‎MARTIAL (Marcus Valerius Martialis)‎
‎Epigrammata.‎

‎Iulii Caesaris Scaligeri viri clarissimi Poemata in duas partes divisa. Pleraque omnia in publicum iam primum prodeunt; reliqua vero quam ante emendatius edita sunt. Sophoclis Aiax Lorarius, stylo Tragico a Josepho Scaligero Iulii F. translatus. Eiusdem epigrammata quaedam, tum Graeca tum Latina, cum quibusdam e Graeco versis. ‎

‎N.pl. (Geneva), Apud Petrum Santandreanum (Pierre de Saint-André), 1591. ‎

‎8vo. 3 parts in 1: (VIII),663,(1 blank); 336; 70,(1 errata),(1 blank) p. Calf, end 19th century. 17 cm (Ref: GLN-2264; USTC no. 450529; Smitskamp's 'The Scaliger collection' no. 147; cf. Brunet 5,179; cf. Graesse 6/289 & & 6,444; cf. Hoffmann 3,425; Ebert 20452) (Details: Printed in italics. Some signs of censorship in the text. Nice binding. Gilt panelled back with 5 raised bands. Boards with triple fillet gilt borders and an oval gilt ornament. Edges of the boards and the turn-ins gilt. All edges gilt. Marbled endpapers. 'Veritas' woodcut printer's device on the title, depicting a woman, the naked truth, seated on a cubus, holding a radiant sun in her right hand. In her left hand she holds an opened book and a palm leaf. Her feet rest on the globe; the garland of fruit which surrounds her shows a motto in Greek: 'Alêtheia Pandamatôr', i.e. 'Allmighty Truth'. 2 red/yellow/blue book ribbons. Each of the 3 parts has a title-page of its own. Part 1 contains: Apiculae, p. 1; Nemesis, p. 59; Teretismata, Satyra, p. 76; Nova Epigrammata, p. 113; Farrago, p. 150; Thaumantia, p. 224; Arae Fracastoreae, p. 256; Nymphae indigenae, p. 272; Adamantij Catulli tumulus, p. 391; Heroes, p. 307; Archilochus, p. 339; Hipponax, p. 385; Sidera, p. 458; Lacrymae, p. 526; Aenigmata, p. 546; Urbes, p. 582; Logogriphi, p. 614; Manes Catulliani, p. 634. Part 2 contains: Ata, p. 3; Hymni, p. 79; Epidorpidum libri octo, p. 98; De Regnorum eversionibus, p. 324; Part 3 contains a Latin translation of the Ajax of Sophocles by the son of Julius Caesar, Josephus Justus Scaliger, and concludes with 20 pages epigrammata composed by junior) (Condition: Some slight wear to the binding. Oval stamp cut out of the first 2 title-pages, but skillfully repaired. In old ink 'Expurgata' written on the title page. Paper yellowing, sometimes browning. Occasionally a word, or a line, or sometimes a complete poem has been made illegible with ink stripes by a censuring cleric. Scaliger's Poemata figured in the Catholic 'Index librorum prohibitorum'. This 'Index' of forbidden books contained publications that were banned by the Catholic Church, because they were deemed heretical, anti-clerical or immoral. The censoring sometimes came down to the erasing or cutting out of names, or passages, or the removal of leaves, even complete chapters by catholic librarians. Such a librarian must have written, after having completed the job, at the foot of the title-page, 'Expurgata') (Note: The classical scholar Julius Caesar Scaliger (Giulio Bordone della Scala), 1484-1558, was of Italian origin. In 1524 he moved to France where he became physician to bishop Antonio della Rovere of Agen, and where his brilliant son Joseph Juste was born in 1540, the same year in which his 'De causis linguae latinae libri tredecim' was published. This book is among his most important philological works. Another work of fundamental importance is his 'Poetices libri septem' (1561), a manual for the apprentice poet, that became Europe's standard in matters of Neo-Latin poetry for two centuries. Scaliger published collections of his Neo-Latin poetry in 1533 and 1546. He considered the mastery of Latin composition not as a pastime, but as the