312 books for « horatius horatius »Edit

‎Opstellen ontleend aan de conferentie op Oudpoelgeest 1963. Amsterdam, Polak & van Gennep, 1965. 178 p. Paperback. (Essays by Bolkestein, Dekker, v.Gelder, Leeman, Nelson, Waszink & Schnur) ‎

‎Hekeldichten, brieven en dichtkunst van Q. Horatius Flaccus. In Nederduitsche vaarzen overgebragt door B. Huydecoper. ‎

‎Amsterdam, By d'Erven J. Ratelband en Compagnie, en Hermanus Uitwerf, 1737. ‎

‎4to. (XX),292,(1 errata) p., frontispiece & portrait. Half calf. 20 cm (Ref: STCN ppn 184323649; OiN p. 212; Geerebaert 111,41,II) (Details: Back gilt, and with an orange morocco shield. Frontispiece by J.C. Philips, showing a rich man in a kind of skybox of a hippodrome being served by 3 servants, an example of the decadent luxury Horatius criticizes. Of the same engraver a portrait of Horatius on the title. A beautiful portrait of the translator Huydecoper, engraved by J. Houbraken after a painting of J.M. Quinkhard, at the beginning of the translation) (Condition: Back rubbed. Wear to the extremes, corners and spine ends; front joint partly split) (Note: Balthasar Huydecoper, 1695-1778, famous Dutch poet, linguist & philologist. He also wrote tragedies like Achilles, and Edipus. He was much praised for his neolatin poetry, and with his translation into Dutch of the 'Satirae' and the 'Epistulae', the 'Ars Poetica' he is said to have revived Horace in the Low Countries. (Van der Aa, 8, 1495/8) (Provenance: name on front endpaper: 'G.A. Loeff, Zwolle 1829'. We found on the internet an 'ingenieur-verificateur en provinciaal bewaarder van het Kadaster te Zwolle', with that name. On the front flyleaf the name 'J.H. Waszink, 1928'. J.H. Waszink, 1908-1990, a wellknown Dutch classical philologist, who has a short lemma at Wikipedia) (Collation: pi1, *-2*4, 3*2, chi1 (portrait of Huydecoper); A-2N4, 2O2,(2P)1 (minus leaf 2O4) (Gathering G = G1,G3,G2,G4) (Photographs on request) ‎

‎Horatius als dichter en levenskunstenaar. (And:) G. VAN DER LEEUW. Horatius in dezen tijd. (Twee redevoeringen bij de Horatius-herdenking 1935). Groningen, Noordhoff, 1935. 35 p. Wrs. ‎

‎Q. HORATIUS FLACCUS, cum commentariis selectissimis variorum & scholiis integris Johannis Bond, accedunt indices locupletissimi tum auctorum, tum rerum, accurante Corn. Schrevelio ‎

‎Lugd. Batav. et Roterod ( Leyden - Rotterdam ) Ex Officina Hackiana 1670 in 8 (21x12) 1 fort volume reliure plein velin rigide ivoire de l'époque, dos lisse muet, titre gravé illustré, 832 pages et 28 faux feuillets non chiffrés. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Couverture rigide ‎

‎QUINTUS HORATIUS FLACCUS ‎

‎Londini ( Londres ) Gulielmus Pickering 1824 in 16 (12x8) 1 volume reliure à la bradel de percaline verte, dos lisse, pièce de titre de maroquin rouge, couverture conservée, 192 pages. Impression minuscule. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Couverture rigide ‎

‎Q HORATIUS FLACCUS a Joanne Bond illustratus, Patavii ex Typ. Semin., Superiorii permissu ‎

‎Patavii ( Padova; Padoue ) Ex Typ[is] Semin[arii], sans date 0 in 12 (16x9) 1 volume reliure plein velin rigide ivoire de l'époque, dos lisse, titre gravé illustré, 432 pages. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Couverture rigide ‎

‎Quintus Horatius Flaccus / Daniel Heinsius ex emendatissimis editionibus expressit‎

‎ Amstelodami : Juxta copiam Elzeviriorum, 1690 ,IN24o (10 cm),titre grave;213p.,texte latin,Sur l'édition elzévirienne de 1676 d'après BMe. - reliure basane epoque frottee,annotations manuscrites anciennes,‎

‎bon etat Remise de 20% pour toutes commandes supérieures à 200 €‎

‎Q. Horatius Flaccus, cum erudito Laevini Torrentii commentario, nunc primum in lucem edito. Item Petri Nannii Alcmariani in Artem Poëticam. ‎

