The date is not present in the book, but it belongs to the period before Paganini's move to Toscolano. The last three leaves contain a double-page and three full-page woodcuts, all appearing here for the first time. The double-page woodcut, showing the plan of Hell, is signed by the engraver 'I. According to his friend Trifon Gabriele, Bembo was responsible for the analysis of the structure in Paganini's edition of Dante and therefore, presumably, of the structurel analyses of all three realms in Aldus's Dante, also of It has been suggested that Paganini pirated the tree of sins which Bembo drew for Aldus.
However Bembo and Paganini seem to have been on good terms since Paganini republished Gli Asolani in , in his new and elegant pocket book size collection of Latin and Italian classics [ Lover, Linguist, Cardinal , Montreal-London , p. Contemporary inked foliation in the upper outer corner used here. Written in brown ink in a unique hand, in neat cursive. Twelve vignettes drawn in brown ink; twelve full-page ink drawings within rectangular frames, partly coloured in brown, red, and greenish wash; some details in red- and brown-pencil heightening.
Contemporary cardboards, smooth spine. Covers rather abraded and stained, corners and spine worn. In a marbled cardboard box, leather spine with title and the note 'M. An unsophisticated manuscript, some stains and spots, numerous traces of use. On the recto of the first leaf the note 'Perugia', in a different early hand. The first section of the manuscript contains twelve vignettes, drawn in brown ink in popular style, depicting views and monuments of Spello and supplemented with captions, mainly in Italian vernacular.
The subjects are as follows, as indicated by the inked captions:. The second part of the manuscripts contains twelve full-page drawings, in the same technique and style, depicting poets originating from Spello, with the indication of their names. The subjects are as follows:. An unrecorded, and extremely interesting variant of fortune-telling book, a genre that enjoyed wide popularity during the Renaissance.
Manuscript versions of this game are all of the greatest rarity, owing to the fragility of supports and their extensive use at social occasions. This manuscript is an adaption of the structure and rules of the game as developed in the Libro della Ventura of Lorenzo Spirito ca. Here the readers wandered not among celestial spheres, prophets, kings or philosophers, but rather among the history and cultural tradition of Spello in Umbria, the ancient Roman colony known as Hispellum.
In fact, the anonymous author who produced — according to the title inscribed on the verso of the second leaf — this Vago, e diletteuole giuoco della diuitia di Spello sought to celebrate the ancient monuments of Spello, as well as the numerous poets born in this small Italian city over the centuries, such as the illustrious Propertius. The game rules are explained in the preliminary pages. The players were to choose one of the questions listed 'Partiti da Proponersi dal Signore' pertaining to health, wealth, career, business, travel, and happiness in love and marriage.
They then threw two dice and proceeded to locate the cast result in the following twelve tables of diagrams, each bearing, at the centre, a drawn vignette showing views or monuments of Spello. The diagrams would guide players to twelve sections of quatrains which provided answers to the chosen questions, each of them introduced by a full-page drawing depicting a poet born in Spello. Remarkably, the Spello-game — which doubles as a gambling game — also involves a stake with pecuniary value called in the preliminary instructions Tesoro , and managed by a Tesoriere , or banker: The last drawings portray poets active in the seventeenth century, a feature that allows us to date the execution of the present manuscript to the end of that century.
In particular, the drawing on the recto of fol. He also composed some oratories — in the present manuscript he is even shown writing a musical score — and he died around Roman, italic, and Greek type. Engraved title-page and thirty-three engraved plates by Thomas de Leu, including a double-page plan of the City of Truth. Woodcut initials, head-and tailpieces. Contemporary vellum, over pasteboards.
Spine with title in gilt on lettering-piece. A fine and tall copy, slightly browned, pale waterstain at the upper margin. A manuscript note in French on the front flyleaf. Rare first edition of this remarkable utopian work, a poetic meditation in Latin hexameters, based on the Nicomachean Ethics by Aristotle. The Civitas veri sive morum was written in by the diplomat and poet Bartolomeo Del Bene, and posthumously edited in by his nephew Alfonso, bishop of Albi, who dedicated the publication to Henri IV.
