12 books for « juvenalis persius »Edit

‎D. Junii Juvenalis et Auli Persii Flacci Satyrae: cum Veteris Scholiastae & Variorum Commentariis. Accurante Cornelio Schrevelio. ‎

‎Leiden (Lugd. Bat.), Apud Franciscum Hackium, 1658. ‎

‎8vo. (XVI),638,(42 index) p. Overlapping vellum 20 cm (Ref: STCN ppn 840202245; Schweiger 2,511; Dibdin 2,154; Moss 2,158/9; Ebert 11242; Graesse 3,520) (Details: 6 thongs laced through both joints. Shorttitle in ink on the back. The engraved title, which is not signed, is used here for the second time. It was first used for the original edition of 1648, of which this 1658 edition is a reissue; The engraved title of 1648 still bears the name of the engraver, it is executed by the Dutch Golden Age engraver Reinier van Persijn; for this edition of 1658, the X before LVIII was simply filed away from the copper plate, and at the same time the name of Persijn, just beneath the X. The title depicts allegorical scenes: on the left a naked woman sitting on a crocodile, holding in her hand a parrot; then a Janus-headed woman, with bird feet and a tail, holding up in her left hand a Momus-mask, and in her right 2 flaming hearts; in the centre sits on a throne an old woman, holding in her left hand a sack of money (?), and in her right what seems a little flask; on the right in the foreground a king reaching for that sack; he is accompanied by a priest, a farmer (?) and a soldier; in a window central above the old woman we see the ascension of the poet) (Condition: Vellum age-toned and slightly worn. Oddly enough a previous owner has replaced the vanished X in the impressum for a new one in ink. Outer margin of the first 2 leaves sligthly thumbed) (Note: The Roman poet Juvenalis, ca. 55-140 AD, was the last and most influential of the Roman satirists. He 'uses names and examples from the past as protective covers for his exposés of contemporary vice and folly'. His main theme is the dissolution of the social fabric. (The Classical Tradition, Cambr. Mass., 2010, p. 501) The satires of the stoic poet Aulus Persius Flaccus form one 'libellus' of 6 satires, together 650 hexameters. 'They are well described as Horatian diatribes transformed by Stoic rhetoric'. 'He wrote in a bizarre mixture of cryptic allusions, brash colloquialisms, and forced imagery. (OCD, 2nd ed. p. 805) This edition of 1658 is a 'Variorum' edition. It offers the 'textus receptus' which is widely accepted, accompanied with the commentary and the annotations of specialists, taken from earlier useful, normative or renewing editions. Editions like these, 'cum notis Variorum', were useful, but never broke new ground. The production of this kind of editions was the specialty of Dutch scholars of the 17th and 18th century. The compilers seldom were great scholars, but often hard working schoolmasters. Their involvement in publishing a new edition was limited to the necessary, but ungrateful task of the beast of burden. Such a plodder was the Dutch editor Cornelius Schrevelius, who taught classics at the Schola Latina at Leiden, where he had been raised himself. In 1642 he succeeded his father, Theodorus Schrevelius, as the rector (Moderator) of the school. He raised at least 11 kids, and fell in 1664 victim to the then raging plague. His first Juvenal edition he published in 1648, and it was reissued by Hackius in 1658, 1664 and in 1671. Schrevelius' aim was to promote the studies of his young students and to instill in them a necessary fear (optatam metam), which will make them useful citizens and the pride of their parents. Juvenal is a suitable author for such an enterprise, for he flogs wrongdoers, and learns them to avoid the path of wickedness and to embrace honesty. (Dedicatio p. *2 verso). Especially in shameless times as ours, he continues, satyre is needed. Decent behaviour and faith have been replaced by deceit and swindle. In a short 'Benigno Lectori' (*4 verso and *5 recto) Schrevelius tells that he relies for the text on the earlier editions of Robertus Stephanus and Pithoeus, and that he excerpted the notes and commentaries of Lubinus, Farnabius and Casaubon. In addition he offers, he says, a complete and emendated edition of the old Scholiast. Schrevelius even used two excellent manuscripts which were lent to him by the Leiden professor Salmasius, which helped him to solve many difficult problems. The engraved title deserves some attention. The easiest description we found was 'an engraved title with many figures'. To us, it seems an allegorical scene based on the tenth satire, Juvenal's famous declamation on the folly of men in desiring in their prayers from the gods vane things as honor, fame, wealth, power, beauty, or a long life, instead of a sane spirit in a healthy body. 