Practica Sancti Officii Inquisitionis ad usum Caroli Centurioni Consultoris Genue.
Manuscript on paper, Italy, c.1645.


4to. pp. (vi) 155 (v). Brown-black ink in secretary hand, Italian and Latin, typically 18 lines per page. T-p ink ruled. Lightly smudged with slight offsetting to fly and first couple of ll., very minor marginal foxing, the odd thumb mark. A very good copy in contemporary vellum over pasteboards. In slipcase.

A very good clean ms. copy of the ‘Practica officii Inquisitionis’—a generic title, with Latin and vernacular variants, for the official manual of Inquisitors which circulated widely in ms. It includes the ‘Instructio pro formandis processibus in causis strigum, sortilegiorum et maleficiorum’, instructions for the conduct of witchcraft trials composed and sometimes circulated independently. Other such mss. are recorded, e.g., 1MANOSSXX-169 in the Biblioteca Provinciale dei Cappuccini in Genoa, the city where this copy was also made and preserved. It was written c.1645 for Carlo Centurione, counsellor of the Inquisition, possibly a member of the major Genoese aristocratic family. The terse and clearly-structured text introduces definitions of ‘heretics’ and ‘suspected heretics’, what crimes they may be accused of, how they should be brought to court, questioned and punished, with references to papal bulls and the minutes of ecclesiastical Councils. Among the categories of heretics addressed are polygamists, sorcerers, blasphemers, keepers of prohibited books, priests who encourage people in the confessional to discuss their carnal sins with unholy intentions, infidels including Jews and Muslims and those who print and circulate their books, and even possessed nuns. On the one hand, this manual appears to continue the tradition of torture and psychological violence for which the Inquisition was proverbial; in order to break impenitent heretics ‘learned, pious and prudent people would be called to reduce them to the recognition of the Catholic Truth’. On the other hand, a new willingness to avoid major judicial errors was emerging. Curses against God (literally reproduced in the treatise) were to be considered within the context in which they were said (out of anger, for instance) and the alleged demonic possession of nuns would be examined more carefully since the immediate involvement of exorcists might worsen the situation through suggestion and even frighten novices. A similar mindset informs the concluding ‘Instructio’ originally penned by Giovanni Garcia Millino c.1624 to reformulate how testimonies for the prosecution in witchcraft trials should be weighed and to what extent they should be believed. This treatise was a vademecum for Inquisitors, witness to a ms. tradition dating back to the C14 which was still alive in the mid-C17 even though a vernacular manual, Eliseo Marini’s ‘Sacro Arsenale’, had been in print for a few decades.



Successi del viaggio d’Henrico III Christianissmo re di Francia, e di Polonia.
Venice, appresso Gabriele Giolito de’ Ferrari, 1574.


FIRST EDITION. 4to. pp. 64. Italic letter, with Roman. Printer’s device and decorated headpiece to t-p, fine full-page woodcut of Cardinal Ferdinando de’ Medici to t-p verso, decorated initials, head- and tailpieces. Light age yellowing to first few gatherings, t-p with tiny ink spots towards head, slight marginal foxing. A good, well-margined copy in patterned boards c1800.

Scarce first edition of this fascinating pamphlet describing the journey of Henry III of France from Cracow to Turin, and the celebrations prepared for his progress. Henry of Valois (1551-89), king of the Polish-Lithuanian Commonwealth 1573-75, was elected after the late Sigismund II Vasa in exchange for concessions to the Polish nobility. Soon after the death of his brother Charles IX, and to the chagrin of the Polish Senate, Henry returned to France becoming king in 1574—the last French ruler of the House of Valois. Dedicated to Cardinal Ferdinando, fifth son of Cosimo I de’ Medici, the pamphlet begins with Henry’s departure from Poland at night time and focuses on the numerous entertainments organized for his stay in Venice. Lucangeli superbly portrays the protracted Venetian celebrations, with cannons echoing through the city at Henry’s passage on the Bucintoro decorated with fine gold. He also describes the architectural pageants erected throughout the city, with Latin mottos, political emblems like a dragon treading over human heads, ancient deities and heroes. Regattas organised in his honour through the canals were followed by lavish banquets adorned with sugar statues representing classical and biblical figures. Like other similar contemporary pamphlets faithfully reporting celebrations for royal progresses, ‘Successi’ fed the appetite of the Renaissance elites for wondrous entertainments, intricate political emblems and the ‘mirabilia’ of luxury.

Yale, UPenn, Getty and Harvard in the US.

BM STC It., p. 394; Annali di Giolito II, 340-41: ‘assai raro e di qualche valore’; Watanabe-O’Kelly and Simon, Festivals and Ceremonies, p. 233. Not in Brunet.



Genealogy of Thomas Fitzhugh of Walcot.
Manuscript, England, c.1600.


