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Zinos Books

Theologia vivificans. Cibus solidus. Dionysii Celestis hierarchia. Ecclesiastica hierarchia. Divina nomina. Mystica theologia. Undecim epistole. Ignatii. Undecim epistole. Polycarpi Epistola una.

Theologia vivificans. Cibus solidus. Dionysii Celestis hierarchia. Ecclesiastica hierarchia. Divina nomina. Mystica theologia. Undecim epistole. Ignatii. Undecim epistole. Polycarpi Epistola una.

PSEUDO-DIONYSIUS [EDITED BY: JACQUES LEFEVRE D'ETAPLES (1450-1536) Date 6 Februrary 1498. The Editio Princeps of French humanist and scholar Jacques Lefevre d'Etaples's edition of Pseudo-Dionysius with his extensive commentary and diagrams. This incunable also includes the editio princeps of the Latin version of the letters of the early Church Father St. Ignatius of Antioch (c. 35 - 108 A.D.). D'Etaples decision to prepare and publish the works of Pseudo-Dionysius were no doubt inspired by his then recent encounter with Italian Renaissance philosophers Marsilio Ficino and Pico della Mirandola, whom he met during his trip to Italy in 1491-2. Both were part of a wide Platonist revival that fit in very nicely with increased focus on the mysterious 6th century Neo-Platonist theologian. The fact that the author of the Pseudo-Dionysian corpus was confused with the Dionysius who met St. Paul in the Acts of the Apostles only lent more authority to the author of these works. During the period of this publication D'Etaples was teaching at the College of Cardinal Lemoine and used the best manuscripts available to compare and revise the text. The Latin translation used was that of Ambrogio Traversari, completed in 1436. D'Etaples substitutes Traversari's brief notes with his own extensive commentary. The printers, John Higman and Wolfgang Hopyl formed a partnership in 1496, after having worked separately in Paris for several years prior. Higman was a German from Meissen who graduated from the University of Paris in 1478 and went to work at the press of Ulrich Gering. Hopyl was from the Netherlands and focused on academic and liturgical works. Although each kept their own shop in Paris, their collaboration produced the early works of D'Etaples, among other projects. Henri Estienne, the famous 16th century printer of Paris, married Higman's widow, Guyone Viart, and likely learned the printing craft under the mentorship of Higman, or Hopyl, or both. The fine woodcut border on the title-page is uniquely theirs. Rubricated initials throughout. A beautifully printed work using Gothic rotunda type; sixteen wood-cut diagrams in text, including an astronomical figure on leaf 87, and a very attractive title-page depicting two eagles. Bound in new limp vellum with ties. Lacking last blank, but otherwise complete. Extensively restored and repaired. Title-page with paper repairs, some words at bottom of recto and verso affected. The first five leaves with smaller paper repairs at bottom margins with loss of a few words. Occasional staining, heaviest on lower margin of the first ten or so leaves. Last five leave with small paper repairs and loss of a few words including colophon. Occasional bleeding of colored initials. A bit of marginalia in an antique hand, contemporary ownership inscription on title-page. 4to (28 x 22cm), [iv], 117 leaves. Small portion of final blank present. [Hain-Copinger, 6233 - Goff, D-240 - Pr., 8140 - BMC, VIII, 140 - GW, 8409 - Pellechet, 4297 - Polain, 1302 - Pettegree, 65111 - Brunet, II, 724 - Graesse, II, 399 - Dionysiaca, p. xxiii, n ° 6 - Charles-Henri Graf, Essay on the life and the writings of Jacques Lefèvre d'Étaples, Strasbourg, 1842, pp. 18-19 - Eugene R. Rice, The Prefatory Epistles of Jacques Lefevre of Etaples and related texts, New York, 1972, pp. 65-66 and pp. 549-550, nr. CLV.]
Breve relazione della republica

Breve relazione della republica, che i religiosi Gesuiti delle provincie di Portogallo e di Spagna hanno stabilita ne’domini Oltromarini delle due monarchie e della guerra.