The poem describes a journey to the City of Truth Civitas veri which begins at the Palace of Strength and takes us to the Palaces of Moderation and Excess; we then arrive at the Temples of Glory and Generosity, and finally at the Labyrinth of Vices. The Basilica of Magnanimity and Modesty is a dignified structure, and so too is the House of Courtesy. The contrast is quickly apparent: The edifices of Heroism, Abstinence, and Justice, represent the goal of a virtuous life.
The work is divided into thirty days, starting from the canonical description of the five senses, following by a listing the traditional virtues and vices in hierarchical fashion, and culminating in a discussion of the philosopher's wisdom. The edition is supplemented with a marvellous series of engravings, executed by the publisher and print dealer Thomas de Leu — , mostly representing allegories and figures on a pilgrimage to the City of Truth.
One double-page plate shows a map of this city. The commentator Marcile points out its indebtedness to St Augustine's 'City of God', and indeed the plan of the City of Truth recalls illustrations in medieval manuscripts of the City of God. The allegorical dream in the architectural setting has a strong hold on the Renaissance imagination, as exemplified by the 'Hypnerotomachia Poliphili' see nos. Fifty-five original etchings, some with drypoint: Black and red morocco binding with white and red accents by Madeleine Gras , title lettered in gold in 'dymo' style on spine.
Black suede endleaves and flyleaves. The original wrappers preserved inside. With a separate sheet showing the Indication pour le placement des eaux-fortes hors-texte , and a double suite of the fourteen plates sur papier d'Arches. A beautiful, pristine copy. A fine copy of the famous French dealer-printer Ambroise Vollard's deluxe printing of one of Octave Mirbeau's final texts, illustrated throughout by the celebrated French painter and printmaker Pierre Bonnard.
Dingo is an autobiographical tale of the author's adventures with his semi-feral Austrialian dog — the titular Dingo — in a lowly French country village reminiscent of the town in which Mirbeau grew up. Regarded as the champion among champions of young avant-garde artists in the late nineteenth and early twentieth centuries, Vollard was endowed with a great eye and an incredibly energetic creative spirit, constantly moving from one novel project to the next.
It was likely in that Vollard met a young Bonnard, now known for his intimate Post-Impressionist style and painterly approach to printmaking, and the former acted as the latter's 'impresario' for over twenty-five years thereafter. Already an established dealer, in , Vollard entered the world of print publishing and set out to issue annual collections of fine prints commissioned from an array of contemporary artists. This included Bonnard, who was increasingly involved with these efforts; indeed, in , Vollard published his second collection, Album d'estampes originales de la Galerie Vollard , for which Bonnard designed the wrapper, inside covers, and contents page, and also contributed a lithograph to the collection itself.
Although Vollard's early efforts in this domain were both critically and commercially unsuccessful, it was to Bonnard that he turned when he decided to begin printing his livres de luxe , Dingo being the second of five such works that Bonnard worked on with the great printer-dealer. Octave Mirbeau' was published in the June issue of Les Cahiers d'aujourd'hui.
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His illustrations mark Bonnard's first use of line etching and drypoint, and his excitement at the new technique — which to Vollard's dismay rendered his a more lengthy task than had been anticipated — can be felt in the animated strokes that enliven his illustrations; they capture at once the nobility, savagery, and freedom of the animal spirit and the powerfully dynamic nature of one's relation to space.
Vollard also had a lengthy relationship with Mirbeau himself. The French journalist, art critic, travel writer, pamphleteer, novelist, and playwright — who travelled breezily around popular and avant-garde domains alike — wrote a catalogue preface for a Manzana-Pissarro exhibition at Vollard's gallery in April and purchased a number of works from him around ; by the author had still not paid what he had owed, and it has been suggested by former Metropolitan Museum curator of Modern art Rebecca A.
