1644 books for « r p francesco »Edit

‎Masculinities in Early Medieval Europe. Tradition and Innovation, 450?1050‎

‎, Brepols, 2023 Paperback, 306 pages, Size:156 x 234 mm, Illustrations:10 b/w, 5 tables b/w., Language(s):English, Italian. ISBN 9782503607351.‎

‎Summary This volume brings together a collection of essays that delve into the shifts in ideas, roles, and practices of masculinities and male attitudes during the transition from late Antiquity to the early Middle Ages. This period was marked by significant changes, including the collapse of Roman political authority in the West, the fragmentation of imperial universalism in polities, and the rise of Christianity, which all challenged the gender roles inherited from Antiquity. Within this historical context, the book explores the evolution of men's privileges, responsibilities, and burdens through eleven case studies focusing on different categories of men and manly behaviour. The volume brings to life husbands and fathers, kings and workers, clerics and warriors from both the East and the West, as revealed through contemporary textual and material sources and preserved in the physical remains of male bodies and actions. In doing so, this volume will bring to the fore new perspectives on masculinities and gender history. TABLE OF CONTENTS Cristina La Rocca, Introduzione I. QUESTIONI DI FAMIGLIA/ FAMILY MATTERS Michael E. Stewart, Marriage, Power, and Manly Romanitas in the Age of Justinian Annamaria Pazienza, When the Groom Relocates: Men's Change of Residence after Marriage in Lombard Italy Andreas Fischer, Fathers and Sons: Roles, Laws and Expectations in Late Antiquity and the Early Middle Ages II. PARLIAMO DI GUERRIERI/ LET US TALK ABOUT WARRIORS Danuta Shanzer, Power, Violence, Pity, and Courage: Through Clerical Eyes in the Early Middle Ages Francesco Borri, Savage Dreams: Militant Masculinity between Antiquity and the Middle Ages Leonardo Sernagiotto, The Importance of Being Lothar: the Power, Violence, Courage and Impiety of a Carolingian Emperor III. CORPI DI CHIERICI, CADAVERI DI CHIERICI / CLERICAL BODIES, CLERICAL CORPSES Rachel Stone, On Criminal Priests: Illicit Desires and Clerical Masculinity Francesco Veronese, Men Moving Men's Bodies: Hagiographical Masculinities in Carolingian Times IV. QUEL CHE RESTA DELLA MASCOLINIT / WHAT IS LEFT OF MASCULINITIES Bonnie Effros, St Martial, Disciple of Christ: Apostolic Conversion Stories and the Crisis of Modernity in Nineteenth-Century France Flavia De Rubeis, La firma dell'uomo: uso della scrittura e consapevolezza di s Giovanna Bianchi & Serena Viva, Archaeology and Anthropology of a Group of laboratores from a Royal Center in Early Medieval Tuscia Francesco Borri & Francesco Veronese, Conclusioni‎

‎Mola e il suo tempo. Pittura di figura a Roma dalla collezione Koelliker‎

‎Petrucci, Francesco (ed): Mola e il suo tempo. Pittura di figura a Roma dalla collezione Koelliker. Exhibition: Arricia, Palazzo Chigi, 2005. 256pp with 74 colour plates and 91 monochrome illustrations. Wrappers, 28x24cms. Exhibition of works by Pier Francesco Mola in the collection of the Luigi Koelliker, Milan. Highlights the artistic mood around Rome during Mola's time. Text in Italian.‎

‎Exhibition of works by Pier Francesco Mola in the collection of the Luigi Koelliker, Milan. Highlights the artistic mood around Rome during Mola's time. Text in Italian‎

‎De Rerum Praenotatione libri novem. Pro veritate religionis/ contra superstittiosas vanitates editi. [Opera aurea & bracteata / Liber imaginatinis]. + Hymni Heroici tres. Ad sanctissimam trinitatem, ad Christum, et ad Virginem Mariam, una cum commenta... - [A MONUMENT OF RENAISSANCE SCEPTICISM]‎

‎Strassburg, Knobloch, 1506-7 + 1511 4to. Bound in one very nice full mottled calf binding from ab. 1800, with five raised bands to richly gilt spine. A bit of wear to extremities. Occasional browning, but all in all very nice and clean. 289 ff (without the white blanks) + (4), xcvi, (7), (4, -index & errata).‎

