Manual Il carnevale dei delitti (Black & Yellow) (Italian Edition)

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241. Beccaria, Cesare (1734-1794)
  1. clotilde e l estate dei delitti italian edition Manual
  2. Castiglione, Baldassarre (1478-1529)
  3. Italian literature

Extraordinary association copy of the second Latin edition of this famous treatise by the English philosopher and stateman Francis Bacon, his manifesto for the progress of learning. The volume belonged to the renowned savant, naturalist, antiquarian, book collector and great patron and amateur of sciences and art Nicolas-Claude Fabri de Peiresc , who offered it as a gift to one of his closest friends, the famous philosopher and astronomer Pierre Gassendi , one of the earliest French admirer of Bacon's experimental philosophy.

This exceptional provenance is attested by the inscription on the title-page, in the hand of Gassendi himself. United in the present volume are thus three of the principal scientists and advocates of the New Science: Bacon, Gassendi and the savant for whom the volume was handsomely bound, Peiresc.

Although in his will Peiresc left books — along with mathematical and astronomical instruments — to Gassendi, his nephew refused to let the philosopher have them upon his death on 24 June This copy is thus of especial interest as it rescues a volume from Peiresc's library, and offering documentary evidence of Bacon's ideas and work in the French intellectual circles of the s and the following decades. Indeed, Peiresc himself was directly involved in the publishing of the edition of the De dignitate et augmentis scientiarum , edited by Bacon's secretary William Rawley, which first appeared in in London as an enlarged version of the earlier On the Proficience and Advancement of Learning In November Peiresc had received a letter from the Italian scholar and antiquarian Cassiano del Pozzo, containing a notice of the publication in London of the De dignitate et augmentis scientiarum.

In the opinion of Peiresc, the circumstances were also favorable for proposing in France an edition of this work juxta exemplar Londini. Unlike the London folio-edition, for the volume printed by the typographus regius Pierre Mettayer a quarto format was chosen, and copies hot off the press were sent by Peiresc to many correspondents. Peiresc thereby played a pivotal role in the diffusion of Bacon across continental Europe. And precisely at the beginning of March his great friend and intellectual interlocutor Pierre Gassendi arrived in Peiresc's residence, as his letter to the Genevan Elie Diodati, dated Aix-en-Provence 8 April , attests.

In the De rebus coelestibus commentarij Gassendi presents a large number of observations recorded over decades, among them those carried out at Aix in March together with his friend Peiresc, who had studied astronomy at the Jesuit College in Tournon, and met Galileo at Padua in The 'story' of the present copy of Bacon's De dignitate et augmentis scientiarum has another protagonist, albeit less famous than Peiresc and Gassendi: Pereisc had in fact trained his servants also to be astronomers.

Corberan began to observe the celestial bodies on 7 November , on the occasion of the transit of Mercury, accurately predicted by Johann Kepler. He also sketched a cahier d'observation, and we have records of Gassendi and Corberan observing an eclipse of the sun in The gift, on 26 March , of this precious copy of Bacon's De dignitate et augmentis scientiarum — from his library and bound by the relieur-astronome Corberan — to his dearest friend seems to encapsulate the revival of Bacon's philosophy, with its dual emphasis on friendship and the advancement of science.

A collaborative venture which reflects Bacon's convinction that the true progress of knowledge can be achieved only through a collective enterprise. Nolani De physico auditu, Arist. One half-page woodcut on black ground on the verso of fol. Woodcut headpieces and decorated initials.

Three half-page woodcuts on black ground on fols. B2r, B6r, and C4r, illustrating the compass. Woodcut headpieces and decorated initials, on seven lines the one on fol. Contemporary vellum over pasteboards. Smooth spine, title inked vertically. A volume in good condition. Leaves of the first edition browned, and waterstained; title-page with old repairs not affecting the text and minor loss to the blank lower corner; the outer blank margin of fol. A2 damaged, without any loss. In the second bound edition pale waterstains, slight foxing.

Some bibliographical notes on the verso of the front flyleaf, in different hands. This exceptional, miscellaneous volume — presented in its contemporary binding — contains two of the scarcest works by the celebrated Italian philosopher, the Figuratio Aristotelici Physici auditus , and the Dialogi duo de Fabricii Mordentis Salernitani. No copy of the Figuratio has come up at auction since the early nineteenth century see below , while the Dialogi duo has never appeared on the market before this copy.

The Figuratio Aristotelici Physici auditus deals with Aristotle's physics and was likely published by Bruno at the beginning of , during his second stay in Paris for his first Parisian stay see no. Only four copies of the Figuratio are recorded in the institutional libraries: The copy of the Figuratio presented here contains on fol. This illustration enlists a curious mnemonic iconography based on ten loci to depict — albeit in rough form — the geometrical schema of a human body.

The design reveals the influence of the famed homo ad quadratum by Vitruvius, along with other contemporary pictorial models, an iconographic tradition originally re-interpreted by Bruno, transforming the different parts of the body into triangles, squares, and other geometrical shapes. The second work bound here is even rarer: In the Dialogi duo , which appeared in Paris in April , Bruno praises the proportional eight-pointed compass invented by Salerno mathematician Fabrizio Mordente —ca.

Mordente's instrument is considered to be a forerunner of Galileo Galilei's proportional compass. He mentioned it to his patient listener, the librarian of the Abbey of St. This he did with a vengeance, for he wrote four dialogues about Mordente's compass, in which he patronised the inventor for not having seen the full meaning of his divine invention, as he, Bruno, has seen it. Yates, Giordano Bruno and the Hermetic Tradition , p.

Bruno's work is divided into two parts entitled Mordentius and De Mordenti circino , respectively, and supplemented with two woodcuts executed by Bruno himself. The first woodcut shows the application of the operations of Mordente's compass fol. B2r and is known in two variants. In the first state there are three capital letters 'BIH' well visible on the left margin, whereas in the second state these letters were erased by Bruno, and the letter 'C' was added on the lower side.

The copy presented here bears — like the copy of the National Library in Turin — the woodcut in its first state, before the correction made by Bruno, who was in effect an 'improvisational' designer and block cutter. A second woodcut illustrating Mordente's instrument is printed on fol. The last leaves of the edition contain a short text bearing the title Insomnium , and includes on fol. C4r a third woodcut designed by Bruno, the content of which is particularly enigmatic and may relate to an oneiric vision. It is the most mysterious image of Giordano Bruno's entire Corpus iconographicum.

On the verso of the front flyleaf is an annotation in an anonymous French hand: The sale catalogue of the library collected by Justin MacCarthy Reagh lists eight editions by Bruno, including the Figuratio Aristotelici Physici auditus. The MacCarthy Figuratio — now in the Bodleian Library — was sold for the sum of 56 francs, the highest price paid in this sale for an edition by the great Nola philosopher. Salvestrini, Bibliografia , no.