The Graphic Art , New York , no.
Meaning of "brasca siciliana" in the Italian dictionary
Numerous woodcut illustrations and diagrams in the text, one full-page woodcut on fol. P4v depicting a 'Moletta Forfice'. Woodcut decorated initials and tailpieces. Eighteenth-century cardboard 'alla rustica', recased. Nineteenth-century paper label on the spine, bearing an early shelfmark. A few small stains on the covers. A very fine copy, slightly spotted, more heavily to the blank outer margin of the first quires. An exceptional copy — owned by the well-known optical instrument manufacturer Eustachio Divini — of the first edition of the first comprehensive work on telescope and lens making.
Manzini's magnum opus, the Occhiale all'Occhio , deals with all aspects of optics, from ocular anatomy to the characteristics of light and its refraction, focusing especially on techniques for manufacturing all kinds of telescopes and microscopes. The author, a Bolognese nobleman, was the pupil of the renowned astronomer Giovanni Antonio Magini, and was acquainted with numerous scientists of the day, such as Bonaventura Cavalieri, Ovidio Montalbani, and Giovanni Battista Riccioli.
In the Proemio al Lettore , Manzini celebrates Eustachio Divini as the first experimenter to have perfected the art of telescope making. Born in San Severino delle Marche Ancona , Divini was active in Rome as of as a maker of clocks, lenses, microscopes and long-focus telescopes. Indeed, Manzini even defines the science of dioptrica as a 'divine art', a play on Divini's own name fols. His close relationship with Divini is demonstrated by two of the latter's works, which take the form of letters addressed to Manzini: Conte Carlo Antonio Manzini Rome There Divini describes the construction of his new 'occhialone' of fifty-two spans and the astronomical discoveries made possible by his telescopes, also recalling Manzini's Dioptrica of The copy presented here may have been sent to Divini by Manzini shortly before its effective publication; this would explain why Divini's portrait is missing, as it was printed on different paper and bound after the printing in the standard copies.
This copy contains textual corrections, emending misprints or inserting words omitted by the compositor see fols. These emendations are certainly authorial and added in the printing house. Righini Bonelli - A. Van Helden, Divini and Campani: Italic, roman, and Greek type.
Thirty-nine engravings, including three full-page. A very fine, wide-margined copy. The rare first and only edition of this finely illustrated book, including fine engraved maps and plates of wind roses and compasses, among other technologies and technical schemata. As announced on the title-page, the last leaves concern earthquakes, as it was traditionally believed these could be caused by subterranean winds.
Padovani based his illustrations primarily on historical sources — above all Pliny — as well as contemporary accounts. Cocco, Watching Vesuvius , p. The work is especially praised for the handsome illustrative apparatus, and the engravings depicting wind roses are of the highest quality. Bruni-Evans ; Alden Two volumes containing four works, in near uniform bindings. Three works bound together, folio x mm. Issued without title-page, opening with dedicatory epistle to Innocent XI. Twelve numbered half-page engravings accompanied by explanatory text below, printed on recto only.
The plates are partly dated between and , engraved by Giovanni Battista Falda and Jacques Blondeau, after Meyer. Typographical ornament on the title-page. Fifteen engravings in the text, two of which are double page. Most of the plates signed by Meyer as designer, and sometimes as both designer and engraver. The double-page astronomical engraving is signed by Ioannes Baptista Honoratus Polustinus.
Extremities of the spine damaged. Worm-tracks on the upper margin of several leaves not affecting the text, some leaves somewhat loose. Three parts, folio x mm. All leaves are unsigned, except for fols. The final 15 pages contain the relations of the Sacra Congregatio riparum Tyberis, and end with the colophon 'Romae, ex Typographia Rev. The first illustration of part two, a double-page map showing the Delineatione del stagno di Maccarese , is captioned: The comet plate referred to in the list of plates is absent, in keeping with all other copies.