Three rolls on vellum, first separate, second and third detaching, I) 82.6x22cm and II+III) 129x22cm. English secretary hand. Genealogical diagrams decorated with 18 coats of arms in gold, red, blue and black, roundels bordered green, linked by red lines, five roundels in black ink in a contemporary hand added to II and III. Four small holes to corners made to attach the roll to a wooden support or hang on the wall, some marginal dust-soiling and dampstaining, heavier at head and foot, rare marginal foxing, lightly rubbed in a few places, minor loss to lower outer blank corner of III. I) Later inked inscription to upper left corner ‘Abbey of [Charity] [i.e., Jervaulx] in the Deanery of Catterick in the Archdeaconry of Richmond. Vide Tanner Not[itia] Monast[ica]’ (1744), a few inked and pencilled marginal inscriptions in a contemporary and later hand, shelfmark ‘Phillips MS 26561’ at rear; III) later pencilled inscriptions at foot.

Handsomely illuminated armorial pedigree roll c.1600 of the recusant Thomas Fitzhugh (c.1569-1613) of Walcot, Oxfordshire; the strong heraldic colours have retained their freshness. The handwriting points to a period of production no later than the turn of the C17—between c.1600, when he married Elizabeth Cromwell, and 1613, the year of his death. The Fitzhughs of Walcot were related to the Throckmorton family and to Robert Catesby, a
supporter of the Essex rebellion of 1601, executed as a traitor in the aftermath of the discovery of the Gunpowder Plot, in which the Throckmortons were also implicated.

The pedigree begins with the origins of another branch: that of the Barons Fitzhugh of Ravensworth, North Riding of Yorkshire. The first ancestor is Akarius Fitz Bardolph, Lord Ravensworth, an early Norman settler who donated money for the foundation of Jervaulx Abbey in Yorkshire, and who was the first to bear the Fitzhugh baronial arms in the earliest days of English heraldry (az. three chevronels in base or, and chief of the second). In the first two rolls the pedigree traces the fortune of the family from Henry Fitzhugh (d.1356), 1st Baron, ending with George, 7th Baron, after whose death in 1521 the line became extinct.

On the third membrane is the first ancestor who does not belong to the baronial line: Thomas Fitzhugh of Beggary, Bedfordshire, great-grandfather to Thomas of Walcot; his roundel is situated to the left of Richard, 6th Baron, and no information is provided on his origins. His grandson, Richard (1544-1602), sold Beggary and purchased Walcot, Oxfordshire, in 1572. A contemporary hand added roundels and annotations highlighting Thomas of Beggary’s (and that of his Walcot descendants) alleged connection with the Barons. First, the annotator sketched two roundels showing Thomas of Beggary’s descent from Geoffrey (1406-36), son of the 4th Baron, through the latter’s son Nicholas and grandson Richard. Second, he penned some information on Elizabeth Fitzhugh, daughter of the 5th Baron and wife of the great-grandfather of Richard’s wife, Elizabeth Gifford. Elizabeth Gifford was the Walcot Fitzhughs’ recorded and soundest, albeit feeble, link to the Barons’ arms, first quartered with those of the Bedfordshire Fitzhughs by Thomas of Walcot’s grandfather, Richard. Their retroactive attribution to Thomas of Beggary is justified on the basis of his patrilineal kinship to the Barons, of which, however, we have not found evidence. The pedigree traced the line of the Walcot Fitzhughs to that of the Barons, probably to uplift Thomas’s heritage in light of his union with Elizabeth, daughter of Edward, 3rd Baron Cromwell. The end of the genealogy, which shows the ‘impaled’ arms of Thomas of Walcot and Elizabeth Cromwell, suggests it was completed around the time of their wedding.

The roll was the work of a skilled professional heraldic artist. The holes on the corners show that, as was most frequent with such genealogies, the roll was originally hung for display.

The provenance can be traced to the library of Sir Thomas Phillips (1792-1872), 1st Baronet, an antiquary who owned 40,000 printed books and 60,000 early mss. The roll is not listed in the catalogue edited by Munby which only includes the c.24,000 purchases to 1871, this manuscript being n. 26561.

H.A. Fitzhugh and T.V.H. Fitzhugh, The History of the Fitzhugh Family (Bloomington, 2007); T.V.H. Fitzhugh, Fitzhugh: The Story of a Family through Six Centuries (Ottershaw, 2001).




Architectura von Ausstheilung, Sÿmmetria und Proportion der Fünff Seülen.
Nuremberg, Balthasar Caimox, 1598.


Folio. 207 unnumbered ll., 5 parts in 1, separate t-p to each. Large Gothic letter. Engraved architectural t-ps with instruments and allegorical figures; 203 etched plates (3 fold-out, some expertly mounted) of portals, fountains, fireplaces and columns; decorated initials, head- and tailpieces. First t-p a bit dust-soiled, early repair to couple of outer margins, a little marginal soiling or faint spotting, traces of glue to blank frame of two plates, minimal fraying to lower outer margins of first few leaves, colophon mounted on last, lower margin of plate 23 folded in. A very good copy in Dutch mottled calf by the Elte Bindery c.1700, gilt ruled with floral tendrils to a panel design, gilt large fleurons to corners, gilt rhombus-shaped centrepiece with drawer handle tools, dots, and fleurons, minor loss in places, spine in eight compartments with gilt fleurons and cornerpieces, morocco label, outer edges gilt, upper joint repaired, lower cracked towards foot. Erased early autograph to upper blank margin of first t-p, C19 inscription ‘Henriette Jentine Gerardine Feltzer geb: 22 Maart 1863 he ’s-Gravenhage (?) 30 Julii 1880’ to plate 170.

