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SEMIC COMICS. 2001. In-4. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Environ 60 pages illustrées de nombreux dessins en couleurs dans le texte - 1er plat illustré d'un dessin en couleurs.. . . . Classification Dewey : 843.06-Bande dessinée
Reference : R320023731
Classification Dewey : 843.06-Bande dessinée
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5 book(s) with the same title
Danicorum Monumentorum Libri Sex: E spissis antiquitatum tenebris et in Dania ac Norvegia extantibus ruderibus eruti + Regum Daniae Series duplex et Limitum inter Daniam & Sveciam Descriptio. Ex vetustissimo Legum Scanicarum Literis Runicis in membran... - [THE FIRST WRITTEN STUDY OF RUNES]
Hafnia, Joachim Moltke, 1643 + Melchior Martzan, 1642. Small folio. Bound in a nice contemporary full calf binding with raised bands to richly gilt spine. Spine worn and corners bumped. A damp stain throughout, mostly faint. Title-page of ""Danicorum Moumentorum"" with a contemporary presentation-inscription to verso: ""Ex donatione amici et fautoris nei Secretarii Rejersen./ Wedege."" Contemporary handwritten corrections and additions to the Index. Engraved title-page (by Simon de Pas). (24), 526, (16) pp. + large folded woodcut plate (the Golden Horn). Large woodcuts in the text + (12), 36 pp. The text is in two columns, in Latin and runes. Captions and some runic letters printed in red.
Scarce first editions of both of Worm's famous masterpieces on runes - 1) ""Danicorum Monumentorum"" being Worm's runic magnum opus, which not only constitutes the first written study of runestones and the first scientific analysis of them, but also one of the only surviving sources for depictions of numerous runestones and inscriptions from Denmark, many of which are now lost"" 2) ""Regum Daniae"", which contains the highly important reproduction of The Law of Scania in runes as well as in Latin translation with commentaries. The ""Danicorum Monumentorum"", with its numerous woodcut renderings of monuments with rune-inscriptions - including the world-famous folded plate of the Golden Horn, which had been found only five year previously, and which is now lost - is arguably the most significant work on runes ever written, founding the study of runes and runic monuments. Most of the woodcuts were done after drawings by the Norwegian student Jonas Skonvig"" they are now of monumental importance to the study of runes and runic monuments, not only because they appeared here for the first time in print, but also because many of the monuments are now lost and these illustrations are the only surviving remains that we have. Ole Worm (Olaus Wormius) (1588-1655) was a famous Danish polymath, who was widely travelled and who had studied at a range of different European universities. Like many of the great intellectuals of the Early Modern era, Worm's primary occupation was as a physician, for which he gained wide renown. He later became court doctor to King Christian IV of Denmark. In 1621, Worm had become professor of physics, but already the year before, in 1620, had he begun the famous collection that would become one of the greatest cabinets of curiosites in Europe (and one of the first museums) and which would earn him the position as the first great systematic collector (within natural history) in Scandinavia. It was his then newly begun collection that enabled him, as professor of physics, to introduce demonstrative subject teaching at the university, as something completely new. He continued building and adding to his magnificent collection, now known as ""Museum Wormianum"", throughout the rest of his life. Worm's fascination for antiquarian subjects not only resulted in his famous ""Museum Wormianum"", but also in a deep fascination with early Scandinavian and runic literature and the history and meaning of runestones. These monuments found throughout Scandinavia, were carved with runic inscriptions and set in place from about the fourth to the twelfth centuries. In most cases, they are burial headstones, presumably for heroes and warriors.Worm published works on the runic calendar, translations of runic texts and explications of folklore associated with the runestone histories. By far his most extensive and important work was the ""Danicorum Monumentorum"", which was the first serious attempt at scientifically analyzing and recording all 144 then known runestone sites in Denmark. With the King's blessing and support, Worm contacted bishops all over the country who were instructed to provide details and drawings of the barrows, stone circles and carved inscriptions in their regions.Many of the monuments recorded in this splendid work have since disappeared. Some of them appeared in the fire of Copenhagen, to which they were brought at the request of Worm himself. The book thus contains highly valuable data about missing sites in Scandinavian archaeology and is an invaluable source to anyone studying runes and runic monuments. Included in the work are Worm's three earlier, small treatises on runes, here collected for the first time and set into a systematic an scientific context, among them his 1641 treatise on the Golden Horn. For Danes, the Golden Horns, discovered on 1639 and 1734 respectively, with their amazing, complicated, and tragic story, constitute the Scandinavian equivalent to the Egyptian pyramids and have been the object of the same kind of fascination here in the North, causing a wealth of fantastical interpretations, both historical, literary, mystical, linguistic, and artistic. The two golden horns constitute the greatest National treasure that we have. They are both from abound 400 AD and are thought to have been a pair. A span of almost 100 years elapsed between the finding of the first horn and the finding of the second. Both findings are now a fundamental part of Danish heritage. In 1802 the horns were stolen, and the story of this theft constitutes the greatest Danish detective story of all times. The thief was eventually caught, but it turned out that he had melted both of the horns and used