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John Price Antiquarian Books

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Commentaria in C. Julii Solini Polyhistora, et Lucii Flori De Romanorum rebus gestis, libros, ac Tabulam Cebetis, omnibus et res ecclesiasticas et civiles administrantibus, sive lucem, sive rerum varietatem doctrinamque spectes, utilissima, Joanne Camerte autore viro in omni literarum genere prestanti: Praeterea Pomponii Melae de orbis situ libri tres, cum commentariis Joachimi Vadiani philosophi, medici & poëtae, praemissa eiusdem rudimentaria de Geographia catechesi. Item Alia ex Joachimi Vadiani lucubrationibus utilioribus & jucundioribus, opuscula, cuius generis sunt: De Vadianae familiae insignibus exegesis. LoDe Gallo & Gallinis syntagma, &c.corum aliquot ex commentario in Melam explanationes. Ad Rodolphum Agricolam epistola eandem materiam tractans.

SOLINUS (Gaius Julius) FIRST EDITION THUS. Folio, 312 x 196 x 60 mms., pp. [xxiv], 478, but with several pages misnumbered, 297 [298 blank], woodcut initials, toning, occasional light spotting; with the circular purple ink-stamps of the Cabinet du Marquis de Montpeyroux and related inscriptions to title page and colophon leaf, related inscription and effaced label to front pastedown; with additional black oval ink-stamp of "Museum / Rem. Faesch / Basil" on verso of title leaf; bound using leaf from a late thirteenth- or early fourteenth-century vellum manuscript copy of Jacobus da Varagine's Legenda Aurea, decorated with puzzle initials in red and blue body colour, slightly rubbed and soiled overall, later manuscript spine-title and manuscript shelf-mark label, loss to spine-ends, some wear on raised bands, faint ink-stamp to foot of front cover, pastedowns lifting to reveal flesh-side. The Latin grammarian and compiler of anthologies Gaius Julius Solinus (or Caius Julius Solinus) flourished in the third century. He was well known for his work "De mirabilibus mundi ('The wonders of the world') which circulated both under the title Collectanea rerum memorabilium ('Collection of Curiosities'), and Polyhistor; but the latter title was favoured by the author. The work is indeed a description of curiosities in a chorographical framework" (Wikipedia). The Polyhistor was first published in Venice in 1473, and remained popular throughout the Middle Ages and Renaissance, particularly for its geographical content. Scholars and ordinary readers from the fifteenth century onward turned to Solinus for arcane information: e.g., "While writing his City of God at Hippo Regius in the decade following the sack of Rome of 410, Augustine gleaned from Solinus information as diverse as human monstrosities, diamonds, a wondrous Epirote spring and miraculous salt from Agrigento" (Felix Racine, "Teaching Geography with Solinus: Martianus and Priscian", in The Collectanea of Gaius Julius Solinus: New Perspectives, ed. Kai Brodersen [Heidelberg: Verlag Antike, 2014], pp. 157-170). It was Joannes Camers (1448-1546) who presented for the first time a truly vast scholarly apparatus for the Polyhistor, providing many cross-references pointing to sources and parallel passages in other classical texts. As one can see from the illustrations below, his commentary surrounds Solinus's text to the point of dwarfing it. This copy was once part of the library of Museum Faesch, an institution founded in the Renaissance by Remigius Faesch (1595-1667), the Swiss jurist and scholar who was also a great collector of books and art. One may wonder whether he acquired the volume at hand for the text inside or for the finely-wrought medieval manuscript with which it is bound. Several sources suggest the books from Museum Faesch went to the University of Basel in 1823, though it appears that some volumes from Faesch's celebrated library have appeared in bookseller's catalogues, if only rarely, since at least as early as the 1930s. Adams S1395, VD16 S6970. Outside of BL and Oxbridge, COPAC finds copies only at the University of Leeds and the University of Wales. See also Paul Dover's excellent chapter, "Reading 'Pliny's Ape' in the Renaissance: The Polyhistor of Caius Julius Solinus in the First Century of Print", in Encyclopaedism from Antiquity to the Renaissance, ed. by Jason König and Greg Woolf (Cambridge: Cambridge University Press, 2013), pp. 414-413. The late thirteenth- or early fourteenth-century vellum manuscript leaf used to bind this copy contains sections specifically from chapters 70, 72, and 82 of Jacobus da Varagine's Legenda Aurea, the compilation of hagiographies which became one of the most influential texts in late medieval Europe.
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Almanacco della Real Casa e Corte, per l’anno 1823.