Corpus Iconographicum , Milano , pp. Corpus Iconographicum , pp. Camerota, Il compasso di Fabrizio Mordente. Per una storia del compasso di proporzione , Firenze , pp. II, London-New-York , pp. 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.

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.

clotilde e l estate dei delitti italian edition Manual

Toynbee; his theories on history and religion were also used by James Joyce. The edition was issued in about 1, 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 copies were sold for two gold scudi.

Vico, Opere filosofiche , Firenze , p. 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: Similar corrections are visible in other recorded copies of the edition, but in variable numbers, and the list of authorial emendations given in 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: M8v the printer Mosca has skilfully pasted — always on Vico's behalf — a paper slip covering lines which contained numerous misprints; the three lines, recomposed, were reprinted on the slip. Nicolini, Bibliografia vichiana , Napoli , pp.

Vico, La scienza nuova prima , ed. Nicolini, Bari , pp. Ristampa anastatica dell'edizione , ed. Gregory, Roma , pp. Complete with a total of leaves. Title with ornamental border and the famous woodcut ornament depicting a bear. Woodcut headpieces, decorated initials and five tailpieces.

Recased in old vellum, renewed flyleaves. An excellent copy with good margins. The first leaves slightly browned with minor waterstaining, a few blank margins frayed, old flaw to title-page, without any loss, staining to the final two leaves, upper forecorner of final leaf torn away, just touching a couple of letters, with old repair.

Rare first Pilgrim Press edition of one of the most influential primers on Puritan religious beliefs, printed by William Brewster, who three years later would lead an intrepid band of English religious 'separatists' to America on the Mayflower. Published during Brewster's Dutch exile, the work is not only relevant to the history of the Pilgrims prior to their emigration to America, but as a printed document aptly embodies the cardinal principles of American life: The story of William Brewster and the English Separatists and their emigration to Holland constitutes an important chapter in the pre-history of America.

Persecuted for their religious beliefs in England, the community took refuge at Leiden, where Brewster began printing books with Thomas Brewer in a workshop in Kosteeg in Some of their productions were seditious books that could never have been printed in England, but among their very first production were English and Dutch editions of Dod and Cleaver's Exposition of the tenne commandements , a keystone of Puritan piety, first printed in London in At the instigation of the English government, the press was disbanded and the type confiscated in , just as the community was preparing to depart for America.

Brewster was actually forced into hiding, before joining the first group of Separatists aboard the Mayflower in As the only university-educated immigrant and by force of character and charisma, Brewster assumed the role of spiritual leader and acted as preacher for the Plymouth colony until his death in Copies of this edition — as documentary evidence indicates see below — were taken to America by the Pilgrims, and the book was therefore among the first ones to arrive in the New World see no.

Brewster's Leiden press known later as the 'Pilgrim Press' is known to have printed at least eighteen titles between and , most now extant in only a handful of copies. Dated , Dod and Cleaver's A plaine and familiar exposition of the tenne commandements was one of the earliest, the third item in the standard bibliography of Rendel Harris and Stephan K. The press soon attracted the attention of the English authorities when it became clear that some of its polemical books were re-entering the Kingdom.

The English version of the work the title is dated but unsigned because of the danger assumed by the individual publishing the book. Recently Ronald Breugelmans has argued that the publication might have been issued in partnership with the Leiden printer Govert Basson. While the text is competently printed, the many confusions in pagination evoke the rushed nature and sloppiness of occasional or stealth printing. Unlike other Pilgrim Press productions, which were identified by contemporaries such as the English Ambassador Sir Dudley Carleton as prohibited, the present title was not in itself a clandestine text.

On the contrary, it had already become one of the backbones of Puritan piety especially with the appended Catechism 'containing briefly all the principall grounds of Christian Religion'. At the behest of the English government, the Pilgrim Press and its types were destroyed by Dutch authorities in ; the voyage to America commenced the following year.

At least some copies of the present edition came to America with the Pilgrims. A rare artifact of North American history, this edition by the Pilgrim Press provides essential background for the first book published in America, the Bay Psalm Book of Census of this edition: Jones, The Pilgrim Press: Breugelmans, Nieuwkoop , no.

Aldine device on the title-page and verso of the last leaf. Blank spaces for capitals, with printed guide letters. Contemporary vellum over pasteboards with yapp edges and running stitches to spine. Smooth spine with title and date inked in black. A very good copy. First quire slightly browned. A few marginal fingermarks, pale waterstain to the upper corners of fols.

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Small repair to lower inner corners of fols. E1r, without any loss; larger repair to fol. Some bibliographic notes in pencil on the front and rear pastedowns. The rare second edition of the Poliphilo , the most famous illustrated book of the Renaissance. The first edition was printed by Aldus Manutius in see no. The second edition is a page-for-page reprint: The redesigned and newly cut woodcuts are found on fols. The text was set in a different roman type. But there is a major difference: Miscellanea in onore di Lamberto Donati , Firenze , pp. Woodcut printer's device on the recto of fol.

Castiglione, Baldassarre (1478-1529)

Woodcut printer's device on both title-pages, and a smaller version at the end of each part. Woodcut animated initials, and headpieces. Handsome Venetian bindings, executed around by Anthon Lodewijk. Gilt-tooled red morocco, over pasteboards. Gilt and blind fillet borders. Central medallion with radiating tongues-of-flame within lobed panel, the two volumes slightly differently tooled with solid outline and azure tools.

The central medallion of the first volume overstamped with forged Apollo and Pegasus plaquette. Spines with five double raised bands, decorated with one, and outlined with two gilt fillets. Compartments gilt, open circle border at the head and foot of the spines. Edges of the boards decorated with a double vertical line in blind. Edges gilt and gauffered with double dotted-line frame. Missing four ties, probably in red silk.

Skilful repairs to the corners and joint of vol. In modern cloth solander cases, in brown for vol. A fine copy, some spotting. Minor ink stain in the first volume, a few leaves uniformly browned. Pietro Benincasa ownership inscription on the title-pages 'Pietro Benincasa', partly removed from the first volume ; Curtio Bertini, from Colle val d'Elsa sixteenth-century ownership inscriptions on the title-pages, 'Di Curtio Bertini' and 'Di Curtio Bertini da Colle' partly removed from the first volume.

