Sebastiani antonio (13 Ergebnisse)

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

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

Zustand: OTTIMO USATO. Collana di attualità di medicina pratica ITALIANO Brossura con coperta cartonata flessibile, ingiallita con lievi tracce di umiditÃ. Tagli bruniti, pagine ingiallite soprattutto ai bordi ma in ottimo stato. Sono presenti sottolineature a matita. Volume della Collana di attualità di medicina pratica, diretta dal prof. Cesare Frugoni, clinico medico della R. Università di Roma. Numero pagine 280.…

Zustand: Good. Condizioni dettagliate: Accettabile, sottolineature e scritte di matita e di pastello sparse, lievi abrasioni e piccoli strappi sulla copertina, volume in parte staccato dal dorso, scritte di penna sull'occhiello, copertina flessibile.

Zustand: Good. Condizioni dettagliate: buone, lievi danni alla copertina, tagli bruniti, fioriture sparse, copertina flessibile.

Zustand: BUONO USATO. Collana di attualità di medicina pratica ITALIANO Collana diretta dal Prof. Cesare Frugoni. Il volume si presenta in buono stato di conservazione. Il dorso e le copertine sono dorati con un velo di polvere e mostrano lievi segni di usura. Le pagine interne sono ingiallite dal tempo e fruibili. I tagli bruniti e regolari. La cerniera à ben salda. Sottolineature a matita nelle pagine interne. Numero pagine 280.…

Brossura. Zustand: discrete. Prima edizione. Prima edizione. Cm.19,5x13. Pg.VI, 26. Esemplare privo di coperta. Scritto a firma di Antonio Sebastiani, Giuseppe Bersani, Alessandro Ricci, Francesco Armellini per conto della Società Romana di Agricoltura e Manifatture. "I Riscoli sono piante indigene delle nostre spiagge marittime . e contengono poca soda, ma molto di più di potata" (dall'incipit del volume). > Quattro esemplari in SBN al 23 dicembre 2019. 100 gr.…

Zustand: Mediocre (Poor). Two parts in one volume, 8vo (148x98 mm). I: [16], 247, [17] pp. Collation: *8 A-Q8 R4. Printer's device on title page. II-III: 157, [3] pp. Collation: a-k8. Leaf k8 is a blank. Printer's device on both title pages. The Panegirico begins at l. h1r (p. [113]). 18th-century stiff vellum, inked title on spine, sprinkled edges. Worm tracks on the first leaves repaired, marginal restauration on the first quire and on the last 35 leaves, marginal staining throughout. First edition of these three works by Minturno. The Rime, edited by Girolamo Ruscelli (1504-1566), marks a turning point in the history of southern Italian lyric poetry, as with its new experimental ?Neapolitan' style it abandons the traditional Bembo and Petrarch model and sets a new style. With L'amore innamorato Minturno turns ideally to other models, notably Sannazaro's Arcadia and Boccaccio's Ameto, as he himself declares in his 1564 Arte poetica. The text, which narrates the adventures of Amore, son of Venus, is a prosimeter, that is, it alternates parts in prose with others in verse, and can be described as a kind of novel. The author imagines the tale as the result of the conversation among some nymphs in Sicily, engaged in discussing the topic of love. Along the same lines is also the Panegirico celebrating love.Antonio Sebastiani was born in Minturno, near Latina, around 1497. In 1511 he moved to Sessa Aurunca to study with Agostino Nifo, whom he then followed to Padua and Pisa, where, by the end of 1520, he became a lecturer in poetics and oratory. At the end of 1521 he moved on to Rome as a lecturer in theology and philosophy. In Rome, thanks perhaps to the intercession of another student of Nifo, Galeazzo Florimonte, he came into contact with Ludovico Beccadelli, Girolamo Seripando, Gasparo Contarini and Filippo Gheri, later secretary to Cardinal Giovanni Morone. In 1524 he took up service as tutor to the Colonna family in Genazzano, and it was around this time that he entered the Order of the Theatines. The following year he returned to Naples to resume his studies; there he used to hang out with Girolamo Carbone, Pomponio Gaurico, Pietro Summonte, Pietro Gravina, and noblewomen such as Maria di Cardona, Giulia Gonzaga and Beatrice d'Appiano d'Aragona. It is very likely that in this period he adopted the name Minturno (from Minturnae, the Latin name of his hometown), which conferred a humanistic gravitas to his person. From October 1527 he was tutor first in the household of Camillo Pignatelli, count of Borrello, and later of Girolamo and Fabrizio Pignatelli, sons of Ettore, viceroy of Sicily. Most of Sebastiani Minturno's literary production is concentrated in the period 1526-1542. The proximity to Francesco Maria Molza, Claudio Tolomei, Luigi Tansillo and to Spanish literary circles enabled him to develop already at the beginning of his literary activity aesthetic-critical notions and theories about his production, which were later poured into the final drafts of De poeta and Arte poetica. In 1542, after fifteen years of service with the Pignatelli family, gratified by an annual pension of two hundred ducats, he returned to Minturno. Already the following year, however, he went to Naples to teach theology but, because of the problems that arose in the attempt to impose the Inquisition in the city, he was forced to move to Sicily, where he remained at least until 1548; on this occasion his entire library was looted and dismembered, to be recovered only later thanks to the collaboration of Andrea Cossa. To this period dates the composition of the Rime and the Amore innamorato, works both conceived within the literary circle orbiting around Maria di Cardona. From 1548 to 1551 he returned to Naples, and from 1554 to 1558 he lived in Calabria. In 1556 he tried to have De poeta printed in Venice (but the edition would actually not be prepared until 1559), and in 1558 he was appointed bishop of Ugento. Through the intercession of Girolamo Seripando he was su. Book.…