POMBAL, SEBASTIAO JOSE DE CARVALHO (1699-1782) Part of a larger smear campaign leveled against the Jesuits in the latter part of the 18th century, this small book is a relation of the "Republic" the Jesuits established in the South American regions of Paraguay and Brazil. In actuality this "Republic" was a series of autonomously governed Jesuit missions (much like Junipero Serra's missions in California) among the Guarani territory of South America in which each mission included a church, basic housing, a school, farms, and light industry. These highly successful ventures endured for over 150 years, and provided protection for the Guarani people from the ruthless slave-traders of the area, particularly the Portuguese. Pombal, who either wrote or sponsored this work, was the Portuguese Prime Minister and was vehemently anti-Jesuit. After the Jesuits were expelled from the territory, under pressure from both the Spanish and Portuguese Crowns, the European powers moved in to destroy these "Reducciones". The Guarani's led a brief armed resistance (the Guarani War, 1756), but ultimately were defeated and forced to flee back into the rain forest. This book appears to mention the war in the title, and is published only a year following it. This work was first published in Portuguese in 1757 in Lisbon. 8vo (17 x 11cm), 48p., 16p., 38p. Bound in wrappers with some wear and chips. [Variant of Sabin, 63895]
L'Idea del Theatro

L’Idea del Theatro

CAMILLO, GIULIO (1480-1544) The first edition of a book that has continued to amaze, perplex, and inspire for centuries since its publication, and of which interest in it shows no signs of abating. L'Idea del Theatro was dictated by the Italian philosopher Giulio Camillo during a seven day period shortly before his death in 1544, and his secretary published the manuscript in 1550 at the press of Lorenzo Torrentio in Florence. The idea behind the work was a lifelong project of Camillo, who at one point attracted the admiration of the French King Francis I and was able to secure financing to undertake his project of building his "Theater" which would encompass and categorize all the knowledge that could be known by man. Recently a letter was discovered in Milan which proves at at least part of Camillo's Theater was actually built, although there are no remains of it today. The Theater has been visualized by artists in several variations, but the key points are the same. The spectator, instead of taking a seat in the audience, is actually standing on the stage, and looking at the rows of seats which are divided into seven tiers and seven sections. Each section is dedicated to a different planet, which exerts its own force on that section, and each tier is concerned with some aspect of creation or the cosmos, beginning with elemental matter and ascending to the arts and works of human beings. The interplay between the tiers and the sections includes a very wide assortment of visual and textual cues which are suppose to work on the spectators intelligence and imagination in order to bring him or her to kind of recollection, eloquence, and enlightenment. Although Kabbalistic and Astrological concepts are strong in Camillo's description, the Theater is by no means only, and even primarily, an occult or magical experience, but is a real attempt to scientifically appeal to man's psyche in a way to both improve his skills as well as order and categorize knowledge in a very physical way. For this reason, Camillo's Theater has found admirers both in the area of mnemonics (Frances Yate famously wrote about Camillo in her book 'The Art of Memory' published in 1966), as well as in modern day computing, with some writers seeing in Camillo's system a precursor to computers and the internet, especially in its growing use of graphic interfaces. It is probably because of this link with the digital age that interest in Camillo's work is continuing to grow, although his work was never entirely forgotten. However one may approach the work, there is no doubt that its sheer ingeniousness, originally, and enigmatic nature makes it one of the most fascinating works of the 16th century. 4to (22 x 15c,), 86pp. + colophon. Pagination erratic but continuous. A few leaves with scattered foxing, ownership inscription effaced on title-page, antique marginalia in Italian on some leaves. Bound in contemporary limp vellum, loosely held by ties, spine with a few chips. This first Florentine edition is uncommon on the market, with only three copies that have gone up for auction in the last forty years.
Notes on the Bedouins and Wahabys

Notes on the Bedouins and Wahabys, Collected During His Travels in the East, by the Late John Lewis Burckhardt. Published by Authority of the Association for Promoting the Discovery of the Interior of Africa

BURCKHARDT, JOHANN LUDWIG (1784-1817) First edition of the posthumously published work on Swiss explorer Burckhardt's travels through the deserts of Arabia among the desert nomads. Burckhardt was the first European to visit Mecca (disguised as a Muslim) and participate in its religious ceremonies. His keen eye for observation records abundant information on every imaginable aspect of desert nomad life, including the differences between the many tribes, the history of the region, etc. Previous books by Burckhardt include his travels to Mecca and Medina, and to Syria and the Holy Land. This work was published both as a large one-volume quarto and a smaller two-volume octavo set. Our Quarto edition is beautifully printed, with occasional small sketches in the text and Arabic words. The preface to the work is written by the British Orientalist William Ouseley (1767-1842). The book is divided into two parts, each with a separate dividing title. The first part is entitled: "Account of the Bedouin Tribes"; the second part is entitled "Materials for a History of the Wahabys."4to (28 x 22cm), frontispiece map, title-page, ix, 439pp. Lacking half-title. Small corner stain to map; interior very clean and fresh. A few very small pencil marks to the first few pages. Bound in half calf over boards, new endpapers, corners rubbed. [not in Blackmer; Rohricht 1627; not in Tobler]
The third volume of the French academie : contayning a notable description of the whole namely the fixed stars and planets ; their light

