2630 books for « giovanni »Edit

‎Les Aventuriers + La loi du Survivant. ( Avec jaquette photo et magnifique lettre autographe de deux pages, sous enveloppe, écrite par José Giovanni et adressée à Auguste le Breton + en bonus le DVD du film ).‎

‎ Editions Gallimard 1960. In-12 broché de 278 pages au format 19 x 12 cm. Couverture illustrée. Dos carré. Plats et intérieur frais. Complet de la rare jaquette avec photographies extraites des films ( Alain Delon, Lino Ventura, Joanna Shimkus, Michel Constantin et Alexandra Stewart ). Superbe état général. Rare édition originale. Précieux exemplaires avec une magnifique lettre autographe de deux pages, sous enveloppe, écrite par José Giovanni et adressée à Auguste le Breton. Provenance idéale. On joint en bonus le DVD du filmDe ce roman furent réalisé 2 films : Les Aventuriers réalisé par Robert Enrico, sorti en 1967 avec scénario et dialogues de Robert Enrico, José Giovanni et Pierre Pelegri. Il s’agit de l’adaptation de la première partie du roman homonyme de José Giovanni avec dans les rôles principaux : Lino Ventura, Alain Delon, Joanna Shimkus, Serge Reggiani, Paul Crauchet, Odile Poisson. La seconde partie du roman, a été adaptée au cinéma la même année sous le titre " La Loi du survivant " par José Giovanni lui-même. Il s'agit de la première réalisation de José Giovanni sur son scénario et ses dialogues. On trouve dans les rôles prtincipaux : Michel Constantin, Alexandra Stewart, Edwine Moatti, Roger Blin. ‎

8 Images

‎ Site Internet : Http://librairie-victor-sevilla.fr.Vente exclusivement par correspondance. Le libraire ne reçoit, exceptionnellement que sur rendez-vous. Il est préférable de téléphoner avant tout déplacement.Forfait de port pour un livre 7 €, sauf si épaisseur supérieure à 3 cm ou valeur supérieure ou égale à 100 €, dans ce cas expédition obligatoire au tarif Colissimo en vigueur. A partir de 2 livres envoi en colissimo obligatoire. Port à la charge de l'acheteur pour le reste du monde.Les Chèques ne sont plus acceptés.Pour destinations extra-planétaire s'adresser à la NASA.Membre du Syndicat Lusitanien Amateurs MoruesLivres‎

‎Giovanni David. Pittore e Incisore della Famiglia Durazzo‎

‎Newcome Schleier, Mary and Giovanni Grasso: Giovanni David. Pittore e Incisore della Famiglia Durazzo. Turin: Artema, 2003. 213pp with 52 colour and 134 monochrome illustrations. Hardback. 24.6x25cms. Giovanni David 1743-1784 is now best known for his etchings pioneering the technique of aquatint, but was also a versatile painter and draughtsman who, with his predilection for dramatic subjects and fascination with death, was a precursor of Romanticism. Includes two recently discovered albums of drawings of views of English and French gardens, palaces and townscapes he made, during a tour across Europe accompanying members of the Durazzo family. Text in Italian.‎

‎Giovanni David 1743-1784 is now best known for his etchings pioneering the technique of aquatint, but was also a versatile painter and draughtsman who, with his predilection for dramatic subjects and fascination with death, was a precursor of Romanticism. Includes two recently discovered albums of drawings of views of English and French gardens, palaces and townscapes he made, during a tour across Europe accompanying members of the Durazzo family. Text in Italian‎

‎Giovanni Bellini‎

‎Lucco, Mauro; Giovanni C. F. Villa: Giovanni Bellini. Exhibition: Rome, Scuderie del Quirinale, 2008. 384 pages. Paperback. 28x23cms. Text in Italian.‎

‎Text in Italian‎

‎Giovanni Lanfranco 1582-1647‎

‎Bernini, Giovanni-Pietro: Giovanni Lanfranco 1582-1647. Parma: Centro studi della Val Baganza / Associazione Comunità di Terenzo, 1982. 372pp with 200 monochrome illustrations, most full-page. Paperback. 24x17cms. With bibliography, biography, letters. Text in Italian.‎

‎With bibliography, biography, letters. Text in Italian‎

‎6 (six) sonates a violon seul et basse relié avec Viotti,6 (six) sonates a violon seul et basse‎

‎ Paris : Imbault, S.d.(avant 1800) .-IN4 demi velin,dos lisse SONATES (6) A VIOLON SEUL ET BASSE. 2E LIVRE DE SONATES /par BRUNI, Antonio Bartolomeo .Platenumber N) 363- 49 p. qques rousseurs,Cachet : Janet et Cotelle. ; relé avec 35 cm.VIOTTI Giovanni Battista SONATES (6) A VIOLON SEUL ET BASSE... DEUXIEME LIVRE DE SONATES DE VIOLON / par VIOTTY, Giovanni Battista .-Paris : Imbault, S.d.(1789 ?) .-51 p. ; Platenumber N°180.;Cachet : Janet et Cotelle.EDITION ORIGINALE ?(Couvertures légèrement défraîchies.‎

6 Images

‎plats reliure leg. defraichis,qques rousseurs eparses.Viotti, an Italian violinist and composer, "was the most influential violinist between Tartini and Paganini and the last great representative of the Italian tradition stemming from Corelli. He is considered the founder of the 'modern' (19th century) French school of violin playing, and his compositions, among the finest examples of Classical violin music, exerted a strong influence on 19th-century violin style." (Grove Online) World cat dit :BRUNI Antonio Bartolomeo,between 1807 and 1811: For violin with the acc. of a second violin.Publication date from Dictionnarire des éditeurs de musique / Devries & Lesure.Engraved.1 score (49 pages) ; 33 cm Contents: No. 1, D major.--No. 2, G major.--No. 3, B major.--No. 4, F major.--No. 5, C major.--No. 6, A major.Voor 2 violen.Toonsoorten: D, G, Bes, F, C, A gr.t. Description: 1 partituur (49 p.) ; 33 cm BNF dit :Tirage différent de celui conservé à Paris, BnF, Musique sous la cote VM7-1075 : adresse légèrement différente ; sans catalogue de l'éditeur. Description: 2 ff. limin., 49 p. ; In-fol More information: Notice et cote du catalogue de la Bibliothèque nationale de France Viotti, Giovanni Battista (1755-1824). :Six Sonates a violon seul, et basse, composées par M. Viotti. IIe livre de Sonates de violon. [White V, 7-12] [Musique imprimée]Publication:A Paris : chez Imbault, [C. 1789] Description matérielle:In-fol., 51 p. Note(s):Sign. de l'éd. Cotage 180 (Imbault) Daté d'après White. - Cachet : Janet et Cotelle. - Cotage : 180.Fait partie d'un recueil factice. - Ancienne cote : 1801.Dépôt du Conservatoire national de région de Montpellier.Notice rédigée par Aram LR. Description: 1 partition ([2], 51 p.) ; 34 x 26 cm Responsibility: composées par M.r Viotty. ‎

‎Descrizione delle Pitture, Sculture, ed Architeture, Che si osservano nella Città di Mantova, e ne' suoi Contorni, data in luce, a comodo singolarmente de' Forestieri , da Giovanni Cadioli, Pittor Mantovano, ed Architetto Teatrale‎

‎Cadioli, Giovanni: Descrizione delle Pitture, Sculture, ed Architeture, Che si osservano nella Città di Mantova, e ne' suoi Contorni, data in luce, a comodo singolarmente de' Forestieri , da Giovanni Cadioli, Pittor Mantovano, ed Architetto Teatrale. Mantua: Per l'Erede di Alberto Pazzoni, 1763. 136 pages, with woodblock vignettes. In an elegant contemporary red leather binding with five raised bands, floral gilt panels and gilt borders, gilded paper'damask' dentelles, all edges gilt. 19.5 x 12.5cms. Giovanni Cadioli (1710 -1767) was a Mantuan artist. In 1752 established the Academy of Fine Arts of Mantua, and later became its director. Text in Italian.‎