'Whole households have been destroyed by the compliant gods in answer to the masters' prayers. In camp (nocitura militia) and city (nocitura toga) alike we ask for things that will be our ruin'. (Vss. 7/9, in the Loeb-translation of Ramsay) Juvenal offers a list of pityful examples, such as the once powerful Sejanus, who like Libyan general Gadaffi many centuries later was 'being dragged along by a hook, as a show and joy to all'. (Vss. 66/67, translation Ramsay) Victims of their lust for power were Alexander the Great, Xerxes, or the Punic conqueror Hannibal, the man who was once about to destroy Rome. We assume that the royal figure who reaches out for the sack of money, or from whose hands it is being snatched, is Hannibal. The clue for this assumption is the woman on the crocodile. Such a woman was in 17th century iconography the common personification of Africa, for instance on maps. The fate of this scourge of Rome is treated by Juvenal in evocative language in 20 beautiful verses. It begins like this: 'Put Hannibal into the scales; how many pounds' weight will you find in that greatest of commanders? This is the man for whom Africa was all too small'. (Vss. 147/8) Together with the old woman he is the central figure on the title. The positioning of the three woman brings in mind a Triad, a triple diety, such as the Graces, the Moirai or Fates, or the Harpies. The Erinyes, the avenging spirits, sometimes form a trinity too. The standing woman seems to be a mixture of an Erinye and a Harpy. She has some features of such a Harpy, the personification of deamonic powers, and an agent of terrible punishment. She is bare breasted and stands on huge bird claws, with which she abducts the souls of the dead to their doom. In her right hands she holds, instead of the usual horrifying snake, a Momus mask, which personifies satire and mockery, the power to make a fool or ass of someone. In her left hand rest two flaming hearts, catholic imagery, distastful to the protestants, and therefore perhaps reprensenting idolatry. Her double faced Janushead, looking to the future and the past, might be an image of Time. The old woman on the throne is the central figure on the title. To her all movement on the picture is directed. She has the features of Atropos, the riged and inflexible one, the oldest of the 3 Moirai, or Fates, and in iconography often depicted as an old woman. She has power over life and death, and represents the fate that cannot be avoided. She holds Hannibal's fate in her hands. She withdraws the sack of money (power) and offers with her right hand the once mighty suppliant a little flask or a small beaker, with the invitation to poison himself. Juvenal on Hannibal's unglamorous bleak death: 'What then was his end? Alas for glory! A conquered man, he flees headlong into exile, and there he sits, a mighty and marvellous suppliant, in the Kings's antichamber, until it pleases his Bithynian Majesty to awake! No sword, no stone, no javelin shall end the life which once wrought havoc throughout the world: no, but that which shall avenge Cannae and all those seas of blood, a ring (containing poison)'. (Vss. 158/165, translation Ramsay) The engraver follows for this scene the better known version of the Roman historian Livy. In chapter 51 of the 39th book of his History of Rome, 'Ab Urbe Condita' Livy tells that Hannibal took his poison in an 'poculum', a cup/ goblet/ bowl/ beaker) (Provenance: The last owner was Lennart Håkanson, professor of Latin Literature of the University at Uppsala, 1980-1987) (Collation: *8, A-Z8 Aa-Tt8 Vv4) (Photographs on request) ‎