The fine gilt binding was made by the Elte Bindery in Amsterdam, c.1697-1722. An almost identical gilt centrepiece is found on a binding in marbled calf c.1710. ‘The Elte Bindery also made large bindings containing not books but blank paper—so-called art books, intended for the mounting of prints and drawings’ (Van Leeuwen, ‘Dutch Decorated Bookbinding in the C18’, I, 286-87).A very good copy, superbly illustrated and finely printed, of Wiendel Dietterlin’s work on architecture—the first German collected edition in five parts expanding on material previously issued in 1593 and 1594. Dietterlin (1550-99) was a German printmaker and architectural theorist. ‘Architectura’ devoted a minimal section to textual descriptions favouring instead the depiction of highly decorated portals, fountains, fireplaces, funeral monuments and groups of sculptures based loosely on the five architectural orders. ‘The plates depict the most fantastic designs in the most lurid taste which show, for the most part, no regard for the possibility of execution in any building material.’ (Fowler, p. 88). Dietterlin mixed the classical elements of Renaissance architecture with Gothic tracery, daunting grotesques, scrollwork, strapwork, volutes, contorted sculpted bodies and crowded compositions. These editions became ‘excessively rare’ because they were ‘widely used … in the workshops of architects and decorators, where they were copied and recopied, worn out and in the end discarded’. (‘The Fantastic Engravings’, p. ii).

Unlike contemporary illustrated architectural works like Serlio’s which appeared in a single consistent edition, ‘Architectura’ was amorphous. This copy is a composite collection—complete with 201 engravings, including the t-ps, the additional 2 in the original being an extra copy of plate 6 and Dietterlin’s portrait—of original plates from the first and second issues of the 1598 first collected German edition, without the author’s portrait and prefatory poem present in the first issue. Several plates were expertly mounted onto blank pages usually in the correct order, following their etched numbering. (A few were renumbered in ink probably by the publisher, as in other recorded copies.) As usual in the original, the 3 fold-out plates were glued together to reproduce the complete image. Sundry variants of the 1598 edition are recorded which do not agree on the content and order of the plates. As in this copy, in the original of the second issue ‘the page with Plate 23 and its accompanying type is taller than the rest and treated partially as a foldout’ (‘The Fantastic Engravings’, p.ii); the letterpress layout of Plate 23 in this copy is the same as in BAL 881. Fol. 3, which bears a different typeset to the rest, resembling Plate 23, comes from the first issue. No other copies with mounted plates appear to be recorded. A pre-1722 owner created a composite architecture book featuring early imprints in superb impression and freshly inked.

Only Harvard, Minnesota and UChicago copies recorded in the US.
Brunet II, 706; Fowler, 105; Berlin Katalog, 1942; Fairfax Murray, German I, 134. The Fantastic Engravings of Wendel Dietterlin (New York, 1968).




Die Cronica van der hilliger stat van Coellen.

Cologne, Johann Koelhoff, the Younger, 23 Aug. 1499.


FIRST EDITION. Folio. ff 368. A–I⁶, K10, L–Z6, a–d⁶, e4, f–z6, aa–nn⁶. Gothic letter. Table in 2 columns, 49-51 lines, single or double-line headings, Lombard initials of type 290G, woodcut border pieces, title page with the arms and saints of Cologne, 370 woodcuts with repetitions, one double page, many full page, capital spaces with guide-letters, woodcuts in fine contemporary hand colouring, (a few exceptions), mss. note at head of title, remarkable C18th engraved armorial bookplate on verso of t-p, arms at centre, two bears at sides, skull above, the motto “Malheur mest heur ourssin” (an interesting play on the word ‘heur’ meaning both chance and time). Light age yellowing, leaves of table lightly browned, very expertly restored in lower margin, and at gutter on a final leaves, occasional thumb mark in lower outer corner, the odd ink splash A very good copy, crisp on thick paper, the colouring very fresh, in modern brown morocco, covers bordered with a double blind rule, spine with blind ruled raised bands. a.e.g.