Zustand: Good. ?A COLOSSUS AMONG ARTES POETICAE? (WEINBERG)4to (205x145 mm). [8], 567, [1 blank] pp. Collation: *4 A-BBBB4. Ziletti's device on title page. 18th-century panelled calf gilt, spine gilt in compartments, red morocco lettering piece, sprinkled edges (extremities and spine rubbed). On the front pastedown engraved bookplate of the Earls of Macclesfield (cf. The Library of the Earls of Macclesfield, Part Twelve, London, Sotheby's, 2008, no. 4619). A very good copy. First edition. ?In comparison with its fairly short, fairly meager, fairly single-minded predecessors, Antonio Sebastiano Minturno's De poeta (1559) is a colossus among ?artes poeticae'. The six books of dialogue make an aggregate of almost six hundred pages. Besides, rather than drawing almost exclusively upon the Ars poetica, the work incorporates (in addition to Horace) almost all of the Poetics and abundant materials from Plato (Republic, Laws, Ion, etc.), from Aristotle's Rhetoric, from Quintilian, and from all the rhetorical writings of Cicero. It is thus the first of the really extensive arts of poetry, the first to attempt a detailed discussion of every aspect of doctrine and technique, the first to broaden considerably the range of references and ?authorities'. These features are not without important consequences for the nature of the work itself; for they give to it a wide-ranging eclecticism, which is reflected in the theory ultimately evolved by Minturno [. . .] From the way these various distinctions are developed, from the miscellaneous shutting off in the directions of the poet or nature or the poem or the audience, it should be clear the Minturno's treatise remains primarily eclectic and syncretic. None of the term of ultimate reference comes to dominate the others, to impose a systematic organization upon the work. Insofar as there is any ordering of ideas, it is an ordering to rhetorical principles. At one end of each of the chains of relationship is an effect upon the audience; at the other end, some faculty of the poet capable of producing that effect; in the middle, the poem serving as a means or instrument [. . .] For Minturno, the poet, his art, and his faculties occupy a similar position of pre-eminence. What Minturno does, essentially, is to take over the whole rhetorical schematism of his times, to substitute for the orator the poet, and to introduce - at what seemed to him to be the most likely points in the argument - all the know materials on the art of poetry. In this way both the Poetics and the Ars poetica are, if not assimilated, at least incorporated into a vast compendium on the art? (B. Weinberg, A History of Literary Criticism in the Italian Renaissance, Chicago-Toronto, 1961, pp. 737-743).Antonio Sebastiani was born in Minturno, near Latina, around 1497. In 1511 he moved to Sessa Aurunca to study with Agostino Nifo, whom he then followed to Padua and Pisa, where, by the end of 1520, he became a lecturer in poetics and oratory. At the end of 1521 he moved on to Rome as a lecturer in theology and philosophy. In Rome, thanks perhaps to the intercession of another student of Nifo, Galeazzo Florimonte, he came into contact with Ludovico Beccadelli, Girolamo Seripando, Gasparo Contarini and Filippo Gheri, later secretary to Cardinal Giovanni Morone. In 1524 he took up service as tutor to the Colonna family in Genazzano, and it was around this time that he entered the Order of the Theatines. The following year he returned to Naples to resume his studies; there he used to hang out with Girolamo Carbone, Pomponio Gaurico, Pietro Summonte, Pietro Gravina, and noblewomen such as Maria di Cardona, Giulia Gonzaga and Beatrice d'Appiano d'Aragona. It is very likely that in this period he adopted the name Minturno (from Minturnae, the Latin name of his hometown), which conferred a humanistic gravitas to his person. From October 1527 he was tutor first in the household of Camillo Pignatelli, count of Borrello, and later of Girolamo and Fabrizio Pign. Book.…