At the bottom of the figura quarta in Part one are two contemporary ink drawings of technical structures. Woodcut head- and tailpieces. Contemporary vellum, over thin boards. Spine with inked title, partly damaged and with a few losses. A genuine copy, with good margins. Some browning and foxing, double-page map of Delinatione del stagno di Maccarese heavily browned.
Meyer's own inscription 'Ex dono Auctoris' on the verso of the front flyleaf; on the front pastedown nineteenth-century armorial ex-libris of the Odescalchi family, bearing the motto 'per servire s'acquista servi quando poi', and engraved by Michelassi. Meyer's own inscription 'Ex dono Auctoris' on the verso of the front flyleaf. Two-volume set containing four rare first editions by Cornelius Meyer Cornelis Meijer , both volumes bearing the author's inscription 'Ex dono Auctoris'.
Dedication copies of these already rare works are extremely hard to come by separately, and even more so bound together, and in copies complete with all their parts. This is the case of this set, in which the first volume also bears the ex-libris of the Odescalchi family, and it is especially noteworthy that Pope Innocent XI Odescalchi was the patron of Meyer as well as the dedicatee of the second edition bound in this volume.
The first work bound — Nuovi ritrovamenti divisi in due parti Parte prima — though printed seven years later, in , forms the first section of a two-part work, which gathers some of the author's technical inventions and scientific experiments. The second part, Nuovi ritrovamenti dati in luce , was issued first, in , but both texts are clearly related insofar as the index to both parts is printed at the end of the Part one.
The plates show inventions and experiments undertaken by Meyer in Rome and other places like Livorno and Civitavecchia: One of the plates included here shows the Civitavecchia harbor, where the author recovered the hull of a sunken vessel. The third work included in the first volume — the one bound in the middle — is the rarest of all three. It was issued without a title-page and opens with a dedication to Innocent XI Odescalchi. Meyer's name appears at the end of the dedication, while the imprint is at the bottom of the last two leaves.
As stated in the notice to the reader, with this publication Meyer intended to show to the general public how he so brilliantly completed the first task assigned to him by Clement X upon his arrival in Rome. Born in Amsterdam, Cornelius Meyer left his country in for Venice, then a popular destination for Dutch engineers seeking employment. He moved to Rome one year later. Pope Clement X put Meyer in charge of a major project aimed at protecting the Via Flaminia against the flooding of the Tiber.
Meyer, whose plans were less expensive than those proposed by the project's former head engineer, Carlo Fontana, constructed a passonata , i. First edition of Meyer's important work on the restoration of the Tiber River for navigation, L'arte di restituire a Roma la tralasciata navigatione del suo Tevere , which is considered his masterpiece, and is presented here in its second issue the first issue is dated on the title-page. After this first successful work on the Tiber, Clement X and his successor Innocent XI hired Meyer to improve navigation on the river with the purpose of increasing commerce.
Meyer came up with revolutionary solutions to expedite travel along the river and in , with the help of artist Gaspar van Wittel, he published his projects in L'arte di restituire a Roma la tralasciata navigatione del suo Tevere. The book, which is divided into three parts, was both a record of Meyer's engineering skills as well as a form of self-promotion for seeking further commissions. It was with his designs in L'arte di restituire that Meyer consolidated his reputation among the artistic and scientific elite of Rome.
Woodcut printer's device on fol. Two different large woodcuts on both title-pages fols. Six- to nine-line woodcut decorated initials. Fine nineteenth-century English gilt-tooled green morocco, over pasteboards. Covers within rich frames of fillets, friezes, and floral roll. At centre sun-shaped cornerpieces, and fleuron.
Spine with five small raised bands, compartments tooled with floral motifs, title lettered in gilt. Board edges decorated with narrow frieze, inside dentelles , marbled pastedowns and flyleaves. A good copy, carefully washed.
Minor repair to the verso of fol. B3, with loss of a few letters.
