret à propos de la Chronologie Collée” in Correspondances: Festschrift für Margret Stuffmann zum 24. November 1996 ed. Bauereisen (1996) 81-89; see Duportal’s Contribution au catalogue général des livres à figures du XVIIe siècle 461 and Universal Catalogue of Books on Art I: 289 and Brunet I: 1891 & Suppl. II: 836 and Destailleur’s Catalogue de livres rares (1891) 438-39.

IN ORIGINAL CONDITION

Comédie-Française. Catalogue De Pièces Choisies Du Répertoire De La Comédie Française. Paris, C. Simon 1775. Five parts in one volume. 8vo. viii, 128, 120, 64, 8, 84p. Contemporary marbled wrappers (rubbed, spine defective), uncut, partly unopened. $1950.00 Only Edition — a guide for audiences and insiders, apparently compiled and sold by Delaporte, secretary of the Comédie-Française. He lists one hundred sixteen tragedies and two hundred seventy comedies performed at the famous Parisian playhouse over the previous century, giving their authors, titles, dates of performance, settings and roles for every piece. More importantly, he provides the number of lines, or verses, spoken by each character and the running time of every play. This has recently allowed scholars to estimate the actors’ speed of line- delivery! I have located two copies in American collections (Rochester, Yale). In good condition. Barnett, “La vitesse de la déclamation au théâtre (XVIIe-XVIIIe siècles)” in Revue XVIIe Siècle 128 (1980) 319-26; Soleinne, Bibliothèque dramatique V(1): 661; Conlon, Le Siècle des Lumières 75:110.

FOR THE DILETTANTE ON VACATION

Dutens, Michel François. Principes Abrégés De Peinture. Tours, A. Vauquer 1779. 8vo. 116p. Contemporary gilt-ruled red morocco, flat spine gilt, dark green endleaves, all edges gilt. $4600.00 First Edition, composed expressly for the leisured class wishing to take up painting on their annual country holiday. An accomplished goldsmith known for his skillful painting restoration, Dutens lays out the basics of drawing adults and children, of human anatomy, of osteology and myology, of clothing, of landscape, of perspective and of light and shadow before moving to color and color harmony, the placement and arrangement of figures and finally a chapter on facial expression. Making no claim to originality, he openly names his sources, which he encourages the reader to consult as opportunity allows, but whose fundamentals are arranged here for their convenience in compact format. Dutens suggests having to hand an articulated mannequin to aid in figure modeling and a modest portfolio of select prints to train the eye and serve as patterns. The longest section is on color. He treats miniatures on vellum and ivory, pastels on paper and lastly oil on canvas. He describes the preparation and application of ground and the layering of paint. Among the many tricks he shares is that for rendering objects reflected in water. He includes a short passage on intaglio color (p. 62) and devotes considerable space to a review of the techniques, styles and hallmarks of various artists. The year following publication, the author, a native of Tours, inscribed this copy to Étienne-Jacques-Christophe Benoist de La Grandière (1733-1805), the city’s mayor, who was then embarking on a major transformation of the municipality. The title bears the manuscript presentation. In good condition. Massing, “Painting Materials and Techniques: Towards a Bibliography of the French Literature before 1800” in Die Kunst und ihre Erhaltung, Rolf E. Straub zum 70. Geburstag gewidmet (1990) 52; not in Faber Birren.

Moschæa (Battle of Flies and Ants). Rabelais placed this in the imaginary library of St. Victor. The longest and most celebrated piece relates the adventures of Baldus (a prince raised a peasant) and his friends the giant Fracasso, the rogue Cingar and the dog-man Falchetto, who all end up in a giant pumpkin, where poets, philosophers and other liars suffer diabolic dentistry. Though the comic literary practice of mixing Latin words with Italian words with Latin inflections was popular among students at Padua University, Folengo raised it to an art and composed the first significant works in the genre. The book’s atypically square type area often results in severe cropping of the marginal notes, which are virtually unscathed in this copy. In good condition (title soiled, a couple of minor spots). Sander, Le Livre à figure italien…jusqu’à 1530 2832; The Lessing J. Rosenwald . A Catalog 803; Brunet II: 1317 “much sought after…very difficult to find” (tr.); Nuovo, Alessandro Paganino (1509- 1538) 51; Elie, “Alessandro dei Paganini, de Brescia, imprimeur à Venise puis à Toscolano del 1513 à 1533” in Gutenberg Jahrbuch 1967 99-103 no. 18; Balsamo & Tinto, Origini del corsivo nella tipografia italiana del Cinquecento “I Corsivi dei Paganini” 79-101, 79 “essentially independent models, never copied” (tr.), 86 & fig. 24.

“ THE MOST FAMOUS EDITION OF ALESSANDRO DEI PAGANINI” — ELIE

Folengo, Girolamo (in religion Teofilo). Opvs Macaronicorvm. Toscolano, Alessandro dei Paganini 5 January 1521. 16mo (121 x 76 mm.). 272, [8] leaves. PRINTED IN TWO SIZES OF PAGANINI’S CHARACTERISTIC TYPES — SMALL UPRIGHT ITALICS WITH ROMAN AND GOTHIC ELEMENTS (larger 57/8 mm. for 20 lines; Balsamo & Tinto’s Nuovo Corsivo 1c), headlines in roman majuscules, shoulder notes in his smallest font (47; Nuovo Corsivo 1a), white-line woodcut initial, FIFTY-FOUR FULL-PAGE STRONGLY MODELLED WOODCUTS (100/2 x 56/8 mm.). Mid-19th century crushed blind-ruled red morocco (rubbed), gilt-lettered spine, all edges gilt, blue silk marker. $16,500.00 FIRST COMPLETE EDITION AND THE FIRST APPEARANCE OF THESE WONDERFULLY BURLESQUE WOODCUTS. THIS WORK ESTABLISHED THE NEW LITERARY GENRE OF MACARONICS. Here for the first time, the final eight cantos include Zanitonella (short realistic poems on rural life) and