First edition of the remarkably illustrated and important chronicle of Cologne containing 370 woodcut illustrations, many full page, with the celebrated view of Cologne, and including depictions of battles, chivalric scenes, portraits, etc. nearly all beautifully coloured in a contemporary hand. The colouring in this copy is fresh and well preserved. The Cologne Chronicle is particularly famous for a lengthy passage, on leaf 311, that provides the first printed account of the development of printing, a somewhat contentious passage, which includes information supplied by Ulrich Zell, first printer of Cologne. In it he appears to suggest that Gutenberg’s discovery of movable type may have been preceded by some years by the work of Laurens J. Coster in the Netherlands. Zell learned the art of printing at Mainz in the 1460s. His account is problematic primarily in that it discusses a precursor (“Vorbyldung”) of printing coming from the Netherlands with the Donatus editions. In later centuries this was seized on as important evidence by those who believed Haarlem, not Mainz, to be the birthplace of printing. “The most detailed fifteenth-century account of the European invention of printing with moveable type appeared in the “Cologne Chronicle” of 1499. This text includes the early Cologne printer Ulrich Zel’s testimony that Johannes Gutenberg had invented printing in Mainz by 1450, and that “the first book to be printed was the Bible in Latin, “with type as large as the type now used in the printing of Missals.” A variety of documentary and material evidence proves that the first substantial printed book in Europe was the undated, unsigned Latin Bible printed with 42 lines of “Missal” type per column, now famous as the ‘Gutenberg Bible.’” Bridwell library.

The author of the Chronicle was kept secret (but, given hints in the book, may have been a Dominican), but that did not deter the City Council from objecting to certain passages in it, and they directed their anger at its printer, Koelhoff the younger. The Council forbade distribution, resulting in Koelhoff being forced to sell his house in order to cover the costs of printing. To mitigate the Council’s objections, some passages were excised and revised. One example is in fo. kk5, which in the original details the less-than-gallant behaviour of Peter Langhals toward Emperor Maximilian when Maximilian fell from his horse during a tournament. The leaf was cancelled, and the passage was revised to read that Langhals sprang off his horse and helped Maximilian to his feet again. The Botfield copy retains the original reading.

“There are few ancient books which have been so frequently quoted, yet so rarely seen, as the present Chronicle. The possession of it is, indeed, essential to a Library .. since there is an important passage in it, relating to the invention of the Art of Printing with Metal Types, which merits very particular attention; and which has been referred to, or quoted, by bibliographers for nearly the two last centuries… The rarity of this Chronicle is sufficiently attested by bibliographers, even without noticing that Hartz and Buder… who wrote expressly upon German affairs, had no knowledge whatever of it; and Naudaus doubted its existence. I am disposed to think there are not three copies of it in this country…” Dibdin

A finely coloured copy of this remarkably illustrated and important chronicle.

BMC I 299. ISTC ic00476000. Goff C476. HC 4989. Bod-inc C-201. BSB-Ink C-284. GW 6688.


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MISSAL, Use of Sarum

Missale ad usu[m] insignis ac preclare ecclesie Sa[rum]

London, p[er] Richardu[m] pynson, anno d⁻ni M. ccccc .xii. [1512].


Folio. ff. [viii], Clxxvi, xliiii, [xvi]. lacking CC2-5 (four leaves). Gothic letter, printed in red and black throughout, typeset music. T-p with fine near full page woodcut of the royal arms, angels above, griffin and greyhound below, fine woodcut initial H at the beginning with royal insignia, woodcut historiated white on red initials, full page woodcuts of the crucifixion and Christ in majesty, column width woodcut of St. Andrew, two leaves of the Canon of the Mass (N3-4) printed on vellum, Pynson’s woodcut printer’s device on verso of last, some contemporary marginalia,‘John Ashebrooke’ autograph on title dated 1566, with his inscription on vellum leaf N3r, Christopher Townely (probably the antiquary, 1604—1674, signature on title), Cosmo Gordon autograph on front flyleaf dated 1938, Robert S Pirie’s bookplate on pastedown. Scattered single worm holes in first fifty leaves and last few quires, light mostly marginal waterstains in places, larger and heavier on last few quires, small single worm trail in blank upper margin of quire A at end. A very good copy, on thick paper with excellent margins, in contemporary, probably Oxford calf, covers triple blind ruled in a panel design, outer frame with a charming blind roll of alternate animals, (Oldham AN. m (i) 571), central panel triple blind ruled in a diaper pattern with blind ‘pineapple’ stamps (Oldham A (4) 962), rebacked with most of the original spine laid down, endpapers renewed, surface worm holes, a few scratches, in a brown cloth drop-box;

