D’ANANIA, Giovanni Lorenzo

De natura daemonum […] libri quatuor.

Venice, apud Aldum, 1589.


8vo. pp. (xii) 211 (i). Italic letter, little Roman. Woodcut Aldine device to t-p, woodcut initials and ornaments. Slight age yellowing, little mainly marginal spotting and couple of ink splashes in first two gatherings, small tear to A1 just touching text, slightly soiled and adhering at gutter. Generally a very good copy in early carta rustica, upper hinge starting but firm, a bit soiled and worn at edges, later paper overlaid on spine, cracked. Shelfmarks and later inscription ‘Reg Comp’ to front pastedown, early ownership inscription to t-p (crossed out and illegible).

A very good copy of the second Aldine edition of this important work on demonology, first published in 1581. Giovanni Lorenzo d’Anania (1545-1609) was an Italian theologian and geographer, also the author of a famous ‘Cosmografia’ (1576). Anania believed that witchcraft had been particularly active in his age and ‘De natura daemonum’ provided a thorough study of the ways in which daemons were responsible. It theorises the existence and nature of subterranean and aerial malevolent spirits (from movement to voice) and studies how they affect human life as the cause of sundry physical and social ills: e.g., incurable diseases, earthquakes, false images generated through astrology and necromancy, and some poetic ‘fables’. Fascinating are his remarks on exorcisms, a few of which he apparently witnessed, and miracles derived from saints’ relics; these could be used to scare demons away (though not always successfully) and help treat serious illnesses. Despite Anania’s Catholicism, the whole work is pervaded by mild Protestant leanings which surface, for instance, in his belief that demons encouraged people not to use their own vernaculars during mass as well as in his often ambivalent opinion on the a nature of relics (Thorndike VI, 528).

Renouard 242:6; Adams A1005; Ahmanson-Murphy 988; BM STC It., p. 26; Caillet I, 272; Wellcome I, 285; Thorndike VI, 527-28. Not in Durling or Brunet.  


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VAIRO, Leonardo

De fascino libri tres.

Venice, Aldus, 1589.


8vo. pp. (xvi) 375 (xlv). Italic letter, with Roman. Aldine device to t-p, floriated and decorated initials, grotesque headpieces. T-p a trifle dusty, occasional very minor marginal foxing, small paper flaw to lower blank margin of three ll. A very good copy in contemporary vellum, raised bands, title inked to spine, all edges blue, slight wear at foot. Several ms. casemarks to t-p and ‘Loci S: Pauli prope Bononiam’, the odd little ink mark.

 A very good copy of the first Aldine edition of this remarkable work on witchcraft by Leonardo Vairo (1523-1603), Benedictine monk and bishop of Pozzuoli. Not too long after printing, this copy entered the library of the Friars’ Observant at San Paolo in Monte, near Bologna. This is the second edition, originally published in 1583. It is entirely devoted to ‘fascinum’ (‘fascination’ or ‘charm’), a ‘pernicious quality summoned through intense imagination, sight, touch, voice, together or separately, as well as the observation of the sky, or inflicted through hate or love’. With the help of authorities like Aristotle, Plutarch and Heliodorus, Vairo addresses the nature of fascination caused by external action (moral) or inherent qualities (natural). The work seeks to set apart the natural from the supernatural whilst discussing subjects like monstrous births, werewolves, the sabbath, the nature of daemonic powers, basilisks, the faculty of divination pertaining to some animals, supernatural prophecy and daemonic possession which may more frequently affect melancholic people. ‘De fascino’ was still mentioned in C18 theological debates on witchcraft and the supernatural.

This edition concludes with the interesting priced catalogue of the ‘libri di stampa d’Aldo’ available for purchase in 1589. On the Aldines listed in this copy, an early annotator marked Bodin’s ‘Trattato della Demonomania’, probably as a desideratum.

 BM STC It., p. 706; Brunet V, 1029; Caillet, 10964: ‘Traité fort rare’; Rénouard 242:8.


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[Comedies]. A.M. Antonio Mureto emendatus eiusdem Mureti argumenta et scholia in singulas comoedias.

Venice, apud Aldum, 1575.


8vo. pp. (xlviii) 45 (iii), 352, 94. Italic letter, little Roman or Greek. Woodcut oval portrait of Aldus the Elder to t-p, woodcut device of Aldus the Younger on verso, woodcut initials and ornaments. Age yellowing, a bit trimmed at upper edge, small ink splashes to one leaf, marinal spot to verso of last. A good, clean copy in early C18 French mottled calf, marbled eps, spine gilt in five compartments, gilt large acorn and floral cornerpieces to each, gilt-lettered morocco label, inner edges gilt, all edges sprinkled blue, wear to head of spine and corners. C18 bookplate of the Library of the Marquis de Sainte Croix to front pastedown, the odd, partly faded C16 annotation or underlining.