‎Giovanni Cadioli (1710 -1767) was a Mantuan artist. In 1752 established the Academy of Fine Arts of Mantua, and later became its director. Text in Italian‎

‎La geometria prattica. Cavata da gl'elementi d'Euclide et d'altri famosi autori. Con l'espositione di Gio. Scala matematico. ... Opera necessaria à misuratori, ad architetti, à geografi, à cosmosgrafi, à bombardieri, à ingegneri, à soldati & à capitani d'eserciti.‎

‎Roma, Gio. Angelo Ruffinelli, [à la fin Andrea Fei], 1624 [1623].‎

4 Images

‎ Beau titre gravé dans un décor architectural, 51 planches gravées à pleine page et une grande devise de l'imprimeur à l'ancre aldine gravée sur bois à la fin. Seconde édition, (une remise en vente de la première de 1599, avec une nouvelle page de titre et un nouveau feuillet de dédicace). Ouvrage posthume du mathématicien Giovanni Pomodoro, né à Venise et mis en lumière par Giovanni Scala, ingénieur, qui a ajouté des notes et 7 planches. C'est un manuel à l'usage des arpenteurs, des cartographes, des architectes et des militaires. Les 51 jolies planches - le titre en annonce 50 - montrent des instruments, des figures géométriques, des opérations de mesures sur le terrain, des plans architecturaux, etc... Riccardi I (2) 301. Harvard catalogue 394. Petite restauration au coin de la page de titre. Bon exemplaire. /// In-folio de (58) ff., [A-M4, N6, O2] Vélin. (Reliure de l'époque.) //// Attractive engraved title in an architectural ornamentation, 51 full-page engraved plates and a large woodcut printer's mark with an aldine anchor at the end. Second edition, (a reissue of the first of 1599, with a new title page and a new dedication leaf). Posthumous work of the mathematician Giovanni Pomodoro, born in Venice and brought to light by Giovanni Scala, engineer, who added notes and 7 plates. It is a manual for the use of surveyors, cartographers, architects and military. The 51 beautiful plates - the title announces 50 - show instruments, geometric figures, field measurements, architectural plans, etc... Riccardi I (2) 301. Harvard catalog 394. Small restoration to the corner of the title page. A good copy. /// PLUS DE PHOTOS SUR WWW.LATUDE.NET‎

‎De morte Christi & propria cogitanda libri tres. Eiusdem de studio divinae et humanae philosophiae libri duo. - [REVIVING SCEPTICISM - ONE OF THE EARLIEST INTERPRETATIONS OF THE MEANING OF THE DISCOVERY OF AMERICA]‎

‎Bologna: Benedictus Hectoris, 1497. 4to. Early limp vellum (around 1600-1650) with handwritten title to spine. A very fine and clean copy, internally as well as externally. Nice crisp, clean, and fresh pages, with only very light occasional minor brownspotting. A small tear to the last page, not repaired, and no loss. The colouring of the initials has gone through on some versos, but there is no obscuring of text. Handwritten ex libris to the first page (Collegii Parisiensis Societatis, 1688), an early handwritten note to pasted-down front end-paper, as well as a shelf mark, a printed late nineteenth-century Italian bookseller's description and the small book-label of William Le Queux. Handcoloured blue and red initials, and other capitals touched in yellow. 72 leaves. A lovely copy of a beautiful and charming book. FROM THE LIBRARY OF WILLIAM LE QUEUX. ""William Le Queux was a famous journalist, writer and celebrated novelist, a master of the spy genre, and a vociferous critic of Britain's weak military defences before the First World War, known at the time and for the next twenty years as ""The Great War"".He is acknowledged as the principal precursor of that famous spy story author of the second half of the twentieth century, namely Ian Fleming.""See:Schill, ""Gianfrancesco Pico della Mirandola und die Entdeckung Amerikas"", 1929"" Popkin: ""The History of Scepticism. From Savonarola to Bayle"", 2003"" Schmitt: ""Gianfrancesco Pico della Mirandola (1469-1533) and his critique of Aristotle"", 1967"" Copenhaver & Schmitt: ""Renaissance Philosophy"", 1992"" Garin: Italian Humanism"", 1965.‎

‎Exceedingly scarce first edition of the two highly important works ""On Remembering the Death of Christ and Oneself"", which is dedicated to Savonarola in the year before he was condemned and hanged, and ""On the Study Divine and Human Philosophy"", being Gianfranceso Pico's seminal first philosophical work, in which the foundation for his philosophical theories are laid and which foreshadows the scepticism of his ""Examen"", for which he became famous as the first modern Sceptic. The present publication is furthermore the first in which Gianfr. Pico refers to the discovery of America"" the work was written merely a couple of years after Columbus' discovery became known - printed a mere three years after the Columbus Letter - and Pico's references in the present work constitute one of the first testimonies to the awareness of the meaning and importance of the discovery of the New World and is considered a highly important piece of 15th century Americana. The present publication is of the utmost importance to Renaissance thought and the development of the modern world. It constitutes one of the earliest testimonies to the general influence of the discovery of America upon contemporary Europe as well as being the first serious attempt we have of reviving the Scepticism of Sextus Empiricus and utilizing it in modern thought, providing a seminal premonition of the exact way that scepticism was to be used ab. 70 years later. Pico also directly influenced the translators of the first printed edition of any of Sextus' writings (1560's). Giovanni Francesco [Gianfranceso] Pico della Mirandola (1470-1533), not to be confused with his uncle Giovanni Pico della Mirandola (1463-1494) was a highly important Renaissance thinker and philosopher, who was strongly influenced by the Neoplatonic tradition, but even more so by the preaching of Girolamo Savonarola, whose thought he defended throughout his life. The first of the two treatises printed here ""De morte Christi & propria cogitanda"" is the first work that Pico dedicates to Savonarola, the year before his condemnation, and it marks his lifelong devotion to the prophetic Renaissance preacher. As Schill points out, this important treatise was finished at the most three years after Columbus' discovery of America became known. It is the first treatise in which Pico mentions and treats the seminal discovery, an interest that he was to maintain throughout all of his later writings. Gianfr. Pico was very well connected, not least through the merits of his uncle, and he keeps appearing in close connection with the most important and famous early scholars, historians, publicizers and popularizers of the discovery of America. For instance, he was a close friend and correspondent of Matthaeus Ringmann, the man who gave to America its name. As such, Pico played an important role in the earliest history of the discovery of America, both due to his influential connections and due to his insightful reflections upon this discovery and the meaning it would have and had on man, his relationship to Christ, God, and the Universe. The work deals with the discovery in the most interesting way, enrolling it in man's relation to the universe and to God. It is a religious-moral treatise on the duty of man to remember Christ's death and his own. Gianfr. Pico establishes an inner connection in man with the human nature of Christ and uses the discovery of this new part of the world to express the limitless inner connection of man with Christ. The effect that the Columbus Letter (1493) had upon the people of the Renaissance - the wondrous astonishment that this discovery affected, although at the time it was merely thought to be a discovery of a continent that had been known since Antiquity, namely Asia - can only properly be understood when reading the earliest sources of this discovery. Pico was among the very first to describe what this discovery meant to man, and his work is an invaluable source to the early history of the discovery of America. He inscribed Columbus' discovery in Christianity and in man's inner relation to Christ. He explains how, through unceasing pious contemplation and a true, inner, heartfelt urge, it will be possible for man to obtain an inner connection with Christ. ""And it does not even require great effort. It is not about reaching India"" not to explore the erithrean shores […] On the contrary, we are drawn to him by a natural force."" (De morte Christi). ""And thus, the younger Pico here appears from the very beginning as a diverse and stimulating character, who does not refrain from weaving in to his pious or learned discussions experiences of daily life and contemporary history as examples and comparisons, and which due to this very fact also becomes an unerring mirror for the true, inner participation of the intellectual upper class of Europe in such events that concern us here."" (Own translation from the German of Schill, p. 20). Shill provides many further examples of Pico mentioning and using Columbus' discovery in this his first work and the importance the work thus comes to have on our knowledge of the earliest understanding of the consequences of the discovery. ""Even where he doesn't directly mention the discoveries, suddenly allusions to them appear woven into a biblical or otherwise spiritual quotation, be it involuntary, or be it intentionally, providing a special emotional momentum."" (Own translation from the German of Schill, p. 22). Just like his uncle, Gianfr. Pico devoted his life to philosophy, but being a follower of Savonarola and having a Christian mission, he made it subject to the Bible. He even depreciated the authority of the philosophers, above all of Aristotle. ""His [i.e. Gianfrancesco Pico] uncle and his uncle's circle of Florentine friends were important influences on the younger Pico, who also continued the older philosopher's devotion to Savonarola, even after Florence tired of him in 1498. Gianfrancesco lived longer than his uncle, from 1469 to 1533, but he spent much of his time fighting his relatives to keep the little princedom that he bought from Giovanni in 1491, so his published output of more than thirty works, about a third of them philosophical, is remarkable. Savonarola taught him to exclude reason from religion and to distrust philosophers as infidels, and Gianfrancesco modified the friar's views mainly by reinforcing them with his greater learning. As early as 1496 [written in 1496, printed in 1497], in one of his first works, ""On the Study of Divine and Human Philosophy"", he distinguished divine philosophy, rooted in scripture, from human philosophy based on reason"" he denied that Christians need human wisdom, which is as likely to hinder as to help the quest for salvation."" (Copenhaver & Schmitt, p. 245). This seminal treatise, one of his very first productions, and the earliest philosophical one that he wrote, sharply differentiated human philosophy, based on reason, from divine philosophy, based on scripture, and dismissed human and rational philosophy as useless, and perhaps even harmful. It is to those means that Gianfr. Pico, as the first thinker since Antiquity, uses the teachings of Sextus Empiricus. Even the violent condemnation, hanging, and burning of Savonarola in the main square of Florence in 1498 did not prevent Pico from spreading his radical views. ""At the very beginning of the 16th century [recte end of the 15th], Gian Francesco Pico, the nephew of Pico della Mirandola, had predicted the final failure of all attempts at reconciliation of the different philosophical movements. Gian Francesco Pico was a thinker of very considerable stature and a follower of Savonarola. There was a touch of tragedy about his personality. For his life was suspended, as it were, between the scaffold of Savonarola and incessant family feuds - in the course of one of which he was finally killed. No wonder that he borrowed from the scepticism of Sextus Empiricus in order to destroy philosophy to make more room for religion."" (Garin, p. 133). Gianfr. Pico, a learned scholar and apt reader of classical texts, was the first Renaissance thinker that we know to have seriously studied and used the works of Sextus Empiricus, which were not printed until the 1560'ies, causing a revolution in Renaissance thinking. ""The printing of Sextus in the 1560s opened a new era in the history of scepticism, which had begun in the late fourth century BCE with the teachings of Pyrrho of Elis. [...] Before the Estienne and Hervet editions, Sextus seems to have had only two serious students, Gianfrancesco Pico at the turn of the century and Francesco Robortello about fifty years later."" (Copenhaver & Schmitt, pp. 240-41). ""No significant use of Pyrrhonian ideas prior to the printing of Sextus' ""Hypotyposes"" has turned up, except for that of Gianfrancesco Pico della Mirandola [...] His writings may seem isolated from the main development of modern skepticism that began with the publication of the Latin translations and modernized formulation of ancient scepticism offered by Michel de Montaigne. However, they represent a most curious use of skepticism that reappears in the early seventeenth century with Joseph Mede and John Dury and the followers of Jacob Boehme and in the early eighteenth century in the writings of the Chevalier Ramsay, the first patron of David Hume, to fortify or justify prophetic knowledge."" (Popkin, p. 20). Gianfr. Pico develops his sceptical arguments to their fullest extent in his ""Examen"" (1520), which is considered his main work. However, the foundation of all these ideas are laid in the present work, which must be considered, not only his first philosophical treatise and the beginning of all of his philosophy, but also one of, if not the, earliest printed testimonies to the use of scepticism and a premonition of the role that skepticism came to play in Renaissance thought, primarily after the first printings of Sextus in the 1560'ies. ""No discovery of the Renaissance remains livelier in modern philosophy than scepticism"". (Copenhaver & Schmitt, p. 338). ""The revived skepticism of Sextus Empiricus was the strongest single agent of disbelief"". (ibid., p. 346). In the writings of his last years (1492-94) Giovanni Pico, Gianfr. Pico's famous uncle, known as the ""Phoenix of his age"", had moved closer to the views of Savonarola and became a follower of Savonarola's religious reform movement just before his death. Gianfr. Pico was heavily influenced both by his uncle and by Savonarola, with whom he became involved in 1492, being attracted to his ideas and probably also by the anti-intellectual tendencies of the movement. Thus, in the middle of the 1490'ies, at the very beginning of his career, Gianfr. was clearly resolved to discredit all of the philosophical tradition of pagan antiquity. ""Gianfrancesco Pico's first writing on philosophy [i.e. De Studio Divinae & Humanae], completed during Savonarola's period as spiritual leader of Florentine democracy, sought to delineate the difference between (true) Christian knowledge and pagan and non-Christian opinions.[...] Pico's later attitudes apparently held the seeds of the antiphilosophy developed by his nephew."" (Popkin, pp. 20-21). ""Pico was visited by Johannes Reuchlin in 1490 and showed him his kabbalistic materials. His nephew, Gianfrancesco Pico, already a disciple of Savonarola, was making the views of Sextus Empiricus available in Latin and also became involved with Reuchlin."" (Popkin, 25). ""As the only Greek Pyrrhonian sceptic whose works survived, he [Sextus Empiricus] came to have a dramatic role in the formation of modern thought. The historical accident of the rediscovery of his works at precisely the moment when the sceptical problem of the criterion had been raised gave the ideas of Sextus a sudden and greater prominence than they had ever before or were ever to have again. Thus, Sextus, a recently discovered oddity, metamorphosed into ""le divin Sexte"", who, by the end of the seventeenth century, was regarded as the father of modern philosophy. Moreover, in the late sixteenth and seventeenth centuries, the effect of his thoughts upon the problem of the criterion stimulated a quest for certainty that gave rise to the new rationalism of René Descartes and the ""constructive skepticism"" of Pierre Gassendi and Martin Mersenne."" (Popkin, p. 18).""The revival of ancient philosophy was particularly dramatic in the case of scepticism. This critical and anti-dogmatic way of thinking was quite important in Antiquity, but in the Middle Ages its influence faded [...] when the works of Sextus and Diogenes were recovered and read alongside texts as familiar as Cicero's ""Academia"", a new energy stirred in philosophy"" by Montaigne's time, scepticism was powerful enough to become a major force in the Renaissance heritage prepared for Descartes and his successors."" (Copenhaver & Schmitt, pp. 17-18). But not only in being the first serious attempt that we have of reviving the Scepticism of Sextus Empiricus, was Gianfr. Pico's work on divine and human philosophy of great importance to the development of Renaissance thought. The entire foundation upon which the work is based - a sharp differentiation between human philosophy (reason) and divine philosophy (scripture) - comes to play a dominant role in the development of 16th century Renaissance thought. The work, ""dedicated to Alberto Pio of Carpi, shows certain indications of Savonarola's influence and gives us the first glimpse of Pico's unfavourable attitude toward secular philosophy, a viewpoint which will be developed in greater detail in his ""Examen Vanitatis"", published in 1520. (Schmitt, p. 50).""Throughout the early modern period, from Ficino and Pico to Newton and Leibniz, such convictions [of the unity of truth) supported a pattern of historiography that could never have emerged without the humanists, even though it did not preserve their fame for modern times. Other myths of classicism and Christianity outlived the fable of ancient theology because they conflicted less flagrantly with the findings of historyThe purpose of the ancient theology was to sanctify learning by connecting it with a still more ancient source of gentile wisdom that reinforces sacred revelation. Rather than baptize the heathens as Ficono or the older Pico wished, some early modern critics damned them, and one of the most aggressive thinkers of this school was the younger Pico. He saw an impassable gulf between Christian and pagan belief where his uncle had tried to build bridges."" (Copenhaver & Schmitt, p. 337). BMC VI:843" Goff: P644 ‎

‎L'ARTE DE' CENNI con la quale formandosi favella visibile, si tratta della muta eloquenza, che non e altro che un facondo silentio. Divisa in due parti. [...] Di Giovanni Bonifaccio.‎

‎ 1616 In Vicenza: appresso Francesco Grossi, 1616. Petit in-4: 16 x 22 cm, 10 ff. n. chiff. de pièces lim., 623-[1] pp. Edition originale de cette rarissime curiosité littéraire consacrées aux gestes. Reliure en veau blond. Dos à cinq nerfs. Titre en capitales dorées et caissons ornés de fleurons. Deux filets en encadrement des plats. Tranches mouchetées. Manque à la coiffe de tête, gouttière fragilisée. Marges des premiers ff. raccourcis sinon ouvrage parfaitement propre et frais.‎

‎Cette étude systématique des gestes, L'arte de' cenni est un texte extraordinaire, absolument unique qui examine le langage non verbal. L'ouvrage se présente comme un répertoire de plus de six cent vingt formes d'expression corporelle, avec l'indication de leur signification. Sans images, il s'agit de gestes prix exclusivement dans des uvres littéraires (Bible, Virgile, Ovide, Cicéron, Horace, l'Arioste, Pétrarque, Dante et le Tasse). Le traité de Giovanni Boniface (1547-1635) se fonde sur la conception traditionnelle selon laquelle la manière de se comporter à l'extérieur reflète la psyché interne. Le répertoire s'articule en deux parties. Les première fait la liste des gestes selon les membres du corps utilisés; la seconde entend noter le rôle des gestes dans chaque activité humaine. (Réf.: Alessandro Arcangeli, « La danse et la codification dun langage des gestes dans lArte de cenni (1616) de Giovanni Bonifacio », e-Phaïstos [Online], IV-1 | 2015). Giovanni Bonifacio est né dans une noble famille de Rovigo. Il étudie le droit à Padoue et exerce le métier d'avocat dans plusieurs villes, dont Venise. Il est l'auteur de pièces de théâtre, de poésies, d'une histoire de Trévise, et notamment le court conte fantastique et utopique intitulé " La république des abeilles" (1627). (Kendon, Gesture, 2004, p. 23). Langue‎

‎Serodine nel Ticino‎

‎Agosti, Giovanni and Jacopo Stoppa: Serodine nel Ticino. Exhibition: Rancate, Pinacoteca cantonale Giovanni Zust, 2015. 144 pages, with 129 colour and black and white illustrations. Hardcover. 31 x 25.5cms. Text in Italian.‎

‎Text in Italian‎

‎Novelle Di Giovanni Sercambi Lucchese Ora Per La Prima Volta Publicate‎

‎ Tipografia Di Alvisopoli 14 x 20 Venezia 1816 Volume petit in-8°, pleine reliure de fine percaline verte d'époque, dos lisse orné de doubles filets dorés, titre doré, XIV-122 p., grandes marges. Dédicace (I-XIV p.) de Bartolomeo Gamba "al nobilissimo uomo il signor marchese Gio. GiacomoTrivulzio". Rarissime édition publiée par Bartolommeo Gamba (1776-1841), tirée à 113 exemplaires (Brunet), dont 100 sur papier commun (notre exemplaire). Giovanni Sercambi (né à Lucques en Toscane en 1348, mort en 1424) a été le chroniqueur de sa ville natale et l'auteur de nouvelles, à la manière du Décaméron de Boccace. L'ouvrage de Gamba fait date, car il est le point de départ de la construction de l'appareil critique qui se développera tout au long du XIXe siècle autour de l'oeuvre de Giovanni Sercambi : "Per la prima volta, dunque, le novelle di Sercambi poterono essere lette, se escludiamo la pubblicazione del frammento muratoriano, che conteneva anche il testo di alcune novelle ivi contenute. Per la sua edizione, però, Gamba non aveva utilizzato direttamente il Trivulziano 193, ma una copia eseguita dietro sua commissione da un anonimo ed assai mediocre copista. Sfortunatamente, questa trascrizione, che Gamba chiama Trivulziano 194-195, andò distrutta nel corso della seconda guerra mondiale". (Fabrizio Mari, 2012, Giovanni Sercambi : storia e finzione in un narratore toscano mediavale). Quelques infimes rousseurs, un petit manque au coin droit de la page 3 de dédicace. Très bon exemplaire. Ex-libris sur le premier contreplat avec le monogramme AP entrelacé et la devise "Lux ex Tenebris" et notation manuscrite à l'encre noire d'une écriture du XIXe siècle "di questa edizione...7 exempli in pergamena, 6 in carta reale et 100 in carta communi".(ALB5) PHOTOS NUMERIQUES DISPONIBLES PAR EMAIL SUR SIMPLE DEMANDE-DIGITAL PHOTOGRAPS MAY BE AVAILABLE ON REQUEST Livre ‎

‎Rerum a Societate Jesu in Oriente gestarum volumen, continens Historiam iucundam lectu omnibus Christianis, praesertimÿs, quibus vera Religio est cordi. In qua videre possunt, quomodo nunquam Deus Ecclesiam suam deferat, & in locum deficientium a vera fide, innumeros alios in abditissimius etiam regionibus substituat.‎

‎Cologne, G. Calenius, 1574. 1574 1 vol. in-8° (164 x 111 mm) de : [16] ff. (titre avec vignette de bois gravé, epîtres, index) ; 472 pp. ; nombreuses lettrines historiées de bois gravé, 5 planches de caractères japonais de bois gravé. Plein vélin d'époque, dos titré à l'encre brune. (Restauration de papier à l'angle inférieur de la page de titre avec très léger manque de texte).‎

5 Images

‎Quatrième édition augmentée de cet ouvrage, la première tentative pour établir lhistoire des Missions Jésuites dOrient, et tout particulièrement du Japon. Louvrage sappuie sur la correspondance des missionnaires rassemblée par Manuel da Costa et traduite par Giovanni Pietro Maffei, lun des principaux historiens de lAsie au XVIe siècle. Dès la seconde moitié du XVIe siècle, des membres influents de la Société de Jésus font pression pour que cette histoire soit écrite, avant que quelquun dextérieur ne le fasse. Louvrage, publié pour la première fois à Dillingen en 1571, connaît de nombreuses traductions et rééditions, et participe donc à la formation de limage de lOrient dans les esprits occidentaux. Il sagit de l'une des plus importantes compilations de lettres lors des premières missions jésuites en Extrême Orient, entre 1548 et 1571. Luvre comprend 43 lettres concernant le Japon rédigées par Saint Francis Xavier (deux, l'une d'entre elles datée de Novembre 1549 de Kagoshima), de Frois, Almeida, Vilela et d'autres qui apportent des informations inestimables et des détails sur la culture et les coutumes japonaises. Le « Specimen quoddam litterarum vocumque Japonicarum » est illustré de bois gravés représentant des caractères de calligraphie japonaise. La première partie est tirée dun manuscrit : « Historia dos missiones do Oriente até o anno de 1568 » dû à Manuel da Costa. Ce dernier, un jésuite portugais, missionnaire et bibliographe, enseigna à Coimbra, où se trouvait une grande partie de la correspondance jésuite non censurée. Le manuscrit est envoyé à Rome, pour être traduit en latin et préparé pour la publication par Giovanni Pietro Maffei (1538-1603). Maffei ajouta au manuscrit un grand nombre de textes dans une partie quil intitula « De Japonicus rebus epistolarum ». Il commence à travailler sur les textes de Da Costa en 1565, alors quil entame son noviciat à la Société de Jésus de Rome. A lépoque de la parution de louvrage, il est ordonné prêtre et Mercurian, Supérieur Général de lordre, le charge de rédiger une vie de Saint Ignace de Loyola (1585). Mercurian lenvoie par la suite au Portugal pour rédiger, à partir des archives du royaume, une histoire générale des Missions portugaises aux Indes orientales. Louvrage, « Historiarum Indicarum Libri XVI » qui paraît en 1588, est luvre maîtresse de Maffei, et est particulièrement prisée pour son apport sur le Japon. Bel exemplaire dans sa reliure d'époque de ce rare ouvrage, lune des premières sources sur le Japon. 1 vol. 8vo (164 x 111 mm) of : [16] ff. (title with engraved wood vignette, epistles, index) ; 472 pp. ; numerous historiated woodcut lettering ; 5 plates of engraved woodcut Japanese characters. Full contemp. vellum, back titled in brown ink (Restoration of paper at the bottom corner of the title page with very slight lack of text). Fourth expanded edition of this work, the first attempt to establish the history of the Jesuit Missions of the Orient, and particularly of Japan. The work is based on missionary correspondence collected by Manuel da Costa and translated by Giovanni Pietro Maffei, one of the leading historians of Asia in the 16th century. From the second half of the 16th century, influential members of the Society of Jesus pushed for this story to be written, before anyone outside did so. The work, published for the first time in Dillingen in 1571, has undergone numerous translations and reissues, and therefore participates in the formation of the image of the Orient in Western minds. It is one of the most important compilations of letters during the first Jesuit missions to the Far East, between 1548 and 1571. The work includes 43 letters concerning Japan written by Saint Francis Xavier (two, one of among them dated November 1549 from Kagoshima), Frois, Almeida, Vilela and others who provide invaluable information and details about Japanese culture and customs. The Specimen quoddam litterarum vocumque Japonicarum is illustrated with woodcuts representing Japanese calligraphy characters. The first part is taken from a manuscript: Historia dos missiones do Oriente até o anno de 1568 due to Manuel da Costa. The latter, a Portuguese Jesuit, missionary and bibliographer, taught in Coimbra, where much of the uncensored Jesuit correspondence was located. The manuscript was sent to Rome, to be translated into Latin and prepared for publication by Giovanni Pietro Maffei (1538-1603). Maffei added a large number of texts to the manuscript in a section which he entitled De Japonicus rebus epistolarum. He began working on the texts of Da Costa in 1565, when he began his novitiate at the Society of Jesus in Rome. At the time of the publication of the work, he was ordained a priest and Mercurian, Superior General of the order, charged him with writing a life of Saint Ignatius of Loyola (1585). Mercurian subsequently sent him to Portugal to write, from the archives of the kingdom, a general history of the Portuguese Missions in the East Indies. The work, Historiarum Indicarum Libri XVI which appeared in 1588, is Maffeis masterpiece, and is particularly prized for its contribution to Japan. Beautiful copy in its period binding of this rare work, one of the first sources on Japan.‎

‎Bokkachcho, Dzhovanni. Dekameron. Tom 1. Leningrad. 1931/ Boccaccio, Giovanni. D‎

‎"In Russian. Short description: Boccaccio, Giovanni. Decameron. 1 [Text] / Giovanni Boccaccio; Translated by Alexander Veselovsky; With an introductory article by V.F. Shishmarev and a preface by P.S. Kogan; Title page by Alexey Ushin. - 4th edition. - [Leningrad]: Academia, MCMXXXI 1931 (Printed at ""Leningrad Pravda"" Printing House). 18x12 cm. - (Treasures of World Literature). 1 [Text]. - 1931. - XXIX, 595 p., 1 folded leaf. Portrait : ill. (Treasures of World Literature) Please feel free to contact us for a detailed description of the copies available. SKUMS000935"‎

‎LEGGERE‎

‎Torino Sperone editore 1972 In-12 Broché ‎

‎EDITION ORIGINALE de ce livre d'artiste jouant sur le seul mot « leggere », imprimé dans différents corps decrescendo puis crescendo. ----- Comme le souligne Anne Moeglin-Delcroix, Anselmo LEGGERE basé uniquement sur la lecture d'un mot place « .le lecteur dans une expérience en apparence optique des limites du lisible et de l'illisible ». En effet, le verbe lire en italien progresse jusqu'à devenir invisible - feuille blanche - puis finit par n'être qu'une seule lettre grossie qui noirci complètement la page. Plus qu'un simple jeu typographique, l'artiste interroge sur les notions de visible et d'invisible, et de l'intelligible. Giovanni Anselmo naît en 1934 à Borgofranco d'Ivrea. A partir de 1967, il participe aux expositions des artistes de l'Arte Povera, dont il devient rapidement l'un des chefs de file. Sa première exposition solo a lieu en 1968 à la galerie Sperone, qui éditera également ses livres d'artiste dans lesquels il inaugure ses recherches sur le mot, qui devient à partit des années 70 une constante de son oeuvre plastique. Très bon 0‎

‎Le Prince sans Etoiles. ( Avec cordiale dédicace de José Giovanni ).‎

‎ Editions Robert Laffont 1998. In-8 broché de 233 pages au format 13,5 x 31,5 cm. Couverture avec titre imprimé. Dos carré. Plats et intérieur frais. Edition originale en état proche du neuf. Exemplaire enrichi d'une cordiale dédicace, autographe, signée de José Giovanni.‎

‎ Site Internet : Http://librairie-victor-sevilla.fr.Vente exclusivement par correspondance. Le libraire ne reçoit, exceptionnellement que sur rendez-vous. Il est préférable de téléphoner avant tout déplacement.Forfait de port pour un livre 7 €, sauf si épaisseur supérieure à 3 cm ou valeur supérieure ou égale à 100 €, dans ce cas expédition obligatoire au tarif Colissimo en vigueur. A partir de 2 livres envoi en colissimo obligatoire. Port à la charge de l'acheteur pour le reste du monde.Les Chèques ne sont plus acceptés.Pour destinations extra-planétaire s'adresser à la NASA.Membre du Syndicat Lusitanien Amateurs MoruesLivres‎

‎Le Roi Théodore à Venise. Opera heroï-Comique en deux actes et en Vers Libres de G. Paeisiello‎

‎Traduit de l'Italien par M. Moline, dédiée à Mr. le Baron de Bagge, Chambellan de S.M. le Roi de Prusse, 1 vol. in-4 reliure de l'époque plein vélin vert, gravé par Magnian, Chez MM. Cousineau Père et Fils Luthiers Brevetés de la Reine et de Madame d'Artois, Rue des Poulies vis-à-vis du Louvre [Paris], s.d. [ circa 1787 ], 2 ff. (titre et catalogue, dédicace et personnages), 369 pp.‎

11 Images

‎C'est avec cet opéra "Il rè Teodoro", composé sur un poème de Casti inspiré par "Candide" de Voltaire que le compositeur Giovanni Paisiello (1740-1816) connut l'un de ses plus grands triomphe, dès sa création le 23 août 1784 au Burgtheater de Vienne. Théodore est roi de Corse, le livret s'inspirant du séjour à Venise de Theodor Stephan von Neuhoff, officier allemand proclamé premier roi de Corse en 1736 avant de devoir s'enfuir. Voltaire en fait, dans "Candide", l'un des convives du souper de Venise où six rois évoquent leur destinée. Etat satisfaisant (reliure faible avec importante fente en mors en garde, les deux premiers feuillets faibles, accroc avec manque au feuillet de titre, reliure un peu frottée, bon état par ailleurs, signature manuscrite des éditeurs Cousineau,) pour ce rare exemplaire, provenant de la bibliothèque de Laurent-Nicolas de Joubert (1764-1793), trésorier des états du Languedoc et grand protecteur des arts (avec son ex-libris héraldique gravé à sa devise "Omnia virtuti cedunt" en garde). Une autre traduction par Dubuisson (partition de l'opéra en trois actes réprésenté devant leurs Majestés à Fontainebleau le 8 octobre et à Versailles le 18 novembre 1786) fut publiée dans ces mêmes années. ‎

‎Le Fontane di Roma nelle Piazze, e luoghi publici della Citta… Date in luce con direttione, e cura da Gio. Giacomo de Rossi… libro primo. Rare et magnifique recueil complet de 107 feuillets gravés en 1691 de Falda.‎

‎Rare et magnifique recueil sur les Fontaines et les jardins de Rome et Tivoli en reliure de l’époque. Rome, 1691. De la bibliothèque Earls of Macclesfield. Rome, G. G. de Rossi, vers 1691. 33 feuillets entièrement gravés dont le titre, la dédicace et les estampes. [Relié à la suite] : FALDA. Le Fontane delle ville di Frascati, nel Tusculano, con li loro prospetti, Parte seconda. Ibid, vers 1691. 18 feuillets entièrement gravés dont un dépliant. [Relié à la suite] : VENTURINI, Giovanni Francesco. Le Fontane ne’Palazzi e ne’giardini di Roma. Ibid, 1691. 28 feuillets entièrement gravés, dont une planche dépliante. Ibid. Le Fontane del giardino Estense in Tivoli… Parte quarta. Ibid, [vers 1691]. 28 feuillets entièrement gravés, dont une planche dépliante. Soit 4 parties reliées en un volume in-folio oblong, veau moucheté, double filet doré et roulette à froid autour des plats, dos à nerfs richement orné de fleurs-de-lys dans les caissons, coupes décorées, tranches mouchetées rouges. Reliure de l’époque. 275 x 395 mm. ‎

‎La plus belle suite de gravures sur les fontaines de Rome et ses environs imprimée et gravée à Rome en 1691. 4 feuillets de titre, 4 feuillets de dédicace et 99 gravures d’après Giovanni Battista Falda (1643-1678) et Francesco Venturini (1630-1710) interprétées par ces derniers et L. Rouhier. Elles représentent des fontaines pour la plupart construites aux XVIe et XVIIe siècles. « Exact et bien gravé. Le 4e livre, contenant28 planches, manque quelquefois ». Brunet, II, 1172. Exemplaire d’un très beau tirage et bien conservé, proche de l’exemplaire de la New York Public Library dont la partie iv ne comprenait que 21 estampes contre 28 dans le présent exemplaire, proche aussi du second exemplaire « The Library of Congress ». Les planches sont ici numérotées. “This collection of plates is the most charming that has ever appeared on the fountains of Rome and its environs. Part I was issued about 1675 (Berlin Catalog 3603); Part II before 1687 as Gio. Francesco Negroni, to whom it was dedicated as "Chierico Delle Camera Apostolica", became papal legate to Bologna in 1687 ; Part III probably about 1689 because it was dedicated to Livio Odescalchi, nephew of His Holiness Pope Innocent XI who died in 1689. As in the case of Falda’s Nuovo Teatro all the copies examined vary in numbering and arrangement of the plates. The New York Public Library has a copy of Part I-IV, dated [1691?], with unnumbered plates : Part I [1-33], II [1-18], III [I-28], IV [I-21] ; The Library of Congress has one copy with numbered plates, Part I-II [1675] I-33, 1-18 pl., Part III [1691] I-28 pl., and a second copy with Part I-III numbered, Part IV unnumbered plates [1-28]. The Berlin Catalog (3603) lists a dated issue of 1691 with numbered plates in the four parts. The New York Public Library has a much later edition, issued with the stamp of the "Calcografia Di Roma" in the corner of the plates. Between 1798 and 1815, many sets of earlier plates were reprinted under the direction of Giuseppe Valadier. There was also an edition with 42 plates, Nuremberg, 1685. Berlin Catalog 3603-3604 ; Bartsch XXI, p. 239-245, 248-249 ; Cicognara 3863” (Fowler Architectural collection)”. Giovanni Battista Falda, né vers 1640 à Valdaggia, dans le Milanais, se rendit très jeune à Rome pour s’y perfectionner dans le dessin, et depuis s’appliqua tout entier à la gravure. Huber (Manuel des amateurs) trouve une grande ressemblance entre la manière de Falda et celle d’Israël Silvestre. Il a gravé les principales vues de Rome d’après ses propres dessins, ou d’après ceux du cavalier Bernin. Ses estampes à l’eau-forte sont très recherchées. (W. S.) « Les dessins et gravures de ses jardins, fontaines et édifices publics sont exécutés avec une science très grande de la perspective et ornés de personnages ». Benezit, IV, 255. Superbe exemplaire, très pur, gravé sur grand papier, conservé dans sa reliure de l’époque. Provenance: Earls of Macclesfield avec ex-libris. A crisp copy of Falda’s views of Roman fountains, which was completed by Venturini after Falda’s death. The watermark is predominantly a fleur-de-lys inside a double circle (Heawood 1600 ; see BAL RIBA for a discussion of dating by watermark). BAL, II, 1014 ; Fowler & Baer, 117 (éd. De 1675-1689) ; Millard, IV, 36 (… this is the most sophisticated and elaborate collection of plates ever engraved on this subject”) ; Katalog Berlin, 3603.‎

‎Album musica varia receuil partitions Opéras : MERCADANTE, Saverio (1795-1870) - Giovanni Pacini - VERDI Giuseppe, editions originales. ‎

‎ Album relié INFOLIO en long,monogramme en pied, receuil 17 partitions gravées extraits d'Opéras,table manuscrite, chiffré à l'encre 247p.-: MERCADANTE, Saverio (1795-1870)- Orazi e Curiazi. ATTO II -l'Oracolo No.9 .Milano, Ricordi. PN 19429 [1846],21p. + MERCADANTE, Saverio - Son del tuo volto immagini : cavatina, nell' opera 'Il proscritto'- Milano, Ricordi. PN 13297,14p.+ MERCADANTE, Saverio - l'aura ch'io nell' opera 'Il proscritto'- Milano, Ricordi. PN 13298…- Giovanni Pacini: la Regina di Cipro Dramma lirico in quattro atti di Francesco Guidi ... Riduzione per canto con accompo di pianoforte N°5 DUETTO Milano, Ricordi. PN 48445; 15p.+ VERDI Giuseppe : Attila DRAMMA LIRICO IN UN PROLOGO E TRE ATTI poesia di TEMISTOCLE SOLERA musica di GIUSEPPE VERDI - Milano, presso F. Lucca 5907, XIXe siècle ca1846,16p.-+ VERDI Giuseppe : La Battaglia di Legnano : Ever? Sei d' altri duetto, nell' opera La battaglia di Legano- Milano, Ricordi. PN H 21549; 12p.- + VERDI Giuseppe : I DUE FOSCARI -Dal piu remoto esilio, cavatina in the opera of I Due Foscari- - Milano, Ricordi. PN A 16798, 11p.+ VERDI Giuseppe ERNANI : dramma lirico in quattro atti- di Francesco Maria Piave; Dramma lirico in quattro parti di Francesco Maria Piave Posto in musica e dedicato alla Nobilissima Contessa Clementina Mocenigo-Spaur distinta cultrice della musica italiana... Riduzione per Canto con accompagnamento di Pianoforte del maestro L. Truzzi...-Gran scena e terzetto finale- Milano, Ricordi.[1844]. PN16241,17p.+ VERDI Giuseppe : I DUE FOSCARI Scena e Terzetto "Nel tuo paterno amplesso". Eseguito dalla Sig. Barbieri-Nini e dai Sig. Roppa e De Bassini (Sop. Ten. e Bar.). Fr. 3.60. Riduzione per Canto con accompagnamento di Pianoforte del maestro L. Truzzi- N°10 scena e terzetto : Nel tuo paterno amplesso - PN16805,14p.-+ VERDI Giuseppe : LUISA MILLER Teatro San Carlo de Naples le 8 décembre 1849 - Melodramma tragico in tre atti di Salvatore Cammarano. per Canto e Pianoforte- Napoli B.GIRARD PN9475,N°4 STRETTA T'amo d'amor ,16p.-+ VERDI Giuseppe : LUISA MILLER - Melodramma tragico in tre atti di Salvatore Cammarano. per Canto e Pianoforte- Riduzione di E. Musio [pour chant et piano] [Musique imprimée] [ca 1850]- Milano, Ricordi. PN22210, 19p.+ VERDI Giuseppe : LUISA MILLER - Melodramma tragico in tre atti di Salvatore Cammarano. per Canto e Pianoforte- Riduzione di E. Musio [ca 1850]- Milano, Ricordi.PN22243- 18p.-+ VERDI Giuseppe : LUISA MILLER - Melodramma tragico in tre atti di Salvatore Cammarano. per Canto e Pianoforte- Riduzione di E. Musio [ca 1850] Milano, Ricordi.PN22214- 10p.-+ VERDI Giuseppe I MASNADIERI -Libretto by A. Maffei. Poesia del cavaliere.-(1847) Milano,F.LUCCA PN6542;21p.+ VERDI Giuseppe : Stiffelio Milano, Ricordi.PN22959- 17p.couverture illustrée -del 1850 che aveva provocato l'intervento della censura a causa della storia incentrata su un pastore protestante tradito dalla moglie.+ VERDI Giuseppe : Stiffelio Milano,Atto Primo N°2- Ricordi.PN22942-9p.couverture illustrée- del 1850 che aveva provocato l'intervento della censura a causa della storia incentrata su un pastore protestante tradito dalla moglie.‎

20 Images

‎non séparable,document historique,photos supplèmentaires sur demande. ‎

‎Exercitationes Vitruvianae Primae. Hoc est: Ioannis Poleni commentarius criticus de M. Vitruvii Pollonis architecti X Librorum editionibus . Exercitationes Vitruvianae Secundae. . Tertiae‎

‎Patavii, Typis Seminarii, Apud Ionnem Manfrè, 1739. In-4°, [4]-360p. Brochure d'attente muette.‎

‎Première édition en langue latine. Ouvrage important du plus grand spécialiste du XVIIIe siècle de Vitruve et de Frontinus, loué par Fowler et Riccardi pour son extrême précision philologique. Volume divisé en trois parties avec des bandeaux gravés sur cuivre par Antonio Visentini. Illustré de nombreuses figures dans le texte.Travail préparatoire pour l'édition inachevée de Vitruve par Poleni, qui est néanmoins "la première étude scientifique d'un texte architectural publié après la grande "saison de la renaissance"... un examen de l'histoire de l'édition de Vitruve, à partir de l'editio princeps de Giovanni Sulpizio en 1486" (Millard). Contient la correspondance de Poleni avec Giovanni Battista Morgagni, et la réimpression de la vie de Vitruve de Bernardino Baldi, publiée pour la première fois en 1612.Exemplaire dans sa brochure d'attente, tel que paru, absolument non rogné.Giovanni Poleni (1683 - 1761) était un brillant universitaire, doué dans plusieurs domaines, et en 1743, il fut appelé à Rome par le pape Benoît XIV pour examiner l'état de la coupole de Saint-Pierre qui, au début du XVIIIe siècle, avait commencé à révéler des défaillances structurelles inquiétantes ; l'auteur, avec l'architecte Luigi Vanvitelli, proposa d'inclure cinq chaînes de fer supplémentaires, qui s'ajoutèrent à celles placées au XVIe siècle par Giacomo Della Porta, afin de contenir la poussée massive de l'énorme poids (environ 14 000 tonnes). Le projet a été réalisé en 1748, et le volume des "Mémoires" a été publié en conséquence. Poleni a également enseigné l'astronomie à Padoue et, à partir de 1719, il a succédé à Nicolas Bernoulli comme professeur de mathématiques à Padoue, où il a installé le premier laboratoire de physique dans une université italienne.‎

‎Della Scienza chiamata Cavalleresca libri tre (...). In questa quarta edizione vi sono inserte le aggiunte del Signor Conte Giovanni Bellincini Modonese.‎

‎ 2 parties en un volume in-4, plein vélin rigide de l'époque, dos lisse titré à la plume, (1) f., (14), 284, (12) p. et (2) f., (4), 59 p. pour les suppléments. Trento [Trente], Giovanni Parone, 1717.‎

‎Quatrième édition, la plus complète, augmentée d'un supplément par Giovanni Bellincini, sous page de titre et pagination particulière.Selon Gelli : "Monument dans la réforme de la science pénale, d'une portée comparable à l'ouvrage de Beccaria 'Des Délits et des Peines'"."Cet ouvrage écrit contre le duel, en diminua beaucoup l'usage en Italie. L'auteur établit que c'est une coutume, due uniquement aux barbares, qui détruisirent l'Empire romain; et il fait l'histoire du duel tant juridique que privé" (Hoefer, 42, 656)."Attraverso l'impietoso esame di circa due secoli di libri sull'onore e il duello, Maffei distruggeva la mentalità rissosa e antisociale del ceto cui lui stesso apparteneva e proponeva una morale nuova e differente, costruita sulle virtù civiche degli antichi" (Ulvioni, 1998, p. 401).(Gamba, 2320. Graesse, IV, 334).Très bon exemplaire, dans sa première reliure de vélin rigide. ‎

‎Catalogo Della Mostra D'Arte Antica : Lorenzo Il Magnifico e Le Arti‎

‎Collobi Ragghianti, Licia; Giovanni Poggi: Catalogo Della Mostra D'Arte Antica : Lorenzo Il Magnifico e Le Arti. Exhibition: Florence, Palazzo Strozzi, 1949. 80 pages, with plates. Hardback. 19 x 14cms. Bound together with the small catalogue 'Mostra dei Documenti della Vita di Lorenzo', exhibition curated by Giovanni Poggi and hosted in Palazzo Strozzi to complement the main exhibition. Text in Italian.‎

‎Bound together with the small catalogue 'Mostra dei Documenti della Vita di Lorenzo', exhibition curated by Giovanni Poggi and hosted in Palazzo Strozzi to complement the main exhibition. Text in Italian‎

‎Georgii Baglivi medic. theoric. in romano archilyc. prof. Societatis regiae Londinensis, Academ. imp. Leop. &c. collegae, Opera omnia medico-practica, et anatomica. Editio septima cui praeter Dissertationes, & alios Tractatus sextae editioni adjunctos accedunt ejusdem Baglivi Canones de medicinâ solidorum ; Dissertatio de progressione Romani Terraemotûs ; de Systemate & usu motûs solidorum in corpore animato ; de Vegetatione Lapidum & analogismo circulationis maris ad circulationem sanguinis : nec non J. D. Santorini Opuscula quatuor ; de Structurâ & motu fibrae ; de Nutritione animali ; de Haemorrhoidibus ; & de Catameniis.‎

‎ Lugduni (Lyon, France), Anisson, & Joannis Posuel, 1710, 1 volume in-8 de 230x170 mm environ, 1 f. blanc, 1 portrait frontispice représentant Georgio Baglivi, dessiné par Carolus Maratti en 1703 et gravé par C. Duflos, 3 ff. (titre, Epître dédicatoire adressée au pape Innocent XII) xxxix-praefatio, 5 ff. (lectori, index), 854 pages, 1f. (approbation, privilège), 1 f. blanc, pleine basane brune, dos à nerfs portant titres dorés, orné de caissons à motifs dorés (dorures effacées par endroits), coupes dorées, tranches mouchetées de rouge. Avec 3 planches gravées sur cuivre, bandeaux, lettres ornées et culs-de-lampe gravés sur bois, quelques figures dans le texte. Des rousseurs, taches d'encre p. 605-607, un mors interne fendu mais structure solide, des épidermures, petits trous de ver et frottements sur le cuir, un coin et une coiffes émoussés, ex-libris manuscrits sur la page de titre, petites notes sur la première garde blanche. Texte en latin.‎

10 Images

‎Giorgio Baglivi (1668-1707). Médecin des papes Innocent XII et Clément XI. - Professeur de chirurgie et d'anatomie, Sapienza di Roma, Italie. Fut membre de la Royal society. Santorini, Giovanni Domenico. Giovanni Domenico Santorini (né le 6 juin 1681 à Venise - mort le 7 mai 1737 est un anatomiste italien principalement connu pour ses dissections du corps humain. Merci de nous contacter à l'avance si vous souhaitez consulter une référence au sein de notre librairie.‎

‎THE NYMPHS OF FIESOLE.‎

‎With the woodcuts made by Bartolommeo di Giovanni for a lost Quattrocento edition, which were used to illustrate various later texts and have been reassembled and recut. Editiones Officinae Bodoni, Verona, 1952. In-8 gr. (mm. 280x190), legatura edit. in mz. pergamena, astuccio, pp. 130. Dramma pastorale in versi di Affrico e Mensola scritto da Giovanni Boccaccio e tradotto in lingua inglese da John Goubourne dalla versione francese di Antoine Guerin. Testi curati da Ronald H. Boothroyd secondo l'unico esemplare esistente dell'edizione pubblicata a Londra nel 1597 e uno studio di Hans Mardersteig. L'opera illustrata da 23 xilografie di Bartolomeo di Giovanni reincise da Fritz Kredel e da una calcografia del frontespizio originale. Cfr. Cat. Mardersteig,102. Tiratura di 225 esempl. numerati su carta a tino Fabriano. Il ns., 125, in ottimo stato.‎

‎Decameron di Giovanni Boccaccio a cura di Piero Chiara. Nota storica filologica di Vittorio Branca. Undici tavole a colori di Franco Gentilini.‎

‎Milano Edizioni di pregio S.E.D.D. 1975 In-folio (320 x 225 mm), pp. XVII, 556 (4), 11 acqueforti - acquetinte a colori di Franco Gentilini numerate e firmate a matita, legatura in piena pelle, dorso a 5 nervi con titolo e fregi in oro eseguita da Giovanni De Stefanis, taglio superiore dorato, con custodia. Edizione composta a mano in carattere Garmond appositamente fuso, stampata a cura di Luigi Maestris su carta velin filigranata in 99 esemplari contarsseegnati da numeri arabi.Le tavole di Gentilini sono state impresse coi toerchi di Giokaj e singolarmente numerate e firmate dall'artista. La nostra è la copia n. 56. Ottimo esemplare‎

‎La pratica vniversale in cirugia di m. Giovanni di Vico genouese. Di nuovo ristampata & corretta. Appresso vi è un bellissimo compendio che tratta dell'istessa materia, composto per M. Mariano Santo barolitano. Con due trattati di M. Gio. Andrea dalla Croce... Con alcuni istromenti in disegno. Et di nuouo aggiuntiui molti capitoli estratti dalle opere dell' eccellentissimo,... Leonardo Fiorauanti bolognese, ... Con la tavola di tutto quello che si contiene nell'opera‎

‎In Venetia appresso Gio. Maria Bonelli, il giovene 1576 In-8° (206 x 150 mm.), pp. (8), 307, (1), bella marca tipografia al frontespizio e al colophon, caratteri in corsivo romano, testo su due colonne, bei capolettera e testatine in xilografia, alle ultime pagine xilografie n.t. raffigurani strumenti chirurgici. Legatura coeva in piena pergamena floscia. Firma di appartenenza cassata al frontespizio, note manoscritte ai fogli di guardia. Leggera gora di umidità al margine superiore delle prime 30 carte. Giovanni da Vigo (Rapallo, 1450 – Roma, 1525) è stato un medico e chirurgo italiano. A Savona, dove si trasferì conobbe ed entrò nelle grazie del cardinale Giuliano Della Rovere che, eletto papa nel 1503 col nome di Giulio II, lo volle con sé a Roma come suo chirurgo "colmandolo di ricchezze ed onori". Su richiesta dei suoi amici, più che per sua pgsonale iniziativa, come il D. tiene a precisare nel Prohemium, pose mano alla stesura della Practica in Chirurgia. Copiosa inarte chirurgica... che fu compiuta nell'arco di undici anni, dal 1503 al 1514, anno in cui uscì in una elegante edizione a Roma. La Practica in chirurgia copiosa è divisa in nove libri: De anathomia; De apostematibus; De vulneribus; De uiceribus; De morbo gallico et iuncturarum doloribus; De fractura et dislocatione; De natura iimplicium et eorum posse; Antidotarium de resolutivis, maturativis, repercussivis simplicibus et compositis ac nonnullis aliis secretis nostris ... ; De nonnullis additionibus pro operis complemento (sitratta delle febbri dei naviganti, dei coito e dei problemi ad esso connessi, "de maleficiatibus", dei capelli e dell'adatto trattamento per evitarne licaduta, l'imbiancamento, e. numerosi altri problemi). A unanime parere, degli storici della medicina, in essa sono contenute scoperte ed intuizioni di grande importanza. Il D. vi afferma il valore dei metodo empirico sperimentale, della diretta osservazione dei corpi e dello studio dei cadaveri. Notevoli sono le sue opinioni attorno al cervello umano che egli sostiene essere in relazione con la massa del corpo e che considera fonte di molte operazioni come immaginazione, intellezione, memoria, abbozzandone una localizzazione. Interessanti sono gli accenni alla circolazione dei sangue e molto importante, per il seguito che ebbe, il suo metodo per legare le vene e le arterie. Larga fortuna godettero i suoi suggerimenti farinacologici per la cura delle ferite sia intern i e che esterne e, a questo riguardò, particolarmente importante è stato considerato il libro terzo De vulneribus dove egli riassume gli esiti delle sue esperienze nel campo delle ferite causate da arma da fuoco. Per le lesioni dei cranio praticava la trapanazione con strumenti di sua invenzione e per la cura del cancro prevedeva l'estirpazione con tutte le sue radici e vene. Nel libro settimo fornì poi una ricca rassegna in ordine alfabetico delle piante medicinali di cui descrisse con minuziosità virtù e caratteristiche, dando prova delle sue notevoli conoscenze in fatto di botanica. Diede altresì un contributo fondamentale alla diagnosi e terapia della sifilide per cui prescriveva l'impiego del mercurio. Larghissima fu la fortuna di quest'opera che conobbe una quarantina di edizioni e traduzioni.‎