JOHANN BERNHARD FISCHER VON ERLACH. Entwurff einer historischen Architectur. Leipzig, 1725. - RENOWNED VIEWS OF MEDINA AND MECCA
Second edition of the renowned baroque book on the history of architecture. FISCHER VON ERLACH, JOHANN BERNHARD. Entwurff einer historischen Architectur, in Abbildung unterschiedener berühmten Gebäude, des Alterthums, und fremder Völcker. Leipzig, 1725. 5 vols in 1, folio oblong, contemporary quarter calf binding on handcoloured paper, gilt title and decorations at spine, engraved titlepage, dedication note, five engraved frontispieces, plates. 86 FULL PAGE ENGRAVED PLATES BY BY J.U. KRAUS, J.A. DELSENBACH, C.ENGELBRACHT AND J.A. PFEFFEL Second edition of the renowned baroque book on the history of architecture. The Work was printed for the first time in Vienna in 1721 in a bilingual edition, with preface and commentary of the plates in German and French. Two separate editions were published in Leipzig in 1725, one in German, to which this copy belongs, and the other in French, both made by reusing the same plates of the first edition. Not only all the plates were proposed again, but also the title page with the only differences in location and year of printing, the dedication letter to the emperor Charles VI and internal frontispieces. The work is formed by five parts: • Biblical period, Egypt, Syria, Persia, Greece • Roman world • Arabs, Turks, Chinese, Japanese • Buildings of the author himself • Ancient and modern vases. The plates include a fine selection of plates of pyramids, temples, castles, palaces, churches, the wonders of the world, Roman antiquities, Islamic and Chinese edifices, buildings designed by Fischer in Austria and Prague, including the palace of Schönbrun, and vases from antiquity. Included in the plates we find the renowned views of Mecca and Medina. JOHANN BERNHARD FISCHER VON ERLACH (1656–1723) Austrian architect, was one of the most significant personalities of the European Baroque. His influential book Entwurff einer historischen Architectur was one of the first and most popular comparative studies of world architecture. His major works include Schönbrunn Palace, Karlskirche, and the Austrian National Library in Vienna, and Schloss Klessheim, Holy Trinity Church, and the Kollegienkirche in Salzburg CONDITIONS: light marks of use, but a nice copy with wide margins PROVENANCE: ownership stamp at frontispiece. REFERENCES: Fowler 121. Schlosser 438.
Sachgebiete: Altertum, Architektur, Asien, Kunstgeschichte, Illustrierte Bücher
BRUNSCHWIG. Distilierbuch der rechten Kunstv, newe und gemeine Distilier und Brennöfen. Frankfurt, Hermann Gülfferich, 1550 - EXCEEDINGLY RARE EDITION OF THE KLEINES DESTILLIERBUCH”
ONE COPY ONLY LOCATED IN WORLDWIDE LIBRARIES - THE « LIBER DE ARTE DISTILLANDI DE SIMPLICIBUS » BY HIERONYMUS BRUNSCHWIG ONE OF THE EARLIEST BOOKS ON CHEMISTRY AND PHARMACOLOGY BRUNSCHWIG, HIERONYMUS. Distilierbuch der rechten Kunstv, newe und gemeine Distilier- und Brennöfen, mit aller zugehörender Bereitschafft zu machen, auß allen Kreutern die Wasser zu brennen und distilieren : sampt lebendiger Abcontrafactur der Kreuter, von mancherley gebranten und distilierten Gwässer, Krafft und Tugenden, für alle Gebresten des gantzen Leibs. [at colophon:] Geduckt zu Franckfurt am Mayn durch Hermann Gülfferischen, 1550 [Frankfurt, Hermann Gülfferich, 1550]. 4° (195 x 150 mm), contemporary limp vellum, gilt medallion at front board, ff. 92 [misnumbered 93],  signature A-Z4, Aa4. Title-page in red and black, framed by a border enriched by woodcuts representing plants and fruits and surmounting the representation of alembics. Full page xylographic printer device at verso of last leaf. FIRST FRANKFURT EDITION BY GÜLFFERICH OF BRUNSCHWIG HERBAL, DISTILLATION EQUIPMENT AND RECEIPTS TREATISE RICHLY ILLUSTRATED WITH FLOWERS, PLANTS, ALEMBICS AND DISTILLATION TOOLS FIRST FRANKFURT EDITION of one of the earliest books on chemistry and pharmacology. The medical and distillation equipment of the period is beautifully and skilfully illustrated including medicinal plants and prescriptions which are offered for marital compatibility, good memory, a merry and brave spirit against bad dreams, drunkenness and terrors of the night. The last of the fifteenth-century herbals was the first to be concerned with the chemistry and essential oils of plants. BRUNSCHWIG based the first part of the work, an exposition of the methods and apparatus of distillation of plant or animal products, on his own observations. In this part we find a detailed description of the methods and equipment, showing influences from Jean de Roquetaillades’ book De consideratione quintae essentiae. The name DISTILLATION was given by the alchemists not only to the procedure that is nowadays called with the same name, but as well to methods like filtration and diffusion that were interpreted as different kinds of distillation. The second part, a discussion of plant and their attributes, is a compendium of the traditional herbal texts, richly illustrated. It contains an enumeration of herbal and animal substances in alphabetical order with botanical remarks on indigenous plants, based on Brunschwigs’ own observations followed by the enumeration of the “distilled” medicines. These indications were based on the prescriptions found on the classical texts of the past, Es. Dioscorides, as well as on the practice of the traditional popular medicine of the time. The third part contains is a list of distilled plant remedies grouped by ailment. The Liber de arte distillandi reveals great originality; primarily because of the description, complemented by abundant illustrations, of chemical and distillation apparatus, this book became a pharmaceutical-technical handbook that was the authority far into the sixteenth century. Appended to it was a compilation of illnesses along with a list of vegetable distillates indicated for each case of illness. Because of their completeness, Brunschwig's compilations of the technical terms adaptable to pharmacy in the early sixteenth century are noteworthy accomplishments. They represent an important link between the Middle Ages and modern times. Hieronymus Brunschwig (or Brunschwygk) (1450 – 1512) was a German surgeon, alchemist and botanist. He was notable for his methods of treatment of gunshot wounds and for his early work on distillation techniques. His most influential book was the present Liber de arte distillandi de simplicibus ONLY ONE COPY IDENTIFIED IN WORLDWIDE LIBRARIES AT UNIVERSITÄTSBIBLIOTHEK EICHSTÄTT, INGOLSTADT CONDITIONS: few marks of uses along the text, but n general a good copy of a very rare treatise BIBLIOGRAPHY: Dibner, Heralds, 37; Nissen BBI 270.
Sachgebiete: Alte Drucke 16. Jahrhundert , Land- und Forstwirtschaft, Kräuterbücher, Illustrierte Bücher, Pharmazie
LEONHART FUCHS. De historia stirpium commentarii insignes. Lugduni : apud Balthazarem Arnolletum, 1549 - SECOND LYON EDITION OF THE «MOST CELEBRATED AND PROBABLY THE MOST BEAUTIFUL HERBAL EVER PUBLISHED»
FIRST USE OF THE SMALLER WOODCUTS BY CLEMENT BOUSSY - FUCHS, LEONHART. De historia stirpium commentarii insignes. Adiectis earundem viuis, & ad naturae imitationem artificose [!] expressis imaginibus, Leonharto Fuchsio medico, hac nostra aetate clarissimo, autore. Accessit ijs, succincta admodum vocum quarundam subobscurarum in hoc opere passim occurrentium explanatio. Lugduni : apud Balthazarem Arnolletum, 1549 ([Lione]: excudebat Balthazar Arnolletus) 8vo (180 x 110 mm), XVII century stiff vellum, gilt title on leather label at spine, pp. , 851 [i.e. 852], , signature 2a-2b8 [2b8 blank] a-z8 A-2H8. Romanic type, regular and italic, with words in Gothic and Greek characters. Xylographic printer device at title page with Sea horse holding a sword from whose arms hang plates of a scale, Leonhart Fuchs portrait at verso of title page. 510 SMALL WOODCUTS IN TEXT THE FIRST ILLUSTRATION OF KIDNEY BEAN, CHILI PEPPER, CACTUS TOBACCO, CORN, MARIGOLD, POTATO Scarce 1549 second Lyon edition of the renowned herbal and botany and medicine manual by Leonhart Fuchs first published in folio in 1542. The 1549 Lyon edition represents the first printing in a smaller version of the woodcuts used in the first massive folio, commissioned from Clement Boussy by Arnoullet in 1547. The herbal, a compilation of information on the medicinal properties of plants, had declined in the Middle Ages. This changed in the early sixteenth century with the emergence in Germany of the new form of a printed, illustrated herbal, led by De historia stirpium commentarii insignes by Leonhart Fuchs. The plan and organization of the herbal was entirely original with Fuchs, although the work included a vast amount of material derived from his Classical predecessors. It includes about 497 plants and more than 500 woodcut illustrations. More than 100 of the plants depicted in the book were described for the first time in a specific treatise. The University of Glasgow stated that the work represents a real milestone in the field. Stanford University Press considered it one of the best illustrated books of all time and a masterpiece of the German Renaissance. Surely it was, for the time, the initiator of a new standard of quality and accuracy, as well as the first publication to include distinctly American plants such as kidney bean, chili pepper, cactus, tobacco, pumpkin, corn, marigold, potato. The plants were indicated with the German, Greek and Latin names and sometimes in English. The series continued to be used by ARNOULLET in his 1550 French and 1551 Latin editions of this same work, the 1549 and 1551 editions of Fuchs's Plantarum effigies, and 1550 and 1552 editions of Dioscorides while the exhaustively detailed commentary will become the standard reference work for Renaissance botany. The smaller editions of Fuchs great work were intended for use in the kitchen, in the field and the apothecary's shop, so they are rarely found, as here, in clean unmarked condition. Book Structure o Title Page with Fuchs portrait at verso o Letter to reader o Dedicatory letter o Index of Latin names used in the work o Index of names as used by people and pharmacists o Index of names in French o Main text in CCCXLIII chapters o Glossary of complex terms LEONHART FUCHS (1501–1566) was a German botanist and doctor. After his first studies in Wemding, Heilbronn and Erfurt, in 1515 Fuchs entered the University of Erfurt to study philosophy and natural history. In 1519, under the humanist and Jewish scholar Johannes Reuchlin, he studied Greek, Latin, Hebrew and philosophy at the University of Ingolstadt. He completed these studies in 1521, and devoted himself to medicine, becoming a doctor in 1524. He taught medicine in Ingolstadt and at the University of Tübingen, where he was appointed rector seven times and where he set up a botanical garden among the first conceived in Europe. The emperor Charles V raised him to noble dignity. Fuchs is one of the founding fathers of German botany and is one of the main representatives of neo-Galenism He wrote over 50 volumes, including books and treatises. His great fame was acquired with books on plants. In 1542 he published in Latin De Historia Stirpium commentarii insignes, his first book on this subject. PROVENANCE: Signature Antonio Savarasi D.M. 1807 at lower margin of last leaf, recto. CONDITIONS: Small restoration at title page, light mark of use but in general a good copy. BIBLIOGRAPHY: Harvard/Mortimer French 240; Nissen BBI 667; Cfr. Heirs of Hippocrates 243 «the most celebrated and probably the most beautiful herbal ever published»; Pritzel (2. ed.) n. 3138; Hunt v. 1 n. 61.