A extremely rare edition of the Salisbury Missal, one of the very few examples of an English printing of the work. An exceptional survival in remarkable contemporary binding. “The English printers of the fifteenth century seemed curiously reluctant to print the major service-books of their own national liturgy, the rite of Sarum. This apparent disinclination cannot be explained by any lack of a market for such works. The Sarum Missal, above all, was certainly in greater demand than any other single book in preReformation England, for every mass-saying priest and every church or chapel in the land was obliged to own or share a copy for daily use. Yet it is a striking fact that of the twelve known editions of the Sarum Missal during the incunable period all but two were printed abroad, in Paris, Basle, Venice, or Rouen, and imported to England. The cause of this paradoxical abstention was no doubt the inability of English printers to rise to the required magnificence of type-founts and woodcut decoration, and to meet the exceptional technical demands of high-quality red-printing, music printing, and beauty of setting, which were necessary for the chief service-book of the Roman Church in England. Caxton and Wynkyn de Worde at Westminster, John Lettou and William de Machlinia in London, Theodoric Rood at Oxford, and the Schoolmaster Printer at St. Albans, possessed neither materials nor craftsmen fit for this specialized work. Their chosen, natural, and economically profitable field lay in the provision of English vernacular texts or other matter in local demand. They performed this task, for the most part, with a sturdy indifference to Continental refinements, indeed with a peculiarly national character and individuality, which we may admire and relish to this day. Meanwhile the great book-producing centres of Italy, Germany, and France (subject to their own specializations and rivalries) abundantly supplied England and other outlying countries with service-books and all other works – such as the classics, the Latin Bible, scholastic theology, Roman and Canon law, medical and other sciences – which were in international demand. English printers had no incentive to compete with these, and we may be almost glad of it, for they would have risked losing the insular savour of their national identity.

The exceptions .. only go to prove the rule. The printers Julian Notary and Jean Barbier, who signed a Sarum Missal commissioned by Wynkyn de Worde at Westminster on 20 December 1498, and Richard Pynson, who completed another on his own behalf in London on 10 January 1500, were French by nationality and training, and used imported Parisian liturgical type-founts in these volumes, which in general appearance and quality are hardly distinguishable from the best missal-printing of Paris or Rouen. True, Notary and Barbier baulked at the difficulties of complete music printing, and supplied only blank printed staves for musical notes to be added in manuscript. Pynson, whose edition [of 1500] is remarkable as containing the first true English-printed music, must surely have brought in from Paris or Rouen not only a supply of music type, but also an expert music compositor.

The sixteenth century brought little change. In a total of forty-eight editions of the Sarum Missal from 1501 to 1534 (the year when the final break with Rome was signalized by Henry VIII’s Statute of Supremacy) twenty-six were printed in Paris, sixteen at Rouen, two at Antwerp, and only four in London. Three of these last were produced by the competent and enterprising Pynson, in 1504, 1512, and 1520, and only one, which is known only from a fragment of four leaves, by Wynkyn de Worde, in 1508. After 1534, except for a brief reappearance in 1554-7 under Mary Tudor, when five editions were produced (two at Rouen, one in Paris, two in London), the Sarum Missal was printed no more. Existing copies seemed useless or even damnable, except to a clandestine few, their possession became dangerous to life or liberty, and nearly all were destroyed by fire, or neglect, or used as waste paper. In our time, when men value them again at last for their sanctity, or beauty, or as monuments of religious or printing history, or as bibliographical marvels, these missals are rare indeed. Of the twelve incunable editions three exist only in unique copies, three in two copies, and only one in as many as six copies; indeed, it seems statistically likely from these low survival figures that other editions may have been entirely lost or, at best, await discovery.” George D. Painter. ‘Two Missals printed for Wynkyn de Worde.’

An exceptionally rare work, very finely printed with some of the earliest printed music in an English book, in a beautiful contemporary Oxford binding.

STC 16190 (ESTC lists 7 copies at least / BL & Cabridge U.L. incomplete); Weale-Bohatta 1417; Steele, The Earliest English Music Printing, 8.


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MATTHAEUS Westmonasterensis [pseud.] [Paris, Matthew.]

Flores historiarum per Matthæum Westmonasteriensem collecti, præcipuè de rebus Britannicis ab exordio mundi vsque ad annum Domini. 1307.

London, ex officina Thomæ Marshij, anno Domini. 1570 [2 June].


Folio. pp. [x], 440, 218, [ii], 219-466, [xxii]. pi1, [fleuron]⁴, A-2N⁶, 2O⁴, 3A-3S⁶, 3T⁶ (3T1+chi1) 3V-4Q⁶ *⁶ 2*⁴. [this issue; K3 is signed R3; signature-mark O2 is under “q; lō”; in index, **3r catchword is “Tractatus”.] Roman and Italic letter, occasional word in Greek and Black letter. Title within ornate architectural border (McKerrow and Ferguson 132) floriated white on black criblé and historiated woodcut initials, large engraved armorial bookplate, dated 1703, of William, Lord North on pastedown, Robert S. Pirie’s below, his pencil acquisition note on fly. Scattered single worm holes in the first few quires, minor light waterstain in last three quires, two rust holes in blank fore-margin of last three leaves. (from catches), very rare minor marginal stain or mark. A very good copy, crisp and clean in handsome contemporary London blindstamped calf over thick wooden boards, covers triple blind ruled to a panel design, outer two panels filled with a blind heads in medallion roll [Oldham HM a (6) 775.], central panel with blind ruled lozenge filled with another [Oldham HM a (3) 772], spine with raised bands, later (C18th) red and green morocco labels gilt lettered,  brass catches, remains of clasps, ‘Historia Britannica’ mss on outer edge, some scattered wormholes in both covers, head and tail of spine restored

Second and best edition, variant issue, of a history of the world, from the Creation to the death of Edward I in 1307. It was edited by Archbishop Parker, who had access to further mss. after his edition of 1567, which relied on one early C14 codex now at Eton College, the final year was taken from Trivet’s ‘Annales’. He had also since become acquainted with Matthew Paris’ ‘Chronica Majora’ and Book 1, covering through the year 1066, follows closely the ‘Historia major’. Book 2 is an abridgement from the same work, with additions, covering 1067-1307. The additions from 1259-1273 have been attributed to William Rishanger. The Preface to the Reader, presumably by Parker, explains the changes made. The first record of the putative name of the author appears in the BL’s ms. of the early C15.

