History and Archeology Philobiblon

One Thousand Years of Bibliophily from the 11th to the 21st Century

An extraordinary set, in its contemporary uniform binding

22. Livius, Titus (59-17 BC)

Historiae Romanae decades [Italian]. apud Sanctum Marcum (Vitus Puecher), 30 May - 20 July 1476.

Three volumes, folio (372x260 mm). I. Collation: [*8, 1-310, 46, 510, 68, 7-910, 108, 11-1410, 15-168, 1710, 188]. [174] leaves, first and last leaves blank. II: Collation: [*12, 1-510, 612, 76, 814, 9-1210, 138, 146, 1512, 1610, 176]. [176] leaves, first and last leaves blank. III: Collation: [*10, 1-310, 48, 5-610, 7-88, 9-1410, 158]. [152] leaves. Text in two columns, 55 lines. Type: 98R. On the opening leaf of each volume contemporary white vinestem two-side border on green, blue and crimson ground with clusters of gold-rayed discs at the extremities, including a five-line illuminated initial in gold on vinestem ground; on the lower panel laurel wreath with empty shield, surrounded by gold- rayed discs. Numerous penwork initials alternately in red or blue, with extensions in red, blue or violet. Contemporary, possibly Florentine, uniform binding, with light variants in tooling of the covers. Hazel brown goatskin over wooden boards, panelled in blind with fillets and borders of foliate motifs. The central spaces filled with small tools in geometrical pattern. At the centre of the covers of the third volume an eight-point star, decorated with knotwork motif. Brass clasps preserved (four in the first two volumes, three in the third one), cornerpieces. Spines with four large raised bands, title inked on parchment label. Parchment pastedowns and flyleaves. Minor losses to the spines. In modern brown boxes. A very fine set, printed on strong paper. Light foxing and browning in places; a few pale fingermarks.

Provenance: from the library of the Florentine Serzelli family; Jacopo Serzelli (sixteenth-century ownership inscription 'Jacopo Serzelli' on the recto of the first leaf in each volume); Biblioteca Bardi-Serzelli (nineteenth-century ex-libris on each pastedown).

Rare first edition of the Italian translation of Titus Livius' Roman History (Ab urbe condita), presented in a splendidly illuminated three-volume set in its original uniform binding. This is the fourth book issued from the printing house established in the palace of San Marco in Rome, which was active in the papal city between 1475 and 1477/78. This press seems to have been led by Vitus Puecher and used fonts similar to those employed by Jacobus Riessinger.

The text of Livius' History survives in ten books referred to as Decade, but only three of the original fourteen were known in the late Middle Ages, with the first, third, and fourth books eventually circulating together.

This Roman edition is of the greatest importance for the history of Italian literature, combining the names of two of the so-called 'Three Crowns', Giovanni Boccaccio and Francesco Petrarca. In fact, the translation into Italian vernacular of the third and the fourth Decade has been attributed to Giovanni Boccaccio (1313-1375), who would likely have had the opportunity to work on a manuscript owned by his close friend Francesco Petrarca (1304-1374). Boccaccio met the great poet from Arqua for the first time in Florence in 1350, and it was Petrarca who encouraged him to study the Greek and Latin classics, transforming him into a great classical scholar and quintessential Renaissance Man. However, the identity of the translator for the first Decade, who worked from a manuscript containing the French version of Livius' text, remains unknown to this day.

Boccaccio's translation contributed significantly to Livius' renewed popularity during the Italian Renaissance, and the Historiae Romanae decades became a model for humanist historiography.

The first volume of the set presented here is complete with the dedicatory epistle from the 'Cartolaio fiorentino' Giovanni Bonaccorsi to Giovanni Bernardo di Nicolò Cambini, often lacking in the recorded copies.

Complete sets of this Roman edition are very scarce in the libraries, and rarely appear on the market. An additional noteworthy feature in the set presented here is in its original uniform binding, finely blind tooled with a geometric pattern, and in all likelihood executed in Florence. The central star-shaped tool used for the covers of the third volume is in fact a characteristically Florentine element, of mudéjar inspiration. Further, the style of the illumination recalls that of artists active in the late Quattrocento for the leading Florentine bookseller Vespasiano da Bisticci.

HR 10144; GW M18508; BMC IV, 65; IGI 5782; Goff L-251; Flodr Titus Livius, 17; M. T Casella, Tra Boccaccio e Petrarca. I volgarizzamenti di Tito Livio e di Valerio Massimo, Padova 1982; G. Tanturli, “Il volgarizzamento della quarta Deca di Tito Livio”, in T. De Robertis, C. M. Monti et al. (eds.), Boccaccio autore e copista, Firenze 2013, pp. 125-127; B. Casini, I “Libri d'oro” della nobiltà fiorentina e fiesolana, Firenze 1993, pp. 25-26; Philobiblon, One Thousand Years of Bibliophily, no. 22.

From the library of Benedetto Varchi

23. Dionysius Halicarnaseus (ca. 60–after 7 BC)

Antiquitates Romanae. Bernardinus Celerius, 24 or 25 February 1480.

Folio (289x196 mm). Collation: [110, 2-78, 8-96, 10–238, 24-378, 386]. [300] leaves, complete with the final blank. Text in one column, 37 lines. Type: 1:113R. Blank spaces for capitals, with no guide letters. Early nineteenth-century vellum over pasteboards. Smooth spine attractively gilt tooled, title and imprint in gilt on double lettering-piece. A good copy, marginal soiling and staining to opening leaves. The outer blank margin of the last quires waterstained.

Provenance: the Florentine humanist Benedetto Varchi (1503-1565; ownership inscription on the recto of first leaf, marginalia and underlining in the first two quires in his own hand); the Florentine diplomat Pandolfo Attavanti (sixteenth-century ownership inscription on the recto of first leaf); the Tuscan scholar Alemanno Orsucci (eighteenth-century ownership inscription on the recto of first leaf); Kenneth Rapoport (ex-libris on the front pastedown).

First edition of Greek historian Dionysius of Halicarnassus' narrative of the history of Rome from its beginnings to the First Punic War, in a precious copy once owned by the Florentine humanist Benedetto Varchi.

In his postscript, the translator, Lapus Biragus of Milan (the suffix 'Flor'[entinus] was erroneously added to his name in this edition), states that he based his Latin translation on two manuscripts from the library of Pope Paul II, to whom the edition is dedicated. The translation was probably carried out in 1469 as the papal archives record that during that year the Pope paid a scribe to make a copy of a manuscript by Dionysius.

This edition was the first dated book to be issued from the Treviso press of the itinerant printer Bernardinus Celerius from Lovere; it was his third press overall, set up after brief printing stints in Venice and Padua. He printed only a few books at Treviso (Goff and Hain-Copinger list four, Rhodes five), where he was active between 24 February and 18 September 1480, before returning to Venice at the end of 1480. At least six variant issues of Dionysius' colophon and the paragraph preceding it have been recorded, but no priority of issue has been established.

The present copy is enriched by a highly interesting provenance, as it comes from the library of the distinguished humanist Benedetto Varchi, one of the leading sixteenth-century Florentine scholars, whose intellectual interests varied from lyrical, pastoral, and spiritual poetry to Dante studies, history to philosophy, linguistic theory to aesthetics, and even alchemy and Pythagorean numerology. He assembled a great book collection, whose inventories are today preserved in the National Library of Florence (ms II.VIII.142; Filze Rinuccini 11, fols. 266-343). For other books from Varchi's library see nos. 81 and 104 in the second volume of this catalogue.

HC *6239; GW 8423; BMC VI, 895; IGI 3484; Goff D-250; Rhodes Treviso, 79; Flodr Dionysius Halicarnaseus, 1; M. Prunai Falciani, “Manoscritti e libri appartenuti al Varchi nella Biblioteca Riccardiana di Firenze”, Accademie e biblioteche d'Italia, 53 (1985), pp. 14-29; A. Sorella, “La Biblioteca Varchi”, B. Varchi, L'Ercolano, ed. A. Sorella, Pescara 1995, pp. 155-166; R. Norbedo, “Alcuni libri posseduti da Benedetto Varchi”, Lettere italiane 56 (2004), pp. 462-467; P. Scapecchi, “Ricerche sulla biblioteca di Varchi con una lista di volumi da lui posseduti”, V. Bramanti (ed.), Benedetto Varchi 1503-1565, Roma 2007, pp. 309-318; Autografi di letterati italiani. Il Cinquecento, Roma 2009, pp. 337-351; Philobiblon, One Thousand Years of Bibliophily, no. 23.

Rare example of a Neapolitan 'speaking-binding' with lettering on the lower cover

57. Sabellicus, Marcus Antonius Coccius (1436-1506)

Rapsodiae historiarum Enneadum... ab orbe condito pars prima (-posterior) quinque complectens Enneades. Josse Bade for Jean Petit, 5 January 1513 – 1 March 1516.

Two volumes, folio (321x205 mm). Collation: I. ã12, ê10, a-z8, A-Z8, &8, cum8, rum10. [22], CCCXCIIII leaves. II. ãã10, ê8, aa-qq8, rr10, ss-zz8, AA-VV8, XX10. [18], CCCLV [i.e. CCCLVI] leaves. Complete with the last leaf blank. Roman and gothic type. Title-pages printed in red and black, framed within woodcut architectural border. Bade's device of a printer's press on each title-page. Woodcut decorated and animated initials on criblé ground throughout, several on fourteen lines. Fine uniform contemporary, probably Neapolitan gilt-tooled red morocco, over pasteboards. Tooled in blind and gold to a panel design, broad gilt border formed from repeated impressions of a 'peacock's tail' motif, central gilt arabesque, small floral tools at inner and outer corners of border, lower covers lettered in gilt 'ENNEADVM SABELLICI PARS PRIOR.' and 'ENNEADVM SABELLICI PARS POSTERIOR' respectively. Remains of four pairs of ties, edges speckled in red and blue. Slightly rubbed, skilful repairs at foot of spines and corners, small areas of re-gilding. A very fine, wide-margined copy, a few spots and foxing in places. Waterstain to the last leaves of the first volume; in the second volume, small repair to the blank lower corner of the front flyleaf and title-page. A few paper flaws, some minor spots and stains.

Provenance: Giorgio Teodoro Trivulzio, Count of Melzo (1542–1612; ownership inscription on the title-page of each volume, 'Georgius Triuultius'; repeated on fol. a1r of the first volume, and on fol. aa1r of the second one).

A superb, wide-margined copy – in an exquisite contemporary Italian speaking-binding – of this monumental world history since the Creation, written by the fifteenth- century Venetian Marco Antonio Coccio Sabellico. The first part of the Enneades ab orbe condito was originally published in Venice in 1498, and the author subsequently wrote a continuation up until 1504. Josse Bade had first printed the work in 1509; this second edition was printed between 1513 and 1516, and opens with his prefatory epistle to Guillaume Petit, already appended to the publication of 1509. The title-pages are framed within a fine Roman portico with two sculptured columns, with antique elements, such as vases, Roman heads copied from coins, mythological animals, and cuirasses. Apart from the upper panel, this title-border is identical to the architectural frame first seen in the Cicero printed by Bade in 1511 – the first Renaissance title-border used in Paris – which reproduces the border first used for Livius' Decades, printed in Venice in 1493.

The volumes are in their original, richly gilt-tooled binding. De Marinis describes a very similar binding on a Cyrillus Alexandrinus (Paris 1508) now in the Museo Civico di Arte Antica, Turin. It is assigned to Naples, and displays the same 'peacock's tail' tool, along with similar lettering on the lower cover (Legatura artistica in Italia, T, no. 272, pl. LIII). The provenance of the volumes is highly distinguished: they once belonged to the nobleman Giorgio Teodoro Trivulzio, of one of the most illustrious Milanese families. He was a member of the College of Jurisconsults of Milan and became a senator in 1571 (for another book once belonging to him see no. 53).

Renouard Bade, pp. 224-226; Imprimeurs et Libraires II, 230; Philobiblon, One Thousand Years of Bibliophily, no. 57.

The Mendoza Binder for the Aldine Press

70. Sallustius Crispus, Gaius (86-34/33 BC)

De coniuratione Catilinae. Eiusdem De bello Iugurthino. Orationes quaedam ex libris historiarum... Eiusdem oratio contra M. T. Ciceronem. M. T. Ciceronis oratio contra C. Crispum Sallustium. Eiusdem oratione quatuor contra Lucium Catilinam.... Aldo Manuzio's heirs and Andrea Torresano, January 1521.