‎D. Junii Juvenalis et Auli Persii Flacci Satyrae: cum Veteris Scholiastae & Variorum Commentariis. Accurante Cornelio Schrevelio. ‎

‎Leiden (Lugd. Batav.), Ex officina Hackiana, 1671. ‎

‎8vo. (XVI),604,(42 index) p. Vellum 20 cm (Ref: STCN ppn 840013876; Schweiger 2,511; Dibdin 2,154; Moss 2,158/9; Ebert 11242; Graesse 3,520) (Details: 5 thongs laced through both joints. Short title in ink on the back. The engraved title, which is not signed, is used here for the third time. It was first used for the original edition of 1648, for a repetition in 1658, and for this 1671 reissue. In 1648 the engraved title still bears the name of the engraver, it is executed by the Dutch Golden Age engraver Reinier van Persijn. The title depicts a complicated allegorical scene: on the left a naked woman sitting on a crocodile, holding in her hand a parrot; then a Janus-headed woman, with bird feet and a tail, holding up in her left hand a Momus-mask, and in her right 2 flaming hearts; in the centre sits on a throne an old woman, holding in her left hand a sack of money (?), and in her right what seems a little flask; on the right in the foreground a king reaching for that sack; he is accompanied by a priest, a farmer (?) and a soldier; in a window central above the old woman we see the ascension of the poet. See for an explanation of the allegory the note below) (Condition: Vellum age-toned and soiled. Boards worn at the extremities. Front hinge cracking but still strong. Front flyleaf loosening. Name on the front flyleaf. Small old inscription on the rear pastedown. Occasional small ink underlinings. Small wormhole in the right lower corner of the first 14 gatherings, never even coming near to the text) (Note: The Roman poet Juvenalis, ca. 55-140 AD, was the last and most influential of the Roman satirists. He 'uses names and examples from the After p. 65 has been added a plate showing a allegoric triumph scene with prince Frederik Hendrik of Orange. See for this plate: rkd.nl/nl/explore/portraits/record?filters[plaats][]=Den+Haag&filters[kunstenaar][] =Vinckboons%2C+David+%28I%29&query=&start=2)past as protective covers for his exposés of contemporary vice and folly'. His main theme is the dissolution of the social fabric. (The Classical Tradition, Cambr. Mass., 2010, p. 501) The satires of the stoic poet Aulus Persius Flaccus form one 'libellus' of 6 satires, together 650 hexameters. 'They are well described as Horatian diatribes transformed by Stoic rhetoric'. 'He wrote in a bizarre mixture of cryptic allusions, brash colloquialisms, and forced imagery'. (OCD, 2nd ed. p. 805) This edition of 1671 is a 'Variorum' edition. It offers the 'textus receptus' which is widely accepted, accompanied with the commentary and the annotations of specialists, taken from earlier useful, normative or renewing editions. Editions like these, 'cum notis Variorum', were useful, but never broke new ground. The production of this kind of editions was the specialty of Dutch scholars of the 17th and 18th century. The compilers seldom were great scholars, but often hard working schoolmasters. Their involvement in publishing a new edition was limited to the necessary, but ungrateful task of the beast of burden. Such a plodder was the Dutch editor Cornelius Schrevelius, who taught classics at the Schola Latina at Leiden, where he had been raised himself. In 1642 he succeeded his father, Theodorus Schrevelius, as the rector (Moderator) of the school. He raised at least 11 kids, and fell in 1664 victim to the then raging plague. His first Juvenal edition he published in 1648, and it was reissued by Hackius in 1658, 1664 and in 1671. Schrevelius' aim was to promote the studies of his young students and to instill in them a necessary fear (optatam metam), which would make them useful citizens and the pride of their parents. Juvenal is a suitable author for such an enterprise, for he flogs wrongdoers, and learns them to avoid the path of wickedness and to embrace honesty. (Dedicatio p. *2 verso) Especially in shameless times as ours, he continues, satyre is needed. Decent behaviour and faith have been replaced by deceit and swindle. In a short 'Benigno Lectori' (*4 verso and *5 recto) Schrevelius tells that he relies for the text on the earlier editions of Robertus Stephanus and Pithoeus, and that he excerpted the notes and commentaries of Lubinus, Farnabius and Casaubon. In addition he offers, he says, a complete and emendated edition of the old Scholiast. Schrevelius even used two excellent manuscripts which were lent to him by the Leiden professor Salmasius, which, he tells, helped him to solve many difficult problems. The engraved title deserves some attention. The easiest description we found was 'an engraved title with many figures'. To us, it seems an allegorical scene based on the tenth satire, Juvenal's famous declamation on the folly of men in desiring in their prayers from the gods vane things as honor, fame, wealth, power, beauty, or a long life, instead of a sane spirit in a healthy body. 