The work begins with Adam and splits the period before 1AD into five ages, the first ending before the Flood, the second before the death of Abraham, the third introduces Brutus, the mythical fugitive from Troy who built London and founded Britain, the fourth tells of the reigns of Solomon and David, also Janus and Saturn, Romulus and Remus in Italy, it discusses early Christian Rome and gives an early Christian acrostic from Augustine’s ‘De Civitate’, the fifth recounts early Gospel history before the Nativity. From then on, dates are given in the top margin, with the reigning King of England, beginning with Cymbeline, and the reigning Emperor. The events and the political history that follows is, for early England, written mostly from Bede, the later sources, thanks partly to Parker’s additions, are dominated by Matthew Paris. Still, considerable information is made available from other chronicles, Parker sees amongst others Walter of Coventry, Roger of Hovenden and the Chronicum Roffensis, all presumably in the C14 monastic libraries where this work was written (according to the book’s C19 editor, Luard, probably Westminster Abbey and St. Alban’s, and from various hands). “No English Chronicle, if we may judge from the number of Mss. that still exist, and from the use made of it by subsequent compilers, has been so popular.” Luard. Shakespeare used this work for many of the minor plot details in King John.

ESTC S113615. STC 17653a.3. Lowndes IV 1517. Brunet III 1536-7. Graesse IV 445.


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MENDOZA, Bernardino de

Theorique and practise of warre.

[Middelburg : Printed by Richard Schilders], 1597.


FIRST EDITION thus. 4to. pp. [viii], 165, [iii]. [A-Y⁴.] Roman letter. Large round woodcut ornament on title, historiated and white on black criblé initials, large grotesque tail-pieces, typographical head-piece. Contemporary English autograph on t-p with price below, Manuscript monogram of William Herbert (1718-1795) with page reference to his augmented edition of Ames’ Typographical antiquities, at foot of t-p, engraved armorial bookplate of the Duke of Sussex (1773-1843) with his ms shelf mark, autograph of Robert Davies on fly, Elizabeth Davies’ ex dono inscription to Edward Hailstone (1818-1890) below, his gilt armorial leather book label on rear pastedown, William O’Brien’s ex legato label dated 1899, stamp of Milltown Park library on fly, repeated on t-p. Light age yellowing, t-p fractionally dusty, minor mostly marginal spotting in places, small water-stain in upper outer corner of a few leaves at end, the odd mark or spot. A very good copy in English C17th calf, spine with raised bands gilt ruled in compartments with small gilt fleurons, later gilt lettered red morocco author and date labels, spine rubbed, joints and corners expertly restored, all edges sprinkled red.

Exceptionally rare first edition of the English translation of Mendoza’s guide to military strategy by Sir Edwarde Hoby, first published in Madrid in 1577 and rewritten for an edition of 1595, as a guide for the future Phillip III. The work begins as a treatise on government. Mendoza explains the offices and shapes of armies and exhorts the prince both to behave as one (he ironically owes much here to Castiglione’s ‘Courtier’) to take appropriate care and consideration in his decisions, with especial regard to defence in times of peace. The author had recently written a study of the Duke of Alva’s campaigns in the Low Countries, published in 1592, and was certainly brought close to military thinking in his brilliant diplomatic career, as ambassador to England for 10 years until the execution of Mary Queen of Scots (an event he refers to obliquely) and orchestrator of the pro-Spanish ‘Ligue’ in France, which he ended by arranging the marriage of Henry IV to Phillip III’s sister. “The Author who had served in the Netherlands under Alva, gives a clear and succinct account of the generals system. In an interesting passage on cavalry, he pronounces for the lance against the pistol, and describes the manner of handling the former arm Mendoza was the inventor of a piece of artillery made of metal, firing a shot of one pound weight, which he says would pierce a two foot wall; but neither the range or the charge is given. pp. 82-147 are on seiges; pp. 148-165 on naval matters.” Cockle

“For Hoby, Guise was the epitome of the Renaissance general…. We might wonder whether Hoby’s intended audience appreciated the subtleties of his account of Guise’s efforts at Calais, but Hoby himself was certainly aware of contemporary debates over the nature of effective military command. Two years after translating La Popelinière’s ‘Histoire’ he dedicated a translation of Bernardino de Mendoza’s ‘Theorique and practise of warre’, a treatise providing a first-hand account of the war in the Low Countries between 1567 and 1577, to his fellow Middle Temple Lawyer, Sir George Carew. Hoby served on diplomatic missions to Scotland and the continent, sat in the House of Commons and served as constable of Queenborough castle in Kent. His only recorded military experience was to accompany the Earl of Essex on the Cadiz expedition in 1596… Hoby’s translation points to a new desire for objective, rational histories. .. This desire presumably overrode the potential objections that La Popelinère had been accused by Hugenots of a being a pro Catholic writer and the siege of Calais and the achievements of the Guise were not suitable subjects to be celebrated in English.” Joanna Bellis. ‘Representing War and Violence: 1250-1600.’