8° (160x98 mm). Collation: a-t8. [8], 142, [2] leaves. Complete with fol. t7 blank. Italic and roman type. Woodcut Aldine devices on the title-page and verso of the last leaf, in two variants. Blank spaces for capitals, with printed guide letters. Fine contemporary dark brown Venetian morocco over pasteboards. Covers within a border of multiple blind fillets, one in gilt. At the centre lacework tool in gilt, one small gilt-tooled ivy-leaf at each corner. Holes for a pair of ties to the fore edge. Spine with three raised bands, underlined by blind fillets. Darkened edges. Trace of a small round paper label on the spine, with the inked number '303'. Corners and board edges slightly worn, minor loss to the extremities. A very good copy, title-page lightly soiled and spotted. Some foxing, tiny wormholes to the blank upper margin of a few leaves, without any loss. On the front pastedown the pencilled price notice '£ 5-50'.

Provenance: ownership inscription barely legible on the front pastedown, dated 1663 ('[?]aria Fabritius duodecim et semis 1663 Paris.'); Edward Herbert Viscount Clive, 2nd Earl of Powis (1785-1848; ex-libris on the front pastedown; his sale, Sotheby's, 22 Mar. 1923, lot 492); Bernard Quaritch (Catalogue of a most important Collection of Publications of the Aldine Press, 1494-1595, London 1929).

The rare second Aldine edition of Sallustius' works, first issued by Aldus Manutius in April 1509 and offered here in a handsome contemporary binding. The 1521 publication includes Aldus' original dedicatory epistle, followed by an address to readers by Aldus' brother-in-law Gian Francesco Torresano, who edited and improved the text. According to Renouard, this edition is superior to that of 1509, in that it is “beaucoup plus belle, imprimée avec un caractère neuf, et d'un meilleur texte”.

The volume's fine binding was executed in a style frequently seen in editions published by the Aldine printing house, and can confidently be attributed to the Mendoza Binder, the skilled craftsman so called owing to his association to one of the greatest book collectors of that age, Diego Hurtado de Mendoza, the Emperor's ambassador to Venice from 1540 to 1546. This binder was active in Venice between 1518/19-1555, and also worked for other collectors – among others, Johann Jakob Fugger – and Venetian booksellers, primarily for the press run by Andrea Torresano, and later by the Manuzio- Torresano partnership. “Quite apart from his work for Hurtado de Mendoza the binder produced regular trade work for the book-buying public. These have fairly standard decorative schemes. His typical trade binding is decorated with a rectangular frame of one gilt and multiple blind lines, rosettes and ivy-leaves at the corners and a smaller leaf between them, either in silver or in blind. The title and often the customer's initials are gilt on the upper cover. These are bindings made either for a bookseller's stock or a bookseller's customer. Binders in Venice were not allowed by the booksellers' guild to sell books directly to the public. Although no doubt major collectors [...] would have dealt directly with a binder, most customers must have arranged for binding through a bookshop” (A. Hobson, “Was There an Aldine Bindery?”, pp. 243-244).

Adams S-147; STC Italian 599; Renouard Alde, 93.16; Cataldi Palau 60; Ahmanson-Murphy 194; A. Hobson, “Was There an Aldine Bindery?”, D. S. Zeidberg (ed.), Aldus Manutius and Renaissance Culture. Essays in Memory of Franklin D. Murphy, Florence 1998, pp. 237-245; Philobiblon, One Thousand Years of Bibliophily, no. 70.

Renaissance Architecture, printed on blue paper

97. Serlio, Sebastiano (1475-1554)

Il terzo libro... nel qual si figurano, e descrivono le antiquità di Roma, e le altre che sono in Italia, e fuori d’Italia. Venice, Francesco Marcolini, February 1540 (bound with:) Idem. Regole generali di architettura... sopra le cinque maniere de gli edifici, cioe, thoscano, dorico, ionico, corinthio, e composito, con gli essempi de l’antiquita, che per la maggior parte concordano con la dottrina di Vitruvio. Francesco Marcolini, February 1540.

Two works in one volume, folio (342x240 mm). Printed on blue paper. I. Collation: A2, B-V4. CLV, [1] pages. Lacking fols. H1 and H4, probably replaced by the first recorded owner with the leaves from an ordinary copy, and fols. R2 and R3 supplied with two manuscript leaves. Roman and italic type. Title within a cartouche surmounting a woodcut depiction of ancient Roman ruins with the caption 'ROMA QUANTA FUIT IPSA RUINA DOCET'. Woodcut printer's device and colophon framed by a cartouche on the verso of fol. V4. 120 woodcuts, including thirty-two full-page and four double-page blocks. Woodcut animated initials throughout. II. Collation: A-T4. LXXVI leaves. Lacking fol. B1 which is supplied with a manuscript leaf. Roman and italic type. Woodcut architectural title. Woodcut printer's device and colophon framed by a cartouche on the verso of fol. T4. 126 woodcuts, fifty-six full-page illustrations, including six plates on three leaves (fols. S4-T2). Woodcut animated initials throughout. Eighteenth-century brown half-morocco, marbled covers. Spine with title in gilt lettering. A good copy, old paper repairs to the gutter and to outer margin of fols. V2 and V3 of the first edition bound. The lower margin of fol. A4 in the second edition bound has been repaired, some ink stains.

Provenance: Francesco Bartoli (possibly the Bolognese antiquarian (1675-1733); early ownership inscription on the first title-page and the margins of fol. V3 in the first edition bound, as well as fol. A4v of the second one, partially legible under UV lamp). To the skilled hand of this early owner are attributed the drawings that replace the lacking leaves, and the marginalia.

This miscellaneous volume, exceptionally printed on blue paper, contains the first edition of Book III from this fundamental work by the celebrated Bolognese architect Serlio; it is followed by the second edition of Book IV or Regole generali di architettura, which originally appeared in Venice in 1537. The early owner of this volume may be identified as the Bolognese antiquarian Francesco Bartoli (1675-1733), who drew numerous copies of antiques, and played a notable role in the eighteenth-century reception of the classical tradition, especially in Britain. It is also likewise possible to attribute to his hand the finely drawn leaves on white paper which replace those lacking on blue paper.

Serlio's monumental work represents the first treatise on architecture in which the illustrations assumed primary importance, leading it to become one of the most important architectural books to disseminate knowledge of antique heritage and invention during the Italian Renaissance throughout Europe.

The work is made up of seven Books, which were published separately following an order explained by Serlio in Book IV. Book III, on ancient monuments, is dedicated to the King of France, François I, and appeared in Venice in 1540, while Book I and Book II, on geometry and perspective respectively, were published simultaneously in bilingual Italian-French editions in Paris in 1545, after Serlio's move to Fontainebleau. Book V, containing twelve temple designs, followed in 1547; it was the last to be published during Serlio's lifetime, once again in Paris in bilingual version. Book VI, on domestic architecture, was never published, and survives only in two manuscript versions and a series of trial woodcuts. Finally, Book VII was edited posthumously by Jacopo Strada and published in Frankfurt in 1575. By the early seventeenth century Serlio's treatise, and its various parts, had been translated into several languages, some as unauthorised editions.

Book III is especially important, and the layout Serlio adopted for it, with its well-balanced blocks of text and images, was later copied by Palladio in his Quattro Libri dell'Architettura of 1570 (see no. 145). “The first genuine advance in architectural illustration seems to have been made by Serlio, and his Libro Terzo set the type of architectural illustration in Italy for the rest of the Century” (Fowler).

The text and the illustrations were both the result of Serlio's own investigations and derivations from the work of other architects, above all Serlio's master, Baldassare Peruzzi, whom he had assisted on a project for the façade of the Bolognese Basilica of San Petronio in the early 1520s. At the end, Serlio adds a separate treatise on Egyptian antiquities – Trattato di alcune cose meravigliose de l'Egitto – which derives mainly from Diodorus Siculus, which presents among other things a perspectival elevation and a description of the Pyramid of Cheops near Cairo, as well as the description and imaginary reconstruction of a monument containing one hundred columns, the remains of which Serlio states were found in Greece.

Book IV – Regole generali – represents the first handbook to summarize the new architectural style, establishing a canon of the five classical architectural orders on the basis of Roman remains. Like the previous edition described, the work is finely illustrated.

The printer Marcolini issued some copies of his editions of Book III and of Book IV on large blue paper as presentation or special copies. Walters Art Gallery has a copy of each of these, while the Metropolitan Museum of Art in New York has a copy of Book III only.

I. Mortimer Italian, 472; Berlin Katalog 2560; Fowler 308; RIBA 2968 and 2966; II. Charvet, 2; Fowler 314; Philobiblon, One Thousand Years of Bibliophily, no. 97.

105. Pincio, Giano Pirro (fl. 1st half of the 16th century)

De gestis ducum Tridentinorum. De Gallorum Senonum aduentu in Italiam. De origine vrbis Tridentinae. De appellatione et transitu Alpium. De confinibus Italiae. Libri duo. Venturino Ruffinelli, 1546.

Two parts in one volume, folio (310x205 mm). Collation: A-B8; †8, A-M8, N10. 16; [8], 104, [2] leaves. Complete with the last two leaves blank. Roman and italic type. Blank spaces for capitals, with printed guide letters. Contemporary limp vellum. Spine with three raised bands, with inked title. Outer corners of the upper cover skilfully repaired. A good, and genuine copy. A short inscription on the title-page inked out.

Rare first edition of the first printed and authoritative chronicle of Trent and surrounding regions, including what today forms South Tyrol, especially under its prince-bishops Georg Helideck (1505-1514), Bernardo Cles (1514-1539), and Cristoforo Madruzzo (1539-1567). The Mantuan humanist Pincio was court historian to Bishop Cles, and in 1539 was named poet laureate by Emperor Charles V; he dedicated his work to Aliprando, nephew of Bernardo, and especially noteworthy are the pages in which he describes the magnificent library assembled by the bishop in the palazzo vescovile in Trent.

Pincio adds to the chronicle De appellatione et transitu Alpium, a topography of the Tyrolian Alps and a guide to the alpine pass routes which contains the first reference in print to the Non Valley, mentioning Lake Tovel as the source of the tasty char that one can fish in the lake.

An Italian translation of the work was published in 1648.

G. Nova, Stampatori, librai ed editori bresciani in Italia del '500, Brescia 2000, p. 90; G. Tovazzi, Biblioteca tirolese, R. Stenico & I. Franceschini, eds., Trento 2006, p. 569; Philobiblon, One Thousand Years of Bibliophily, no. 105.

The prince as a civic hero and a condottiero, on blue paper

135. Capelloni, Lorenzo (1510-1590)

Vita del Prencipe Andrea Doria... Con un compendio della medesima Vita.... Gabriele Giolito de' Ferrari, 1565.

4° (226x160 mm). Printed on blue paper. Collation: *8, **6, A-M8. [28], 188, [4] pages. Complete with the last blank. Roman and italic type. Woodcut printer's devices on the title-page and on the verso of fol. M7. Two engraved full-page portraits depicting Andrea Doria on fols *8v and **1r: the first showing the prince as civic hero and father of the homeland, placed within an elaborate medallion bearing the motto 'VT CIVIS PATRIAE PATER ET LIBERTATIS RESTITVTOR', the second depicting him as a condottiero, within a medallion with the motto: 'VT DVX ET PRINCEPS PRELIORVM VICTOR', and enriched by his coat of arms. Woodcut animated and decorated initials, headpieces. Early eighteenth-century French red morocco; covers framed with a double gilt fillet and narrow dotted frieze. Smooth spine with title in gilt lettering and richly decorated with ramages in gold. A very good, wide-margined copy, small repair to the upper margin of the title-page, a few insignificant spots. On the title-page, a manuscript note written in French with brown ink, attesting to the rarity of the work and the peculiarity of its printing on blue paper, “Ce Livre est rare; C'est un des premiers ouvrages qui ait été imprimé sur du papier bleu. Cette vie est bien ecrite; L'italien est très pur; Ce qui me ferais presque croire que l'ouvrage a été imprimé plus tard que ne le comporte la date 1565”. On the recto of the front flyleaf the early shelfmark 'V.2. n° 74'.

Provenance: erased ownership inscription on the title-page ('Antonio' ?), preserving only the date '1738'.

Rare first edition – presented here in a fine, and possibly unique copy printed on blue paper – of this biography of Andrea Doria (1466-1560), written by his secretary Lorenzo Capelloni. It is the first sixteenth-century biography of the celebrated Genoese nobleman, admiral, and patron of arts. The work is dedicated, on 1 April 1562, by the author to the great-nephew and heir of Andrea Doria, Giovanni Andrea (1539-1600), who had commissioned Capelloni to write the biography. The Venetian Senate granted a fifteen-year privilege for the work, giving Giolito exclusive rights to printing it. A second edition appeared in 1569.