the gold for other purposes.Before the horns were stolen, a copy of the horns was made and shipped to the King of Italy, but the cast which was used to make this copy was destroyed, before news had reached the kingdom of Denmark that the copies made from the cast were lost on their way to Italy, in a shipwreck. Worm's work constitutes not only the earliest description of the seminal first horn, but also the most important source that we now have to the knowledge of the horn. It is on the basis of the description and depiction in the present work that the later copies of the first horn were made. Both horns were found in Gallehus near Møgeltønder, the first in 1639, by Kirsten Svendsdatter, the second in 1734, by Jerk (Erik) Lassen.Kirsten Svendsdatter made her discovery on a small path near her house, initially thinking that she had stumbled upon a root. When she returned to the same place the following week, she dug up the alleged root with a stick, and took it for an old hunting horn. She brought it back home and began polishing it. During the polishing of it, a small piece broke off, which she brought to a goldsmith in Tønder. It turned out that the horn was made of pure gold, and rumors of Kirsten's find quickly spread. The horn was eventually brought to the King, Christian IV, and Kirsten was given a reward corresponding to the gold value of the horn. The king gave the horn to his son, who had a lid made for it so that he could use it as a drinking horn. An excavation of the site where the horn was found was begun immediately after, but nothing more was found - that is until 95 years later when Jerk Larsen was digging clay on his grounds - merely 25 paces from where Kirsten had found the first horn. The year was now 1734. The horn that Larsen found was a bit smaller in size and was lacking the tip, but it still weighed 3,666 kg. As opposed to the first horn, this second horn had a runic inscription. After the horn had been authenticated, it was sent to King Christian VI, where it was placed in a glass case in the royal art chamber, together with the first horn. Before being placed here, a copy was made of both horns. These copies were lost in a ship wreck, however, and the casts had already been destroyed. In the fatal year of 1802, the gold smith and counterfeiter Niels Heldenreich broke in to the royal art chamber and stole the horns. By the time the culprit was discovered, the horns were irrevocably lost - Heldenreich had melted them and used the gold to make other things, such as jewellery. A pair of ear rings that are still preserved are thought to have been made with gold from the horns, but this is all that we have left of the original horns. New horns were produced on the basis of the descriptions and engraved illustrations that were made after the finding of the horns. And thus, the plate used in the present works constitute our main source of knowledge of the appearance of the first horn. ""The longest of the golden horns was found in 1639 and described by Ole Worm in the book 'De Aureo Cornu', 1641 (a treatise which is also included in his greater ""Danicorum Monumentorum""). The German professor at Soro Academy Hendrich Ernst, disagreed with Worm’s interpretation of the horn. Ernst believed that the horn came from Svantevits temple on Rügen, while Worm interpreted it as a war trumpet from the time of Frode Fredegods, decorated with pictures, calling for virtue and good morals. Worm immediately sent his book to Prince Christian and the scholars at home and abroad. You can see in his letters, that not only did the horn make an impression, but also the letter and the interpretation. In that same year there were such lively discussions on the horn among the scholars of Königsberg, now Kaliningrad!In 1643 Worm reiterated the description of the golden horn in his great work on Danish runic inscriptions, 'Monumenta Danica'. In 1644, his descriptions of the horn reached for scholars and libraries in Schleswig, Königsberg, London, Rome, Venice and Padua. Several learned men wrote poems for him, and the golden horn was mentioned in an Italian manus. Map Cartoonist Johannes Meyer placed the finds on several of his map of South Jutland. When the Swedish commander Torstensson attacked Jutland in 1643, Peter Winstrup wrote a long poem in Latin addressed to the bishop of Scania (which at that time still belonged to Denmark), the poem was called 'Cornicen Danicus'. It was immediately translated into Danish, entitled 'The Danish Horn Blower'. He interpreted the horn and its images as an warning of war, and his interpretations were very hostile to the Swedish. Paul Egard and Enevold Nielssen Randulf were among some of the other scholars who interpreted the Golden Horn In the 1640s. They were both deans in Holstein, and had a more Christian interpretation of the horn.All these works were illustrated with copies of Worms depictions of the horn. The Golden Horn remained known throughout the 1600s, both in terms of interpretations of the horn and designs. The found of the short golden horn in 1734 renewed the interest of the meaning of the horns."" (National Museum of Denmark). Thesuarus: 727 & 733 Rejersen: Holmens chef Wedege: Regiments-Quarteer-Mester
Le cuisinier roial et bourgeois, Qui apprend à ordonner toute forte de Repas, & la meilleure maniere des Ragoûts les plus à la mode & les plus exquis. Ouvrage tres-utile dans les Familles, & singulierement necessaire à tous Maîtres d'Hôtels, & Ecuîer... - [THE FIRST ALPHEBETIZED COOKBOOK - CONTAINING THE FIRST PRINTED RECIPE FOR CREME BRULÉE]
Paris, Charles de Sercy, 1691. Small 8vo. Contemporary full mottled calf with five raised bands to richly gilt spine. All edges of boards gilt. Spine worn, especially at top and bottom, which lack pieces of leather (conserved). Outer hinges worn and weak, so capital bands are showing, but inner hinges are fine and tight. First ab. 10 leaves with a mostly light damp stain. Last 17¤ of leaves with small worm-holes, almost solely marginal, not affecting text, and mostly single holes. All in all internally very nice and clean. [20], 505, [46] pp.