By the early twentieth century the two volumes became separated:. Important Renaissance Bookbindings , Christie's London , no. A remarkable copy, in its original Venetian binding, of the first edition of Domenichi's Italian translation of the Vitae by the Greek historian Plutarch. The two volumes have only recently been reunited after a century's separation; they were bound around by the famous Flemish craftsman Anthon Lodewijk or Lowies, who was active in Venice between and In his mature work he imitated the style of the 'Mendoza Binder' or the 'Fugger Binder', but using his own kit of Italian tools.

These are found in presentation copies of books printed by Giolito in , and , for his distinguished clientele, which included among others Jakob Fugger and Antoine Perrenot de Granvelle. These volumes demonstrate his more mature, elaborate Venetian style; in all likelihood the bindings were executed on behalf of the printer Giolito for a notable recipient.

By the early twentieth century the two volumes had become separated, and the first one now offers a striking example of a perfectly genuine Renaissance binding to which a forged medallion had been added. In fact, on its cover a forged Apollo and Pegasus round plaquette was carefully applied, possibly before , when it appeared in a catalogue published by the Libreria De Marinis in Florence.

The volume was later seen in Sotheby's sale of the Cartier library in Monaco on 28 November The Apollo and Pegasus medallion may have been made either in the nineteenth century by the best known Apollo and Pegasus forger, the Milanese binder Vittorio Villa d. These skilful forgeries were sought by some collectors as specimens of fine Renaissance bindings or desirable curiosities.

STC Italian vol. Hobson, Renaissance Book Collecting , App. Two parts, each with separate title-page. Woodcut printer's device on title-page of both volumes, on the recto of fol. PPP8, on the title-page of the Tabulae fols. Nearly contemporary uniform Roman binding, brown morocco over pasteboards. Covers within blind fillets and narrow gilt roll, at the outer corners the Cesi 'seven hills'. At the centre small floral tools and fleuron in gilt. On the upper cover of the first volume the gilt inscription in a cartouche '. PARTE', likewise in gilt lettering.

Spines with seven raised bands, underlined with gilt fillets, rebacked; title and volume numbering in gold. Original, handsome gauffered and painted edges, the fore-edge showing the Cesi coat of arms, a tree above seven hills. Good copies, foxing in places, trace of old stamps, now illegible, on both title-pages. A magnificently bound copy of the Italian edition of Plutarch's Vitae , translated for the Venetian printer Giolito by his collaborator, the polymath Lodovico Domenichi The two-volume publication is a substantial re-issue — introduced with a newly recomposed title-page bearing the printing date '' — of the first edition, which had appeared in see no.

As their fine armorial binding stamped with the seven-hills coat of arms attests, the volumes presented here were once preserved in the library assembled by the aristocratic Cesi family which was highly connected in Rome and the Papal States. The most outstanding member of this family was undoubtedly the naturalist, scientist, and Duke of Acquasparta, Federico Cesi , founder of the Accademia dei Lincei Lincean Academy in , and one of the most influential patrons of Galileo Galilei. The entry relating to a copy of the Giolitine Plutarch of is included in the inventory of Federico's books located at Acquasparta, the Cesi palace, listing also volumes owned by other members of the family, which never entered the Lincean Academy.

STC Italian describing a slightly different issue ; M. Ethiopic and roman type. Printed in black and red. On the recto of the first leaf full-page woodcut showing David crowned, with a harp in his hand and framed within a candelabra and floral border signed 'S C'. Woodcut headings and initials printed in red throughout; woodcut head-pieces in knotwork pattern, likewise in red.

Contemporary, probably French, elaborately blind-tooled brown calf, over pasteboards. Covers within multiple fillets, and a large roll with interlaced foliate motifs and acorn tools. The centre panel tooled with two vertical candelabra rolls, and a central smaller strip with bee-shaped tools. Traces of four pairs of ties, one at head and tail, as well as two at the fore-edge. Spine with four raised bands, skilfully rebacked. Gutter reinforced with a leaf from a parchment manuscript. Very good copy; old repair to the blank outer margin of the first leaf; small repaired wormholes on the last leaf.

Minor waterstains to the first and last leaves. Covers abraded in places, corners slightly bumped. The number '60' written by an early hand on the upper outer corner of the title-page. Pencilled bibliographical notes in French on the recto of the front flyleaf, 'Psalterium Premier livre en ethiopien'. Gabriele di Casale Prouinciale de Capucini, anno Very rare first edition of the first book printed in the Ge'ez language or Ethiopic — and the first book of the Bible printed in an Eastern language other than the original Hebrew — edited by German churchman and papal protonotary Johann Potken ca.

The book contains the Psalter, Biblical hymns, and the Song of Solomon, alongside basic notions on the Etiophic language, misleadingly considered here a version of Chaldean. Potken had learned this language from the abbot Thomas Walda Samuel, member of the Ethiopian Christian community of the church of Saint Stephen of the Abyssinians, and had become fascinated with the liturgy and culture.

The fruit of this collaboration is one of the finest liturgical books printed in Rome. The text is printed in red and black, and opens with a handsome woodcut within a border, stamped in red and signed with the monogram 'S C', depicting the traditional image of King David playing on the harp and singing psalms. The outer margin of one plate trimmed.

Woodcut diagrams in the text. Woodcut headpiece, decorated initials. Three full-page woodcuts, one on the verso of fol. Two plates hors-texte , including one folding containing the two volvelles still uncut to be mounted on fol. B3 folded with large woodcut on the verso. Diagrams and woodcut illustrations. Woodcut head- and tailpieces, decorated initials. Eighteenth-century half-calf, brown-paper covers.

Smooth spine divided into compartments by gilt fillets, title in gold on hazel-brown morocco lettering-piece faded. A well-preserved volume, some browning and spotting. In the third edition bound, the upper margin of a few leaves slightly trimmed. Some early underlining in the second edition bound. On the title-page of the third one the note 'V.

Fine miscellaneous volume with three rare editions, including the first edition of the De compendiosa architectura by Giordano Bruno, which offers striking evidence of the revival of Lullism in the Renaissance, as well as its lasting influence. The volume opens with the famous De auditu Kabbalistico , which previously appeared in Venice in and Also known as the Opusculum Raymundinum , the work was traditionally attributed to the prominent thirteenth-century Catalan philosopher and theologian Lullus, but according to Paola Zambelli it was instead composed — and anonymously published — by the Ferrarese physician Pietro Mainardi, who tried to reconcile the Lullian method with Kabala.

The second Lull edition bound here is the equally rare Ars brevis , the popular compendium of his Ars magna generalis which was composed in and published for the first time in Both works by the Doctor illuminatus had notable influence on Giordano Bruno, who had read them under the guide of his master in Naples, Teofilo da Varano.