Sachgebiete: Botanik, Kräuterbücher, Illustrierte Bücher, Medizin, Pharmazie
Cut with an head-letter on vellum ((163x167 mm), from a German choir-book, Rhine XV century - ILLUMINATED HEADLETTER “QUO VADIS?”
FROM A XV CENTURY LATIN CHORAL ILLUMINATED HEADLETTER “QUO VADIS?” Cut with an head-letter on vellum ((163x167 mm), from a German choir-book, Rhine XV century. WONDERFUL INITIAL S (163X167 MM) FOR THE FEAST OF SAN PIETRO CENTRAL EUROPE, PROBABLY RHINE, LATE XV CENTURY THE TEXT ON THE BACK INCLUDES THE BEGINNING OF THE SONG: “[TU ES] PETRUS ET SUPER [HANC PETRAM. AEDIFICABO ECCLESIAM MEAM …] The miniature illustrates a rare scene taken from the Apocryphal Gospels (The Apocryphal Gospels are a heterogeneous group of religious texts that refer to the figure of Jesus Christ and which over time have been excluded from the canon of the Christian Bible.) The story tells of St. Peter who escapes from Rome where the Romans, pagans, wanted to kill him. During his escape Peter meets the risen Jesus Christ and, amazed, asks him in Latin lord where are you going? "Domine quo vadis?" Jesus, who carries a cross, replies "I'm going to Rome", meaning to be crucified and die. Peter understands the message of Jesus Christ, repents, retraces his steps and comes back to Rome where he will be killed, asking to be crucified upside down, not deserving the same end as our Lord. Finding this scene in a miniature of the time is very rare, as images or stories from the Gospels officially approved by the Church are often preferred. Find a miniature showing a scene taken from one of the apocryphal and, indeed, very rare gospels. This miniature then has another extremely rare trait. To answer the question of Pietro: “Domine quo vadis?” (Lord where are you going), our lord answers “I go to Rome”, which in Latin would translate EO ROMAM (more rarely Vado Romam). The text in the miniature, instead, reports "VADO ROMA" which is the Italian and not the Latin form of this phrase. Excluding a grammatical error of the miniaturist, who at the time, illuminating a choral, was assumed to know Latin quite well, the most probable hypothesis is that the miniaturist was an Italian at work in central Europe, and wanted by choice, rather than by mistake, write the words of our lord in his mother tongue, Italian The MUSEO DE LAMEGO in Portugal, in 2017, it published a study carried out by a researcher from the same museum who analysed the image "quo vadis" in medieval and Renaissance art. The study discusses several examples of this scene taken from the apocryphal gospels, from sculpture to painting, from medieval stained glass to prints and illuminations . AMONG THE FEW MINIATURES STUDIED IN THE RESEARCH WE FIND THE MINIATURE HERE DESCRIBED.
Sachgebiete: Deutschland, Buchmalerei, Handschriften, Rheinland, Theologie
JACOB THEODOR TABERNAEMONTANUS. Iacobi Theodori Tabernaemontani Neu vollkommen Krauter-Buch. König & Brandmüller, Basel, 1687 - SECOND ENLARGED EDITION OF TABERNAMONTANUS RENOWNED HERBAL - MORE THAN 2400 WOODCUTS OF PLANTS AND HERBS -
SECOND ENLARGED EDITION OF TABERNAMONTANUS RENOWNED HERBAL DIETRICH, JACOBUS (JACOB THEODOR TABERNAEMONTANUS). D. Iacobi Theodori Tabernaemontani Neu vollkommen Krauter-Buch, darinnen uber 3000. krauter, mit schonen und kunstlichen figuren, auch deren Underscheid und Wurckung, […]. Johann Ludwig König & Johann Brandmüller, Basel, 1687. Folio (38 x 26 cm), contemporary half pigskin binding over wooden boards (clasps missing), faded handwritten tittles in sepia ink at spine, pp. (12), 663, (1), ff. 2, pp. 864 (numbered 665-1529), (96-index), frontispiece surrounded by a richly engraved border, title-page printed in red/black.Signature: ):(⁶ A-3I⁶ 3K² 2):(² 4A-8B⁶ 8C⁶(-8C6) MORE THAN 2400 WOODCUTS OF PLANTS AND HERBS MOSTLY REPRODUCED FROM BOCK, FUCHS, MATTIOLI, DODOENS, DE L'ÉCLUSE, DE L'OBEL Second enlarged edition of Tabernamontanus’ Kreuterbuch (Books of herbs) to be edited by Caspar and Jean Bauhin. The first enlarged edition edited by Caspar and Jean Bauhin appeared in Basel in 1664 with the addition of several hundred new woodcuts. The very rare first edition of this immense catalogue of plants, herbs and recipes (for both humans and cattle) was published in 2 volumes in Frankfurt in 1588-90. "The Kreuterbuch is a massive and fully illustrated work, describing and representing more than 3000 plants (as the title-page states). Its lasting popularity is attested by the fact that editions were printed up to1731. The woodcuts are for the most part not original, but are reproduced from Bock, Fuchs, Mattioli, Dodoens, de l'Écluse and de l'Obel ..." (Arber p. 76). The beautiful woodcuts are "mostly taken from older works, but have been cut throughout with great understanding, sometimes with considerable improvements, so that it would be worth knowing draftsmen and woodcutters ... well into the 18th century, they had numerous generations of botanists as an introduction, especially in European flora served well "(Nissen p. 64). ACOBUS THEODORUS (JACOB DJIETHER), called TABERNAEMONTANUS (1525 – 1590) was a physician and an early botanist and herbalist, considered the "father of "German botany" whose illustrated Neuw Kreuterbuch (1588) or Eicones Plantarum (Frankfurt, 1590) was the result of a lifetime's botanizing and medical practice. It provided unacknowledged material for John Gerard's better-known Herball (London, 1597) and was reprinted in Germany throughout the 17th century. His Latinized name represented a translation of his native town, Bergzabern (literally ‘mountain taverne’) in the Palatinate. Tabernaemontanus began as a student of the pioneer of Renaissance botany, Hieronymus Bock. CONDITIONS: Some light marks of use, some warm holes at lower margin, otherwise a well-preserved copy PROVENANCE: I. Handwritten note at verso of front fly-leaf: Ex dono Sebastiani Pennonj. II. Ownership signature at title page: Aus der famile von Blochdam, Garliend REFERENCES: VD17 23: 296839Y; Nissen BBI 1931; Pritzel 9093; Junk Bibl. Bot. 607; Schreiber herb books 51; Hirsch-H. V 503.
Sachgebiete: Deutschland, Kräuterbücher, Illustrierte Bücher, Pharmazie
LUDWIG LAVATER. Trois livres des apparitions des esprits, fantosmes, prodiges & accidens merveilleux . A Zurich : de l'imprimerie de Guillaume des Marescz, 1581. - GHOSTS, PHANTOMS AND APPARITIONS OF DEAD PEOPLE- VERY RARE FRENCH TRANSLATION -
LUDWIG LAVATER’S MASTERPIECE ON OCCULTISM- VERY RARE THIRD FRENCH EDITION GHOSTS, PHANTOMS AND APPARITIONS OF DEAD PEOPLE LAVATER, LUDWIG. Trois livres des apparitions des esprits, fantosmes, prodiges & accidens merveilleux qui précèdent souventes fois la mort de quelque personnage renommé, ou un grand changement ès choses de ce monde: composez par Loys Lavater, professeur és sainctes lettres en l'eglise de Zurich: traduits d'aleman en françois: conferez, revus et augmentez sur le latin. Plus Trois questions proposées et resoluës par M. Pierre Martyr excellent théologien, lesquelles conviennent à cette matiere: traduites aussi de latin en françois. Avecques lesquels nous avons de nouveau... ajouté un brief discours sur le fait de la magie... recueilli de la Demonomanie de M. Bodin, et autres divers livres tant grecs que latins. A Zurich : de l'imprimerie de Guillaume des Marescz, 1581. 2 parts in one volume, 8to (142 x 93 mm), contemporary full calf, gilt decoration at spine, ff. [VIII], pp. 287, [1 blank], , , signature *8, A-T8, a8. The second part subtitled: "Bref discours ajouté aux livres precedens sur le fait de la magie et quel pouvoir les magiciens et sorciers peuvent avoir d'invoquer, faire comparoire et assujettir les esprits" ("Brief speech added to main title on what gives power to wizards and sorceres to invoke and subjugate spirits") VERY RARE THIRD FRENCH EDITION The Trois livres des apparitions des esprits, fantosmes prodiges & accidens merveilleux was one of the early modern period’s most popular works on demonology and was reprinted many times in a number of European languages. It was published in English as Of ghostes and spirites walking by nyght, in Latin, De spectris, lemuribus et magnis atque insolitis fragoribus, German Von Gespaensternbuch, and allegedly in Spanish and Italian The book deals and try to explain the origin of ghosts, phantoms and apparitions of died people, strange sounds, voices, inexplicable events and peculiar accidents occurring after someone’s death. Lavater denies that souls or ghosts of the dead could appear. If someone does see these apparitions, he should be aware that they are not the souls of the deceased, but the work of demons. As a Protestant, Lavater rejected the idea of Purgatory (an intermediary place where souls of the newly dead that are destined for heaven go, until they are pure enough to ascend) as an outdated Catholic concept. This greatly complicated the idea of ‘ghosts’, often thought to be visitations by human souls that were not at rest, such as those who died unbaptized or in tragic or violent circumstances. Without Purgatory, ghosts could only be visitations from Heaven or Hell. Lavater felt they were more likely to have come from Hell, and this meant that many ghosts were demonic and their requests dangerous: they could be trying to lure humans into damnation, for example by persuading them to commit murder or suicide. In Shakespeare’s Hamlet, Horatio expresses similar fears to Lavater’s and, given these fears, Hamlet is wise to try to verify his father’s murder by means other than the Ghost’s say-so! The Protestant rejection of Purgatory also made the subject of ghosts and their nature controversial and political as it became part of sectarian religious debate. Lavater also allowed for the possibility of good ghosts, for example those arriving from Heaven, as a representation of a dead person and bearing revelation or advice, as well as suggesting that some ghost sightings are delusions, experienced by those suffering from melancholy or madness. LUDWIG LAVATER, (1527– 1586) was a Swiss Reformed theologian. After schooling in Kappel am Albis and Zurich, he studied in Strasbourg, Paris and Lausanne (1545-47) and travelled to northern Italy and the Grisons. He was archdeacon (1550), pastor at the Grossmünster and Antistes of the Zurich church (1585). Lavater was a prolific author; he wrote homilies, commentaries, liturgical practices of the Zurich church, a story on the Lord's Supper controversy, as well as biographies of Bullinger e Konrad Pellikan. His most prestigious work, however, remains the Gespensterbuch (Trois livres des apparitions des esprits, fantosmes, prodiges & accidens merveilleux in the French translation) one of the best known, studied and reprinted demonological works of the period, with at least nineteen editions in German, Latin, French, English and Italian CONDITIONS: light mark of use; in general very good copy. PROVENANCE: I. Hanfwritten onwership note at title page. II, handwritten note with latin title of the work, at front fly-leaf verso. REFERENCE: Caillet, II, 6239; Guaïta, 467. Timothy Chesters “Ghost Stories in Late Renaissance France: Walking by Night”.