Exceedingly scarce first edition of one of the most important cookbooks ever printed, being the first to contain alphabetized recipes. In this masterpiece in the history of cookery, we find the first printed recipe for crème brulee, the first printed recipe for meringue and the first known food recipes to contain chocolate. Furthermore, Massialot’s magnum opus includes the “Macreuse en ragout au chocolate”, which is possibly the first known Aztec recipe in a European cookbook. “Massialot, who lived from 1660 to 1733, served as chef de cuisine for various high-ranking Frenchmen, including Philippe I, Duke of Orléans. He’s best known for his “Nouveau cuisinier royal et bourgeois”... In the book he not only laid out recipes for the meals he prepared for royals, but he was also the first to alphabetize recipes, and both meringues and crème brûlée made their first appearances in the book.” (Dan Meyers in The Daily Meal: 10 Chefs Who Changed the Way We Eat). “Le cuisinier royal et bourgeois” consists of two parts, the first consisting in descriptions of menus for a whole year. Many of these had been prepared at court and both dates and hosts are mentioned in the book. The second part consists in the actual cookbook and constitututes the first cookbook in which the recipes are alphabetically ordered. They are ordered to the chief ingredient and there are often variations for flesh- and fishdays. The book is now worldwide-famous for the invention of crème brulée, for the first recipe of meringue and for the novel recipes containing chocolate: one in a sauce for wigeon or scoter, the other in a sweet custard. Up until then, chocolate had been consumed solely as a drink. Another of Massialot’s innovations presented in the present work is that of adding a glass of white wine to fish stock. The “Macreuse en ragoût au chocolate” (duck stewed in chocolate)-recipe, which also appears here for the first time and is thought to be the first known Aztec recipe in a European cookbook, was reproduced by Alexandre Dumas in his dictionary of cookery in 1872, where he calls it a “masterpiece.” Massialot was extremely influential, both in France and abroad. The recipes in the present work were initially intended for nobility, but they eventually made their way to public restaurants founded by former cooks of the court after the French Revolution. The book is one of the key foundation stones for restaurants as we know them today. The work was extremely popular and kept appearing throughout several centuries. A second edition appeared in 1693, a third in 1698, and then it appeared again in 1705 and 1709. In 1712 it was expanded to two volumes and in 1733-34 it was revised and expanded to three. The work was translated into English as early as 1702 as “The Court and the Country Cook” and had an enormous influence on English cooking as well. François Massialot (1660, in Limoges– 1733, in Paris) served as chef de cuisine (officier de bouche) to various illustrious personages, including Phillipe I, Duke of Orléans, the brother of Louis XIV, and his son Philippe II, Duke of Orléans. In his preface, Massialot describes himself as ""a cook who dares to qualify himself royal, and it is not without cause, for the meals which he describes...have all been served at court or in the houses of princes, and of people of the first rank."" Serving banquets at places like the Versailles, this can hardly be said to be an overstatement. The first edition of this milestone of cookery is of the utmost scarcity. According to OCLC, merely five copies are located worldwide (two in the US and three in Europe) and not a single copy is traceable at actions. Vicaire: 573 (“Première edition, très rare”).
Ueber die Lehre des Spinoza in Briefen an den Herrn Moses Mendelssohn. Neue vermehrte Auflage. - [THE FIRST EVER TRANSLATION OF BRUNO'S ""DE UNO ET CAUSA""...]