‎Scarce first edition of Giovanni Francesco Pico's seminal ""Opera"", issued by Pico himself, in which some of his most important works appear for the first time, e.g. ""De Rerum Praenotatione"", ""De fide ordine"" and the ""Staurostichon"" as well as his translation of Justin the Martyr's ""Admonitio"", here bound with the highly important second edition of the ""Hymni heroici tres"". The present publication occupies a central place in the development of Renaissance thought. Through the ""Opera"" of Pico, skepticism came to play a dominant role in the development of early modern thought. ""Telesio, Bruno, Galileo, and others also employed the same arguments which Pico had brought to the consciousness of Renaissance Europe. Gianfrancesco Pico's skeptical techniques did not die with him, but lived on to produce a tangible, recognizable influence on the intellectual ambience of early modern Europe."" (Schmitt, p. 7). This seminal ""Opera"", published 13 years before the publication of Pico's magnum opus (""Examen Vanitatis"") and 26 years before his death, is of the utmost importance to the development of Pico's thought and to the development of Renaissance thought in general - ""a study on the philosophy of Gianfrancesco Pico della Mirandola would furnish an important addition to our knowledge of the philosophy of the Italian Renaissance"" (Schmitt, p. (VII)). The many important works in the present publication are known under the joint title ""Opera aurea & bracteata"" or ""Liber imaginationis"". The publication is made up of 9 parts, all of which were also intended for separate sale (and which all have separate paginations). The works included are: ""De rerum praenotatione etc."", ""De fide et ordine credenda"", ""De morte Christi & propria cogitanda libri tres"", ""De studio divinae & humanae philosophiae, libri duo"", ""De imaginatione"", ""Vita Io. Pici patrui. Eiusdem de uno & ente/ defensio & alia quaepiam"", ""Epistolarum libri quattuor "", the translation of Justini's "" Admonitio "" - together with ""Saurostichon/de mysterijs Germaniae Heroico carmine"" and ""Expositio tex. decreti de con. dis.ii. Hilarii"", and then follows "" Ad lectorum "" - 6 of the works here are FIRST PRINTINGS. The second edition of the ""Hymni heroici"" is of the utmost scarcity. It originally appeared in 1507, but only the second edition also contains Pico's famous poem ""Staurosticon"".This magnificent collection of works by ""the first modern sceptic"" and ""the only serious student of Sextus before the middle of the sixteenth century"" (Copenhaver & Schmitt) constitutes a milestone in Renaissance thought. The seminal work ""De rerum praenotatione"", which appears here for the first time, is among the most important that Pico wrote. It constitutes a fierce attack upon superstition, and a defense of the true religious truths - theories that underpin ALL of his later thought and are of fundamental importance to his later works, including the ""Examen"". ""This is a lengthy work (second in length only to the ""Examen Vanitatis"" among Pico's works) against pretended modes of prophesy. It is of the same genre as Giovanni Pico's work against astrology and is dedicated to the author's cousin and protector, Alberto Pio. It was first printed in the ""opera"" of 1506-07… There is no substantial portion of the work extant in manuscript."" (Schmitt, p. 192). The ""de fide et ordine"", which also appears here for the first time, is likewise one of Pico's significant works, although not as philosophical as the previous work. ""This is a work of medium length, principally theological, but of some philosophical importance. It was dedicated to Pope Julius II in the first printed edition of 1506-07"" (Schmitt, pp. 193-94).The ""Staurostichon"" is Pico's most famous poem, dedicated to Emperor Maximilian. In spite of the few pages it takes up, it has been the subject of much debate and interpretation throughout the centuries. Apparently ""[t]he extant manuscript seems to have been made after the first printed edition [i.e. the present]."" (Schmitt, p. 196).Pico's translation of the ""Admonitio"" (which is no longer attributed to Justin the Martyr) is of great importance. ""The first printing of the translation, which is dedicated to Zanobi Acciaiuoli, was in the ""opera"" of 1506-07. It was often reprinted, remaining a standard translation for most of the sixteenth century."" (Schmitt, p. 200). The four books of Pico's letters are also printed here for the first time. ""In the three editions of the ""Opera"" are printed four books of letters. These were prepared for the edition of 1506-07 and were reprinted with few additions in the later editions. Consequently, it seems that the bulk of Pico's personal letters written after 1505 have not come down to us."" (Schmitt, p. 200). 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. Just like his uncle, Gianfrancesco 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. ""At the very beginning of the 16th century, 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 his earlier works, all the significant of which are present here, in his seminal ""Opera""-collection. Together, they constitute the earliest printed testimonies to the use of scepticism and a premonition of the role that scepticism came to play in Renaissance thought, primarily after the first printings of Sextus in the 1560'ies. ""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).""Throughout the early modern period, from Ficino and Pico to Newton and Leibniz, such convictions 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 Ficino 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). Schmitt Appendix Section I: nrs. 4, 13, 14, 26, 50"51 Section II: nr.11See:Charles B. Schmitt: Gianfrancesco Pico della Mirandola (1469-1533) and his critique of Aristotle. 1967.Copenhaver & Schmitt: Renaissance Philosophy. 1992.Eugenio Garin: Italian Humanism. Philosophy and Civic Life in the Renaissance. Translated by Peter Munz. 1965.Richard H. Popkin: The History of Scepticism. From Savonarola to Bayle. 2003.‎

‎LE INGENIOSE SORTI composte per Francesco Marcolini da Forli. Intitulate Giardino di Pensieri, Novamente Ristampate, e in Novo et Bellissimo Ordine Riformate.‎

‎ 1550 Venise, Francesco Marcolini, juillet 1550. Petit in-folio (225 X 322) demi-vélin ivoire, plats de papier dominoté, auteur, titre, lieu d'édition et date calligraphiés au dos en rouge et noir (reliure XVIIIe) ; A-Z4, Aa-Cc4 : 104 feuillets. A partir des figures des philosophes (page 64) il est donné un même numéro pour deux pages. Nombreuses restaurations aux premiers feuillets, l'encadrement architectural du portrait de l'auteur est masqué par un feuillet de doublure, marges du feuillet 43/44 rognées.‎

‎UN GRAND LIVRE SUR LA DIVINATION ET LE DÉCHIFFREMENT DE L'AVENIR. Seconde édition, aussi rare que la première parue en 1540. Frontispice de Joseph Forta, portrait de l'auteur au verso, 50 GRAVURES représentant les cartes à jouer, les chances, les Vertus et les Vices et 50 autres figurant les philosophes, dont sept répétées, le tout gravé sur bois ; avec des explications en vers par Lodovico Dolce. Célèbre traité d'interrogation, voire de maîtrise du hasard au moyen de cartes à jouer. Francesco MARCOLINI (ca 1500-1559), avant tout imprimeur, exerça pendant environ un quart de siècle, de 1535 à 1559, avec une longue interruption en 1546 lorsqu'il se rendit à Chypre comme cavalier du Podestat. Philipp Hoefer écrit à propos de Marcolini : « Imprimeur italien… qui n’est guère connu que comme rédacteur d'un ouvrage curieux et fort recherché des bibliophiles : Le Sorti ». L'ADMIRABLE ICONOGRAPHIE du livre, due à Giuseppe PORTA, élève de Francesco Salviati, occupe la moitié des pages, où l'on voit de nombreux personnages dans les situations les plus diverses et singulières, exprimant toutes les nuances de l'espoir et du désespoir humain face aux lois du destin. Toutes les pages du livre sont, par ailleurs, illustrées de près de deux cent combinaisons de cartes, accompagnées d'explication en vers par Lodovico Dolce. La grande figure du titre montre un groupe débattant dans le "giardino di pensieri". Les figures du premier plan disposent d'un jeu de cartes et du livre même de Marcolini, tandis que d'autres interrogent un astrolabe. La composition du titre dérive d’un dessin de Francesco Salviati, gravé par Marco Dente. Cervolini ("Marcolini", page 20) tout comme Mauroner ("Incisione di Tiziano", 42) rejettent l'attribution du portrait à Salviati et l'attribuent au Titien. (« Les "Sorti" de Marcolini sont un des plus beaux livres de gravures sur bois italiens. », CAILLET, III, 7113 - HARVARD, 280, reproduit des illustrations de l'ouvrage sur quatre pages – BERÈS, "80 ans de passion, 3ème vente", n°242, exemplaire de l’édition de 1540 – SANDER, 4231 – BRUNET, III, 1407-1408, Suppl.I, 941). MODESTE EXEMPLAIRE de cet ouvrage rare, qui a probablement dû être très compulsé et manipulé, mais qui a néanmoins réussi à traverser les siècles pour arriver jusqu'à nous, complet et aisément consultable. GOOD COPY. PICTURES AND MORE DETAILS ON REQUEST. ‎

