FRENCH MISCELLANY · 1 MAGGS BROS. LTD · 48 BEDFORD SQUARE · LONDON · WC1B 3DR 1. DE GARATIS (Martinus) Clarissimi iurisconsulti domini Martini de Caraziis Laudensis solenes et quottidiani ac practicabiles tractati sequuntur. : Thomas Kees and Jean Lambert for A Poncet Le Preux, 22 October, 1513. (With:) JOHANNES (Monarchius Cisterciensis). Defensorium FRENCH Iuris. Rouen: Michael Angier and Jean Mace, 1518. £2500 I. Title printed in red and black, with criblé metalcut device of publisher MISCELLANY Poncet le Preux on title page with his monogram and name, criblé initials throughout, one with guide letter. Gothic letter. PART I. THE SIXTEENTH CENTURY II. Title printed in red and black, woodcut initials throughout, some historiated, one woodcut shield ornament (fol. f2(r)), text in columns. TEL. NO. +44 (0)20 7493 7160 Gothic letter. EMAIL: [email protected] 4to (200 x 140mm). 96ff; 88ff (of 96, lacking final quire ‘M’, final tract by Peter of Ancarano). Contemporary limp calf, upper cover panelled with hunting roll border (EBDB r000644) and lattice pattern at centre (EBDB r000519), lower with floral roll (EBDB r000646) and simple blind-fillet pattern at centre, executed in Bavaria, ; with stamped monogram ’PAZL’ ( Placidus Hieber Abt Zu Lambach) and date, 1659, spine with three raised bands, painted, with manuscript title at head (calf worn, corners and headcaps chipped, worming to upper cover and spine, remnants of ties). A handsomely-bound volume from the library of the Abbot of Lambach comprising two rare works on jurisprudence: the first, a collection of tracts on Roman and canon law by fifteenth-century jurist and economist Martinus de Garatis (Martino Garatti da Lodi, d.1453); the second, a compilation of legal tracts by medieval and early modern jurists. The first of this collection is Johannes Monachus Cisterciensis’ (late thirteenth-century) popular tract on defense law, followed by a series of tracts on various other legal subjects including arbitration, intestacy, and notarial law. The first five essays in particular were repeatedly printed together in other such compilations (e.g. at Bologna, Ugo Rugerius, 1499) and the work of De Garatis and Johannes Monachus Cisterciensis appear to have been well-known staples of legal education. As the imprint on the title page explains, publishers Michael Angier and Jean

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Macé were based in Caen and Rennes respectively, but operated also from shared premises in Rouen; according to the imprint, Angier was recognised as a bookseller and binder by the university, and thus his ‘selection of titles was generally oriented toward the needs of masters and students’ there (Booton, 456). Such legal compendia constituted an important part of Macé’s output. The attractive if unusual limp binding of this volume, complete with hunting roll, is Bavarian (EBDB workshop no. w002121, Augsburg, active 1482-1532); the stamped monogram towards the head of the upper cover is that of Placidus Hieber (1615-78), the Abbot of the Benedictine Monastery of Lambach in Austria, which had an extensive library (it is the Abbey’s library stamp at the foot of the title page). Hieber was notable in the succession of abbots of the monastery for being murdered by the head of the monastery kitchens - whom he had apparently reprimanded - with a poisoned apple tart (Ronus, 105). Sporadic interlinear and marginal annotation in in the first volume, particularly heavy in ‘De primogenitura’. Some foxing, a little worming to inner and lower blank margins of gatherings a-p of first volume, not affecting text. Tear along gutter of f. k1 of second work, neatly repaired, flaw to gutter of f. L1, otherwise a clean, attractive copy. I. Renouard, ICP II, 579. Not in Adams or BMSTC (French). OCLC: 1 in Munich, 1 in the Danish National Library. II. Delisle, Catalogue des Livres Imprimes ou Publies a Caen avant le milieu du XVIe siecle I (1903), 230. D.E. Booton, ‘The Cover Design’, The Library Quarterly 81.4 (2011), 455-6. R. Ronus, ‘A Medal of the Abbey of Lambach’, Numismatics International Bulletin 50.5-6 (2015), 103-5. Not on OCLC. [228040] FRENCH MISCELLANY · 3