Breslau, Gottl. Löwe, 1789, 8vo. Very beautiful contemporary red full calf binding with five raised bands and gilt green leather title-label to richly gilt spine. elaborate gilt borders to boards, inside which a ""frame"" made up of gilt dots, with giltcorner-ornamentations. Edges of boards gilt and inner gilt dentelles. All edges gilt. Minor light brownspotting. Marginal staining to the last leaves. Engraved frontispiece-portrait of Spinoza, engraved title-vignette (double-portrait, of Lessing and Mendelssohn), engraved end-vignette (portrait of Jacobi). Frontispiece, title-page, LI, (1, -errata), 440 pp. Magnificent copy.
First edition thus, being the seminal second edition, the ""neue vermehrte Auflage"" (new and expanded edition), which has the hugely important 180 pp. of ""Beylage"" for the first time, which include the first translation into any language of any part of Giordano Bruno's ""de Uno et Causa..."" (pp. 261-306) as well as several other pieces of great importance to the ""Pantheismusstreit"" and to the interpretation of the philosophy of Spinoza and Leibniz, here for the first time in print. The present translation of Bruno seems to be the earliest translation of any of Bruno's works into German, and one of the earliest translations of Bruno at all - as far as we can establish, the second, only preceded by an 18th century translation into English of ""Spaccio della bestia trionfante"". It is with the present edition of Jacobi's work that the interest in Bruno is founded and with which Bruno is properly introduced to the modern world. Jacobi not only provides what is supposedly the second earliest translation of any of Bruno's works ever to appear, he also establishes the great influence that Bruno had on two of our greatest thinkers, Spinoza and Leibnitz. It is now generally accepted that Spinoza founds his ethical thought upon Bruno and that Lebnitz has taken his concept of the ""Monads"" from him. It is Jacobi who, with the second edition of his ""Letters on Spinoza..."", for the first time ever puts Bruno where he belongs and establishes his position as one of the key figures of modern philosophy and thought. Bruno's works, the first editions of which are all of the utmost scarcity, were not reprinted in their time, and new editions of them did not begin appearing until the 19th century. For three centuries his works had been hidden away in libraries, where only few people had access to them. Thus, as important as his teachings were, thinkers of the ages to come were largely reliant on more or less reliable renderings and reproductions of his thoughts. As Jacobi states in the preface to the second edition of his ""Letters on Spinoza..."", ""There appears in this new edition, under the title of Appendices (""Beylage""), different essays, of which I will here first give an account. The first Appendix is an excerpt from the extremely rare book ""De la causa, principio, et Uno"", by Jordan Bruno. This strange man was born, one knows not in which year, in Nola, in the Kingdom of Naples"" and died on February 17th 1600 in Rome on the stake. With great diligence Brucker has been gathering information on him, but in spite of that has only been able to deliver fragments [not in translation]. For a long time his works were, partly neglected due to their obscurity, partly not respected due to the prejudice against the new opinions and thoughts expressed in them, and partly loathed and suppressed due to the dangerous teachings they could contain. On these grounds, the current scarcity of his works is easily understood. Brucker could only get to see the work ""De Minimo"", La Croce only had the book ""De Immenso et Innumerabilibus"" in front of him, or at least he only provides excerpts from this [also not in translation], as Heumann does only from the ""Physical Theorems"" [also small fragments, not in translation]"" also Bayle had, of Bruno's metaphysical works, himself also merely read this work, of which I here provide an excerpt."" (Vorrede, pp. (VII)-VIII - own translation from the German). Jacobi continues by stating that although everyone complains about the obscurity of Bruno's teachings and thoughts, some of the greatest thinkers, such as Gassendi, Descartes, ""and our own Leibnitz"" (p. IX) have taken important parts of their theorems and teachings from him. ""I will not discuss this further, and will merely state as to the great obscurity (""grossen Dunkelheit"") of which people accuse Bruno, that I have found this in neither his book ""de la Causa"" nor in ""De l'Infinito Universo et Mondi"", of which I will speak implicitly on another occasion. As to the first book, my readers will be able to judge for themselves from the sample (""Probe"") that I here present. My excerpt can have become a bit more comprehensible due to the fact that I have only presented the System of Bruno himself, the ""Philosophia Nolana"" which he himself calls it, in its continuity... My main purpose with this excerpt is, by uniting Bruno with Spinoza, at the same time to show and explain the ""Summa of Philosophy"" (""Summa der Philosophie"") of ""En kai Pan"" [in Greek characters - meaning ""One and All""]. ... It is very difficult to outline ""Pantheism"" in its broader sense more purely and more beautifully than Bruno has done."" (Vorrede pp. IX-XI - own translation from the German). So not only does Jacobi here provide this groundbreaking piece of Bruno's