PRACTICAL & THEORETICAL

Gaiani, Giovanni Battista. Arte Di Maneggiar La Spada A Piedi, Et A Cavallo. Loano, Francesco Castello 1619. 4to. [xii], 213 [r. 123], [1]p. A woodcut Castello device on the title and final verso. Gilt red morocco (V. Krafft), gilt outer and inner rectangles, gilt corner fleurons, spine and title gilt, all edges gilt, green silk marker. $14,500.00 Only Edition. This fencing manual is cast as a dialog between master and student in three sections. The first treats the art and sport, discusses the tradition of master at arms, introduces long and short sword and describes the basic strokes. The second details the strategy, geometry, mathematics and maneuvers of offense and defense. Gaiani acknowledges the near total abandonment in his time of the cut and the corresponding dominance of the thrust as a mixed blessing. The final part treats the deadliest mode, mounted fencing, where handling the horse is more important than handling the weapon, where the horse’s impetus gives force to the sword and the opponent must be kept on the right hand and ahead — never behind. Antonio Alfieri shamelessly copied Gaiani verbatim. This was long considered the first book printed in Loano (now known to be preceded by four extremely rare song books). I have found two copies in the U.S. In good condition. Anglo, The Martial Arts of Renaissance Europe 9-10, 35, 110, 121, 138-9, 264- 6, 268 & 366; Anglo, “How to Kill a Man at your Ease” in Chivalry in the Renaissance ed. Anglo 12; Ayala, Bibliografia militare-italiana 198; Pardoel, The Complete Bibliography of the Art & Sport of Fencing 179; Thimm, A Complete Bibliography of Fencing 109; Castle, Schools and Masters of Fence xxvii & 131; Gelli, Bibliografia generale della scherma 105 (not seen) 105; Fumagalli, Lexicon typographicum Italiæ 188; Huth, Works on Horses & Equitation 18; Kelso, Doctrine of the English Gentleman 382.

Gerardus de Zutphania. de spiritualibus ascensionibus. omnibus in sprirtuali vita p[ro]ficere volentibus no[n] min[us] necessarius q[uam] vtilis. De quinq[ue] necessarijs in vita religiosa p[ro]ficere dispone[n]tibus. [Deventer, Richard Pafraet] c. 1483/5. 8vo (143 x 103 mm.). [266]p. Gothic type, 21 lines per page, contemporary rubricated two-line initials, chapter summaries and text majuscules and the names of Church Fathers underlined in red. Contemporary dark calf (worn, minor defects) over shaped wooden boards (high in the middle and sloping towards all four edges), diapered panels with small circular tools in the interstices, spine with three double-cords (front joint partly cracked), evidence of a single clasp and catch. $18,000.00

First Edition: A PILLAR OF THE DEVOTIO MODERNA BY A PILLAR OF THE DEVOTIO MODERNA. Its communities of men and women lived together in complete equality, refused formal monastic vows and followed monastic patterns in their daily lives (silence, obedience, fraternal correction and canonical hours). This manual guides the pious to divine intimacy through meditation and practical action, including THE COPYING OF BOOKS (cap. 67). It was his most popular work and, in print, appeared only in small format. Because he employed suasion to effect religious reform, he was claimed by Catholics and Protestants alike in the 16th century. An excerpt of spiritual advice by David of Augsburg (d. 1272) occupies the final four leaves. Pafraet was the first printer in Deventer, long a center of the movement and for some time the author’s home. A good copy in original condition (a few pages dusty), a half-dozen uncut lower margins and several dozen only partially trimmed, scattered contemporary manuscript notes in red ink, early 17th-century manuscript title inscription, pencil notes of Georges Petit (1878-1956) recording his purchase in January 1949. The front vellum endleaf fragment is from a 14th-century manuscript written in northern France or Flanders. The side once pasted to the inside front cover bears fourteen lines of prayers to the Virgin Mary. That facing the printed text was scraped clean prior to binding. Campbell, Annales de la typographie néerlandaise au XVe siècle 797; GW 10686; ISTC ig00174000 (three U.S. copies); Goff G-174.

A LIBRARY OF TASTE AND DISCRIMINATION

Girardot de Préfond, Paul. Catalogue Des Livres Du Cabinet De Mr. G… D… P…. Paris, [F. Didot for] G.-F. Debure 1757. 8vo. [vi], lv, [i], 241p. Contemporary gilt-ruled polished calf (worn, joints cracked), flat spine gilt with flowers, diamonds and encircled stars, gilt-lettered label, edges sprinkled blue and red, ruled in red. $1150.00 This catalog documents Girardot de Préfond’s first collection — one of the most celebrated of the 18th century. La Vallière bought extensively at this sale. The compiler, Debure, uses his introductory remarks to puff eighty-four lots and to discuss bibliography, emerging trends in collecting, the chronologic priority of unsigned undated editions, concern over the correct number of preliminary leaves, demand for great rarities and the rising interest in salacious passages. Immediately after this sale, Girardot de Préfond began a second collection, sold en bloc a dozen years later to MacCarthy-Reagh. Internally fresh (occasional spots), neatly priced in contemporary manuscript, bookplate removed from the front pastedown. North, Printed Catalogues of French Book Auctions 135; Blogie, Répertoire des catalogues de ventes de livres II: 8; Peignot, Répertoire bibliographique universel 100 “très estimé”.

NATURAL HISTORY FOR T HE PEOPLE

Helmuth, Johann Heinrich. Volksnaturgeschichte. Leipzig, G. Fleischer d.J. 1797-1805. Nine volumes. 8vo. I: XX [r. XVIII], 348, [1]p. and II: XVI, 244, [1]p. and III: [vi], 253, [5]p. and IV: [iix], 196, [4]p. and V: XXX, 466p. and VI: XXIV, 240p. and VII: XXIV, 604, [1]p. and VIII: XVI, 556, XVII-XX, [2]p. and IX: xx, 506p. and NINETY-SEVEN ENGRAVED PLATES WITH ONE HUNDRED SIXTY HAND- COLORED FIGURES AND SEVENTEEN UNCOLORED FIGURES (some dated and signed by J.S. Capieux), TWO HUNDRED TWENTY-FIVE TEXT WOODCUTS IN CONTEMPORARY COLOR, two uncolored text woodcuts. Contemporary glazed marbled boards (worn, rebacked in plain paper), typed spine labels. $2800.00 First Edition, complete, for schools and self-instruction. With over four hundred illustrations — almost all in contemporary hand-color — this treats (in order) mammals, birds, fish, amphibians, insects, worms, plants (in two volumes) and minerals. The set starts with human anatomy and goes on to describe nearly two thousand animals, plants and minerals, including their gastronomic, medicinal and industrial uses. TOBACCO gets eight pages, and the New World references have not previously been noted. The set closes with HELMUTH’S AUTOBIBLIOGRAPHY and an comprehensive index. He dedicated it to Princess Frederica Louise Wilhelmina of Braunschweig (1770-1819). I have not found a complete set in American collections. In good condition (some foxing), scattered contemporary annotations on the plates. Not in the standard natural history bibliographies.