Translation of «brasca siciliana» into 25 languages
The exceedingly rare expanded second edition of this popular comic serenade composed in ottava rima and in Venetian dialect by the Venetian jeweller Caravia, whose name appears at the end of the dedicatory epistle to Antonio della Vecchia. The work first appeared in Venice in , from the press of Domenico Nicolini da Sabbio, and at Caravia's expense.
In both editions the fourth Canto is introduced by the separate title-page El fin de l'inamoramento de Naspo Bizaro. El qual per viver da christian batizao, sposa con alegrezza Cate Bionda Biriota. L1v-L3r , entitled Lamento de Naspo Bizarro. The printer could maintain the same quiring as the edition by omitting, in comparison to the previous edition, the blank leaf H4 separating the third and fourth cantos as well as the plate on fol. L3, showing a wedding party. The relevance of the Naspo bizaro in the history of Italian popular literature, especially in the context of the commedia dell'arte , is widely recognized.
The edition is also rightly famous for its woodcuts, which follow the iconography of the Venetian characters Pantalone and Zanni. The title-page of the publication bears the same large woodcut that decorates the previous edition and is signed with Nelli's monogram. The plate shows the Venetian Naspo Bizaro as a canterino , singing his hyperbolic serenade to the beautiful Cate Bionda Biriota — so-named after the rough district of Biri — while his servant Zan Polo eats in his gondola.
The block is repeated as a full page illustration on fol. A second woodcut — likewise a re-use of the one previously employed — is printed, as a full-page, on fol. D2v, and repeated on the divisional title El fin de l'inamoramento de Naspo Bizaro , introducing the Canto Quarto: The source of this woodcut is different, and the blocks are signed 'AL'. Benini Clementi, Riforma religiosa e poesia popolare a Venezia nel Cinquecento: Complete with the last blank. Woodcut printer's devices on the title-page and on the verso of fol.
Woodcut animated and decorated initials, headpieces. Early eighteenth-century French red morocco; covers framed with a double gilt fillet and narrow dotted frieze. Smooth spine with title in gilt lettering and richly decorated with ramages in gold. A very good, wide-margined copy, small repair to the upper margin of the title-page, a few insignificant spots.
On the recto of the front flyleaf the early shelfmark 'V. Rare first edition — presented here in a fine, and possibly unique copy printed on blue paper — of this biography of Andrea Doria , written by his secretary Lorenzo Capelloni. It is the first sixteenth-century biography of the celebrated Genoese nobleman, admiral, and patron of arts. The work is dedicated, on 1 April , by the author to the great-nephew and heir of Andrea Doria, Giovanni Andrea , who had commissioned Capelloni to write the biography.
The Venetian Senate granted a fifteen-year privilege for the work, giving Giolito exclusive rights to printing it. A second edition appeared in Capelloni's Vita del Principe Andrea Doria is also famous for the double illustrations bearing, on facing pages, two engraved profile portraits of Andrea Doria which had an important role in establishing the political iconography of this pivotal Genoese figure.
Woodcut decorated seven-line initials and headpieces. Fine Parisian red morocco over pasteboards, signed by Hippolyte Duru, and executed in Covers within double blind fillet. Spine with five small raised-bands, emphasized by blind fillets; title lettered in gold. Marbled pastedowns and flyleaves; edges-boards decorated with gilt fillet, inside dentelles. A good copy; restored upper margin of leaves, some letters of the running titles reconstructed at the time of the binding.
Busdraghi , , in 8. Sold for 40 francs. Very rare edition of Boccaccio's Teseida , presented here in a copy exceptionally printed on blue paper, and in a fine binding executed for Guglielmo Libri by the renowned Parisian binder Hippolyte Duru.