‎OPERA CAVATA DA SUOI ORIGINALI CIOE' LA CHIESA, E FABRICA DELLA SAPIENZA DI ROMA... // OPUS ARCHITECTONICUM EQUITIS FRANCISCI BOROMINI EX EJUSDEM EXEMPLARIBUS PETITUM; ORATORIUM NEMPE, AEDESQUE ROMANAE RR. PP. CONGREGATIONIS ORATORII S. PHILIPPI NERII.‎

‎Additis Scenographia, Geometricis proportionibus, Ichnographia.... Sebastianus Gianninus edidit, Romae, 1720-1725. In folio max. (mm 559x405), 2 opere in 2 voll., p. pelle coeva (restaurata), dorso a cordoni con ricca decoraz. e titoli in oro su due tasselli (lievi abrasioni). - Prima opera: 4 cc.nn. inc. in rame - frontespizio figurato che reca il titolo Opera del Caval. Francesco Boromino cavata da suoi originali cio la Chiesa, e Fabrica della Sapienza di Roma con le Vedute in Prospettiva e con lo studio delle Proporz.ni Geometriche, Piante, Alzate Profili, e Spaccati. Dedicata alla Santit di N.S. Papa Clemente XI; sullo sfondo antichit romane, tra cui: la Colonna di Traiano, il Pantheon e il Colosseo // Dedica al Santissimo Padre con grande stemma papale e capolettera figurata // Al Lettore // Indice di tutta l'opera. Seguono 46 tavole inc. in rame, alc. pi volte ripieg., num. II-XLV: la prima tavola - non numerata - comprende il ritratto dell'A. in ovale (al fondo libri e strumenti di misurazione) e la 46 (non numerata) composta di due fogli.<br>- Seconda opera: bellissima antiporta architettonica inc. in rame che reca il titolo in italiano Opera del Cav. Francesco Boromino cavata da suoi originali cio l'Oratorio, e Fabrica per l'Abitazione de' PP. dell'Oratorio di S. Filippo Neri di Roma. Con le vedute in Prospettiva e con lo studio delle Proporzioni geometriche, Piante, Alzate, Profili, Spaccati, e Modini. Dedicata all'Ill.mo e R.mo Principe il Sig. Cardinal Giuseppe Renato Imperiali.Il volume cos composto: frontespizio con marca tipografica xilografata, 2 carte di dedica (1 con grande vignetta alle armi e iniziale figur., inc. in rame), 31 pp.num. - con testo italiano e latino a fronte - che contengono l'Indice delle tavole e la Relazione della presente opera, composta dal medesimo Cavalier Francesco Boromino per commando del Signor Marchese di Castel Rodriguez, e copiata dal suo originale inedito. Seguono il ritratto dell'A., 65 tavole (di cui 4 pi volte ripieg.) numerate II-LXVI e 1 tavola non numerata (ma LXVII', come precisato in Indice), pi volte ripieg., tutto pregevolmente inc. in rame.<br> "Rara prima edizione" di quella che pu essere considerata l'opera pi significativa per l'architettura del barocco romano; difficile trovare le due parti assieme e complete di tavole (come il nostro esemplare).Cfr. Craveri The Library of the late M. F.d.C.,132: the only edition of Borromini's Works, grandest of all high baroque publications, begun by the architect himself and edited after his suicide in 1667 by his friend Virgilio Spada, who used all surviving drawings as well as notes made during Borromini's lifetime to document two great projects, the "Chiesa della Sapienza" (1642-60) and the Oratory and Monastery of the "Padri di S. Filippo Neri" (1637-50) - Schudt Le Guide di Roma, 940 - Berlin Kat.,2689 - Brunet,I,1119 - Olschki,16506 (solo la prima opera) - Millard,22 (solo la prima opera) - Cicognara,442 (cita un'ediz. del 1760 della Fabrica della Sapienza). Manca alla Fowler Collection.Il Borromini, per testimonianza del Baldinucci, ebbe in animo di pubblicare tutti i suoi progetti eseguiti e non eseguiti; a tale scopo predispose il materiale che per fu pubblicato soltanto dopo la sua morte da Sebastiano Giannini, e non per intero, avendone il Borromini stesso, avanti il suicidio, dato buona parte alle fiamme. Il materiale superstite apparve dunque a Roma in due volumi in-folio, con 112 tavole in rame; il primo del 1720, ristampato nel 1760, comprende la descrizione e i disegni de la chiesa e fabrica della Sapienza di Roma; il secondo, uscito nel 1725, comprende la descrizione e i disegni dell'Oratorio di S. Filippo Neri in Roma. Nel primo volume, che include pure un'importante serie di progetti ineseguiti, la storia della costruzione della Sapienza dovuta al Giannini. La descrizione dell'Oratorio, bench fatta in prima persona, fu composta invece da Monsignor Virgilio Spada in nome del Cav.re Boromino; ma da credere che essa sia tratta da conversazioni e appunti del Borromini stesso con il quale lo Spada ebbe dimestichezza, sia al tempo della costruzione dell'Oratorio, sia pi tardi, quando da Innocenzo X egli ebbe l'incarico di sopraintendere come moderator et arbiter al restauro che il Borromini veniva facendo in S. Giovanni in Laterano. Tutto il complesso dell'opera un'aperta difesa dell'originalit del grande architetto, il quale in un punto si appella all'autorit di Michelangelo, e afferma che non si sarebbe posto a questa professione, col fine d'essere solo copista. Cos Diz. Opere Bompiani,V, p. 217.Solo alc. lieviss. fioriture margin. su qualche tavola, altrimenti esemplare molto ben conservato. "Francesco Borromini (o Borromino), architetto svizzero (1599-1667). Solo verso il 1628 mut in Borromini il suo vero cognome: Castello. Venuto giovanissimo a Roma, port con s dalla sua terra, feconda di costruttori e di scalpellini, l'amore per le materie costruttive, e l'affin in un lungo, umile esercizio. Fino ai trent'anni non lavor che come scalpellino, formandosi a poco a poco in modesta collaborazione, prestata nei lavori di S. Pietro in Vaticano, a Carlo Maderno, suo conterraneo e lontano parente. Morto il Maderno (1629), fu alle dipendenze del Bernini nella medesima basilica, sempre con umili funzioni d'esecutore... e proficuo fu certamente il passaggio dalla bottega del vecchio Maderno, tradizionalista ed equilibrato, a quella del coetaneo Bernini, audacissimo pur nel rispetto delle forme consacrate dai monumenti classici... Finalmente nel 1634 il Borromini prese la direzione d'una grande opera architettonica: S. Carlo alle Quattro Fontane ("S. Carlino"), con l'annesso convento dei padri Trinitar. Opera pi importante, eseguita verso il 1640, fu la trasformazione del palazzo Falconieri, soprattutto notevole per la bella loggia.. Dal 1637 al 1650 l'attivit dell'artista fu soprattutto in una opera di grande mole che ne caratterizza lo stile e ch' fra i monumenti pi singolari del nostro Seicento: il convento dei Filippini adiacente a S. Maria in Vallicella, con l'originalissimo movimento della bella facciata, con l'Oratorio - una delle pi eleganti sale di Roma - con la scala ed i chiostri, con la biblioteca, con la Torre dell'Orologio..". Cos Encicl. Treccani,VII, pp. 513-515. P.a.r. ‎