around the neck, assigned to them the new characteristic names, and immortalized each new member with a picture and a stanza in the society’s manual” (Faber du Faur). Inducted in 1637, Hille puts prose, verse, songs, proverbs, chronograms, allegories, heraldry and emblems to his purpose along with contributions by fellow members Harsdörffer and Moscherosch. He incorporated English, French, Italian and Latin into his narrative and HILLE DESIGNED AND ENGRAVED ALL BUT ONE OF THE ILLUSTRATIONS HIMSELF. Many of the incidental ornament is peculiar to this emblem book. For instance, some initials incorporate the society’s device (a palm tree), others the palm fruit (coconuts), others still show shaking hands (the medieval German symbol for friendship, here introducing a poem on members’ ties to one another) and a printing press tailpiece. There are reference to the New World, Columbus, America and the West Indies. A good copy (slightly browned, one musical note shaved). Praz, Studies in 17th-Century Imagery 342; Landwehr, German Emblem Books 342; Höpel, “Das mehrständige Emblem…eines seltenen Emblemtyps” in The Emblem in Renaissance and Baroque Europe…Conference 13-17 August, 1990 (1992) 104-17 esp. 107 & n. 18; Faber du Faur, German Baroque Literature 167; Dünnhaupt, Personalbibliographie des Barock 3: 2090,4; Bircher, Im Garten der Palme…mit Beigabe eines Ausstellungskataloges 457; Im Garten der “ WICHTIGE QUELLENSCHRIFT ZUR GESCHICHTE Palme…die Fruchtbringende Gesellschaft und ihre Zeit 55,III.5 & reprod.; DER FRUCHTBRINGENDEN GESELLSCHAFT” — Hirsch & Meyer, Katalog der Musikbibliothek Paul Hirsch III: 822 (def.); Alden, European Americana 647/79; VD17 12:652735R. DÜNNHAUPT

Hille, Carl Gustav von. Der Teutsche Palmenbaum. Nürnberg, W. Endter 1647. Oblong 16mo (84 x 143 mm.). [ii], engraved title, [lxxxiv], 231, [16]p. PRINTED MUSIC, THIRTY-THREE FULL-PAGE ENGRAVINGS BY THE AUTHOR INCLUDING EMBLEMS, LANDSCAPES, COATS OF ARMS AND TWO PORTRAITS (one cut by Troschel), FIVE ENGRAVED TEXT ILLUSTRATIONS WITH THIRTEEN EMBLEMS, engraved title, text woodcut of a date made of bones, title in red and black. Slightly later marbled paper over thick pressed paper boards (worn), early manuscript-lettered paper spine label. $5800.00 ONLY EDITION, FIRST ISSUE, OF THE FIRST HISTORY OF THE FIRST AND MOST FAMOUS GERMAN LITERARY SOCIETY — its statutes, aims, activities, members (academy name, plant emblem, motto) and their published works. In 1617, with the Accademia della Crusca as his model, Prince Ludwig of Anhalt-Köthen established the Fruchtbringende Gesellschaft to raise German to a true literary language. He “initiated the members, gave them the insignia of the society in the shape of a medallion hung

“ ART LOVER” — WURZBACH

Hooft, Elisabeth. Catalogue D’Un Tres Beau et Precieux Cabinet De Tableaux…De Desseins Coloriés & non Coloriés…& Ouvrages d’Estampes. Amsterdam, [J. Yver (or Ijver)] 1796. 8vo. [ii], 29, [1]p. 19th-century tan calf-backed marbled boards, gilt-lettered spine, title and date; interleaved, uncut. With: Hooft, Elisabeth. Catalogus Van Een Uitmuntende Collectie Schilderyen…Een Keyrlyke Verzameling Gecouleurde en Ongecouleurde Teekenigen, Capilaale Prent-Konst [Amsterdam, H.C. Bergveld(t)t] 1796. 8vo. [ii], 69, [1]p. $2850.00 Ad I-II: Issued simultaneously, these interleaved and annotated catalogs offer the art collection of Elisabeth Hooft, widow of Wouter Valckenier (1705-84). The French version (I) gives the prices and names of the paintings’ buyers. Of the eighty-nine paintings, Rubens’ Diana and her Nymphs (no. 32) was the dearest at 6000 fl. to one van Coeverden, likely an agent acting on behalf of English art historian, dealer and connoisseur, Michael Bryan (1757-1821; the painting is now at the Cleveland Museum of Art). Amsterdam dealers got their share as well. Pierre Fouquet bought Metsu’s A Musical Party (no. 25) for 1025 fl., and the collector J.B.J. Achtienhoven purchased Gerbrand van den Eeckhout’s Isaac Blessing Jacob (no. 10) for 630 fl. Both of these paintings are now at the Met. The Dutch catalog (II) also has some manuscript prices for paintings and is valuable for its fulsome treatment of the drawings and prints: the eighty-eight lots occupy some seventeen pages. In contrast, they receive a single page in the French version. I have not located a copy of either outside of Europe. Both are in nice condition (marginal pencil notes throughout). Ad I-II: Wurzbach, Niederländisches Kunstlerlexicon I: 713 “Kunstfreundin”; Liedtke, Dutch Paintings in the Metropolitan Museum of Art 42 (van den Eeckhout) & 116 (Metsu); not in Lugt. Ad II: Lugt, Répertoire des catalogues des ventes publiques…1600-1825 5492.