Sachgebiete: Deutschland, Occulta
LULL, RAIMUNDUS & ALBERTUS MAGNUS. De secretis naturae sive Quinta essentia libri duo. Strassbourg, Beck, 1541 - THE ALCHEMIC JOURNEY TOWARDS QUINTESSENCE -
[BOUND WITH:] 2. SCHEGK, JAKOB. De causa continente, Tubingae, Morhardum, 1540. RAIMOND LULL’S COMPENDIUM OF THE TRADITION OF HERMETIC PHILOSOPHY THE ALCHEMIC JOURNEY TOWARDS QUINTESSENCE 1. LULL, RAIMUNDUS & ALBERTUS MAGNUS. De secretis naturae sive Quinta essentia libri duo. His accesserunt Alberti Magni Summi philosophi, De mineralibus & rebus metallicis Libri quninque. Quae omnia solerti cura repurgata rerum naturae studiosis recens publicata sunt per M. Gualtherum H. Ryff, Argentinensem. Medicum. (Argentorati (Strassbourg) apud Balthassarum Beck), 1541. [BOUND WITH:] 2. SCHEGK, JAKOB. De causa continente […], Eodem interprete Alexandri Aphrodisaei de mixtione libellum. Tubingae, Apud Ulricum Morhardum, 1540. 8vo, 17th century full calf binding, gilt titles at spine, ff. , 183, [4 Index] for first work; ff. 69,  for the second work. Frontispiece with Alchemic woodcut on second work. ONE FULL-PAGE AND 7 HALF-PAGE WOODCUT ILLUSTRATIONS ALONG THE TEXT. 1) VERY RARE FIRST EDITION, the first edited by the celebrated Strasbourg physician Walter Hermann Ryff. The edition contains two works: Lull’s De secretis naturae and the five books of Albertus Magnus’ De mineralibus & rebus metallicus, which is among the few authentic writings of the author; BOTH WORKS ARE OF THE OUTMOST IMPORTANCE AND GREATLY INFLUENCED RENAISSANCE PHILOSOPHY AND SCIENCE. Lull invented an «art of finding truth» (often in Lullism referred to as «The Art»), which centuries later stimulated Leibnitz’ dream of a universal algebra. In De secretis naturae, divided in two books, alchemic practice is related to wine quintessence (or the fifth element) and a distillation technique developed by Jean de Roquetaillade in 1350. Three are the targets, medicine, nuclear transmutation, creation of gold, and medicine and Alchemy are connected and share the same objective, men transformation. The Illustrations show different phases of distillation and related alembics; full page woodcut shows the mysterious Athanor, a furnace used to provide a uniform and constant heat for alchemical digestion. Follows the Magnus’ De mineralibus & rebus metallicis where he speculates on stones and metals and on their physical and occult power. The present Ryff-edition became very popular and later appeared numerous times. It was reprinted already the following year in Venice, 1542, and editions followed in Nürnberg, 1546, Basel, 1561, Köln, 1567. 2. SCARCE FIRST EDITION OF SCHEGK’S TRANSLATION OF THE MEDICAL WORK OF ALEXANDER OF AFRODISIA, a Peripatetic philosopher and the most celebrated of the Ancient Greek commentators on the writings of Aristotle . RAMON LULL (1232-1315) was a Majorcan writer and philosopher, logician and a Franciscan tertiary. He is credited with writing the first major work of Catalan literature. Recently surfaced manuscripts show him to have anticipated by several centuries prominent work on elections theory. He is also considered a pioneer of computation theory, especially given his influence on Gottfried Leibniz. Within the Franciscan Order he is honored as a martyr. He was beatified in 1857 by Pope Pius IX and his feast day was assigned to 30 June and is celebrated by the Third Order of St. Francis ALBERTUS MAGNUS, 1206 – 1280), also known as Albert the Great and Albert of Cologne, is a Catholic saint. He was a German Dominican friar and a Catholic bishop. He was known during his lifetime as doctor universalis and doctor expertus and, late in his life, the term magnus was appended to his name. Scholars such as James A. Weisheipl and Joachim R. Söder have referred to him as the greatest German philosopher and theologian of the Middle Ages. The Catholic Church honours him as a Doctor of the Church, one of only 35 so honoured. JAKOB SCHEGK (also known as Jakob Degen, Johann Jacob Brucker Schegk, Jakob Schegk the elder, Schegkius, and Scheckius) (1511 – 1587) was a polymath German Aristotelian philosopher and academic physician. Provenance: Contemporary handwritten notes along the text. CENSUS: OCLC locates only 3 copies in USA of Lull’s edition, none for Schegk. REFERENCES: Ferguson 11, 54; Duveen p, 369; Thornidike, 11, 517-592; Durling 4203.
Sachgebiete: Alchemie, Occulta, Pharmazie, Philosophie
OVIDIUS . Metamorphoseon, Venetijs, Scotum, 1545 [BOUND WITH:] OVIDIUS. Heroides, Venetijs, Scotum, 1543 - THE TWO MOST FAMOUS OVID MASTERPIECES IN RARE VENETIAN ILLUSTRATED EDITIONS
27 WOODCUTS ALONG THE TEXT - THE TWO MOST FAMOUS OVID MASTERPIECES , METAMORPHOSES AND HEROIDES IN RARE VENETIAN ILLUSTRATED EDITIONS OVIDIUS NASO, PUBLIUS. Metamorphoseon Pub. Ouidii Nasonis libri 15. Raphaelis Regii Volaterrani luculentissima explanatio, cum nouis Iacobi Micylli ... additionibus. Lactantii Placidi in singulas fabulas argumenta. Venetijs : apud Hieronymum Scotum, 1545. [BOUND WITH:] OVIDIUS NASO, PUBLIUS. Pub. Ouidii Nasonis ... Heroides epistolae cum omnibus commentariis ubique locorum hactenus impressis, […] His nos adiunximus emblemata argumenta, ac uarias lectiones ex optimis quibusque auctoribus collectas, et praeter adnotata ab Ioanne Baptista Egnatio, obseruationes Constantii Fanensis nuper in studiosorum utilitatem editas.[…]. Venetijs : apud Hieronymum Scotum, 1543 Folio (31,5 x 23 cm), modern full limp vellum with handwritten title at lower edge, first work: pp. , 350, , printer device at title page, Sign.: 2*⁴ A-2F⁶ 2G⁴; second work , 209 [i.e. 207, 1], printer device at title page, Sign.: ✝⁴A⁶B⁴C-R⁶S⁴, paging non including (for printer mistake, #141-142). 27 WOODCUTS ALONG THE TEXT 15 WOODCUT VIGNETTES, ONE FOR EACH BOOK OF THE METAMORPHOSES 22 WOODCUT VIGNETTES, ONE FOR EACH LETTER OF THE HEROIDES ONE VIGNETTE TO ILLUSTRATE A LAST OVID LETTER METAMORPHOSES (Metamorphoseon libri XV) is an epic-mythological poem by Publius Ovid Naso (43 BC - 17 AD) focused on the phenomenon of metamorphosis or transformation. Through this work, completed shortly before his exile in 8 AD, Ovid gave eternal immortality to many stories and mythological tales from the Greek and Roman classicism. The Metamorphoses, which in 11,995 verses collects and reworks more than 250 Greek myths, has been often defined as the most famous "encyclopaedia of classical mythology". The narrative covers a period that begins with CHAOS (the primordial state of existence the Gods emerged from) and that culminates with Gaius Julius Caesar death. Among the myths described we find: the origin of the COSMOS from CHAOS, the fight of Jupiter against the Titans, the stories of Phaeton and Apollo and Daphne, the myths of Bacchus and Orpheus, the Labours of Hercules HEROIDES, (latin for "heroines") is a collection of imaginary epistles by Publius Ovid Nasone, composed approximately between 25 and 16 BC (the first five were published in 5 BC, the last between 4 and 8 AD). The collection consists of 21 letters of love or pain, in elegiac distich, imagined written by famous heroines to their husbands or lovers: famous heroines of the Greek myth (Penelope to Ulysses, Phyllis to Demophon, Briseis to Achilles, Phaedra to Hippolytus, Aenon to Paris, Hypsipyle to Jason, Hermione to Orestes, Deianira to Hercules, Ariadne to Theseus, Canace to Macareus, Medea to Jason, Laodamia to Protesilaus, Hypermnestra to Lynceus), of the Latin myth (Dido to Aeneas) and historical (Sappho to Phaon). Drawing entirely from Greek mythology, we then find the letters of three lovers with the answers of their women (Paris to Helen, Hero to Leander, Acontius to Cydippe). The main nucleus of the work is formed by the epistles having as their subject the lamentations of abandoned or betrayed women: from the story of Phyllis to the lament of Briseide. The most famous letters deal with the stories of Dido and Ariadne: the first writes a letter to Aeneas in an attempt to convince him to stay with her, using both practical arguments, and others that should leverage on the feelings of the man: the announcement of a pregnancy or the menace of suicide; regarding Ariadne, Ovid captures the most moving moment of her story, when she wakes up to realize that Theseus is no longer with her and to see him running away at sea. The author then addresses the subject of incestuous love: the passion that overwhelmed Canace for his brother Macareo and Phaedra's attempt to convince his stepson Hippolytus to give into her wishes. The character of Phaedra is a typical example of how Ovid uses myth as a pretext to represent scandals and customs of the matrons of the time, willing to do anything to satisfy their wishes. The character of Helen is used with the same objective: in the letter addressed to Paris, reproaching him of falling in love with her, Elena denies and promises herself at the same time, according to her convenience and false scruples to preserve her good name. With this work Ovid, influenced by Euripides and the Latin erotic elegy, gives life to a new literary genre, the collection of poetic love letters, that will be a model, among the others, for Giovanni Boccaccio who, in the Elegy of Madonna Fiammetta, borrowed from Ovid not only the elegiac style but also the feminist re-evaluation of the Latin poet. PUBLIO OVIDIO NASONE, (43 B.C. - 17 or 18 A.D.), was a Roman poet, one of the main exponents of Latin literature and elegiac poetry. He was the author of many works, traditionally divided into three sections. The first part, which is placed between 23 BC and 2 A.D., is represented by the elegiac works of amorous subject and includes the Amores, the Heroides and the cycle of erotic-didactic elegies. The second part, between 2 and 8 is characterized by the Metamorphoses and by the Fasti. The third and last part, between 8 and Ovid death, includes the elegies: Tristia, Epistulae ex Ponto, Ibis. He was also the author of other lost works, including a Gigantomachia and a tragedy, the Medea. Ovid's fame was as great during his life as in the following centuries: Dante Alighieri, Francesco Petrarca, Giovanni Boccaccio, Ludovico Ariosto, William Shakespeare, Giambattista Marino, Gabriele D’Annunzio, to mention few, took inspiration from him or imitated his style. Furthermore, the Metamorphoses have provided innumerable ideas to Italian and European painters and sculptors. CONDITIONS: light marks of use along the text; in general, a very good copy of two rare editions. PROVENANCE: I. Handwritten ownership note at verso of front fly leaf. II ownership signature “Petrus Banavenyura presbiter” REFERENCES: Essling, n°241