BINDING. SICILY. Small 8vo, 135 x 95 mms., pp. lxxx, 130, folding engraved map of Sicily, outlined in colour at end of text, engraved portrait of Ferdinand 1 as frontispiece, handsomely bound in contemporary straight-grain red morocco, gilt roll border on covers, spine richly gilt, all edges gilt, with the gilt arms of the Duchess du Berry on each cover; some slight rubbing of front joint, but a very good to fine copy. In the text, reference to "Duchessa di Barry" on page LX, and her own birth and marriage are recorded on page 5. She was also an astute collector: " The Duchesse de Berry's collecting was not restricted to paintings. She loved books, particularly the novels of Walter Scott and the plays of Victor Hugo. The bindings of the books in her library, one of the most admired of the day, are masterpieces from the golden age of French book-binding : a black mourning binding decorates Chateaubriand's tribute to her husband. All bindings bear her coat of arms, pairing Berry and the Two Sicilies" (Mansel). The website for Musée Cpmdé de Chantilly on female book collectors has a short section on de Berrry's collection and notes, "La bibliothèque de Rosny couvre tous les champs de la connaissance : théologie, jurisprudence, sciences et Arts, Belles-Lettres, Histoire. En 1837, la bibliothèque compte au total 8 000 volumes, selon le Catalogue de la riche bibliothèque de Rosny, première des deux ventes de sa bibliothèque que Marie-Caroline, victime des circonstances, va être obligée de réaliser. La duchesse fait relier ses ouvrages chez Simier en sept couleurs : bleu, rouge, vert pomme, vert olive, citron, lilas et violet. Un choix purement esthétique contrairement à certaines pratiques du moment associant les couleurs à des disciplines. Choix des éditions, beauté des exemplaires et des éléments variés qui les enrichissent, provenances prestigieuses et surtout beauté de la reliure distinguent ses livres. Les femmes auteurs semblent avoir été un thème de prédilection pour la duchesse et sa collection rassemble toutes les grandes femmes de lettres." Perhaps this copy of an Alamanacco, in red morocco, has both aesthetic and semantic signifiers. Philip Manself: "The Duchesse de Berry and the Aesthetics of Royalism: Dynastic Collecting in Nineteenth-Century France" in Susan Bracken, Andrea M. Galdy and Adriana Turpin editors, Women Patrons and Collectors (Cambridge Scholars Publishing, 2012).
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English Songs, and other Small Poems. By Barry Cornwall.

PROCTOR (Brian Waller)] FIRST EDITION. 12mo, 151 x 96 mms., pp. [iii] -xxii, 228, engraved vignette on title-page, and on recto of introduction, e other engraved vignettes, attractively bound in full contemporary polished calf, spine ornately gilt in compartments, olive morocco label; some wear to extremities, but a very good copy, inscribed the author at the top of the title-page, "To Allan Cunningham/ with the best Regards of his friend/ The Author." The Scottish poet Allan Cunningham (1784 - 1842) was famous for his collections of songs as well as his own compositions, of which Songs, Chiefly in the Rural Language of Scotland published in 1813 is the best example. Proctor (1787 - 1874) qualified as a solicitor, worked as a conveyancer, and became one of the Commisioners in Lunacy in 1832. The Monthly Review for 1832 reviewed the work at length, find much to admire and much to lament, and concluding, "if we have exposed some of the fault which pervade this collection of songs, we have done so for the purposes of hinting to Mr. Proctor, that he has not yet, at least, succeeded in supplying that great desideratum, a body of lyrics truly English. We do not remember more than one or two of his compositions which do not apply, nationally speaking, just as much to America as to this country. The great majority of them are conversant with feelings and sentiments which are common to all mankind, and do not even pretend to afford us the slightest idea of the English character. As if to crown the absurdity of the plan, most of those which have been set to music, have received that honour from the talents of a foreigner!" The allusion is probably to Haydn who must have thought rather favourably of Proctor's lyrics and songs. So did the book-buying public, as the volume was reprinted in 1844, 1846, and 1851.
De re vestiaria libellus

De re vestiaria libellus, ex Bayfio excerptus; addita vulgaris linguæ interpretatione, in adolescentulorum gratiam atque utilitatem. Secunda edito.