The De compendiosa architectura is dedicated to the Venetian ambassador in Paris, Giovanni Moro, and is the third work printed by Bruno, after the De umbris idearum and the Cantus Circaeus. The eight woodcuts included in the edition were in all likelihood designed and cut by Bruno himself. Among them, four are based on Lull's alphabetical wheels. For other Bruno's works in this catalogue see nos. STC French ; Palau Italic and roman type. Woodcut Aldine device on the title-page and on the verso of the last leaf. Handsome contemporary Venetian binding, executed by Andrea di Lorenzo, also known as the Mendoza Binder.

Covers framed within border of blind and gilt fillets, small leaves and rosettes in gilt. In the rectangular interior space, foliate cornerpieces and an arabesque fleuron, composed of three elements. Traces of holes for ties on the edges. Spine with three double bands alternating with four single bands, underlined by narrow gilt frieze, compartments blind tooled. Gilt and gauffered edges, in knotwork pattern. Minor loss at the top of the spine, small stain to the lower cover.

A good copy, the first two leaves once stuck together and damaged, with loss of a few letters or words, owing to the censorial attempt to eliminate the dedicatory epistle by Erasmus. The last leaves slightly waterstained. The occurrences of Erasmus' name censored and deleted in ink throughout. The rare first Aldine edition of Lucian's Opuscula , edited for Andrea Torresano by the pre-eminent Dutch humanist Erasmus of Rotterdam , presented here in a strictly contemporary red morocco binding executed by one of the best and most sought-after Venetian binders: Andrea di Lorenzo, active in Venice between and and known as the 'Mendoza Binder' after his principal client, the Spanish ambassador in Venice and great bibliophile Diego Hurtado de Mendoza.

The most inventive and in-demand Venetian binder of the mid-sixteenth century, he also worked for other important book collectors, such as Jean Grolier, Johann Jakob Fugger, and Antoine Perrenot de Granvelle. Andrea di Lorenzo had a close relationship with the Manutius-Torresano printing house. Until about , the Venetian binder seems to have mainly worked for the Anchor and Dolphin bookshop near Rialto Bridge, decorating the bindings with characteristic features such as rectangular frames of fillets, rosettes, arabesque leaves, fleurons, and lozenges.

For distinguished customers, he added the author and title in gilt lettering at the top of the upper cover, or their names at the foot of the same. His decorative patterning and innovative style were particularly influential, inspiring generations of binders in France and Germany. After his death Andrea Torresano introduced a binder from outside since [ Rather that the 'Aldine Binder' [ Hobson, Renaissance Book Collecting , p.

Adams L; Renouard Alde , Complete with the penultimate blank leaf, fol. N7 but the final fol. N8 instructions to the binder being only a stub. Woodcut ornament to the title-page, and tailpieces. Contemporary Italian mottled sheep-backed boards, gilt spine with title on red morocco lettering-piece. Some light foxing and browning, mostly to the upper margins. A fine copy of the true first edition, with the following issue points: This first edition does not preserve the cancelled paragraph critical of German poets on p. The bibliographical history of this book has been extremely complex and confused, not least because before handing over a final manuscript to the Genevan publisher Gabriel Cramer, Voltaire went behind his back and sent a slightly different version of the manuscript to John Nourse, a printer in London, who may well have dispatched copies to other publishers.

The result was that within weeks of the first edition of Candide appearing in Geneva, sixteen other editions appeared in Paris, London, and Amsterdam. The identification of the present issue as the true editio princeps , already supposed by Bengesco and Gagnebin, was recently confirmed by the cumulative analyses of Ira Wade, Giles Barber, and Stephen Weissman: Here, just on French soil, he could enjoy the political liberty of Geneva with the social liberty of France. Here Candide , the most perfect of the light-weight parables which were his especial and peculiar forte, was written.

Drawing on the Lisbon earthquake of for inspiration, this conte philosophique became an almost instant best-seller with about 20, copies sold in the first year alone, despite its initial censorship. Wade, Voltaire and Candide: Two parts in one volume, large folio x mm. The two parts with running collation and foliation. Text in two columns. Separate engraved title-pages to both parts, the second one bearing a woodcut printer's device.

Four double-page letter-press tables, one folding; engraved diagrams in the text, those on fols. B3r and Y3r with volvelles. Numerous woodcut illustrations, decorated initials, and large tailpieces. Contemporary Amsterdam binding, red morocco over pasteboards. Spine with seven raised bands, similarly gilt; title lettered in gilt 'A. Comb-marbled pastedowns; board edges decorated with gilt frieze; inside dentelles. Edges speckled red and blue. Binding in very fine condition, especially for a volume of this size; extremities of the spine slightly repaired.

A good copy, some browning and foxing, sometimes heavy, as expected. On the title-page, two early inked shelfmarks. Giovanni Paolo Oliva ; contemporary ownership inscription on the title-page 'Bibl. Catalogue , New York , no. Ritman, Bibliotheca Philosophica Hermetica bookplate on the front pastedown. A splendid, large-paper copy of the first edition of the Ars magna sciendi , in a stunning morocco binding executed on behalf of Athanasius Kircher for presentation to Giovanni Paolo Oliva , eleventh general of the Jesuits, whose name appears printed on the approbation leaf in this edition.

Oliva was a very close friend of Kircher, demonstrated great interest in his polyhedric research and studies, and gave several formal permissions to print his works. The Ars magna sciendi is one of the most influential works by the well-known German Jesuit, who was an eclectic scholar, inventor, collector, and founder of the Museum Kircherianum in the Roman College see no.

In this monumental work, which is dedicated to Emperor Leopold I, Kircher builds an exhaustive scientific system based on logical combinations and symbolic logic formulae capable of expressing each truth; it thus represents one of the most celebrated seventeenth-century attempts at creating a universal language for scientists and philosophers to describe and circumscribe all knowledge into a unified system. In , Kircher — who never left Rome after settling there in — came into epistolary contact with the Dutch publisher Joannes Jansson van Waesberghe Janssonius.

Jansson was active in Amsterdam from to ; in his later years he entered into partnership with his son-in-law, Elizaeus Weyerstraet. Of Kircher's thirty-four books printed during his lifetime, fourteen were published by Janssonius. The Archives of the Jesuit Gregorian University in Rome preserves Jansson's draft contract, written in Amsterdam and dated 29 July , establishing the sum of 2, scudi for 'tutti li suoi libri', that is, for publishing all Kircher's books PUG , fol.

Kircher also commissioned Jansson to produce luxury bindings for presentation copies, which were to be executed on his behalf by the most renowned binders active in Amsterdam. Among the various craftsmen active in the city at that time, Mirjam Foot has been able to identify a group of 'Kircher-binders' based on the fact that four of the eight luxury bindings she has seen from this group contained works by Athanasius Kircher.