Sachgebiete: Alte Drucke 16. Jahrhundert , Altphilologie, Fabeln, Illustrierte Bücher, Italien
FRANÇOIS TOLET. Traité de la lithotomie, ou de l'extraction de la pierre. Paris, 1684.- A MASTERPIECE IN THE HISTORY OF UROLOGY-THE SURGICAL METHOD FOR THE REMOVAL OF CALCULI
ONLY TWO COPIES OF THIS EDITION ARE RECORDED- A MASTERPIECE IN THE HISTORY OF UROLOGY RARE SECOND EDITION OF FRANÇOIS TOLET RENOWNED TREATISE ON LITHOTOMY THE SURGICAL METHOD FOR THE REMOVAL OF CALCULI TOLET, FRANÇOIS. Traité de la lithotomie, ou de l'extraction de la pierre, hors la vessie, avec les figures. Par François Tolet, chirurgien, & seul operateur du Roy pour la pierre, maître chirurgien iuré à Paris, & de l'Hôpital de la Charité des hommes. Seconde edition. A Paris : Chez l'autheur, Fauxbourg S. Germain, proche la Charité, ruë Jacob, aux trois Vertus, 1684. 4to (31 x 23 cm), contemporary full velllum binding, ff. 249,  ,  plates, Signatures: A-K12 L⁸. 19 FULL PAGE PLATES AND TWO IMAGES ALONG THE TEXT REPRESENTING SURGICAL INSTRUMENTS, EXAMPLES OF DIFFERENT KIND OF CALCULI, SURGICAL PROCEDURES: THE FIRST DETAILED DESCRIPTION OF PUNCTURE OF THE BLADDER Lithotomy is the surgical method of removing stones (calculi) from the bladder and the kidneys. This has been practised since antiquity and thankfully, methods have drastically improved. In the 17th century the procedure was notoriously risky. Without anaesthesia, patients were at risk of going into shock with the pain, and without knowledge of infection, a surgeon’s tools were often a hotbed of bacteria. Patients would lie on a table or a specially designed chair, and a small incision (about three inches) was made at the neck of the bladder by going through the perineum. Forceps were inserted to grasp and remove the stone. Surgeons could also use something called a ‘scoop extractor’ to take out the offending mass. Aftercare did not consist of stitches rather, surgeons at the time usually believed in letting the wound heal naturally with just a dressing to protect it. In his work formed by XXIII chapters Tolet deals with all the aspect related to lithotomy, from history, to diagnosis, from anatomy to surgical procedure. In detail: Chapter I: What id Lithotomy Chapter II: Observation on anatomy of human body Chapter III: The origin of kidney and bladder stones Chapter IV: Comments on the origins of calculi Chapter V: How bladder stones grow Chapter VI: Different kind of stones Chapter VII: Diagnosis of calculi Chapter VIII: Precaution of Surgeons before operations Chapter IX: methods of probes Chapter X: phimosis and urethra stones Chapter XI: Procedures for probes and correct nutrition Chapter XII: Procedure of cutting on children Chapter XIII: Histories of surgery Chapter XIV: Correct procedures with men Chapter XV: Correct procedures with women Chapter XVI: Timing of the surgery Chapter XVII: The maximum lenght of an operations and emergency procedures Chapter XVIII: Symptoms Chapter XIX: Relations between symptoms and treatments Chapter XX: Urinary retention Chapter XXI: Perineum puncture Chapter XXII: Side effects of lithotomy Chapter XXIII: Prevention of stones and remedies to expel them. Among the many causes of the stone, the author named unleavened bread, waterfowl, curds, pap, old cheese, hard eggs, unripe fruits, the feet or legs of beef or pork, salted or spiced meats, and medicines which dehydrate the body. The plates represent among the other, different kind types and sizes of kidney stones, instruments, catheter insertion, the tables and chairs used during the procedure, holding down and steadying of the patient (in this case a child) before and during the procedure, various kind of incisions. “This beautifully illustrated work is of paramount importance in the history of urology. Francois Tolet (1647-1724), who learned lithotomy from Jannot at the Hôtel Dieu, first used Celsus' method and later changed to the 'grand appereil' which, in his hands, reached the peak of its technique. The first detailed description of puncture of the bladder was that of Tolet, who introduced a trocar and tapering cannula through the perineum to one side of the raphe. He modified also some instruments but retained the incisor and dilator of Marinus Sanctus” (Murphy, History of Urology). “From the mid-16th century well into the 18th century a number of self-taught stone-cutters who acquired their art through apprenticeship, became masters in the technique of stone surgery. France took a leading role in cutting for the stone. In 1556 Laurent Colot was appointed court lithotomist by Henry II. He was the founder of the famous Colot dynasty who kept their methods secret through eight succeeding generations. According to a rumour, competing surgeons tried to find out details on the operation by spying through an opening in the ceiling of the surgery theatre at the Hôtel de Dieu in Paris. François Colot died in 1706 and left a description of the technique which the family had carefully guarded for nearly 200 years. It was published in 1727. When François Tolet (1647-1724) was appointed court lithotomist the Colot family had to share their supremacy in the field of stone surgery with the Tolet family. François Tolet wrote down his experiences in the “Traitè de la lithotomie” which was published in 1708. The death of François Tolet also signalled the end of the separate status of stone surgery in France. From the middle of the 18th century it became fully integrated into scientific medical surgery.” (European Museum of Urology) CENSUS: only two copies of this rare second edition are recorded: • University of California, Los Angeles; • Stockholm, Sweden CONDITIONS: Light marks of use, mainly along the last leaves, but in general a particularly good copy of a rare treatise PROVENANCE: I. Ownership signature and handwritten note of the Surgeon Lamberthe, 1722. II. Ownership stamp by the Dijon medic Alfred Jules Naigon, dated 1852. REFERENCES: Krivatsy, 11902; Waller, 1, 9629.
Sachgebiete: Frankreich, Illustrierte Bücher, Medizin
JEAN BARBAULT. Les plus beaux monuments de Rome ancienne. Rome: Bouchard & Gravier, 1761 - FIRST EDITION: THE MONUMENTS OF ANCIENT ROME IN THE MASTERPIECE OF JEAN BARBAULT INITIALLY COLLABORATOR AND THEN RIVAL OF PIRANESI. 128 FULLPAGE ENGRAVINGS -
REPRESENTING ANCIENT ROMAN ARCHITECTURE AND SCULPTURES ON 73 NUMBERED PLATES AND 55 UNNUMBERED PLATES EXECUTED BY DOMENICO MONTAGU AFTER DRAWINGS BY BARBAULT BARBAULT, JEAN. Les plus beaux monuments de Rome ancienne ou Recueil des plus beaux morceaux de l'antiquité romaine qui existent encore: dessinés par Monsieur Barbault peintre ... et gravés en 128 planches avec leur explication. Rome: Bouchard & Gravier, libraires françois rüe du Cours près de Saint Marcel : de l'imprimerie de Komarek, 1761 Folio (mm 530 x 400), contemporary full leather binding, gilt double border rule at boards, floral decoration at compartments and gilt title at spine, pp. VIII, 90. Sign.: π ¹ [a]-c¹ A-2Y¹. 128 ENGRAVINGS REPRESENTING ANCIENT ROMAN ARCHITECTURE AND SCULPTURES ON 73 NUMBERED PLATES AND 55 UNNUMBERED PLATES EXECUTED BY DOMENICO MONTAGU AFTER DRAWINGS BY BARBAULT After his initial cooperation with GIOVAN BATTISTA PIRANESI in the production of Le Antichità Romane, in 1756, with fourteen engraved plates of the opera attributed to him, JEAN BARBAULT decided to capitalize the experience by producing his own work, printing this important collection of engravings related to Ancient Rome in an attempts to challenge Piranesi himself. The illustrations that enrich the opera include a title-page, 10 engravings in the text (1 header and 9 cul-de-lampe) and 73 plates (including 44 with two subjects) designed by Barbault, Carlo Nolli, and L. Bufalino and engraved by Barbault himself (56), Domenico Montagu (52), Giuseppe Bouchard (6), and Freicenet (4), 128 subjects in total, representing the main monuments of Roman Antiquity: Colosseum, Pantheon, Temples, Columns, Aqueducts, Baths, characterized by an emphasis on the public spaces of the city, the piazzas and wide thoroughfares, which he depicts as vast spaces with little human presence; the opera is then completed by three plates with wall paintings from Herculaneum, after L'Antichita di Ercolano Esposte. JEAN BARBAULT (1718–1762) was a French painter and engraver best known for his capricci, paintings of architectural fantasies, though he also engraved approximately five hundred views of Rome throughout his lifetime. He trained under the painter John Restout II (1692-1768) in Paris before, at the age of 29, receiving a scholarship from the Académie des Beaux-Arts to travel to Rome, where he lived and worked for most of the rest of his life. By 1748 he was already established in a circle of Roman artists that included Paolo Anesi, Jean-Laurent Legeay, Philothée-Francois Duflos, and Giovanni Battista Piranesi. In that year, he made engravings for Piranesi’s Varie vedute di Roma antica e moderna, four of which were later included in his Recueil des plus beaux morceaux. The next year he was made a pensionnaire at the Académie de France in Rome, which was at that time located at the Palazzo Mancini in the via del Corso. Barbault entered the Academy without having passed the entrance exams, under the patronage of the director Jean François de Troy, a French rococo painter and tapestry designer. It was probably due to De Troy’s influence as well that he was admitted to the literary Académie des Arcades, joining the ranks of Noël Hallé, Jacques François Joseph Saly and Charles-Michel-Ange Challe. However, he was excluded from the Académie de France in 1753 having married (a state forbidden to academicians), fallen into debt and out of favour with the new director. Barbault collaborated with Piranesi again in 1756 on Le antichità Romane, and this work led him to produce a book of his own, Les plus beaux monuments de Rome ancienne. CONDITIONS: Tear in the middle of initial leaf of dedicatory with ancient restoration, but a very good copy of this scarce and important work on ancient roman art and architecture. PROVENANCE: Paper ex-libris Jacques Laget at front inside board. BIBLIOGRAPHY: Rossetti, 750; Fowler, n. 37; Cicognara, 3592; Millard IV, no. 13; RIBA, Early Printed Books, 184.