BAIF (Lazarus) and ESTIENNE (Charles) Small 8vo, 162 x 101 mms., pp. 68 [69 - 78 index], contemporary stressted ellum. A very good copy. This work by the Jean-Antoine de Baif (1532 - 1589)was first published in 1535, followed by a reprint in 1536, and this second edition in 1541. It is an abridged version made by Charles Estienne and was one of the earliest works produced specifically for a juvenile audience. Baif was the natural son of the early modern scholar Lazare de Baïf (1496–1547), a French diplomat and humanist, who ensure that his son received a very good education. Charles Estienne was his Latin tutor, while Jean Daurat Ronsard taught him later. "Ancient clothing became widely known in Renaissance erudite studies only in 1526 when Lazare de Baïf, a French antiquarian and ambassador to Venice and Germany, published his De re vestiaria. This work (Baïf 1526), which represents the first monographic treatise on the matter, met with immediate favour and was quickly reprinted by the most prestigious editors in Europe (the first complete with images was issued by Froben in Basel in 1537). The success of this work can also be measured by the revisions and additions made by other authors in new editions of the work, especially the one compiled by the French antiquarian, botanist and physician, Charles Estienne (Estienne 1535a; Armstrong 1954), a member of the family of printers and a pupil of Baïf himself, who published his De re vestiaria libellus, ex Bayfio excerptus in 1535. Estienne produced an original and particularly interesting version of Baïf's work by taking the original and restructuring it so as to make it easier to read: he reordered the text into ten different interpretative categories based on parts of the human body, something that until then had never been done for this subject. He structured his treatise to run from the top of the body to the bottom, i.e. from hats and headdresses to shoes and footwear, and provided the French equivalent for all the Latin and Greek terms for fabrics and clothing, again in order to make it easier to read especially for young students (in adulescentorum gratiam atque utilitatem). Moreover, he enriched the treatise by adding, in square brackets, details omitted by Baïf, thereby broadening its interpretative perspectives" (Damiano Acciarino: Renaissance Discovery of Ancient Clothing [online, 2018]). Adams B-45. USTC 88432.
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The Star in the East; With Other Poems.

CONDER (Josiah) FIRST EDITION. 12mo, 164 x 94 mms., pp. [v] vi - xi [xii Errata], [3] 4 - 195 [196 colophon], dedicated to Ebenezer Maitland, bound with an ms leaf preceding title-page, with short ms. poem "Self Considerations," on recto (leaf folded at fore-margin, two further pages at end with ms. verse, contemporary autograph "Fanny Hodge/ 1832" on top-margin of title-page, neatly bound in contemporary plum half calf, gilt spine, red morocco label, marbled boards. A very good copy. The bookseller and author Josiah Concer (1789 - 1855) left school at 13, embarked on a process of self-education, and came to the notice of the literati in 1810, when he published The Associate Minstrsels, to which Ann and Jane Taylor contributed, along with other scribblers. A prolific author, he was also a lay preacher, so the religious image in the title of the present book is one manifestation of his faith. John Keble, curiously, chose this volume to express anonymously some of his perceptions of the relationship between poetry and religion: "There are many circumstances about this little volume, which tend powerfully to disarm criticism. In the first place, it is, for the most part, of a sacred character: taken up those subjects, which least of all admit with propriety, either in the author or critic, the exercise of intellectual subtlety. For the practical tendency, indeed, of such compositions, both are most deeply responsible; the author who publishes them, and the critic who undertakes to recommend or censure them. The most considerate reviewer, therefore of a volume of sacred poetry will think it a subject on which it is easier to say too much than too little." The Eclectic Review for 1824 was slightly iffy in its praise, saying "we shall, though most reluctantly, abstain from every thing in the shape of eulogy, and confine ourselves to simple analysis and extract." William R. McKelvy: The English Cult of Literature: Devoted Readers, 1774-1880 (2007),
On Illicit Love. Written among the Ruins of Godstow Nunnery

On Illicit Love. Written among the Ruins of Godstow Nunnery, Near Oxford.