2. JUVENAL (Decius Junius) Satyrae decem et sex. Cum 3. LUCANUS (Marcus Annaeus). M. Annei Lvcani Civilis annotationibus in margine adiectis, quae breuis commentarij vice belli libri X. Paris: , 1528. £750 esse possint. [With:] Auli persii flacci satyrae sex. Paris: S. de Colines, Woodcut printers device on title page, white on black woodcut initials 1528. £500 with crible grounds. . Colines’ woodcut device on title page, woodcut initials. 8vo (160 x 105mm). 156ff. Blind-tooled French calf, covers panelled with fillets 8vo (155 x 95mm). 68; 13 [1(blank)]ff. 17th-century calf, rebacked (calf scuffed and and an ornamental roll, with fleur-de-lys in central compartment, spine with stained in places, extremities rubbed). seven raised bands (rebacked, spine significantly chipped and worn with bands visible, joints cracked, wear to extremities, covers scuffed). Simon de Colines’ attractive first edition of the of Juvenal and Persius, following the text of the Aldine editions. The life of Juvenal is First edition by Simon de Colines of Lucan’s Civil War, or Pharsalia, found on the verso of the title page; the printed notes in the margins his epic on the wars between Caesar and the forces of the Republic are those of Coelius Curio. under Pompey, and subsequently Cato. Colines’ text is based on Provenance: from the celebrated library of the surgeon Charles the 1493 edition produced at by Simon Bevilaqua, and Bernard (see ODNB) who died at Longleat, with his signature on incorporates corrections and amendments made by the Aldine title-page. Bernard’s sale was held at the Black Boy coffee house on Press in their 1502 edition. The epic as it stands is unfinished, March 22, 1711. There are a few minute contemporary notes in the interrupted by Lucan’s suicide (in 65 A.D.) on the orders of the Juvenal. With bookplate of bibliophile Mary Augusta Elton with the Roman government following his involvement in an unsuccessful motto from Martial, ‘non norunt haec monumenta mori’, ’these great conspiracy against Emperor Nero. monuments do not know how to die.’ This is a beautifully printed volume, made distinctive by Simon Renouard, Colines, 125 & 128; Moreau III no. 1533 & 1534; Schreiber de Colines’ elegant italic type. 38 & 40. [228318] Provenance: From the library of the Duke of Sussex, with his armorial bookplate on front pastedown. Ownership inscription, deleted, on front free endpaper, and inscription at head of verso of final leaf, dated 1798. Fore-edges of title page and final leaf discoloured, lower corner of f.129 untrimmed, otherwise in good condition. K. Amert, ‘Intertwining Strengths: Simon de Colines and ’, Book History 8 (2005), 1-10. H.D.L. Vervliet, The Palaeotypography of the French (Brill, 2008), 63-96. Adams L1569. BMSTC (French), p.290. Renouard ( Colines ), 125. OCLC: (UK: BL, Cambridge. USA: Chicago, Illinois, St John’s, Columbia, Michigan). [228243] FRENCH MISCELLANY · 4

4. VALERIUS FLACCUS (Caius) Argonauticon libri octo. Paris, Simon de Colines, 1532. £550 Colines’ ‘Tempus’ device on title page, 3-6 line initial spaces, all with guide letters. Italic type. 8vo (160 x 110mm). 103, [1]ff. (ff.97-100 misbound), ruled in brown ink. C18th calf, covers with triple gilt fillet, spine gilt with red morocco label, gilt edges, marbled endpapers (joints split but holding, chipped at head and foot of spine, corners bumped and worn). Colines’ first edition of Roman poet Valerius Flaccus’ (45- 90 A.D.) epic, recounting the adventures of Jason and the Argonauts in their quest for the Golden Fleece. This is the second edition of the text to have been edited by Engentinus (Philipp Engelbrecht, 1490-1528), as indicated by the date of his dedication in this volume, borrowed from the Strasbourg edition of 1525. Engentinus was professor of poetics at the university of Freiburg. A contemporary and acquaintance of , he was an attendee at the Diet of Worms in 1521 and subsequently wrote in defence of Martin Luther. Flaccus’ epic was never completed. The poet drew heavily on the only text about the Argonauts that preceded his, that of 5. BOUCHET (Jean) Les angoysses & remedes damours. Apollonius the Rhodian, yet additions and omissions of his Du traverseur en son adolescence [in verse]. Poitiers: Jehan & own mark Flaccus’ writing as being entirely independent. Enguilbert de Marnef, 8 January 1536. £1,250 Provenance: Note in brown ink on recto of final leaf. Small Printers’ device on title page, last leaf with privilege on recto and pelican bookplate on rear paste-down, remnant of wax at foot of title. device on verso. Small, closed tear to title page, not touching text. Waterstaining 4to (180 x 125mm). [8], cxxi [ie. cxxiii], [3]pp (expert facsimile of A4 with to fore-edge of gathering ‘e’. Small burnmark to f.86, slightly full-page woodcut on early paper, likely done around time of binding). 18th- affecting text. century calf, spine gilt in compartments, label with title in second compartment Adams, V78. BMSTC (French), 433. Renouard (Colines), 200. (extremities rubbed, spine chipped, repair at foot of upper cover). Schreiber, 90. Schweiger 1099. [228249] First authorised edition, printed in lettre batârde. Jean Bouchet FRENCH MISCELLANY · 5