The third volume of the French academie : contayning a notable description of the whole namely the fixed stars and planets ; their light, motion, and influence: of the fower elements, and all things in them.Englished by R. Dolman

DE LA PRIMAUDAYE, PIERRE [TRANSLATOR: RICHARD DOLMAN] The third volume, published separately, of what was eventually to become a four volume work on various branches of philosophy. The third volume is dedicated mainly to natural philosophy, beginning with a discourse on celestial bodies (including stars, planets, and comets), and then moving to sublunary topics such as plants, herbs, animals, and minerals. There is quite a bit of reference to species and minerals outside of Europe - for example, the Brazil tree is praised for its excellent wood and rich colored-dye properties; the emerald, which once was very expensive, has now "much abated their price, since were found in the new-found countries of America". The best diamonds are found near the river Goa in the East Indies, but one must beware of false diamonds which are 'in the isle of Canada, which neighboureth upon Florida.' Along with the identification of numerous animals, plants, and minerals is accompanied a discussion of their many uses - medicinal, culinary and otherwise. The first edition of the first book appeared in France in 1578; English translations were to follow - in 1586 the first book (Moral Philosophy); in 1594 the second book (Human Philosophy); in 1601 the third book (Natural Philosophy); and in 1618 the fourth and final book. The identity of the "French Academie" and the authorship of this work has been much discussed, with some surmising that Francis Bacon had a hand in the work, or at least was affiliated with the Academie in some capacity (see: The French Academy, Peter Dawkins). The influence of the work is apparent in Bacon's Great Instauration of 1620, which also covered the branches of philosophy, there divided into Divine, Human, and Natural. The first edition English translation of this third volume is not common. Identification of printer from STC. Large 8vo (20 x 15.5cm), [16], 439pp. Decorative wood-cut initials throughout, coat-of-arms imprint on verso of title-page, two poems in preface, one in English by the translator Richard Dolman and one in French by Pierre Castel written for the book and praising the translator. A few antique manicules in margins. Bound in contemporary gilt-stamped calf with spine restored. Some wear to binding.
Decem libri ethicorum Aristotelis ad Nicomachum

Decem libri ethicorum Aristotelis ad Nicomachum, ex traductione Ioannis Argyropili Byzantii : communi familiariq; Iacobi Fabri Stapulensis commentario elucidati, & singulorum capitum argumentis praenotati. Adiectus Leonardi Aretini de moribus Dialogus.

ARISTOTLE [COMMENTARY BY JACQUES LEFEVRE D'ETAPLES (c. 1455- 1536)] A gem of a book, published by Simon de Colines in 1522 and bound, mostly likely, in Milan between 1522-1525, while the French were occupying the city. The binding has characteristics shared by the Morgan Library copy 19117, and was perhaps bound by the same binder or his heirs. Note, for example, the arabesque lozenge which is blind stamped twice horitzontally on the Morgan copy and compare with the lozenge gilt tooled twice vertically on this copy - the design is almost exactly the same, although the Morgan copy's stamp is slightly larger. Also, the double blind tooling of the fillets, and the quality of the leather seems to suggest an identical binder, or at least at close association with the Morgan's Jean Grolier copy. The only other arabesque lozenge design that I hava found that is similar to the one in the copy offered here is 'Ad invictissimum' by Fausto Andrelini (1507) (Paris, BN, lat. 8393) of the Fontainebleau Library, which has the same lozenge design stamped vertically five times in a line, but these lozanges are of a slightly different ratio in terms of wide and height, and may have either imported the tools from the Milanese workshop or was inspired by the Milanese design. In any case, the Fontainebleay copy was bound in Paris by or under the direction of Simon Vostre. A date of 1522-1525 for our copy's binding also posits that the book was bound for a Frenchman stationed in Milan at the time of the occupation - his choice of reading material, a Parisian copy of an Aristotelain commentary by a famous French humanist, supports this theory, as does the gilt stamping of rather elaborate fleur-de-lys on the covers of the binding. The binding itself is a beautiful piece of craftsmenship, and rather unusual in that it includes a double xxx box on the covers, each tooled in gilt with the arabesque lozenge and fleur-de-lys. The inner fillet is blind toolied in a lovely vine pattern, and the four corners of the covers are embellished with gilt rosettes. The binding still includes the original cloth ties. There is minimal wear to the binding, the a few light signs of chaffing to the spine ends. The spine includes four compartments, blind tooled with X shaped crosses. The text the owner chose to adorn with such a fine binding is one of the early, and masterful printing jobs, of the famous Parisian publisher, Simon de Colines, one-time disciple to the great Henri Estienne, and guardian of Estienne's children. After working in Estienne's shop for a number of years, Colines struck out on his own in 1520, making this imprint one of his earlier. His rightly praised skill of font and page layout is already present in this edition, as is seen by the beautiful elegance of the type, and the way that he handles the text and the commentary. The subject chosen - Jacques d'Etalples commentary on Aristotle's Nichomachean Ethics - could not be more a propos the revival of humanistic learning occurring throughout Europe - especially in France and Italy. The commentary first appeared several years before, in 1514, in an edition by Henri Estienne, but its style left something to be desired. Colines entirely new edition makes the text both practical and beautiful, and the size is such that it could easily be carried about. This 1522 Colines edition is quite rare - I could only locate a handful of copies worldwide. 8vo (17 x 11.5cm), 350pp. Last page is the colophon. A few instances of antique marginalia, title-page a bit toned, a very fresh interior.
Epigrammata clarissimi dissertissimique viri Thomae Mori Britanni ad emendatum exemplar ipsius autoris excusa