CHIC

Hours. Use of Rome. 1508. Hore ab vsum Romanum totaliter ad lungum sine require cu[m] multis suffragijs [et] orationibus. Tout pour le mieulx. Paris, Gilles Hardouin [1508]. Agenda 8vo (133 x 61/2 mm.). [90] leaves. [xiii], [167]p. a8 B-K8 L4 ($4, first recto of every quire signed in majuscule and the next three rectos signed in minuscule), gothic type (59), 37 lines per page, type area 112 x 43/4 mm. PRINTED IN RED AND BLACK, calendar 1508-1520. Contemporary rubrication of one- and two-line INITIALS EXECUTED IN RED AND BLUE AND HEIGHTENED IN GOLD; SEVENTEEN METALCUTS IN THE STYLE OF JEAN PICHORE IN CONTEMPORARY COLOR AND IN GOLD INK ARCHITECTURAL FRAMES (in four cases over ornamental metalcut border strips), the small text cut also colored; a metalcut Hardouin title device (Renouard, Marques 432), lightly ruled in red. Red morocco, panels and spine with gilt rules and blind floral roll (rubbed), gilt-lettered title, plain edges. $24,500.00 ONLY COPY KNOWN OF THIS JEWEL, twice as tall as wide — as well suited for display at church as for meditation in private. Gilles Hardouin only printed Books of Hours, in this case in Latin and French. He competed in every market: grand to humble to exotic. Here the unusually narrow format disturbed Hardouin’s customary illustration cycle. It is clear from the virtual absence of printed decorative borders around the illustrations that the printer intended this edition to have the images enclosed in illuminated architectural frames. THE COLOR AND GOLD HEIGHTENING IN THIS EXAMPLE CAN BE ASSIGNED TO THE ILLUMINATION WORKSHOP OVERSEEN BY GILLES’ BROTHER, GERMAIN HARDOUIN. The date of 1508 for the present edition is likely secure, as another agenda octavo from Gilles’ press survives with a calendar for 1509-20. In good condition, pencil acquisition note dated April [19]34 of Georges Petit de Grandvoir (1878-1956)Eggimann, Catalogue 23 (1933) 10329 (this copy, marked “sold”).

IT MADE HIS CAREER

La Mothe Le Vayer, François de. De L’Instrvction De Monseignevr Le Davphin. Paris, S. Cramoisy 1640. 4to. 364, [4]p. Etched allegorical title by Claude Mellan, fine etched Cramoisy title device. Contemporary vellum over stiff paper boards (soiled), manuscript spine title, slightly overlapping edges. $1750.00 First Edition. This Mirror of Princes concerns not only religion, justice, statecraft, finance, the liberal and mechanical arts, chemistry and science but dance, architecture, painting, navigation, war, swimming, wrestling, weaving, ball games, cards, dice, chess, equestrian skills and (extensively) hunting. As a result of this book, Le Vayer became tutor to both Louis XIV and his younger brother, Philippe d’Orléans. This text established the principles enunciated in the seven subsequent specialized treatises the skeptic and libertine wrote for the two boys. The author’s close friendship with Molière likely inspired much of the playwright’s satire, particularly the savage portrayal of hypocrisy in Tartuffe. Mellan’s engraving shows Athena leading the two-year-old Louis to Learning with the implements of the Arts and War scattered about. A good copy, contemporary German ?institutional ownership inscription on the title, armorial bookplate dated 1883 of baron Édouard de Turckheim (1829-1909). Cioranescu 39724; Arbour, L’Ère baroque 17161; Bourgeois & André, Sources de l’histoire de France XVIIe siècle 6096; Lacour-Gayet, L’Éducation politique de Louis XIV 69-71.

Le Baillif passim & 217,2; Sudhoff, Bibliographia paracelsica 181a n.; Caillet, Manuel bibliographique des sciences…occultes II: 6279; Duveen, Bibliotheca “ A PROVINCIAL AUTODIDACT… A BIGOT, A alchemica et chemica 343-4 “A very rare work”; Ferchl, Chemisch- FUNDAMENTALIST” — TREVOR- ROPER pharmazeutisches Bio- und Bibliographikon 447; Durling, A Catalog of Sixteenth Century Printed Books in the National Library of Medicine 2746 Le Baillif, Roch, sieur de la Rivière. Le Demosterion. Rennes, [J. (lacking both plates and some text); Brunet III: 897 “rare et curieux”. du Clos] for P. Le Bret 1578. 4to. [xvi], 190 [r. 202], [2 blank]p. and TWO FOLDING PLATES WITH LETTERPRESS AND WOODCUTS. One nearly full-page chiromantic woodcut, two divisional title-pages, a Le Bret anchor device on the main and second divisional title (dated 1577). Contemporary vellum (soiled and stained), later manuscript spine title, evidence of four pigskin ties, slightly overlapping edges, ruled in red. $17,500.00 Only Antiquarian Edition: “The Demosterion provides the most extensive documentation of early French Paracelsianism” (Baudry, tr.). Half in French and half in Latin, its six parts present, in order, a short introduction to Paracelsian doctrine, a distillation of its principles into three hundred bilingual aphorisms, a work on divination, a dictionary of Paracelsian terms, a chiromantic essay and a balneological and mineralogical description of Brittany. Together, the texts address alchemy, geomancy, astrology, ethics, dietetics, physiology, pathology and cures for ulcers, leprosy, edema, plague, gout and paralysis. Schematic, the first plate is dated 1 December 1578. It outlines the method for determining which remedy cures which ailment according to Paracelsian principles. The large woodcut of the second plate has seven rings that present the movement of the Moon through a sidereal month, that note enterprises and therapies favored on each day and indicate astrological influences and medical humors. Enterprising, Le Baillif suffered prison time for currency counterfeiting and escaped assassination. He practiced and lectured in medicine in Paris, then was expelled, having crossed the University’s medical faculty. He returned to Brittany, amassed a fortune treating local nobility and published a stream of popular Paracelsian books and pamphlets. In the late 17th century, he was (and remains!) conflated with Jean Ribit, sieur de la Rivière (d. 1605) Henri IV’s personal physician, also a devout Paracelsian. Complete and in good condition (ink spots on the plates), two contemporary title inscriptions (one dated 1579), 19th-century manuscript shelf labels. Trevor-Roper, “The sieur de la Rivière, Paracelsian physician to Henri IV” in Science, Medicine, and Society in the Renaissance: Essays to honor W. Pagel ed. Debus (1972) II: 227-50; Baudry, Contribution à l’étude du paracelsisme en France au XVIe siècle (1560-1580)…Le Demosterion de Roch