‎Il Carnevale Italiano Mascherato que si Veggono in Figura Varie Inventione di capritii. « Le premier véritable répertoire rassemblant les costumes qu’on rencontrait au carnaval de Venise ».‎

‎Très rare et splendide suite de gravures dédiée aux costumes typiques du carnaval de Venise. S.l.n.d. [1642]. Album in-folio de 1 frontispice et 22 gravures sur bois (sur 23, manque la planche appelée « Bragato ») montées sur des feuilles de papier vergé dans des fenêtres. Les gravures mesurent 145 x 95 mm. Reliure du XXe siècle en cartonnage de papier marbré. 304 x 207 mm.‎

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‎Très rare et splendide suite de gravures dédiée aux costumes typiques du carnaval de Venise. Colas 317 et Lipperheide, 3168 (23 planches). Manque à Cicognara, Ruggieri et Vinet. Porter des masques extravagants était une tradition du carnaval de Venise, et visait en quelque sorte à créer une certaine égalité entre les classes sociales. Ces déguisements pouvaient correspondre à des personnages tels que l’homme sauvage ou le démon, ou à des caricatures de gens ordinaires : paysans, maîtres, poètes ou musiciens. Francesco Bertelli était un écrivain, éditeur et typographe installé à Padoue dans la première moitié du XVIIe siècle. « Il contribua à exporter l’idée de Venise comme une ville des plaisirs, regorgeant de courtisanes et de caractères de la commedia dell’arte. Dans le volume de plusieurs dizaines de gravures qu’il publia en 1642 et dont nous conservons des versions différentes, ‘Il Carnevale Italiano Mascherato…’, il a fait la somme des masques variés qui participaient habituellement au carnaval de Venise. C’est le premier véritable répertoire rassemblant les costumes qu’on y rencontrait. Douze planches proviennent du recueil de son père Pietro (Diversarum nationum habitus) paru en 1591 sur les costumes de diverses nations, d’autres s’inspirent des livres de costumes de Ferdinando Bertelli en 1563, de Cesare Vecellio en 1590 et de Giacomo Franco en 1610. Les personnages représentés, parfois seuls, souvent en couples ou en trio, constituent les types de masques auxquels on se réfère en général quand on cherche à imaginer comment on se déguisait au milieu du XVIIe siècle. Marquées par l’esprit des collections de costumes et accompagnées dans certaines versions de deux lignes de commentaires, les gravures de Francesco Bertelli montrent des personnages en pied qui semblent souvent se donner en spectacle. Nulle part n’y figure encore la bautta même si parfois semble s’ébaucher un ‘volto’. Des planches de Bertelli ont à leur tour été insérées dans certains volumes de l’Itinéraire d’Italie d’Andrea et Frans Schott, connu aussi sous le nom de Francesco Scoto, qui fut utilisé par les pèlerins et par de nombreux voyageurs au fil de ses multiples rééditions de 1600 à 1761. C’est dire combien elles constituent un creuset de la diffusion des images du carnaval auprès d’un large public. On possède des recueils de gravures de comédiens italiens du XVIe siècle, mais peu d’autres représentations gravées et a fortiori peintes du carnaval de Venise au XVIIe siècle. » (G. Bertrand, Histoire du carnaval de Venise). Précieux exemplaire de cet illustré d’une grande rareté consacré aux costumes du carnaval de Venise au XVIIe siècle. Very rare: only 3 copies have appeared at auction in at least 30 years, most recently at Christie's New York, 12th June 2009. Plate counts vary from copy to copy, from 23 in the Colas and Lipperheide copies to the Correr Museum copy in Venice, which appears to be the most complete with 28 plates. Voir l’article de Lina Padoan Urban ("Il Carnavale Veniziano, nelle Maschere incise da Francesco Bertelli," in Il Polifilo, Milano, 1986) qui tente de determiner la composition de cette suite et ses différents tirages.‎