philosophy in the first translation ever, and not only does he provide one of the most important interpretations of Spinoza's philosophy and establishes the importance of Bruno to much of modern thought, he also presents Bruno as the primary exponent of ""pantheism"", thereby using Bruno to change the trajectory of modern thought and influencing all philosophy of the decades to come. After the second edition of Jacobi's ""Ueber die Lehre des Spinoza"", no self-respecting thinker could neglect the teachings of Bruno"" he could no longer be written off as having ""obscure"" and insignificant teachings, and one could no longer read Spinoza nor Leibnitz without thinking of Bruno. It is with this edition that the world rediscovers Bruno, never to forget him again.WITH THE FIRST EDITION OF ""UEBER DIE LEHRE DES SPINOZA"" (1785), JACOBI BEGINS THE FAMOUS ""PATHEISMUSSTREIT"", which focused attention on the apparent conflict between human freedom and any systematic, philosophical interpretation of reality. In 1780, Jacobi (1743-1819), famous for coining the term nihilism, advocating ""belief"" and ""revelation"" instead of speculative reason, thereby anticipating much of present-day literature, and for his critique of the Sturm-und-Drang-era, had a conversation with Lessing, in which Lessing stated that the only true philosophy was Spinozism. This led Jacobi to a protracted and serious study of Spinoza's works. After Lessing's death, in 1783 Jacobi began a lengthy letter-correspondende with Mendelssohn, a close friend of Lessing, on the philosophy of Spinoza. These letters, with commentaries by Jacobi, are what constitute the first edition of ""Ueber die lehre des Spinoza"", as well as the first part of the second edition. The second edition is of much greater importance, however, due to greatly influential Appendices. The work caused great furor and the enmity of the Enlightenment thinkers. Jacobi was ridiculed by his contemporaries for attempting to reintroduce into philosophy belief instead of reason, was seen as an enemy of reason and Enlightenment, as a pietist, and as a Jesuit. But the publication of the work not only caused great furor in wider philosophical circles, there was also a personal side to the scandal which has made it one of the most debated books of the period: ""Mendelssohn enjoyed, as noted at the outset, a lifelong friendship with G. E. Lessing... Along with Mendelssohn, Lessing embraced the idea of a purely rational religion and would endorse Mendelssohn's declaration: ""My religion recognizes no obligation to resolve doubt other than through rational means"" and it commands no mere faith in eternal truths"" (Gesammelte Schriften, Volume 3/2, p. 205). To pietists of the day, such declarations were scandalous subterfuges of an Enlightenment project of assimilating religion to natural reason... While Mendelssohn skillfully avoided that confrontation, he found himself reluctantly unable to remain silent when, after Lessing's death, F. H. Jacobi contended that Lessing embraced Spinoza's pantheism and thus exemplified the Enlightenment's supposedly inevitable descent into irreligion.Following private correspondence with Jacobi on the issue and an extended period when Jacobi (in personal straits at the time) did not respond to his objections, Mendelssohn attempted to set the record straight about Lessing's Spinozism in ""Morning Hours"". Learning of Mendelssohn's plans incensed Jacobi who expected to be consulted first and who accordingly responded by publishing, without Mendelssohn's consent, their correspondence - ""On the Teaching of Spinoza in Letters to Mr. Moses Mendelssohn"" - a month before the publication of ""Morning Hours"". Distressed on personal as well as intellectual levels by the controversy over his departed friend's pantheism, Mendelssohn countered with a hastily composed piece, ""To the Friends of Lessing: an Appendix to Mr. Jacobi's Correspondence on the Teaching of Spinoza"". According to legend, so anxious was Mendelssohn to get the manuscript to the publisher that, forgetting his overcoat on a bitterly cold New Year's eve, he delivered the manuscript on foot to the publisher. That night he came down with a cold from which he died four days later, prompting his friends to charge Jacobi with responsibility for Mendelssohn's death.The sensationalist character of the controversy should not obscure the substance and importance of Mendelssohn's debate with Jacobi. Jacobi had contended that Spinozism is the only consistent position for a metaphysics based upon reason alone and that the only solution to this metaphysics so detrimental to religion and morality is a leap of faith, that salto mortale that poor Lessing famously refused to make. Mendelssohn counters Jacobi's first contention by attempting to demonstrate the metaphysical inconsistency of Spinozism. He takes aim at Jacobi's second contention by demonstrating how the ""purified Spinozism"" or ""refined pantheism"" embraced by Lessing is, in the end, only nominally different from theism and thus a threat neither to religion nor to morality."" (SEP).The Beylagen, which are not included in the 1785 first edition and only appear with the 1789 second edition, include: I. Auszug aus Jordan Bruno von Nola. Von der Ursache, dem Princip und dem Einen (p. 261-306) II. Diokles an Diotime über den Atheismus (p. 307-327) translation of Lettre ... sur l'Athéisme by F. Hemsterhuis.