BANISHED FROM AIR, WATER, FIRE & EARTH

[Le Pot, Laurent. O.P.] Histoire Veritable…Tovchant Les Conivrations Et Exorcismes faicts à Denise de la Caille. Paris, P. Billaine 1623. 8vo. [iix], 252, [4 blank]p. Contemporary vellum over soft paper boards (soiled), manuscript spine title, edges sprinkled red. $6200.00 Only Edition of this detailed clinical psychiatric case study published as religious propaganda. This is the contemporaneous account by a court clerk, who recorded, as an eye witness, the four and a half months of public and private exorcisms performed by Dominican Laurent Le Pot on the widowed Beauvais weaver Denise de La Caille. We meet her covered in lice, unable to eat or drink, immobile, nearly blind and prone to violent outbursts, convulsions, hallucinations, contortions, vomiting, speaking in tongues and LEVITATION. Frequently, one or more than forty other demons — all named — exited her body, mocked the Virgin, taunted the priests, horrified onlookers then returned to Denise’s body to inflict further suffering. The book concludes with THE FORMAL WRITTEN AGREEMENT BETWEEN LE POT, SATAN, BELZEBUTH AND THREE OTHER DEMONS TO END THE POSSESSION. I have located two copies in American . In good condition (small title stain, lightly foxed), 18th-century title inscription of the Rouen Jesuits, bookplate of the Norman bibliophile abbé Germain Barré (d. 1836), letterpress label of Rouen canon Jean-Baptiste St. Colas (1809-74). Ferber, Demonic Possession and Exorcism in Early Modern France 156 n. 7; Leblond, “La Démonopathie dans l’Histoire. Denise de la Caille, la Possédée de Beauvais” in La Chronique médicale 15 (1908) 305-18; Coumont, Demonology and Witchcraft: An Annotated Bibliography H64.1; Caillet, Manuel bibliographique des sciences psychiques ou occultes 6559; Yves-Plessis, Essai d’une bibliographie…de la sorcellerie 649.

OF HIS OWN INVENTION

Lorgna, Anton-Maria. Fabbrica Ed Usi Principali Della Squadra Di Proporzione. Verona, M. Moroni 1768. Large 4to. [xi], 67p. and TWO LARGE FOLDING ENGRAVED PLATES OF THE INSTRUMENT (signed D. Valesi). Contemporary soft binder’s boards, small later paper spine label, UNCUT. $2800.00 Only Edition, for architects, artillerists, surveyors, cartographers, mathematicians, geometers and estate managers. This treatise introduces the various elements of Lorgna’s instrument, discusses its construction and provides diverse examples for its use, devoting one chapter to HYDROGRAPHIC CARTOGRAPHY, another to leveling, a third to BALLISTICS, and so on. Lorgna was among the first to draft plans to join the Mediterranean and the Red Sea at Suez and headed the military academy at Verona from 1763 to his death. In good condition. Riccardi, Biblioteca matematica italiana I(2): 47,7; Poggendorff I: 1497-8.

THE HEIGHT OF INTERIOR DECORATION

Normand, Charles-Pierre-Joseph. Nouveau Recueil En Divers Genres D’Ornemens. Paris, F.-É. II Joubert 1803. Tall Folio (456 x 296 mm.). 8p. and THIRTY-SIX ETCHED AND ENGRAVED PLATES in nine series by Normand after his own designs, UNCUT. Contemporary pastepaper boards, flat spine of gilt mottled calf (crown worn). With: Quéverdo, François-Marie-Isidore. Premier [-Deuxième] Cayer de Panneaux. Frises et sujets Arabesques. Paris, J.-F. Chéreau and F.-É. I Joubert 1788. Folio. TWO SUITES, EACH OF SIX NUMBERED ETCHED AND ENGRAVED LEAVES, UNCUT. $2800.00 Ad I: Originally issued in 1801-1802 in fascicles without the letterpress text, the plates are here gathered together, reordered, retitled and prefaced with an essay on the types and sources of imagery and the importance of continuity of style. Normand proposes candlesticks, beds, vessels, armchairs, stools, vases, secretaries, friezes, pilasters, firebaskets, capitals, friezes, paneling and ceilings livened with grotesques, antique scenes and scrolling decoration of considerable fantasy. Beraldi, Les Graveurs du XIXe siècle X: 219; Guilmard, Les Maîtres ornemanistes 268,134 (the final 4 leaves as an independent publication); Berlin Katalog 517; Early Printed Books 1478-1840…British Architectural Library 2149 (essay only, no plates!). Ad II: A delightful suite with designs for chimney fronts, cabinets, pavilions, baths, panels over doors and in dining rooms…. This includes his famous kiosk à la Turque as well as The Arts for music and drawing rooms and a libertine “Seasons” for bedrooms. These two series figure among the few joint publications issued immediately following Chéreau’s sale of his entire stock of 14,600 copperplates to Joubert in June 1787, making the latter the most important print publisher in Paris. His eponymously named son issued the Normand (I). Guilmard 232-33,41; Berlin Katalog 503; not in UCBA or BAL.

EMBLEMS NAKED, BETROTHED CLOTHED

Pallavicino, Hortensio. S.J. Avstriaci Cæsares Mariæ Annæ… Ferd[inan]di III Filiæ…Phil[i]pi IV Sponsæ…Hispana Mon[ar]chie Regine In dotale auspicum Infantis Monarchæ. Milan, L. Monza for A. Petrarca 1649. 4to. Engr. title, 176p. and THIRTEEN ETCHED AND ENGRAVED PORTRAIT PLATES, ETCHED AND ENGRAVED TITLE by Federico Agnelli. Contemporary vellum over thin wooden boards, later manuscript spine title, green edges. $3200.00 Only Edition of this illustrated festival book. It was issued in preparation for the entry into Milan on 30 May 1649 by Maria Anna of Austria on the way to marrying her uncle, Philip IV of Spain (wedding 7.X.1649 at Navalcarnero, Spain). The text records her full heritage. The medallion bust portraits of her male Habsburg forebears are set within an elaborate etched cartouche of banderoles, gristle-work ornament, crowned imperial eagle and imperial device and motto. In excellent condition (endleaves browned). Praz, Studies in 17th-Century Imagery 443 & 568 (“Devices described, without figures”); Black & Weston, Emblem Books 1223; Daly & Dimler, ONE SUNG TO “ ON THE TOBACCO PIPE” Corpus librorum emblematum: The Jesuit Series J.1109; Sommervogel- deBacker VI: 115,1. [Caption title:] Novell Collection d’Paskeye Ligeoiss. — N. 1[-9]. [All published]. [Liège], Féliss Oudart [1842-1843]. Nine issues in one volume. 12mo. 4p. and 4p. and 4p. and 12p. and 4p. and 4p. and 3, [1]p. and 8p. and 4p. Woodcut ornaments, tailpieces and vignettes throughout. Contemporary polished calf-backed marbled boards, cloth corners, gilt-lettered spine title, mostly uncut. $1400.00 A complete run of this fugitive periodical with bawdy and satirical songs and verse in Liégeois, the most curious dialect of Walloon. Considerably influenced by German, Liégeois is still spoken in Belgium and northern France. The authors of these pieces — J.-J. Dehin (1809-71), A.-J. Dejardin (1819-95), T. Fuss (1816-78), A. Picard (1819-79) and J.-J. Pinsar (1783-1853) — were all Liège natives and founding members of Liège Society for Wallon Literature (est. 1856). I have found two other copies worldwide (both in northern Europe). In excellent condition. Theux de Montjardin, Bibliographie liégeoise 982.