(Jan. 1476- c. 1559), lawyer, chronicler, polemicist and poet is L’Amoureux Transy’, Bibliotheque d’Humanisme et Renaissance associated with the Rhetoriqueurs, writing in a style inspired by 50.1 (1988), 39-55. OCLC: (UK: BL, Oxford. US: Harvard only). the medieval tradition (which the lettre batârde [228346] reinforces). Under the sobriquet ’Traverseur des voyes périlleuses’ Bouchet was the author 6. ANACREON Teij odae. [Odes]. Paris, of numerous poetical works; this is the first , 1554. £2000 authorised edition of a work that he had begun Estienne’s device on title page, one woodcut initial, to compose early in the sixteenth century, two woodcut headpieces. Greek, Roman and Italic but of which portions had been published, type. unauthorised, by Vérard in Paris (this, and the 4to (205 x 145mm). [8], 110pp. (lacking final blank). Later subsequent lawsuit, perhaps explain why he vellum over pasteboard, spine with paper labels at head, chose to publish this edition in his native city). red speckled edges (spine chipped and slight worming, There are interesting textual differences between vellum scuffed, corners bumped). the poetry in Vérard’s edition, the Amoureux of an important collection of what Transy, and the initial verses of ‘Le Remede were thought to be odes authored by Anacreon, Daymer’ here, including additional lines which only much later identified as the work of emphasize the author’s youth which, for the anonymous imitators in his style, and the first moralist that Bouchet had become by 1536, was volume to be published by Henri Estienne the the only justification for his ’amoureux abuz’ Younger. The Greek text and its commentary - he refers to ’la fureur de ma jeunesse folle’ are printed in the three sizes of the grecs du roi (Winn, 51). typeface. The commentary is Henri Estienne’s, The poetry in this volume is replete with heavy and the Latin translation that follows the Greek classical allusion and wonderful vocabulary, has also been attributed to him. e.g. Epithètes de folle amour: Provenance: From Johann Heinrich Kromayer’s “Je nomme amour, Cupido titillant / Nectarean, (1689 – 1734) library. Bibliographic information improbe, versiforme / Aueugle, nu, scelerux, vacillant inscribed on recto of front free endpaper. Sparse / Mauluais, hardy, blandissant & difforme...” marginal annotation in same C18th hand Provenance: Ownership inscription on title throughout, underlining in pencil and ink, and page, further inscription on pp. xvii, lxxv of poems numbered by hand. ‘Demaziony’. Neat repair to lower fore-corner of title page, Title page backed with repairs to gutter, general not touching text. Hinges cracked but holding. browning. Occasional minor staining, otherwise in very good condition. Brunet I, 1162-3. BMSTC (French), 77. Not in Adams. M-B. Winn, Adams, A1001. BMSTC (French), 16. Brunet I, 250 (“aussi belle ‘Publisher VS. Author; Anthoine Vérard, Jean Bouchet and que rare”). Schreiber, 139. Renouard (Estiennes) I, 115.1. [228250] FRENCH MISCELLANY · 6

7. HOMER Homeri Ilias, id est, de rebus ad Troiam gestis. Paris: Adrian Turnebus, 1554. £1750 Woodcut printers device on title page, woodcut headpieces and initials throughout. Greek type. 8vo (170 x 110mm). [4], 554, [2]pp. (G gathering bound out of sequence but complete). Sheep over pasteboard, double blind fillet on covers, spine with four raised bands and neat paper label pasted in second compartment with MS title (covers scuffed, very carefully rebacked with original spine laid down, wear at head and foot). The important, first Parisian edition of Homer’s Iliad, and the only edition produced by Adrien Turnèbe (1512-65) . Lauded by Dibdin as ‘elegant and excellent’, this volume is seen to be a milestone in Homeric scholarship. This attractive edition was printed in 1554, towards the end of Turnèbe’s tenure as the French Royal printer of Greek publications, a position in which he succeeded Robert Estienne. An academic and philologist who returned, after his post at the College Royal, to a Greek professorship, Turnèbe collected and edited the manuscript material for this volume himself. Provenance: Extensive annotation in Greek on blank verso of title page; annotations in brown ink and pencil throughout, with ownership inscription on verso of final leaf, ‘Peter Hopkins’, dated 1609 with further inscriptions in Greek and Latin. Title page previously loose and reattached at gutter, portion of upper corner of i5 lacking and small burn?hole through b6. Paste- downs renewed, occasional dampstaining at head and fore-edges throughout, not affecting text. Dibdin II, 63. Adams, H775. BMSTC (French), 229. Hoffman, 322. [228217] FRENCH MISCELLANY · 7