‎Antwerp (Antverpiae), Ex officina Plantiniana, apud Ioannem Moretum, 1608. ‎

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‎4to. (XX),839,(1 blank),(46 index) p. (2 engraved portraits, of Torrentius and Horace) Modern half vellum 26 cm (Ref: STCV:6607438; Schweiger 2,401: 'Commentar zeichnet sich durch Kenntniss der Grammatik'; Dibdin 2,97; Moss 2,14: 'A very beautiful and critical edition'; Ebert 10175: 'some of his corrections are very happy'; Fabricius/Ernesti 1,410: 'Cum erudito commentario Laevini Torentii, bonis Codd. MSS. usi') (Details: Modern and modest binding, antique style. Engraved printer's mark on the title, motto: 'Labore et Constantia'. Engraved portrait of Torrentius after Gisbert Venius, beneath the portrait 2 distichs by the Antwerp Neolatin poet Johannes Bochius (Jan Boghe); engraved portrait of Horace. Woodcut initials) (Condition: Title slightly soiled; ownership entry on the title; right lower corner faintly waterstained) (Note: The works of the Roman poet Quintus Horatius Flaccus, 65-8 B.C., have enjoyed a continuous presence in European culture. Till well into the 20th century he stood central in school curricula. Earlier, in the Middle Ages, he was next to Vergil the most important school author. Horace is transmitted in around 300 medieval manuscripts. The Renaissance saw the beginning of a flood of editions. 'For Neo-latin poetry until modern times, and for all the vernacular literature of Europe from the 16th through the 18th centuries, Horace provided the dominant model both for private lyrics celebrating wine and love and for public lyrics celebrating affairs of state'. Young poets used Horace to learn the trade. 'Horace's elegant rationalism and moral wisdom, and also his disabused and tolerant tone, made his poems favorite reading during the Enlightenment'. (The Classical Tradition, Cambr. Mass., 2010, p. 454/60) The humanist scholar Laevinius Torrentius, or in Dutch Lieven van der Beke, the editor of this 1608 edition, was appointed bishop of Antwerp in 1576. He was not only a theologian, but also a philologist, a combination, prelate and scholar, which was not rare in the Renaissance. In his youth he contributed to an edition of Varro's 'De Lingua Latina', Rome 1554. And in 1578 he published with Plantin a valued edition of the Roman historian Suetonius with his commentary. In a letter to Muretus Torrentius declared that his edition with commentary of Horace was ready in 1580, soon after the Suetonius, but that the war between the Spaniards and the Dutch republic was an obstacle for publication by Plantin. Later (1587) he wrote in a letter that the work on Horace was done, except for a commentary on the 'Ars Poetica'. Torrentius' Horace was posthumely published by the successor of Plantin, his grandson Balthasar Moretus, in 1608. For the lacking part, the 'Ars Poetica', the publisher used the text and commentary which had been produced by Petrus Nannius, 1500-1557, born in Alkmaar, and later also rector of the Latin School of that city. In 1539 he came to Leuven to teach on the 'Collegium Buslidianum'. His inaugural lecture there was on the 'Ars Poetica' of Horace. In the preface to the text of the 'Ars Poetica' in the 1608 edition (p. 767/68), written by Valerius Andreas, 1588-1655, we are told that a text and a commentary of the 'Ars Poetica', which had been produced in Leuven by Nannius, never saw the light, and that he edited Nannius' work (digessi et recensui), after having received a copy through the kind offices of his teacher Andreas Schottus, a Jesuit and humanist friend of Torrentius, to complete the edition of Torrentius. Andreas was a student at the same Collegium where Nannius had taught some 50 years before. Torrentius was also an accomplished neolatin poet, be it that his poetry is predominantly religious. His laudatory hymn on Balathasar Gerards, who murdered the protestant Prince of Orange, the Dutch 'Pater Patriae', in 1584, made him notorious in the Netherlands) (Provenance: In ink on the title: 'Bibliothecae Augustin: Angiae comparavit L. De Hou.. ....... , 1710'. This book, bought in 1710, originates probably from the library of the 'Schola Latina', founded by Augustine monks in 1537 in the Flemish city Edingen, nowadays the Walloon municipality Enghien, located in the Belgian province of Hainaut. The Roman name of the town was 'Angia'. The school, 'Collège Saint-Augustin' still exists. (See: moncollege.be/histoire.html)) (Collation: *-2*4, 3*2, A-Z4, a-z4, Aa-Zz4, AA-ZZ4, aa-nn4 (leaf nn4 verso blank), A-F4 (minus leaf F4, a blank)) (Photographs on request) (Heavy book, may require extra shipping costs) [ ‎

‎Quintus Horatius Flaccus. Accedunt nunc Danielis Heinsii De Satyra Horatiana libri duo, in quibus totum poëtae institutum & genius expenditur. Cum ejusdem in omnia poëtae animadversionibus, longe auctioribus. ‎