A good, clean copy of this much-praised edition of Terence’s comedies by the renowned humanist Marc-Antoine Muret. ‘It is the most estimable as it is of very neat execution, and […] because the new Scholia, added as a supplement to the Aldine of 1570, are here put in place’ (Renouard 219:13). Publius Terentius Afer (195/185-c.159BC), of Berber origins, was acquired as a slave by a Roman senator, educated in Rome and later freed thanks to his skills. His six comedies survived the medieval period in hundreds of manuscripts; they were widely used to teach Latin well into the C16, and they provided the model for the earliest ‘comoediae sacrae’, a new genre inspired by the Reformation. In 1570, Paulus Manutius had commissioned new ‘scholia’ from the Neo-Latin poet and classicist Muret (1526-85), adding them as an appendix to the Terentian text. This edition includes a life of Terence, critical preliminary material based on the writings of Aelius Donatus, and Muret’s ‘scholia’, with very few revisions to the previously-printed text. The young Aldus had even suggested the addition of a woodcut portrait of Terence from a book at the Vatican Library; the ever-critical Muret replied that he should ‘focus on serious and important things: good paper, good typeface and, most of all, accurate revisions’ (Dejob, ‘Marc-Antoine Muret’, 483-85).

 In 1581, an early owner noted down lines from the plays on this copy; later, it was in the possession of Marie Louis Henri d’Escorches de Sainte-Croix (1749-1830), officer, minister and French diplomat at Constantinople.

Ahmanson-Murphy 884; BM STC It., p. 665; Brunet V, 714; Renouard 219:13; Dibdin II, 471. C. Dejob, Marc-Antoine Muret (Paris, 1881).


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Basel, [Froben], 1528.


Folio. pp. (xx) 692 (xxiv). Roman letter, little Italic, occasional Greek. Large woodcut printer’s device to t-p and verso of last, woodcut initials and ornaments. Slight toning, scattered worming generally at gutter, occasionally touching letters, light water stain at upper gutter of some ll. and to fore-edge of last gathering. A very good, well-margined copy, on thick paper, in near contemporary Swiss calf over wooden boards, remains of clasps, eight brass cornerpieces, double blind ruled to a panel design, outer border with roll of heads within roundels with decorative pendants, inner border with blind-stamped antique urns, tendrils and small figures of standing soldiers, centre panels with roll of heads within roundels and fleurons, each panel flanked by two small gilt acorns and two gilt rosettes, small gilt mudejar design to centre, author and title gilt to upper margin of upper cover, author inked to fore-edge, raised bands, double blind ruled, ancient title label at head, upper joint and spine a bit cracked, sympathetic repair at foot, lower edge a little worn. Ownership inscription ‘Wolfg. Engelb. S.R.J. Com: ab Auersperg Sup. Cap. Cam. Cat. Inser: Anno 1655’ to head of title, several C16 marginal annotations with small sketched drawing reprising text, C19 bookplate of the Auersperg Palace library to front and small label of K.J. Hewett to rear pastedown.

A very handsomely and unusually bound Froben imprint, with fascinating textual and visual annotations, of Tertullian’s complete works. The contemporary binding resembles in style, though we have not found exact matches, those produced at the Franciscan monastery of Freiburg (Horodisch, ‘Buchbinderei’). In particular, it is reminiscent of the work of the bookbinder Peter Gay (fl.1560-1592), mixing solid blind-tooling with sparse gilt single tools and a gilt title, as in BL IA38479. In 1655, it was added to the library of Wolfgang Engelbert von Ausperger, a Lutheran aristocrat from Carniola, Slovenia, whose extremely rich family library stayed more or less intact until the second half of the C20.

Based on two mss from the monasteries of Peterlingen and Hirschau, edited by the German humanist and reformer Beatus Rhenanus (1485-1547), due to numerous errors in the sources, this edition was revised using a third ms. (Graesse VII, 69). Tertullian (155-240AD), of whom little is known, was born in Carthage and was probably a lawyer and priest. He became one of the earliest defenders of Christianity against pagan cults like Gnosticism; he was also the first writer in Latin to use the word ‘trinity’. This edition includes his sermons on patience, Christ’s flesh, its resurrection, martyrs, penitence, wives and monogamy. It also features his ‘adversus’ against the Jews and the Valentinians, as well as his most famous ‘Apologeticus’, which discusses key theological questions like the nature of Christ and the devil, the kingdom of God, the Roman religion, and why pagan deities should not be considered ‘gods’.