PÉRON, FRANCOIS & LOUIS FREYCINET, CHARLES ALEXANDRE LESUEUR & NICOLAS-MARTIN PETIT.
Reference : 53717
(1807)
Voyage de découvertes aux terres Australes. Exécuté par ordre de sa Majesté l'Empereur et Roi, Sur les Corvettes le Géographe, la Naturaliste, et la Goelette le Casuarina, Pendant les Anées 1800, 1801, 1802, 1803 et 1804. [Historique] Rédigé en parti... - [THE FIRST PUBLISHED COMPLETE AND FULLY DETAILED MAPPING OF AUSTRALIA]
Paris, 1807-1816 (Historique) & 1815 + 1812 (Navigation & Geographie). 4to & folio. Three text-volumes in 4to and three atlas, two in small folios, one (Navigation & Géographie) in elephant folio. All bound in nice contemporary brown half calfs with gilt spines. The first four (i.e. Historique-section) are uniform. The Navigation & Géographie-part with some brownspotting, the text-voume has been re-enforced at front hinge and corners and extremities are worn. There's a repaired tear to one of the maps. The Historique-section is generally very nice, clean, and fresh. Vil. I of the atlas has a torn lower back hinge, but no loss. A very nice set in strictly contemporaru bindings, with the tissue-guards, and FULLY COMPLETE WITH ALL 40 ETHNOLOGICAL AND ZOOLOGICAL PLATES, MOSTLY COLOURED, ALL 46 MAPS, BOTH TABLES, AND THE FRONTISPIECE PORTRAIT. Historique: Text: XXXI, (1), 471 pp. + engraved frontispiece-portrait + two folded tables (4), XV, (1), 496, (2, -errata), III (contents) pp. Atlas: (vol. I, plates:) (6) pp. + 40 plates (numbered 2-41 NB. plate I of the the map-volume constitutes also nr. I of the plate-volume - as always (see also Ferguson) )" (vol. II, maps:) 6 pp. + 14 maps, two of which are folded.Navigation & Géographie: Text: XVI, 576, (2, -errata) pp. Atlas: (2) ff. + 32 maps, 25 of which are double-page, 7 single.
Rare fully complete copy, with both the History- and Navigation&Geography- parts of one the most important and famous descriptions of Australia ever published. One of the maps included constitutes the first published map to show the entire South Australian coastline.In April 1802, the British navigator Matthew Flinders and his French counterpart Nicolas Baudin met at Encounter Bay. Both men had been sent out by their respective governments to chart and explore the unknown southern coast of Australia. Between them, Flinders and Baudin explored, mapped and named most of the 3,700 kilometres from Ceduna on the west coast to Robe in the southeast, known in 1802 as ""the unknown coast"". Although Flinders in fact beat Baudin to ""the unknown coast"", the famous French account was published first and thus constitutes not only the first full description of the continent of Australia, but also contains the first published complete and fully detailed map of Australia. ""In October 1800, Nicolas Baudin commanded an expedition to the south seas to complete the French survey of the Australian coastline, and make scientific observations. The two ships, ""Le Geographe and Le Naturaliste"", arrived near Cape Leeuwin in May 1801. Following instructions issued in France, both ships sailed north along the western coast of the continent. After staying at Timor, the French then sailed south to survey Van Diemen's Land [Tasmania]. In following this itinerary, they missed the opportunity to be the first Europeans to survey the unknown southern coast. By early April 1802 Baudin in ""Le Geographe"" was in South Australian waters. He sailed westwards along the southern coastline, meeting Flinders at Encounter Bay, and continuing to Golfe de la Mauvaise [Gulf St Vincent] and Golfe de la Melomanie [Spencer Gulf], giving French names to many locations already named by Flinders. At Cape Adieu the survey was abandoned and Baudin sailed for Port Jackson where ""Le Naturaliste"" had already arrived. After wintering at Port Jackson, Baudin returned to the southern coast for a more detailed survey, and in January 1803 circumnavigated Ile Borda [Kangaroo Island]. While Baudin anchored at Nepean Bay, Freycinet and the geographer Boullanger explored the two gulfs in ""Casuarina"" - ""Le Naturaliste"" had been sent back to France with its scientific collections. By the end of February ""Le Geographe"" and ""Casuarina"" rendezvoused at King George Sound, and then explored the west and northwest coasts of 'New Holland', before heading home via Timor. Baudin died in 1803 on the homeward voyage, so publication of the account and charts of his voyage was undertaken by Francois Peron, the expedition's naturalist. The first volume of ""Voyage de decouvertes aux Terres Australes"" and Volume I of ""Atlas"", which included plates, was released in 1807. French place names were recorded for 'Terre Napoleon' west of Wilson's Promontory. As Peron died in 1810, cartographer Louis de Freycinet continued to edit the voyage's account, and in 1811 he published the second