'Whole households have been destroyed by the compliant gods in answer to the masters' prayers. In camp (nocitura militia) and city (nocitura toga) alike we ask for things that will be our ruin'. (Vss. 7/9, in the Loeb-translation of Ramsay) Juvenal offers a list of pityful examples, such as the once powerful Sejanus, who like the Libyan general Gadaffi many centuries later was 'being dragged along by a hook, as a show and joy to all'. (Vss. 66/67, translation Ramsay) Victims of their lust for power were Alexander the Great, Xerxes, or the punic conqueror Hannibal, the man who was once about to destroy Rome. We assume that the royal figure who reaches out for the sack of money, or from whose hands it is being snatched, is Hannibal. The clue for this assumption is the woman on the crocodile. Such a woman was in 17th century iconography the common personification of Africa, for instance on maps. The fate of this scourge of Rome is treated by Juvenal in evocative language in 20 beautiful verses. It begins like this: 'Put Hannibal into the scales; how many pounds' weight will you find in that greatest of commanders? This is the man for whom Africa was all too small'. (vs. 147/8). Together with the old woman he is the central figure on the title. The positioning of the three woman brings in mind a Triad, a triple diety, such as the Graces, the Moirai or Fates, or the Harpies. The Erinyes, the avenging spirits, also sometimes form a trinity. The standing woman seems to be a mixture of an Erinye and a Harpy. She has some features of such a Harpy, the personification of deamonic powers, and an agent of terrible punishment. She is bare breasted and stands on huge bird claws, with which she abducts the souls of the dead to their doom. In her right hands she holds, instead of the usual horrifying snake, a Momus mask, which personifies satire and mockery, the power to make a fool or ass of someone. In her left hand rest two flaming hearts, catholic imagery, distastful to the protestants, and therefore perhaps reprensenting idolatry. Her double faced Janushead, looking to the future and the past, might be an image of Time. The old woman on the throne is the central figure on the title. To her all movement on the picture is directed. She has the features of Atropos, the riged and inflexible one, the oldest of the 3 Moirai, or Fates, and in iconography often depicted as an old woman. She has power over life and death, and represents the fate that cannot be avoided. She holds Hannibal's fate in her hands. She withdraws the sack of money (power) and offers with her right hand the once mighty suppliant a little flask or small beaker, with the invitation to poison himself. Juvenal on Hannibal's unglamorous bleak death: 'What then was his end? Alas for glory! A conquered man, he flees headlong into exile, and there he sits, a mighty and marvelous suppliant, in the Kings's antichamber, until it pleases his Bithynian Majesty to awake! No sword, no stone, no javelin shall end the life which once wrought havoc throughout the world: no, but that which shall avenge Cannae and all those seas of blood, a ring (containing poison)'. (Vss 158/165, translation Ramsay) The engraver follows for this scene the better known version of the Roman historian Livy. In chapter 51 of the 39th book of his History of Rome, 'Ab Urbe Condita', Livy tells that Hannibal took his poison in an 'poculum' cup/goblet/bowl/beaker) (Provenance: Manuscript ownership entry of 'A.J. Enschedé' on the front flyleaf. Adriaan Justus Enschedé, 1829-1896, was a member of a famous Dutch dynasty of printers. His forefather Izaak Enschedé established himself in Haarlem in 1703, and there the firm remained for more than 300 years. The firm was, and still is famous for the quality of its printing of bonds and banknotes. In 1810 they printed the first Dutch banknotes. Adriaan Justus entered the firm and kept it flourishing. From 1857 onward he was also Keeper of the archives of the city of Haarlem. He wrote several books on the history of Haarlem, and on the history of the Wallon Church in the Netherlands) (Collation: *8, A-2R8 2S4 (2S4 blank)) (Photographs on request) ‎