BRAND (John) FIRST AND ONLY EDITION. 4to, 282 x 220 mms., pp. [iv], 20, including half-title, engraved (by Ralph Beilby) vignette on title-page, stitched as issued; half-title very soiled, al edges soiled, some staining of text; an insalubrious copy. The subject matter is the "illicit" romance between Henry II and Rosamund Clifford (before 1150 – c. 1176), often called "The Fair Rosamund" or the "Rose of the World." His assignations with her took place within a maze at his park at Woodstock. The Monthly Review in 1775 commented, "This poem has a moral purpose, and contains many good lines; the apostrophes, in particular, to Love and Woman are very pretty and poetical; yet there are some defective passages, and some obscurities in the verses; which evince no want of genius, but a hand not long accustomed to composition." The Critical Review in December, 1775, was also enthusiastic, claiming that the Royal Affair produced "productions both of the amorous and elegiac kind, but never any in which the criminality of an unlawful passion is more forcibly exposed, or chastity recommended in a warmer strain of poetry, than what now lies before us. The author appears to be inspired by all the enthusiastic ardour which the scenes of memorable transactions [sic!] are apt to excite in the imagination. The sentiments are glowing and just, the imagery is animated, and the poem is in general beautiful, pathetic, and moral."
Lexicon Tetraglotton

Lexicon Tetraglotton, an English-French-Italian-Spanish Dictionary: Whereunto is adjoined A large Nomenclature of the proper Terms (in all the four) belonging to several Arts and Sciences, to Recreations, to Professions both Liberal and Mechanick, &c. Divided into Fiftie two Sections; Wit another Volume of the Choicest Proverbs In all the said Toungs, (consising fo divers compleat Tomes) and the English translated into the other Three, to take off the reproch which useth to be cast upon Her, That She is but barren in this point, and those Proverbs She hath are but flat and empty. Moreover, There are sundry familiar Letters and Verses running all in Proverbs, which the Author thought fit to annex hereunto, and make Intelligible, for their great Antiquity and Weight: Lastly, there are five Centuries of New Sayings, which, in trace of Time, may serve for Proverbs to Posterity. By the Laours, and Lucubrations of James Howell, Esq;

HOWELL (James) FIRST EDITION. Folio, 328 x 205 mms., pp. [x], 4, [312], 24, 10, [8], 28, [8], 24, [6], 32, [8], 40, including half-title, engraved allegorical frontispiece (waterstained on verso), title-page in red and black, bound in mid to late 18th century calf, gilt border on covers, spine gilt in compartments, black leather label; lower front joint wormed, corners worn, some nicks and scratches to binding, but a very good copy. Howell's fulsome dedication to Charles II, claiming himself to be, "among those myriads of Loyall Soules who rejoyce at your Majesties return, I am one who upon the knee of a panting heart, as well as those of the Body doth send up flaming oblations of thankfullnesse to just Hevn for thie Great and seaSonable Blessing." Howell (?1594 - 1666) began his career working in a glass factory, but later found employment in various capacities with the aristocracy. An industrious and gifted scholar and linguist, he spent some time on the continent and seemed to be reading 18 hours a day. His loyalty to Charles II led to his imprisonment in 1643, so the purple prose dedication probably marks the relief he felt when he was released. THe present work "as supported by Bulstrode Whitelocke, a frequent correspondent and reader of Howell's works from 1654 until the Restoration" (Diary of Bulstrode Whitelocke, 50; ODNB). In that ODNB articles, D. R. Woolf remarks, "Howell has not had a modern biographer but his many works in verse and prose were the fruit of a significant literary life stretching from the end of England's Renaissance to the very different age ushered in with the Restoration. Howell's career and thought have never been fully appreciated. While most of his political works lacked the depth of learning or acuity of intellect of the treatises of major contemporary thinkers such as Selden or Hobbes they are significant statements of the moderate royalist position throughout the 1640s and 1650s."
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The Tauroboliad or the Sacrifice of the Constitution. A Satire.