BRASCA SICILIANA - Definition and synonyms of brasca siciliana in the Italian dictionary
Boccaccio composed the Teseida in order to demonstrate that a classical epic could be written in a vernacular language. The text was produced in three redactions, the first beginning in the early s, and the second and third in the late and early s. On the model of Vergilius' Aeneis , the poem is divided into twelve books, and consists of 1, octaves. The Teseida combines elements from the classical epics and the contemporary tradition of love literature, and was first printed in Ferrara in , edited on the basis of a contaminated text assembled by the Ferrarese Pietro Andrea de' Bassi.
Boccaccio's work had notable popularity in the English literature of the Middle Ages, and served as the primary sources for Geoffrey Chaucer's Knight's Tale , included in his Canterbury Tales. STC Italian ; D. Anderson, Before the Knight's Tale. Sources and Analogues of the Canterbury Tales , Cambridge , 2, pp. Daniels, Boccaccio and the Book , London , p. Blank spaces for capitals, with printed guide letters.
Contemporary Venetian brown morocco over pasteboards. Covers within blind border of fillets and foliate roll, one small gilt ivy-leaf at each corner. At centre at the upper cover the inscription 'CAT. Traces of four pairs of ties. Italian-style spine with three double bands alternating with four single bands, underlined by blind fillets.
Corners somewhat worn, joints slightly cracked, minor loss to the extremities of spine. A good copy, first leaf of the first bound edition partly loose, with a small hole affecting a few letters or words on the verso. Early inked foliation in the outer upper margin, the three title lines in a frame inked by the earliest owner of the copy. In the same hand some marginalia , pen trials, reading marks, and the annotation on the verso of fol.
A few pencilled bibliographical notes on the pastedown. Xanchius Voconius long contemporary ownership inscription on the recto of the first leaf, 'Xanchi Voconij sum, ne me obsecro sibi surripias Fur, nullius enim ad manus p[er]venire posse, quin eius desyderiu[m] egerrime laturus essem'; on the verso of the last leaf are annotations, in his own hand, of verses from Giovanni Gioviano Pontano's De amore coniugali ; The Property of The Hon. A fine volume, in its contemporary binding, comprised of two rare Aldine editions, both printed in in the highly portable octavo format which was introduced by Aldus for the Latin classics beginning with the Virgil of The volume contains the first Aldine edition of the Latin elegiac poets generally published together following the Venetian princeps of , followed by the first Aldus edition of Lucanus' Pharsalia , which first appeared in Rome in The Aldine collection of Latin elegias poetry is presented here in its first issue, which bears the misspelling of 'Propetius' on the title leaf, along with Aldus' prefatory letter on the verso erroneously addressed to Marino Sanuto Benedicti filio , instead of Leonardi filio.
As Fletcher has suggested, the particular sequence in the signature of the leaves — Aldus rarely adopted the reduplication of signature-marks, as here — suggests the possibility that each part could have been bound separately, and therefore could had a separate circulation. The volume is in its original binding, executed in Venice. The covers are decorated with tools widely used on Venetian bindings in the first decades of the sixteenth century, including, among others, the ivy-leaf tool — rather improperly referred to as the Aldine leaf — which is stamped here at each corner.
Text in one column, 37 lines. Blank spaces for capitals, with no guide letters. Early nineteenth-century vellum over pasteboards. Smooth spine attractively gilt tooled, title and imprint in gilt on double lettering-piece. A good copy, marginal soiling and staining to opening leaves. The outer blank margin of the last quires waterstained. The first edition of the work in which the Greek historian Dionysius of Halicarnassus narrates the history of Rome from its beginnings to the First Punic War, in a precious copy once owned by the Florentine humanist Benedetto Varchi.
In his postscript, the translator, Lapus Biragus of Milan the suffix 'Flor'[entinus] was erroneously added to his name in this edition , states that he based his Latin translation on two manuscripts from the library of Pope Paul II, to whom the edition is dedicated. The translation was probably carried out in as the papal archives record that during that year the Pope paid a scribe to make a copy of a manuscript by Dionysius. This edition was the first dated book to be issued from the Treviso press of the itinerant printer Bernardinus Celerius from Lovere; it was his third press overall, set up after brief printing stints in Venice and Padua.