Capelloni's Vita del Principe Andrea Doria is also famous for the double illustrations bearing, on facing pages, two engraved profile portraits of Andrea Doria which had an important role in establishing the political iconography of this pivotal Genoese figure. The first portrait shows the prince as a civic hero and father of the homeland and is set within an elaborate medallion with the motto 'VT CIVIS PATRIAE PATER ET LIBERTATIS RESTITVTOR' (fol. *8v); the second portrait depicts him as a condottiero within a medallion bearing the motto ‘VT DVX ET PRINCEPS PRELIORVM VICTOR', enriched with his coat of arms (fol. **1r).

A copy of the work “printed on Carta Grande Azzurra, red morocco” is listed in the Catalogue of Printed Books and Manuscripts sold by London booksellers Payne and Foss in 1837 for the sum of 3 pounds and 3 shillings. Probably this copy.

Adams C-587; Bongi Annali, II, 287 (“rara [...] quasi mai s'incontra nei cataloghi”); Philobiblon, One Thousand Years of Bibliophily, no. 135.

Finely bound for Jeronímo Ruiz

137. Giambullari, Pier Francesco (1495-1555)

Historia dell’Europa... nella quale ordinatamente si trattano le cose successe in questa parte del mondo dall’anno DCCC fino al 913 Di nostra Salute... Venice, Francesco de’ Franceschi, 1566. (bound with:) Guicciardini, Lodovico (1521-1589).Commentarii... Delle cose più memorabili seguite in Europa: specialmente in questi paesi bassi, dalla pace di Cambrai, del MDXXIX, insino a tutto l’anno M.D.LX. Libri tre... . Domenico Farri, 1566.

Two works in one volume, 4° (208x142 mm). I: Collation: *4, **4, ***4, ****4, A-Z4, Aa-Ss4, Tt2. [16], 166 leaves. Roman and italic type. Woodcut printer's device on the title-page. Author's portrait on the verso of the title-page. Woodcut initials and headpieces. II: Collation: a8, b4, A-K8. [24], 156, [4] pages. Complete with fols. b4 and K8 blanks. Roman and italic type. Woodcut printer's device on the title-page and at the end. Woodcut animated initials. Contemporary Roman binding executed by the so-called 'Ruiz Binder'. Light brown morocco over pasteboards. Covers within a rich border of gilt and tooled fillets, and gilt floral roll. Elaborate gilt cornerpieces. The arms of Ruiz – a lion rampant, stamped in gold, holding a fleur-de-lis, stamped in silver – in a cartouche flanked by the initials 'I R' in the centre of both covers. Traces of ties. Spine with three double bands, decorated with gilt fillets, alternating with four single bands, decorated with short gilt diagonals. The title in the second compartment, a gilt rosette on a pattern of blind horizontal and diagonal lines in each of the other compartments. Edges gilt and gauffered with knotwork. Extremities of the spine worn, lower portion of the lower cover stained and rubbed. A very good copy, some light browning. In the first edition, title-page slightly soiled and stained, old repair to the outer margin of the title-page slightly affecting the border of the portrait on the verso; the lower corner of fol. Aa3 repaired, without any loss. On the front pastedown, a price mark of 'F 30'.

Provenance: Jeronímo Ruiz (sixteenth century; armorial binding); from the library of Cardinal Giuseppe Renato Imperiali (1651-1737; stamp 'Ex. Bibl. Ios. Ren. Card. Imperialis' on the first title-page; see Bibliothecae Josephi Renati Imperialis Sanctae Romanae Ecclesiae, Romae 1711, in the Appendix, p. 554); 'De Pigis' (ownership inscription on the first title-page); Count Orazio Samminiatelli (twentieth century, Perignano, near Pisa; see A. Hobson, Apollo and Pegasus, no. 19).

An exceptional volume, bound by the 'Ruiz Binder' and gathering two important histories of Europe, both of which were written by outstanding Florentine scholars: the first edition – in the issue without the woodcut border on the title-page – of the Historia dell'Europa by Giambullari, and the second edition of the Commentarii by Guicciardini.

The volume was finely bound around 1570 for Jeronímo Ruiz, member of a distinguished Valencia family living in Rome and associated with the Curia. His uncle Felipe (1512-1582) was secretary of the Papal Dataria. Hobson records twenty-four volumes bearing Ruiz's arms, all bound by the same Roman binder known as the 'Ruiz Binder', in light of his principal client. “Jeronimo had a taste for history and owned works by Lucius Florus, Dio Cassius, Sallust, Thucydides and Polybius, as well as Bembo's history of Venice, Olaus Magnus's of Scandinavia, Giambullari's of Europe, and both Cieza de Leon's and Zarate's of Peru [...] But he was no scholar. All the books are in Italian except a copy of Francesco Maurolico's Martyrologium, Venice 1568” (Hobson-Culot, Italian and French 16th-Century Bookbindings, p. 49). For the bindings made for Jeronímo Ruiz, the Roman craftman used the same tools already employed by Maestro Luigi, one of three binders active in Rome and working for Giovanni Battista Grimaldi (see no. 90) between 1536 and 1565. Hobson suggests that the 'Ruiz Binder' may be his successor. The Ruiz arms are stamped within the usual cartouche employed by this Roman binder.

The present binding is one of the twenty-four recorded in Hobson's census. The volume later entered the rich library of cardinal Giuseppe Renato Imperiali, sold in Rome in 1711.

I. STC Italian 300. II. Adams G-1534; STC Italian 321; Hobson, Apollo and Pegasus, Amsterdam 1975, no. 19; Hobson-Culot, Italian and French 16th-Century Bookbindings, no. 17; Philobiblon, One Thousand Years of Bibliophily, no. 137.

A milestone in the history of architecture

145. Palladio, Andrea (1508-1580)

I Quattro Libri dell’Architettura di Andrea Palladio. Ne’ quali, dopo un breue trattato de’ cinque ordini, & di quelli auertimenti, che sono piu necessarij nel fabricare; si tratta delle Case priuate, delle Vie, de i Ponti, delle Piazze, de i Xisti, et de’ Tempij. de' Franceschi Domenico, 1570.

Four parts in one volume, folio (290x195 mm). Collation: A2, B-I4; AA-KK4 (quire HH misbound, in the sequence HH2, HH1, HH4, and HH3); AAA-FFF4; AAAA-RRRR4 (fol. FFFF1 signed EEEE1). 67, [1]; 78 (misnumbered 66), [2]; 46, [2]; 128, [8] pages. Complete with the blank leaves KK4 and RRRR4. Roman and italic type. Each title-page within architectural woodcut borders, de' Franceschi's printer's device included in the upper panel. A different printer's device appears on the verso of fol. RRRR3. 221 woodcut illustrations, plans, and sections (156 are full-page blocks, including eighty-four printed as plates, recto and verso of fourty-two leaves) executed after Palladio's drawings by Giovanni and Cristoforo Chrieger, Cristoforo Coriolano, and others. Numerous woodcut animated initials. Handsome early nineteenth-century green calf, over pasteboards. Covers framed by undulating gilt fillet, small floral tools at each corner. Smooth spine, divided into compartments by simple dotted gilt fillets, title lettered in gold on red morocco label; on the fourth compartment the inscription 'PRIMA EDIZIONE', and imprint at the foot, both in gilt lettering. Marbled pastedowns and flyleaves, board edges decorated with gilt freeze, inside dentelles. Green silk bookmark, gilt edges. The lower corners lightly bumped. A very fine copy; light foxing in places, the lower margin of fol. I2 slightly trimmed.

A milestone in the history of architecture: the first edition of the Quattro Libri dell'Architettura by the Paduan theorist and practising architect Andrea di Pietro della Gondola, universally known as Andrea Palladio, after the name given to him by his patron and renowned humanist Giangiorgio Trissino. He was primarily active as an architect in Venice, Vicenza, and along the Brenta river, where he built magnificent villas for wealthy members of the Venetian patriciate.

This authoritative and influential treatise celebrates the purity and simplicity of classical architecture, drawing its inspiration from Roman sources, especially Vitruvius, and Italian Renaissance architects, above all Leon Battista Alberti. The work is divided into four parts or libri, devoted to orders and elementary problems, domestic buildings, public buildings, and town planning and temples. “Palladio followed the rules of classical Roman architecture more closely than any other architect, even sometimes at the cost of practicability and domestic comfort. In spite of the vogue for the baroque and the fact that Palladio left no immediate successors, his book exerted a powerful influence on contemporary architecture and classical ideals until the end of the eighteenth century [...] 'Palladianism' became a party label in the world of connoisseurship and England blossomed with buildings 'in the Palladian style' – two centuries after Palladio had created it. From England the style made its way into Scotland, Ireland and America” (PMM). The treatise was reprinted and translated many times over the following centuries.

The publication of 1570 is rightly famous and highly sought after by collectors for the splendid series of woodcuts which accompany the text. The woodblocks were re-used in a 1581 edition printed in Venice, and later again in France in the seventeenth century. Some of the woodcuts are generally attributed to Cristoforo Coriolano and the brothers Giovanni and Cristoforo Chrieger. Especially noteworthy are the woodcuts in the second libro depicting plans and elevations of villas, including the famous Villa Maser built for Palladio's patron Daniello Barbaro.

Mortimer Italian, 352; Berlin Katalog 2592; Cicognara 594; Fowler 212; Olschki Choix, 15125; PMM 92; Philobiblon, One Thousand Years of Bibliophily, no. 145.

From the libraries of two outstanding sixteenth-century German Hellenists

147. Hesychius Milesius (5th century BC)

Ἡσυχίου Μιλησίου Ἰλλουστρίου Περὶ τῶν ἐν παιδείᾳ διαλαμψάντων σοφῶν. Ex Bibliotheca Ioannis Sambuci Pannonij Tirnaviensis... (follows:) Idem. Hesychii Milesii, illustri cognomento, de his qui eruditionis fama claruere, Liber: Hadriano Iunio Medico interprete. Christophe Plantin, 1572.

Two parts in one volume, 8° (165x97 mm). Collation: A-Γ8; A-E8. 48; 78, [2] pages. Complete with fol. E8 blank. Roman, italic, and Greek type. Text in Greek and Latin. Woodcut Plantin device on
both title-pages. Woodcut decorated and animated initials, six-line initials on fols. A2r and A4r of the first part. Nineteenth-century quarter-leather, marbled covers. Spine with five small raised bands emphasized with gilt fillet and decorated with small floral tools, title in gilt on red leather lettering-piece. Red edges. Joints slightly rubbed. An excellent copy. On the recto of the front flyleaf a nineteenth-century hand-written note on the illustrious owners of the present copy, taken from the Allgemeines Gelehrten-Lexikon by C. G. Jöcher, 'Nr. 2599. Wilhelm Xylander (Holzmann). Prof. der Griechischen Sprache in Heidelberg. S. Jöcher. Nr. 2600. Friedrich Sylburg akademischer Gelehrter in Heidelberg. S. Jöcher'.

Provenance: Guilielmus Xylander (1532-1576; ownership inscription 'Xylandri' on the first title-page; his autograph marginalia); Friedrich Sylburg (1536-1596; his autograph marginalia); gifted by him to Johann Faber (fl. sixteenth century; the inscription 'D. Io. Fabro collegae suaviss. d.f. Fr. Sylburg' on the first title-page); Johann Daniel Wildius (1585-1635; ownership inscription 'Joh. Dan. Wildii' on the first title-page).

A highly remarkable copy of the first edition of this Greek biographical dictionary of learned men which passed through the hands of two outstanding sixteenth-century German Hellenists: Guilielmus Xylander and Friedrich Sylburg.

The work was composed by Hesychis of Miletus, a chronicler who flourished at Constantinople during the reign of Justinian, and arranged by classes. The text was edited and translated into Latin by the Dutch physician and philologist Hadrianus Junius (1511-1575), who based his editorial work on a codex supplied by the Hungarian humanist Johannes Sambucus (1531-1581), owner of a precious collection of Greek manuscripts. This copy contains the texts in both languages. “Presented as a separate publication, but forming, in fact [...] one edition, the two volumes being sold together” (Voet III, p. 1114).

The provenance of the present copy is extremely interesting. The first owner was Guilielmus Xylander, professor of Greek at Heidelberg University and editor of numerous Greek classics, including works by Stephanus of Byzantium and Pausanias, among others. He translated the Arithmetica of Diophantus and the De quattuor mathematicis scientiis of Michael Psellus into Latin and was also responsible for the German translation of Euclid's first six books.