Epigrammata clarissimi dissertissimique viri Thomae Mori Britanni ad emendatum exemplar ipsius autoris excusa

SAINT THOMAS MORE [CORNELIUS DE SCHEPPER'S (c. 1503-1555) COPY] The third edition, but the first that was published separately, of St. Thomas More's Epigrams. This 1520 edition is the definitive edition, and include the author's corrections. Froben, who first published the epigrams in 1518 in an edition that included More's Utopia, worked from More's manuscript that was delivered to him by Erasmus; unfortunately, in the process of transferring the writing to print many errors cropped up which certainly frustrated More. Because of the popularity of the first 1518 edition, a second edition was quickly printed later that year, using a different title-border engraving, but including the same errors. It was this second printing that made its way to More. More, using the printed text, made extensive corrections and annotations, and sent the work back to Froben for use in the edition that is being offered here. This 1520 edition was entirely reset and uses the title-page engraving from the first printing (done by Hans Holbein). Aside from the much improved text, this 1520 edition includes more poems than the 1518 edition, including several at the end of a highly personal nature; there is a beautiful and long poem More must have written between the two editions addressed to his four children, describing his intense fatherly love them; there is also a poem addressed to More's first love, Elizabeth, who he met when he was just 16 years old. One poem from the 1518 edition which dealt with England's then enemies, Scotland and France, was suppressed in the 1520 edition, evidently due to political reasons. The epigrams have been categorized by experts as falling into several categories (see Bradner & Lynch): 23 on kings and government; 20 on the faults and foibles of women; 11 on astrologers; 8 on animals; and 5 on physicians. "Only a half-dozen are complimentary, and there are no poems of conventional piety. Although erotic poems are lacking, there is a fair amount of sexual humor of the fabliau type." The epigrams are preceded by a poetic contest between More and William Lily (1468-1522), English grammarian and scholar - a close friend of More's, and the first to teach Greek in London. This 'Progymnasmata', as the section is called, includes a verse printed in Greek, and then two competing translations of the verse into Latin by More and Lily, each vying for the better translation. The epigrams themselves are a mix of original Latin poems by More and numerous translations by More of Greek verses into Latin (taken from the Byzantine source known as the Planudean Anthology). This edition has a very distinguished provenance, having once belonged to the Flemish humanist, ambassador, and sometime spy, Cornelius de Schepper of Nieuwpoort (c. 1503-1555), and bears him autograph on the title-page. Schepper, although quite politically active, found time to befriend such eminent humanists as Erasmus, Vives, and Melancthon, and even visited England in the 1524, being received by Henry VIII and Cardinal Wolsey. It is quite possible that he met More during this time, and perhaps even acquired this book while in England. The year prior, de Schepper traveled to Wittenberg, and there met Martin Luther. In 1531 and 1532 de Schepper engaged in debate against Lutheranism as Charles V's envoy in Switzerland, Germany, Bohemia, and Poland. In 1533 de Schepper traveled to Constantinople on a peace mission where he met Suleiman. This book of epigrams, part of de Schepper's personal library, shows the humanistic and leisurely side of this very active 16th century political man. Small 4to (15.5 x 20.7cm), 116pp. Staining to first sixteen pages, then mostly clean leaves with occasional small marks, and one leaf with a small 1cm hole without loss of text. Wide margins. Bound in a modern marbled board binding, new endpapers. Attractive colophon. A couple small book-plates on front endpapers. ( Adams M-1753; Gibson 57; VD-16 M-6296]