Sachgebiete: Archäologie, Architektur, Kunstgeschichte, Illustrierte Bücher, Italien
MENGHI, GIROLAMO. Flagellum daemonum. [S.l. (Milan?)], [s.n.], 1727. - VERY RARE LAST PRINTED EDITION OF GIROLAMO MENGHI’S MASTERPIECE ON DEMONOLOGY AND EXORCISM - NO COPY ON THE MARKET - NO COPY AT AUCTION IN THE LAST 40 YEARS - UNTRIMMED
THE RENIER CHALON COPY, IN ITS ORIGINAL PRINTER PAPER BINDING
Sachgebiete: Italien, Naturwissenschaften, Occulta, Philosophie, Theologie
DREXEL, JEREMIAS. Infernus, damnatorum carcer et rogus Aeternitatis. Colon. Agrippinae (Koln): Gualteri, 1633. PUNISHMENTS AND TORMENTS FOR THE SINNERS IN HELL; THE GLOOMY VISION OF THE AFTERLIFE IN THE RARE 1633 EDITION IN 16° -
PUNISHMENTS AND TORMENTS FOR THE SINNERS IN HELL THE GLOOMY VISION OF THE AFTERLIFE BY THE JESUIT PASTOR JEREMIAH DREXEL IN THE RARE 1633 EDITION IN 16° DREXEL, JEREMIAS. Infernus, damnatorum carcer et rogus Aeternitatis pars 2.a Coram ser.is Maximiliano et Elisabetha ... explicata, ab Hier. Drexelio è Soc. Iesu Colon. Agrippinae: apud Bernard. Gualteri, 1633. 16to (11,5 x 6 cm), contemporary stiff vellum binding, handwritten title at spine, pp. , 271, . Title page enclosed in a rich engraved border. Text in Latin, signature: A-S8. COMPLETE. In 1633 two editions of this work has been printed: A) The more common, 24° edition, signature A-X8, pp. 20, 312, 4. B) The extremely rare, 16° edition, signature A-S8, pp. , 271,1. THIS COPY BELONGS TO THE RARER EDITION B WONDERFULLY ILLUSTRATE WITH ENGRAVED TITLE-PAGE AND 9 ENGRAVED FULL-PAGE PLATES INCLUDED IN PAGINATION REPRESENTING THE PUNISHMENT AND THE TORMENTS OF THE SINNERS IN HELL The Drexel’s work, printed for the first time in 1623, was meant to be part of a Trilogy including the works "De aeternitate" and "Caelum" and illustrate the awful tortures suffered by the sinners in hell and demons that administer them. In this work, rich with historical anecdotes and quotations from classics, the author, a sort of new Virgil, escorts the reader in a journey through Hell. It describes, in XVII Chapters, with the support of nine vividly illustrated engravings, nine torments administered by demons in hell to sinners, Darkness of Eternal Night, Laments and Cries, Starvation, Stench, Fire, Harrowing Remorse, Bad Companies, Desperation, Eternal Torment of the Damned. Drexel’s vision of Hell is frightening as it should be: men and women chained in darkness, burned in the flames, greeted by monsters, projected into the bowels of the earth, tortured on the wheel and devoured by beasts and other infernal gryphons. This is what awaits us when sins invade our soul and our heart. The damned are promised to all the torments and this little book could convert more than one miscreant by the strength of illustration alone. Very interesting feature of this editions are the numerous printed annotations below the main text, providing German translations of unusual Latin terms, explanation of the most complex concepts and reference to Biblical quotations. STRUCTURE: Title page Dedicatory letter to the Cardinal Petro Aloysio Carafa, bishop in Cologne and afterwards Cardinal Dedicatory letter to readers Chapter I: Book contents and introduction to reader Chapter II: First Torment of the Eternal Hell: Darkness of Eternal Night – Plate 1 Chapter III: Another Torment of the Eternal Hell: Laments and Cries – Plate 2, showing a music sheet with notes and lyrics (‘Vae vae vae, ah ah ah ah, heu eheu aeternitas’) of the chant of sorrow sung by the damned Chapter IV: Third Torment: Starvation – Plate 3 Chapter V: Forth Torment: Stench – Plate 4 Chapter VI: Fitfh Torment: Fire – Plate 5 Chapter VII: Sixth Torment: Harrowing Remorse - Plate 6 Chapter VIII: Seventh Torment: Bad Companies – Plate 7 Chapter XIX: Eighth Torment: Desperation – Plate 8 Chapter X: Eternal breath of virtuous men Chapter XI: The frightening dream of the wicked Chapter XII: Ninth Torment: Eternal Torment of the damned – Plate 9 Chapter XIII: Three conclusions Chapter XIV: About mortal sins Chapter XV: Why effective torments must be eternal Chapter XVI: About the surprise of sinners in sins and in punishments Chapter XVII: Final summary JEREMIAS DREXEL S.J. (also known as Hieremias Drexelius or Drechsel) (1581-1638) was a Jesuit writer of devotional literature and a professor of the humanities and rhetoric. He served for 23 years as court preacher in Munich to Maximilian I, Elector of Bavaria and his wife Elizabeth of Lorraine. He also wrote a biography of Prince Elector Maximilian I, which was his only work written in German. His books on eternal truth, virtues, and the exemplary Christian, rich in symbols and symbolic representations to give a meaningful synthesis of the text, were textually and pictorially drenched with the baroque fervor of his preaching, which had immense popularity at that time, and were translated from Latin into many European languages. He died in Munich on April 19, 1638. CONDITIONS: Very good conditions. PROVENANCE: handwritten ownership notes at inside front board Sum Ex libris Petri Schorenglein Agusto 1732. BIBLIOGRAPHY: Sommervogel, III, 195:15
Sachgebiete: Deutschland, Illustrierte Bücher, Philosophie, Theologie
NIEUPOORT, GUILLAME HENRI. Historia Republicae et Imperii Romanorum. Venice: Bettinelli, 1732. THE HISTORY OF ANCIENT ROMAN EMPIRE IN A ROYAL BINDING WITH GILT COAT OF ARMS OF THE ROYAL FAMILY OF HUNGARY
THE HISTORY OF ANCIENT ROMAN EMPIRE IN A ROYAL BINDING WITH GILT COAT OF ARMS OF THE ROYAL FAMILY OF HUNGARY NIEUPOORT, GUILLAME HENRI. Historia Republicae et Imperii Romanorum ab Urbe condita ad annum urbis DCCXXVII. Venice: Typis Josephi Bettinelli, 1732. 2 volumes in-8vo (166x102 mm), attractive contemporary blindtooled full calf binding with GILT COAT OF ARMS OF THE ROYAL FAMILY OF HUNGARY on both covers, blindtooled floral borders, spine with six raised bands with geometrical blindtoolings, other floral rhomboidal blindtoolings at compartments containings small crowns, pp. (1, blank), (1, frontispiece), (1, titlepage), (1, blank), (58), 472 for the first volume; pp. 592 for the second volume. EXCELLENT VENETIAN EDITION OF NIEUPOORT’S HISTORIA REIPUBLICAE ET IMPERII ROMANORUM («HISTORY OF ROMAN REPUBLIC AND EMPIRE») IN A PRECIOUS BINDING. A classic 18th centrury text of Roman history, from the foundation until the year 728. WILLELM HENDRIK NIEUPOORT (1670 - vers 1730), also known with the Latin name NEOPORTUS, fut was a Dutch lawyer and historian. He was professor of Ancjent History at University of Utrecht. His major works, Rituum romanorum explicatio (1712) and the present Historia reipublicae et imperii Romanorum (1723) became in Europe the classic reference books for the history of the period. CONDITION: Small defects at spine ends and boards corners, lower part of spine of volume I remade in modern calf, internally very fine copy, in a nice royal binding. PROVENANCE: GILT COAT OF ARMS OF THE ROYAL FAMILY OF HUNGARY on both covers. REFERENCES: Not in Brunet or Graesse. 8 complete copies in ICCU.
Sachgebiete: Einbände, Geschichte, Italien
Erasmus Roterodamus. dagia quaecumque ad hanc diem exierunt, Paulli Manutii studio. Florence, Giunti for the Aldine Press, 1575 - FINE AND IMPORTANT ALDINE EDITION OF ERASMUS ADAGES -
Erasmus Roterodamus. Adagia quaecumque ad hanc diem exierunt, Paulli Manutii studio, atque industria, ... ab omnibus mendis vindicata, quae pium, et veritatis Catholicae studiosum lectorem poterant offendere: sublatis etiam falsis interpretationibus, & nonnullis, ... digressionibus. Quem laborem, a sacrosanti Concilii Tridentini patribus Manutio mandatum, Gregorius 13. motu proprio ita comprobauit, vt omnes Adagiorum libros, vna excepta editione Manutiana, prohibeat, atque condemnet. Cum plurimis, ac locupletissimis indicibus Graecis, & Latinis, quorum nonnulli nusquam antheac impressi fuerunt. Florentiae, apud Iuntas, MDLXXV (Florence, Giunti for the Aldine Press, 1575). 2°, later limp cartonnage, handwritten title and library label at spine, ff. , columns 1454 [i.e.1440], ff. . Giunti device at title and final leaves. Woodcut headletters. Text in Latin on two columns, with some passages in Greek. Aldus Manutius’ dedicatory to pope Gregory XIII. Fine and important edition, revised by Aldus Manutius the Younger, of the renowned collection of Latin and Greek adages, sayings, proverbs, mottos, epygrams compiled by Erasmus. Paul Manutius was commissioned by the Fathers of the Council of Trent to correct the work, reorder, purge by false interpretations and doctrinal errors, in order to make this edition the only one approved by the Church (the bull of Gregory XIII, as stated in the title, prohibits and condemns the other editions). Desiderius Erasmus Roterodamus (1466 – 1536), known as Erasmus of Rotterdam, or simply Erasmus, was a Dutch Renaissance humanist, Catholic priest, social critic, teacher, and theologian. Amongst humanists, he enjoyed the sobriquet «Prince of the Humanists»; he has been called «the crowning glory of the Christian humanists». Using humanist techniques for working on texts, he prepared important new Latin and Greek editions of the New Testament. These raised questions that would be influential in the Protestant Reformation and Catholic Counter-Reformation. Provenance: Ownership signature Philippi Monti at title-page, beside the printer device. References: Renouard 220. 14. STC, Italian, 236; Adams, E-443. BMC, 236. CNCE 18245 & 18247.