part of ""Atlas"", which featured the charts of the expedition, again recording French place names on 'Terre Napoleon.' The French expedition's charts were published in 1811 - three years before Flinders'. Freycinet's ""Carte General de la Nouvelle Hollande"" was therefore the first chart of Australia, bringing together the results of English and French surveys. The French charts are generally acknowledged as beautiful with their elaborate title cartouches with flora and fauna....In the end, claims of 'primacy' - or who was where first - were what mattered most to the authorities and to Flinders. With the French charts published first, with French names along the length of the South Australian coast, they laid a claim to that portion of the continent and called it ""Terre Napoleon"". When Flinders' charts were finally published in July 1814, he was scrupulous in honouring prior discoveries on the coast - hence 'Discovered by Nuyts 1627' and 'Discovered by Captn. Baudin 1802', which marked the western and eastern limits of his discoveries.It was not until the second edition of Voyage de decouvertes aux Terres Australes was published in 1824 that French place names were only recorded where the French had been the first to survey along the southern coast, mainly in the south-east and on the southern coast of Kangaroo Island, and Flinders' discoveries and place names were restored by the French authorities."" (State Library of South Australia). Apart from the seminal importance to the maps and geographical information of this celebrated voyage, it is also famous for its ethnological surveys and natural history specimens. In fact, the expedition brought back to France the most important collection of natural history specimens in the history of the French Museum.The voyage was commanded by Nicolas Thomas Baudin (1754-1803), who died at Batavia on the way home. The maps in both atlases are mainly by de Freycinet, and the fine illustrations are by Lesueur and Pétit. The plates consist of 5 coloured coastal views, natural history subjects (9 coloured), topographical views, native weapons, canoes, habitations, etc. (some coloured), and 10 portraits (4 coloured) of NAMED Aborigines by Nicolas-Martin Petit (1777-1804). One of the folding topographical views is a fine plate of Sydney by Charles Alexandre Lesueur (1778-1846). Louis de Freycinet: ""With his brother Henri, Louis de Freycinet joined the Baudin expedition as a junior lieutenant. Louis was born in August 1779 and joined the French navy in 1793. His duties on the expedition were as a cartographer-surveyor. While the French expedition was in Sydney from June-November 1802, Baudin bought a locally built schooner the ""Casuarina"", and placed Freycinet in command. It would be used for close inshore survey work, particularly on the southern Australian coast. While charting the South Australian gulfs, Freycinet missed his rendezvous with Baudin in ""Le Geographe"", but joined him in King George Sound. They then sailed along the Western Australian coast together, before going to Timor and then Mauritius. After the expedition's return to France, Freycinet worked on the charts and when the atlas was published in 1811 the entire unknown coast from Wilson's Promontory to the Head of the Bight was shown as Terre Napoleon, with French place names on all the prominent features. Following Péron's early death, Freycinet completed the official account of the expedition. From 1817 to 1820 Freycinet led a scientific expedition around the world, studying meteorology and magnetism. His wife Rose accompanied him. Despite shipwreck most of the expedition's records were saved. In 1824 a second edition of the account of the Baudin expedition was published, edited by Freycinet, and in the Atlas Matthew Flinders' place names were restored to the coast he had first discovered. Louis de Freycinet died in August 1842."" (State Library of South Australia). Ferguson: 449, 536 & 603.
Odyssea, Das seind die aller zierlichsten und lustigsten vier vnd zwantzig buecher des eltisten kunstreichesten Vatters aller Poeten Homeri von der zehen jaerigen irrfart des weltweisen Kriechischen Fürstens Vlyssis beschriben unnd erst durch Maister ... - [THE FIRST TRANSLATION OF THE ODYSSEY TO ANY MODERN LANGUAGE]
Augsburg, Alexander Weissenhorn, 1537. Folio. Bound in a late medieval liturgical manuscript-leaf of vellum with handpainted capitals in blue and red, over cardboard-binding, and housed in a vellum-box. Title-page with a small paper-restoration to the blank, outer margin, far from affecting printing or illustration. Light brownspotting throughout, but overall a truly excellent copy with no significant flaws. The woodcuts are all clear bright. (6), CII ff. Large woodcut title-illustration and 18 large woodcut illustrations in the text (measuring 10,8x14,3 cm.).