‎Juvenalis and Persius, literally translated. With copious explanatory notes; By M. Madan. A new edition, revised and corrected. ‎

‎Oxford, London, printed by J. Vincent for Thomas Tegg, 1889. ‎

‎2 volumes: 307;344 p. Cloth 23 cm (Bindings shabby, especially the backs; front fleaves removed; some pencil. Interior ok) ‎

‎D. Junius Juvenalis et Aulii Persii Flacci Satyrae. Ad fidem optimorum librorum accurate recensitae.‎

‎Gottingae (Göttingen), ex officina academica A. Vandenhoeck, 1742, kl. in-8vo, 1 Titelbl. + 148 S., beide erste und letzte Bl. leicht stockfl., onst frisch, hs. Besitzeintrag auf Vorsatz ‘Gulielmi Fusslin 1820’, und Stempel „Hans Böniger“, späterer Pappband mit marbr. Buntpapier, rotes Titel-Schildchen und vergold. Ziermotive auf dem Rücken, Kapitel leicht beschabt, gesprenk. Schnitt.‎

‎ Schweiger I,512. image disp.‎

‎Traduction des Satyres de Perse, et de Juvénal, par le Révérend Pere Tarteron, de la Compagnie de Jésus. Nouvelle édition. ‎

‎Paris, Par la Compagnie des Libraires, 1714. ‎

‎12mo in eights & fours. (XLVIII),591,(1 blank) p. Calf 17 cm Two poets exploring the limits of satiric free speech (Ref: Schweiger 2,517; cf. Graesse 3,522; Ebert 11273) (Details: Back gilt and with 5 raised bands, shield in the second compartment. The frontispiece depicts a poet/thinker in a robe, and seated on a stone bench; on the bench the inscription Facit indignation versum. Printer's mark, a beehive, on the title. The Latin text & French translation are printed side by side in different typefaces) (Condition: Wear to extremities of the binding: head & tail of the back slightly chafed. Back rubbed. Shield on the back vanishing. Wormhole near the gutter of the left lower corner of the first 64 p.) (Note: The stoic poet Aulus Persius Flaccus, 34-62 A.D., is a representative of the imperial Latin satire. His stoic satires form one 'libellus' of 6 satires, together 650 hexameters. 'They are well described as Horatian diatribes transformed by Stoic rhetoric'. 'He wrote in a bizarre mixture of cryptic allusions, brash colloquialisms, and forced imagery'. (OCD, 2nd ed. p. 805) The Stoic philosopher is in the work of Persius not a figure of fun, but a wise man. The Roman poet Juvenalis, ca. 55-140 AD, was the last and most influential of the Roman satirists. He 'uses names and examples from the past as protective covers for his exposés of contemporary vice and folly'. (The Classical Tradition, Cambr. Mass., 2010, p. 501) His main theme is the dissolution of the social fabric. He had a lasting influence on neolatin and vernacular writers of the Renaissance and later centuries. A striking feature of this book is, when one runs it through for the first time, is the discrepancy between the space occupied by the Latin text and the French translation. Take for instance the pages 2 and 3: on p. 2 we count 56 Latin words, on the opposing page 152 French words. Concise verses are transformed into long phrases in prose. The translator of these verses, the French Jesuit Jérôme, or Hieronymus Tarteron, 1644-1720, was professor of rhetoric. He translated also the Satires, Letters and the Ars Poetica of Horace. As usual with Jesuit editions, here also 'le pere Tarteron a eu soin de retrancher ce qui dans ces poëts pourroit nuire aux bonnes moers', so we read in the second volume of the Nouveau Supplement au Grand Dictionnaire Historique, de L. Moreri, Paris 1749. The edition was first published in 1689 and met with some success: it was reissued in 1695, 1706, 1714, 1729, 1737 and 1752) (Collation: pi1 (frontispiece), â8, ê4, î8, ô4; A8-3B4 (:gatherings A - 3B alternating), 3C8)) (Photographs on request) ‎

‎D. IUNI JUVENALIS SATIRARUM LIBRI V. A. Persii Flacci Satyrarum liber I. Theod. Pulmanni in eosdem Annotationes. ‎

‎Antverpiae ( Anvers ) Ex officina Christophori Plantini 1565 in 12 (17x11) 1 volume reliure demi veau havane, dos à nerfs orné de fleurons à froidl, pièces de titre de cuir vert et rouge, page de titre avec vignette gravée à la marque au compas de l'imprimeur Plantin (woodcut printer's device on title page), 160 pages. Rare première edition Plantinienne du livre V des satires de Juvénal (first Plantin edition of the preserved works by Juvenal and Persius edited by Theodor Poelman, 1512-1581). Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Bon Couverture rigide ‎

‎"Juvenalis : Satyrarum libri V ; Persius : Satyrarum liber I [ ed. Theodorus Pulmannus ]."‎

‎ Antverpiae, Ex officina Christophori Plantini, 1565, in-8, 170 x 115 mm, 160 pp, complete, collation identical with Voet n° 1493. Bound in contemporary full vellum, , sometime restiched and endpapers renewed with old paper, spine lettered i n ink, somewhat soiled but good. Inside with some foxing, a small marginal dampmark to 15 leaves, one page with a faint but large splashmark, early ownership inscriptions of Marcus and Gio. Carlo Maciagas. This is the first Plantin edition of the preserved works by Juvenal and Persius edited by Theodor Poelman (1512 - 1581). It was the best 16th c. edition before the discovery of the Montpellier manuscript which was first used by Pithou in 1585. USTC 401187. Voet 1493..‎