‎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 ‎

‎Portraits. ( Tirage de tête, hors commerce, à 50 exemplaires numérotés, avec superbe dédicace de l'artiste, à Carl André ).‎

‎ Galerie Thaddaeus Ropac Salzburg Publishers 2007. In-8 cartonnage éditeur pleine toile marron, oblong, de 44 pages, au format 21,5 x 13 cm. Couverture avec titre. Dos carré muet.Plats et intérieur frais. Tirage sur couché. Catalogue réalisé pour l'exposition de Francesco Clemente qui eut lieu à Galerie Thaddaeus Ropac, Salzburg, Autriche du 31 mars au 19 mai 2007. Préface du fameux critique anglais, Norman Rosenthal. Textes bilingue anglais/allemand. Superbes illustrations en couleurs à pleine page. Rare édition originale. Précieux exemplaire enrichi de la signature, datée, de Francesco Clemente.‎

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‎ 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

‎Nicola Francesco Haym, Thesauri Britannici, 1763, Vienna‎

‎In Latin. Short description: Nicola Francesco Haym. Thesauri Britannici, seu Museum Numarium, quo continentur numi Graeci et Latini, omnis metalli et formae, necdum editi ab autore ipso coelati. Vindobon?, Vienna, 1763-1765. Richly illustrated full-leather edition by Nicola Francesco Jaim (1678 - 1729) - Italian opera librettist, composer, theater manager and numismatist. He is best known for his adaptations for the adaptation of texts in the libretto for the London operas by George Friedrich Handel and Giovanni Bononcini. He was also a bibliographer and author of the book Biblioteca Italiana, o sia Notizia de 'Libri Rari nella lingua Italiana - a bibliography of Italian books from the beginning of printing until 1715, compiled in 1726. He published his book on numismatics in 1719-20 - Del tesoro britannico parte prima is the first work on ancient Greek and Roman coins in the British Museum collection to be printed in London in Italian. Thesauri Britannici, seu, Museum numarium quo continentur numi Graeci et Latini, omnis metalli et formae, necdum editi, ab autore ipso caelati is the rarest copy that presents a collection of more than 500 engravings of ancient coins on 296 pages. The edition also contains indexes and prefaces. The 1763 edition is the first publication of the book in Latin. Please feel free to contact us for a detailed description of the copies available. SKUMS000905 kn_nat‎

‎Gio. Benedetto Castiglione Genovese. Il Grechetto a Roma. Committenza e opere‎

‎Orlando, Anna, and Francesco Rotatori: Gio. Benedetto Castiglione Genovese. Il Grechetto a Roma. Committenza e opere. Genoa: 2023. 304 pages, fully illustrated in colour. Hardback. 29 x 23cms. Overview of the life and work of Grechetto, with an introduction in English. 30 autograph works from Grechetto's two Roman periods (1632-1637 and 1647-1651) are presented in detail and prefaced by ten essays, including an account of his stay in Rome, a discussion of studies from the Carracci drawings album in Francsco Angeloni's collection and a survey of his landscape paintings. A catalogue of over 60 works by his brother, Salvatore Castiglione (1620 - 1677) is also provided, together with a chapter on Gio. Francesco Castilgione (1641-1710), Grechetto's son. Text in Italian.‎

‎Overview of the life and work of Grechetto, with an introduction in English. 30 autograph works from Grechetto's two Roman periods (1632-1637 and 1647-1651) are presented in detail and prefaced by ten essays, including an account of his stay in Rome, a discussion of studies from the Carracci drawings album in Francsco Angeloni's collection and a survey of his landscape paintings. A catalogue of over 60 works by his brother, Salvatore Castiglione (1620 - 1677) is also provided, together with a chapter on Gio. Francesco Castilgione (1641-1710), Grechetto's son. Text in Italian‎

‎La Messalina.‎

‎Venise, Giacomo Sarzina, 1633. In-12 (145 x 92 mm), 91 pp. Veau fauve marbré, filet d'encadrement à froid sur les plats, dos lisse orné à la grotesque, pièce de titre en maroquin rouge, filet doré sur les coupes, tranches rouges, fente au mors supérieur, une coiffe abimée (reliure du XVIIIe siècle).‎

‎Seconde et meilleure édition, en partie originale. Cette seconde édition fut augmentée par l'auteur et enrichie de notes dans les marges. C'est la première édition séparée de ce texte qui parut pour la première fois en 1627 dans un recueil de plusieurs pièces. Cet ouvrage est l'initiateur en Italie du roman historiqueau XVIIe siècle. “La Messaline de l'écrivain et médecin véronais Francesco Pona (1595-1655), membre de l'illustre Académie libertine des Incogniti, est un bref roman historique, le premier du genre en Italie, à une époque qui voit la naissance du roman moderne. Nourri des Annales de Tacite et des Satires de Juvénal, ce récit décrit la déchéance d'une impératrice érotomane, en mêlant des éléments propres au genre historique (personnages dont l'existence est avérée dans l'Histoire, narrateur omniscient, respect de l'ordre chronologique des événements) et une analyse de type pathologique visant à faire de l'impératrice débauchée à la fois un contre-exemplum moral et un modèle de tératologie quasi clinique. L'œuvre est également remarquable par son style, qui tranche avec celui des romans contemporains : sec, souvent lapidaire, avec un lexique technique qui rappelle la formation de médecin de l'écrivain. Le récit fait ainsi alterner développements biographiques, énoncés moralisateurs et observations médicales, élevant in fine le personnage de Messaline au rang de figure mythique.” (Jean-François Lattarico). Savant italien du XVIIesiècle, Francesco Pona fut à la fois médecin et poète mariniste, homme de sciences et philosophe. Il écrivit des traités scientifiques, une histoire de la poésie et plusieurs pièces de théâtre. Il fut membre de plusieurs académies savantes: l'Accademia dei Gelati de Bologne, sous le pseudonyme de L'Incurvato, l'Accademia dei Filarmonici de Vérone, sous le pseudonyme de L'Insaziabile, l'Accademia degli Incogniti de Venise, sous le pseudonyme de L'Assicurato, l'Accademia degli Invaghiti de Mantoue, sous le pseudonyme de L'Improntato, et enfin l'Accademia Olimpica de Vicence. Exemplaire en veau du XVIIIe siècle au dos décoré à la grotesque. Graesse, Trésor de livres rares et précieux, V, p. 403. Francesco Pona, La Messaline, notes et traduction de Jean-François Lattarico, Saint-Etienne, 2009.‎

