Monte guido (19 Ergebnisse)

Zustand: Very Good. 1ST. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Zustand: Brand New. 350 pages. 8.25x5.50x1.00 inches. In Stock.

Hardcover. Zustand: As New.

Zustand: New. In English.

Zustand: New. Translator(s): Thayer, Anne T. Series: Medieval Texts in Translation. Num Pages: 384 pages. BIC Classification: HRCX4. Category: (P) Professional & Vocational. Dimension: 229 x 152 x 28. Weight in Grams: 557. . 2011. 1st. Paperback. . . . . Books ship from the US and Ireland.

Zustand: NEW.

Zustand: new.

Zustand: new.

Taschenbuch. Zustand: Neu. Neuware - Guido of Monte Rochen's Handbook for Curates became the most popular pastoral manual at the close of the Middle Ages as thousands of copies were printed in Europe. Composed of a mixture of practical "how to" and theological instruction, the Handbook taught pastoral basics to everyday priests. As such, it is an essential and vibrant source on late medieval religion and parish practice, which this full-length translation makes available in English for the first time. The Handbook is divided into three parts: sacraments and their administration, the sacrament of penance, and basic catechesis. Together they reflect Guido's mission to facilitate the fundamental duties priests were expected to fulfill for souls under their charge. Guido explains constituent parts of each sacrament, how each is done, who receives it, and what problems might arise in its practice. In step with broader religious currents of his day, Guido treats penance extensively, addressing topics from instances of the deadly sins to how to question penitents in confession. His Handbook concludes with explanations of the Creed, Lord's Prayer, and Ten Commandments for the benefit of his readers and their flocks.To help contemporary students and scholars understand fully the Handbook's richness as a historical source, the introduction situates it within the intellectual milieu of late medieval Christianity. Guido is well acquainted with the vagaries of real life in a parish and a sense of compassion underlies his directives. Evidence of readers' hands-on engagement abounds in the annotations that were written in the book's margins. Examination of both the content of such comments and their location within the text suggests how Guido's readers sought to translate his advice into practice.…

Zustand: New. KlappentextrnrnAnne T. Thayer is the Paul and Minnie Diefenderfer Associate Professor of Mercersburg and Ecumenical Theology and Church History at Lancaster Theological Seminary. Katharine J. Lualdi is professor of history and on the faculty of .

Zustand: Wie neu. Erstausgabe. 4°, 199 pp., foldout-brochure, with b/w and colour ill., editor: Ligniti, Emily., transl. By Toohey, Meaghan. Practically new, still with original wrapper.

Zustand: Very Good.