Thereafter the copy came into the possession of Friedrich Sylburg, who was already active in Frankfurt as a corrector and editor of Greek books at the printing house of Andreas Wechel, and publishing editions of Herodotus, Dionysius Halicarnaseus, Aristotle, and other Graeci scriptores. In 1591 he moved to Heidelberg, where he worked with the printer Hieronymus Commelinus and became a librarian at the celebrated Bibliotheca Palatina assembled by the Palatin Elector. The volume was later given by Sylburg to Johann Faber, whose name is recorded in 1556-1557 among the students at Heidelberg University. The last known owner of the Plantin Hesychius was Johann Daniel Wildius (1585-1635), who lectured in theology at Landesschule, Hanau.

Adams H-512; STC Dutch 94; Voet, III, 1323-1324; Labore et constantia, 220-221; Voet, The Golden Compasses, II, p. 459; Hoffmann, II, p. 264; P. Gulyás, Die Bibliothek Sambucus. Katalog 1587, Szeged 1992, 2106; Philobiblon, One Thousand Years of Bibliophily, no. 147.

Foscolo’s 'divine Plutarchus'

148. Plutarchus (ca. 45-120)

Plutarchi Chaeronensis quae extant opera, cum Latina interpretatione. Ex vetustis codicibus plurima nunc primùm emendata sunt, vt ex Henr. Stephani annotationibus intelliges: quibus & suam quorundam libellorum interpretationem adiunxit. Aemylii Probi De vita excellentium imperatorum liber. Henri Estienne, 1572.

Seven volumes, 8° (174x105 mm). I. Collation: *8, a-z8, Aa-Cc8. 16, 778, 2 of [6] pages, lacking the blank Cc7 and Cc8, but complete with the blank Cc6. II. Collation: aa-zz8, AA-PP8. [2], 781-1381, 3 of [5] pages, lacking the blank PP8, but complete with the blank PP7. III. Collation: aaa-zzz8, AAA-YYY8. [2], 1389-2101, 3 of [5] pages, lacking the blank YYY8, but complete with the blank YYY7. IV. Collation: a-z8, A-M8, N10; 579, [1] pages. V. Collation: a6, b8, Cc-Zz8, aA-rR8. [2], 583-1213, [3] pages. VI. Collation: Aa-Zz8, Aaa-Vvv8, Xxx10. [2], 1219-1923, [1] pages. VII. Collation: [A]-[M]8, [N]6, [O]-[Z]8, [AA]-[FF]8, [GG]4. 467, [1] pages. Complete with fol. [N]6 blank. The set comprises only the Greek portion of the edition, and therefore does not include the volumes containing the Latin translation of Plutarch's work. For this reason, volume VII includes – as in most of the recorded copies – the Appendix, but not the final Index rerum et verborum. Greek, roman, and italic type. Woodcut printer's device on the title-page of the first volume. Woodcut decorated initials and headpieces. Eighteenth-century uniform binding, vellum over pasteboards. Smooth spine, divided into compartments by gilt fillets; title and volume numbering in gold on double green morocco lettering-piece. A set in good condition, leaves uniformly browned, some foxing. A pale spot to the upper margin of the first leaf of text in each volume due to an ownership inscription that was later erased.

Provenance: the Italian poet Ugo Foscolo (1778-1827; white wax-stamp with the initials 'L.F.' on the front pastedown of the first volume; a loose paper slip is inserted in the same volume, bearing the hand written note 'N. 1552 du Catalogue de la Bibliothèque du Monsignor Foscolo vendu par autorité de justice de la Depositeria urbana pas le Ministere de libre Agazzi. La 1ere vente devais avoir lieu le 4 xmbre 1843 mais enfait la vente n'a eu lieu qu'en 1844 et le N. 1552 n'a été vendu qu'à la vacation en date du 22 mars 1844'). In Foscolo's own hand the emendations on fols. Aa2r and Aa8 of the sixth volume, and some underlining in red pencil.

An exceptional set of the first complete edition of Plutarch's works, edited by Henri Estienne “avec correction et elegance” (Renouard), and once owned by the outstanding Italian poet and patriot Ugo Foscolo. The seven-volume set includes only the Greek part of Estienne's publication, supplemented with his Appendix.

Foscolo's interest in the 'divine Plutarchus' was already evident in his famous epistolary novel Le ultime lettere di Jacopo Ortis (see no. 258), in which Plutarch's works are the beloved reading of the main character. Foscolo began to write the Discorsi sopra gli uomini illustri di Plutarco at the beginning of the nineteenth century; of this work, only the Proemio or Preface – dated 1 January 1801 – was completed. On 25 July of the same year he was appointed director of an office in Milan created to put into writing the military code of the Cisalpine Republic, which had been established in 1797; on 3 August he was moved to the fourth section of this office and charged with the writing of disciplinary and penal rules. For this purpose, in a letter addressed on 7 August to the Minister of War, Vincenzo Lancetti, Foscolo requested some books, which he considered necessary for his writing, among others “Plutarco. Vite degli uomini illustri”, i.e., Plutarch's Parallel Lives. The missing publication date forbids certain identification of the Plutarch edition which was later supplied by Lancetti, and the subsequent course of Foscolo's private library is very complex. His collection was bought by his friend Quirina Mocenni Magiotti in 1816, when Foscolo decided to self-exile himself in London, and it later came mostly into the possession of the Biblioteca Marucelliana in Florence: among the books recorded in the Florentine library is the Italian-language edition of Vite di Plutarco volgarizzate da Girolamo Pompei, printed in Verona between 1772 and 1773. The volumes of this Italian Plutarch bear the ownership inscription 'Ugo Foscolo Firenze M.DCCC.I'. It is known that Foscolo sejourned in Florence until 25 March 1801; therefore, the Veronese publication cannot be the edition given to Foscolo in Milan after 7 August 1801, the date of his letter to Vincenzo Lancetti. The copy given by him on that occasion may thus actually be the set of volumes described here.

Renouard Estienne 134.2; Schreiber Estienne, 179; Schweiger I, 259; G. Gambarin, Scritti letterari e politici: dal 1796 al 1808, U. Foscolo, Edizione Nazionale, Firenze 1972, vol. VI, pp. LXIII-LXIV; La biblioteca fiorentina del Foscolo nella Biblioteca Marucelliana. Premessa di L. Caretti; introduzione, catalogo, appendice di G. Nicoletti. Firenze [1978]; Philobiblon, One Thousand Years of Bibliophily, no. 148.

From the celebrated Pillone Library Vecellio’s drawings on vellum covers

157. Tomai, Tomaso (d. 1593)

Historia di Ravenna... Diuisa in quattro parti. Nella quale oltre le cose notabili di questa Repubblica; breuemente si trattano principalissime guerre di diuerse nationi.... Francesco Tebaldini, 1580.

4° (196x127 mm). Collation: †4, 22, A-Z4, Aa-Dd4. [12], 214 [i.e. 216] pages. Roman and italic type. Woodcut arms of Pope Gregory XIII on the title-page. Woodcut decorated initials. In its original limp vellum binding, covers decorated with ink drawings by Cesare Vecellio (1521-1601): the upper cover depicts the church of Santa Maria della Rotonda in Ravenna, the lower one a part of the city ramparts. Traces of two pairs of ties on the fore-edge. Smooth spine decorated in ink with stylised acanthus leaves; painted edges, on the fore-edge a view of the city, and the inscription 'RAVENA'. Very good copy, lightly stained and spotted, more prominently on the leaves of quires M and T; pale waterstain at the blank outer margin of the first leaves.

Provenance: Odorico Pillone (1503-1593); Sir Thomas Brooke of Armitage Bridge House, Huddersfield (1830-1908; ex-libris on the front pastedown; see A Catalogue of the Manuscripts and Printed Books Collected by Thomas Brooke, F.S.A. Vol. II. M-Z, London 1891, no. 158, “Tomai, Tommaso. Historia di Ravenna. In Ravenna, 1580. 4to. v.”); from Humprey Brooke to Pierre Berès (P. Berès, Un group de livres Pillone. Catalogue no. 67, Paris 1957, no. 158; label on the front pastedown 'Livre no. 158 de la Bibliothèque Pillone Pierre Berès'); Sotheby's London, 25 May 2000, lot 97.

A splendid copy of the second edition of this rare work on the history of Ravenna, owned by the well-known bibliophile from Belluno, Odorico Pillone (1503-1593). In 1580, Pillone famously commissioned the painter Cesare Vecellio (1521-1601; see nos. 159 and 169) to decorate, with drawings or painted fore-edges, the bindings of 172 volumes preserved in his Villa Casteldardo in the Dolomites, in which he had established his Studio. Vecellio, a cousin and pupil of Titian who worked in his atelier until his death, thus decorated the fore-edges of the majority of Pillone's library, depicting characters and landscapes relating to the subject of each book. Vecellio is also famously the author of Habiti antichi et moderni, the well-known illustrated history of clothing, in which he mentions the library and other collections of the Pillone family, as well as their exquisite hospitality in their Villa.

The present example represents one of only twenty one volumes that Vecellio adorned with drawings on the covers, and one of the very few with both decorated vellum covers and painted fore-edges: the rich imagery features views of a fairy-tale Ravenna with Santa Maria della Rotunda and a fortification artfully drawn in a Mannerist style. The inked inscription 'RAVENA' embellishes the edge.

In 1874, a Pillone descendant sold the entire collection to English bibliophile Thomas Brooke for 20,000 lire. After the latter's death, Humphrey Brooke, the heir of the collection, entrusted the sale to Alan Keen, who compiled a catalogue of its contents (The Venetian Library Collected at the Close of the Sixteenth Century by Doctor Odorico Pillone and the Sides and Edges Painted by Cesare Vecellio, London 1951). The collection was then purchased in 1957 by the French bookseller Pierre Berès, who immediately put it on sale, publishing a catalogue with the help of Italian art historian Lionello Venturi. The collection, united until then, was thus dispersed.

P. Berès, Bibliothèque Pillone, Paris, 1957, no. 158; T. Conte (ed.), Cesare Vecellio, 1521 c.-1601, Belluno 2001; Philobiblon, One Thousand Years of Bibliophily, no. 157.

The first bio-bibliography of Florentine authors, used for writing Ciriaco Strozzi’s biography

164. Poccianti, Michele (1536-1576)

Catalogus scriptorum Florentinorum omnis generis, quorum, et memoria extat, atque lucubrationes in literas relatae sunt ad nostra usque tempora... Florence, Filippo Giunta, 1589. (bound with:) Monti, Zaccaria (fl. 16th-17th century). Vita Kyriaci Strozae. Auctior. Paris, Adrien Périer for the Officina Plantiniana 1604. . Filippo Giunta, 1589.

Two works in one volume, 4° (231x156 mm). I. Collation: *2, A-L8, M4. [4], 172, [12] pages. Roman and italic type. Giunti's device on the title-page. Woodcut animated and decorated initials. II. Collation: A4. 7, [1] pages. Roman, and Greek type. Plantin's device on the title-page. Contemporary limp vellum, traces of ties. Smooth spine with inked title. A very good, tall copy.

Provenance: Zaccaria Monti (fl. 16th-17th century; annotations in his own hand in the margin of some pages, and on two leaves bound between Poccianti's Catalogus and the Vita Kyriaci Strozae); 'Moreau Mod. Paris' (old ownersphip inscription on the title-page); Theological Institute of Connecticut, East Windsor Hill (now defunct; blind stamps on the first three and the last three leaves).

The miscellany contains the first edition of Poccianti's famous Catalogus and the Vita Kyriaci Strozae by Zaccaria Monti, nephew of Ciriaco Strozzi and the earliest recorded owner of the present volume. Zaccaria wrote in the margin of Poccianti's entry dedicated to his uncle, annotations and emendations in his own hand. Further, the volume contains two leaves bound between the two printed texts: The first leaf bears some observations on Ciriaco Strozzi, “‘Hoc elogium reponendum est pag. 104 in littera K. Kyriacus Strozza Patritius florentinus, Zachariae filius, Graecarum litterarum cultor exactissimus ac omni disciplinarum genere instructissimus, Aristotelicae philosophiae defensor acerrimus”. The note on the second leaf regards Ciriaco's learned sister, the Dominican nun Lorenza Strozzi (d. 1591): “Hoc elogium reponendum est pag. 105 in litterar L. Laurentia Strozia, Kyriaci Strozae, summi peripatetici soror [...] scripsit in singula totius anni solemnia hymnos [...]”. Both quoted passages are taken from Poccianti's Catalogus scriptorum Florentinorum, a circumstance that might explain why Monti let these two editions be bound together for his library.