THE WORLD OF MOLIÈRE

La Penitence Des Beuveurs. Paris, E. Michallet 1673. 12mo. 71p. Gilt-ruled tan calf (Petit; joints broken and badly repaired), gilt-lettered red and black morocco labels, all edges gilt. $4500.00 Some books really aren’t what they are. This Q & A manual for confessors specializing in drunks received theological endorsement on the way to its printing privilege, though it is one continual satire of high school excuses for a bender. The first line of the preface says it all: “The whole world deplores the disorder caused by an excess of drink; even Christians…” (tr.). The book is evenly divided into two parts. The introductory exposition sets the parameters with definitions of alcoholism, the personal and social hazards of drinking to excess, the responsibility (and liability) of enablers including tavern and innkeepers, the hypocrisy of empty and broken promises to quit, etc. Five dialogs between the confessor and the (potential) penitent follow. In the first the confessor engages the obstinate drinker: C. “How many times have you been drunk and disorderly?”, P. “Ten or twelve times, that I can remember…”. The confessor prescribes a hair shirt for a year: P. “Ah Father, I can’t do that!”. And so the bargaining begins. Three fingers of wine to test its quality, wine in the countryside in lieu of unsafe water, then threats of mortal sin and sacrilege, and finally the penitent departs, vowing to find another confessor. The relapsed drinker, the hollow leg who consumes two bottles a night (no problem) but gets his companions totally stewed and the guilty bar owner round out the irredeemable. Closing on an uplifting note, the last dialog features a reformed tippler, who blasphemed, beat his wife, wasted 600 livres on wine, was regularly too drunk to open his shop, lost 1000 livres in his business and all of his regular customers. Over the past year he never visited a cabaret, never took a drink, never swore, stopped beating his wife, saved money, regained his old customers, attracted many new ones and turned a 2000 livres profit. Batting .250 isn’t that bad…. I have only been able to trace the BnF copy. Internally in good condition; pale blue gilt paper bookplate of the Mexican-Spanish diplomat José Gómez de la Cortina, marqués de Morante (1799-1860; Catalogus librorum 6251 “picante”), bookplate of André L. Simon (Catalogue (1981) 148). Simon, Bibliotheca Vinaria 197 “Sm. folio” (before he owned this copy!); Simon, Bibliotheca gastronomica 1147 “A very rare little book” (now, correctly, a small 8vo); Vicaire, Bibliographie gastronomique 673.

BLACK POWDER, MORTARS & FLAMING ARROWS

Preuss, Jakob. Ordnung, Namen unnd Regiment alles Kriegs volcks. Strassburg, C. Egenolff 1530. 4to. [i], [6]p. TITLE WOODCUTS of an armored foot soldier and of two incendiary weapons. Early 20th-century red cloth-backed marbled boards, gilt- lettered spine label (chipped). $4800.00 First Edition of this immensely popular field booklet. Preuss divides the army in three — cavalry, artillery and infantry — and identifies the chief officers and their duties. His interest lies with artillery and troops bearing portable firearms. He reviews eight types of cannon and shoulder-fired weapons and gives the size or weight of their shot before turning to mortars, a recent innovation at the time. Of these he describes three, again with the weight of their shot and the ideal number of each a fighting force should have and their distribution on the battlefield. He addresses THE CHEMISTRY OF BLACK POWDER AND OFFERS THREE RECIPES, INCLUDING ONE SUITABLE FOR A FLAMING ARROW INCENDIARY, illustrated in the text and on the title. Finally he details a new mortar, provides instructions for its construction, for its installation and for the preparation of the gunpowder tailored to it. No doubt as dangerous to its operator as its target, this weapon is also shown on the title and in the text. Useful and concise, the Ordnung was immediately collected into larger military manuals and was reprinted into the 17th century. Its preparation and publication were probably stimulated by the formation of the Schmalkaldic League, a military alliance forged in 1530 of Protestant states of which the Saxon Elector John the Steadfast (1468- 1532) was a prominent leader. Preuss served the Elector as military advisor. Two copies in the U.S. In good condition (narrow pale stain at the extreme lower margin). Leng, Ars Belli: Deutsche taktische und kriegstechnische Bilderhandschriften und Traktate im 15. und 16. Jahrhundert I: 297-9; Jähns, Geschichte der Kriegswissenschaften I: 486-7; Riling, Guns and Shooting no. 6; Cockle, Bibliography of Military Books up to 1642 509; Quellen zur Geschichte der Feuerwaffen…vom Germanischen Museum (1877) pp. 68-70; Benzing, “Christian Egenolff zu Straßburg und seine Drucke (1528 bis 1530)” in Das Antiquariat 10 (1954) 88,20; VD 16 P 4772.