Hardcover. Zustand: Very Good. 8vo. ll. 133 (iii). Blackletter. T-p with woodcut depicting two tonsured priests with a monstrance, within woodcut border, woodcut printer's device to last verso. T-p with repair to upper margin, restored to outer margin with small portion supplied in ink, 18 further ll. expertly restored to margins, one or two letters occasionally supplied in ink, K8 and L1-2 with portions of a few lines supplied in ink. Last quire browned, washed and pressed, possibly from another copy, last few ll. restored at gutter and outer margin. Occasional dustiness, the odd small spot, else a very good, clean copy in C20 antique brown crushed morocco by Riviere, joints lightly rubbed, spine gilt, all edges gilt, leather booklabel of Estelle Doheny to front pastedown. Contemp. ownership inscription to colophon, 'John Foster,' contemp. 6-line inscription to verso of t-p on baptism, 'Caveat sacerdos' etc., a few letters obscured at gutter, price note to next, 'iiijd' (i.e. 4 pence). C18 or C19 shelfmark of York Cathedral Library to t-p and next, 'XV.O.39,' purchased 1930 by A.S.W. Rosenbach. Very rare second Wynkyn de Worde edition of this popular manual for priests by the fourteenth-century Spanish cleric and canonist Guido de Mont Rochen, first printed in England by Pynson around 1500, and by de Worde in an earlier edition of 1502. This copy has excellent provenance, being from the library of Estelle Doheny, originally purchased from the York Minster Library by private treaty in 1930 by A.S.W. Rosenbach, with evidence of early English ownership (see Leslie A. Morris, Rosenbach Abroad (Philadelphia: 1988), p. 59, no. 55). Monte Rochen's book went through hundreds of editions in the late medieval period and circulated widely in manuscript: 'It sold twice as many copies as Gratian's Decretum, three times more than Thomas Aquinas's Summa theologiae, and six times more than Boccaccio's Decameron or Augustine's City of God. Yet Guido de Monte Rochen and his manual for priests have long been overlooked by historians of the period' (Michael Milway, 'Forgotten Best-Sellers from the Dawn of the Reformation' in eds Bast, Gow and Oberman, Continuity and Change (Leiden: 2000), p. 117). It was finally superseded by the establishment of the Roman Catholic catechism in the Council of Trent in 1566. The manual is divided into three parts: the first covers the chief sacraments of baptism, confirmation, the Eucharist, marriage, extreme unction, and the ordination of holy orders; the second covers penance and confession; the third contains crucial doctrines to be conveyed to the people: the Lord's Prayer, the Ten Commandments, etc. Monte Rochen is particularly concerned with when things go wrong, for example noting the penances associated with mistreatment of the Eucharist, such as spilling the chalice, or when someone vomits up the Host because they are ill or, worse, drunk. Another major concern is the baptism of a child who is in danger of immediate death, a crisis regularly encountered by midwives as well as priests. Monte Rochen notes that in such cases, not only women but also atheists, Jews, pagans and heretics can baptise a child. However, only pure water should be used: children should never be baptised in meat broth, he says, but baptism in a well is allowed in extreme circumstances. The early owner of this copy merely noted that children should not be baptized a second time, and that prayers should be said over them in church. Pre-Elizabethan English imprints, of all sorts, are now commercially rare. This ed. is very scarce: OCLC notes Princeton and Simon Fraser only in North America; of the 1502 de Worde edition, OCLC notes three copies in North America, at Simon Fraser, Illinois and the New York Society Library. Lowndes IV, 1590. Ames II, 149. ESTC S111296.…

Imola, [in fine:] Cooperativa Tipografico - Editrice "Paolo Galeati", 1933 (febbraio), Edizione originale. Più che buon esemplare, quasi ottimo, con normali lievi segni del tempo perimetrali, particolarmente sul bordo esterno delle pagine, con il segno della piegatura orizzontale e un principio di separazione lungo lo stesso segno. Rarissimo numero unico organizzato dall'ex futurista Guido Dal Monte, passato a un originale versione molto moderna del Novecentismo, a pari merito con il collega passatista Anacleto Margotti; ospiti i due giovani ventenni Arrigo Visani e Walter Martelli. Notevole impaginato in puro stile futurista secondo i dettami del gruppo torinese di Fillia, Diulgheroff, Oriani, Pozzo etc. Una sola localizzazione istituzionale in Italia, secondo ICCU, alla Comunale di Imola; nessuna all'estero. -- Contiene un «Chiarimento» sulle ragioni della mostra, «Problemi dell'artigianato imolese» di Dal Monte, «Ottocento e falso Ottocento» di Margotti, articoli redazionali non firmati e brevi prose aforistiche di Romano Romanelli, Bruno Barilli, Roberto Papini. In ultima pagina il catalogo della mostra, con 20 opere di Dal Monte, 29 di Margotti, 13 di Visani e 8 di Martelli. -- Importante e notevole l'apparato iconografico, con le opere «Autoritratto», «Venezia (La salute)», «Natura morta» di Dal Monte, «Facchini», «Maternità», «Azdori» di Margotti. in 4° (h. 355 mm), leggera brossura color carta da zucchero, a contenuto pubblicitario ma con testata disegnata in stile razionalista molto moderno; pp. [8] con illustrazioni in bianco e nero nel testo. Edizione originale. Più che buon esemplare, quasi ottimo, con normali lievi segni del tempo perimetrali, particolarmente sul bordo esterno delle pagine, con il segno della piegatura orizzontale e un principio di separazione lungo lo stesso segno. leggera brossura color carta da zucchero, a contenuto pubblicitario ma con testata disegnata in stile razionalista molto moderno.…