‎Opere di Francesco Redi... Tomo primo.‎

‎Venezia Per Gio. Gabbriello Ertz 1712 1 vol. relié fort vol. in-8, plein vélin ivoire de l'époque avec le titre manuscrit au dos, 39 + (2) + 204 + (2) + 223 + (1) + 54 pp., en-tête gravé, 2 vignettes dans le texte et 68 planches gravées hors-texte, dont 4 dépliantes, lettrines et culs-de-lampe, index. Ce premier volume (sur trois) - complet en soi - rassemble les oeuvres entomologiques et parasitologiques du médecin, naturaliste et philosophe Francesco Redi (1626-1698), illustrées de gravures d'une grande finesse représentant insectes et parasites : Esperienze intorno alla generazione degl'insetti ; Osservazioni intorno agli animali viventi... ; Osservazioni intorno a' pellicelli del corpo umano... Précédé de sa vie par Abate Salvino Salvini. Déchirures à 1 feuillet et à 2 planches dépliantes, sans manque. Deux petits manques au dos, sinon exemplaire frais dans sa reliure d'époque.‎

‎IL REALISMO‎

‎Società Editrice 'Vita e Pensiero'. 1936. In-8. Broché. Etat du neuf, Tâchée, Dos satisfaisant, Intérieur acceptable. 150 pages. Etiquette de code sur le dos. Tampons et annotations de bibliothèque sur le 1e plat et en page de titre. Tampon d'Hommage en page de garde.. . . . Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎Il superrealismo di Francesco Orestano. Realtà, realismo e superrealismo... Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎RACCOLTA DELLE POESIE.‎

‎ Masi, Londra (ma Livorno), 1781. In-24 gr., mz. pelle coeva, ricchi fregi e tit. oro su tassello al dorso, pp. (6),XXIX,276, con ritratto dell'A. eseguito da Gio. Lapi e bel frontespizio allegorico racchiuso da cornice, inc. su rame. La raccolta preceduta dalla Vita di Francesco Redi scritta da Salvino Salvini. Seguono: "Bacco in Toscana. Arianna Inferma. Sonetti. Poesie". In aggiunta alla raccolta: Lettere del signor Francesco Redi appartenenti a cose di Lingua, ed al Dizionario della Crusca. Cfr. Gamba,831 - Prandi "Bibliografia delle Opere di Francesco Redi", p. 20, n. 105. Lieviss. alone marginale sulle prime 10 carte, altrimenti ben conservato.‎

‎Lugano e il suo lago da un taccuino di disegni di Carlo e Francesco Edoardo Bossoli. Lugano et son lac / Lugano und sein See / Lugano and its lake.‎

‎Milan, Edizioni Il Polifilio / Banca della Svizzera Italiana, 1988. Grand in-4 de [2]-98-[4] pages, cartonnage bleu, titre au premier plat, étui accordé. ‎

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‎Illustré de dessins légendés à pleine page et en couleurs de Carlo et Francesco Edoardo Bossoli. Edité pour la Banque de la Suisse italienne, en quatre langues: Italien, français, allemand, anglais. Bien belle condition. ‎

‎Del commercio de' Romani dalla prima guerra Punica a Costantino. Dissertazione coronata dall'Accademia reale delle iscrizioni e delle lettere di Parigi li XIV Novembre 1786 di Francesco Mengotti dell'Accademia delle scienze, lettere ed arti di Padova. ‎

‎Padova (Padoue), nella Stamperia del Seminario, 1787, 1 volume, in-4, relié, [4]-CXIII p.. Edition originale italienne. Vignette lithographiée par Scattaglia sur la page de titre, bandeaux, lettrines et culs-de-lampe, note et sources en bas de pages. Reliure d'époque, pleine basane marron foncé à mouchetage clair, dos à nerfs avec fleurons et filets dorés, pièce de titre de maroquin rouge, chaînette dorée d'encadrement sur les plats, hachures dorées sur les coupes, tranches dorées, petit manque à la pièce de titre. Exemplaire très grand de marge, impression sur très beau papier, belle typographie.‎

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‎L'auteur soutient la théorie que les Romains ne comprenaient pas l'importance du commerce, ils ne pensaient qu'à s'enrichir des dépouilles de toutes les nations, leur seul commerce était celui de transporter en Italie toutes les richesses des pays qu'ils avaient conquis. "Mengotti examine non seulement le commerce, mais l'histoire de l'économie dans son ensemble". Références : Jacunsky, in Cahiers d' histoire mondiale, VIII, 1964, p. 580. McCulloch, p. 64. Kress Library, B. 1277. Superbe exemplaire. ************* Remise 20 % pour toute commande supérieure à 100 €, envoi gratuit en courrier suivi et assurance à partir de 30 € d'achat (France seulement).‎

‎White Shroud.‎

‎ Madras (Inde). Kalakshetra Publications Press, 1983. In folio, reliure pleine toile éditeur. Ouvrage publié à l'occasion de l'exposition consacrée à la Kunsthalle Basel qui a eu lieu de mai à juin 1984. Texte en anglais de Allen Ginsberg, reproductions en couleurs d'illustrations de Francesco Clemente. E.O. Ex. num.‎

‎Breve relatione d'alcune missioni de' PP. della Compagnia di Giesù nella Nuoua Francia del P. Francesco Gioseppe Bressani‎