scholar's most valuable skill. In 1574 his son Joseph Juste (Josephus Justus) produced a new edition of his father's collected poems during his stay at Geneva, where he took refuge because of the French wars of religion and St. Bartholomew's Day Massacre. Here Scaliger jr. delivered public lectures and tutored students, and met fellow humanists, Beza, Henricus Stephanus et alii, all interested in or writing Neo-Latin poetry. This edition of 1591 is a line by line reissue of the edition of 1574. To the edition of his father's poetry the son added a work of himself, the translation of Sophocles' Ajax. This translation was first published in 1573 in Paris with a Greek text and the translation on the facing page. The appropriate medium for the translation of the Ajax was in Scaliger's eyes archaic Latin. 'He used as many arcane or distinctively pre-classical words as possible (...). He dressed ordinary words in primitive spellings (...). And, like the archaic poets, he freely coined new compound words'. (Grafton,A., Joseph Scaliger, a study in the history of scholarship', volume 1, Oxford 1983, p. 114/115) After the Ajax Scaliger jr. added 20 pages with epigrammata, Greek and Latin, also of his own) (Provenance: Before the title have been bound 2 leaves, the first from 1890, the 2nd much older, after 1633. The text of the first manuscript leaf: 'Ce volume, que j'ai acheté aux libraires Mayer et Muller, de Berlin, était alors relié avec un exemplaire du Poemata de J. César Scaliger, de l'édition rarisssime de 1546. L'un et l'autre, ainsi réunis avaient appartenu à une Bibliothèque de Vérone (on le voit à la maculature laissée par le timbre, en tête de la 2e partie). L'un et l'autre portait les suppressions imposées par l'Index. - Voir, à ce sujet, la note italienne écrite ci après, probablement par un religieux du couvent dont la Bibliothèque possédait ces volumes. Dans l'éd. de 1546, beaucoup des pièces biffées ici n'avaient pas été supprimées. R. Dezeimeris, 1890.' The French historian and politician Reinold Dezeimeris, was 'Conservateur' of the 'Bibliothèque municipale' of Bordeaux, and a passionate bibliophile, but most of all he is remembered for his scholarly activities. He devoted many studies to Renaissance authors from his dear city. He participated in an important edition of the 'Essais' of Montaigne, Bordeaux 1870-1873. This title on offer of father and son Scaliger will have caught his attention, because of their connection with Bordeaux. On the authority of Dezeimeris, who must have had sharp eyes, we assume that the removed stamp from the first 2 title-pages belonged to a library at Verona. In the leaf immediately after the second title the dent of the stamp that was cut out of the title is indeed still visible, though hardly legible. (See for much more on Dezeimeris: rfhl.org/pages/historique/bibliophiles-bordelais/reinhold-dezeimeris-1835-1913.html and especially a biography at: saint-blaise-cadillac.eklablog.com/reinhold-dezeimeris-a46642037. Scaliger pretended to be a descendant of the house of La Scala, for hundred and fifty years lords of Verona. Dezeiremis apparantly split up the binding with works of Scaliger that he bought from the famous price-cutting Berlin 'Antiquariat Mayer & Müller'. This fine binding with Scaliger's Poemata of 1591 was probably commissioned by him. The librarian who wrote 'Expurgata' on the title, probably also wrote the text on the leaf bound before the first flyleaf. It is in Italian, and refers to the decree of the Church for the prohibition of Scaliger's works, dated March 19, 1633) (Collation: *4, a-z8, A-S8, T4 (leaf T4 verso blank); Aa-Xx8; AA-DD8, EE4 (leaf EE4 verso blank)) ‎