This includes the Latium printed by Jansson in , which was perhaps bound for Pope Clemens X and is now preserved in Copenhagen's Koninklijke Bibliotheek. Father Oliva's presentation copy of the Ars magna sciendi is housed in a sumptuous binding which bears comparison with those executed by Albert Magnus , the most important Dutch bookbinder of the age. According to Foot, however, the Morgan binding was in fact not executed by Albert Magnus, but represents rather the only work of an Amsterdam bookbinder of the same professional stature who also belonged to the group of the 'Kircher binders'.

It is very likely this individual used tools based directly on those employed by Magnus, and was probably active in Jansson's printing house. Foot's 'Kircher Binder' of which she knew eight bindings, four on Kircher's works. Are the two presentation bindings on the 'Ars Magna' the only survivers of a shortlived attempt by Janssonius to establish a bindery of his own, for which he had special tools cut and for which he temporarily employed one of Magnus' craftsmen?

Merrill 22; Caillet II, Chancery folio x mm. Text in one column, surrounded by commentary, lines. Contemporary blind-tooled brown calf, over wooden boards. Nnn4r, line 14 , which was subsequently corrected to 'gran Raffaele'. Carlo Cesare Malvasia was a pupil of the painters Giacinto Campana and Giacomo Cavedone, and is considered the most important historian of the Bolognese school of painting.

His Felsina Pittrice deals with the life and works of celebrated Bolognese artists, and the sections dedicated to Guido Reni, Agostino Mitelli, and the Procaccinis are especially noteworthy. A third volume of additions, edited by Luigi Crespi, was published in Rome in The present copy comes from the library of Sir Joshua Reynolds, one of the most influential English painters and theorists of his time, who specialised in portraiture.

Reynolds was deeply influenced by Italian painters and Italian art theorists. This explains, to an extent, the importance Reynolds attached to Bolognese paintings in his Discourses. We can now prove it was this very copy that was in his possession. Libreria Vinciana ; J. Schlosser Magnino, La letteratura artistica , Firenze , pp.

A portrait of Pinocchio by Enrico Mazzanti serves as the frontispiece. Sixty-one woodcuts in the text, likewise by Mazzanti. Original publisher's green cloth. On the upper cover, title stamped in gilt between two gilt stripes with the name of the author and printer embossed in green; the lower cover decorated with two floral-patterned rolls in black; spine with title lettered in gold. Covers slightly discoloured, lower cover somewhat bumped.

In a fine sand morocco folding case, probably by Gozzi Modena , the figure of Pinocchio outlined in gold at the centre of the upper board, with inlays in green, white, and red morocco. A good copy, marginal browning. Two short tears to the blank margins of pages 18 and , repaired, without any loss.

The exceedingly rare first edition in book form — presented in its very desirable original luxury cloth binding — of the masterpiece by the Italian writer and journalist Carlo Lorenzini better known as Collodi , the enduring children's classic about a marionette whose nose would grow each time he told a lie. The novel Pinocchio was first serialised in the children's magazine from Rome, Giornale per i bambini , under the direction of Ferdinando Martini: Pinocchio was published as a book in the same year, , probably in a very small print run, and at least twelve reprints appeared during the first year of publication.

Enrico Mazzanti was responsible for the everlasting black-and-white illustrations. The success was enormous, with countless editions and translations into more than languages. Collodi's masterpiece continues to be cherished to this day and has been the subject of numerous adaptations, including popular versions by Walt Disney and Steven Spielberg, who used the story for the film A. The work was first translated into English in by M. Murray, whose version — The Story of a Puppet or The Adventures of Pinocchio — was published in the same year in London as well as in New York, supplemented with thirty seven of Mazzanti's illustrations.

In the first American illustrated edition was published, thanks to the work of Walter S. Cramp and Charles Copeland Pinocchio: In a fine binding signed and dated by Sandra Varisco, after a maquette by the contemporary artist MP5. Cream box calf with figurative inlays in green inspired by the silhouette of Pinocchio wearing donkey's ears in Italian, 'donkey' also means 'dunce'. Title lettered in 'dymo' style on spine. The original light green wrappers preserved inside with old repairs. In a half-leather chemise, with title in 'dymo' style on spine.

A fine copy, partly uncut and generally fresh, two unobtrusive children's stamps. Handsome copy of the first edition of Pinocchio housed in an artistic box calf binding, which captures one of the most famous episodes of Collodi's masterpiece, Pinocchio wearing donkey's ears in the Paese dei Balocchi , i. The original light green wrappers, illustrated by Enrico Mazzanti, are preserved inside the covers.

Complete, including the final leaf with the errata , often lacking in recorded copies. Woodcut headpiece on fol. Smooth spine, divided into compartments by gilt fillets, and decorated with small floral tools. Title in gold on morocco lettering-piece. Pastedowns covered with floral patterned paper. A very fine copy. Leaves somewhat browned, as usual. Walter Ashburner ; small and partly erased stamps on fol. N4v and on the verso of the last leaf ; gifted to him by the jurist Ferdinando Bosi in autograph note on the title-page, 'W. Ashburner Dedit mihi v. The first edition of one of the most important works of the Italian Enlightenment.

A manifesto on legal reform, and one of the best interpretations of the ideas circulating around France in the second half of the eighteenth century. The young Milanese nobleman Cesare Beccaria Bonesana composed this work between March and January , while he was an active member of the intellectual circle known as the Accademia dei pugni, founded in Milan in by the brothers Alessandro and Pietro Verri, and Beccaria himself, among others.

The central theme of the work is the reform of criminal justice, in a context in which punishment was still both brutal and arbitrary. Beccaria advocates an egalitarian justice system, and traces a new metric for punishment and laws rooted in the concept of public happiness. The prevention of the crime he held to be of greater importance than its punishment [ The work enjoyed wide and immediate success, and its influence was enormous. The Dei delitti e delle pene was published in Livorno Tuscany — then one of the most advanced cities in Italy — on 12 April , anonymous and without indication of place, for fear of repercussions owing to its strong egalitarianism.

The 'innovative' feature of the reform proposed by Beccaria was, however, perceived by the Roman censorship, and in Dei delitti e delle pene was included in the Index of Forbidden Books. A good sign, as Beccaria admonishes: The first four U. On Crimes and Punishments helped to catalyze the American Revolution, and Beccaria's anti-death penalty views materially shaped American thought on capital punishment, torture and cruelty.

The first edition also appeared with an errata leaf containing twenty-one corrections, likely printed as a separate sheet, and thus now scarcely found. Exceptionally, the present copy contains this errata leaf. Another feature of interest lies in the provenance of the volume, as it was gifted by Ferdinando Bosi, lawyer for the British writer Osbert Sitwell, to the great collector and co-founder of the British Institute in Florence, Walter Ashburner.