Sachgebiete: Alte Drucke 16. Jahrhundert , Altphilologie, Italien, Literatur bis ca. 1900
PIETRO PAOLO MAGNI. Discorsi di Pietro Paolo Magni piacentino intorno al sanguinar i corpi humani il modo di ataccare le sanguisuche. Roma: Bonfadini & Diani, 1584 - RARE AND SOUGHT AFTER FIRST EDITION OF ONE OF THE BEST TREATISES ON BLEEDING
11 FULL PAGES CHALCOGRAPHIC PLATES BY ADAMO GHISI - RARE AND SOUGHT AFTER FIRST EDITION OF ONE OF THE BEST TREATISES ON BLEEDING PUBLISHED IN THE SIXTEENTH CENTURY - - MAGNI, PIETRO PAOLO. Discorsi di Pietro Paolo Magni piacentino intorno al sanguinar i corpi humani il modo di ataccare le sanguisuche e ventose e far frittioni e vescicatorii con buoni et vtili auertimenti. Adam Sculp. exc. Anno D. 1584. Roma (In Roma : appresso Bartolomeo Bonfadini, & Tito Diani, 1584) 4° (220 x 165 mm), contemporary limp vellum, author name handwritten at spine, pp. , 107,  , Segn.: ✝⁶A-M⁴N⁶, chalcographic title-page by Adamo Ghisi (Scultori), xylographic headletters and end-pages, errata on last leaf. 11 FULL PAGES CHALCOGRAPHIC PLATES BY ADAMO GHISI (ADAMO SCULTORI) PRESENTING VARIOUS WAYS TO PRACTICE THE BLEEDING WOODCUT ILLUSTRATION AT PAGE 9 FIRST EDITION OF THE RENOWNED TREATISE ON BLEEDING, THE USE OF LEECHES AND BLEEDING CUPS by Pier Paolo Magni, a work that remained as a reference in the area for centuries. The work is composed by three chapters: Chapter 1 – On procedures and tools of the bleeding Chapter 2 – On the use of leeches Chapter 3 – How to use cups to practice the bleeding The practice of "bleeding" is part of the field of humoral physiology and pathology, inaugurated by Hippocrates, that believed that its therapeutic objective was to help evacuate the material peccans (sinner), or the excess of humor that determined the disease. The most renowned evacuating remedy par excellence was the "cavar sangue" (cutting of the veins), a technique that had a very wide mention in Greek, Latin and Arabic medical literature from the Middle Ages to the sixteenth century. Beyond the incision, considered the real "phlebotomy", there were milder forms of intervention, such as the application of leeches and small cups, used up to the seventeenth century, which entailed fewer risks both for the patient and for the doctor. In the seventeenth century the practice of "bleeding" began to be vigorously fought, with the introduction of the opposite therapy, the "transfusion" of blood, but it took another two centuries of scientific studies to arrive at its final acceptance. Despite that, the bloodletting was however sustained for a long time in the last century, practiced in some cases on the wounded of war and on people struck by petechial typhus. THE PLATES THAT COMPLETE THE WORK ARE PARTICULARLY IMPORTANT AND SIGNIFICANT. THE ICONOGRAPHIC APPARATUS IN FACT, IN ADDITION TO AN OBJECTIVE OF ENRICHING THE TEXT, OFFERS A "SCENOGRAPHY" THAT WELL INSTRUCTS ON THE MODALITIES AND RESPONSIBILITIES OF THE INTERVENTION DESCRIBING THE DIFFERENT ROLES BETWEEN THE BARBER AND THE DOCTOR THE DOCTOR, WITH THE USUAL FOUR-POINTED HEADGEAR, IS ALWAYS PRESENT AT THE BARBER SURGEON'S WORK AND HIS INTERVENTION CONSISTS OF A CLOSE CONSULTATION AND A CAREFUL OBSERVATION OF THE OPERATION; THE BARBER, DENOTED BY A SIMPLER HEADGEAR AND OFTEN ASSISTED BY A YOUNG HELPER, IS THE ONE WHO CARVES AND OPERATES AND IS ALWAYS NATURALLY DEPICTED WITH THE ENGRAVING TOOL IN HIS HAND. Beginning in the 16th century, the divorce between manual activity by surgeons-barbers and intellectual activity by doctors began to diminish; these images, however, insist on this distinction, confirming that surgery was a long monopoly of those "laborers" who knew better than any other to use sharp tools with great skill, contrasting the theory with an effective and indispensable practical skill. Born in Piacenza in 1525, PIETRO PAOLO MAGNI practiced the profession of surgeon, served in the army and later moved to Rome. Convinced supporter of the bloodletting and the bloodsucker, he wrote some works centred on these topics which had a certain echo among practical doctors and surgeons of the time and his tests, still in the XVII century they were used as an examination test for the admission to the barber corporation. During this test, in fact, the candidate had to demonstrate, beyond an empirical competence, also a basic theoretical knowledge of the human body derived from a period of hospital practice and the study of some manuals, and Magni works were among them. After having sworn allegiance to the statutory decrees, the aspiring barber was issued the license in "de levibus" surgery (low surgery and phlebotomy) from the proto-medical doctor of the College of the Medici of the Roman university, the "Sapienza". ADAMO SCULTORI (1530–1585), also referred to as ADAMO GHISI, was an Italian engraver, sculptor and artist. Scultori was born in Mantua. He came from a family of artists: his father Giovanni Battista Scultori and sister Diana Scultori were both artists. Because of his family's close association with the artist Giorgio Ghisi, his sister and Adamo himself were sometimes referred to by the Ghisi surname. He died in 1585. Some of his works can be seen at the Cleveland Museum of Art and Slovak National Gallery CONDITIONS: few restored wormholes, a very fine copy with strong impressions. PROVENANCE: Handwritten ownership signature Le Vignon, M. P. at title page. BIBLIOGRAPHY: Waller, n°6142; Wellcome, I, n°3959, Biographisches Lexikon der hervorragenden Ärte; Berlin, 1932, v.4, p.32 Cushing M78; Durling 2905 ; Eimas Mortimer, Harvard Sixteenth-Century Italian Books, II, 267.
Sachgebiete: Illustrierte Bücher, Italien, Medizin, Naturwissenschaften
LOUIS FRANÇOIS LUC DE LIGNAC. De l'homme et de la femme considérés physiquement dans l'état du mariage. Lille, 1773. - AUGMENTED EDITION OF AN INTERESTING RICHLY ILLUSTRATED TREATISE ON SEXUALITY, MIDWIFERY, AND GYNECOLOGY. -
AUGMENTED EDITION OF AN INTERESTING RICHLY ILLUSTRATED TREATISE ON SEXUALITY, MIDWIFERY, AND GYNECOLOGY. DE LIGNAC, LOUIS FRANÇOIS LUC. De l'homme et de la femme considérés physiquement dans l'état du mariage. Par M. de Lignac. Tome 1. [-3.]. Nouvelle edition revue et augmentée par l'auteur, avec figures. A Lille: avec approbation et privilége du Roi, 1773. 3 volumes in 12° (170 x 100 mm), full Bazan leather, gilt title on red leather label at spine, floral and geometrical gilt decorations at compartments, green silk bookmarks, gilt edges, vol 1: pp. 272, vol 2: 277, , vol 3: pp.240, 15 full pages plates bounded at end of volumes 2, signature vol 1: A-Y⁸/⁴ Z⁴. , vol 2 m A-B⁸ C⁴/⁸, vol 3: A-V⁸/⁴. 15 FULL PLATES PRINTED ON BLUE PAPER WITH ANATOMY ILLUSTRATIONS AND AMONG OTHERS, DIFFERENT POSITIONS OF THE FOETUS INSIDE MOTHER’S WOMB Interesting augmented edition with the addition of a third volume of this gynecology treatise (first printed in 2 volumes in 1772) intended to replace Nicolas Venette’ s De la generation de l'home, ou tableau de l'amour conjugal that the author (1740-1809), a French surgeon, considered old and imprecise. Complete with the 15 engraved anatomical plates signed by Brichet, linked with their detailed explanation in the 3rd volume (see below). "Lignac often quotes Venette, but he also adds a good number of cases or interesting details" (Gay-Lemonnyer). The treatise deals not only with anatomy, medical and midwifery aspects, but also with psychological and sociological issues, hygiene, traditional remedies, like aphrodisiacs and deals and represents in a plate a case of hermaphroditism. The chapters of the books are: Vol 1: Chapter 1: Des Temperamens (about Temperaments) Chapter 2: Relfexions sur le temperamens, relatives au Celibat (Reflexions on temperamens, relating to Celibacy) Chapter 3: Des remedes qur l’on croit capable de dompter l’Amour (Remedies that we believe can tame Love) Chapter 4: Des Aphrodisiaques, ou remedes qui excitent au physique de l’Amour (Aphrodisiacs, or remedies that excite the physique of Love) Chapter 5: De l’impuissance (About Impotence) Chapter 6: Du Congrés (about intercourses) Chapter 7: De la Sterilité (about sterility) Chapter 8: Du Mariage ( About Marriage) Vol 2 : Chapter 1: Coutumes de quelques Nations, concernant le Mariage (Habits of different Nations, concerning Marriage) Chapter 2: De l’influence du Mariage sur la Santé (Influence of Marriage on Health) Chapter 3: Des Parties de l’Homme qui servent a la generation (Parts of Man’s body that are used for Procreation) Chapter 4: Des Parties de la Femme qui servent a la generation (Parts of Woman’s body that are used for Procreation) Chapter 5: De la Puberté é de la Virginité ( Puberty and Virginity) Chapter 6: De la liqueur semnal e du flux perodique ( about Seminal liquor and montly period) Chapter 7: De la Generation (About Procreation) Chapter 8: De la Passion, et des maladies des Femmes causes par la Matrice ( about Passion and diseases of women caused by the womb) Chapter 9: De la Creation, du mécanisme de la conception, de la façon d’agir de l’imagination de la mère sur le fœtus, des causes des Monstres, de la mort, etc. (About procreation, the mechanism of conception, impact of imagination of the mother on the fetus, the causes of deformity, death, etc.). Vol 3: Part 1 is dedicated to errata of the first two volumes and additional or more detailed comments, pp.1-121. Part 2 is dedicated to the detailed description of the planches, pp.122-132. Des Devoirs of Marriage, extraits de Plutarque (Duties of Marriage, extracts from Plutarch) Coutumes des anciens sur le mariage (Habits of ancient populations about Marriage) and other treaties on marriage. Description of plates: vol 1 (but here bound at the end of volume 2). Plate 1: head and trunk of a woman Plate 2: Progression of Foetus through mother womb Plate 3: Anatomy of a woman with the progression of years Description of plates: vol 2 Plate 1: Compared anatomy of genital parts of man and woman Plate 2-3-4-7: Detailed anatomy of male genitals Plate 5-6: dissected animal testicle for study purposes Plate 8: External female genitals Plate 9-10: Foetus inside woman womb Plate 11: three foetuses inside woman womb Plate 12: representation of cases of presence of both gender genitals in the same person (hermaphroditism) CONDITIONS: Very good conditions, complete under every aspect. REFERENCES: Gay-Lemonnyer I-813. Blake 271. Bn-Opale plus.