‎In Macerata Per gli heredi d'Agostino Grisei 1653 In-4° (200 x 145 mm), pp. (4), 127, (1), marca tipografica dei gesuiti al frontespizio, legatura in piena pergamena semi rigida posteriore, nervi passanti, titolo manoscritto al dorso. Macchia al margine esterno bianco delle prime 9 pagine, lavoro di tarlo al margine superiore bianco da pag. 15 a pag. 56, nel complesso buon esemplare di questa rara descrizione della nuova Francia (Canada). Edizione originale di quest'opera del gesuita Bressani che fornisce la prima descrizione generale in italiano delle missioni dei gesuiti in Canada presso le tribù degli Uroni e degli Irochesi. Francesco Giuseppe Bressani, nato a Roma il 6 maggio del 1612. Entrato nella Compagnia di Gesù il 15 agosto 1626. Manifestata la sua volontà di farsi missionario, nel 1636 riuscì a farsi mandare a Parigi, nel collegio di Clermont, per prepararsi all’attività missionaria nelle colonie francesi del Canada. Il vascello approdò nella rada di Québec nel mese di luglio lasciando in terra canadese un uomo pieno di fervore missionario che nei seguenti due anni si calò nella realtà dei coloni francesi di Québec, in vista della sua prima spedizione tra i nativi. Il gesuita imparò la lingua algonchina e nel 1644 partì alla volta della piccola località di Trois-Rivières, ma sul fiume San Lorenzo, nella Georgian Bay, le canoe guidate dai sei indiani Huron e da un ragazzo francese si rovesciarono costringendo la piccola spedizione a un attracco fortunoso. A poche miglia da Fort Richelieu, padre Bressani e i suoi compagni furono attaccati e catturati da una banda di Irochesi, nemici acerrimi degli Huron, e vennero condotti da un villaggio all’altro della Nuova Olanda (l’attuale stato di New York). I continui trasferimenti si alternarono alle torture: a ogni tappa Bressani veniva infatti issato su una specie di palco e lì sottoposto, tra le altre cose, all’amputazione delle dita. La salvezza arrivò insperata grazie all’intervento degli olandesi, alleati commerciali di questa potente nazione pellerossa: padre Bressani venne riscattato da questi ultimi per pochi wampum (conchiglie equivalenti alla moneta). Una volta libero, il missionario tornò in Francia per ristabilirsi dalle numerose ferite ma non perse tempo. Raggiunto il 15 novembre 1644 il porto di La Rochelle in Francia, ripartì di nuovo per il Canada per tornare tra i suoi Huron. Padre Bressani riprese il lavoro missionario tra gli Uroni nella regione dei grandi laghi nell’autunno del 1645. Raggiunta l’Uronia (sulle coste della Georgian Bay), avviò la predicazione e le sue cicatrici lo aiutarono a farsi accettare benevolmente presso i nativi. Egli visse in questo lembo di terra bellissima, coperta da foreste secolari e attraversata da innumerevoli torrenti e fiumi, fino alla primavera del 1648. Durante gli otto anni in cui rimase nei territori del Nord America, Bressani compì però anche importanti rilevazioni geografiche e di mappatura della regione. Fu il primo europeo a descrivere con dovizia di particolari le cascate del Niagara. La Breve Relatione è suddivisa in tre parti. La prima descrive la geografia e la vegetazione del Canada e gli usi e costumi dei nativi. Entra nei dettagli descrivendo la società degli Uroni. Elenca le celebrazioni del loro cibo e delle feste, i loro canti e balli comuni, spiega le pratiche matrimoniali e le confronta con quelle degli antichi ebrei. Sottolinea che nel loro sistema di governo i capi tribù sono determinati per successione materna. Nel loro sistema di giustizia i reati di furto e omicidio sono trattati con multe e doni per riparazione. Descrive anche i molti ostacoli incontrati dai gesuiti: il clima rigido, le rapide e le cascate dei fiumi, i pericoli dei viaggi dovuti agli attacchi degli Irochesi, i problemi con le diverse lingue indiane, il conflitto con gli stregoni indiani e le pestilenze. La seconda descrive la conversione degli indigeni e le tante difficoltà incontrate dai gesuiti giunti a convertirli. Il terzo ci fornisce dettagli sulla sofferenza, la tortura e il martirio dei missionari, compresi quelli subiti dall'autore stesso. L'opera si inseriva tra le relazioni che i gesuiti pubblicavano annualmente in francese, ma si distingueva da quest'ultime per la cura dedicata alla descrizione della natura del luogo e della "cultura" delle nazioni indiane, per lo sguardo d'insieme gettato sulle difficoltà, sui metodi e sugli scopi del lavoro missionario e per la narrazione della vita e della morte dei suoi confratelli, che è alla base, di tutta la successiva agiografia. Sabin 7734. Backer - Sommervogel II, 13.‎

‎STATUTEN FUR DEN OSTERREICHISCH-KAISERLICHER ORDEN DER EISERNEN KRONE / STATUTI PER L'ORDINE IMPERIALE AUSTRIACO DELLA CORONA DI FERRO.‎

‎Per supremo ed espresso ordine di S.M.I.R.A., il Consigliere Aulico, Conte di Mercy. (Milano), (1816). In folio (mm. 429x290), bella legatura in mz. pelle nera coeva, piatti in percallina di colore blu con ricca cornice dorata, tagli dorati, risg. in seta damascata, pp. 16 (testo tedesco); pp. (12) testo italiano; con 5 magnifiche tavole, inc. in rame e disegnate da Philipp von Stubenrauch, che raffigurano vesti dei Cavalieri dell'Ordine, decorazioni, medaglie, fregi. "Edizione originale" di questi statuti, suddivisi in 24 articoli. Tra gli ordini cavallereschi che prendono il nome dalla Corona e ora estinti, si trova l'Ordine della Corona di Ferro, del Regno d'Italia, istituito da Napoleone I nel 1805 per perpetuare il ricordo della sua incoronazione a re d'Italia, ripristinato, con nuovo statuto, per il regno Lombardo-Veneto dall'imperatore Francesco I nel 1816, poi incorporato tra gli ordini cavallereschi austriaci (cos Diz. Encicl. Treccani,III, p. 544). Testo in tedesco fiorito; solo qualche fiorit. margin. su quello italiano, fresche e molto ben conservate le tavole.‎

‎La Historia d’Italia, di M. Francesco Guicciardini gentil’huomo fiorentino, Divisa in Venti Libri. Riscontrata con tutti gli altri historici, & Auttori, che dell’istesse cose habbiano scritto, per Tomaso Porcacchi da Castiglione Arretino…‎

‎ Venitia, Nicolo Polo & Francesco Rampazetto, 1610., 22 pp., (28 ff. de tables), folioté 488, folioté 112. In-4, en plein vélin de l’époque, imprimé en caractère italique, pièce de titre de vélin teinté, superlibros « Carolus Casati ». ‎

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‎Séduisant exemplaire de cette édition du XVIIe siècle, dans une reliure en plein vélin, imprimée sur papier fin dans une élégante police italique. ‎

‎Véronique BigoL'Ivre de Pierres1976/1986‎

‎A.A.M./COOP. Architettura Arte Moderna Roma, 1986. In-8, agrafé sous couverture illustrée, non paginé [14 pp.]. L'Universo delle mute apparenze, Francesco Moschini- Planches - Libri et cartelle realizzate in litografia.‎

‎Avec 17 planches en noir et en couleur.Texte en italien. --- Plus d'informations sur le site archivesdunord.com‎

‎Histoire du Mont Vésuve, avec l'explication des phénomènes qui ont coutume d'accompagner les embrasements de cette montagne‎

‎À Paris, chez Huart, 1741, in-12, XX-[4]-361-[3] pp, 2 pl. et 1 tabl. depl, Basane brune de l'époque, dos lisse et fleuronné, tranches mouchetées rouges, Première édition française. Traduction de l'italien par Louis-Adrien Du Perron de Castera (1705-1752), de l'ouvrage attribué à Francesco Serao (1702-1783). Les deux belles planches représentent le Vésuve vu du palais royal et son sommet en coupe. Le tableau rapporte "l'état de l'air" dans les environs de Naples au moi de mai 1737. L'ouvrage a paru anonymement sous le titre Istoria dell'incendio del Vesuvio, accaduto nel mese di Maggio del' anno MDCCXXXVII (Napoli, Bonis, 1738). Francesco Serao, médecin et géologue napolitain, enseignait à l'Université de Naples. Il fut l'un des premiers à appliquer un langage véritablement scientifique à la description des phénomènes volcaniques, en faisant la description de l'éruption de 1737. Au contreplat, ex-libris imprimé de R.-J.-F. Leclerc, médecin et chirurgien diplômé de Iéna et de Strasbourg; cachet du dr Revillout sur la page de titre. Bon exemplaire, bel état intérieur, planches très fraîches. Petits frottements sur les plats. Furchheim, Vesuvio, p. 181. Ward & Carozzi n° 2032. Couverture rigide‎

‎Bon XX-[4]-361-[3] pp., 2 pl. et‎

‎Novelle morali... ad uso della Gioventu. ‎

‎Avignon, Seguin, 1816. 2 volumes in-12, XXIIIpp.-248pp.-2ff. - XIpp.-179pp. Brochés, couvertures muettes, entièrement non rognés. (État de parution).‎

‎Ce recueil de 52 nouvelles est le principal ouvrage du pédagogue italien Francesco Soave (1743 - 1806). Édition avignonnaise, texte italien. - Dos du tome 1 fragile, des feuillets froissés, manque l'angle inférieur d'un feuillet du tome 2, avec perte de quelques lettres.‎

‎CANTICO DELLE CREATURE.‎

‎Con litografie originali di Enrico Paulucci, Bruno Saetti, Gennaro Piccini, Michele Cascella, Bruno Cassinari, Amintore Fanfani, Remo Brindisi, Virgilio Guidi, Pericle Fazzini. Grafica dei Greci, Roma, 1982. In folio (mm. 495x380), legatura alla francese, bellissima copertina in tessuto di pregio, cofanetto in mezza pelle e tela con titolo su dorso a cordoni, pp. 65,(3), a fogli sciolti, con la riproduzione a colori di 3 pagine del codice pi antico del "Cantico", il numero 338 conservato nella biblioteca della Basilica di San Francesco ad Assisi e 9 litografie a piena pagina firmate a matita dagli autori (tirate a mano sugli antichi torchi della Stamperia Grafica dei Greci avvalendosi di pi tecniche di stampa).Stupenda edizione d'arte curata da Adriana Settimj, realizzata nell'ottavo centenario della nascita del Santo, in cui vengono riproposte nove strofe o canti o episodi che costituiscono uno dei primi e pi alti documenti della poesia italiana, oltre a uno straordinario testo mistico che la quintessenza del pensiero francescano. Dalla nota editoriale (della Settimj): Martino Mardersteig ha stampato tipograficamente i testi usando l'antica tecnica della composizione a mano, mentre titolo e capilettera sono stati realizzati dalla Stamperia Grafica dei Greci serigraficamente cos come il tessuto esterno della scatola contenitrice del volume e tutti i fogli interni di rilegatura..Particolare cura ho posto nella ricerca del tessuto che avvolge il libro vero e proprio. Il modello stato un preziosissimo tessuto in seta gialla con ricami in filo d'argento dorato, conservato nel Tesoro' della Basilica d'Assisi...Sono state tirate 200 copie numerate 1-200 e ulteriori 150 fuori commercio di cui 100 numerate I-C e 50 dedicate ad personam. I testi composti a mano nel carattere Perpetua, sono stati impressi dalla Stamperia Valdonega di Verona su carta a mano Hahnemuhle. La rilegatura opera di Giovanni De Stefanis di Milano. La ns. copia, n. 15, appartiene alla tiratura di 50 ad personam. In ottimo stato. Legatura in tessuto di pregio con elaborati motivi zoomorfi. Cofanetto in mezza pelle con titoli al dorso.‎

‎Atlas des plantes médicinales‎

‎Nathan Fernand Cartonné avec jaquette 1976 In-4 (30*21.5), cartonné sous jaquette illustrée, 243 pages, reproduction de la plante avec commentaire en regards, appendices in fine expliquant quels types de plantes sont efficaces sur le système cardio-vasculaire, l'appareil digestif, etc... ; petite déchrure à la jaquette sans manque, par ailleurs bon état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.‎