‎A. Persii Flacci et Dec. Jun. Juvenalis Satirae. Ad optimas editiones collatae. Accedit Sulpiciae satira. C. Lucilii satirographorum principis fragmenta. Editio accurata. ‎

‎Biponti, ex typographia Societatis, 1785. ‎

‎67,286;69 p. Hardb. 20 cm (Cover worn at extremities; small piece of paper on the back gone) ‎

‎D. Junii Juvenalis et Auli Persii Flacci Satyrae. Cum Veteris Scholiastae & Variorum Commentariis. Accurante Cornelio Schrevelio.‎

‎Lugd. Bat. [Leiden] apud Franciscum Hackium 1648 un volume in-8°, [8] ff. 641 pp. [22] ff. Reliure époque en basane marbrée, dos à nerfs orné, titre et caissons ornés, double filet doré sur les plats. (reliure frottée, coins émoussées, coiffe supérieure absente, petite fente aux charnières, plusieurs petites galeries de ver en bordure inférieure et en marge à partir du feuillet 535-536 jusqu'à la fin avec la perte de quelques lettres, fine cerne claire à quelques feuillets, exemplaire rogné, présence de quelques rousseurs pâles). Beau frontispice-titre gravé. Édition originale pour la traduction.‎

‎Decii Junii Juvenalis et A. Persii Flacci Satyrae. Notis novissimis ac perpetua interpretatione illustravit Josephus Juvencius,... Cum Appendice de diis et heroibus poeticis...‎

‎Barbou 1729 2 parties en 1 volume in-16 plein veau raciné, dos à nerfs, caissons ornés, 4- 502 pp - 58 pp. Coins lég. émoussés. Bon exemplaire.‎

‎Bonne édition classique des deux grands satiriques latins par Joseph de Jouvency. Bon état d’occasion Livres anciens‎

‎JUNII JUVENALIS ET AULI PERSII FLACCI [nec non Sulpiciae] SATYRAE, ex doct. viror. emendatione. [Vita Persii per J. Britannicum.] [SATYRES DE JUVENAL, PERSE et SULPICIA ]‎

‎ 1626 2 livres reliés en un volume, reliure janséniste en plein vélin ivoire parcheminé in-32 (jansenist's binding full vellum with reduction 32mo - A book that is up to 5" tall.) (5,8 x 11 cm), dos et plats muets (cover without text), toutes tranches lisses (all smooth edges) jaspées rouge, orné d'une gravure-titre gravée sur bois (engraving-wood) en noir (Morgan, 253.) et orné d'un cul-de-lampe (illuminated of tailpiece) gravé sur bois (engraving-wood) en noir, 116 pages , 1626 Amsterodami : apud J. Janssonium Editeur, ‎

‎EDITION RARE........... Contient les Satires de Juvénal, les Satires de Perse et une Satire de la poétesse Sulpicia contre Domitien (texte latin). Cette dernière pièce provient d'un manuscrit trouvé en 1493 à l'abbaye de Bobbio (Italie) et perdu depuis....Sulpicia (qu'il ne faut pas confondre avec une autre femme du même nom, auteur de poèmes élégiaques à l'époque d'Auguste) vécut sous le règne de Domitien (Ier s. ap. J.-C.). Martial fit son éloge. Avec son homonyme, c'est une des deux seules femmes poètes de la littératue latine antique dont nous ayons encore des textes.....texte en latin (in Latin language)................en bon état (good condition).. ‎

‎Satyrae: cum veteris scholiastae, et variorum commentariis. Accurante Cornelio Schrevelio.‎

‎Lugd. Bat. (Leiden), apud Franciscum Hackium, 1648, in-8vo, 16 leaves, incl. engraved frontispiece-title + 642 p. + 22 leaves, light foxing in places practically only to extremity of margins, hw. former owner's names ‘ex libris Bartholomei Gannii 1659’, ‘... Fr. Iselin 1847’, and ‘Elie Bertrand’, vellum binding, blindstamped line frames on both covers, old hw. title on top of spine, lightly rubbed and duststained. (19 cm).‎

‎With beautiful frontispiece title engr. by Reinier Van Persyn (1614-1688). Original text printed in italics, with extensive small caracter footnotes in 2 col. underneath. Schweiger II/510-511 (Notiz: “Schrevelius folgte im Juv. dem Texte des Rigaltius. Er benutzte 4 Hdschr. (des Gudius u. Salmasius) u. ältere Ausg.); cf. Graesse III/520. image disp.‎