The Catalogus scriptorum Florentinorum by the Servite Poccianti, professor of philosophy and theology at the Florentine Studio, was published posthumously by one of his pupils, fra' Luca Ferrini, and dedicated by him to the Grand Duke Ferdinando de' Medici. The work is the first bio-bibliography of Florentine authors to appear in print, and is also considered one of the first bibliographies devoted to a single town and its territory. The Catalogus lists and describes the works of about six hundred authors arranged in alphabetical order, followed by a classification of them as theologians (including philosophers), doctors, lawyers, poets, etc.

The second edition bound here is the extremely rare pamphlet issued from the Parisian Officina Plantiniana, of which apparently only four copies are known. This is the first separate edition of the biography of Greek scholar Ciriaco Strozzi (1504-1565), the first having appeared in the Opera by Aristotle printed in Lyon in 1581.

I. Adams P-1677; Camerini Annali,157; Pettas 644; Philobiblon, One Thousand Years of Bibliophily, no. 164.

The Statutes of the Sovereign Military Order of Malta, bound by Soresini for the Grand Master

165. Sovereign Military Order of Malta

Gli Statuti della Sacra Religione di S. Gio: Gierosolomitano. Tradotti di Latino in Volgare di Iacomo Bosio Agente della medesima Religione nella Corte di Roma. Aggiuntiui li Priuilegij dell’istessa Religione.... Giacomo Tornieri and Giacomo Ruffinello, 1589.

Two parts in one volume, 4° (247x170 mm). Collation: *6, **4, A-Z4, Aa-Nn4, a-g4, h6; A-P4. [20], 280, [76]; 92 of 96 (lacking the leaves M3 and M4, also not present in the other recorded copies), [24] pages. Complete with fols. Nn4 and h6 blanks. Roman and italic type. Separate title-pages for each part, bearing the woodcut coat of arms of Cardinal Hugues Loubens de Verdalle (1531-1595), Grand Master of the Order of Knights of the Hospital of St. John of Jerusalem. Woodcut decorated initials, head- and tailpieces. Fols. *5r-*6v, containing the privilege of the Grand Master (dated 20 November 1588), within a woodcut border. Magnificent contemporary Roman brown morocco over pasteboards, executed by Francesco Soresini's workshop. Covers within frames of blind and gilt fillets, narrow frieze all'antica, and small floral tools. At centre cornerpieces, on the top the monogram 'IHS', all in gilt; on the upper cover painted coat of arms of the Grand Master Hugues Loubens de Verdalle, in gilt medallion surmounted by cardinal hat, below the inscription in gilt 'F. VGO DE LOVBENX VERDALA CAR: GRAN MAESTRO'; on the lower cover painted coat of arms of the Order of St. John of Jerusalem painted within gilt oval frame, below the inscription 'DEL CAVAL. F. FRAN. HIER. BERTIO' in gilt, referring to the Knight Francesco Girolamo Berti. Spine with four raised bands, underlined with gilt fillets, compartments decorated with gilt foliate tools, title in gold on lettering-piece. Edges gilt. Joints weakened but still solid, extremities of the spine and corners slightly worn. A very good copy, with only occasional foxing.

Provenance: Grand Master of the Order of Knights of the Hospital of St. John of Jerusalem, Hugues Loubens de Verdalle (1531-1595; armorial binding); given by him as a gift to Francesco Girolamo Berti (gilt inscription on the lower cover); to his brother Fabrizio Berti (ownership inscription on the first title-page 'Di Fra Fabritio Bertio Baglio di Pavia 1595').

The rarest issue of the Italian translation of the Statuta of the Order of Saint John of Jerusalem, first printed in Latin in 1589, presented here in an exceptional copy magnificently bound for the dedicatee and sponsor of the edition, cardinal Hugues Loubens de Verdalle, Grand Master of the Order between 1581 and 1595.

The Statutes were translated from Latin into Italian by Giacomo Bosio, the representative of the Knights at the Roman Curia. The Italian version was examined and approved by a commission in Malta, and was given the same legal status as the original Latin text. The Grand Master decided therefore that the costs of publication were to be sustained by the Order and copies distributed among its members.

The copy presented here is in a handsome binding executed by the leading workshop of Francesco Soresini, appointed Papal binder at the death of Niccolò Franzese in 1575, and the founder of a celebrated dynasty of binders (Francesco, Prospero, and Baldassarre were his heirs). Soresini counted among his clients popes, cardinals, generals of religious orders, and members of the most distinguished Roman families. The binding was commissioned by the Grand Master Hugues Loubens de Verdalle, as attested by his coat of arms and name on the upper cover, and given by him as a gift to Francesco Girolamo Berti, who had entered the Order on 20 September 1567, and whose name is lettered in gilt on the lower cover. The volume then passed down to his brother Fabrizio Berti, who was appointed knight on 4 July 1575 and subsequently became Balio of Pavia, his hometown.

F. de Hellwald, Bibliographie méthodique de l'Ordre Souverain de St. Jean de Jérusalem, Rome 1885, p. 28; G. Vianini Tolomei, Legatura Romana Barocca 1565-1700, Rome 1991, pl. VII (for the tools used here); Philobiblon, One Thousand Years of Bibliophily, no. 165.

The Genoese nobility

200. Fransone, Agostino (1573-1658)

Nobiltà di Genoua di Agostino Fransone del fu Tomaso nobile Genouese all’Ill.mo & Ecc.mo signor prencipe Doria. Pietro Giovanni Calenzano and Giovanni Maria Farroni, 1636.

Folio (476x357 mm). Six unnumbered engraved leaves, including author's portrait, the frontispiece bearing the coat of arms of the dedicatee, the dedication to the Prince Doria, the title-page, the coat-of-arms of the city of Genoa, St. George (patron saint of the city) killing the dragon; thirty engraved plates, numbered I-XXIX (two plates are numbered I); [4] printed pages, with the list of family names. All thirty-six plates engraved by Jérôme David (three after Luciano Borzone). Contemporary marbled boards, recently rebacked in vellum. A very good copy, some marginal foxing.

The first and only edition of this splendid work dedicated to the Genoese nobility, illustrated with fine engravings executed by the French artist Jérôme David (1605-1670), and dedicated to Prince Doria, whose coat of arms is engraved on the frontispiece. The plates also include Fransone's portrait at the age of sixty-three, while the title-page is illustrated with a handsome engraved bird's-eye view of Genoa. The engravings primarily show the coats of arms of the most noble families of Genoa, particularly the twenty-eight which, in 1528, had been selected for the government of the city (Armi delle casate nobili della citta di Genoua annesse al Governo della Rep.: ripartite nelli 28 alberghi instituiti l'anno 1528). The last four pages list the noble families aggregated to the previous ruling houses.

The colophon and the first three plates are dated 1636; the remaining plates were probably printed in 1634, the date of the engraved title.

Cicognara 2032; Colaneri 724; Manno VI, 25222; Spreti 1579; Philobiblon, One Thousand Years of Bibliophily, no. 200.

On one of the most famous Egyptian artifacts

213. Pignoria, Lorenzo (1571-1631)

Mensa Isiaca, qua sacrorum apud Aegyptios ratio & simulacra subjectis tabulis aeneis simul exhibentur & explicantur. Accessit ejusdem authoris de Magna Deum matre discursus, & sigillorum, gemmarum, amuletorum aliquot figurae & earundem ex Kirchero Chisletioque interpretatio. Nec non Jacobi Philippi Tomasini Manus Aenea, & de vita rebusque Pignorij dissertatio. Andreas Fries, 1669.

Two parts in one volume, 4° (238x187 mm). Collation: *4, **1, A-N4, O2; [π]4, [a]-[n]4. [10], 96, [12]; [8], 96 [i.e. 94] pages. Roman and italic type. Extra engraved title-page, executed by A. Blothelingh (included in the foliation). Eleven engraved folding plates. Three engraved title-vignettes, nine full-page illustrations, and additional vignettes and other illustrations in the text. Contemporary vellum. Spine gilt tooled, title in gold on lettering-piece. Front hinge slightly opened. A very good copy.

Provenance: J. H. Harrison (ex-libris on the front pastedown).

Third and best edition of the Mensa Isiaca by the Paduan antiquarian Pignoria, the first scholarly work on Egyptology, which first appeared in Venice in 1605, under the title Vetustissimae tabulae aeneae sacris Aegyptiorum.

The 'Mensa Isiaca' or the table of Isis was an elaborate bronze table with enamel and silver inlay discovered in the ruins of the Temple of Isis after the Sack of Rome in 1527; it may have been executed – as Pignoria himself suggests – in Rome in the first century AD.

The table was then bought by Cardinal Pietro Bembo (it is also known as the 'Bembine Table'); after his death in 1547 the table was acquired by the Gonzagas, remaining in their collections until the capture of Mantua in 1630. The table of Isis eventually came into the hands of Cardinal Pava, who gave it to the Duke of Savoy, who then presented it to the King of Sardinia. In 1797 the tablet was carried in Paris by French troops, and in 1809 – as Alexandre Lenoir attests – it was exhibited in the Bibliothèque Nationale. Later, it returned to Turin, and is now held at the Egyptian Museum of this city.

In the seventeenth century the table of Isis became one of the most famous Egyptian artifacts known: it was used by the Jesuit Athanasius Kircher as a primary source for deciphering hieroglyphs, and an illustration showing the table was included in his Oedypus Aegyptiacus (1652/55).

The effective function of the 'Mensa Isiaca' is still subject to debate, although Pignoria's explanation was the simplest and most convincing: he believed it was a representation of sacrificial ceremonies according to Egyptian rites.

The 1669 edition is supplemented with numerous illustrations in the text which had been executed e Musaeo Bembi in 1559 by the Parma engraver Aeneas Vico (1523-1567).

Blackmer 1312; Gay 1567; Ibrahim-Hilmy II, 119; Philobiblon, One Thousand Years of Bibliophily, no. 213.

The Roman Gardens of the Baroque

217. Falda, Giovan Battista (1643-1678)

I Giardini di Roma. Con le loro Piante Alzate e Vedute in Prospettiva.... Giovanni Giacomo De Rossi, [ca. 1680].

Oblong folio (342x471 mm). [21] engraved plates, including the title-page and dedication to Pope Innocent XI, engraved by Arnold Van Westerhout after Giovanni Battista Manelli, and nineteen landscape views by G. B. Falda and Simon Felice. Late nineteenth-century half-vellum, marbled covers. Marbled edges. A very good copy, a few marginal stains.

First edition – offered here in its first issue with the plates unnumbered – of the most beautiful garden book produced in the Roman Baroque. Falda's work illustrates the layout and embellishment of nine of the finest gardens of Rome dating from the mid-sixteenth to the mid-seventeenth century. The publication includes bird's-eye views and plans of the Vatican Gardens, those on Quirinal Hill, and, among others, the Villas Mattei, Pamphili, Borghese, Ludovisi, and Montalto. The gardens were designed by Alessandro Algardi, Carlo Maderno, Ottavio Mascarini, Annibali Lippi, Cavalier Rainaldi, Domenico Fontana, Flaminio Pontico, and Giacomo Del Duca. The book is of particular importance as it shows the gardens before they were destroyed or underwent extensive alterations.

As a boy, Falda was sent to Rome to work in the studio of Gian Lorenzo Bernini. His skills attracted the attention of the publisher Giovanni Giacomo De Rossi, for whom Falda engraved the series Le fontane di Roma ('Fountains of Rome'), Palazzi di Roma ('Palaces of Rome'), and the present Giardini. His work became very popular among participants of the Grand Tour and tourists in the second half the seventeenth century and sold very well.

Berlin Katalog 3492; Kissner 133; Libreria Vinciana 4440; Rossetti 4831; G. B. Falda, Li giardini di Roma. Faksimile-Neudruck der Ausgabe Rom 1683, Nordlingen 1994; Philobiblon, One Thousand Years of Bibliophily, no. 217.