Taurobolium. FIRST AND ONLY EDITION. 12mo, 194 x 119 mms., pp. [v] - viii, 104, original binder's cloth, paper label on spine (faded), uncut and largely unopened with top margin of pp vi-vii carelessly opened, and small circular armorial bookplate (?Elton) on front paste-down end-paper The volume is inscribed by the anonymous author "To the Hereditary Guardians of the British Constitution the Peers of England This Satire is inscribed." In the preface, the author refers the founding of the ceremony of the Taurobolium by Julian the Apostate, alluding to the sacrifice of a bull, which was practiced "rom about AD 160 in the Mediterranean cult of the Great Mother of the Gods. Celebrated primarily among the Romans, the ceremony enjoyed much popularity and may have been introduced by the Roman emperor. The nature and purpose of the ceremony seems to have gradually changed during the late 2nd and 3rd centuries. At the beginning it apparently resembled similar sacrifices performed in the cults of other deities, such as Mithra. By about 300, however, the ceremony had changed drastically. The person dedicating the sacrifice lay in a pit with a perforated board placed over the pit's opening. A bull was slaughtered above him, and the person in the pit bathed in the blood streaming down. Thus the ceremony, perhaps influenced by Christianity, gradually took on the elements of moral purification" (Encyclopedia Britannica). The poem is written in decasyllabic syllabic couplets as a dialogue between a Tory and a Whig, and many of the assertions would not sound out-of-place in the current Brexit debates and debacles.
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Paradise Lost. A Poem in Twelve Books. The Seventh Edition, With Notes of various Authors, By Thomas Newton, D. D.

MILTON (John) 2 volumes. 8vo, 202 x 123 mms., pp. [xvi], liii [liv - lviii tributes],.25 [26 blank], 500; [ii], 456 [457 - 582 Index], engraved frontispiece and 5 other engraved plates in volume 1, engraved frontispiece and 5 other engraved plates in volume 2, handsomely bound in later (early 19th century) full panelled calf, with a gilt border on each cover and an elongated lozenge in lighter calf with interior gilt border on each cover, spines gilt in compartments, marbled end-papers; some water-staining in last 30 leaves of volume 1, most noticeably in last 11 leaves, marginal worming in about half the leaves of volume 2, occasionally affecting one or two letters of text, most noticeably in the index, very slight worming of lower rear joint volume 2, slight wear to joints, but a very attractive binding, with the small rectangular binder's ticket of Dickenson, St. Edwards's Passage, Cambridge on the front paste-down end-paper of volume 1, the rubbers stamp of "Richd. Hopkins St Ives Huntingdonshire" on the verso of the front free end-paper of each volume, and the contemporary autograph "Miss W E Coote" on the recto of the front free end-paper of each volume. Although the title-page is dated 1770, the typography is more consistent with printing types found in the early 19th century; moreover, it is printed on wove paper, while the text is printed on laid paper and is clearly from the 18th century. There appear to be three issues of this work in 1770, with various names in the imprint. This seems to be ESTC N32814 (O, PEN; MH; ZWTU). The collation does not match that of Coleridge 130 or 131.
An Essay on Genius.

An Essay on Genius.

GERARD (Alexander) FIRST EDITION. 8vo (222 x 140 mms.), pp. vii [viii adverts], 434 [435 Errata, 436 blank], contemporary calf, red morocco label; newly rebound in period-style quarter calf, gilt spine, red morocco label, marbled boards; fore-margin of title-page very slightly frayed, some water-staining in margins of last two leaves, and short, closed tear in pp. 433 - 434, but a good copy. Although Gerard's more famous Essay on Taste, first published in 1759 was reprinted and expanded several times in the 18th century, his two books on genius were never reprinted until the 20th century. Gerard's work consolidates and anticipates: James Engell has said of him that he "broke the mold of run-of-the-mill British associationists" and that his two books "move associationism and the theory of imagination onto a higher and richer plane." For Gerard, genius is "the leading faculty of the mind, the grand instrument of all investigation"; it is the mind's capacity for invention that makes genius the mind's pre-eminent quality. (Homer is, not surprisingly, cited as the perfect model of genius.) Genius derives from imagination, but the two are not identical: "Genius implies regularity, as well as comprehensiveness of imagination. Regularity arises in a great measure from such a turn of imagination as enables the associating principles, not only to introduce proper ideas, but also to connect the design of the whole with every idea that is introduced." Gerard's introduction of the idea of regularity' into his argument may seem to impose restrictions upon genius, but the discipline of organization and arrangement is necessary to bring to fruition the buds of genius.