BROME, Richard


The Antipodes: a Comedie. Acted in the Yeare 1638, by the Queenes Majesties Servants, at Salisbury Court in Fleet-street.

London, I. Okes, for Francis Constable, 1640.


FIRST EDITION. 4to. 44 unnumbered leaves. A-L⁴. Roman letter, some Italic. Typographical headpieces, woodcut initials, Selbourne library stamp on verso of title and F4, ‘1687’ and ‘1658’ manuscript on F4, “Charles Hunees (?) His Booke” in early hand on verso of D3, extensive inscription in mid-seventeenth hand entirely inked over on margin of A2 verso, alongside the printed character list, on A4v, names of 14 actors in contemporary manuscript; “Scenæ / Antipodes = London” in the same hand below; Series of page numbers, on the upper left or upper right corners, small tear to lower margin of first four leaves. “Similar numbering in a comparable hand appears in a British Library copy of The Sparagus Garden (London, 1640) owned formerly by W. W. Greg.” Joshua J. McEvilla. Light age yellowing, cut a little short in lower margin, a few signatures and catchwords fractionally shaved, the occasional ink splash mark or spot. A very good copy in red crushed morocco ‘Jansenist’ by Riviere, circa 1900, title, author and date gilt on upper cover, edges gilt ruled, inner dentelles richly gilt, all edges gilt, marbled endpapers.

First edition, exceptionally rare, of Richard Brome’s best work, his comic masterpiece, with a most important, recently discovered, cast list in manuscript which “helps to illuminate the state of the Salisbury Court players in 1638, directly following the reopening of the theatres after several months of closures due to outbreaks of plague.” Joshua J. McEvilla, p. 171. ‘The Antipodes’ was first acted at Salisbury Court, in Fleet Street, in 1638. The main character, Peregrine, becomes obsessed with the travels of Mandeville to the point that it makes him ill. The Doctor, who undertakes to cure him, proposes that they should travel together to the Antipodes, telling him that the Antipodes under England are English “To the exterior show; but in their manners, Their carriage, and condition of life, Extremely contrary,” a place of inversions and reversals. He then gives his patient a strong sleeping potion, and conveys him to the house of a lord.

When Peregrine wakes, a play is acted before him to represent the manners of the Antipodes. Everything is performed in a contrary fashion to what is normal; two sergeants with drawn swords run from a gentleman who wishes them to arrest him; a lawyer refuses all fees; a citizen makes a complaint of a gentleman who will not cuckold him, etc., etc. At the conclusion of the play, Peregrine recovers his senses. The title page of this first edition states that the play was acted in 1638 by Queen Henrietta’s Men at the Salisbury Court Theatre, the regular troupe and venue for Brome’s dramas from 1637. Critics typically situate Richard Brome’s ‘The Antipodes’ in a satiric tradition of travel writing in the vein of Joseph Hall’s ‘Mundus Alter et Idem’ (1605), arguing that the play is allegorical and a travel drama which, in being a play, goes nowhere and everywhere.

“The Antipodes is a veritable tour de force. It is not surprising that the company at the Salisbury Court Theatre were prepared to go to court to wrest the play away from the Beestons at the Cockpit, claiming a prior right to stage it on account of a contract that they had allowed virtually to lapse during the plague months, when the theatres were closed. Brome claimed that the profits accruing to Queen Henrietta Maria’s Men, Richard Heton’s company at the Salisbury Court, were considerable, which suggests they had a popular success on their hands. That the play was available in print as a quarto two years after the initial performances again attests to its popularity. No other play by Brome has such an intricately woven dramatic fabric or is so layered in its satirical strategies and ways of creating meaning. A consequence of this is that The Antipodes has attracted more critical commentary than Brome’s other plays, where the sheer range of approaches intimates how dense the dramatic fabric is.” R. Cave, ‘The Antipodes, Critical Introduction.’