Schwender, Johann Gottlieb. Handbuch für Mäurer, Zimmerleute, Steinmetzen, Tischler &c. Leipzig, [A.F.G. Baumgartner’s] Industrie Comptoir [1805-1806]. Three volumes in two. Square 8vo. vi, 48p. and 39p. and 90p. and ONE HUNDRED TWO ETCHED PLATES WITH OVER FIVE HUNDRED FIGURES after Schwender’s designs. Contemporary mottled half-sheep and marbled boards (rubbed, corners bumped), gilt-ruled flat spine, gilt-lettered red and green paper labels, red edges. $2250.00 First Edition of this pocket guide for builders with plates and detailed explanatory text, strongly influenced by Langley’s The Builder’s Jewel. This is a direct witness to the importance of English style and practice in German speaking lands, which reached its peak of imitation in the following decades in interior decoration. The illustrations show moldings and friezes, the orders, pediments, doors and windows, balustrades, alcoves and related ornaments along with geometric figures and many proposals for timber-frame architecture. This last part, on carpentry, was issued separately, clearly for artisans. The compact pocket format of the three volumes suited consultation at the building site and on-the-spot review by patrons approving last minute changes and alterations. A truncated version appeared in 1831; neither version is held by a North American library. In good condition (text and one or two plates foxed), lithographed bookplate of Friedrich Natorp (?the aesthetician) and his manuscript inscription dated 1908. Engelmann, Bibliotheca mechanico-technologica 136 (& Vol. 3 sold on its own); Berlin Katalog 2056 (dated 1806 after Heinsius); see British Architectural Library (BAL) Early Printed Books 4109 (1831 abridgment).

HOW TO WIN THE LOTTERY

Stampa, Giuseppe Maria. Lvdvs Serio Expensus Nec Non Eivsdem De Arithmetica Progressione Tractatvs. Milan, G.P. Malatesta 1700. 4to. [iix], 87, [1]p. and a FOLDING LETTERPRESS TABLE (339 x 217 mm.). Woodcut crown on the title. Flush cut in contemporary marbled paper over stiff paper boards, blue paper label at the top of the long-stitched spine (worn). With: Stampa, Giuseppe Maria. Organvm Academicvm Sive Corporis Proceritate Ac Parvitate Contentio. Milan, A. Ramellati 1699. 4to. [iix], 51p. $6500.00 Ad I-II: Only Editions, his only scientific and literary compositions. Both treat the lottery. In good condition. Ad I: The folding table and thirty-page treatise explore the application of arithmetical progressions to combinations for success at the “Genoese Lottery”, the prototype of all modern lotteries. It arose in the 17th century from the inhabitants’ custom of betting on the names of city councilors, that were elected every six months from a group of eligible candidates. The substitution of numbers — 1, 2, 3, ¼ and 90 — for names on the balls drawn from a drum enabled gambling of this type throughout the year. The remainder of the book has some one hundred poems, mostly in Italian, on gambling, gymnastics, backgammon, cards, dice, mora and especially the lottery. Three poems are cast as dialogs and were to be recited to musical accompaniment. Riccardi, Biblioteca matematica italiana I(2): 475 “Raro”. Ad II: Stampa’s first published work, this mix of spirited serio- comic Latin and Italian pieces includes six verse fables, a host of epigrams and some comically learned prose orations, all apparently presented to members of his Milanese literary academy. He later was called to Rome, became the administrator of his religious order and edited historical texts, including Sigonio. Minor blank marginal stain to the final leaf, contemporary signature of abbot Pietro Rovereto on the title, early manuscript shelving note on the final verso. Riccardi I(2): 475.

BY A MATHEMATICIAN- VIOLINIST- PEDAGOGUE

Technical broadsides. [Caption-title:] Richtige Grund=Sätze der Friction-Berechnung, Zu weit gewißerer Beurtheilung und Einrichtung aller Machinen überhaupt, aus des Monsr. Amontons und Monsr. Belidors Schrifften, denen Liebhabern mechanischer Wißenschaften zu Gefallen in beliebter kürtze zu sam[m]en getrage. Erste [-Dritte] Tabelle. Nürnberg, Heirs of J.B. Homann c. 1750. THREE ETCHED AND ENGRAVED TECHNICAL BROADSIDES IN CONTEMPORARY HAND- COLOR with a total of fifty-three figures and explanatory text (sheet size 524 x 598 mm., the first signed J.M. Seligmann after C.W.F. Rost). Old vertical fold. $5500.00 A COMPLETE SET IN CONTEMPORARY COLOR. To be displayed in classrooms, huddled over on desks or mounted in albums, these educational charts demonstrate the principles of friction, statics and dynamics outlined in the works of French physicist Guillaume Amontons (1663-1705) and engineer Bernard Forest de Bélidor (1698- 1761). The fifty-three figures of machines, counterweights and pulleys are explained and provided with mathematical proofs, so the student can apply the principles demonstrated to practical problems in construction, manufacturing and transportation. Rost (d. 1764) was a master violist, a draftsman and a lecturer in mathematics at Nürnberg about 1750. Seligmann (d. 1762) engraved natural subjects and sold art in Nürnberg. I have not located a complete set outside of Europe. In nice condition (once bound in an album on stubs, old manuscript numeration on versos). For Rost, see Nürnberger Künstlerlexikon III: 1266.

