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Bocace des Nobles Maleureux [Traduit en françois par Laurent De Premierfait].

BOCCACCIO, GIOVANNI Folio (306 x 188 mm.), late 19th century vellum with gold title on double label at spine, upper corner of last leaf torn with slight loss of page number, title-page leaf mounted. Title printed in red and black within woodcut border, text on double column, woodcut device of Jean Petit at end, woodcut initials. Early 16th century edition of the first translation in French (first printed in 1476), by Laurent de Premierfait (c.1380-1418), who was perhaps the most significant French translator of the first half of the fifteenth century. In addition to Boccaccio (he also translated his Decameron), he rendered works by Aristotle and Cicero into the vernacular. He translated Boccaccio's De casibus virorum illustribus twice, in 1400 and 1409; the second translation, used for this edition, takes some liberties with the original text, adding detail to Boccaccio's literary and geographic landscape and indulging in anti-war moralizing. The work was widely disseminated amongst the upper classes and proved popular. Sixty-five manuscripts survive (see Patricia M. Gathercole, "The manuscripts of Laurent de Premierfait's ‘Du cas des nobles’", Italica 32.1, March 1955, 14-21). The first printed edition of the 1400 translation appeared in 1476. Four editions, all Parisian and beginning with Jean de Pre's of 1483, predated that of Nicolas Couteau which in its turn was printed for numerous Parisian booksellers. Index Aurel. 120.270.
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De incertitudine et vanitate scientiarum declamatio invectiva, ex postrema auctoris recognitione.

AGRIPPA VON NETTESHEIM, HENRICUS CORNELIUS 12mo (13.5cm), attractive contemporary blindstamped pigskin binding with plaque impressions on boards, depicting the allegorical image of Justice and Chastity, spine with raised bands and manuscript title, a genuine copy in very good condition, bearing some ownership entries (one recording the purchase of the present volume in Augsburg, in 1566). Light repair to the upper blank margin of title-page. Oval woodcut portrait of the author on title, on 2nd leaf the dedication to the Genoese nobleman Agostino Fornari, ff. not numb. 348. num. An attractive copy of this edition of this famous text, written in 1526 and published for the first time in 1530, almost simultaneously with the first edition of the De occulta philosophia (1531-1533), with which there are deep connections despite the apparently contrasting intent of the two writings. In ‘De vanitate’, in fact, Agrippa von Nettesheim, while inspired by the traditional sources of esoteric Renaissance thought (Pico, Ficino, Reuchlin), expresses a position of strong scepticism towards scientific and pseudo-scientific thought, which is subordinated here to a religious vision of the world as he thinks that the sciences such as the Kabbala, astrology and even magic can only reach a superficial knowledge of the cosmos, so displaying a very critical point of view towards the contemporary culture (and especially Aristotelian culture), probably the result of the religious crisis taking place in those years; it is no coincidence that the main model of De vanitate remains the Praise of the Folly by Erasmus. Caillet I, 87 (edn. 1537); Rosenthal Bibl. Magica n. 15; Adams A-382.
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Avvertimenti nelle composizioni de Medicamenti per uso della Spetiaria. Con un diligente esame di molti Semplici di Giorgio Melichio augustano gia Spetiale allo Struzzo di Venezia: et hora ristampati in miglior forma con Aggionta di molte Compositioni utili, e necessarie, raccolte da migliori Antidotarii venuti in luce sino al presente da Alberto Stecchini Spetiale allo Struzzo. Et nel fine il Trattato delle virtu della theriaca delle ccellentissimo Signor Oratio Guarguante.

MELICH, GEORG 4to (16x22cm), contemporary vellum with manuscript title on spine (small loss of vellum, repaired), some waterstaining to the upper corner throughout all the volume, getting heavier at the end, with some marginal worming too at upper margin, causing a light loss of paper to last 10 leaves (but not affecting text). pp. (24), 343, (1 blank), containing hundreds of pharmaceutical recipes. One of the 17th century editions of this very successful pharmacopoeia (originally edited in Venice in 1575) by Georg Melich, probably originally from Augsburg in Germany, which was apothecary "allo Struzzo" (under the device of the Ostrich) in Venice, active in the second half of the sixteenth century. The work collects hundreds of recipes concerning spices, pills, syrups, ointments, medicinal herbs, powders, condiments, decoctions, resins, etc. The text had a considerable commercial fortune and was reprinted for almost 150 years (i.e. 1596, 1605, 1627, 1648, 1660, 1678, 1720), with the corrections and additions of the pharmacist (Alberto Stecchini) who succeeded him in the management of the ‘spezieria’ of the Ostrich.
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Orlando furioso. ornato di varie figure. et cinque canti d’un nuovo libro