The early provenance of this copy is most intriguing. There is no direct evidence as to who wrote the list of players, though the manuscript on A2 might disclose this, however there is no doubt of the authenticity and the importance of the list. “These aspects of the book’s provenance, although noteworthy, are perhaps rendered immaterial by the self-validating nature of the cast list. As noted above, the Brome contract proceedings record the composition of the players at Salisbury Court at two historical instances. …  The membership of the company as specified by the Selboune list seems to correspond to the membership as suggested by the contract documents and the book’s title page. According to the title page, ‘The Antipodes’ was ‘Acted in the yeare 1638 by the Queenes Majesties Servants, at Salisbury Court in Fleet-street.’ Since nine of the players of the list were plaintiffs in the suit against Brome and since the players of the merger are on the list, the list appears to convey genuine information. … One aspect of the list which serves both to authenticate its fidelity as a piece of evidence and to expand scholarly knowledge of period drama is the way that it falls in line with an important dialogue from the late seventeenth century.

James Wright’s ‘Historia Histrionica: An Historical Account of the English-Stage’ (London, 1699) remains a cornerstone to scholars’ accounts of the playhouses of the Shakespearian stage. The cast list in Selbourne’s copy of ‘The Antipodes’ serves to authenticate one claim made in this oddly nostalgic piece. Trueman, when discoursing with another character, Lovewit, casts a glance back at the conditions of public playing in England before the outbreak of war. He notes that ‘Cartwright, and Wintershal belong’d to the private House in Salisbury-Court’ (B2r). Although Kathman has used this allusion as evidence, no solid piece of evidence has drawn William Wintershall and Cartwright, the younger, to the same playhouse at the same time. Where scholars have had to rely on Wright’s memory in order to argue that these players were colleagues, the Selbourne list establishes that they played together at Salisbury Court.”

Joshua J. McEvilla suggests that the numbering of the pages is in the hand of the great Shakespeare scholar W. W. Greg, and was perhaps bound in a collection of other works in his library. His greatest achievement, among many, was ‘A Bibliography of the English Printed Drama to the Restoration,’ published in four volumes between 1939 and 1959. This work is exceptionally rare on the market with only one other copy in auction records. An exceptionally important copy.

STC 3818. ESTC S106712. Pforzheimer 106. Not in Lowndes or Grolier. For an in depth discussion of the list of players names see Joshua J. McEvilla, ‘The Original Salisbury Court Players of Richard Brome’s The Antipodes’, Notes and Queries, 2012.


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BOAISTUAU, Pierre and BELLEFOREST, Francois de, etc.


Histoires Prodigieuses Extraictes de plusieurs fameux autheurs.

Paris, Chez la Vefue Guillaume Cauellat 1597-98.


16mo. Six volumes in three. 1) ff. (x) 191 (iii); 2) pp. 120 (viii) (last two leaves blank); 3) pp. 372 (iv); 4) pp. 80 (vi) (last leaf blank) 5) pp. 159 (i); 6) pp. 91 (v) (last leaf blank). Roman letter, some Italic. Cavellat’s woodcut printer’s device on each title, a larger version repeated on verso of last of volumes IV and VI, numerous nearly 1/2 page woodcuts in text, generally at the beginning of each tale, one fold out woodcut of a knife (often missing) in volume VI, floriated woodcut initials and headpieces. Light age yellowing, minor marginal spotting in places, light water stain to volumes II, V and VI, the odd marginal spot. Good copies, a bit short, finely bound in early C18th red morocco, covers bordered with a triple gilt rule, spines with gilt ruled raised bands, compartments gilt ‘a la grotesque,’ inner dentelles gilt, all edges gilt. 