Einaudi ; PMM ; B. Harcourt, Beccaria's 'On Crimes and Punishments': Lacking the final leaf with the errata. A very good, wide-margined copy. Minor, and sporadic foxing to the first and last leaves. Another copy of the first edition of Beccaria's masterpiece, without the last leaf containing the errata , which had been printed as a separate additional sheet, and thus is lacking in most recorded copies.

With four illustrations in the text, one of which is pasted on page 65 and reproduces the photograph that three murders made of themselves, as a memory, while miming the crime that they had just committed. Contemporary half-cloth with gilt title on spine. Spine repaired at the extremities. A very good copy, gutter of the first quire reinforced. Rare first edition — in a precious association copy — of the work that marks the birth of criminal anthropology. The book went through five editions in Italian and was published in various European languages, including English in Born in Verona to a wealthy Jewish family, Lombroso studied literature, linguistics, and archaeology at the universities of Padua, Vienna and Paris, before becoming an army surgeon in In he was appointed visiting lecturer at Pavia and in he took charge of the mental asylum at Pesaro.

Later he was appointed as Professor of Psychiatry and Criminal Anthropology at the same university. The Criminal Man , immediately welcomed as extremely innovative in the psychiatric and medical world of the time, is also addressed to judges and lawyers. It illustrates Lombroso's theories on the correlation between somatic and mental deformities with reference to specific factors as atavism, degeneration, and epilepsy. Lombroso also deals with the legal implications of his theories, particularly in relation to the issue of 'moral insanity', understood as a serious disturbance of social behavior.

Lombroso was convinced of the pathological nature of the 'born criminal', and is considered the founder of criminology. The division which it indicated between the congenital criminal and those who were tempted to crime by circumstances has had a lasting effect on penal theory. Its fourth congress took place in Voghera, near Pavia, on September Later the volume came into possession of Angiolo Filippi, who was the leading medical-legal authority in Italy at that time. Filippi published the first Italian treatises on forensic medicine — the Principii di medicina legale per gli studenti di legge ed i giurisperiti Firenze and the Manuale di medicina legale conforme al nuovo codice penale per medici e giuristi Milano - in which some sections are devoted to criminal anthropology.

Filippi was in correspondence with Lombroso, with respect to whom he often had differing opinions. Some notes in the present volume, written in his own hand, confirm the critical approach he had towards Lombroso's work, offerring striking testimony to the Italian debate on criminology. Mannheim, Pioneers in Criminology , Chicago , pp. Gibson, Born to Crime: Vecellio's woodcut bird device on the title-pages.

Forty-five woodcut patterns for embroidery and lace designs twenty-three plates in the first Book: A4 of the Libro primo , bearing illustrations on both sides. Nineteenth-century red morocco, signed on the rear pastedown by Georges Trautz-Bauzonnet Spine with five raised bands, title lettered in gilt. Marbled pastedowns and flyleaves, inside dentelles.

Green silk bookmark, gilt edges. A very good copy, slightly soiled and foxed in the margin. The only known copy of the first edition of the first two books of the most distinctive Venetian embroidery pattern book, published by Cesare Vecellio. He was a cousin and pupil of Titian and became especially well known for having decorated, with drawings or painted fore-edges, the bindings of the volumes preserved in Pillone's Villa Casteldardo, in the Dolomites see nos. He also published a very successful compendium of world costume, De gli habiti antichi, et moderni di diuerse parti del mondo Venice The printing date of the first edition of the Corona is inferred from the two dedicatory letters addressed by Vecellio to Viena Vendramini Nani, wife of the Procurator of St.

Marks, and are dated 20 and 24 January , respectively. This first edition of the Corona delle nobili e virtuose donne Crown for noble and virtuous Ladies includes forty-five woodcut patterns for embroidery and lace designs, the geometrical, curving, and almost fantastical white lines of which stand out against a dark background, offering marvellous patterns of punti tagliati or cutworks, punti in aria, punti a reticello or reticella works.

The Corona was reprinted several times two reprints were issued as early as A third and fourth books also appeared in and , under the title of Gioiello della corona. Lotz lists as the only surviving testimony of Angelieri's first edition of the Libro primo and Libro secondo the copy described here, once belonging to Edward Arnold, whose collection was presented in a catalogue privately published in by his son Andrew, and later sold at auction in London in Arnold's library included a great number of early pattern books for lace and embroidery see lot Altogether, as the catalogue shows, there are eighteen of these lace books.

Since then, it has remained in a private collection. Complete with fifty-six engraved plates, maps, and charts; one supplied, some loose in pockets as issued preserved in the volumes 1, 2, and the Appendix the dark blue ribbons for extracting the maps, often lacking in the known copies. Original cobalt blue cloth, fading to green, for the volumes 1, 2, and 4 Freeman variant A. Blind-stamped covers, spines gilt-lettered.

The third volume in its presentation cloth binding, with gilt-lettered title on the spine 'Darwin's Journal' and without publisher's imprint at the foot. A few restorations to the spine of the third volume. A very good copy, some chipping and wear, occasional foxing. Volumes 1, 2, and 4: From his sincere friend the Author'; Haskell F.

Norman ; his sale Christie's New York, 29 October , lot ;. First edition of the celebrated Narrative , offered in a spectacular association set: This is very likely the most desirable set in private hands. Darwin sailed with no formal scientific training. He returned a hard-headed man of science, knowing the importance of evidence, almost convinced that species had not always been as they were since creation but had undergone change [ The third volume of the set is Darwin's first published book, best known as the Journal of Researches or The Voyage of the Beagle.

This is an extremely rare and important presentation copy relating to the voyage of the Beagle. One of only a very small number of copies specially bound for presentation, it is inscribed in Darwin's hand to Andrew Smith. Darwin visited Smith at Cape Town on the Beagle's return voyage.

Italian literature

He accompanied Smith, superintendent of the South African Museum, on several geological journeys. In a letter to his mentor John Henslow, who had arranged the introduction to Smith, Darwin wrote: The two men corresponded until , the year before Smith's death. This volume is in its presentation cloth binding, with gilt-lettered title 'Darwin's Journal' on the spine, and without publisher's imprint at the foot.

Freeman notes a similar binding in a copy Darwin presented to his brother, now at the Cambridge University Library, which bears the same lettering on its spine see Freeman, Works of Charles Darwin: The first volume of this set is a presentation copy from Captain Robert Fitzroy, commander of the Beagle, to the instrument maker and shipmate George James Stebbing, with Stebbing's signed inscription dated 3 June This very copy of the Darwin volume was sold at the Norman sale in despite lacking the map, which has now been supplied.