ARIOSTO, LODOVICO 4to (22cm), 3 parts in one volume in good 18th century vellum, with manuscript title on spine, pastedowns and flyleaves in colored paper, red edges, a clean and well-preserved copy (tiny foxing spots here and there). An interesting manuscript entry on the verso of the title-page quotes that the book has been ‘espurgated’ (cleaned) according to the Index Librorum prohibitorum of 1615 (and in fact are visible in the text small censorship attempts, such as at ff. 88v and 186r). Each part with own title-page, the first with title within a full-page woodcut border, the second (for the ‘Cinque canti’) bearing the large Giolito woodcut device at 2/3 of page, the third (for the Espositione) bearing the small device, and at verso the oval woodcut portrait of Ariosto (likely after Tiziano); many historiated woodcut initials, the text finely illustrated with 51 woodcuts, placed at the beginning of each ‘canto’. At the end of the ‘Cinque canti’ another Giolito’s device and the colophon, dated 1549. ff. numb. 264; 31, 1 orig. blank; ff. nn. 30. Agnelli-Ravegnani I, 85: "È questa una nuova ristampa dell’ediz. 1548", that was the first Giolito edition to contain ever the added ‘5 canti’ (published for the first time ever in 1545). Graesse I, 198; BMC STC 39; Bongi, Giolito I, 293; cfr. Gamba 53 e Mortimer Harvard ital. books, n. 28. The beautiful woodcuts had appeared in the Giolito edition of 1542 : "they are the first Ariosto illustrations of any artistic merit, following Niccolò Zoppino’s idea of providing one illustration to each canto" (Mortimer).
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Tragoediae pristinae integritati restitutae: per exactissimi iudicii viros post auantium & philologum. D. Erasmum Roterodamum. Gerardum Vercellanum. Aegidium Maserium. Cum metrorum presertim tragicorum ratione ad calcem operis posita.

SENECA, L. A., ERASMUS, DES., BADIUS, J. Folio (330 x 210 mm), contemporary vellum with manuscript title in large gothic letters on spine, the edge of upper board repaired, the outer margin of first leaves a bit worn, light marginal foxing here and there, a good copy with nearly full margins. Woodcut border on titlepage, with a few figures printed in red, title in red and black, many woodcut initials, leaves [6], CCLXVII, [1]; signature: 2A6, a-z8, A-H8, I6, K8, L6. First edition curated by Erasmus and Badius Ascensius, a fundamental work on Seneca's textual tradition and a major example of Humanism and cooperation between leading scholars and printers. "The famous critical edition of Seneca's tragedies by Badius Ascensius which was in part based on Erasmus' text-critical studies. Erasmus had permitted Badius to make use of his preparatory work; he says in his autobiographical letter to Botzheim (Allen I, 13): ‘. tum in Tragoedias Senecae, in quibus non pauca feliciter mihi visus sum restituisse, at non sine praesidio veterum codicum’, and he continues: ‘nisi quod Senecae Tragoedias post in Anglia denuo recognitas Badio transmisimus, qui visus est nostra cum alienis miscuisse’. One can hear the resentment; Erasmus’ name appears on the title page together with six other names; a fact which he probably thought to be unfair. Badius, however, wanted to give a good critical text, and made use of all the earlier authorities. He also collected and printed the available commentaries; his own being most conspicuous. The present edition, represents the first edition of Erasmus' version of the text of Seneca's tragedies" (William Salloch, 1969). Schweigher II, 938; Renouard, Badius Ascensius III, 252; BM, STC French, 398: Palau 308298.
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Del modo di misurare le distantie, le superficie, i corpi, le piante, le provincie, le prospettive, & tutte le altre cose terrene, che possono occorrere a gli huomini, secondo le vere regole d’Euclide

BARTOLI, COSIMO 4to (23cm), 19th century half vellum with title in gold on spine, boards covered with marbled paper, an attractive, clean copy. Architectonical woodcut title-page, ff. [4], 145, [3], text printed in cursive type, illustrated with 163 woodcut diagrams in text (two repetitions), of which six are full-page including a medallion portrait of the author on the 2nd leaf, plus two folding woodcut plates, several woodcut historiated initials in two sizes. The woodcut title-page border is "a reduced, reverse copy of the folio border used in the 1550 Florence Torrentino edition of Bartoli's translation of Alberti, and a number of Bartoli's cuts showing the use of the astrolabe are reverse copies of the woodcuts in Michel de Vascosan's 1550 Paris edition of Rojas's Commentariorum". (Mortimer, Harvard Italian books). Second edition of this famous illustrated manual on applied mathematics, measuring and surveying, containing a series of reflections on the problems of measuring distances and heights. Florentine scholar Cosimo Bartoli (1503-1572), a talented writer who translated from Latin (and commented on) the architectonical works of Leon Battista Alberti and Vitruvius, for this work went through ancient and modern sources, including Euclid, Archimedes, Leon Battista Alberti, Ptolemy, Vitruvius, and Albrecht Durer. The text contains many instructions on using astrolabes, quadrants, and compasses for measuring distances, elevations, heights, and angles. Many of the illustrations show surveyors in the field, and objects in three-dimensional perspective. Smith, Rara arithmetica, p. 135, note. Riccardi I/1, col. 90; Adams B-277; BMC STC Ital. p. 73.