A lovely set of this beautifully printed and illustrated popular work, a collection of stories of Monsters and extraordinary events. The original 40 stories by Boaistuau in volume I of this set were first published in 1560 and were hugely popular, leading to many further editions with additions by other authors, culminating in this set, with the addition of 15 stories in volume II by Claude de Tesserant, 17 in volume III by Bellesforest, 11 in volume IV by Rod Hoyer, 8 stories in vol V translated from the Latin of Arnauld Sorbin by Belleforest, and 6 anonymous stories (by I. D. M.) in the final volume.

Boaistuau and Belleforest’s popular reworking of these tales, and their other translations, had tremendous influence in England, especially on the playwrights of the Elizabethan period, Shakespeare included, who often used their stories as the basis for their works. The first manuscript of this work, now in the Wellcome Library, was dedicated and presented to Elisabeth I by Boaistuau.

“In the winter of 1559/60 Pierre Boaistuau, a French popular writer, set off for England bearing a book that he hoped to lay before the young Queen Elizabeth, newly installed on the throne of England. This book, later entitled Histoires Prodigieuses – which can be loosely translated as ‘Wondrous Tales’ – had not yet been published. It had been handwritten by a professional scribe in a fine Italic script, and was dedicated to ‘The Most Illustrious, Most Excellent and Most Virtuous Princess Elizabeth, by the grace of God Queen of England. …

Histoires Prodigieuses is an example of a genre of literature that was immensely popular in the 16th and 17th centuries: tales of an admonitory or educative nature, drawn from biblical, classical or other reputable sources, that were nonetheless intended to astonish and delight the reader. It is not so much an original creative work of literature as a compilation and retelling of stories that derive largely from earlier authoritative sources and thereby gain added credibility and value. Boaistuau, whose final work it proved to be, had already published several such compilations before Histoires Prodigieuses in a brief flurry of activity from 1556, and indeed he helped establish the genre as his works continued to be expanded, reissued and translated by others after his death.’ Dr. Richard Aspin, Wellcome Library.

This famous collection of tales of a prodigious nature, describe natural disasters (e.g. earthquakes, floods, storms), freaks of nature (e.g. Siamese twins), fantastic occurrences of spectres and phantoms, tritons, sirens and other marine monsters, and gruesome instances of excesses (e.g. of eating and drinking, corpulence, fertility, torture and cruelty, avarice, famine, and violent death). In the ‘Advertissement au lecteur,’ Boaistuau tells us that his stories are taken from many authors, and indeed he clearly identifies his sources from Plato and Aristotle, to Josephus and Saints Jerome and Augustine, to Polydorus Vergil and Sebastian Munster.

He pretends that he has compiled his little book to show how the anger of God and the violence of his justice are manifested in abominations of nature, so that men might search their consciences and be horrified at their misdeeds. Volume VI contains a story of a woman (undoubtedly possessed by the devil), who was stabbed in the side and lived for a year with the knife protruding from her until it was removed by a German doctor. The story is illustrated with a folding plate of a life size portrait of the knife as it was once removed from her body. One suspects that his real motivation was sensationalism, always a best seller.

The text is extensively illustrated with woodcuts of monsters and prodigies, which suggests the popular market. Pierre Boaistuau, called Launay (d. 1566) is described by the Nouv. Biog. Gén. as “un bon parleur et non sans une certaine érudition.” A most interesting, readable work. “The subject was a popular one and the blocks were well designed.” Harvard C16th. Fr. 103 on the first edition with illustrations. These later editions mention America, cf. Alden 595/9.

BM STC FR. C16th p. 70. Brunet I 982-3. Wellcome 898 (earlier edition).


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Laberinto d’amore … con una epistola a Messer Pino de Rossi confortatoria.

Florence, [heirs of Filippo Giunta], 1525.