One early annotator of this copy was especially interested in heretics (with numerous references to St Augustine’s work on the subject), and in the ‘Adversus Marcionem’, against the errors of the Marcionites, a middle eastern movement often identified with a strand of the Gnostics. The annotator also had a strong visual imagination. Where Tertullian quoted from Cicero the phrase ‘naso agere’ to address the ‘fools’ who rate the same wisdom divine and human, he drew a face with a long nose. In ‘Ad Martyres’, he drew the portrait of Lucretia stabbing herself after being raped by an Etruscan king’s son. He was also interested in the sections on confession and ‘ecclesia’ in ‘De Poenitentia’, as he portrayed passages from the text: a priest confessing a crying man and a deer pierced by an arrow seeking to heal himself by eating chelidonium, an allegory of the repentant sinner (an image repeated in the index). He also annotated the two sermons on ‘the cult of women’ (esp. sections on ‘pudicitia’ and even the style of hair), and ‘the wife’ (esp. bigamy and trigamy). In ‘Apologeticus’, he illustrated with the words ‘blasphemia cornelii taciti’ the famous statement by Tacitus, reprised by Tertullian, that Christians were said by pagans to worship ‘the head of an ass’.

Graesse VII, 69 (mentioned); BM STC Ger., p. 853; Dibdin I, 207-8 (mentioned). A. Horodisch, ‘Die Buchbinderei des Franziskanerklosters zu Freiburg (Schweiz) im 16. Jahrhundert’, Rivista svizzera d’arte e d’archeologia 9 (1947), 157-80.


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RUGGIERI, Ferdinando, BOUCHARD, Giuseppe


RUGGIERI, Ferdinando, BOUCHARD, Giuseppe. Scelta di architetture antiche e moderne della città di Firenze. [with] Piante ed alzati interiori ed esterni dell’insigne chiesa di S. Maria del Fiore. [with] La Libreria Mediceo-Laurenziana architettura di Michelagnolo Buonarroti.

Florence, appresso l’Editore, 1755.


FIRST EDITION thus. Large folio. 4 vols, the fourth in two parts. I) engraved frontispiece, (x) pp., 1 folding map of Florence, 80 engraved plates; II) engraved frontispiece, (vi) pp., 80 engraved plates; III) engraved frontispiece, (vi) pp., 78 engraved plates (4 double-page); IV) 2 parts in 1. 1: (ii) pp., engraved portrait of G.B. Nelli, xxxxiv pp., 17 [i.e., 20] engraved plates (17 double-page, plate VIIIA on the same copperplate as VII), 2: engraved frontispiece portrait of Michelangelo, (iv) pp., engraved portrait of G.I. Rossi, XXXIII pp., (i) pp., 22 engraved plates (3 double-page), vol. IV/1 without engraved frontispiece. Engraved architectural frontispieces with allegorical personifications; typographical t-ps in red and black with engraved architectural vignette; 279 engraved plates with façades, fountains, floors and blueprints of Florentine monuments; engraved initials and ornaments. Edges untrimmed and little dusty, very occasional marginal oil spots or marks, I: intermittent light water stain to lower blank margin, II: occasional, very slight foxing, III: a few marginal oil splashes, IV: pl. 17 (Part I) a bit browned, remargined at first outer edge. A very clean, fresh set, completely uncut, in contemporary vellum, raised bands, gilt-lettered morocco labels to spine, worn, edges dust-soiled. Bookplate of Holland House c.1800 and Sir A.E. Richardson R.A. to front pastedown.