THE DAZZLING WOMEN OF BOLOGNA

Tolomei, Claudio. Laude delle Donne Bolognese. Bologna, G. da Rubiera 1514. 4to. [iix], [88]p. FOUR TEXT WOODCUTS (from two blocks), title in four woodcut border strips of putti, foliage and grotesques, a circular woodcut of a virgin with a unicorn resting its head on her lap (repeated on the final verso); the other block shows Venus holding a blindfolded cupid in her hand as he aims his arrow at her chest. 19th-century black morocco and green pebbled paper boards, gilt-lettered spine. $7500.00 First Edition, the first book by the famous lawyer, orthographic reformer and author of model letters. It was not reprinted for nearly four hundred years. The twenty-four hundred lines of ottava rime are divided into three sections. The first and third treat love through narrative and dialog. The second praises TWENTY-ONE OF THE MOST FAMOUS CONTEMPORARY WOMEN IN BOLOGNA for their virtues, accomplishments, grace, conversation, character and beauty. Extensively developed metaphors of flowers, precious gems, exotic spices, sculpture, architecture, a peaceful loggia livened by a fountain, decorative pavement, historical and literary figures of ancient Greece and Rome and classical mythology vie with one another. A kind of manifesto, TOLOMEI WROTE THIS POEM IN THE LANGUAGE OF THE TRECENTO. He later came to support the New Tuscan in his life-long effort to reform the Italian language. I have traced two copies in the trade in the past half century. In very good condition (the vagina on two of the cuts has been partly obscured), bookplates of painter, paintings dealer and book collector Chas. Fairfax Murray (1849- 1919) and of bibliophile Louis Thompson Rowe (1855-1927). Sbaragli, Claudio Tolomei umanista senese 3-8 & 211; Serra Zanetti, L’Arte della stampa in Bologna 131 & no. 504; Sander, Le Livre à figure italien 7322; Gay, Bibliographie relatifs à l’amour II: 778 “curieux”; Erdmann, My Gracious Silence 195 (not in the collection); Ambrosini, “Un Cimelio e due rarissime edizioni di G. Leonardi da Rubiera” in La Bibliofilia XII (1910) 337-40 & reprodd; De Marinis, Preziosa collezione 197 “Rara edizione” & Tav. XLI; EDIT16 CNCE 67533. hours of one another in October 1587. The narrative is told without interruption. The endnotes fill in the bibliographic details and sources. The colophon states one hundred octavo copies were printed, and sixteen variously on vellum, on “French colored paper”(?), “silk paper”(?) and on blue paper (as here). The same setting of type — appropriate for a traditional octavo — was used for all issues with the result that the present large paper example has the remarkable ratio of type-area to leaf-size of 1:8.3 (the custom is 2:3). The book was printed at what began in 1810/11 as the private press of Count Alvise Mocenigo in his planned “ideal city” of Alvisopoli. By early 1815 the business had moved to Venice and come under the direction of the bibliographer Bartolommeo Gamba, who made it famous for its typography and its program of classical Italian literature. Completed 24 December 1815, this book was almost certainly in press, when Francis I Emperor of Austria visited the shop. The two examples I have located in the U.S. are the octavo issue. In excellent condition — two quires are unopened and all leaves uncut; armorial bookplate of industrialist, politician and collector Piero Ginori Conti, Prince of Trevignano (1865-1939). Ungherini, Manuel de bibliographie…des femmes célèbres II: 85 “in 8° (?)”; Levati, Dizionario biografico cronologico delle donne illustri I: 151-53; Cicogna, Saggio di bibliografia veneziana 2084 (8vo); Passano, I Novellieri italiani in prosa I: 755-6 (records the five issues); Gamba, Delle novelle italiane in prosa bibliografia 276 (“in 8.vo”); for the press see Fumagalli’s Lexicon typographicum italiæ 9. ONE OF SIX

Tomitano, Giulio Bernardino. Bianca Cappello E Pietro Buonaventuri Novella XI. Venice, [G. Bettoni for Alvise Francesco Mocenigo at the Tipografia Alvisopoli 24 December 1815 but 2 January 1816]. Folio (300 x 212 mm.). 45, [2]p. PRINTED ON HEAVY BLUE PAPER, etched portrait (46 x 36 mm.) of Bianca Cappello on the title based on a contemporary carved ivory likeness. Original tan pastepaper over boards, lighter blue endleaves, uncut and partly unopened. $1850.00 Only Edition: a lover’s tale. The bibliophile Tomitano tells the story of the highborn Venetian, Bianca Cappello (1548 -87), who fled to Florence at age fifteen to marry a wayward banking clerk, Pietro Buonaventuri. The demand to Cosimo de’ Medici for her return to Venice drew the attention of his son Francesco (1541-87). He sanctioned her marriage to Pietro in December of 1563, and within a few months he and Bianca had a daughter. They remained lovers during his marriage to Joanna of Austria, on whose death Francesco wed Bianca and raised her to Grand Duchess of Tuscany. They died of malaria within a few

MIRROR OF PRINCES & BUDGET TEMPLATES

Ursinus, Christian Heinrich. Taschenbuch über Haushaltung und Wirthschaft für Fürsten und Standespersonen. Berlin, F. Vieweg d.Ä. 1792. 8vo. [xiv], 74p. and TWO FOLDING DOUBLE-PAGE TABLES printed on both sides of the leaf, etched title vignette of a crown, sceptre, knightly sash and serpent; printed on wove paper. Contemporary gilt-ruled tan calf (hinges rubbed), GILT CROWNED CIPHER OF THE DEDICATEE CROWN PRINCE FRIEDRICH WILHELM OF PRUSSIA on both panels, spine and ?paper label gilt, all edges gilt. $1950.00 Only Edition. Beautifully printed on wove paper, this luxury production was dedicated to Friedrich Wilhelm III of Prussia (1770-1840, r. 1797-1840) by his father’s private secretary. The first essay outlines the ideal character of a ruler or person responsible for others — military generals, large land owners, government administrators, nobles of both sexes and their factors. The second essay treats the domestic economy of their households and focuses on cash transactions, inventories of forage and kitchen supplies and flatware and clothing, passive and active income management, bookkeeping techniques and ten-day, quarterly and annual audits. It provides sample forms for various kinds of receipts, and the folding tables show how to track revenues and expenses down to beer, wine, meat, baked goods, sugar, coffee, tea, chocolate, clothes washing, medicines, hunting and THE LIBRARY — BOOKS, JOURNALS, BOOK BINDER, ETC. The dedicatee heeded the author’s advice on assuming the Prussian throne in 1797. Friedrich Wilhelm III slashed the expenses of the royal establishment, dismissed his father's ministers, reformed the most oppressive governmental abuses and restored the moral legitimacy of the crown (long mired in political intrigue and moral debauchery). THIS COPY BEARS THE PRINCE’S CROWNED CIPHER ON BOTH PANELS. I have located two other examples (Augsburg and Berlin). In good condition.

VD18 11722045.

BY THE CELEBRATED MUSIC THEORIST

Zarlino, Gioseffo. Resolvtioni De Alcvni Dvbii Sopra La Correttione dell’Anno di Giulio Cesare, Ordinata Dalla S.D.N.S. Papa Gregorio XIII. Venice, G. Polo 1583. 4to. 18 leaves. TWO NEARLY FULL-PAGE WOODCUTS (the same block repeated), title Creation woodcut. Recent patterned boards. $2250.00 Only Edition. This fugitive contribution to calendar reform immediately followed the publication and initial implementation of the Gregorian calendar. In six short essays and with the aid of two nicely executed astronomical woodcuts and years of mathematical training and study, Zarlino answers his friends’ queries about the difficulties inherent in the Julian calendar and their resolution with the newly imposed Gregorian calendar. I’ve found two examples in U.S. libraries. A good copy (pale stain to some leaves); not in Tardy’s Bibliographie générale de la mesure du temps. Houzeau & Lancaster, Bibliographie générale de l’astronomie 13784 “Rare”; Grassi, Union Catalog of Printed Books…in Astronomical European Observatories 62; Riccardi, Biblioteca matematica italiana I(2): 661 “raro”.