‎Leiden (Lugd. Batav.), Ex Officina Elzeviriana, 1629. ‎

‎12mo. 3 volumes in 1: (XXXII),239,(1 blank); 250,(4 blank); 296 (recte 286) p. Modern calf 13.5 cm The best and most complete Horace edition of Heinsius (Ref: Willems 314: 'cette édition d'Horace est jolie, et les exemplaires bien conservés se vendent assez cher'; Schweiger 2,403: 'Beste Ausgabe von Heinsius. Sehr sauber, in vollständigen Exx. höchst selten'; cf. Dibdin 2,97/98; Berghman 2069: 'Édition jolie et recherchée'; Rahir 285; Copinger 2396; Graesse 3,353; Ebert 10179) (Details: Modern calf, back with 4 raised bands; with engraved main title, and 2 separate titles, the first bearing the date 1628, the second 1629, both bearing identical woodcut printer's marks. The marks depict an old man who stands in the shade of a vine-entwined elmtree, thus symbolising the symbiotic relationship between scholar and publisher. The motto is Non solus (not alone). Our copy matches the copy of Willems, except that the last blank leaf is lacking) (Condition: 2 small annotations in red ink, probably feltpen, on 2 pages) (Note: The works of the Roman poet Quintus Horatius Flaccus, 65-8 B.C., have enjoyed a continuous presence in European culture. His memorable phrases made him the most quoted ancient author. Till well into the 20th century he stood central in school curricula. Earlier, in the Middle Ages, he was next to Vergil the most important school author. Horace is transmitted in around 300 medieval manuscripts. The Renaissance saw the beginning of a flood of editions. 'For Neo-latin poetry until modern times, and for all the vernacular literature of Europe from the 16th through the 18th centuries, Horace provided the dominant model both for private lyrics celebrating wine and love and for public lyrics celebrating affairs of state'. Young poets used Horace to learn the trade. 'Horace's elegant rationalism and moral wisdom, and also his disabused and tolerant tone, made his poems favorite reading during the Enlightenment'. (The Classical Tradition, Cambr. Mass., 2010, p. 454/60) The famous Dutch scholar and poet Daniel Heinsius, 1580-1655, was born in Ghent. He studied in Leyden and became there the favourite pupil of the genius J.J. Scaliger, whom he succeeded as professor of Greek after Scaliger's death in 1609. Sandys calls Heinsius' work on Greek authors, such as Hesiod and Aristotle better than his work on Latin authors. 'Nevertheless, his criticisms were highly praised by his contemporaries and by his immediate successors'. (Sandys, History of Classical scholarship, p. 314) Heinsius published his first edition of Horace, with his notes, in Leiden in 1612. It became a standard, and was influencial in Holland, France and Britain. This 3 volume set of 1629 is most sought after, because of the clear typography of the Elzevier brothers, Heinsius useful animadversiones and his masterpiece de satira Horatiana libri duo)(Collation: *-2*8, A-P8 (leaf P8 verso blank); A-P8, Q8 (leaves Q6, Q7 & Q8 blank); a-r8, s8 (minus the blank leaf s8)) (Photographs on request) ‎

‎Q. Horatius Flaccus, ex recensione & cum notis atque emendationibus Richardi Bentleii. Editio altera. ‎

‎Amsterdam (Amstelaedami), Apud Rod. & Gerh. Wetstenios Hff, 1713. ‎

‎4to. 2 parts in 1: (XXIV),717,(1 errata); 239,(1 blank) p., frontispiece. Vellum. 26 cm <Prize copy Oldenzaal, with the manuscript school prize> (Ref: STCN 186707010; Schweiger 2,406; Riedel Horatiana p. 42/43; Brunet 3,318/19: ' L'ouvrage parut d'abord à Cambridge 1711, mais on préfère l'édition d'Amsterdam 1713'; Dibdin 2,101/05; Moss 2,21; Graesse 3,354; Ebert 10194) (Details: Back with 6 raised bands. Both boards gilt. Frontispiece, designed by J. Goeree and executed by Bernards, depicting a monument for Horace in a bucolic scene, with his bust on top; the god Apollo holds a laurel wreath above the poet's head; in the foreground an old satyr; a Muse, probably Thalia, wraps a garland around the pedestal. Engraved printer's mark of the Wetstein family on the title-page, a burin being sharpened on a whetstone (Wetstein!), around it the device: 'Terar dum prosim'. Title-page printed in red and black. The commentary is printed in 2 columns below the text) (Condition: Vellum age-tanned, somewhat scratched and slighty soiled. The 4 decorative silk fastening ribbons at the outer edges of the boards worn away. Bookplate pasted on the front pastedown. Old names on the front flyleaf) (Note: Richard Bentley, 1662-1742, from 1700 Master of Trinity College, Cambridge, was doubtless one of the greatest names among classical scholars of Europe in the 18th century. He is most famous for his 'Dissertation on the Epistles of Phalaris' (London 1697/99), a work that, according to Sandys, 'marks an epoch in the History of scholarship'. He made significant advances in the study and textual criticism of Horace. In 1711 he published an edition of Horace 'in which the traditional text is altered in more than 700 passages, a masterly work, which however, does more credit to the logical force of his intellect than to his poetic taste. It is here that we find his celebrated dictum: 'nobis et ratio et res ipsa centum codicibus potiores sunt'. (Sandys 2,406) This citation is however not complete. The wise words which follow after the comma (potiores sunt,) are mostly omitted: 'praesertim accedente Vaticani veteris suffragio'. Some of his 700/800 emendations have been accepted, but the majority was rejected by the early 20th century as unnecessary) The works of the Roman poet Quintus Horatius Flaccus, 65-8 B.C., have enjoyed a continuous presence in European culture. Till well into the 20th century he stood central in school curricula. Earlier, in the Middle Ages, he was next to Vergil the most important school author. Horace is transmitted in around 300 medieval manuscripts. The Renaissance saw the beginning of a flood of editions. 'For Neo-latin poetry until modern times, and for all the vernacular literature of Europe from the 16th through the 18th centuries, Horace provided the dominant model both for private lyrics celebrating wine and love and for public lyrics celebrating affairs of state'. (The Classical Tradition, Cambr. Mass., 2010, p. 454/60)) (Provenance: The school prize was awarded to Henricus Johannes Pötken on the occasion of his promotion from the first class to the university, date 'VI Iduum Quintilis' 1777. The prize is signed by 2 curators, and the rector of the 'Gymnasii Oldensaliensis' J.G. Schultz'. In the 'Maendelyke uittreksels, of de Boekzael der geleerde werrelt', Volume 60, Amsterdam 1774, p. 98, we found the report of a promotion ceremony at the gymnasium of Oldenzaal, in which a boy H.J. Potken participated. Members of the Potken family lived in the Dutch city of Oldenzaal from the 17th century. On the front pastedown an engraved bookplate 'Ex libris John Chipman Gray'. See for this American scholar of property law and professor at Harvard Law School, 1839-1915, his article in Wikpedia. His father's name was Horace. He graduated from Boston Latin School, went on to Harvard University, where he earned his Bachelor of Arts degree in 1859, and Harvard Law School, where he earned his law degree in 1861. On the flyleaf: 'Russel Gray, from Anna Lyman Gray, January 1916'. John Chipman Gray was married to Anna Lyman (Mason) Gray. She apparantly donated this book a year after the death of her husband to a relative Russell Gray. She died in 1932. On the flyleaf also in green ballpoint Augustine H. Gray. He was born in 1888 in Massachusetts, and died in 1981. He fought in two world wars. He later became Rear Admiral.) (Collation: pi2, *2 (first leaf signed *3), 2*-3*4; A-2X4, 2Y2, 2Z-4X4, 4Y1 (4Y1 verso: errata); (a)-(2g)4 ((leaf (2g)4 verso blank) (The first leaves, pi2 and *2, have been described erroneously by STCN as 'pi1 pi2, *2'. This cannot be correct, for the first 2 leaves (pi2) form a conjugate pair, shown by the watermark. The leaves of *2 form also a conjugate pair, also shown by the watermark)) (Photographs on request) (Heavy book, may require extra shipping costs) ‎