Ex dono Auctoris

219. Meyer, Cornelius (1629-1701)

Nuovi ritrovamenti divisi in due parti con trè Tavole in lingua Latina, Francese, & Ollandese. Parte prima. Delli ordegni per cavar pali. Armature della calamita. Del modo di levare i sassi sott’acqua, e trovar la lega dell’oro, e dell’argento... Rome, Giovanni Giacomo Komarek, 1696. (bound with:) Idem. Alla Santità di N.S. Papa Innocentio XI. Beatissimo Padre. [Rome, Giacomo Antonio de Lazzeri Varese, 1679]. (bound with:) Idem. Nuovi ritrovamenti dati in luce dall’Ingegneiro [sic] Cornelio Meyer per eccitare l’ingegno de’ virtuosi ad aumentarli, ò aggiungervi maggior perfettione... Rome, Giovanni Giacomo Komarek, 1689. (together with:) Idem. L’Arte di restituire à Roma la tralasciata Navigatione del suo Tevere. Divisa in tre parti.... Giacomo Antonio de Lazzari Varese, 1685.

Two volumes containing four works, in near uniform bindings.

First volume. Three works bound together, folio (411x261 mm). I. [28] unsigned leaves, including title-page with a large engraved vignette showing a dragon with the caption 'Drago come viveva il primo di Decembre 1691 nelle paludi fuori di Roma'; dedication to the Grand Duke of Tuscany Cosimo III dated Rome, 22 June 1696; 22 leaves consisting of plates with letter-press explanatory text, all of them half-page (except two full-page and three double-page); 4 leaves of indices in Latin, French, and Dutch. Roman and italic type. II. Collation: A14. [14] leaves. Issued without title-page, opening with dedicatory epistle to Innocent XI. Twelve numbered half-page engravings accompanied by explanatory text below, printed on recto only. Roman and italic type. The plates are partly dated between 1677 and 1679, engraved by Giovanni Battista Falda and Jacques Blondeau, after Meyer. III. Collation: [π]2-1, A-D2, 2D2, E2-1. [12] leaves. Roman and italic type. Typographical ornament on the title-page. Fifteen engravings in the text, two of which are double page. Most of the plates signed by Meyer as designer, and sometimes as both designer and engraver. The double-page astronomical engraving is signed by Ioannes Baptista Honoratus Polustinus.

Contemporary limp vellum. Extremities of the spine damaged. Fine, unsophisticated copy. Worm-tracks on the upper margin of several leaves not affecting the text, some leaves somewhat loose.

Second volume. Three parts, folio (401x265 mm). [92] leaves, 15, [1] pages. All leaves are unsigned, except for fols. [9-10] signed A-A2 and the final 8 leaves signed A-D2. The edition includes: two additional titles with dedication to Innocent XI and a large allegorical engraving present here in two states (one variant has the caption title 'Fluminis Fluctus Letificant Civitatem' written on a cartouche on top of the engraving, while the second version has 'D.O.M.' instead); a letter-press title with a woodcut ornament; sixty-eight engraved illustrations and maps (six double-page, one full-page and the rest half-page). The final 15 pages contain the relations of the Sacra Congregatio riparum Tyberis, and end with the colophon 'Romae, ex Typographia Rev. Cam. Apost., 1685'. The first illustration of part two, a double-page map showing the Delineatione del stagno di Maccarese, is captioned: 'In Roma, nella stamperia di Nicol'Angelo Tinassi, 1681'. The comet plate referred to in the list of plates is absent, in keeping with all other copies. At the bottom of the figura quarta in Part one are two contemporary ink drawings of technical structures. Roman and italic type. Woodcut head- and tailpieces.

Contemporary vellum, over thin boards. Spine with inked title, partly damaged and with a few losses. A genuine copy, with good margins. Some browning and foxing, double-page map of Delinatione del stagno di Maccarese heavily browned.

Provenance: I. Meyer's own inscription 'Ex dono Auctoris' on the verso of the front flyleaf; on the front pastedown nineteenth-century armorial ex-libris of the Odescalchi family, bearing the motto 'per servire s'acquista servi quando poi', and engraved by Michelassi. II. Meyer's own inscription 'Ex dono Auctoris' on the verso of the front flyleaf.

Two-volume set containing four rare first editions by Cornelius Meyer (Cornelis Meijer), both volumes bearing the author's inscription 'Ex dono Auctoris'. Dedication copies of these already rare works are extremely hard to come by separately, and even more so bound together, and in copies complete with all their parts. This is the case of this set, in which the first volume also bears the ex-libris of the Odescalchi family, and it is especially noteworthy that Pope Innocent XI Odescalchi was the patron of Meyer as well as the dedicatee of the second edition bound in this volume.

I. The first work bound – Nuovi ritrovamenti divisi in due parti... Parte prima – though printed seven years later, in 1696, forms the first section of a two-part work, which gathers some of the author's technical inventions and scientific experiments. The second part, Nuovi ritrovamenti dati in luce, was issued first, in 1689, but both texts are clearly related insofar as the index to both parts is printed at the end of the Part one.

The plates show inventions and experiments undertaken by Meyer in Rome and other places like Livorno and Civitavecchia: among others, the large magnet of the Grand Duke of Tuscany, instruments and technical tools to raise cannons and poles from below the sea and to break stones underwater, methods for melting metals, canalization and other hydraulic works, a plan of the harbor of Livorno, fortification works, spectacles, games and curiosities including how to break a glass with a musical instrument, the eclipse of Jupiter's first satellite, a map of the mouth of Po river, chariots, the design of a room, the orbit of a comet, and fountains. One of the plates included here shows the Civitavecchia harbor, where the author recovered the hull of a sunken vessel.

The third work included in the first volume – the one bound in the middle – is the rarest of all three. It was issued without a title-page and opens with a dedication to Innocent XI Odescalchi. Meyer's name appears at the end of the dedication, while the imprint is at the bottom of the last two leaves. As stated in the notice to the reader, with this publication Meyer intended to show to the general public how he so brilliantly completed the first task assigned to him by Clement X upon his arrival in Rome.

Born in Amsterdam, Cornelius Meyer left his country in 1674 for Venice, then a popular destination for Dutch engineers seeking employment. He moved to Rome one year later. Pope Clement X put Meyer in charge of a major project aimed at protecting the Via Flaminia against the flooding of the Tiber. Meyer, whose plans were less expensive than those proposed by the project's former head engineer, Carlo Fontana, constructed a passonata, i.e., a row of piles, in the Tiber, which deflected the river's current away from the Via Flaminia.

II. First edition of Meyer's important work on the restoration of the Tiber River for navigation, L'arte di restituire a Roma la tralasciata navigatione del suo Tevere, which is considered his masterpiece, and is presented here in its second issue (the first issue is dated 1683 on the title-page).

After this first successful work on the Tiber, Clement X and his successor Innocent XI hired Meyer to improve navigation on the river with the purpose of increasing commerce. Meyer came up with revolutionary solutions to expedite travel along the river and in 1683, with the help of artist Gaspar van Wittel, he published his projects in L'arte di restituire a Roma la tralasciata navigatione del suo Tevere. The book, which is divided into three parts, was both a record of Meyer's engineering skills as well as a form of self-promotion for seeking further commissions. It includes a beautiful series of etchings by Meyer himself as well as by Giovanni Battista Falda, Gaspar van Wittel, Jacques Blondeau, Barend de Bailliu, Balthasar Denner, Gomar Wouters, Johannes Collin, and Ioannes Baptista Honoratus Polustinus. It was with his designs in L'arte di restituire that Meyer consolidated his reputation among the artistic and scientific elite of Rome.

Michel & Michel V, p. 161; Cicognara 3791-3792; Olschki 17589; Poggendorff II, 134; Rossetti 7022-7023c; Philobiblon, One Thousand Years of Bibliophily, no. 219.

Poetry, fortune, and gambling. The Spello-Game.

220. [Spello?]

Vago e diletteuole giuoco della diuitia di Spello. Illustrated manuscript on paper, in Italian. Spello (?), end of the seventeenth century- beginning of the eighteenth century.

273x205 mm. 34 leaves. Complete. Four quires. Collation: 18 (the first blank leaf used as front pastedown), 2-38, 410. Blanks: 1/1, 1/2r, 4/10. Contemporary inked foliation in the upper outer corner (used here). Written in brown ink in a unique hand, in neat cursive. Twelve vignettes drawn in brown ink; twelve full-page ink drawings within rectangular frames, partly coloured in brown, red, and greenish wash; some details in red- and brown-pencil heightening. Contemporary cardboards, smooth spine. Covers rather abraded and stained, corners and spine worn. In a marbled cardboard box, leather spine with title and the note 'M.S. XVII SEC.' lettered in gilt. An unsophisticated manuscript, some stains and spots, numerous traces of use. On the recto of the first leaf the note 'Perugia', in a different early hand.


The first section of the manuscript contains twelve vignettes, drawn in brown ink in popular style, depicting views and monuments of Spello and supplemented with captions, mainly in Italian vernacular. The subjects are as follows, as indicated by the inked captions:

fol. 3r: 'Colonia Iulia di Spello detta di Giulio Cesare' (below a Latin note 'Vel Hijspellum fuit prima Ciuitas per Ianum, id est Noè, Vmbria aedificata Vel Gornualia Hijspellum vocaretur – cornu Vallis per translationem');

fol. 3v: 'Antica Porta Venere. descritta con tre porte, e due Torri dalle bande, dall'Architetto Sebastiano Serlio Bolognese nel loco 3.° dell'Antichità';

fol. 4r: 'Carcere di Orlando Vicino alla Porta Venere di Spello, come ne scriue il detto Serlio Bolognese nelle sue Antichità';

fol. 4v: 'Misura di Orlando Nipote di Carlo Magno Imperatore, come nelle Mura di Spello nella publica Strada, che ua uerso Assisi';

fol. 5r: 'Antico Campo da Combattere Nel Territorio di Spello uicino la Via Flaminia, della cui antica virtù bellica ne fa anco mentione Silio Italico libro terzo Belli Punici';

fol. 5v: 'Antico Vocabolo Poeta al Colle uicino à Spello detto da Propertio Poeta, doue egli aueua la sua Villa Suburbium Propertij';

fol. 6r: 'Bagno del Fiume Clitunno dato à Spellani da Augusto Imperatore Oggi detto le Vene di Pissiniano';

fol. 6v: 'Nobile Antico Mausoleo uicino Spello circondato de Fenestrelle, doue Erano i lumi perpetui, oggi fatto Tempio alla Virgine Maria';

fol. 7r: 'Cerere Dea Rappresentata in Spello Con due Cornucopij per dimostrare l'abbondanza dell'antico Spello';

fol. 7v: 'Antiche tre Statue Gradi Consolari Poste nella uia Flaminia sopra la Porta principale di Spello';

fol. 8r: 'Antico Anfiteatro di Spello Colonia amplissima de Romani posto in mezzo alla gran Valle Spoletana, doue conueniuano tutti i Popoli dell'Umbria ai Spettacoli';

fol. 8v: 'Portone ò Arco uicino à Spello nella publica strada che ua uerso Assisi, doue con bel gioco uedrai se sei legitimo, ò no'.

The second part of the manuscripts contains twelve full-page drawings, in the same technique and style, depicting poets originating from Spello, with the indication of their names. The subjects are as follows:

fol. 9r: 'Il Poeta Mauro'

fol. 11r: 'Il Poeta Propertio'

fol. 13r: 'Il Poeta Vetruuio'

fol. 15r: 'Il Poeta Olorino'

fol. 21r: 'Il Poeta Dandola'

fol. 23r: 'Il Poeta Angelini'

fol. 25r: 'Il Poeta Gentile'

fol. 27r: 'Il Poeta Barbagnacca'

fol. 29r: 'Il Poeta Cecchi'

fol. 31r: 'Il Poeta Marcorelli'

fol. 17r: ‘Il Poeta Sforza'

fol. 19r: ‘Il Poeta Venantio'

An unrecorded, and extremely interesting variant of fortune-telling book, a genre that enjoyed wide popularity during the Renaissance. Manuscript versions of this game are all of the greatest rarity, owing to the fragility of supports and their extensive use at social occasions.

This manuscript is an adaption of the structure and rules of the game as developed in the Libro della Ventura of Lorenzo Spirito (ca. 1425-1496; see nos. 42 and 202) from Perugia, the first fortune-telling book produced in Italy which served as a source of inspiration for numerous later compilations, in print as well as in manuscript. Here the readers wandered not among celestial spheres, prophets, kings or philosophers, but rather among the history and cultural tradition of Spello in Umbria, the ancient Roman colony known as Hispellum. In fact, the anonymous author who produced – according to the title inscribed on the verso of the second leaf – this Vago, e diletteuole giuoco della diuitia di Spello sought to celebrate the ancient monuments of Spello, as well as the numerous poets born in this small Italian city over the centuries, such as the illustrious Propertius.