Extremely scarce first edition, first printing (with the 1537-title-page), of the very first translation of the Odyssey into any vernacular language. This monumental work represents a milestone in the history of classical literature and marks the beginning of the dissemination of the Homeric works to a wider Renaissance-audience. Not only is this the first German translation, in the exceedingly scarce first printing, and the first translation into any vernacular language, of one of the most important works in the history of literature, antiquity, and Western culture - one of the oldest extant works of literature still read by contemporary audiences -, it is also the very first edition of any Homerian work to appear in any language other than Greek or Latin, and as far as we can see, also the first illustrated edition of this masterpiece to appear, containing the very first printed illustrations of Homer's Odyssey. Together with the Bible, Homer's Odyssey constitutes one of the most influential texts in world history, and the present edition constitutes the forerunner of the thousands of translated editions available today. ""This is the first modern-language translation of the ""Odyssey"". Thirty printings of Latin translations of the Odyssey and Iliad had been produced in German-speaking territories before it, and Schaidenreißer's translation represents the Humanist push for the dissemination of ancient texts to an audience beyond traditional learned circles.Translators feared that the less educated could misunderstand or misuse classical thought, but believed the benefits were great enough to attempt the undertaking. For these reasons, 16th-century translators took steps to ensure a 'proper' understanding of classical authors. Schaidenreißer (ca. 1500-1573) employs a contextualizing introduction and illustrations that highlight the most pedagogically useful content to make the story relevant to readers of Reformation-era Germany and to downplay morally ambiguous content."" (From the exhibition at the Beineke-library, Yale). The book is wonderfully printed, on large paper of excellent quality, and with many large woodcut illustrations. The illustrations, which are of enormous importance in the history of the reception of the Odyssey, are attributed to the school of Hans Weidiz (Röttinger) or Jörg Breus. ""The ""Iliad"" and the ""Odyssey"" have inspired artists in all periods and mediums. The dramatic scenes and detailed descriptions invite visual representation and stimulate creative interpretation. Ancient artists depicted scenes from the Homeric epics on vases, wall paintings at Pompeii, and miniature marble Roman tablets. A handful of surviving illustrated manuscripts suggest the possibilities for illustrating and decorating the texts.Since the sixteenth century, artists and sculptors have portrayed many scenes and characters from the Iliad and the Odyssey as both narrative and allegory. Giulio Romano, Peter Paul Rubens, Angelica Kauffmann, Nicolas Poussin, Claude Lorrain, Eugène Delacroix, Auguste Rodin, Georgio de Chirico, Henri Matisse, and Andy Warhol (after de Chirico) are just a few examples.Early printers of Homer focused on making the texts of the epics available for study rather than producing expensive illustrated editions. It didn't take long, however, for printers to discover that illustrations could expand their audience and potential profits."" (University of Chicago Library). The present edition represents the earliest example of this endeavor considering the Odyssey and inscribes itself in an ancient tradition that goes back to early Greek vases. The philologist, author, and humanist Simon Schadenreisser (1497-1572) is today primarily remembered as the seminal first translator of the Odyssey into a modern language and thus as the founder of the tradition of translating Homer. ""Schaidenreisser's prose translation of the ""Odyssey"" represents an obviously important landmark in the reception of the literature of antiquity in German sixteenth century"" (""Odyssea. Zu Teütsch transsferiert durch Simon Schaidenreisser. Faksimiledruck der Erstausgabe Augsburg 1537"", ed. by Günther Weydt and Timothy Sodmann (Book Review)). ""In German-speaking lands, the Odyssey initially fared much better than the Iliad, perhaps because Odysseus’ s adventures could be packaged as a hybrid of travel narrative and popular romance. A 1570 reprint of the 1537 German translation of the Odyssey by Simon Schaidenraisser promises its readers ""a beautiful, useful, and funny description of the life, luck, and misfortune"" (ein schone nutzliche und lustige Beschreibung von dem Leben, Gluck und Ungluck) of its hero, while the original 1537 translation advertises the poem as ""very delicate and funny"" (aller zierlichsten und lustigen), phrasing that accords with the common tendency (stemming from Aristotle [Poetics 1453a]) to view the Odyssey as a comic poem, or at least as a ""tragedy with a happy ending"" (tragedia a fin lieto), as the Italian literary critic Giraldi Cinzio termed it (Cinzio 1554, 220 - 4)"" (Jessica Wolfe in: Cambridge Guide to Homer, p. 497). The first edition of this landmark printing is of the utmost scarcity. We have not been able to locate one single complete copy for sale at auctions within the last 50 years anywhere in the world. OCLC lists three copies worldwide, two in the US, one in the UK. Goedeke II: 319,3Graesse III: 334 Moss: I, 542 (""This is by no means of common occurrence"") Not in Adams" not in STC (merely second issue)