8. MARGUERITE D’ANGOULÊME (Queen Consort of Navarre) the Spanish and other works from the Italian and Greek (Epistres de L’Heptameron... remis en son vray ordre... par Claude Gruget Phalaris, 1550). It was he who titled the work Heptameron. It has Parisien. Paris: B. Prevost, 1560. £2800 originally been published as Histoire des amans fortunez. Title within a woodcut frame, woodcut initials. Provenance: 16th/17th century signature on title-page of Jo: Lancaster (? Bp. of Waterford) , a few notes in Latin and English e.g. 4to (210 x 147mm.) [4], 212 [=210, ff. 193 & 194 omitted], [2]ff. 20th-century dark f. 33 ‘lapider’ glossed as ’to stone to death’, all heavily washed. On maroon niger morocco janséniste by the binder Auguste Bernasconi (1879-1967), f. 172verso the words from the Mass ’Dominus vobiscum’ and ’Ite maroon morocco doublures, silk liners, gilt edges, in slip-case. missa est’ have been underlined. The Heptameron (a name created by the editor Gruget from the Washed and with some leaves repaired, title-leaf laid down and Decameron of Boccaccio) is by the sister of François I of , the mounted. ‘first lady’ of French literature, and a woman of strong religious beliefs, Brunet III, 1416. BMC (French), 301. [228440] some of them akin to , Marguerite d’Angoulême (1492- 1549). In 1527 she married for a second time Henri d’Albret and became queen of Navarre (her grandson was Henri V). Distinguished for her piety, and the author of a number of works in different genres, these stories are all true; her concern was ’dire verité’. The work is divded into 8 days, all except the last (which has two) having ten short stories or nouvelles. She shows herself aware of contemporary happenings, such as the murder of Alessandro de Medici (1537) and the expedition to Canada of Jean François Roberval recounted in the seventh nouvelle (Cc1-2) - ‘Roberval feit un voyage sur la mer... en l’isle de Canadas, auquel lieu auoit deliberé, si l’air du pays eust esté commode...’. The 4to edition edited by Gruget first appeared in 1559 (colophon dated 7 April), and containing 72 ‘nouvelles’ (the first edition had only 67). This was an édition partagée, with various names sometimes appearing in the imprint, including that of Eloi Gibier at Orléans. This 1560 edition is an exact reprint down to the error in pagination but the imprint at the end has no date of achevé d’imprimer. The work was immensely popular, reprinted in a variety of formats, and in 1654 was translated into English. Her Miroir de l’ame pécheresse was translated into English in 1548 ( A godly meditacyon. ..) and published in Marburg. Claude Gruget the editor was the translator of Mexia’s Silva from FRENCH MISCELLANY · 8

