‎DU VACHET (Pierre-Joesph)‎
‎Poemata.‎

‎Quinti Horatii Flacci Poëmata, Scholiis sive Annotationibus, instar Commentarii, illustrata à Joanne Bond. Editio nova.‎

‎Aurelianis (Orléans), Typis Couret de Villeneuve, Regis Typographi, 1767. 175 g In-12 (environ 16,1*9,1 cm), plein veau, dos lisse orné à la grotesque, triple filet sur les plats, roulette intérieure, tranches dorées, [1] ff., v-[1]-231 pp.. Ouvrage imprimé à Orléans par Martin Couret de Villeneuve avec des caractères typographiques qui se caractérisent par leur taille minuscule, inventés et gravés par Pierre-Simon Fournier, dit le Jeune (1712-1768) ce qui est indiqué par la mention imprimée au bas du dernier feuillet : ''Litterae, quibus impressus est hic Liber, à P.S. FOURNIER juniore incisae sunt''. Fournier était le beau-frère de Couret de Villeneuve. Ces caractères ont valu à cette édition des Oeuvres d?Horace d?être considérée dès sa sortie comme un chef-d?oeuvre typographique. Jolie édition copiée sur l'édition Elzevier de 1676 avec des corrections. Précédée d?une épître dédicatoire du philologue John Bond, les Poëmata sont constituées des Odes, Épodes, Chant séculaire, Satires, Épîtres dont L?Épître à Pison ou Art poétique. Suit une vie d?Horace et des témoignages sur son oeuvre. Brunet, III, 321; Quérard IV, 134; Schweiger, Lateinische, I, 411. Exemplaire relié à l'époque avec un frontispice par Duflos d'après Picart qui avait été créé pour des éditions antérieures (Cohen-Ricci, 498-499). Un mors fendu, quelques usures. . (Catégories : Poésie, )‎

‎[Poemata] Andini poematum libri quatuor : Elegiæ. Varia Epigr[ammata]. Amores [Faustinae]. Tumuli. [Les quatre livres de poèmes dAnjou : Élégies. Divers Épigrammes. Amours [de Faustine]. Tombeaux.]‎

‎Apud Federicum Morellum, in uico Bellouaco, ad vrbanam Morum | Parisiis 1558 | 16 x 22.7 cm | Relié‎

‎Rare édition originale, dont il nexiste aucune réimpression avant le xxe siècle, complète de toutes ses poésies néo-latines, écrites pour lessentiel à Rome. On trouve aussi deux poèmes en grec aux ff. 60 et 62, ainsi quun poème à lorigine du célèbre sonnet Heureux qui comme Ulysse. Reliure moderne en plein vélin souple, dos lisse, tranches rouges, contreplats et gardes blanches. Quelques défauts à lintérieur de louvrage?: discrète restauration en marge intérieure du verso de la page de titre?; petite déchirure sans manque en pied des ff. 2 et 3?; trace dhumidité en marge inférieure des ff. 25 à 28, et 45 à 48?; infime accident marginal au f. 44, sans atteinte au texte. Publié au mois de mars 1558, ce précieux exemplaire réunit quatre livres de poèmes latins Elegiæ. Varia Epigrammata. Amores Faustinae. Tumuli composés par Du Bellay à Rome et à Paris entre 1553 et 1557. Notre recueil, également référencés sous les noms de Poemata et uvres latines, fut imprimé la même année que trois autres ouvrages de la période romaine?: Les Regrets, Divers Jeux Rustiques et Les Antiquitez de Rome. * «Je parvins enfin à avoir les Poemata, recueil composé en latin durant la période romaine de Joachim du Bellay. Sa lecture fut une révélation, bouleversant ma compréhension de luvre. » (Éric Crubézy, Le Cavalier de Notre-Dame) Dans son manifeste de 1549, «?langevin?» écrivait contre les «?reblanchisseurs de murailles?» et leur poésie néo-latine. Pourtant, quatre années plus tard, dans la ville éternelle, lauteur fut à son tour bilingue. À la différence des autres recueils dits «?romains?», Les Regrets, Les Antiquitez de Rome et Divers Jeux Rustiques, tous écrits en langue vernaculaire, les Poemata furent entièrement rédigés en langue universelle, le latin. On trouve dans la pièce Ad lectorem (f. 16), quelques vers dans lesquels Du Bellay tente de justifier sa légère contradiction intellectuelle. Il utilise pour sa défense une image parlante?: «?Gallica Musa mihi est, fateor, quod nupta marito?: Pro Domina colitur Musa Latina mihi.?» [La Muse française est pour moi, je lavoue, ce quune épouse est pour son mari. Et cest comme une maîtresse que je courtise la Muse latine.] Une autre muse accompagnait également le poète pendant son exil romain?: Faustine, dont la «?lumière?» est omniprésente dans le livre des Amores. Sur le feuillet 37 de notre exemplaire, Du Bellay linvoque sous une variété de désignations?: elle est Pandore, dotée de tous les dons des dieux, mais aussi Déesse ou Colombe. «?Du Bellay laima vraiment, non plus de tête, comme il avait aimé Olive, mais avec son cur et sa chair, dune passion ardente, fougueuse, tourmentée.?» (Henri Chamard) Faustine des Poemata est une véritable romaine. La traduction de Thierry Sandre restitue son portrait?: «?elle avait des yeux noirs, des cheveux noirs, un front large dune blancheur de neige, des lèvres couleur de rose, et des seins sculptés par les mains de lAmour. Rome navait jamais vu et ne devait jamais voir femme plus belle, Faustine était charmante?». En 1558, au crépuscule de sa vie, Du Bellay ne chante plus lamour théorique comme il a pu le faire dans ses premiers recueils français, notamment dans LOlive en 1549. À Rome, au contact de la rime et de la femme latine, Du Bellay se livre sans retenue ni pudeur. «?Quelle différence entre Olive et Faustine?! La jeune romaine ne pétrarquisait pas?: laventure fut des plus simples.?» (Les Amours de Faustine, introduction de Thierry Sandre). Mais bientôt le mari de Faustine, «?trop froid, et laid, et vieux?» («?Sed quod frigidulus conjux, turpisque, senexque?» f. 36), «?ce rustre?» («?ferus?» f. 34), met fin à la romance courte mais bien réelle qui liait le gentilhomme français et la dame romaine. Lorsque Du Bellay quitte Rome à la fin du quatrième été. Jean Dorat, son professeur du collège de Coqueret, raille le retour de son brillant élève. Selon lui, en retrouvant sa patrie, Du Bellay se réappropriait certes la‎

‎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)) ‎

‎Poemata Pythagorae, & Phocylidis. Cum duplici interpretatione Viti Amerbachii. (Bound with:) Theognidis Megarensis Sententiae, cum versione latina, ita ut verbum verbo conferri possit, addita earundem explicatione, a Philip. Melanth. in Schola Wuiteberggensi. (And:) Sibyllinorum Oraculorum libri VIII. Addita Sebastiani Castalionis interpretatione Latina quae Graeco eregione respondeat. Cum annotationib. Xysti Betuleij in Graeca Sibyllina oracula, et Sebastiani Castalionis in translationem suamque annotationes numeris marginalibus signantur. ‎

‎Ad 1: Strasbourg (Argentorati), Apud Christianum Mylium, 1565. Ad 2: Leipzig (Lipsiae), Ioannes Rhamba excudebat, 1569. Ad 3: Basel (Basileae), Per Ioannem Oporinum, n.d. (Colophon at the end: 'Basileae, Ex officina Ioannis Oporini, Anno Salutis humanae 1555, Mense Augusto) ‎

‎8vo. 3 volumes in 1: Ad 1: 163,(4),(1 blank) p. Ad. 2: (95,(1 blank)) p. Ad 3: 333,(2),(1 blank) p. Vellum 17 cm (Ref: Ad 1: VD16 P 5452; Hoffmann 3,330 (not this year 1565); Schweiger 1,282 (also not this year). Graesse 5,516. Ad 2: VD 16 ZV 19766; Hoffmann 3,510; Schweiger 1,316. Ad 3: VD16 S 6278; Griechischer Geist aus Basler Presse 462, but see also 460 and 461; Hoffmann 3,396; Schweiger 1,287: 'Enth. Verbess. aus e. Mscr. des Marcus Antimachus zu Florenz. Andere Varr., welche nicht in den Text aufgenommen sind, stehen am Rande'. Brunet 5,370; Ebert 21169; Graesse 6/1,398) (Details: Three rare texts in an unattractive binding. Ad 1: Printer's mark on the title, depicting a furious swan within a laurel wreath. Ad 2: Woodcut round portrait of Melanchthon on the title. Ad 3: Greek text with opposing Latin translation; woodcut initials) (Condition: Vellum dyed red, soiled and very worn; endpapers gone. This was a convolute consisting of 4 volumes. One of them was once removed, leaving an open space exposing the 3 broad bands of an ancient manuscript to which the book has been sewn. First title soiled, and with an old manuscript note in the blank margin; its right edge of the first leaves thumbed. Occasional old ink underlinings and marginalia of the hands of 2 or 3 'adolescentes studiosi'. On the last page in old ink the first 10 lines of a poem of the Hungarian humanist Janus Pannonius, 1434-1472, known all over Europe, 'De paparum creandorum ritu immutato', in which he ridiculed the pope) (Note: Ad 1 & 2: The 'gnome' or 'sententia', the pithy expression of a general thought, is probably as old as human speech. In literature it is allready found in Homer, e.g. the much quoted proverb 'A multitude of masters is no good thing; let there be one master'. (Ilias, II,204) Early Greek poets, among whom Theognis and Phocylides, are supposed to have summarized the ethic doctrines in short 'gnomai', sayings which according to Aristotle are more credible than certain long argumentations. Famous Greek expressions of a striking thought everyone knows are 'gnôthi seauthon' and 'mêden agan'. The 'gnome' was used occasionally in poetry or prose, but as a literary form it can be traced back to the Greek poets Phocylides and Theognis. Phocylides of Milete wrote hexametric and elegiac 'gnômai'. According to Suda he lived ca. 540 B.C. The 200 or so hexameters of his 'Poema nouthêtikon, or 'poema admonitorium' were ascribed to Phocylides in the 16th century. It was first published under his name in 1495. In the 16th century this didactic ethical poem was a very popular schoolbook, as it had been on Byzantine schools for centuries. This edition was probably also meant for young students or schoolboys, it should be studied carefully by 'adolescentes studiosi'. A great number of editions, almost one every year, translations and commentaries were produced by schoolmasters in the 16th century. 'Die Richtung der Zeit ging recht ernstlich dahin, die Jugenderziehung auf eine Vereinigung biblischer Glaubens- und Sittenlehre mit klassischer Reinheit der Form zu gründen' (J. Bernays, Ueber das Phokylideische Gedicht', in 'Jahresbericht des jüdisch-theologischen Seminars', Breslau 1856, p. I) The 'poema admonitorium' then ascribed to Phocylides, was often combined with Theognis, whose work was already a schoolbook in antiquity. Was Theognis purely pagan, the reading of Phocylides was more in line with biblical ethics. The christian ethics found in the work of a noble pagan poet who lived in the 6th century before Christ proved the correctness of the bible, it was thought. The German classical philologist Friedrich Sylburg, 1536-1596, was the first to doubt the attribution of the 'poema admonitorium' to Phocylides. And in 1606 the French genius Joseph Scaliger proved on stylistic grounds, and with respect to the content that the real author was perhaps a Christian. After this the interest in the poem waned, and finally it sank into oblivion. Nowadays the author is called 'Pseudo-Phocylides'. Of the Greek elegiac poet Theognis, also flourishing ca. 540 B.C., survive 1389 lines. As with Phocylides there is dispute about their authenticity. 'We may conjecture that it was popular, if not composed, in aristocratic circles in Athens in the 5th century', C.M Bowra concludes for part of the work of Theognis. (OCD s.v. Theognis) Theognis' songs were probably sung at symposia during the 5th and 4th century B.C. In this time the anthology of verses was formed, which has come down to us. The Greek text of Theognis and its accompanying metrical Latin translation in distichs was produced by the German classical scholar and reformer Philippus Melanchthon, 1497-1560, also known as the intellectual leader of Lutheranism. At the age of 21 he became professor of Greek at the University of Wittenberg. This convolute contains also the Golden verses (carmen aureum or carmina aurea) which are attributed to the Greek philosopher Pythagoras. They were well known among educated readers in Antiquity. In the Renaissance the verses found, like Phocylides and Theognis, a place in schoolbooks. Nowadays the verses are relativily unknown among classicists. The 'carmen aureum' consists of 71 didactic hexameters. Every scholar who looked at these verses seems to have his own opinion about its author, origin and date. (Quot homines, tot sententiae) It is however clear 'from the testimonia that the Golden Verses was highly regarded in late antiquity as a concise formulation of principles of the philosophical life. The Neoplatonists, starting with Iamblichus, probably all used the poem as a propaedeutic moral instruction preparing the way for philosophy proper'. ('The Pythagorean Golden Verses'. With introduction and commentary by J.C. Thom, Leiden, 1995, p. 13) The testimonia indicate also that the authorship of the poem was already problematical in antiquity. (p. 15) The editor and translator of the Golden Verses and Phocylides is the German humanist Veit Amerbach, or in Latin Vitus Amerbachius, 1503-1557, who was first a Lutheran, but later converted to catholocism. He studied in Wittenberg, where he met Luther and Melanchthon. Later he turned against his former friends. Ad 3: Interest in the oracles of the Sibyl was at its height in the sixteenth century. Before 1600 messages of this prophetess were 'widely diffused and her fame led to depiction by noted artists, such as Van Eyk, Perugino, Pinturichio, Michelangelo, and Raphael, and even to musical settings of her verses'. (The Classical Tradition, Cambr. Mass., 2010, p. 884) The first female seer known as Sibyl appeared in the 6th century B.C. in connection with Erythrae, a Greek city in Asia Minor. In the first century B.C. the Roman scholar Varro listed already 10 different Sibyls. The collection of Greek prophecies of the Sibyl of Cumae (Sibyllini libri, the Sibylline books) had an official place in Roman religion, and were meant to guide the Romans through political and natural crises. In 83 B.C. the collection was destroyed by a fire in the temple of Iuppiter on the Capitolium. A new collection of ficticious oracles under the prestigious name of the Sibyls, was formed in late antiquity. 'The Sibylline books that became important in the later Western tradition were the product of Jews and Christians who seized on this form of revalatory literature for their own purposes'. (The Classical Tradition, p. 884) These Greek hexameters proclaimed the superiority first of Judaism, and then of Christianity. The verses criticized pagan gods and pagan immorality, and predicted their impending doom. Christians of the East and the West used the oracles as evidence that God had employed pagan female seers to announce the coming of Christ. The Sibylline oracles were widely used by many church fathers, Augustinus accepted even the Sibyl as a member of the 'City of God', because of the acrostic poem that hymned Christ's return. In the late Middle Ages new Sibylline prophecies were produced to promote forms of apocalypticism. The 16th century editors of the oracles were convinced of their religious worth and their authenticity. Italian humanists and platonists considered the oracles to belong to the 'prisca theologia'. 'But the 1599 Paris edition of Joseph Koch expressed doubts about the antiquity and authority of the verses'. A 'battle of books' ensued in the 17th century as classical scholars, such as Isaac Casaubon and Richard Simon mounted arguments against the authenticity of the oracles'. Nowadays they are 'studied for what they tell us about Judaism and Christianity in the Hellenistic and Roman worlds'. (The Classical Tradition, p. 885) This is the third and most complete edition of the Oracula Sibyllina which the Basler publisher Johannes Oporinus produced. The first one of 1545, the 'editio princeps' of these prophecies, contains the Greek text only. The second of 1546 offers a Latin translation only, and the third of 1555 combines the Greek text and Latin translation. The Augsburger poet, classical scholar and 'Schulrektor' Sixt Birk, or in Latin Xystus Betuleius, 1501-1554 is the editor of the 'editio princeps', ca. 4200 Greek hexameters in 8 books, which he had found in a manuscript that the government of Augsburg had recently acquired in Venice. The manuscript, he says, 'recens est: eleganter quidem, & splendide, sed (...) parum orthographice scriptus'. (p. 16/17 of the prefatory letter) The verse collection consists of ancient pagan, jewish and christian prophecies. In his introductory letter of 1545, which is reprinted in the 1555 edition, Betuleius declares that he used the manuscript to elucidate many references to the oracles of the Sibyls in the 'De Divina Institutione' of Lactancius. He is convinced of the christian nature of the oracles, in which the will of God has found an expression. 'Misit benignissimus Deus (...) suae voluntatis interpretes'. (p. 8) Betuleius honestly declares that he lacks the time and the erudition to produce a commentary and a translation into Latin. 'Non dubito quin futuri sint, qui his vaticiniis, licet multis in locis truncatis & mutilis, vel interpretatione, vel enarratione sint lumen aliquod illaturi'. (p. 8 ) The next year, 1546, saw already the hoped for Latin translation of this difficult text. It was produced by the French humanist scholar Sebastian Castellio, also known as Sebastianus Castalio, or in French as Sébastien de Châtillon, 1515-1563. He was rector of the school in Geneva, but had to leave the city because he was a defender of religious tolerance, and was accused of undermining the prestige of the calvinist clergy. Reduced to utter poverty he went to Basel in 1544 and began proof-reading for the publisher Oporinus, and producing Greek, Hebrew and Latin translations. This Latin translation (the second book on the oracles which Oporinus published) must have been among his first jobs for Oporinus. In 1551 Castellio published his Latin translation of the Bible. In Basel Castellio's fortunes improved and in 1553 he was appointed professor of Greek. In the dedication which precedes the translation of the oracles Castellio defends the authenticity and the divine nature of the Sibylline oracles. 'Haec igitur oracula Sibyllae' (...) vera sunt'. (p. 18) He used for his translation the original Greek manuscript which Betuleius had sent to Oporinus, and 2 other manuscripts. Castellio offers also variant readings contributed by the Italian scholar Marcantonio Antimaco, or in Latin Marcus Antonius Antimachus, 1473-1552, who was a prolific humanist translator of Greek texts, and who was the owner of one of the two manuscripts ('qui vetus habet exemplar', p. 17). Castellio's translation of the Sibylline Oracles is 'zwar metrisch, doch nicht weniger wörtlich als eine Prosaübersetzung. An einigen Stellen habe er den Text verbessern können, an andern Lücken belassen oder Teilübersetzungen in Prosa bieten müssen'. (Griechischer Geist aus Basler Presse no. 461) Castellio raises in his preface the problem that the Sibylline books may be forgeries, 'either relatively recent ones, of from the early Christian period. Both possibilities he denies, saying that it would have been too difficult for any recent forger, and that Ancient references to Sibyls as well as Virgil's 4th Eclogue argue against an earlier one. (...) At all events, the publication of these texts set in motion a slow but inexorable process of textual criticism which meant that by the 17th century scholars were prepared to say that Lactantius and even St. Augustine had been mistaken in believing these oracles to be of great antiquity'. (J. Britnell, 'The rise and fall of the Sibyls in Renaissance France' in 'Schooling and Society', edited by A.A. MacDonald & M.W. Twoney, Leuven, 2004, p. 179) Castellio added also his annotations to the text. The third Oporinus edition of the Sibylline oracles of 1555 was also edited by Castellio, and contains the introductions to the editions of 1545, 1546 and of 1555, the Greek text of Betuleius, corrected by Castellio, and his Latin translation, printed parallel to the Greek text. Castellio added his own notes and those of Betuleius. At the end we find the 'iudicia' of Eusebius and Augustine concerning the Acrostiches of Sibylla Erithraea; included is also the acrostichon of the Sibylla, 'IESUS CHRISTUS DEI FILIUS SERVATOR CRUCS' (p. 290/91), and other Sibyllan prophecies on Christ; Castellio added also a Latin verse translation of 5 1/2 pages of the so-called 'Carmen Mosis', a long prophetic poem, (Deuteronomium, chapter 32), which is said to have found a place in the Ark of the Convenant. Castellio erroneously refers to this 'Song of Moses' as 'Exodus, chapter 32'. (p. 328)) (Collation: Ad 1: A-K8, L4 (leaf L4 verso blank) Ad 2: A-F8 (leaf F8 verso blank). Ad 3: a-x8 (leaf x8 verso blank) (Photographs on request) ‎

‎Quincti Horati Flacci Venusini Poetae Lyrici Poemata Omnia [suivi de :] In Quinti Horatii Flacci Venusini, Poetae Lyrici, Poemata Omnia, Rerum ac verborum locupletissimus Index‎

‎ Antverpia, Ex officina Christophori Plantini [Anvers, Christophe Plantin], 1576-1575. 2 ouvrages en 1 vol. in-16, 294-[2]-230-[2] pp. a-s8 t4 A-M8 O4 N8 O5-8 P4, maroquin rouge, décor doré à la Du Seuil sur les plats, le monogramme doré L.B. dans les coins, un blason doré au centre, dos à nerfs orné de caissons dorés et du monogramme doré L.B., tranches dorées (Épidermures, 1 mors fendu, coins émoussés, le cahier N8 a été intercalé entre les ff. O4 et O5 sans manque de texte, pâles mouillures, quelques taches et rousseurs). ‎

‎Troisième édition des oeuvres complètes d'Horace publiée par les presses de Christophe Plantin. Elle a été composée de façon à faire pendant au second texte dans le présent ouvrage : un index des mots et expressions employés dans ces Oeuvres complètes, établi par Tomasz Treter, un poète et traducteur de latin polonais. L'auteur l'a composé sur l'édition des oeuvres horaciennes parue chez Gryphe à Lyon, en 1545. Ce qui a obligé Plantin à reprendre le texte et la pagination de cet ouvrage pour ses Oeuvres pour qu'elles correspondent à celles de l'Index. Exemplaire réglé comportant quelques passages soulignés. Reliure de maroquin aux armes de la famille Castellan O.H.R. 802. Ex-libris manuscrit Crystallin prêtre, daté de 1772 et ex-libris manuscrits biffés au titre. Selleslach, Kristof ; Van Loon, Zanna. "Poemata omnia, 1576" in The Plantin Press Online, Brill, 2024 [en ligne]. * Membre du SLAM et de la LILA / ILAB Member. La librairie est ouverte du lundi au vendredi de 14h à 19h. Merci de nous prévenir avant de passer,certains de nos livres étant entreposés dans une réserve. ‎