8vo. oblong, ff. 72. Italic letter; capital spaces with guide letters; title a bit dust-soiled, intermittent soiling and foxing, particularly to margins; marginal paper flaw in f. 22, two leaves loosened in final gathering, a few tiny worm holes in margins of first and final leaves. A wide-margined copy in contemporary Venetian brown morocco, gilt panel with four apple leaves at corners, in the elegant style of the ‘Venetian Apple binder’ (M. M. Foot, The Henry Davis Gift, III, nos. 297-298); gilt title ‘Corbacio’ on front cover and initials ‘M. [faint s or decorative piece?] M.’ on rear, all edges gilt; skilfully re-backed, outer corners restored. In slipcase.

The elegant binding provides a good example, unusual in shape, of the essential Venetian style of the second quarter of the sixteenth century (gilt external panel with apple leaves at internal or external corners, central title in capitals), which was brought to perfection by the so-called Mendoza Binder, recently identified as Andrea di Lorenzo. Though not his work, this was executed by a capable binder, probably pre-dating Andrea by a few years. The gilt initials on the rear cover appear to be those of the owner, perhaps pointing towards a member of the Venetian noble families of Mocenigo or Morosini, bearing the traditional names of Marco or Michele.

Early and accurate imprint of Boccaccio’s Corbaccio (or Labirinto d’amore) and his epistle to Pino de’ Rossi, both first published in 1487 in Florence. With Petrarch, Boccaccio laid the foundations for the humanism of the Renaissance and raised vernacular literature to the level and status of the classics of antiquity. His vivid prose was taken as a model by the sixteenth-century Renaissance scholars in their attempts to create a common written language for the Italian peninsula. Corbaccio (The Crow) recounts the dream of a young man, suffering from his unrequited love for a widow. It is essentially a misogynist invective, contradicting Boccaccio’s sympathies for the fairer sex expressed in many others works.

It is still not clear whether Corbaccio should be read as autobiographical or as a literary exercise adopting the anti-feminist point of view but ultimately dealing with torment of love. Written after the political crisis of 1360 in the Commune of Florence, the letter of consolation to Pino de’ Rossi, an exiled Florentine statesman, reflects Boccaccio’s disillusion with politics and his faith in the rise of a new cultural era opened up by Petrarch’s studies of classical literature. The preface by the publisher Bernardo Giunta is of particular interest. It addresses ‘gli amatori della Lingua Toscana,’ i.e. the humanists writing in Italian vernacular, who were praised for their constant effort to re-establish this style as a literary language, as it used to be in the time of Boccaccio.

Not in BM STC It. Adams, B 2182; Gamba, 67; Renouard, xlviii:79; Brunet, I, 1016 (‘assez rare’).


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BACON, Francis

Verulamiana; or opinions on Men, Manners, Literature, Politics and Theology.

London, R. Dutton, T. Hurst, John Cawthorn, 1803.


FIRST EDITION. 8vo. pp. Engraved authorial portrait + (xxviii) 319. Roman and italic letter. Light age yellowing, a good, clean, well-margined copy in contemporary quarter-Russia marbled boards, spine gilt-ruled in six compartments.


SCOT, Sir John


Delitiae poetarum Scotorum hujus aevi illustrium.

Amsterdam, Iohannem Blaeu, 1637.


FIRST EDITION. 12mo. Two volumes. pp. 1) 1-12, (ii), 13-699, (i): 2) pp. 573, (iii). Roman letter some Italic. Blaeu’s woodcut printer’s device on both titles, small woodcut initials “Bought at Amsterdam Sept. 25 1877, H. A. B.” on front fly. Light age yellowing, the odd marginal spot or mark. Very good copies, crisp and clean; volume I in contemporary vellum over boards, nearly matching vellum, titles inked on spines in same C17th hand.

First edition of the largest anthology of Scottish neo-Latin poetry ever produced, edited by the Fife laird Sir John Scot of Scotstarvit and the Aberdonian poet Arthur Johnstone. The two volumes were printed at the sole cost of Scot and preserved the last fruits of Scottish latinity. Scottish neo-Latinists saw themselves first and foremost as part of an international community of renaissance humanists fascinated by the Classical past. Despite James VI’s accession to the English throne in 1603, and subsequent negotiations over closer Anglo-Scottish Union, the majority of the Scots featured in the Delitiae poetarum Scotorum identified much more closely with the cultural and intellectual life of Continental Europe than they did with that of England.