9. SOPHOCLES Sophoclis tragoediae septem. Geneva: Henri Estienne, 1568. £2000 Woodcut printers device on title page, woodcut headpieces and initials throughout. Roman and grecs du roi type. 2 parts in one vol. 4to (260 x 167mm). [8], 461, [1]pp.; 142 (i.e.242)pp. (lacking final blank leaf). Nineteenth-century panelled calf with simple, ornamental border and cornerpieces in central panel, spine with five raised bands, black label with title lettered in gilt in second compartment (rebacked rather unsympathetically, joints weak, corners and edges worn, covers scuffed). The important Estienne edition of the collected plays of Sophocles, accompanied by scholia, and followed by the commentary of Joachim Camerarius, Greek humanist (1500- 74). The editio princeps of the tragedies was the Aldine edition of 1502; this edition was seen to be an improvement upon those printed in the interim, most notably Turnèbe’s (1552-3), upon which Estienne’s edition is based. It is attractively printed in varying sizes of the Estiennes’ characteristic grecs du roi type. Provenance: Ownership inscription of Charles Skene and 10. MAROT (Clement) [Oeuvres]. Lyon: Jean de Tournes, John Brown on title page; note in Brown’s nineteenth-century 1573. £1250 hand appears on recto of flyleaf, citing J. W. Moss’ Manual of Fine portrait of Marot on title-page with the legend L.M.N.M. “La Classical Bibliography (1825). Nineteenth-century bookplate of mort n’y mord” and 22 woodcut illustrations by Bernard Salomon the Library of the United Presbyterian College, Edinburgh. (blocks a little worn), typographical frame surrounding title of second Occasional pencil markings throughout. part. Very occasional worming of lower blank margins, minor 2 parts in one vol. 16mo (126 x 85mm). [13]ff, 597, [1]pp; 314pp, [1]f. staining throughout. Contemporary calf, panelled in blind with triple fillet border, fleuron A. Grafton et al. The Classical Tradition (Harvard, 2010), 897. cornerpieces and central ornament, spine with four raised bands, remains Renouard (Estiennes) I, 131 no. 3. Hoffman III, 414. BMSTC of label in second compartment, hinges reinforced with waste vellum (French), Supplement, 69. Adams, S1448. [228277] MS (extremities bumped, neat repairs to head and foot of spine, traces of worming at head). FRENCH MISCELLANY · 9

This uncommon, 1573 edition of Marot’s work is based on that first published by de Tournes in 1553, with some textual changes and the inclusion of the medallion with Marot’s portrait on the title page, found for the first time in the 1558 edition. According to Cartier, the portrait is very similar to one owned by Marot’s collaborator, Théodore de Béze. It has been attributed to Bernard Salomon, who was responsible for the woodcuts that appear in Ovid’s Metamorphosis in the second part. A prolific and influential Renaissance poet, Marot employed many different forms, from epigrams to allegorical poetry and classical translation. The first part of this volume contains his poetic works; the second is his translation of classical works. Court poet to Margaret of Navarre and Francois I, his influence extended to Elizabethan England, notably evident in the work of Edmund Spenser. Early Tournes editions of Marot’s work are scarce. Loss, possibly of repairs, at outer edge of pp.105, 107, 107 with repairs to lower and outer margins touching text in one place, minor worming (repaired) at head of some leaves in first part, minor waterstains. Cartier, 558. BMC (French), 303. Brunet III, 1457. Not in Adams. [OCLC: UK: Manchester, Oxford, BL. North America: Harvard only]. [227393] FRENCH MISCELLANY · 10

12. RONSARD (Pierre de) Les oeuvres... Premier tome. Paris: 11. [SCALIGER (Josephus Justus)] Catulli, Tibulli, Properti Gabriel Buon (achevé d’imprimer 6 February), 1578. £1250 nova editio. Paris: Apud Mamertum Patissonium in officina Rob. Stephani, 1577. £850 Woodcut portraits of Ronsard and Muret. 16mo (122 x 80cm) 666, [22]pp. Ruled in red, late 16th-century French Two printer’s devices on title pages, with woodcut headpieces and 3-6 limp vellum with yapp edges, gilt line initials throughout. medallion on covers, flat spine gilt, all edges gilt, in blue morocco box 2 works in one vol. 8vo (176 x 117mm). [8]ff, 274pp. (misnumbered 174); [1 (blank)]f, 252pp, [7]ff (final leaf blank). Limp vellum, remnants of MS title on with lid. spine (spine discoloured, vellum stained, lacking ties). A delightful copy of volume First Scaliger edition, in good condition, of the Roman lyric I only of Ronsard’s works poets Catullus, Tibullus and Propertius. Containing the text containing the various sets of of the poets’ principal works followed by Scaliger’s extensive ‘Amours’. The is the important commentary, this volume marked a watershed in approaches to fifth collected edition to which textual criticism. various additions of new Described as ‘fearless’ and ’imaginative’, Scaliger’s method poems, with others reworked, furthered conventional practices of French textual scholarship, or redisposed, were made, by attempting to recreate elements lost from original manuscripts notably in volume I. The and codexes rather than simply relying on surviving fragments. commentary on Amours by the Scaliger’s approach provoked both vitriol and reverence from noted humanist Marc Antoine contemporaries. This edition proved especially controversial, Muret (1526-85) or Muretus the scholar himself writing in the year of its publication that first appeared in 1553. ’there are many men...who are complaining about my Catullus’ Provenance: François (Grafton, 164). Chouayne with signature on Provenance: Ownership note at head of the title page in brown title-page (ca. 1550-19 May ink; some annotation in brown ink in the margins of Catullus, in 1616), sieur de Chambellay, Latin, and further, sparse notes in pencil in Tibullus. a notable figure in the civic life of Chartres, whose death was Light staining to lower blank margins of ff.1-8 (unnumbered) commemorated in a small volume of verses published at Chartres in and pp.1-11, and minor foxing throughout. 1616. He was the author of L’Adieu d’ Amynthe et de Clorice published A. Grafton, Joseph Scaliger: Textual Criticism and Exegesis (Oxford, in 1610; Mainsonnat (title-page inscription) - Gilbert Mainsonnat with 1983), 164. engraved bookplate. Adams, C1154. BMC (French), 96. Schreiber (Estiennes), no.248. See Ducimetière, Mignonne, allons voir... Fleurons de la bibl. poétique de Renouard (Estienne), 179. [227602] JP Barbier Mueller, pp. 81-82, no. 18. Barbier-Mueller, M a bibl. poétique, 2eme partie, pp. 184-198. Not in Adams. Brunet IV, 1374. [228739] FRENCH MISCELLANY · 11