With exceptional provenance. From the library of the celebrated English bibliographer and collector William Herbert; “his edition of the ‘Typographical Antiquities’ increased three times the size of the original of Ames. The unfinished edition of Dibdin has not superseded it, and it remains a monument of industry, and the foundation of our bibliography of old English literature.” DNB.

ESTC S112647. STC 17819. Cockle 67. Ames. III 1258.


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ALBERTI, Leandro

Descrittione di tutta Italia …… Aggiuntavi nuovamente la descrittione di tutte l’isole pertinenti ad essa Italia..

Venice, Ludovico Avanzi, 1561.


4to, ff. (41), 503. Roman and Italic letter, printed side notes. Large woodcut device on title page, historiated initials. Light age yellowing, t-p a little bit dusty, faint marginal water stain to first few leaves, small paper flaw affecting a few letters on fol. 4. A fine, crisp copy in contemporary limp vellum with Anton Fugger’s arms, (1586), gilt stamped on front cover somewhat oxidised, yapp edges, remains of ties. 1840 ex-libris and later inscriptions to fly.

First issue of this new edition of the “Descrittione”, the most important early modern travel guide to Italy, containing extensive information on chorography, history, ethnography and artistic culture, published without part 2 containing the “Descrittione di tutte le isole” and the added description of Venice. The two parts were issued together or separately. This fine copy belonged to Anton Fugger, a member of the German family of weavers who moved to Augsburg in 1367 and between the 15th and 16th century became one of Europe’s most powerful and rich merchant dynasties. Anton Fugger was the second son of Marcus Fugger (1529-1597), Augsburg banker, scholar and bibliophile, and grandson of Anton Fugger (1493-1560), financier to Emperor Charles V. Members of the Fugger family were among the biggest collectors in Central Europe. Their libraries, ranging from the latest European vernacular editions (atlases, travel literature, treatises on accounting and law, etc.), and a remarkably complete set of classical texts, to Medieval, Byzantine and even Syrian manuscripts, helped prepare coming generations for careers at princely courts, as well as in administration. In 1571 the entire library started by Hans Jacob Fugger (1459-1525) and increased by his nephew Anton (1493-1560), consisting of about 12,000 volumes, was purchased by the Bavarian Dukes. It later formed the basis of the present Bavarian State Library. Anton Fugger 3rd’s library, less known and extensive, but including mainly early modern Latin, German and Italian works, could not exclude Alberti’s bestseller, already very popular in Germany.

Leandro Alberti (1479-1552) was a Dominican scholar from Bologna, acquainted with Achille Bocchi and Andrea Alciato. He wrote numerous histories, serving the Inquisition as censor and then official inquisitor from 1550 to his death. He was mostly known for his anti-witchcraft activity. The “Descrittione” summarised his long travels (1525-1528) across the length of the Italian peninsula with the Dominican Order’s General Francesco Silvestro da Ferrara to visit Dominican convents and was later used as a model by the Dutch cartographers, such as Abraham Ortelius.

The work comprises chapters on 18 of the 19 regions of Italy, providing information on landscape, customs, important personalities, antiquities and monuments, especially fortifications and churches. A long introduction details Italy’s natural resources, its favourable geographical location and climate, as well as its topography and borders, the origins of its name and the earliest settlements between Lazio and Tuscany. Alberti mentions the foreign peoples who founded numerous cities across the centuries (French, Swiss, German and Spanish) referring to the current political situation as characterised by civil division and foreign domination. Each chapter focuses on a different region and encompasses etymological and historical excursus, with references to heroic figures and representatives of the world of culture. The most significant and extensive chapters concern the cities of Rome, its foundation and government, places of historical relevance and archaeological remains; and Florence, remarkable for its history and motherland of glorious rulers, scholars and artists. The account of the Southern provinces of Italy constitute a novelty since Alberti was one the first travellers who described the areas of Terra di Lavoro and Puglia, recording places name in dialects, nature and pilgrimage sites such as the Sanctuary of the Archangel Michael in the cave on Mount Gargano. The work was mainly inspired by Flavio Biondo’s “Italia illustrata” but Alberti did not adhere to its pattern completely, collecting first-hand information and using new sources such as local histories and maps, as well as other early modern authors.

BM STC It., 14. Adams and Graesse list other editions. Not in Brunet.