“The Delitiae Poetarum ltalorum opened the floodgates to a series of national anthologies, all in Latin, all entitled Delitiae, all printed in Frankfurt. Along came collections for France, Belgium, Germany, Hungary and Denmark. (…) There was a strange irony in all this. Neo-Latin was, of course, the international language par excellence, transcending national boundaries. (…) Yet the collections clearly had competitive, nationalistic ambitions. It was as if the new chauvinism and confidence of the Renaissance vernacular languages had been diverted into Neo-Latin. (…) (John Scot of Scotstarvet) had the time, motivation and, most importantly, the money to undertake the Herculean labor. John Scot of Scotstarvet, a Fife laird and a dilettante poet himself, had the education and finances to win friends and influence people, particularly in Europe. What makes the subsequent enterprise of special interest is the fact that we have a detailed account of its progress, for Scot scrupulously preserved all incoming mail. The correspondence, now in the National Library of Scotland, reveals a great deal: how Scot accumulated and edited the material and why it took almost twenty years before the Delitiae found its way into print. (…)

From about 1619, Scotstarvet had been collecting and receiving specimens of Scottish latinity. (…) Work by thirty-seven poets was finally chosen. Many of those included had made a name for themselves abroad: James Crichton in Italy, George Crichton in Paris, Thomas Dempster almost everywhere; John Barclay’s Latin novels were widely read in Europe; John Johnston used European presses almost exclusively; Andrew Melville was well-known among Continental Calvinists; James Halkerston wrote witty epigrams on the Pope and Henri III. (…) The work avoided overt antiquarianism which by this time would probably have lacked popular appeal. Still Scotstarvet could be proud of his labours; the text was sound and Blaeu did it justice. In the next century, Samuel Johnson would call it “a collection to grace any nation.” Perhaps the greatest satisfaction to those who produced it was that the English never had the like.” Christopher A. Upton. ‘National Internationalism: Scottish Literature and the European Audience in the Seventeenth Century’.

Very good copy of this important national anthology.

Shaaber S83/J238.


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Rime degli Accademici Timidi … per fregio della laurea … dell’una, e l’altra Legge.

Mantua, Alberto Pazzoni, 1731.


8vo., pp. 36. Roman and Italic letter; a few damp stains, small rust spot to middle of gutter. Good copy in elegant contemporary gilt paper embossed with flowers; minor loss; several contemporary autographs, presumably of fellow members to pastedowns.

An interesting collection of rhymes written by the members of the Academy of the Shy Men, celebrating the graduation in law of one of their fellows. This important intellectual academy was active in Mantua from the beginning of seventeenth century.



His devine weekes and workes translated

London, Humfrey Lownes, 1613.


4to., pp. (xxxii) 819 (xlvii) 87 (ix). Roman letter. Engraved title page by William Hole after C. Swytzer (Johnson 26:4), title within arch, Royal arms above supported by two pairs of pillars on which are resting terrestrial and celestial globes, medallion depicting the creation of woman, surmounted by pediment inscribed with the Hebrew name of God, angels at either side, further biblical panels at foot. Verses within arch made up of printers rules on next two pages, woodcut portrait of author on third. Eleven pages with printed central column containing the name of a Muse, printed title pages with astronomical diagrams, dedicatory verse to Philip Sidney in the form of a pyramid with his armorial hedgehog at head, each section of text commencing with woodcut headpiece and ‘Argument’ within typographical border, woodcut tailpieces, full page woodcut of the Garden of Eden on p. 214, white on black ‘memento mori’ on p. 669, full page woodcut of the Resurrection on p. 671; ‘History of Judith’ with separate title page with device, woodcut monogram of James I after dedication, large woodcut printer’s device on recto of last, contemporary ex-libris “George Parkins”on fly, “Mich: Constable; – 1620” at head of title, Light age yellowing, very occasional marginal soiling, and minor marginal water stains. A very good, clean copy in contemporary calf, covers bordered with triple blind rule, expertly re-backed, raised bands ruled in gilt and red morocco label, a.e.r.

A handsome copy of the fourth edition, corrected and augmented of Joshua Sylvester’s first English translation of Du Bartas’ (1544-1590) principal works, his great ‘La Sepmaine’ on the creation of the world, ‘La Seconde Sepmaine’ on the deeds of the early heroes, ‘Urania’- a poem in praise of poetry which James VI of Scotland personally translated, an epic of the history of Judith and a very extensive collection of diverse poems. In his day Du Bartas’ works were enormously popular; La Croix de Maine recorded thirty six eds. in six years apart from translations into English, Latin, Italian, German and Spanish. Nowhere was the Hugenot Du Bartas more appreciated than England where his religious tone and fanciful style earned the author the epithet ‘divine’ and he was placed an equal of Ariosto. Spenser, Hall and Johnson all speak of Du Bartas in the highest terms and Milton was clearly in his considerable debt. To a great extent this was due to Sylvester whose very free translation (almost a paraphrase) in rhymed decasyllabic couplets was so successful that Southey describes him as the most popular poet of the reign of James I.

To the modern reader a particular point of interest are the numerous references to the New World. The 22 page chapter ‘The Colonies’ mentions Drake, Newfoundland, Columbus, Nicaragua, Panama, Peru, Mexico, Chile, Brazil, Patagonia, Magellan, as well as the places’ notable physical features, distinctive animals and plants and most important produce. This is not just a list of names, but descriptive eg. “And Plate’s flat Plains, Where flowers another Nile”. The ‘Index of the hardest words’ (an admirable feature) explains Vespucci as America’s first discoverer, the habits of South American ‘cannibals’ and ‘Americans’ and ‘the French disease’, brought first from the Indies etc. There are also many references and descriptions relating to the East Indies and elsewhere.

STC 21652. Lowndes II 679. Grolier I 244 (3rd edn., which has the same collation but not identical composition). Alden 613/51.


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La Sphere des deux mondes, composee en Francois, par Darinel, pasteur des Amadis

Antwerp, Iehan Richard, au Soleil d’Or, 1555.


FIRST EDITION. 8vo. ff. (iv) 57 (i.e. 58), (ii) . π⁴ A-M⁴, N4(N2 folding+’N3′), O-P⁴ last blank. Roman and Italic letter. Woodcut printer’s device on title, another on verso of last, woodcut initials, historiated woodcut tailpiece, typographical ornaments, 28 small woodcut illustrations in text, 19 full page maps, one folding. Age yellowing, t-p slightly dusty, two small tears in lower margin just touching imprint with no loss, some marginal soiling in places, the odd ink splash or mark, outer upper corner torn to map of Tunis with minor loss, tiny single worm hole in first four quires. A good copy in modern limp vellum antique, yapp edges remains of ties, spine with morocco label gilt.

A most interesting and unusual cosmography, exceptionally rare and beautifully illustrated with 19 important early maps including a fine world map and the most important Bellère map of the New World. Boileau de Bouillon was savant polymath who had extensive knowledge of various languages, principally French, Flemish, Latin, German and Spanish. He seems to have lived for many years in Liege and Antwerp before joining the service of Charles V with whose forces he travelled to Germany, France, Hungary and Italy. He was named ‘Commissaire et Controleur’ of the town of Cambrai for his services, but fell in disgrace shortly afterwards and had to take refuge in Paris, where he was taken in by Nicolas de Herberay, ‘Seigneur des Essarts’ who was also famous for his translations. He made his living with the pen as a poet and translator, but also with a particular interest in geographies and map-making. Apart from the fine series of maps in this work he published two very important original maps of Burgundy and Belgium.

This work is composed, curiously, of both text and poetry. The maps are not of his creation but are most judiciously chosen as the most up to date and accurate of the period. The 19 woodcut maps include a beautiful cordiform map of the world: “Universalis Cosmographia” and a very rare map of the Americas: Jean Bellère “Peru, brevis exactaque totius Novi Orbis ejusque Insularum descriptio recens a Joan Bellero edita.” This map “was popular during the middle of the sixteenth century and had great influence in showing more accurately the size and shape of the great South American continent” ‘World’. It is a particularly important and influential map, illustrating the south of the US, Central America, the Antilles, Bermuda and the Azores, and South America down to Magellan’s Strait. Apart from ‘Cuzco’ ‘Xaquixaguana’ and ‘Quito’, only coastal towns are covered, although the mountains of the southern USA, the Andes and the river Amazon are shown. Each map is accompanied by a curious cosmographical stanza. This is a particularly rare work and according to American Book Prices Current, no copy sold at auction in the past 35 years.

BM STC Dutch C16th p. 59 (under Darinel.) Alden & Landis 555/4. ‘Contains also the Bellère map of the New World found in edns of Cieza de Leon & Gomara of 1554’. Church 101. Sabin 18576. “A poetical volume of some rarity” see ‘The World Encompassed’ 201. JCB I:185.


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BAUDIUS, Dominicus


Amores (with) Dissertationum ludicrarum at amoenitatum scriptores varii

Leiden, Franciscus Hegerus and Franciscus Hackius, 1638.


8vo, two volumes in one: 1): FIRST EDITION. pp. (12), 518, (2); 2): pp. 7, (1), 567, (1), final gathering Aa8 incorrectly bound after initial table of contents. Predominantly Roman letter, little Italic and Greek; decorated initials and head- and tail-pieces, printer’s device on title 1 (a little dusty), detailed full-page engraved portrait of Baudius at f. ***viv, engraved title 2; occasional spot to margins. A very good copy in contemporary plain vellum; a bit worn, front cover crudely repaired after partial removal of central vellum, overs boards made from multiple ll. of earlier ms; all edges blue; contemporary owner’s inscription to title 1) ‘Con. Ernest Ruppelius Arzb.’; contemporary annotation to verso of rear endpaper.

A very amusing collection of Neo-latin poetry and essays published by the main competitors of the Elzevier press. The first work is the editio princeps (variant B of the imprint) of a sammlung of love writings, mainly by Domenicus Baudius. Baudius (1561-1613), probably a nickname for Dominique Baudier, was a prominent poet, historian and professor at the University of Leiden. Graduate in law in 1585, he received encouragement from Joseph Justus Scaliger and De Thou to engage in Latin poetry and later befriended Philip Sidney, Daniel Heinsius and Hugo Grotius. He started teaching at the University of Leiden in 1602, first as professor of rhetoric and then of history. For this reason, he was entrusted with the composition of a chronicle of the Dutch war between 1609 and 1611. His Amores were edited posthumously by Peter Schrijver (1576-1660), a younger colleague of his in Leiden as well as a Neo-Latin poet and historian in his own right. They gather several of Baudius’s letters and verses recounting his erotic often-failing adventures, along with a great number of other pieces related to love and marriage by both his erudite friends (Hensius, Grotius, Schrijver, Scaliger and Salmasius) and earlier humanists such as Erasmus, Lelio Capilupi, Giovanni Carga and even Thomas More with his Qualis uxoria deligenda. Schrijver took the opportunity to include some annotations by himself, Salmasius, Pithou and Lipsius about the famous anonymous poem of late antiquity Pervigilium Veneris. This edition, printed by George Vander Marse, was published jointly in Leiden by Hagerus & Hackius and in Amsterdam by Louis Elzevier.

The other half of the volume is taken up with the second edition of a collection of scholarly divertissements, bearing a new title in respect of the princeps issued in 1623 as Argumentorum ludicrorum scriptores. It comprises short smart essays in praise of swimming, laughing, fleas, elephants, donkeys, ants, cows, lice, flies, blindness, malaria and gout. Among the authors are Melanchton, Willibald Pirckheimer, Celio Calcagnini, Marco Antonio Maioraggio, Jean Passerat and again Lipsius, Hensius and Scaliger.

The voluminous manuscript binder’s waste is a potential feast for scholars.

1) Brunet I, 703; Graesse, I, 312; Gay, I, 103 (‘recueil estimé et peu commun’); Willems, 961 (‘le volume des Amores est bien execute, et les beaux exemplaires son assez recherchés … Il était dèjà rare en 1712’).

2) Brunet, II, 762; Graesse, II, 410; Gay, II, 14; Willems, 1633.


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Comoediae Novem.

Venice, Apud Aldum, 1498.


EDITIO PRINCEPS. Folio. 346 unnumbered leaves, lacking two blanks. Text in Aldus’ large Greek type 146, 41 lines of scholia surrounding in smaller (type114), Aldus’ preface in Roman. Woodcut strap-work initials in two sizes and headpieces. Early Greek marginalia in brown ink mostly to first quarter of volume. Title page very slightly soiled and strengthened at gutter, two leaves slightly browned (probably damp at printing), couple of minor marginal tears, last leaf with small old marginal repairs, strengthened at gutter, slightly soiled on verso. A very good copy, crisp, clean and well margined in C17 vellum over boards C18 mottling, gilt red morocco labels and gilt thistle motif on spine, C19 ms. bibl. notes on front pastedown, Walter Hirst’s charming bookplate and Sir Thomas Philip’s pencilled shelf mark beneath, earlier ink lettering (press mark?) on rear pastedown, Quaritch pencil note beneath.

A very handsome copy of the beautiful first printed edition of Aristophanes comprising the first nine plays (10 and 11 were not published till 1525) and one of the chef d’oeuvres of Aldus’ early Greek press. The editor was Marcus Musurus, the celebrated Greek humanist, who also contributed an excellent preface on the reasons for studying Greek and the stylistic beauty of Aristophanes. Aldus founded his career on the publication of Greek texts, the first printer to do so, with this type designed and cast on new principles which he perfected over a period of five years. To his scholarly care we owe more of the editiones principes of the major Greek classics than to any other printer and the Aristophanes, texturally and artistically, was one of his finest achievements.

Aristophanes was the greatest of the Athenian comic dramatists and one of her greatest poets. For richness and fertility of imagination probably only Shakespeare is comparable and Aristophanes’ direct influence on English literature was considerable; the comedies of Jonson, Middleton and Fielding derive from him. Apart from constituting one of the surviving glories of hellenic culture Aristophanes’ comedies are an invaluable source for its social history. His surviving plays, out of a probable forty or fifty, provide us with an accurate if satirical commentary on the political, religious, sexual, economical and domestic life of Athens over a period of thirty six years. His changes in style and content match the concurrent constitutional and social changes in the State itself. The plays’ themes are invariably contemporary, a mocking mirror to the condition of the city. This edition has the benefit of the scholia of Thomas Magister, John Tzetzes and Demetrius Triclinus themselves incorporating much of the more ancient commentaries of Appolonius, Callimaches, Didymus and others, which were superseded in later editions by much newer but also much inferior work.

“Première et belle édition (…) Les Scolies sont dans cette importante et belle édition imprimées bien plus correctement que dans la reimpression faite à Florence 1525” Renouard, 16:3.

“Premiere édition belle et rare” Brunet I 451.

BMC V 559. GW, 2333. Goff, A-958. Sander I 580. Essling I 2,2 1163.


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