FIRST AND SECOND EDITIONS OF MONTAIGNE’S SEMINAL WORK

13. MONTAIGNE (Michel de) Essajs de Messire Michel Seigneur de Montaigne chevalier de l’ordre du Roy, & Gentil-homme ordinaire de sa Chambre. Ljure premier & second. : S. Millanges, 1580. £18000 Second state of the title page with Montaigne’s titles and arabesque ornament. Volume one only. 8vo (149 x 95mm). 246 of 252ff (lacking Dd 2-7). French mottled calf (c. 1700), spine gilt (spine neatly repaired at head and foot, joints weak but holding). First volume only of the first edition, with second-state title page, of one of the most important works written and published in French in the sixteenth century. Montaigne’s groundbreaking essays on an eclectic array of subjects - from cannibals to solitude, sleep to sadness - constituted an entirely unique and unprecedented literary genre, and a philosophy of knowledge that was based on his own personal experience and observations, the epitome of sixteenth- century enlightened scepticism. The publishing history of this work is complex, in large part because the changes to the text between editions were considerable; Montaigne’s text was by no means static but rather, constantly evolving under the eye of the author who ‘considered each new edition as the last’. The Bordeaux Copy of the 1588 edition (Paris, L’Angelier), heavily annotated by Montaigne himself, contains the following, telling note in his hand: ’My book is always one. Except that at each new edition, so that the buyer may not come off completely empty-handed, I allow myself to add, since it is only an ill-fitted patchwork, some extra ornaments...which do not condemn the original form, but give some special value to each of the subsequent ones, by a bit of ambitious subtlety.’ These ’ornaments’ were significant reworkings and additions, and the text attained its fullest form in the edition of 1588. FRENCH MISCELLANY · 12

This first edition was printed by Millanges in the spring of 1580, and misprints, font and type inconsistencies, errors in page numbering and textual variants indicate that it was hastily composed. This edition has G2 and 2A5 missigned as 2G and A5, 2A2 correctly signed as Aa2 (not as Aa; see Sayce & Maskell, p.2), and the corrected states of C8 and O8 (p.5, no.7), as well as the letters ‘gsit’ accidentally printed at the foot of Gg3 (p.5, no. 9). Sayce & Maskell also note the sonnets by Montaigne’s friend and great influence, Étienne La Boétie that disrupt the chapter numbering - published as ’Chapter 29’, while the new Ch.29 is numbered wrongly as Ch.28. This second-state title page has an arabesque ornament rather than Millanges’ device, as well as Montaigne’s noble title - ’Messire’ - and functions, in contrast to the rarer first state, which provided only the title of the work and the author’s name without any of his designations. Copies of first editions of Montaigne’s work are rare. Fewer than 100 examples are estimated to exist in private and institutional collections worldwide, suggested by some to point to a small original print run of only 3-400 copies (Balsamo, p.160). Ownership inscription beneath Privilege du Roi. Some leaves lightly browned, title-page backed and slightly loose, stained. OCLC: (US: Huntington, UCLA, Newberry, Indiana, Harvard, Williams, Virginia, Yale, Clark Art Institution, Morgan. UK: Cambridge, NLS, Aberdeen, University of London, Manchester, BL.) 14. MONTAIGNE (Michel de) Essajs de Messire Michel, seigneur de P. Desan, ‘Montaigne’s Essays’, and J. Balsamo, ’Publishing Montaigne, chevalier de l’ordre du Roy, & Gentil-homme ordinaire de sa History of the Essays’ in P. Desan (ed.), The Oxford Handbook Chambre, Maire & Gouuerneur de Bourdeaus. Edition seconde, reveuë of Montaigne (Oxford, 2016), pp.1-13, 158-78. PMM, 95. & augmentée. Bordeaux: S. Millanges, 1582. £45000 Brunet III, 1835. Sayce & Maskell, A Descriptive Bibliography of 8vo (150 x 95mm.) [8], 806, [2] pp. French late 19th century green morocco, spine Montaigne’s Essais 1580-1700, 1. [226842] lettered in gilt, inner edges gilt, g.e. FRENCH MISCELLANY · 13