In 16, pp.VI + 26. Cart. mod. Serie di istruzioni sulla coltivazione di questa pianta nell'agro romano dalla quale veniva tratta la soda, tratte dagli Atti del 15o seduta del Soc. romana di agricoltura e manifattura. ITA.

Cm. 21, pp. xv (1) 351 + (1) di imprimatur. Con 10 tavole calcografiche ripiegate f.t. in fine del volume, raffiguranti piante della flora di Roma e del suo circondario. Solida legatura coeva in piena . pergamena rigida. Dorso a piccoli nervi con titolo in oro su tassello e fite decorazioni in oro. Sguardie azzurre. Ex-libris di Francesco Cazzamini-Mussi. Qualche traccia d'uso alla pergamena, peraltro esemplare genuino e ben conservato. Prima edizione di questa sistematica classificazione di 462 piante della flora di Roma e dei suoi dintorni. Pritzel, 8565 e 6006. …

4°, Ledereinband. [5] Blatt, 112 Seiten, [1] Blatt, mit einem gestochenen Frontispiz und einer weiteren Kupfertafel von J. A. Schmutzer bzw. E. A. Dietell nach N. B. Belau sowie 9 (von 10?) Portrait-Kupfertafeln. Einband berieben und an den Ecken bestossen, Rücken mit kl. Würmgängen, Kapitale mit fehlstellen des Leders, innen leicht fleckig, insgesamt guter und sauberer Zustand. ---------------------------------- Seltenes Werk über den Orden vom Goldenen Vlies, gewidmet dem Prinzen Eugen von Savoyen, der auch auf dem allegorischen Frontispiz dargestellt ist. Mit Namenslisten der Ordensmitglieder. - Es erschien im selben Jahr auch eine zweite, etwas abweichende Ausgabe, welche am Titel den Jesuiten Anton Kaschutnig als Verfasser nennt. Sprache: Deutsch Gewicht in Gramm: 1100.…

LEGATURA EDITORIALE. Fasciculus primus. Romae: Typis De Romanis, 1813 Fasciculus alter. Accedit enumeratio plantarum sponte nascentium in Ruderibus AmphiteatriFlavii. Romae: Typis Pauli Salviucci et Filii, 1815. (20 x 27) EDIZIONE ORIGINALE. Mezza pelle coeva con titolo e fregi in oro al dorso. 14 pp., 44 tavv. Ripiegate f.t.; (2) pp. Con frontespizio con vignetta incisa in rame, 81 pp., 6 tavv. (4 ripiegate), incise in rame da F, Rinaldi. Medico e professore di botanica all'Università di Roma, Sebastiani (1782-1821) fu nominato direttore dell'Orto Botanico del Gianicolo di Roma da Pio VII nel 1818. Con il suo allievo Ernesto Mauri compilò quest'opera che è tuttora un valido strumento per lo studio della flora di Roma e dintorni. Sempre con Mauri pubblicò Floraeromanaeprodromus nel 1818. I numerosi dati raccolti in queste due opere, opportunamente aggiornate, resero poco significativa la comparsa postuma del lavoro di A. Maratti, RomanaeFlorae (1822).…