The game rules are explained in the preliminary pages. The players were to choose one of the questions listed ('Partiti da Proponersi dal Signore') pertaining to health, wealth, career, business, travel, and happiness in love and marriage. They then threw two dice and proceeded to locate the cast result in the following twelve tables of diagrams, each bearing, at the centre, a drawn vignette showing views or monuments of Spello. The diagrams would guide players to twelve sections of quatrains which provided answers to the chosen questions, each of them introduced by a full-page drawing depicting a poet born in Spello. Remarkably, the Spello-game – which doubles as a gambling game – also involves a stake with pecuniary value (called in the preliminary instructions Tesoro, and managed by a Tesoriere, or banker): in the quatrains the prediction of future events is therefore supplemented, in the final verse, with the notice of an amount to be payed or cashed out.

The last drawings portray poets active in the seventeenth century, a feature that allows us to date the execution of the present manuscript to the end of that century. In particular, the drawing on the recto of fol. 31 depicts the poet and musician Giovanni Francesco Marcorelli, who was an organist in the Collegiata Santa Maria at Spello between 1627-1634, and then active as maestro di cappella in the oratory of the Church of Santa Maria Nova in Rome. He also composed some oratories – in the present manuscript he is even shown writing a musical score – and he died around 1656.

T. De Marinis, “Le illustrazioni per il Libro de le Sorte di Lorenzo Spirito”, Idem, Appunti e ricerche bibliografiche, Milano 1940, pp. 67-83; M. Sensi – L. Sensi, “Fragmenta hispellatis historiae. 1. Istoria della terra di Spello, di Fausto Gentile Donnola”, Bollettino storico della città di Foligno, 8 (1984), pp. 7-136; A. Tini Brunozzi, “Appunti sulla toponomastica spellana”, ibid., 19 (1995), pp. 299-329; L. Nadin, Carte da gioco e letteratura fra Quattro e Ottocento, Lucca 1997; G. Proietti Bocchino, Spello città d'arte, Perugia 2011; Philobiblon, One Thousand Years of Bibliophily, no. 220.

The Magnificence of Venice

227. Graevius, Johann Georg (1632-1703)

Splendor Magnificentissimae Urbis Venetiarum Clarissimus; E Figuris elegantissimis, & accurata Descriptione emicans; In Duas Partes distributus.... Peter Van der Aa, 1722.

Two parts in one volume, folio (393x243 mm). [18], 242; [4], 247-324, 324a-324k, 362, 362a, 363, 363a, 364, 364a, 365, 365a, 366, 366a, 367, 367a, 368, 368a, 369-419, [1] pages. Title-pages printed in red and black, with engraved vignettes. One large folding bird's-eye view of Venice (475x1075 mm), one folding chart of the city (490x570 mm), and 115 double-page plates (395x440 mm), all engraved. Contemporary polished calf, covers within triple gilt fillet. Spine with six raised bands, richly gilt; title in gold on morocco lettering-piece. Marbled flyleaves. Edges marbled. Covers slightly worn and rubbed, front joint partly open. A fine, wide-margined copy, with a very good impression of the plates. Slightly uniformly browned.

First edition of this lavishly illustrated book, which was issued as part of the monumental publication Thesaurus antiquitatum et historiarum Italiae (it is part Secunda and Tertia of the fifth volume) and edited by the German scholar Johann Georg Graevius, a disciple of Daniel Heinsius in Leiden. From 1662 Graevius taught rhetoric, history, and politics at the University of Utrecht, and was well known for his editions of Latin classics as well as the great collection Thesaurus antiquitatum Romanarum.

The forty-five volume Thesaurus antiquitatum et historiarum Italiae was published posthumously by the Leiden printer Vander Aa between 1704 and 1725. Graevius was able to edit only the first six volumes; his pupil Pieter Burmann was responsible for the remaining thirty-nine.

The fine illustrative apparatus supplementing the present volume shows the monuments of Venice, as well as popular and religious festivals, regattas, ceremonies, processions, and parades. The engravings are mainly based on images by Vincenzo Coronelli and Luca Carlevarijs, while the texts are mostly taken from the work of Domenico Martinelli.

These views of Venice were re-issued by Peter Vander Aa in his La galerie agréable du monde (Leiden 1729), and again in 1762 by Cornelis Haak under the title Vües des palais.

Cassini, 69-70; Cicogna 4478; J. Martineau - A. Robinson (eds.), The Glory of Venice: Art in the Eighteenth Century, London 1994; P. G. Hoftijzer, Pieter van der Aa (1659-1733). Leids drukker en boekverkoper, Hilversum 1999; Philobiblon, One Thousand Years of Bibliophily, no. 227.

The vehicle by which the concept of historical development at last entered the thought of Western Europe — PMM

229. Giambattista Vico (1668-1744)

Principj di una scienza nuova intorno alla natura delle nazioni per la quale si ritrovano i principj di altro sistema del diritto naturale delle genti. All’Eminentiss. Principe Lorenzo Corsini amplissimo Cardinale dedicati. Felice Mosca, 1725.

12° (147x78 mm). 270, [12] pages. Small woodcut ornament on the title-page. Woodcut decorated initials, head- and tailpieces. Contemporary vellum, with yapp edges. Traces of ties, title inked on the spine, renewed flyleaves. A good, clean copy. Small, almost invisible tears in the text, skilfully repaired.

The first edition of the most influential work by the great Neapolitan philosopher Giambattista Vico, whose name appears in the dedication to Cardinal Lorenzo Corsini (the future Pope Clement XII) dated 8 May 1725. Here Vico develops the theory that human history is cyclical. As such, he may be considered the intellectual predecessor of modern philosophers of history such as Oswald Spengler and Arnold J. Toynbee; his theories on history and religion were also used by James Joyce. “Vico inherited the conception of a cyclical pattern in history, an idea revived in our own day by Spengler and Toynbee [...] it was only in the 19th century that he was rediscovered and his influence has greatly increased since [...] Benedetto Croce has done much to spread the knowledge of Vico's contribution to historical scholarship [...]. The 'Principles of a New Science regarding the Character of Nations' [is] the vehicle by which the concept of historical development at last entered the thought of Western Europe” (PMM).

The 1725 edition was issued in about 1,000 copies on normal paper, and a dozen others were printed on special paper with wide margins. After the dedicatee, Lorenzo Corsini, declined to cover the publication expenses, the philosopher was forced to pay the costs himself; he attempted to condense the text as much as possible but still ended up having to sell a five-carat diamond ring to raise enough money. Vico was also directly involved in the distribution of the book. He personally gave copies of the first edition of the Scienza nuova to friends, and – as we know from his correspondence – he sent copies to pre-eminent European contemporaries, such as Jean Leclerc in Amsterdam, Johann Burckhard Mencke in Leipzig, Charles-Louis Montesquieu in Paris, and Isaac Newton in London.

The edition was sold out immediately, and in 1729 copies were sold for two gold scudi. As Vico states in his Vita “dentro tre anni dalla sua stampa si era fatta rarissima per l'Italia, e se alcuna se ne ne ritruovava, comperavasi a carissimo prezzo” (G. B. Vico, Opere filosofiche, Firenze 1971, p. 47).

Several copies of this edition bear manuscript corrections in the hands of the printer, close collaborators, or Vico himself, as the latter went through as many copies as he could to offer the most correct version of the text.

The present copy contains textual emendations in Italian, which are certainly authorial, added on Vico's behalf in the printing house, emending misprints or inserting words omitted by the compositor: this is the case of the corrections indicated in the margins of fols. C6r, C6v, C7r, H3r, L5r, and M2r. Similar corrections are visible in other recorded copies of the 1725 edition, but in variable numbers, and the list of authorial emendations given in 1931 by Fausto Nicolini as an appendix to the edition of the Scienza nuova is merely partial; it does not include, for example, the corrections indicated, in this copy, in the margins of fols. C6v, C7r and M2r.

This copy contains another extremely uncommon feature, found in only a handful of copies that were generally sent as gifts to distinguished figures or patrons: on the verso of the last leaf of text (fol. M8v) the printer Mosca has skilfully pasted – always on Vico's behalf – a paper slip covering lines 11-13 which contained numerous misprints; the three lines, recomposed, were reprinted on the slip.

B. Croce - F. Nicolini, Bibliografia vichiana, Napoli 1947, pp. 34-41; PMM 184; G. B. Vico, La scienza nuova prima, ed. F. Nicolini, Bari 1931, pp. 325-336; Idem, Principj di una scienza nuova intorno alla natura delle nazioni. Ristampa anastatica dell'edizione 1725, ed. T. Gregory, Roma 1979, pp. 10-15; Philobiblon, One Thousand Years of Bibliophily, no. 229.

The Soranzo-Smith copy, printed on large blue paper

231. Svetonius Tranquillus, Gaius (70-126)

Le vite de’ dodici Cesari... Tradotte in volgar Fiorentino da F. Paolo Del Rosso Cavalier Gerosolomitano. Nuova edizione con le vere effigie de’ Cesari Ed altre illustrazioni.... Francesco Piacentini, 1738.

Folio (296x215 mm). Printed on blue paper. [2], XIX, [1], 377, [3] pages. Complete with the last blank leaf. Title-page printed in red and black. Half-title within a frame executed and signed by John Baptist Jackson (1701-ca.1780). Woodcut vignette on the title-page, fine cul-de-lampe. Each Vita is introduced by a large woodcut medallion portrait, from the series executed by the Flemish artist Hubert Goltzius (1526-1583). Contemporary vellum, over pasteboards. Spine with five raised bands, double morocco lettering-piece, title and imprint lettered in gilt. Gilt edges. A very fine, wide-margined copy, printed on strong paper, partly uncut.

Provenance: the Venetian senator Giacomo Soranzo (1686-1761; ownership inscription on the recto of the front flyleaf, '1743 Di Giano Soranzo'); the British Consul in Venice Joseph Smith (1682-1770; large ex-libris on the front pastedown; his sale Bibliotheca Smithiana, Venice 1755, p. CCCLVIII, “la stessa, tradotta dal suddetto, con le vere Effigie de' Cesari (cavate da Goltzio) ed altre illustrazioni. Ven. per Francesco Piasentini [sic] 1738. 4. c. gr. turchina. leg. Oll.”). On the rear pastedown a cutting taken from an unidentified sale catalogue 'Splendida copia, una delle poche stampate in carta grigia. Leg. orig. in piena perg. taglio dorato, Con un belliss. Ex-libris di Joseph' Smith, Britisch Consul, ad venice'.

A superb copy, printed on strong blue paper, of this famous historical work, divided into eight books and containing the biographies of twelve Roman emperors, from Julius Caesar to Domitianus.

The well-known artist John Baptist Jackson (1701- ca.1780) is responsible for the fine border framing the half-title. The portraits of Roman Emperors, or “le vere effigie dei Cesari” – as the Venetian printer Piacentini states in his preliminary address – are by anonymous designers and engravers, and closely reproduce the outline of Hubert Goltzius' series of medallions, originally executed in chiaroscuro, which first appeared in the volume Vivae omnium Imperatorum Imagines, published in Antwerp in 1557.

The volume has a very distinguished provenance, having once belonged to Joseph Smith, refined lover of paintings and books, and Canaletto's patron (see no. 232). He spent his life in Venice, and in 1740 was named British Consul of the city. Smith's library was sold at auction in 1755, while his celebrated art collection was purchased by King George III in 1762.

Previously this fine copy of the Le vite de' dodici Cesari had been in the possession of the Venetian patrician and senator of the Serenissima Giacomo Soranzo, one of the greatest collectors of books printed on blue paper.

Brunet V, p. 584; Gamba 1669; Morazzoni, Il libro illustrato veneziano del Settecento, p. 255 (listing only the octavo edition); J. Kainen, J. B. Jackson, 18th Century Master of the Color Woodcut, Washington, DC 1962, p. 29; M. Zorzi, “La stampa, la circolazione del libro”, Storia di Venezia, dalle origini alla caduta della Serenissima, VIII, pp. 801-860; Philobiblon, One Thousand Years of Bibliophily, no. 231.

Opere... con la traduzione in Volgar Fiorentino del Signor Bernardo Davanzati Posta rincontro al Testo Latino. Con le Postille del medesimo e la Dichiarazione d’alcune voci meno intese... Novella Edizione, purgata dagl’innumerabili errori di tutte le precedenti...