Complete second edition of a work which today, in part because of its author’s self-doubt – ‘Que scay-je?’ - has attained a status afforded to few writers of the century. This edition was published the year after Montaigne’s return from his tour abroad, mostly in (September 1580 - November 1581). It has 408 leaves with 30 lines to a full page plus headline. Catchwords are on the versos of each leaf (and occasionally on the rectos). The individual chapters are numbered in Roman numerals. The sonnets of La Boétie are not so well laid out, one beginning with the first line on one page and the remainder on the verso. It is, however, a vast improvement on the 1580 edition although there is still a list of corrigenda (in 2 columns) and there are a number of manuscript corrections of individual letters at various points, some based on the errata list (e.g. p. 89, 119, 151, 155, 169). Garbled phrases or words have been ironed out. Thus in 1580 on p. 272 the quotation from I. 24 (2 lines) runs together with lines from Catullus 68 and 65 and is followed by the words ‘Mais oions un peu parler ce garsonde dixhuict ans’. In 1582 on p. 162 we have the two lines from Horace, and then on p. 163 the correctly printed lines from Catullus followed by ‘Mais oyons un peu parler ce garcon de dixhuict ans’. Provenance: bookplate of the French collector Nathan Schuster whose library must have been dispersed before 1938. A copy now at the University of Virginia (pressmark Gordon 1579 J680) of Joubert Traité du ris, Paris, 1579, has the provenance Yemeniz-Renard- Schuster; a copy at the Metropolitan Museum New York of Benoist Boullay Le Tailleur sincère , Paris, 1671, was acquired in 1938. Sayce & Maskell, no. 2; Bibliothèque Jean Bonna- Diesbach-Soultrait, Vérène. Six siècles de literature française XVIe siècle, (Geneva & Paris: Droz, 2017), no. 226; Ford, Philip. The Montaigne Library of Gilbert de Botton¸ (Cambridge, 2008); Desan, The Oxford Handbook...(esp. Balsamo ‘The Publishing History’, pp. 158-178). Boutcher, Warren. The School of Montaigne in early modern Europe , (Oxford, 2017). OCLC: (US: Chicago, Virginia, Yale, Princeton, NYPL, Harvard.) [226843] FRENCH MISCELLANY · 14

15. SALUSTE DU BARTAS (Guillaume de). Le sepmaine ou creation du monde. Paris: J. Febvrier, 1581. £1250 Printed in italic, device on title-page. 12mo in 8s (140 x 70mm). 104 (=108)ff. 19th-century Janséniste dark blue morocco by Delanoé jeune, upper hinge repaired. First published by Febvrier in 1578, Saluste du Bartas’ (1544-90) hugely popular poem on the seven days of Creation, was many times reprinted and translated into English by Joshua Sylvester (various editions, including an OUP ed. of 1979), Italian, Dutch, Latin, and German. His Judith was even translated into Polish. Today he is largely forgotten although his works are important for historians and have received the canonical status of a Pléiade edition. In this poem reference is made to all sorts of subjects including language and astronomy. Early on (f. 5recto) it is explained that the world is a book where the sovereign’s admirable skill is writ in large letters, and which the simple can read, with the eye of faith, with no need of foreign languages or a knowledge of Hebrew pointing or Greek accents - ’Le monde est un gros livre, où du souverain/ L’admirable artifice en grosse lettre…/…Pour lire là dedans, il ne nous faut entendre/ Cent sortes de jargons: il ne nous faut aprendre/ Les caracteres Turcs, de Memphe les portrets,/ Ni les points des Hebrieus, ni les accens des Grecs./ L’Antartique brutal… [2 lines]/ Y lit passablement, bien que dépourveu d’art./ Mais celuy, de qui l’oeil prend la Foi pour lunetes/Passe de part en part les cercles des Planetes/ Comprend le grand Moteur de tous ces mouuemens, / Et lit bien plus courant ces vieux Documens’. Provenance: bookplate of Arthur Tilley (1851-1942), fellow of King’s College, Cambridge and writer on the French Renaissance. Adams D960. Brunet V, 98. [227988] FRENCH MISCELLANY · 15