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Erotikon Achilleos Tatiou sive De Clitophontis & Leucippes amoribus libri 8. Opera et studio Cl. Salmasii

Lugd. Batavor. : apud Franciscum Hegerum, 1640.


12mo. pp. [xxiv], 752, [xxxii]. *12, A-2I12, 2K8 (2K8 blank). Roman and Greek letter, some Italic. Full page engraved title, with Leucippe and Clitophon on horseback, small woodcut initials and headpieces, grotesque and floriated tailpieces, contemporary inscription on front fly gifting the book as a prize to “Gualtero Bremannio” from “me Rectore Henrico Suardecronio” dated 1642, “Kapodos Aigov 1834” mss. on pastedown. Light age yellowing, a very good copy, crisp and clean, in a contemporary Dutch prize binding of polished vellum over thin boards, yapp edges, covers double gilt ruled to a panel design, stopped at corners with a gilt dot tool, large fleurons gilt to corners of inner panel, large arms of the city of Rotterdam gilt at centres, spine double gilt ruled in compartments, large rose fleurons gilt at centres, lacks ties, gilt tooling a little rubed, spine slightly soiled.

First edition with the important commentary and textual revisions of Claude Saumaise, beautifully printed in parallel Greek and Latin, in a fine contemporary prize binding from the Erasmus School in Rotterdam. The Adventures of Leucippe and Clitophon by Achilles Tatius, is one of the five surviving Ancient Greek romances, notable for its many similarities to Longus’ Daphnis and Chloe, and its mild parodic nature. It is a gently erotic romance in eight books, which retained remarkable popularity and spawned innumerable imitations, particularly in the C18, when it was several times reprinted. The author was a Greek from Alexandria in the 3rd or 4th centuries A.D. It is said he became a Christian and ultimately a Bishop. On being challenged for having written an obscene book he replied that he was only teaching the fruits of moderation as opposed to evils attendant on senseless passion. Tatius takes pleasure in asides and digressions on mythology and the interpretation of omens, descriptions of exotic beasts crocodiles, hippopotami, and sights such as the Nile delta, and Alexandria, and discussions of amorous matters; kisses, or whether women or boys make better lovers. The large number of existing manuscripts attests the novel’s popularity. A part of it was first printed in a Latin translation by Annibal della Croce, in Lyon, 1544; his complete translation appeared in Basel in 1554. The first edition of the Greek original appeared in Heidelberg, 1601, printed together with similar works of Longus and Parthenius.”Son roman … est agréable et expose bien les moeurs antiques. Héliodore en a repris avec succès plusieurs situations; mais, comme les traducteurs modernes, il les a adoucies et exposées plus modestement”, Gay I 14

“At a time when Cromwell with his Ironsides was fighting the battle of Marston-Moor, and Milton was defending the cause of English Democracy with his arguments, there was at the University of Leyden a professor by the name of Claude Salmasius, or Saumaise as he was called in France, from where he came. Born in 1588 at Semur-en-Auxois, in Burgundy, Salmasius had a very brilliant career in almost every department of learning, and scholarship. He studied law for three years under the famous Godefroy at Heidelberg, but afterwards preferred the study of languages and literature. His fame as a scholar of the very first rank ran through all Europe. The Universities of Padua and Bologna offered him a professorship, and England tried to win him, until in 1623 he accepted the call of Leyden in order to take the place of Scaliger. …Never before was a scholar given so much honor. To all this Salmasius responded by writing an almost incredible number of books on all kinds of subjects, as well as pamphlets on the prominent questions of the day. Being a royalist, he wrote, shortly after the execution of Charles I, a booklet entitled ‘Defensio Regia pro Carolo I,’ dedicated to the king’s oldest son Charles, whom he called the heir and legitimate successor of his father as King of England.” Tiemen de Vries “Holland’s Influence on English Language and Literature” He is perhaps now most famous for his discovery in the library of the Counts Palatine in Heidelberg of the only surviving copy of Cephalas’s 10th-century unexpurgated copy of the Greek Anthology, including the 258-poem anthology of homoerotic poems by Straton of Sardis that would eventually become known as the notorious Book 12 of the Greek Anthology. Salmasius made copies of the newly discovered poems in the Palatine version and began to circulate clandestine manuscript copies of them as the Anthologia Inedita.

This prize binding is most probably from the Schola Erasmiana at Rotterdam; the gift inscription on on the front endpaper naming the student recipient, Gualter Breman, is inscribed by the presenter, Henrico Suardecronio, with his signature, as Rector, Roterdam, 1642 who was a onetime head of the Schola Erasmiana in that city. There is a poem dedicated to Suardecronio in an edition of collected poetry published at Amsterdam, 1659 “Bloemkrans van verscheiden gedichten: door eenige liefhebbers der poëzij bij een verzamelt” that presents him as “Scholae Erasmianae, tum temporis Rectori, post quator Filios, Uxori continuato partu, editios”

Brunet I 36-37. Graesse I 13. Gay I 14


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