He printed only a few books at Treviso Goff and Hain-Copinger list four, Rhodes five , where he was active between 24 February and 18 September , before returning to Venice at the end of At least six variant issues of Dionysius' colophon and the paragraph preceding it have been recorded, but no priority of issue has been established. The present copy is enriched by a highly interesting provenance, as it comes from the library of the distinguished humanist Benedetto Varchi, one of the leading sixteenth-century Florentine scholars, whose intellectual interests varied from lyrical, pastoral, and spiritual poetry to Dante studies, history to philosophy, linguistic theory to aesthetics, and even alchemy and Pythagorean numerology.
He assembled a great book collection, whose inventories are today preserved in the National Library of Florence ms II. For other books from Varchi's library see nos. Varchi, L'Ercolano , ed. Sorella, Pescara , pp. Il Cinquecento , Roma , pp. Text organized into five divisions, sixteen chapters, and sixty-four sections. Publisher's cream-colour wrappers, red-lettered upper wrapper and spine. A good copy, cover stained, some text underlined in red ink.
Extremely important Maoist edition representing the prototype of the official Little Red Book of May , in its printed paper wrappers: The edition does not include Mao's portrait. Lin's endorsement is followed by seven pages of indexed content proceeded by quotations extracts from Mao and twenty-three by Lin Biao and the Central Military Commission, selected from newspaper transcripts.
This larger anthology is barely known and not mentioned in any of the standard Mao bibliographies, nor is its relationship to the eventual publication five months later explained in the one citation located, Guo Dongpeng's Outline for Cataloguing Mao Zedong's Works p. Guo refers to two copies in different bindings, each with pages of text: As General Lin was Minister of National Defense for the PRC , it is assumed this may have been a trial specimen created by the Air Force and possibly used as the model and source for editing down Mao's better-known version of the following year.
Nn4 and h6 blanks. Magnificent contemporary Roman brown morocco over pasteboards, executed by Francesco Soresini's workshop. Covers within frames of blind and gilt fillets, narrow frieze all'antica , and small floral tools. At centre cornerpieces, on the top the monogram 'IHS', all in gilt; on the upper cover painted coat of arms of the Grand Master Hugues Loubens de Verdalle, in gilt medallion surmounted by cardinal hat, below the inscription in gilt 'F.
Spine with four raised bands, underlined with gilt fillets, compartments decorated with gilt foliate tools, title in gold on lettering-piece. Joints weakened but still solid, extremities of the spine and corners slightly worn. A very good copy, with only occasional foxing. John of Jerusalem, Hugues Loubens de Verdalle ; armorial binding ; given by him as a gift to Francesco Girolamo Berti gilt inscription on the lower cover ; to his brother Fabrizio Berti ownership inscription on the first title-page 'Di Fra Fabritio Bertio Baglio di Pavia '.
The rarest issue of the Italian translation of the Statuta of the Order of Saint John of Jerusalem, first printed in Latin in , presented here in an exceptional copy magnificently bound for the dedicatee and sponsor of the edition, cardinal Hugues Loubens de Verdalle, Grand Master of the Order between and The Italian version was examined and approved by a commission in Malta, and was given the same legal status as the original Latin text.
The Grand Master decided therefore that the costs of publication were to be sustained by the Order and copies distributed among its members. Soresini counted among his clients popes, cardinals, generals of religious orders, and members of the most distinguished Roman families. The binding was commissioned by the Grand Master Hugues Loubens de Verdalle, as attested by his coat of arms and name on the upper cover, and given by him as a gift to Francesco Girolamo Berti, who had entered the Order on 20 September , and whose name is lettered in gilt on the lower cover.