This very set of the other three volumes, its rough copy of the third volume now replaced with the presentation copy, sold at auction in No other presentation copy of Darwin's Journal has appeared for public sale in the past seventy years. Freeman, Darwin 10; Borba de Moraes, p. Oblong folio x mm overall; x mm platemark.

Title-page printed in red and black. Contemporary dark brown shagreen, covers double-ruled. Spine with six raised bands, title lettered in gilt. Minor abrasions to covers, spine partially cracked. Generally the etchings are superb impressions. Nathaniel de Rothschild' on the front pastedown. A visual record of one of the great Romantic voyages pittoresques , the journey began in Nice and concluded in Genoa, with stops in Menton, San Remo, etc. Her Parisian salon included such luminaries as Corot, Manet, and Chopin. Published in a small number of copies, strictly for distribution as gifts to family and friends, we have only located two institutional copies: The copy presented here has a very appropriate provenance, bearing her ex-libris on the front pastedown, with the inscription 'Abaye des Vaux de Cernay.

The Baroness had bought the Abbaye des Vaux de Cernay, located in the Chevreuse valley, in , after the death of her husband, her English cousin Nathaniel Rothschild Most of the plates, as the title indicates, show harbours and coastlines from the viewpoint of the shore, although four are townscapes. The outlines of cities appear in some of the harbour plates as well; the emphasis falls on the romantic celebration of nature, with picturesque elements fishermen, washer women providing a sense of scale and enlivening the scenes.

Unusually, the place names of the locales depicted are etched in the plate. Proximity is indicated by densely etched areas of black in the foreground, distance by a lighter and lighter line. The pitch-black areas are reminiscent of Manet, who most influenced the artist. The album represents a quite unknown document, and a significant addition to the corpus of engraving by female artists. La riviera da Nizza a Genova nelle stampe romantiche francesi , nos.

9. Aurelius Augustinus (354-430)

Complete with the blanks a1, 2a1, Xx4, and Xxx4; lacking blanks 3 a4 and 5 a4. At the beginning of the volume are twelve unsigned leaves of index which do not belong to this edition. Each part opens with a separate title-page bearing the printer's device. The second, third, and fourth parts are dated , while the first, fifth, and sixth ones are dated Author's portrait on fol.

Woodcut decorated initials, head- and tailpieces. Early nineteenth-century half calf, richly gilt-tooled spine, title in gilt on red morocco lettering-piece. A few quires browned, some marginal foxing, slightly spotted in places. Second revised, and significantly expanded edition of this remarkably interesting treatise containing an encomium for the new Copernican and Galileian science as well as its discoveries.

The Circulus Pisanus first appeared in Udine in He taught in Pisa from to and then at the University of Padua from until the end of his life in The Circulus Pisanus is based on the 'disputationes circulares' held at the University of Pisa, which played such an important role in his teaching there. The work is cast in the form of a dialogue between Charilaus, a follower of Aristotelian philosophy, and Aristaeus, who upholds pre-Socratic philosophy, especially the atomism of such Ionian philosophers as Anaximander, Empedocles and Anaxagoras.

Even though he officially remained safely within the limits of traditional thought, he was also clearly familiar with the particulate probably Cartesian and experimental Galileian forms of the new philosophy. He describes many experiments in his book, including those pertaining to vacuums and the fall of bodies.

Many contemporary scientists — including, among others, Kenelm Digby, William Harvey, Evangelista Torricelli, Vincenzo Viviani, and Giovanni Alfonso Borelli — are mentioned with admiration in the work. The Circulus Pisanus also includes an encomium of Galileo fol. Aaaa4, with the shoulder note Galilaei encomium. Complete with the last blank. Numerous large woodcut decorated initials. Handsome Roman eighteenth-century red morocco, over pasteboards. Covers framed within elaborated dentelle, at the centre, gilt-tooled coat of arms of the Doge Marco Foscarini.

Spine with five raised bands, compartments decorated with gilt acorn tools, title in gilt on black morocco lettering piece. In a half-leather box. On the front flyleaf 'rarissimo 16'. Marco Foscarini ; armorial binding , th Doge of Venice; Henry Chandon de Briailles ; ex-libris on the front pastedown and recto of front flyleaf.

Old armorial stamp on the title-page, very faded. A superb copy on blue paper of the exceedingly rare first edition of Livio Sanuto's translation, or adaption, into Italian of the poem De raptu Proserpinae by Claudian. One of the few copies known, it is likely to have been privately printed for the Bishop of Trent, Cristoforo Madruzzo , who is also the dedicatee of the publication, and is well known for having the honour of hosting one of the most important events of the sixteenth century: The volume is finely bound in red morocco with the arms of the Venetian Doge Marco Foscarini, famous eighteenth-century collector of Aldines and Italian books.

Three 'normal' copies are recorded in the libraries at Harvard, Yale, and Cambridge University, with the latter copy lacking the dated title-page and thus possibly a copy of the edition see Adams S, and Adams S The reprint of is attributed by Dennis E. Rhodes to Gabriele Giolito de' Ferrari on the basis of the large woodcut capitals used there, and which occur in many other books published by the Venetian printer. Rhodes, Silent Printers , p. Edizioni per i Madruzzo Dedicatari, committenti e autori nella famiglia dei principi vescovi di Trento , Trento , no.

Text in one column, 39 lines. Finely painted initials alternately in red or blue, the one on fol. Seven-line blank space on fol. Rubricated in red and blue, the capital letters touched with yellow. Four woodcut diagrams on fols. Contemporary wooden boards, one of two original oyster clasp preserved. Spine covered in calf, with three raised bands. A few wormholes to the upper cover, loss to the upper outer corner; joints slightly abraded. In a black morocco box, title and imprint in gilt lettering on the spine. An exceptional, and unsophisticated copy, with wide margins.

Two small wormholes to the blank outer margin of the first leaf repaired, without any loss. The front and rear flyleaves both reinforced at an early date with a fragment from a manuscript. Pencilled bibliographical notes on the rear pastedown. A typewritten French description of this copy tipped in on the front pastedown, ' feuillets, sans le premier blanc. Outstanding copy — still in pristine condition — of the first Latin edition of the most celebrated geographical treatise of classical antiquity. An edition of the greatest rarity, and a monumental achievement of geographical knowledge and a cornerstone of the European tradition.

The Latin Ptolemy of was issued from the printing house established in Vicenza by the German printer Hermann Liechtenstein, also known by his surname 'Leuilapis'. A native of Cologne, he began his career as a printer in Vicenza, publishing the undated Historiae by Orosius in , as well as the first edition of Ptolemy, completed on 13 September. Ptolemy's Geographia is one of the first books ever printed in Vicenza, where printing was first introduced in the spring of by Leonardus Achates de Basilea.

The text was set in a roman type, which seems to derive from the font used by Achates. The present work, divided into eight books, was produced by Ptolemy in the second century AD and describes the known inhabited world or oikoumene , divided into three continents: Europe, Libye or Africa , and Asia. Book i provides details for drawing a world map with two different projections one with linear and the other with curved meridians , while Books ii - vii list the longitude and latitude of some 8, locations, Book vii concluding with instructions for a perspectival representation of a globe.

In Book viii , Ptolemy breaks down the world map into twenty six smaller areas and provides useful descriptions for cartographers. The work was brought to Italy from Constantinople around , and its translation into Latin was made by Jacopo Angeli or Angelo da Scarperia in Florence between and He was a pupil of Manuel Chrysoloras ca. Angelo's translation is mainly based on a composite text deriving from two different manuscripts.

No maps were issued in this first edition of , which were probably not present in the manuscript which served as copy-text, and the only illustrations included are the three diagrams in chapter xxiv of Book i fols. F3, depicting the Polus antarcticus. The first illustrated edition of Ptolemy appeared in Bologna in , under the title of Cosmographia and supplemented with copperplates drawn and engraved by the famous illuminator Taddeo Crivelli.

The Latin edition of this landmark geographical text enjoyed wide and enduring popularity. The editio princeps in Greek appeared in Basel only in , and the circulation of the Latin text throughout Europe in the fifteenth century greatly influenced both directly and indirectly the shaping of the modern world. As Angeli writes at the end of his dedication: Foliation in pencil, corresponding neither to the number of leaves nor their respective position within the album.

Twenty-two miniatures in full colour with occasional use of gold and silver. One miniature with a paper flap fol. Headings written in gold, in a regular antiqua capitalis hand. Mid-twentieth-century dark blue morocco, signed by the Italian binder Bernasconi. Title lettered on the spine, inside dentelles. Three paper flyleaves at beginning and end, marbled pastedowns and first flyleaves. In a modern marbled slipcase. Most miniatures in fine condition, only minor rubbing, two miniatures fols.

The album is composed of twenty-two miniatures, painted on the recto of each leaf versos blank. While the first two miniatures fols. A fascinating manuscript containing twenty-two fine, full-colour miniature drawings of Italian costumes for men and women of different social ranks, scenes of local life, ceremonies, and characters from the Commedia dell'Arte.

Twelve of these drawings depict Venetian scenes or dress, suggesting the album may have been executed in the Veneto region, particularly in Venice or Padua, leading centres not only for manuscript production and publication, but also for fashion and the trading of textiles. At that time, the vogue to buy similar drawings or miniatures from print shops or booksellers, or to commission a personalized costume collection from local artists, was widespread among foreign travellers in Venice and other Veneto cities like Padua. In the age of pre-Grand Tour travels, such albums provided a sort of 'book of memories', illustrated with scenes from local life, especially its ceremonies and dress.

These albums were thus produced according to a traveller's individual preferences, and the drawings were rarely signed by the artists. Notably, such travel albums, and particularly those produced in the Venetian milieu, often included representations of courtesans in addition to drawings of noble or wealthy women. Another group might be said to form around rather cheeky representations of courtesans.

Two such illustrations are of especial note. The first is a drawing of a woman dyeing her hair blond, an allurement closely associated with Venice, as attested by Titian's nudes. The second shows a courtesan — ironically juxtaposed with a widow — with a moveable flap for a skirt. This conceit derives from Bertelli's Diversarum nationum habitus , though the flap is lacking in many copies of the printed book. When the flap is lifted, the woman is seen to be essentially naked, wearing only a pair of stockings with fancy ribbons and some high-heeled shoes. The remaining miniatures show various figures in a seemingly arbitrary order, including some depicting figures from the Commedia dell'Arte, which are of the greatest interest.

Developed in sixteenth-century Italy, the Commedia dell'Arte is a type of theatre characterized by improvised dialogues based around plot outlines and featuring a set of stock characters. Harlequin is the darling of the audience: Isabella is most often the beautiful girl whose adventurous path to a happy union with her beloved forms a central plotline.

Closely related is the miniature entitled 'Charlatano' fol. Charlatans entertained with fantastic stories, often about illnesses and miraculous cures for which they held in stock a wide selection of 'medicine' on sale for the audience. Like the comedians they performed in city and town piazzas. Another aspect of the fascination with theatre and costume is illustrated by the masquerade fol.

The miniatures in the second part of the present album, among which the flagellants certainly stand out, present other strata of society: This last miniature shows the pair engaged in a round of mora , a popular Italian game in which two players simultaneously hold up one or several fingers, each player trying at the same time to predict the number of fingers shown by the other.

Taken together, the miniatures, which may originally have belonged to a larger series, offer a cross-section of Venetian society at the beginning of the seventeenth century, as indicated by the fashion style. With its faithful representations of costumes, typical traditions, and social habits, the album is a truly precious historical document. The focus on dress also relates to contemporary printed costume books, including Bertelli's Diversarum nationum habitus and the De Habiti antichi et moderni by Cesare Vecellio, which first appeared in Venice in and subsequently went through many editions.

Both Bertelli's and Vecellio's works offer a veritable mine of information on clothing, textiles, and luxury goods such as jewellery. Similar albums are highly sought after by collectors for their rarity and the beauty of their visual representations. Famous examples include the ms Egerton of the British Library, which was produced in Venice or Padua in the s, and the album known as Mores Italiae , held by the Beinecke Library ms , which was executed in the s for a foreign student matriculated at the University of Padua.

Katritzky, The Art of Commedia: Cross-Cultural Perspectives , Oxford , pp. Rippa Bonati - V. Costumi e scene di vita del Rinascimento: Costume and Life in the Renaissance , Cittadella , pp. Vitali, La moda a Venezia attraverso i secoli. Lessico ragionato , Venezia ; S. Home Philobiblon A thousand years of bibliophily.

To yonge Gentlemen, an encouraging to garnishe their minds with morall vertues, and their bodye with comely exercises The Encyclopaedia of the Middle Ages. A journey to the City of Truth. Had the plates been published at the time they were executed, Eustachi would undoubtedly have ranked with Vesalius as a founder of modern anatomical studies — Heirs of Hippocrates. As book jackets do today — Paul Needham.

As book jackets do today — Paul Needham —. The Leonardo of our time — Pablo Picasso. A wedding account printed on blue paper. Sir Joshua Reynolds' copy. With the original light green wrappers, housed in an artistic binding by Sandra Varisco. If a government needs censorship, it comes from the weakness of its constitution — Cesare Beccaria. The foundation of Criminology.