‎Q. Horatius Flaccus ex recensione Heinsii et Fabri, ac cum variis lectionibus Rich. Bentleii. ‎

‎Amsterdam (Amstelaedami), Ap. R. et G. Wetstenios, 1719. ‎

‎12mo. 214,(2 blank) p. Vellum 12.5 cm (Ref: Schweiger 2,407; Graesse 3,354) (Details: 4 thongs laced through the joints. Title engraved by J. Wandelaar) (Condition: Vellum age-tanned. Both pastedown detached. Right margin slightly thumbed. Engraved title coloured with watercolours. Some old ink underlinings. Faintly waterstained) (Note: This booklet was produced for schoolboys and educated men able to read Latin, but not to be bothered with philological niceties. The Wetsteins had already published an important Horace edition of the English genius Richard Bentley for scholars in Amsterdam in 1713. In a short note (p. 5) the 'typographus' Wetstein tells the reader that this booklet offers all that is to be desired for little money (paucis accipe). The odes, he says, are preceded (sometimes) by an indication of the metre 'ex mente A. Manutii', to make scansion, especially for schoolboys (tirones) easy. For the constitution of the text he follows Daniel Heinsius and Tanaquil Faber. The 'variae lectiones' of Richard Bentley are printed in the lower margins, to enable the reader to choose for himself. The works of the Roman poet Quintus Horatius Flaccus, 65-8 B.C., have enjoyed a continuous presence in European culture. Till well into the 20th century he stood central in school curricula. Earlier, in the Middle Ages, he was next to Vergil the most important school author. Horace is transmitted in around 300 medieval manuscripts. The Renaissance saw the beginning of a flood of editions. 'For Neo-latin poetry until modern times, and for all the vernacular literature of Europe from the 16th through the 18th centuries, Horace provided the dominant model both for private lyrics celebrating wine and love and for public lyrics celebrating affairs of state'. Young poets used Horace to learn the trade. 'Horace's elegant rationalism and moral wisdom, and also his disabused and tolerant tone, made his poems favorite reading during the Enlightenment'. (The Classical Tradition, Cambr. Mass., 2010, p. 454/60)) (Provenence: Small ownership entry on the front flyleaf: 'F.J.P. Verbrugge'. The Dutchman Franciscus Johannes Petrus Verbrugge was born in Bergen op Zoom, and took his doctoral degree 3 july 1973, defending his dissertation 'Versgrens en zin in Ovidius' Heroides'. He has published on Dutch and classical literature, especially poetry, and on the reception of classical culture in several periodicals.) (Collation: A-N8; O4 (O4 blank)) (Photographs on request) ‎

‎Quinti Horatii Flacci Carmina, nitori suo restituta. Accurante Steph. And. Philippe. ‎

‎Paris (Lutetiae Parisiorum), Sumptibus Ant. Urb. Coustelier, 1746. (Colophon at the foot of leaf 2B6v reads: 'Typis viduae Delatour') ‎

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‎Small 8vo. Engraved frontispiece, XXIV,299,(1 blank) p. Calf 15,5 cm (Ref: Schweiger 2,410; Brunet 3,320; Graesse 3,355; Ebert 10211) (Details: Nice copy. Back gilt and with 5 raised bands. Boards with tripple fillet gilt borders. Gilt inside dentelles. Edges of the bookblock gilt. Green marbled endpapers. Frontispiece designed by B. Picart, and executed by Cl. Duflos. (Claude-Augustin-Pierre Duflos) It depicts a bucolic scene with in the foreground Venus and little Amor; in the middle a medallion with a portrait of Horace. Printer's mark of the Estiennes on the title, featuring an old man who stands in the shade of a vine-entwined elmtree, symbolising the symbiotic relationship between scholar and publisher. The motto is: 'Non solus'. Woodcut initials, ornaments and engraved vignettes) (Condition: Some faint wear and scratches to the binding; small inscription on the verso of the first flyleaf) (Note: The works of the Roman poet Quintus Horatius Flaccus, 65-8 B.C., have enjoyed a continuous presence in European culture. Till well into the 20th century he stood central in school curricula. Earlier, in the Middle Ages, he was next to Vergil the most important school author. Horace is transmitted in around 300 medieval manuscripts. The Renaissance saw the beginning of a flood of editions. 'For Neo-latin poetry until modern times, and for all the vernacular literature of Europe from the 16th through the 18th centuries, Horace provided the dominant model both for private lyrics celebrating wine and love and for public lyrics celebrating affairs of state'. Young poets used Horace to learn the trade. 'Horace's elegant rationalism and moral wisdom, and also his disabused and tolerant tone, made his poems favorite reading during the Enlightenment'. (The Classical Tradition, Cambr. Mass., 2010, p. 454/60) The French historian and geographer Étienne André Philippe de Prétot, 1710-1787, produced in the beginning of his carreer quite a number of editions of Latin classics. Between 1747 and 1755 he edited for the Parisian publisher Antoine-Urbain Coustelier Catullus, Tibullus, Propertius, Sallustius, Vergilius, Horatius, Juvenalis, Persius, Phaedrus, Lucretius, Velleius Paterculus, Eutropius and Terentius. The editions were accompanied by explanatory notes and erudite introductions. (See wikipedia s.v. Philippe de Prétot) Philippe de Prétot based his Horace on the very respectable Parisian edition of the Jesuit Noel-Étienne Sanadon of 1728, who consulted the old commentaries, but chiefly followed Bentley and Cunningham. Especially the latter, adds Dibdin) (Provenance: On the verso of the front flyleaf in ink: '4 francs, Paris, October 1855' , and in pencil: '26 florins, Amsterdam, Maart 1955') (Collation: a8, b4; A-Z8/4, 2A4, 2B6) (Photographs on request) ‎

‎Beatus ille. Een boek voor iedereen over Horatius. Tweede herziene druk. ‎

‎Zutphen, W.J. Thieme, (1921). ‎

‎VIII,375 p. Half cloth. 25 cm (OiN 238 s.v. Iuvenals; not in OiN s.v. Horatius, many passages in translation) ‎

‎Q.HORATIUS FLACCUS CUM COMMENTARIIS SELECTISSIMIS VARIORUM & SCHOLIS INTEGRIS JOHANNIS BOND ACCEDUNT INDICES LOCUPLETISSIMI TUM AUCTORUM TUM RERUM ACCURANTE CORN. SCHREVELIO.‎

‎APUD FRANCISCUM HACKIUM. 1653 ?. In-8. Cartonné. Etat passable, Plats abîmés, Dos satisfaisant, Intérieur frais. 838 pages - OUVRAGE EN LATIN - contre plats jaspés - dos en cuir marron - dos à 5 nerfs - titre doré sur le dos - plats cartonnés brut désolodarisé - 3 photos disponibles.. . . . Classification Dewey : 840.04-XVII ème siècle‎

‎OUVRAGE EN LATIN - NOTA : Horace (en latin Quintus Horatius Flaccus) est un poète latin né à Vénose dans le sud de l'Italie, le 8 décembre 65 av. J.-C. et mort à Rome le 27 novembre 8 av. J.-C.. Classification Dewey : 840.04-XVII ème siècle‎

‎"Liederen uit mijn lanhuis; vijftig gedichten van Horatius vertaald door Anton van Wilderode."‎

‎Leuven, Davidsfonds, 1988. 16 x 25, 264 pp., reliure d'édition pleine toile + jaquette (hardcover + dustjacket), bon état (fine condition).‎

‎Tekeningen : Hugo Heyens.‎

‎Des Q. Horatius Flaccus Sämmtliche Werke für den schulgebrauch erklärt - Erster theil Oden und epoden Dr von C.W. NAUCKDes Q. Horatius Flaccus Sämmtliche sämmtliche werke für den schulgebrauch erklärt - Zweiter theil Satiren und Episteln Dr G.T.A. KRUGER(2 volumes)‎

‎ LEIPZIG, Verlag von B. G. Teubner, 1863 - In-8 - 1/2 Reliure - Dos lisse orné de motifs dorés - XIV & 265 pages - PropreLEIPZIG, Verlag von B. G. Teubner, 1860 - In-8 - 1/2 Reliure - Dos lisse orné de motifs dorés - XIII & 346 pages - Propre2 volumes - Bons exemplaires‎

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‎Quincti Horatii Flacci Venusini, Poetae Lyrici elegantiss. Opera, grammaticorum XL tam antiquiss. quam neotericorum partim iustis commentariis, partim succinctis annotationibus, singulari studio & amplissimis sumptibus in unum Corpus collectis, illustrata, variisque ac vetustissimis exemplaribus collata, & menda in iisdem sublata, quorum Auth(orum) nomina & ordinem sequens pagina demonstrabit. Iam pridem, in studiosae iuventutis gratiam et utilitatem post Herculeos labores edita, cum gemino indice rerum, verborum ac sententiarum locupletissimo. ‎

‎Basel (Basileae), Per Sebastianum Henricpetri, (1580). ‎

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‎Folio. (XXIV),(XXXVI),2280 columns, (12 index, and printer's mark at the end) p. 19th century full calf. 35 cm 'May be classed among the most excellent and rare' (Ref: VD16 H 4874; Schweiger 2,398; Dibdin 2,94; Moss 2,12/13; Brunet 3,314/15: 'mérite certainement d'être distinguée'; Ebert 10159; Riedel Horatiana 51; USTC 689469) (Details: Back with 5 raised bands. Gilt short title in second compartment. Sebastian Henripetrus' woodcut printer's mark on the title, depicting a rock on which a hand from heaven strikes fire with a hammer. The fire is aroused by a human head (a cloud?) blowing from the sky. The second printer's mark on the verso of the last leaf is a simpler version of the image, now with the addition of the name of the printer 'Sebastian Henric Petri'; the 2 letters 'n' in the name 'Sebastian Henric Petri' are strange enough cut backwards mirrorwise. Woodcut initials. Printed in 2 columns. The poems of Horace, printed in a beautiful Roman letter, are surrounded by commentary, printed in italics, thus more or less suggesting the layout of a medieval manuscript) (Condition: The foot of the spine is somewhat chafed. The front flyleaf is gone. Front inner hinge slightly cracking, but strong. Title a bit soiled. Old name on the title. Occasional yellowing paper. Occasional some faint and small waterstains. One larger waterstain in a few quires at the end of the book. Small wormhole in the blank right upper corner of some 80 leaves, not affecting text. A few spots on the lower board. The binder erroneously switched leaf Ee1 and Ee6) (Note: The works of the Roman poet Quintus Horatius Flaccus, 65-8 B.C., have enjoyed a continuous presence in European culture. His memorable phrases made him the most quoted ancient author. Till well into the 20th century he stood central in school curricula. Earlier, in the Middle Ages, he was next to Vergil the most important school author. Horace is transmitted in around 300 medieval manuscripts. The Renaissance saw the beginning of a flood of editions. 'For Neo-latin poetry until modern times, and for all the vernacular literature of Europe from the 16th through the 18th centuries, Horace provided the dominant model both for private lyrics celebrating wine and love and for public lyrics celebrating affairs of state'. Young poets used Horace to learn the trade. 'Horace's elegant rationalism and moral wisdom, and also his disabused and tolerant tone, made his poems favorite reading during the Enlightenment'. (The Classical Tradition, Cambr. Mass., 2010, p. 454/60) This edition of Horace is a kind of 'Variorum' edition. It offers the observations and emendations of 40 Horace scholars, old and new, including the commentaries of the scholiasts Helenius Acron and Porphyrius. It does not break new ground, Lambinus seems not to exist, but it is a real treasure chest for Horatian philology, supplying all what is worth knowing of Horace and his poetry. It is a reissue of the edition of 1555, which was produced by the German classical scholar Georg Fabricius, 1516-1571. 'Seine Ausgaben von Vergil, Horaz und Ovid zeichnen sich nicht nur durch philologische Akribie aus, sondern sind auch wegweisend für die Interpretation'. (NDB 4,734) A remarkable feature of this edition is the space which is attributed to the Ars Poetica. Commentaries, treatises on the AP by Landinus, Luisinus, Grifolus Lucinianensis, Iason & Gabriel de Nores, Parrhasius, Amarbachius & Freigius, fill almost a quarter of the book. It is a pity that Robertello's work on the Ars Poetica was not included. Still this 1580 edition is declared to be indispensable by Dr. Harwood: 'This is the great treasure of learning bestowed on Horace. My learned and worthy friend Dr. Parr, one of the best classical scholars in this kingdom, many years ago informed me of the distinguished merit of this edition. It contains the observations and remarks on Horace, which were made by the great scholars of that illustrious age, the glorious age of the revival of literature, as well as the criticism of all the old commentators on Horace, Acron, Porphyrion &c'. (E. Harwood, 'A view of the various editions of the Greek & Roman classics', 4th ed., London, 1790, p. 221/222)) (Provenance: Name on the title of 'R. Alberda'. This must be a 'Reynt Alberda', or a 'Reint' Alberda'. This christian name is the most frequently used name for men in the Alberda family of Northern Dutch gentry, so it is hard to say who this might be. The handwriting seems to be 18th century) (Collation: *-2*6, a-c6, A-Z6, Aa-Zz6, AA-ZZ6, AAa-ZZz6, AAaa-DDdd6) (Photographs on request) (Heavy book, may require extra shipping costs) ‎