The volume then passed down to his brother Fabrizio Berti, who was appointed knight on 4 July and subsequently became Balio of Pavia, his hometown. Two parts in one volume, folio x mm. G2 signed ii, fol. Greek and roman type. Large woodcut Aldine device on the title-page and on the verso of the last leaf. Spine with five raised bands, richly gilt tooled, title lettered in gold. A very fine copy, printed on strong paper. A few pale spots, and fingermarks. Some marginalia in Greek. On the front pastedown the inked number '14'. Maria Incoronata, Pavia ownership inscription 'Biblioth.
Mariae Coronatae Papie[nsis]', and old small stamp on the title-page. The first complete edition of Xenophon issued by the Aldine printing press, edited by Gian Francesco d'Asola, son of Aldus' father-in-law, Andrea Torresano.
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Best Works of Literature by Piero Scaruffi. Newsweek's Top Books: The Telegraph's Best Books: National Book Award finalist. Reading the world in books. Waterstones Books of the Century. Las joyas del milenio. The Guardian's Text on the Beach: BookDepository's Best Books Ever. Daily Telegraph's Books of the Century, Academy Award for Writing Adapted Screenplay. Guardian Greatest Non-Fiction. Harvard Bookstore Top The Essential Man's Library: Top livres de SensCritique.
Golden Globe Award for Best Screenplay. From Zero to Well-Read in Books. Lista El Mundo de las mejores novelas. Time Magazine's Best Books of the Year. Harold Morton Landon Translation Award. Oprah's Book Club selection. Die Romane des Jahrhunderts. World Library by The Guardian. The Great American Read. Panorama Literario de Chile. Prix Relay des Voyageurs-Lecteurs. Best Russian novels by Piero Scaruffi. Burt's recommended historical novels.
Helpers supersidvicious , Luisali , BuiltByBooks 31 , raffaele. Universale Economica Feltrinelli Publisher Series by cover 1—8 of next show all. Altman on Altman by Robert Altman. Andare a quel paese: The Bhagavad Gita by Anonymous. Blues All Around Me: The Autobiography of B. King — not in English Common Knowledge. La castrazione e altri metodi infallibili per prevenire l'acne by Daniele Luttazzi — not in English Common Knowledge.
The Closed Circle by Jonathan Coe.
Publisher Series by cover
Confessions of a Mask by Yukio Mishima. Introducing Wittgenstein by John Heaton. Io, non io, neanche lui by Andrea G. Pinketts — not in English Common Knowledge. King of the World: Memorie estorte a uno smemorato. Miracles of Life by J. Ballard — not in English Common Knowledge. Said — not in English Common Knowledge. Un nuovo manifesto by Various — not in English Common Knowledge.
Il prigioniero by Anna Laura Braghetti. De Profundis by Oscar Wilde. Room Full of Mirrors: Cross — not in English Common Knowledge. Lo sapevo, non dovevo ammalarmi: Symposium by Plato — not in English Common Knowledge. Gordon — not in English Common Knowledge. Storia Critica Della Repubblica. L'Italia Dal Al Quando la satira colpisce davvero! Venice Is a Fish: Vita di Emily Dickinson: Vita scritta da lui medesimo by Pietro Giannone. Guida alla luna by H. Percy Wilkins — not in English Common Knowledge. The Problems of Philosophy by Bertrand Russell.
The Law by Roger Vailland. Origine e divenire del cosmo by James A. Coleman — not in English Common Knowledge. The Subterraneans by Jack Kerouac. A For Andromeda by Fred Hoyle. An introduction to the philosophy of science by D. Theobald — not in English Common Knowledge. Capire con il cinema: Lista nera a Hollywood: Kings of the Road [ film] by Wim Wenders. Three Guineas by Virginia Woolf. Of Love and Shadows by Isabel Allende. The Little Sister by Raymond Chandler. Altro che satira, un vero massacro! Donne che mangiano troppo. Ferdydurke by Witold Gombrowicz. Il vizio dell'agnello by Andrea G.
Il senso della frase by Andrea G. What a Carve Up! Dizionario dei vizi e delle virtu by Salvatore Natoli. Scompartimento per lettori taciturni: