c 1430 (9 Ergebnisse)

Zustand: Very Good. Hard back binding in publisher's original brown paper covers, black lettering to the spine and the upper panel, colour onlay to the upper panel. 8vo 8'' x 6¼'' 77 pp. Eight colour plates. Slight rubbing of the paper across spine ends and in Very Good condition, no dust wrapper. Member of the P.B.F.A. ART [German].

Paperback. Limp covers, rubbed. Greek text (Darkó's 1922-7 edn) facing English trans.

4to. menor; 207 pp. Encuadernación original en tela.

VG orig. green cloth, bevelled edges. All page edges gilt. 32 p.; 14 x 10.5 cm. Title with perched dove stamped in gold on front and blind on rear cover. Prior owner's bookplate & inscr NUC NH0652256 Contents: titles (first lines): The Sweetness of Jesus (Jesu, Thy sweetness who might see) 14 8-line stanzas -- Richard de Castre's Prayer to Jesus (Jesu, my Lord, that madest me) 14 4-line stanzas -- Be Thou my comfort, Christ Jesus (Jesu! who sprung of Jesse's root) 5 12-line stanzas -- The Love of Jesus (Love is life that lasteth aye) 19 4-line and 8-line stanzas -- See what our Lord suffered for our sake (Both young and old, whoe'er ye be) 9 8-line stanzas -- The virtues of the name Jesus (prose). From the preface: `The poems here collected, as well as the fragment of prose appended, are taken from a manuscript bearing the date of 1430. They are the work of unknown, probably of various hands. In preparing them for the more general reader, there has been no attempt at modernizing beyond what seemed necessary in order to render them pleasing and intelligible without the aid of glossary and notes. New Haven, Conn., Sept. 1869.' These have been adapted from: Hymns to the Virgin and Christ, the Parliament of Devils, and other religious poems, chiefly from the Archbishop of Canterbury's Lambeth ms. no. 853, edited by F. J. Furnivall. London: Early English Text Society, 1867 (EETS. Orig. ser. ; 24). In Julian's Dictionary of Hymnology (p. 344a) H. Leigh Bennett speaks of "Prayer to Jesus" and "The Love of Jesus" as poems `of great sweetness, from which centos might be made.' The arranger of this volume, unknown to Bennett, had already fulfiled this hope. Binding is Hardcover.

Zustand: Very Good. Publisher's original plan grey card wrap covers [soft back], maroon title and author lettering to the front, spine and rear covers, small circular onlay to the front cover. 8vo. 7½'' x 5¼''. Contains 136 + iv printed pages of French text with 24 monochrome photographs on coated paper. Age tanning to the covers and page margins, small bump to the centre of the front spine edge and in near Very Good condition, no dust wrapper as issued. Member of the P.B.F.A. ART [German].

Zustand: Very Good. Hard back binding in publisher's original black cloth covers, gilt title and author lettering to the spine. 8vo. 10'' x 7¼''. Contains 344 printed pages of text with monochrome plates throughout, followed by six full-page colour plates. Spine ends turned over. Very Good condition book in Very Good condition dust wrapper with one small scratch mark to the bottom front corner. Dust wrapper supplied in archive acetate film protection. Member of the P.B.F.A. ISBN 0472113232 BOOKS (Binding, Collecting, Printing, Paper).

Folio; 4 hojas y 4 hojas, XLVIII folios para el facsímil. Cubiertas originales.

Zustand: Buono (Good). PROVERBS OF THE ITALIAN RENAISSANCE8vo (mm 147x95), [40] leaves. Collation: A-E8. Title printed in red and black within a woodcut architectural border. Colophon on l. E7v. With 17 woodcut vignettes in text illustrating the proverbs (some repeated). Nicely bound in hazelnut morocco by Trautz-Bauzonnet, gilt fleuron at the center of the panels, gilt spine in compartments, marbled edges, inside gilt dentelles, gilt edges, green silk bookmark. Bookplate Horace de Landau on the front pastedown. A very good copy.Early illustrated edition (it could be the fourth, fifth or sixth depending on the order of the three different edition appeared in 1526), a reprint of Zoppino 1525 edition, which was the first to contain the Dialogo tra el senso e la rasone taken from Seneca and the Dialogo de un philosopho che contrasta con il pedochio. Although reprinted about fifteen times between 1518 (when it was first printed in Venice by Francesco Bindoni and Maffeo Pasini) and 1558, all editions were already extremely rare in 1812, when Renouard decided to republish the work in Paris, using the text of the 1525 Zoppino edition.The three additional proverbs announced in the title (which become two in the final index) are not actually included in the edition, which contains the previously printed 16 proverbs and the so-called Novella ducale, with the only addition being the two dialogues cited above. The spurious character of these additional texts, which were subject to various interpolations, is also attested by the earlier 1523 Zoppino edition, which in addition to the proverbs presents a vernacularization of Apuleio's ?Golden Ass'.Cornazzano composed a work called De proverbiorum origine around 1454 with a dedication to Cicco Simonetta. In it, he made a rather original attempt to rewrite the typical topics of the vernacular tradition in the form of Latin erotic poetry. De proverbiorum origine, which gathers ten novels in elegiac verses, each of them illustrating an Italian proverb, had an initial manuscript circulation and in 1503 was printed in Milan by Pietro Martire Mantegazza.The fortune of Cornazzano's work on proverbs is however linked to an Italian prose reworking first printed in 1518 with the title Proverbi in facetie. The first edition contains sixteen proverbs followed by the so-called Novella ducale, which narrates an episode of punished infidelity involving Francesco and Bianca Maria Sforza. Of the ten novels of De proverbiorum origine, only five found their way into the vernacular version and the Italian version is not always entirely faithful. For this and other reasons, scholars agree on the fact that the vernacularization was not the work of Cornazzano and his original Latin text was interpolated at different stages.Antonio Cornazzano was born around 1429 in Piacenza. He served the Sforza, Colleoni and Este families, at whose court he died around 1484. A court and improviser poet, he was one of the most prolific poets of his time: to glorify Francesco Sforza, he wrote the poem the Sforzeide, and put into verse several treatises, including a life of the Virgin (Vita di Nostra Donna, Venice 1471), other lives of illustrious men, and a treatise on military art (Opera bellissima de l'arte militar, Venice 1493) (cf. P. Farenga, Cornazzano, Antonio, in: ?Dizionario biografico degli Italiani?, vol. 29, Rome, 1983, s.v.).Edit 16, CNCE15278; Sander, 2183; Essling, 2021; Passano, I, 230; Catalogue Landau, II, 294; Baldacchini, 193. Book.

Zustand: Buono (Good). 4to (211x154 mm). [35 of 36] leaves. Collation: a-d8 e4. Lacking the final blank. Colophon on l. e3v. 27 lines. Blank spaces for initials with guide-letters. Title from leaf a2r. Later vellum, red edges (traces of ties, new endleaves). Gutter of the first and final leaves repaired or reinforced, pale staining to the inner margin thorughout the volume, all in all a good, wide-margined copy.Extremely rare first edition, dedicated to Cardinal Ardicino della Porta and financed by the jurist Paolo Rognoni di Taegio, of this collection of ?carmina sacra in praecipuas per annum festivitates aliisque occasionibus facta?, i.e. elegiac poems that seek to create, in contrast to Ovid's, a Christian etiology of religious festivities. The style is fluid and the Virgilian imitation, though obvious, is moderate.The poems are variously dedicated to Christmas, Epiphany, Pentecost, the Circumcision of Christ, the Annunciation, the Last Supper, the Passion, the Ascension, or to various saints, such as Stephen the Protomartyr, John the Evangelist, Innocent, Paul, and Peter, with the visit of the angel in prison; but also to the miracle of snow in summer which occurred on the site where the basilica of St. Mary Major was built.One of the last compositions, entitled Tabellae Pictae Descriptio, contains a description of a painting owned by Collatius, which the latter describes as being of such great beauty that it makes Apelles envious, without naming its author. In particular, Collatius dwells on the feelings aroused in him by the painting, which depicts the Virgin and Child in the center and St. Francis with the stigmata at the side. The verses indulge in the brightness of the painting, while the closing of the poem suggests that Collatius would have made a donation to the church of Saints Cosmas and Damian, perhaps of the painting itself. The last poem is in praise of the child Simon of Trent who, according to tradition, was sacrificed by the Jews.Of Collatius we do not know with certainty either the place of his birth (often referred to as ?presbyter Novariensis,? many think he was born in Novara, while others speculate that he was only ordained a priest in Novara) or the date of his birth, which may be placed between 1430 and 1435. In all likelihood, Collatius was ordained a priest by the Bishop of Novara, Bartolomeo Visconti (d. 1457), who for some time had as his secretary Enea Silvio Piccolomini, the future Pope Pius II, with whom he then attended the Council of Basel (1432). It was to Piccolomini that Collatius dedicated his book of epistles, composed around 1460 and remained unpublished until 1877. After 1460 it is likely hat Collatius was busy with his ecclesiastical duties while continuing to compose verse. As is often the case, a juvenile production of a more personal nature was followed by a more mature phase, expressed in an epic poem of 2,486 hexameters in four books, entitled De eversione urbis Hierusalem, published in 1481in Milan by U. Scinzenzeler and L. Pachel, at the author's own expense. The work met with great success and was later reprinted in Paris in 1540 under the title De excidio Hierosolymitano by Jean de Gaigny, who, ignoring the 1481 edition, believed his to be the first. The other compositions, both sacred and profane, that Collatius wrote during these years, remained instead unpublished for a long time and were only published in Milan in 1692 under the title Heroicum carmen de duello Davidis et Goliae,elegiae et epigrammata. The date of Collatius' death is also uncertain: some place it between 1489 and 1492, others in the early 1500s, at around the age of 70 (R. Ricciardi, Collazio, Pietro Apollonio Massimo, in: ?Dizionario Biografico degli Italiani?, vol. 26, 1982, s.v.).G. Martini, Catalogo della libreria, Milan, 1934, no. 134; Goff, A-923; HC, 1290; BMC, VI, 785; GW, 7158. Book.