‎Q. Horatius Flaccus, ex recensione & cum notis atque emendationibus Richardi Bentleii. Editio altera. ‎

‎Amsterdam (Amstelaedami), Apud Rod. & Gerh. Wetstenios Hff, 1713. ‎

‎4to. 2 parts in 1: (XXIV),717,(1 errata); 239,(1 blank) p., frontispiece. Half goatskin. 27.5 cm < Deventer provenance > (Ref: STCN ppn 186707010; Schweiger 2,406; Riedel Horatiana p. 42/43; Brunet 3,318/19: ' L'ouvrage parut d'abord à Cambridge 1711, mais on préfère l'édition d'Amsterdam 1713'; Dibdin 2,101/05; Moss 2,21; Graesse 3,354; Ebert 10194) (Details: Wide margins. Back with 5 raised bands and traces of a gilt short title in the second compartment. Frontispiece, designed by J. Goeree and executed by Bernards, depicting a monument for Horace in a bucolic scene, with his bust on top; the god Apollo holds an laurel wreath above the poet's head; in the foreground an old satyr; a Muse, probably Thalia, wraps a garland around the pedestal. Engraved printer's mark of the Wetstein family on the title page. Title printed in red and black. Margins uncut. The commentary is printed in 2 columns below the text) (Condition: Back very worn and scuffed, and with 3 small holes because of wear. Marbled paper on the frontcover wearing away severely. Paper on the lower board partly gone. Hinges cracking. Front pastedown inscribed. 4 gatherings browned) (Note: Richard Bentley, 1662-1742, from 1700 Master of Trinity College, Cambridge, was doubtless one of the greatest names among classical scholars of Europe in the 18th century. He is most famous for his 'Dissertation on the Epistles of Phalaris' (London 1697/99), a work that, according to Sandys, 'marks an epoch in the History of scholarship'. He made significant advances in the study and textual criticism of Horace. In 1711 he published an edition of Horace 'in which the traditional text is altered in more than 700 passages, a masterly work, which however, does more credit to the logical force of his intellect than to his poetic taste. It is here that we find his celebrated dictum: 'nobis et ratio et res ipsa centum codicibus potiores sunt'. (Sandys 2,406) This citation is however not complete. The wise words which follow after the comma (potiores sunt,) are mostly omitted: 'praesertim accedente Vaticani veteris suffragio'. Some of his 700/800 emendations have been accepted, but the majority was rejected by the early 20th century as unnecessary) (Provenance: The inscription on the front pastedown reads: 'Jord, Bouw, Coen, Weerts' and 'Bergsma'. Four of these names refer to names of families of the Deventer city elite, 'Jord' is Jordens, 'Bouw' is Bouwer, 'Coen' is Coenen, 'Weerts' is Weerts. 'Bergsma' seems to originate from elsewhere. Two ownership entries on front pastedown: the oldest reads: 'J. Weerts, 1786'. The jurist Johan Weerts was born in Deventer on January 17, 1769, and died in Utrecht the 15th of May, 1842. He attended the Athenaeum at Deventer, and studied law in Leiden. He was a lawyer in his hometown from 1791 till 1799, from 1802 Councillor at the 'Hof van Gelderland', Mayor of Arnhem from 1824 till 1842. From 1826 till 1842 he was a member of both Chambers of the Parliament. Added are 4 pieces of scrap paper with texts written by J. Weerts, 2 with annotations in Latin & Dutch, and 2 with Latin prose compositions, with at the end the marks, a 7 and a 71/2, given him by his teacher. They were made when he was a boy at the Athenaeum of Deventer. He was 17 when he received this book, probably at the end of his school career. The second ownership inscription below the name of Weerts is in pencil, the name 'Steenbach 1886' or 'Steendach 1886')) (Collation: pi2, *2 (first leaf signed *3), 2*-3*4; chi1 (half title of the second part, erroneously bound here after the preliminary pages, in fact this chi is the last leaf 4Y2, and should have been placed after leaf 3K3, p. 443, the beginning of the second part); A-2X4, 2Y2, 2Z-4X4, 4Y1 (4Y1 verso: errata); (a)-(2g)4 ((leaf (2g)4 verso blank) (The first leaves, pi2 and *2, have been described erroneously by STCN as 'pi1 pi2, *2'. This cannot be correct, for the first 2 leaves (pi2) form a conjugate pair, shown by the watermark. The leaves of *2 form also a conjugate pair, also shown by the watermark))(Gatherings 3N, 3O, 3V & 3X browned)) (Photographs on request) (Heavy book, may require extra shipping costs) ‎

‎Q. Horatii Flacci Carmina collatione scriptorum graecorum illustrata ab Henrico Wagnero. Praefatus est Christ. Adolphus Klotzius. ‎