Sachgebiete: Frankreich, Illustrierte Bücher, Medizin
JOHANN GEORG RÖDERER. Elementi d'ostetricia. Firenze : nella Stamperia già Albizziniana all'Insegna del Sole, 1775. - EXTREMELY RARE TREATISE ON MIDWIFERY: THE “ROEDERER” HEAD POSITION (OR PARAGOMPHOSIS) DEFINITION.
EXTREMELY RARE RÖDERER’S TREATISE ON MIDWIFERY FIRST ITALIAN EDITION TRANSLATED AND EDITED BY GIUSEPPE GALLETTI THE “ROEDERER” HEAD POSITION (OR PARAGOMPHOSIS) DEFINITION RÖDERER, JOHANN GEORG. Elementi d'ostetricia del dottor Gio. Giorgio Roederer tradotti e corredati di figure in rame da Giuseppe Galletti. In Firenze : nella Stamperia già Albizziniana all'Insegna del Sole, 1775 4to (230 x 170 mm), contemporary full roan calf binding, gilt titles and geometrical decorations at spine (some lacks at the compartments , see images), pp xvi, 307, , coat of arms of the dedicatee, George Nassau Clavering viscount od Cowper, at leaf §2r, illustrated plates designed by Giuseppe Galletti, and engraved by Matteo Carboni, xylographic headletters, xylographic head-pieces and tail pieces, green silk bookmark. 15 ANATOMICAL PLATES, 9 FULL PAGE, 6 FOLDED FIRST ITALIAN EDITION AND FIRST ITALIAN TRANSLATION OF ROEDERER'S MIDWIFERY MANUAL (first printed in 1753 under the title Elementa artis obstetriciae in usum auditorum), among the first anatomists to study the different positions and circulations of the fetus inside the uterus. In his effort to build a scientific foundation for midwifery, Roederer defined an "ars obstetricia" that was based on anatomical and biological understanding. The birth, in his vison, was a natural occurrence, not be disturbed in any way, which is why he largely refrained from using the forceps. In connection with the birth mechanism, he paid attention to the structure and functionality of the uterine organs. He recognized the importance of the pelvic axis (conjugata vera obstetrica) in pelvic measurement and its influence on prognosis. Other focal points of his work were determining the duration of pregnancy, evaluating the signs of pregnancy, the different techniques (turning the fetus, preventing the umbilical cord to suffocate the fetus, , etc.) during the birth process, the question of the possibility of asphyxiation by absorbed amniotic fluid and a speculative considerations on the extent to which violent emotions in pregnant women can have effect on the new-born. 'Roederer, who was called, at the instance of Haller, to Göttingen (1751) as the first German professor of midwifery, erected there the first nursery of scientific obstetricians in Germany. He founded the science of obstetrics upon the basis of anatomy and physiology, banished the medical and exaggerated instrumental midwifery of his days, and aided manual midwifery to assume its proper position. (Rohlfs).' JOHANN GEORG ROEDERER (1726 – 1763) was a German physician and obstetrician native of Strasbourg. He studied medicine at Leiden, Paris and London, and afterwards was a pupil at the midwifery school in Strasbourg under Johann Jakob Fried (1689–1769). Through a recommendation from Albrecht von Haller (1708–1777), he was appointed in 1751 as the first professor of obstetrics at the University of Göttingen by George II, the British monarch and elector of Hanover. Among his written works was a 1753 publication on the "elements of obstetrics" titled Elementa artis obstetriciae in usum auditorum, and a treatise involving observations made with Carl Gottlieb Wagler (1731–1778) on the typhoid epidemic at Göttingen (1757–1763). He was a member of the Académie Royale de Chirurgie, and in 1757, was elected a foreign member of the Royal Swedish Academy of Sciences. His name is associated with the obstetrical term: Roederer-Kopfhaltung (Roederer-head position) or PARAGOMPHOSIS, that particular state in which the fetal head is so closed and compressed in a part of the pelvis that without external help it cannot move in any direction. Born in Città di Castello (Perugia), in 1759 GIUSEPPE GALLETTI was appointed acting professor in surgery and midwifery and in 1806 he oversaw the practical teaching of obstetrics at the Santa Maria Nuova hospital in Florence. For the practical instruction of surgeons and midwives, he used anatomical models in terracotta and wax, made, based on his suggestions, in Florence between 1770 and 1775 by Giuseppe Ferrini. These models are now exhibited at the Museo Galilei in Florence. In 1775 he published his translation of the work of Johann Georg Röderer Elementi di Ostetricia, adding chalcographic plates. This translation was again published in 1791 and 1795. Galletti prefaces to these works are absolutely useful for a better understanding of Röderer work, also regarding his anatomical models. CONDITION: some defects at spine, light marks of use, beside that a very good copy. PROVENANCE: ex libris stamp at rear inside board. REFERENCES: Hirsch V, 56; Wellcome IV, 546
Sachgebiete: Deutschland, Illustrierte Bücher, Italien, Medizin
KASPAR PEUCER. Hypotheses astronomicae. Witebergae : Iohannes Schvvertel, 1571. - EXTREMELY RARE FIRST AND ONLY EDITION OF CASPAR PEUCER CONFUTATION OF COPERNICUS THEORY -
EXTREMELY RARE FIRST AND ONLY EDITION OF CASPAR PEUCER CONFUTATION OF COPERNICUS THEORY PEUCER, KASPAR. Hypotheses astronomicae, seu theoriae planetarum. Ex Ptolomaei et aliorum veterum doctrina ad obseruationes Nicolai Copernici, & canones motuum ab eo conditos accommodatae. Opera et studio Casparis Pevceri in Academia VVitebergensi. Witebergae : Iohannes Schvvertel, 1571. 8to, contemporary vellum covered by a XVIII handcoloured paper, pp. , 610, [but 614], [8 - Index], Signatures: )(⁸ A-2Q⁸. Final leaf blank. Numbers 80, 128, 237, and 238 repeated in pagination; other errors in pagination. THE WITTENBERG INTERPRETATION In 1543, Nicholas Copernicus changed the scientific world by publishing De revolutionibus orbium coelestium. This was the first time that a heliocentric model had seriously been considered, and publicised, and a resulted in a slew of opinions on how the universe may worked. One of the places where the debate reached the highest level was the University of Wittenberg, at that time home to many astronomers, astrologists and mathematicians, such as Erasmus Reinhold, Philip Melanchthon, Caspar Peucer, Georg Rheticus, and Albrecht Hohenzollern. The work of such figures became known as the Wittenberg Interpretation, which historians recognise as important in fostering acceptance for the heliocentric explanation of the universe, and the wider shift of public views over time, and the beginning of the Scientific Revolution CASPAR PEUCER, Philipp Melanchthon’s son in law, a pupil of Reinhold’s and his immediate successor as professor of mathematics at Wittenberg detailed his theories about Copernican model at first in his “Elementa doctrinae de circulis coelestibus et primo motu” then expanded and completed in the present “Hypotheses astronomicae”, 1571, mirroring the ideas of his two main mentors. He attempted to bring Copernican parameters back to a geocentric framework and in this way reconciled astronomical hypotheses and physics, proposing a geocentric arrangement of Copernicus’s model for the precession of the equinoxes and the millenarian motions of the heavens. In the introduction, he pointed out the problems of astronomy, especially the imprecision of the tables (either Alfonsine or Copernican) and the difficulty of reducing all heavenly motions to regular ones. However, the most remarkable uncertainty regarded hypotheses: “How unsatisfied the specialists [artifices] of our century are about the common hypotheses, is witnessed by their writings.” Neither Ptolemy nor Proclus, neither Alfonso nor Peuerbach could perfect astronomy. Even Copernicus’s astronomy entailed errors, if not absurdities: “The absurdity of the Copernican [hypotheses] is offensive and far from the truth. (cit.)”; “Later, from the truth, offensive and not fit to be taught in the schools (cit.)” Peucer wished that a great astronomer could continue and complete the emendation of astronomy undertaken by Reinhold, whose premature death he regretted. The only living astronomer capable of restoring astronomy who occurred to his mind was old Rheticus, who was then in Cracow. “Hypotheses astronomicae (Wittenberg, 1571). Most astronomers of the sixteenth century suspended judgment on Copernicus' heliocentric cosmology, but they were quite willing to accept his principle that celestial motions should be explained by uniform motions in combinations of circles: this very rare book by the Wittenberg astronomy professor fits into that pedagogic stile “, The Dibner Library of the History of Science and Technology Book structure: • Title page • Dedicatory letter • Theoricae planetarum • Theoria Solis • Theoria Lunae • De Anno Solari • De Anno Lunari • De Mensibus • Theoria trium Planetarum • Theoria Veneris • Theoria Mercurii • Analogia motum planetarum • De Motu planetarum in latitudinem • De Passionibus Planetarum • De Motu Octavae Sphaerae • Index KASPAR PEUCER (1525–1602) was a German reformer, physician, and scholar of Sorbian origin. He studied mathematics, astronomy, and medicine at the University of Wittenberg from 1540. In 1543, he became a lodger in the house of one of the most famous professors in Wittenberg, the theologian and humanist Philipp Melanchthon, whose daughter Magdalena he married in 1550 After graduation Peucer quickly became a professor at the University of Wittenberg, replacing Erasmus Reinhold following his death in 1553; he began a lower math professor in 1550 then, worked his way up to higher mathematics in 1554. While working as a professor at Wittenberg, Peucer taught alongside notable other mathematicians of the time and graduates of Wittenberg such as Erasmus Reinhold and Michael Maestlin. In his time at Wittenberg, Peucer was also one of the main promoters, along with Melanchthon, of the astrological department/program, continuing to study, ultimately gaining his title as a doctor of medicine in 1560. It was during this time that Peucer began thinking more critically about his astrology views. He believed astrology was not only a practical art but an essential part of natural philosophy. The idea is that astrology fits perfectly into the teleological worldview in which it shows the critical work of God's creation, the stars being a secondary asset. Despite his medical profession, he was, after the death of Melanchthon, one of the leading Protestants in Saxony. In 1574 Peucer was officially charged with Crypto-Calvinism in an inter-Lutheran fight for power and put in jail in the famed Pleissenburg Fortress in Leipzig for twelve years. Released in 1586, he went to the Duchy of Anhalt, where he became Councillor and personal physician to the Prince of Anhalt. Only three copies in USA: Brown University Library, Smithsonian Libraries and Princeton. CONDITIONS: restoration at spine, some mark of use but general a good copy of an extremely rare first and only edition. REFERENCES: Palau, 324086 ; Lalande, p. 95; Houzeau-Lancaster, n°12737
Sachgebiete: Astronomie, Deutschland, Instrumente (Technik)