‎M.V. Martialis epigrammata. M.V. Marcial Epigrams: translated and explained by ‎

‎M.V. Martialis epigrammata. M.V. Marcial Epigrams: translated and explained by A. Fet. In two parts. In Russian /M.V. Martialis epigrammata. M.V. Martsiala Epigrammy: v perevode i s obyasneniyami A. Feta.V dvukh chastyakh. Moscow: Type. A.I. Mamontov and K, 1891. XXIII, 934 p. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalb7b0f81254195a240.‎

‎M. Val. Martialis Epigrammata, Demptis obfcenis, cum interpretatione, ac notis‎

‎collection d'épigrammes écrites par le poète latin Marcus Valerius Martialis, plus couramment connu sous le nom de Martial. Cette œuvre est également souvent appelée "Épigrammes de Martial". Martial était un poète romain du 1er siècle après J.-C., connu pour sa maîtrise de l'épigramme, un genre poétique court et incisif. Les épigrammes de Martial sont des poèmes succincts qui traitent de divers sujets, tels que la vie quotidienne, la satire, les portraits, l'amour et les aspects sociaux de la Rome impériale. L'œuvre complète de Martial est divisée en quinze livres, chacun contenant un grand nombre d'épigrammes. Ces poèmes offrent un aperçu vivant de la vie à Rome à l'époque impériale, avec des descriptions colorées de la société, des personnalités et des coutumes de l'époque. Les épigrammes de Martial sont souvent acérées et sarcastiques, utilisant l'humour et la satire pour critiquer certains aspects de la société et de la culture romaines. Les œuvres de Martial ont eu une influence durable sur la poésie épigrammatique et satirique ultérieure. Sa façon de jouer avec les mots, son sens de l'observation et sa capacité à capturer des détails de la vie quotidienne en ont fait un poète populaire de son époque et au-delà. Les épigrammes de Martial offrent également des informations précieuses sur la vie à Rome et sur les attitudes culturelles de cette période. En somme, "Epigrammata" de Marcus Valerius Martialis (Martial) est une collection d'épigrammes qui offre un aperçu fascinant de la vie et de la culture de la Rome impériale à travers le prisme de la poésie satirique et humoristique. "Je vis dans une petite cellule, avec une fenêtre qui ne ferme même pas, Dans lequel Boreas lui-même ne voudrait pas vivre." vol in-8, 170x100, relié pleine basane époque, solidement relié, tranches jaspées, très bel état, leg traces brunes sur qq pages, 690pp + index. Parisiis, Simonis Benard, 1693. Rare ref/22/1‎

‎Callimachi Hymni, epigrammata et fragmenta ex recensione Theodori J.G.F. Graevii, cum ejusdem animadversionibus. Accedunt N. Frischlini, H. Stephani, B. Vulcanii, P. Voetii, A.T.F. Daceriae, R. Bentleii commentarius, et annotationes viri illustrissimi Ezechielis Spanhemii, nec non praeter fragmenta, quae ante Vulcanius & Daceria publicarant, nova, quae Spanhemius & Bentleius collegerunt, & digesserunt. Hujus cura & studio quaedam quoque inedita epigrammata Callimachi nunc primum in lucem prodeunt. ‎

‎Utrecht (Ultrajecti), Apud Franciscum Halmam, Guilielmum vande Water, 1697. ‎

‎8vo. 2 volumes: (XXXII),1-438; 369-496,(138); (16),758,(64 index) p., frontispiece, 6 engraved plates, and occasional engraved text illustrations. Vellum 21 cm (Ref: STCN ppn 833518089; Hoffmann 1,429: 'Vorzügliche Werth erh. diese Ausg. durch Spanheim's u. Bentley's Noten'; Dibdin 1,368/69: 'An excellent and erudite edition' and the scholar 'will have abundant reason to rejoice in the acquisition of this edition'; Moss 1,249; Brunet 2,1481/2: 'Belle édition faisant partie de la collection Variorum'; Graesse 2,17; Ebert 3344) (Details: 6 thongs laced through both joints. The frontispiece depicts Callimachus while offering to the gods. Title of the first volume in red & black. Engraved printer's mark on the title, it depicts Athena and Ceres, who are holding between them a painting with an allegorical scene which shows people harvesting a crop. They are surrounded by putti, the motto is: 'cultior his vita est'; another and bigger version of the printer's mark on the second title. 6 plates, showing statues of Greek gods, drawn by G. Hoet, and etched by I. van Vianen. Greek text with opposing Latin translation, commentary & notes) (Condition: Vellum slightly soiled; some gatherings are yellowing) (Note: The Greek poet and scholar Callimachus of Cyrene, c. 305 - c. 240 B.C. was given employment at the famous Alexandrian library. There he produced the first scientific literary history. 'It is clear that Callimachus was a poet of great originality and extraordinary refinement. His amazing productivity (...) was accompanied by bold experimentation in his poetry, and a great versatility of style. The scholarly element, it is true, often adds a frigidity to his verse, but the lively personal and realistic touches which appear, never allow his writings to degenerate into arid selections of obsure myths'. (OCD 2nd ed. p. 195/6) This edition of the surviving works of Callimachus of 1697 was prepaired by the Dutch scholar Theodorus Georgius Graevius (1669-1692), the promising son of the professor of Classics at the University of Utrecht, Johannes Georgius Graevius (1632-1703). The young man died when 23. The book was finished and published posthumously by his mourning father in 1697 with pain in his heart. 'Id non potest non gravissimum rescindere vulnus' he laments in the 'Dedicatio'. Johannes Georgius Graevius (Greffe), of German descent, was the last 42 year of his life a star of the first order which adorned the University of Utrecht. (Van der Aa 7,353/58 & Van der Aa 7,358). The young man, the father tells in the 'praefatio', was fascinated by Callimachus, and he was planning an edition of that poet with his own notes and commentary and that of others. Alas, an immature death took away the young man's hopes and promisses, but still he left his Callimachus finished. 'Non infrequenter' had he also corrected the Latin translation. When the German scholar Ezechiel Spanheim, 1629-1710, heard that the father was preparing the posthumous edition, he sent him all he had written about Callimachus. His 'In Callimachi Hymnos observationes' fill the second volume of the set. The fame of Graevius also enticed the 'splendissimum Britanniae lumen' Richard Bentley, 1662-1742, to send him old and new material, emendations and notes, he had on Callimachus in his portfolio. (On Spanheim see Sandys 2,327)) (Collation: Volume I: *-2*8, A-2D8 (minus leaf B8; STCN erroneously doesnot mention this omitted leaf; nothing however is missing, the pagination is correct, the catchword between p. 30 and 31 is correct, and the text also connects correctly), Ee4. 2a-2i8 (between leaf 2i3 and 2i4 have been bound 2 gatherings: +8, 2+4, in STCN notation: 2i8(2i3+8 24)), 2k-2p8, 2q4 (leaf 2q4 recto has 'aan den binder' (for the binder), where the irregular pagination of the first volume is explained) Volume II: 2*8, 2A-3E8, 3F4 (leaf 3F4 blank)) (Photographs on request) ‎

‎Actii Sinceri Sannazarii Neapolitani viri patricii, Opera latina omnia, & integra. Accedunt notae ad Eclogas, Elegias & Epigrammata. (Bound with:) Trium fratrum Amaltheorum, Hieronymi, Io. Baptistae, Cornelii Carmina. Editio secunda, plurimis in locis castigata. ‎

‎Amsterdam (Amstelaedami), Apud Henricum Wetstenium, 1689. ‎

‎12mo. 2 volumes in 1: (XXIV),238,(2 blank); (XII),132 p. Vellum. 15 cm (Ref: STCN ppn 842282777; Brunet 5,127; Graesse 6/1,265; Ebert 20262) (Details: 5 thongs laced through the joints. 2 titles, printed in red and black, each with the same woodcut printer's mark on it, depicting a celestial sphere. After the preliminary pages of the first volume come Sannazaro's Latin poems, p. 1/158, followed by explanatory notes, p. 159/238. The second volume contains the Latin poetry of the Amalthei brothers) (Condition: Vellum age-toned, back soiled. Bookplate pasted on the front pastedown. Old ink inscription in English, on the verso of the flyleaf at the end) (Note: We learn from the 'Praefatio' of the 'Opera omnia' edition of Sannazarius, Amsterdam 1728, that the editor and commentator of this edition of 1689 is the Dutch scholar Janus Broukhusius. Already on the first page of that 'Praefatio' of the Sannazarius of 1728, which was edited by the Dutch minor poet Pieter Vlaming, 1686-1733, the editor tells the reader that he used for his edition the previous edition of Broukhusius published by Wetstein. ('editionem Wetstenianam secutus ...' etc., Praefatio 1728, p. *6 recto) In addition we read on the title page of 1728: 'ex secundis curis J. Broukhusii'. This proves that the edition of 1689 was published by Janus Broukhusius, Joan van Broekhuizen in Dutch, 1649-1707. This scholar/soldier pursued during an adventurous life his classical studies and poetry at leisure. As a neolatin poet he is known as the 'Propertius of Holland'. (Sandys 2,329) In 1684 he published his 'Carmina', a collection of his Neolatin poetry. His editions of Propertius (1702) and Tibullus (1707) laid the foundation for his reputation as a classical scholar. He was admired as a latinist, for his taste and for his erudition. (NNBW 4,309/12) The Italian and Neo-latin poet Jacopo Sannazaro, 1458 -1530, in Latin Jacobus Sannazarius, also known as Actius Sincerus, was of noble birth, and a courtier at the court of the royal House of Aragon, kings of Naples. Here he found a humanist atmosphere favourable for the development of his talents. The humanist Giovanni Gioviano Pontano, 1426-1503, advisor and chancellor of the Aragonese dynasty, became his intellectual mentor. He took his young student in his Academy, the 'Accademia Pontaniana', under the name of 'Actius Sincerus'. There he deeply influenced his pupil's philological approach to antiquity and his knowledge of classical culture. After Pontanus' death Sannazarius became the head of this Academy. Sannazarius' masterwork 'Arcadia', written in Italian, exercised a great influence on European poetry, instituting the theme of the idyllic land Arcadia. He devoted the last decades of his literary activity exclusively to Neo-Latin poetry, modelled on Vergil. In the normative 'Tati Renaissance Library' Sannazarius is advertised as 'the finest Neo-Latin poet of the Italian Renaissance'. His 'corpus' of Latin poetry, written in an elegant style, was small but nevertheless very influential and widely read. We counted in KVK ca. 30 editions of his 'Opera Omnia' printed before 1689, the first of which was published by Aldus in 1535. His 'De partu Virginis', an epic of ca. 1450 verses, published in 1526, brought him the title of the 'Christian Vergil'. His style is said to be equal to Vergil, with whom he emulated. In his other works he also emulated with Ovid and Horace. In the first volume of this edition of 1689 we find Sannazaro's poetry; the collection opens with: 'De partu Virginis libri tres', a poem which Erasmus is said to have liked, though he found this poem on the birth of Christ too secular. Follows a short 'Lamentatio de Christi morte', then 5 'Eclogae', which renewed the bucolic genre, the traditional shepherds of Virgil being replaced here by fishermen. Follow Sannazarius' 'Elegiarum libri tres', and 3 books of 'Epigrammata'. The second volume contains the 'Carmina' of the brothers Hieronymus, Jo. Baptista and Cornelius Amaltheus (Jeronimo, born 1507, Giambatista, born 1525, and Cornelio Amaltheo), edited by the Dutch latinist Johannes Georgius Graevius, who was a friend of Broukhusius, the editor of the first volume. All 3 brothers were skilled and highly appreciated neo-latin poets. Hieronymus, whose style was of singular elegance and purity, so excelled in Latin poetry that he is placed by the French humanist Muretus, 1526-1585, among the most talented poets. Giambatista's Latin poems gave him a reputation equal to his brother. Cornelius left only a few Latin poems, he died young. They show that he shared the talents of his brothers. The poems of the brothers were first collected and published by Hieronymus Alexander at Venice in 1627. Graevius here offers a revised 'editio secunda') (Provenance: The armorial bookplate on the pastedown is of 'Henry A. Bright', its motto is 'Post tenebras lucem'. The family pedigree of the English merchant and author Henry Arthur Bright, 1830-1884, 'goes back to Nathaniel Bright of Worcester (1493-1564), whose grandson, Henry Bright, was canon of Worcester, and purchased the manor of Brockbury in the parish of Colwall, Herefordshire, which still remained in the family'. He was educated at Rugby School and at Trinity College, Cambridge. In Liverpool he was the centre of literary interests and literary friendships. He was a member of the Roxburghe Club and of the Philobiblon Society, as well as of the local historical and literary societies. (Source Wikipedia 'Henry Arthur Bright') The family had a substantial library put together over generations) (Collation: *12, A-K12,(leaf K12 blank); 2*6, 2A-E12, 2F6) (Photographs on request) ‎