16. SAINT-GELAIS (Mellin de) Oeuvres poétiques. Lyon: Benoit Rigaud, 1582. £1500 Text printed in italic letter, woodcut on title-page of woman at fountain, arabesque ornaments. 16mo (115 x 66mm.) [32(last leaf a blank)], 295, [1]pp. Late 17th-century (c. 1700) red morocco, spine gilt in compartments, gilt edges. The lengthy dedication/preface by Antoine de Harsy (d. 1607 and one of the Lyonnese printing family), dated 1 July 1574 is addressed to Jérôme de Chatillon (d. 1587) conseiller du Roi, and after a lengthy discourse on the merits of numerous Greek poets from Homer and Pindar to the dramatists, introduces the ‘ce beau fruit postume’ of the poems, in various styles, of Saint-Gelais (1491-1558). An earlier edition (1574) had been published by de Harsy, of which this is an almost exact copy. Mellin de Saint-Gelais (1491-1558) rose to prominence at the court in the reign of François I, becoming his librarian at Blois, and holding many benefices. He seems to have begun to cultivate French poetry after 1530 and his sojourn in Spain, but is really a ‘poète d’occasion’ weak in inspiration, although he was much admired as well as criticised by the Pléiade poets. He was himself a considerable musician and many of his poems were set to music by others, Arcadelt and Lassus among them. Tiny rust hole on leaf affecting a couple of letters on recto (p. 109), and ink stains on p. 111 slightly affecting a couple of words. Brunet V, 46. OCLC: (UK: BL, Oxford. US: University of Virginia only). [228189] FRENCH MISCELLANY · 16

17. DIOGENES LAERTIUS De Vitis, dogm. & apophth. clarorum philosophorum, Libri X. [Geneva], Henri Estienne, 1594. £800 Printers device on title page, woodcut headpieces and initials throughout. Greek and . 8vo (180 x 125mm). [16], 888pp. (1-364, [4], 365-884); 120, [8]pp.; 47 [25]pp.; 88pp. Vellum over pasteboard, vellum slips, overlapping fore-edges (vellum stained, spine and fore-edges discoloured). Second issue (first in 1593) of the revised Estienne edition of Diogenes Laertius’ lives of ancient philosophers. Accompanied by the notes and commentary of , Henri Estienne’s son-in-law, many of the passages in Estienne’s editions were first discovered in manuscript form by Estienne himself (Schreiber); the corrections and additions to the 1570 text evident here make this the superior edition (Renouard, Brunet). Also present in this edition is a tract by grammarian Hesychius. Laertes’ work accounts for the lives and doctrines of ancient philosophers. The whole of the final book is dedicated to Epicurus. ‘The book is a tissue of quotations industriously compiled, mostly from secondary sources [...]’; in this text Diogenes refers to over 200 authors and 300 texts ( OCD). He also makes references to his 18. PLAUTUS (T. Maccius) Comoediae viginiti, variae lectiones own poetry throughout although, described by one commentator ac notae ex D. Lambini. [Geneva], Iacobus Stoer, 1595. £600 as ‘wretched’, perhaps mercifully they do not feature here at any Architectural woodcut title border. length. Additional blank leaves bound into the end of this volume might indicate that this was intended as a text for study. Thick 12mo. [4]ff. 824pp. Contemporary German blindstamped pigskin, with 18th century Fugger shelf-mark on paper label on spine (minor worming at foot of Annotation/Provenance: Two ownership inscriptions at foot of title lower cover). page, with a third deleted. Library stamp on verso of title page. Repair to outer blank margin of title page, not affecting text. Stains Rare compact edition of all Plautus’ Comedies. Mss. ownership to gutter of Hesychius p.1, with repair, touching text, and portion of inscription on title dated “1715”, mss. ownership inscription on fly- title supplied in MS facsimile. leaf signed “SA”. ’Diogenes Laertes’, Oxford Classical Dictionary (3rd ed., Oxford, 1996). Portions of title page border inked in. Adams, D484. Renouard ( Estiennes ) I, 156, no.5. Schreiber, 178 (1570 Not in Adams, not in BL, not in VD 16. ed). Brunet II, 719. [228259] OCLC: (US: Columbia only). [223391]