236. Tacitus, Caius Cornelius (ca. 55 – ca. 120)

Opere... con la traduzione in Volgar Fiorentino del Signor Bernardo Davanzati Posta rincontro al Testo Latino. Con le Postille del medesimo e la Dichiarazione d’alcune voci meno intese... Novella Edizione, purgata dagl’innumerabili errori di tutte le precedenti.... Giuseppe Comino; Giovanni Antonio Volpi and Gaetano Volpi, 30 August 1755.

Two parts in one volume, large 4° (245x174 mm). Printed on blue paper. lxxx, 343; [5], 344- 669, [1] pages. Complete with the last blank leaf. Text in two columns. Engraved Comino printer's device at the end. Engraved medallion portrait of Davanzati on the title-page, with the inscription 'BERNARDO DAVANZATI GENTILUOMO FIORENTINO.' Decorated initials, head- and tailpieces. Contemporary vellum, over pasteboards. Smooth spine, with inked title and printing date. Pastedowns and flyleaves in blue paper. Gilt and gauffered edges. A very fine copy. On the front pastedown the inked number '966'; on the recto of the front flyleaf the stamped shelfmark 'D 327'.

Provenance: Giovanni Antonio Gotti from Ceneda, near Treviso (the ownership inscription 'Die 27 February 1777 Joh:is Antonj Gotti Cenetensis, Vicarj Pretorj Paduae cum Px:mo Antonio Gajnerio - Costò £ 26.-' on the front pastedown); Giovanni Giacomo Trivulzio (1774-1831; ex-libris); Biblioteca Trivulziana, Milan (small stamps on the recto of the front flyleaf and on a few leaves of the volume; copy sold as a duplicate).

The Cominiana edition of Tacitus' Annales and Decades, offered here in the only copy known to have been printed on blue paper. This elegant Italian translation by the Florentine Bernardo Davanzati (1529-1606) successfully captures Tacitus' brevity while illuminating his obscurity. It first appeared posthumously in Florence in 1637, where it was printed on behalf of the Accademia della Crusca, which had inherited Davanzati's manuscripts. This translation represents a significant chapter in the history of the great Roman historian's reception in early modern Europe. During his lifetime Davanzati had only published a version of the first book of the Annales which appeared in Venice in 1596.

Tacitus was considered a master of political thought, and a sceptical analyst of political reality; his works could thus offer an interpretation of contemporary political events and the problems of monarchies through discussions of ancient civil wars and the unlimited power of Roman emperors. “The condemnation of Machiavelli's works by the Catholic Church (1559) had left an empty space which Tacitus could easily fill. What could be not be said in the name of Catholic Machiavelli could be said in the name of pagan Tacitus” (A. Momigliano, The Classical Foundations of Modern Historiography, Berkeley 1990, p. 123). This explains the popularity of Davanzati's translation, and more generally the vernacular translation of Tacitus, which was indeed a European phenomenon.

This marvellous copy was once held in the exquisite library collected by Giovanni Giacomo Trivulzio and is mentioned by Gamba with regard to the Paduan Tacitus of 1755. The Milanese bibliophile may have purchased the volume at the sale of the Bibliotheca Pinelliana (see no. 250).

Gamba 940; Philobiblon, One Thousand Years of Bibliophily, no. 236.

Bound by Georg Friedrich Krauss for Duke Albrecht Kasimir August von Sachsen-Teschen

237. Bayardi, Ottavio Antonio (1695-1764)

Catalogo degli antichi monumenti dissotterrati dalla discoperta città di Ercolano... Naples, Regia Stamperia, 1755. (uniformly bound with:) Le antichità di Ercolano, esposte. Regia Stamperia, 1757 - 1792.

Nine volumes, large folio (510x390 mm). Complete, with 609 plates (the extra plate no. 610 recorded in RIBA, is usually not included in the known copies). The first six volumes of the Antichità feature a frontispiece with medallion portrait of Charles III, King of Spain and the Indies, engraved by Filippo Morghen (1730-1807) after a drawing by Camillo Paderni (this frontispiece is lacking in the seventh volume); the frontispiece of the eighth volume bears a medallion portrait of Charles III's successor, his son Ferdinand IV. Contemporary Viennese bindings executed by Georg Friedrich Krauss (fl. 1791-1824) for Duke Albrecht von Sachsen-Teschen. The fourth, fifth, sixth, and seventh volumes of the Antichità bound in red gilt-tooled full-morocco, while the boards of the first, second, third, and eighth ones, and those of Bayardi's Catalogo are covered with red painted paper. All nine volumes feature uniform red morocco spines with seven raised bands, with double green morocco lettering-pieces, the other compartments decorated with gilt floral tools, and the gilt monogram 'AST'. Marbled pastedowns and flyleaves, inside dentelles in the volumes bound in full morocco. A very fine, wide-margined set, printed on strong paper. Minor wear to the head of the spine of the first volume.

Provenance: Herzog Albrecht Kasimir August von Sachsen-Teschen (1738-1822; armorial bindings; see no. 253); Giorgio Fanan (ex-libris on the front pastedown of the first volume).

A splendid set of large volumes containing the first edition of this monumental work devoted to archaeological discoveries at the ancient Roman town of Herculaneum, printed on thick paper and magnificently bound for the well-known bibliophile Albert of Sachsen-Teschen, founder of the eponymous Albertina in Vienna. The set is complete with the Catalogo degli antichi monumenti dissotterrati per ordine della maestà di Carlo re delle due Sicilie by the archaeologist from Parma Ottavio Antonio Bayardi or Baiardi (1695-1764). The Catalogo briefly describes more than two thousand monuments and works unearthed in the discovered town. It was printed in 1755 and is often lacking in the recorded sets.

The Antichità di Ercolano represents the most important source for the development of neo-classical art. It was printed by the Regia Stamperia, the royal publishing house founded by the Bourbons in 1750, and edited by the Royal Herculaneum Academy. The vast project involved several scholars, and the reports were supplemented with magnificent illustrations by prominent artists of the time, including Camillo Paderni, director of the Royal Herculaneum Museum at Portici, and court artists who had obtained permits to draw the objects, including Anton Raphael Mengs, Luigi Vanvitelli, and Giovanni Battista Casanova.

The frontispiece of the first six volumes of the Antichità di Ercolano features a fine engraved portrait of Charles III (1716-1788), Duke of Bourbon, with symbols of the excavations carried out while he was King of Naples: some papyrus scrolls, a bust of Epicurus, vessels and coins, a pick and a shovel. It also depicts the inscription found in the theatre, including the word 'Herculanenses', which enabled excavators to identify the town brought to light as Herculaneum. The frontispiece of the eighth volume – appeared in 1792, i.e., thirty-five years after the publication of the first volume – bears instead the medallion portrait of Charles III's successor, his son Ferdinand IV (1751-1828). It is rare to find a such numbers of engraved portraits in the volumes of the Antichità. In fact, the copies known are often found lacking many of the frontespieces.

Albrecht von Sachsen-Teschen assembled one of the most complete and finely illustrated books from the presses of leading printers. Although unsigned, the present binding can confidently be attributed to the outstanding Viennese binder Georg Friedrich Krauss (fl. 1791-1824), one of von Sachsen-Teschen's principal binders (see no. 253). “Les exemplaires sont tous d'exception, imprimés sur grand papier, les gravures soit avant la lettre, soit en différents états; mais ce qui rend la collection tout à fait unique ce sont les superbes reliures de l'époque, la pluspart avec les dos mosaïqués et ornés du chiffre du duc Albert de Saxe, d'une fraicheur et d'un état de conservation parfaits” (Catalogue de beaux livres ayant appartenu au duc Albert de Saxe-Teschen, p. VIII).

Cicognara 2645; Ebert 711; RIBA 112 and 224; Kissner 199; Blackmer 678; Catalogue de beaux livres ayant appartenu au duc Albert de Saxe-Teschen, Milan 1930; Philobiblon, One Thousand Years of Bibliophily, no. 237.

At age twenty-three... he already had the talent of a genius — Robison

239. Piranesi, Giovanni Battista (1720-1778)

Prima Parte di Architetture e Prospettive inventate ed incise da Giambatista Piranesi architetto veneziano, tra gli Arcadi Solcindio Tiseio. [Rome, late 1760s-early 1770s]. (bound with:) Idem. Antichità Romane de’ tempi della Repubblica, e de’ primi Imperatori, disegnate, ed incise da Giambattista Piranesi architetto veneziano: e dallo stesso dedicate all’Ill.mo e Rev.mo Sig. Monsig. Giovanni Bottari Cappellano segreto di N.S. Benedetto XIV. Uno de custodi della Biblioteca Vaticana, e canonico di S. Maria in Trastevere. Parte prima. Roma, si vende dall’Auttore dirimpetto l’Accademia di Franzia, [1748, but late 1760s-early 1770s].

Two works in one volume, folio (330x465 mm). I. Seventeen etched plates. Watermarks: Robison 39 (late 1760s-early 1770s). II. Thirty etched plates (two titles, dedication to Giovanni Gaetano Bottari dated 20 July 1748, two plates of inscriptions and index, and twenty-five views). Watermarks: Robison nos. 17 and 36 (late 1760s-early 1770s). This copy also includes nine etchings taken from other Piranesi works: four from the 1753 edition of the Trofei and ten etchings, printed on five leaves, from a 1760s edition of the Opere varie. Eighteenth-century half-calf. Spine with gilt title and volume numbering on double morocco lettering-pieces. Binding worn and rubbed, corners and extremities of the spine damaged. A very good, wide-margined copy. Book block partly detached from the binding.

I. Second edition, fifth issue of Piranesi's first work: a record of the young engraver's first encounter with the antiquities of Rome and of his difficulty in giving visual form to its immense grandeur. The series presented here, according to Robison, represents the second of six editions and it is in the fifth of eight issues.

“Piranesi's first published work. As such, it is a remarkable production. Granted that some of its thirteen plates are little more than pleasant exercises in a set tradition, others are strikingly inventive, extraordinarily successful in their complex compositions, and remarkably sophisticated in their harmonious technique. Clearly, Piranesi learned and developed further, but the level of the first publication at age twenty-three shows he already had the talent of a genius” (Robinson, p. 12).

The first edition of the Prima Parte was printed in 1743 and comprised thirteen plates and a letter-press dedication. Piranesi did not publish a second part, but in the following years he etched other plates similar to the original thirteen and revised the entire work. Between 1743 and 1749 six different issues of the first edition appeared on the market. During the 1750s and 1760s Piranesi made a few changes to the plates and, by 1761, when he finally moved to a large house in Strada San Felice, from which he published and sold his prints for the rest of his life, the second edition of the Prima Parte was ready. He then continued to work on the series until his death in 1778, producing eight issues of this second edition. All subsequent editions of the work are posthumous.

As often happens with copies of the second edition, in the present volume the seventeen plates of the series are followed by other prints taken from different series: four are taken from the Trofei of 1753 (Facciata d'un Gocciolatojo in piano; Parte di una cornice di marmo; Capitello di marmo, il quale co' l'altro; Capitello di marmo nel Palazzo Mattei), and ten from the Opere varie (after 1761): Appartenenze d'antiche terme; Veduta d'uno de' circhi antichi (reduced version of the large frontispiece to vol. III of the Antichità Romane); Ponte trionfale (reduced version of the large frontispiece to vol. I of the Antichità Romane); Braccio di città pensile (reduced version of the large frontispiece to vol. IV of the Antichità Romane); Idea delle antiche vie Appia e Ardeatina (reduced version of the large frontispiece to vol. II of the Antichità Romane); Ingresso d'un antico ginnasio; Scuola antica architettata alla Egiziana e Greca; Portici tirati d'intorno ad un foro; Rovine d'antichità Egiziana e Greca (upright), and Idea d'un atrio reale (upright).

II. First edition, a later issue probably printed in the late 1760s and early 1770s, of the complete series, in first state, of this precocious manifesto of Piranesi's historical study of the antiquities of Rome. “From the purely artistic side there is scarcely anything more attractive in Piranesi's work than this early series” (Hind). The series is divided into two parts, each opening with its own title-page: the first shows Roman antiquities in Rome; the second Roman antiquities outside Rome. The series was reprinted around 1765, with the addition of two plates, under the title Alcune vedute di archi trionfali et altri monumenti.

H. Foucillon, Giovanni Battista Piranesi, eds. M. Calvesi and A. Monferini, Bologna 1967, pp. 287-290; A. M. Hind, Giovanni Battista Piranesi: A Critical Study, London 1978, pp. 75-76, 78-83; A. Robison, Early Architectural Fantasies: A Catalogue raisonné of the Etchings, Chicago 1986, pp. 65-112; Philobiblon, One Thousand Years of Bibliophily, no. 239.

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