Folio [29.4 x 19.6 cm], (8) ff. (the last blank), 130, (1) f. [colophon], 1 integral blank, with numerous woodcut diagrams and illustrations in text. Old ownership stamp "Darquier" neatly stenciled on title (the Toulousain astronomer Antoine Darquier de Pellepoix 1718-1802?) Bound in 18th century vellum over paste boards, covers a bit soiled and abraded. Inconsequential soiling and a little spotting to title; even toning to some quires, but generally a fresh and appealing copy. Rare first edition of the author's first work, generally regarded as the most important treatise on mechanics since Archimedes and a critical influence on Galileo. The work is notable for its commitment to establishing mechanics on a rigorously mathematical basis, for its powerful argument that mechanics and statics are separate sciences and for its insistence that mechanics should not consider abstract and/or abstruse entities but the activity of machines. Stillman Drake particularly emphasizes the importance of the section on pulleys, where Monte reduces them (as he does most other simple machines) to a lever. As such, the work has technological implications for navigation, manufacture, the plastic arts and medicine (f. 245)."From the time of its publication in 1577. [it was] the most authoritative treatise on statics to emerge since antiquity, and it remained pre-eminent until the appearance of Galileo's Two New Sciences in 1638. It marks the high point of the Archimedean revival of the Renaissance" (Rose, Italian Renaissance of Mathematics, p. 222).Monte (1545-1607) studied mathematics at Padua and subsequently at Urbino, where he studied with Commandino, editing and publishing the latter's translation of Pappus. He conducted an extensive scientific correspondence with Galileo, securing for the Florentine his chairs at Pisa and later at Padua.* Adams U-7; Riccardi II.178; P.L. Rose, DSB IX.487-89, & The Italian Renaissance of Mathematics, pp. 222ff.; Biblioteca Mechanica, pp. 228-9.…

Vecchi percorsi di tarlo estinto alla copertina, dorso coevo rinforzato, ottimo stato di conservazione interno c.c. 288 + (12) p. 110x90 mm.

4to, (leaf 19.8 cm), [131] (of 152) leaves; collating: a-t? (-a8 -b8 -m1 -t1 -t8 blank); capital spaces, 31 lines; occasional contemporary annotations; several gatherings loose, moderate dampstaining throughout; minor worming and the occasional ink splash; contemporary full brown blindstamped calf over wooden boards, with an overall diamond motif enclosing interlocking lattice patterns, clasp perished, turn-ins curled, spine extremities chipped away, two endsheets of 14th century (?) manuscript waste are loose, but present, a 4" x 5" slip of paper in a 15th century hand is laid in; bookplate of Wilfred Merton 1917. Shaken, rough, and defective, but this appears to be the original 15th-century binding, and the 131 leaves of text that are present, are reasonably clean and crisp. From his obituary in the London Times we lean that Wilfred Merton (1888-1957), from his schooldays . had been an ardent book collector, and this remained an absorbing hobby for the rest of his life. While at Cambridge he became acquainted with Sir Sydney Cockerell, who needless to say gave him ready advice and encouragement, and also introduced him to his friend, the late Sir Emery Walker, who was in need of a partner in the firm bearing his name. As a result Merton joined the firm as his partner on leaving Cambridge and continued as managing director on Sir Emery's death in 1933. The Manipulus curatorum is "a handbook for the guidance of priests, with terse summaries of essential theology, of pastoral practice, and of the nature and use of the sacraments" (University of Chicago). ISTC notes that "This press has yet to be conclusively located" and that only seven copies of this edition are known, every one of which is defective. Goff; G-593; GW 11815; ISTC ig00591500.…