‎Halle (Halae Magdeburgicae), Impensis Orphanotrophei, 1770. ‎

‎8vo. (VIII),XXII,136 p. Contemporary boards 20 cm (Ref: not yet in VD18; Schweiger 2,461; Ebert 10280; Brunet 6, no. 12507) (Details: Woodcut printer's mark on the title) (Condition: Binding scuffed and spotted. Owner's inscriptions written on the front endpapers. First and last leaves browning, the rest is yellowing) (Note: The works of the Roman poet Quintus Horatius Flaccus, 65-8 B.C., have enjoyed a continuous presence in European culture. His memorable phrases made him the most quoted ancient author. Till well into the 20th century he stood central in school curricula. Earlier, in the Middle Ages, he was next to Vergil the most important school author. Horace is transmitted in around 300 medieval manuscripts. The Renaissance saw the beginning of a flood of editions. 'For Neo-latin poetry until modern times, and for all the vernacular literature of Europe from the 16th through the 18th centuries, Horace provided the dominant model both for private lyrics celebrating wine and love and for public lyrics celebrating affairs of state'. Young poets used Horace to learn the trade. 'Horace's elegant rationalism and moral wisdom, and also his disabused and tolerant tone, made his poems favorite reading during the Enlightenment'. (The Classical Tradition, Cambr. Mass., 2010, p. 454/60)) The style of many of Horace's poems displays polished techniques derived from Hellenistic Greek poetry. In his odes Horace claims the early Greek lyric poets Sappho and Alcaeus as his models, and to have introduced into Latin poetry their style and rythms. The German jurist Heinrich Wagner (Henricus Wagnerus), 1747-1814, tried in his 'Horatii Flacci Carmina collatione' to locate the Greek sources of Horace's poetry. (For Wagner see 'Killy Literaturlexikon', 2nd edition, 2011, vol. 12, p. 73/74)) (Provenance: On the front pastedown: 'Schol. Gustrov. acc. 1816'. This school is the 'Domschule' at Güstrow, in Northern Germany, a 'schola latina' founded in 1552, and later transformed into a Gymnasium. In 1942 the school was merged with the local Realgymnasium. Its new name was 'Vereinigte John-Brinckman-Schule und Domschule'. Nowadays it is called the 'John-Brinckman-Gymnasium'. On the flyleaf: 'No. 58 May 1788'. On the same leaf in a different hand: first an erased name, and then: 'Hic liber a Professore nostro, viro generosissmo, XIVa Cal. Mart. 1802 mihi est datus'. Car. Piper') (Collation: *4, )(-2)(8, -H8, I4) (Photographs on request) ‎

‎Q. Horatius Flaccus, ex recensione & cum notis atque emendationibus Richardi Bentleii. Editio tertia. ‎

‎Berlin, Weidmann, 1869. ‎

‎8vo. 2 volumes: XXVIII,518,(2); 710 p. Half cloth. 22.5 cm (Rebound. Paper yellowing. First and last leaves browning) (Note: Richard Bentley, 1662-1742, from 1700 Master of Trinity College, Cambridge, was doubtless one of the greatest names among classical scholars of Europe in the 18th century. He is most famous for his 'Dissertation on the Epistles of Phalaris' (London 1697/99), a work that, according to Sandys, 'marks an epoch in the History of scholarship'. He made significant advances in the study and textual criticism of Horace. In 1711 he published an edition of Horace 'in which the traditional text is altered in more than 700 passages, a masterly work, which however, does more credit to the logical force of his intellect than to his poetic taste. It is here that we find his celebrated dictum: 'nobis et ratio et res ipsa centum codicibus potiores sunt'. (Sandys 2,406) This citation is however not complete. The wise words which follow after the comma (potiores sunt,) are mostly omitted: 'praesertim accedente Vaticani veteris suffragio'. Some of his 700/800 emendations have been accepted, but the majority was rejected by the early 20th century as unnecessary.) ‎

‎Horatius. Recensuit atque interpretatus est Io. Gaspar Orellius. Editio minor tertia. Curavit Io.Georgius Baiter. ‎

‎Zürich, Orelli, 1851 - 1852. ‎

‎2 volumes in 1: XX,438;616 p. Half calf. 20 cm (Cover slightly worn at extremities) ‎

‎Horatius. Recensuit atque interpretatus est I.G. ORELLIUS. Editio minor Va curavit I.G. BAITERus. ‎

‎Zürich, Orelli, 1868. ‎

‎2 vols. in 1: XX,438;550 p. H.calf 20 cm (Cover worn at extremes; some small ink stripes; some slight foxing) (Text & commentary) ‎

‎Q. Horatius Flaccus. (Herausgegeben von H. FÄRBER). ‎

‎München, Heimeran, 1961. ‎

‎363 p. Cl. (Tusculum; text only) ‎

‎Horace, for English readers. Being a translation of the poems of Quintus Horatius Flaccus into English prose by E.C. WICKHAM. ‎

‎Oxf., Clarendon Press, 1903. ‎

‎V,363 p. Cl. 18 cm ‎

‎Liederen uit mijn landhuis. Vijftig gedichten van Horatius vertaald door A. VAN WILDERODE. Tekeningen: H. Heyens. ‎

‎Leuven, Davidsfonds, 1988. ‎

‎270 p., ills. Cl. 25 cm (OiN 214; introduction, Latin text & Dutch translation) ‎