ARNALDO DE VILLANOVA. De conservanda bona valetudine. Venetiis : apud Petrum Marinellum, 1587. - THE REGIMEN SANITATIS SALERNITANUM: RULES AND PRECEPTS FOR A HEALTHY LIFE - “MENS LAETA, REQUIES, MODERATA DIAETA” -
THE REGIMEN SANITATIS SALERNITANUM, RULES AND PRECEPTS FOR A HEALTHY LIFE : “MENS LAETA, REQUIES, MODERATA DIAETA” - ARNALDO DE VILLANOVA. De conservanda bona valetudine, opusculum scholae Salernitanae, ad regem Angliae, cum Arnoldi Novicensis ... enarrationibus vtilissimis ... Novissimé impressis, & auctis per Ioan. Curionem, & ab erroribus, accuratissimè repurgatis, & vindicatis ... . Venetiis : apud Petrum Marinellum, 1587 12° (135 x 80 mm), contemporary stiff vellum, handwritten title in sepia ink at spine, cc. , 271, , printer device at title page. HYGIENE STANDARDS, FOOD, HERBS AND THEIR THERAPEUTIC INDICATIONS The Regimen Sanitatis Salernitanum or De conservanda bona valetudine or Flos medicine is a collective, anonymous work, collected and commented in the thirteenth century by the Catalan physician and alchemist Arnaldo da Villanova. It is assumed that the first verses were written around the tenth century, and the it belongs to the tacuina sanitates family, works of encyclopaedic nature, in which alongside the description of the natural elements and their impacts on health, we find comment on foods, human moods and effect of the different seasons, in order to preserve health by maintaining a perfect balance between human being and nature. The work, dedicated to an unidentified Rex Anglorum (probably Robert II, Duke of Normandy and pretender to the throne of England, who was in Salerno in 1099, returning from the First Crusade), summarizes the hygiene precepts dictated by the Scuola Medica Salernitana (Salernitana Medical School) and offers remedies for every suffering, dictating the good rules for healthy living, hygiene rules, food, herbs and their therapeutic indications, demolishing the fanatic medieval mysticism and teaching to use all the earthly goods that nature has bestowed. Foundation of the Regimen is the whole Greek and Arab tradition and each aphorism found in the work, reaffirms the tension towards a physical and mental balance: man is only a microcosm in the cosmos, in which all the parts are connected to each other. The hexameters that open the Regimen Sanitatis Salernitanum draw attention to the fascinating legend of the visit of Robert II, Duke of Normandy, to Salerno, linked to the origin of the text and to the fame that the Salernitana Medical School had in the Middle Ages: Anglorum Regi scribit tota Schola Salerni: Si vis incolumem, si vis te reddere sanum, Curas tolle graves: irasci crede profanum: Parce mero, coenato parum: non sit tibi vanum Surgere post epulas: somnum fuge meridianum: Non mictum retine, nec comprime fortiter anum. Haec bene si serves, tu longo tempore vives. Si tibi deficiant Medici, medici tibi fiant Haec tria: mens laeta, requies, moderata diaeta. The duke returning from first Crusade in the Holy Land, wounded in the right arm by a poisoned dart, went to Salerno in 1099 hoping to be healed. Falling into a very deep sleep, he was saved by the supreme sacrifice of the young wife Sibilla, who died sucking the poison from the wound. Roberto, before leaving the city, asked the Salerno doctors to provide him with a vademecum of the principles of their medical art, to take with him to England, The Regimen Salernitanum. The Scuola Medica Salernitana was the first and most important medical institution in Europe in the Middle Ages (9th century) andt is considered to be the forerunner of modern universities. The "School" was based on the union between the Greek-Latin tradition and the notions of Arab and Jewish cultures. It represents a fundamental moment in the history of medicine for the innovations it introduced in the method and procedures of prophylaxis. The approach was fundamentally based on practice and the resulting experience, thus opening the way to the empirical method and culture of prevention. Particularly important, from a cultural point of view, is the role played by women in the practice and teaching of medicine. The women who taught and worked in the school became famous under the name of Mulieres Salernitanae. ARNALDO DA VILLANOVA (ARNALDUS NOVVICOMENSIS) (1240 - 1312) was a 14th-century Catalan doctor and writer Culturally very close to spiritual Franciscanism, he was an influential figure in the European courts at the beginning of the fourteenth century, adviser to the king of Aragon, the pope and the king of Sicily. Soon after his death, his personality and studies gave him fame as an alchemist and magician. CONDITIONS: light marks of use, external margin slightly trimmed affecting few letters of marginal notes, in general a good copy.
Sachgebiete: Italien, Medizin, Naturwissenschaften, Philosophie
PIERRE FAUCHARD. Le Chirurgien dentiste, ou traite des dents. A Paris, Servieres , 1786 - THIRD EDITION OF THE FUNDAMENTAL PIONEERING BOOK ON MODERN DENTISTRY AUGMENTED WITH THE TEXT ON ALVEOLAR PYORRHOEA -
THIRD EDITION OF THE FUNDAMENTAL PIONEERING BOOK ON MODERN DENTISTRY, AUGMENTED WITH THE TEXT ON ALVEOLAR PYORRHOEA - - FAUCHARD, PIERRE. Le Chirurgien dentiste, ou traite des dents, ou l'on enseigne les moyens de les entretenir propres & saines, de les embellir d'en reparer la perte & de remedier a leurs maladies, a celles des gencives, & aux accidens qui peuvent survenir aux autres parties voisines des dents. Avec des observations & des reflexions sur plusieurs cas singuliers. Ouvrage enrichi de quarante-deux planches en taille douce. Par Pierre Fauchard ... Tome premier\-second!. Troisieme edition, revue, corrigee & considerablement augmentee. A Paris : chez Servieres libraire rue Saint-Jean-de-Beauvais, 1786. 2 volumes in 12° (175 x 100 mm), half calf binding, boards enriched by handmade marbled paper, gilt title on red leather label at spine, floral and geometrical gilt decorations at compartments, sprinkled edges, vol 1: pp. XXIV, 494, [10, last 2 blanks], vol 2: pp. , 424, , signature vol 1 a¹² A-X¹², X12 blank, vol 2 pigreco4 a6 A-R12 S8. - ILLUSTRATED WITH A PORTRAIT-FRONTISPIECE OF THE AUTHOR ENGRAVED BY J. B. SCOTIN ON A DRAWING OF DI J. LE BEL AND 42 PLATES OF INSTRUMENTS, 8 IN VOL 1, 34 IN VOL 2. - - Le Chirurgien dentiste ou Traité des dents (Treatise on the teeth), is considered Pierre Fauchard's major work. It was published for the first time in 1728 and it is considered a cornerstone of dentistry. “The Chirurgien dentiste discusses every aspect of dentistry with extraordinary thoroughness, and the book is profusely illustrated. In the first volume Fauchard gave a good description of the anatomy of the teeth, set forth rules for their cleaning and preservation, commented that neglect of the teeth is the chief cause of their decay, and devoted a chapter to tartar. He classified dental maladies into three groups and identified more than one hundred morbid conditions. The second volume was entirely devoted to operative dentistry, orthodontics, and in particular prosthetics, the branch of dentistry concerned with false teeth, bridgework, and the like. As a result of Fauchard's comprehensive treatment of his subject, his book became the first worthwhile textbook of dentistry.” Haskell F. Norman, op. cit. - In 1530 it was published the first book devoted entirely to dentistry in Germany written in German instead of Latin. It addressed barber-surgeons and surgeons, who treated the mouth, rather than university-trained physicians, who ignored all diseases of the teeth. After this publication, other surgeons published texts incorporating aspects of dental treatment. By the 1700s in France, a number of surgeons were restricting their practice to dentistry, and in 1728 a leading Parisian surgeon, Pierre Fauchard, gathered together all the knowledge about dentistry in a monumental book, Le Chirurgien dentiste, ou traite des dents (The Surgeon Dentist, or Treatise on the Teeth). In it he discussed and described all facets of diagnosis and treatment of dental diseases, including orthodontics, prosthetics, periodontal diseases, and oral surgery. Fauchard effectively separated dentistry from the larger field of surgery and thus established dentistry as its own profession. Fauchard is known today as the father of modern dentistry. Other surgeons in Germany and France, who made notable contributions to the field of dentistry, readily followed his lead. Even with the primitive surgical instruments of that time that were extremely limited, he was considered a highly skilled surgeon. He also invented his on dental instruments and used tools from other trades like tools from watch makers, jewellers and even barbers, if he thought that he could use them in surgery. He treated, first in Europe, dental cavities with dental fillings. He recognized that the sugar and its derivate acids, like tartaric acid, were to blame for caries and that if not treated, caries could turn into tumours. He also pioneered dental prosthesis, and investigated methods to replace lost teeth. His ideas also included holding of the artificial teeth to the healthy ones with wire or thread and first dental braces. He wrote in his treatise that the theory that believed that caries is caused by “tooth worm” is wrong and that people should eat less sugar because its connection with caries. He wrote about dental fillings and suggested amalgams like lead, tin and sometimes gold for their making. He even wrote about position in which patient should sit and introduced the concept of dentist's chair light. PIERRE FAUCHARD (1678 - 1761) was a French dentist, considered the father of modern dentistry. His life is in many respects still mysterious, but we can assume that he was born in 1678 in Brittany, since we know that he was 83 years old at the time of his death. Initially he was a specialist in dental diseases from 1708, then he became a surgeon in 1711. He opened a dental practice in the 6th arrondissement of Paris in 1718, after years of traveling around France looking for clients. There he began his revolutionary medical work including the pioneer work in scientific oral and maxillofacial surgery. He called himself a "Chirurgien Dentiste" which meant surgical dentist which was a name, at that time, reserved for those that extracted decayed teeth rather than treating them. Fauchard was also very vocal against the quackery and fraud of dental charlatans and their exploitation of patients. He warned his medical readers that nitric acid and sulfuric acid which charlatans used on teeth to remove tartar can be dangerous and explained how to identify their false dental fillings which was also common practice among frauds. He died on March 21, 1761, in Paris. CONDITIONS: Light waterstain at external margin of second volume, but in general, fine conditions for this fundamental treatise on modern dentistry REFERENCES: Haskell F. Norman, 100 Books Famous in Medicine, Grolier Club, 1994, #40; Norman, 768; Waller, 10621; Blake p. 144.
Sachgebiete: Frankreich, Illustrierte Bücher, Medizin
Mr. Vincenzo Ferro phone: +39 335 6327764 email : email@example.com www.bibliopathos.com Instagram: enzoferro62
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