First edition. THEORY OF THE PLANISPHERE - THE JONES-MACCLESFIELD COPY . First edition, very rare, the Jones-Macclesfield copy, signed by William Jones, of the first modern theoretical treatise on the planisphere, an instrument for representing the celestial sphere on a plane surface. Guidobaldo was one of the most prominent figures in the renaissance of the mathematical sciences, and is famous for his Mechanicorum liber (1577), generally regarded as the most important treatise on mechanics since Archimedes and a critical influence on his friend and disciple Galileo. "Two years after the publication of the Mechanicorum Liber, Guidobaldo released the Planisphaeriorum Universalium Theorica (1579), re-edited after another two years later at Cologne. The treatise attended to the mathematical branch in which Guidobaldo seems to have been most interested besides mechanics, namely to perspective . Guidobaldo's treatise of 1579 is subdivided in two books and is dedicated to the explication of various types of planispheres. Planispheres had the function to represent in the plane the celestial sphere with all his significant circles - a procedure that obviously posed problems relative to stereographic or orthogonal projection, according to the type of planisphere. Fundamental for their construction were the empirical guidelines given in Ptolemy's Planisphaerium. A different way of stereographic projection had been found by Gemma Frisius (1508-55), exposed in De astrolabio catholico (1556), by assuming the centre of projection on the equinoctial circle, while in Ptolemy it was fixed in one of the two poles. The advantage of this method consisted in the possibility to adapt the planisphere to an arbitrary latitude (for that reason it was called 'universal'), while Ptolemy's was valid only for a specific horizon.In the first book, Guidobaldo attends to comment on Gemma Frisius's planisphere furnishing geometrical demonstrations of what had remained unproven by the Dutch mathematician. Furthermore, he gave the necessary indications to construct the described device. In the second book, Guidobaldo approached the analysis of the planisphere of Juan De Rojas, considered the inventor of the universal astrolabe. As the projection exposed by the Spanish mathematician refers to a point of observation at infinite distance, his planisphere poses problems relative to orthographic projection. Guidobaldo addressed himself to the topic with the usual mathematical rigour, inter alia proving that the section of a cylinder and a plane (not parallel to the axis of the cylinder) is generally an ellipse - a fact unknown both to De Rojas and to Frisius. Here, again, he exposed a scientific instrument appropriate to draw ellipses, with a clear and detailed theoretical justification. This fact confirms Guidobaldo's interest in the practical aspects connected with mathematics, besides his unquestioned skill to present theorisations of mathematical fields" (Frank, pp. 40-41). ABPC/RBH lists only one other complete copy in a contemporary binding in the last 40 years. Provenance: William Jones (1675-1749) (signature on title), probably acquired by him from John Collins (1626-83); the Earls of Macclesfield (South Library bookplate on front paste-down, embossed stamp on first two leaves); sold Sotheby's, 13 April 2005, lot 1434, £3,360 ($6,372). As the Macclesfield catalogue notes (A-C, p. 12), "It is not unreasonable to suppose that anything published before 1683 [in the Macclesfield library] belonged to him [i.e., Collins]". It would seem very likely that Collins would have owned a copy of this book, given his own interest in mathematical instruments - he wrote The sector on a quadrant (1658); Geometrical dyalling (1659); and The mariner's plain scale (1659). Jones acquired Collins's books and papers some time before he edited Newton's Analysis per quantitatum series (1711). "Painters were well acquainted with the representation of a three-dimensional object by three two-dimensional drawings, in each of which the object is viewed along parallel lines that are perpendicular to the plane of the drawing (plan, front and side elevations). For example, a projection by means of parallel lines was used by Albrecht Dürer in his Von Menschlicher Proportion in 1528. Dürer used an orthographic projection to foreshorten the heads of humans, showing a top, front and side view, a method already used by Piero della Francesca in his unpublished manuscript De Prospectiva Pingendi. Thus, as a drawing method, a projection along parallel lines must have been common practice in the painter's workshop. However, it was left to the designers of mathematical instruments around the middle of the sixteenth century to understand the orthographic projection as a projection along parallel lines perpendicular to the plane of projection with the center of projection at infinity. "Astrolabes had a plate showing a map of the celestial sphere. The equator, the tropics, the ecliptic, the lines of equal azimuth and the almucantars were projected onto the astrolabe plate. Most common, also in the sixteenth century, was the use of a stereographic projection, with the south celestial pole as center of projection and the plane of the equator (or a plane parallel to it) as the plane of projection. This type of stereographic projection was used by Stöffler in his Elucidatio fabricae ususque astrolabii (1513). "However, a major drawback was that the astrolabe plate made with this type of stereographic projection could only be used at the particular latitude it was designed for - each latitude asked for a different plate. The sixteenth century saw the publication of two different types of projection that were considered to be a solution to this problem. These projections allowed a 'universal' application of the astrolabe, that is, only one plate was needed, whatever the latitude of the observer or user of the astrolabe. "In 1556, the 'astrolabum catholicum' of Gemma Frisius was posthum. Signed.…