A good, fresh, clean copy, with its original edges, of the first edition of these lavishly illustrated collected works on Florentine architecture—ex-bibliotheca of the leading C20 British architect Sir A.E. Richardson. This is the second, enlarged edition of Ferdinando Ruggieri’s masterpiece of Baroque architecture, ‘Studio d’architettura civile sopra gli ornamenti di porte e finestre colle misure’ (1722-28). To this, the printer Joseph Bouchard added two further works on Santa Maria del Fiore and the Biblioteca Laurenziana, published in one volume. Bouchard perceived that ‘a number of important works on the architectural beauties of Florence were no longer easy to obtain, and the demand from Grand Tourists for such lavishly-illustrated volumes induced him to prepare the present composite reprint’ (BAL 2878). Vols I-III reproduce Ruggieri’s work, using the original plates, with a superb folding map of Florence and 238 engraved plates of portals, windows and façades of Florentine buildings, including Santa Maria della Neve, the Uffizi, the Duomo, the Casino dello Zuccari and the Loggia di Tornaquinci. Vol. IV is divided in two parts. The first, entitled ‘Piante ed alzati interiori ed esterni dell’insigne chiesa di S. Maria del Fiore’, was first published by Giovan Battista Nelli in 1733. In this second edition, it bears a learned introduction by Nelli’s son, concerning the historical structure of the Church of Santa Maria del Fiore, with detailed illustrations of its parts. A gem is his new study, illustrated on Plate XVII (recut by him), on the plan and outer ‘alzato’ of the Baptistry of San Giovanni Battista. Through strict architectural reasoning, Nelli undid the long-believed theory that the church had been a Temple of Mars in the early centuries AD (‘Bibliografia’, II, 282-83). The second part, entitled ‘La Libreria Mediceo-Laurenziana’ and originally published by G.I. Rossi in 1739, celebrates Michelangelo’s masterpiece, with 22 original plates illustrating this handsome and important building. A lavish, fresh and clean architectural set.

Sir A.E. Richardson (1880-1964) was a major architect, president of the Royal Academy, professor at University College London and founder of the Georgian Group, which looked back to the Neoclassicism of Sir John Sloane.

This copy is a remarkable survival from the star-crossed Holland House. Built in the C17, it became a centre for the Whig party under the ownership of Charles James Fox, first Baron Holland, and long remained at the centre of English social and political life. The house was partially destroyed during the Blitz of 1940, together with a portion of its handsome library, most of which suffered extensively from the secondary effects of the blaze. This handsome set was a very fortunate and fine survivor.

Brunet V, 1455-56; BAL 2878; Berlin Kat 2690. Not in Fowler. Bibliografia storico-ragionata della Toscana (Florence, 1805), II.


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De Magia, de observatione somniorum et de divinatione astrologica.

Cologne: Johann Gymnich, 1612.


12mo. pp. 324 (vi), lacking last two blanks as usual. Roman letter, little Italic. Woodcut IHS vignette to t-p, woodcut initials and ornaments. Varying degrees of browning, ink burn to B9 affecting two words. Contemporary vellum, title inked to spine, all edges sprinkled red. C19 armorial bookplates of L.A.G. du Plessis and Jules Édouard Potier de la Morandière.

Scarce edition of this fascinating and successful treatise on magic, dreams and divination, and superstition, first printed in 1591. Benito Pereyra, SJ (1530-1610) was a major Spanish theologian, philosopher and exegete, and an influential professor at the Collegium Romanum. Inspired by his lectures, his numerous works, on subjects including psychology and mathematics, played an important role in the formation of the principles of ‘Jesuit science’. His metaphysics and psychology in particular had ‘a significant impact on Protestant Germany and Holland’ (Lamanna, ‘Benet Perera’, 273). Based on ancient and modern sources, including Ficino, it groups together texts Pereyra had published as part of previous works: a chapter on alchemy from ‘De principiis’, and two on dreams and astrology from his commentaries to the ‘Book of Daniel’ and ‘Genesis’ (Bulm, ‘Benedictus’, 293). Pereyra begins the first book by distinguishing natural magic, based on the concealed and evident properties of things, from magic devoid of reason and truth, false and damaging, connected with demons, fraud and ‘maleficia’, a danger to society. He proceeds with a study of demonic powers, with the assistance of magicians, the nature of miracles, as well as astrology, the kabbalah, necromancy and alchemy, with a conclusion on the origins of magic. The famous psychologist C.G. Jung devoted a long footnote in his ‘Psychology and Religion’ to Pereyra’s ‘excellent tract’ about dreams, the second part of ‘De Magia’. Pereyra identifies four causes of dreams—bodily affections, emotional commotions of the mind, the power of demons, and true divine presence—considering the functions of reason and will. Inspired by Pico’s ‘Adversus astrologiam’, the third part, on judicial astrology and divination, includes chapters on the vanity of oracles, demonic prophecies, the impossible mediation between Christian and astrological truth, astrologers’ predictions (with mention of comets). For its attention to the powers and nature of demons, it has been considered ‘not only a treatise of witchcraft and magic, but also a manual of exorcism’ (Bib. Esot. 3605).

Louis Alexandre Adolphe Gitton Duplessis (1800-1888) was a French lawyer, politician and bibliophile, whose collection was purchased en bloc by the architect Jules Édouard Potier de la Morandière, after his death.

Newberry, Loyola and Cornell copies recorded in the US.

Backer-Sommervogel, VI, col. 504, n.4; BL STC Ger. C17 P344; Bib. Esot. 3605: ‘très rare’. Not in Caillet, Duveen or Yve-Plessis. M. Lamanna, ‘Benet Perera’, in Jesuit Philosophy on the Eve of Modernity, ed. C. Casalini (Leiden, 2019), 270-92; P.R. Blum, ‘Benedictus Pererius: Renaissance Culture at the Origins of Jesuit Science’, Science & Education 15 (2006), 279-304.


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EUSEBIUS, of Caesarea


The auncient ecclesiasticall histories of the first six hundred yeares after Christ, ..faithfully translated out of the Greeke tongue by Meredith Hanmer,

London, by Thomas Vautroullier dwelling in the Blackefriers by Ludgate, 1585.


Folio. Five parts in one volume. pp. [xii], 190, 201-404, [iv], 405-600, [xxii]. *, A-2X, 2Y, 2Z-3E, 3F. Complete with both blanks R4 and Ddd6. “‘The ecclesiasticall historie of Socrates Scholasticus’, ‘The ecclesiasticall historie of Eeuagrius [sic] Scholasticus’, ‘The liues, the ends, and the martyrdomes of the prophetes, apostles, and seuentie disciples of our Sauiour, written in Greeke by Dorotheus ..”, and “A chronographie” each have separate dated title page; pagination and register are continuous.” ESTC. Gothic, Roman, and Italic letter. Vautroliers woodcut printer’s device on each title, fine woodcut initials head and tailpieces, typographical ornaments, ‘Henry Langley’ in contemporary hand to lower margin of t-p, ‘Thomas Carlton oweth this book Anno dni 1598’ on verso of t-p, ‘Me Thomas Ussher possedit hunc liber’ with price 8/s above, another dated 1598 at head of dedication in Gaelic?, ’To my ever loving friend Edward Harte, Anno Domino 1635’ ms. on verso of last leaf of second work, with ‘Thomas Barton’, ‘Richard Noreton’, ‘ and ‘Edward Harte’ in the same hand on third title, charming mss love note with the initials WI within a heart on verso of last, ‘Fitzherbert Queens coll camb’ on fly in C19th hand, bookplate of ‘Jean Oliver’ on pastedown. Light age yellowing, minor waterstain in places in lower blank margin, the odd marginal spot or thumb mark. A very good copy, crisp and clean, in contemporary English calf, covers triple blind ruled to a panel design, large acorn and oak leaf fleuron blind stamped to corners of outer panel, large blind stamped, scroll-worked arabesque at centres, lettres R H blind stamped to sides, E W above and below, spine with raised bands, blind ruled, later red morocco label gilt, rubbed.

A handsome copy of the second edition of the first published English translation, beautifully printed by Vautrollier, of the most important ecclesiastical histories produced in ancient times; the work includes, besides Eusebius, the continuations by Socrates Scholasticus, Euagrius, and Dorotheus. The translator, the historian Meredith Hanmer (1543-1604) dedicates this second edition to Robert, Earl of Leicester; the dedication is dated 15 December 1584. “Hanmer (1543-1604) was the author of the first complete English translation of Eusebius, Socrates and Euagrius: The Auncient Ecclesiasticall … In 1563, just five years after Elizabeth ascended to the throne, John Foxe had published the first edition of his Acts and Monuments (The Book of Martyrs). To some extent, Hanmer’s book was an interesting offshoot of Foxe’s project. Because Protestants of the sixteenth century were quite interested in patristic sources, there began to be a market for English translations of the Fathers. Foxe’s famous book was based, at least in part, on Eusebius, and so it is no surprise that an English translation of his Church history was not long in coming.” Eugenio Olivares Merino.Mary Roper Clarke Bassett and Meredith Hanmer’s Honorable Ladie of the Lande’ The first English translation was by Mary Basset, the granddaughter of Sir Thomas More, made between 1544 and 1553; It is possible that Hanmer had seen this translation and that he makes oblique reference to her work in the prologue to his translation.

The Church History Historia Ecclesiastica or Historia Ecclesiae) of Eusebius, the bishop of Caesarea was a 4th-century pioneering work giving a chronological account of the development of Early Christianity from the 1st century to the 4th century. It was written in Koine Greek, and survives also in Latin, Syriac and Armenian manuscripts. The result was the first full-length historical narrative written from a Christian point of view Eusebius, without intending it, founded a school of church historians, who continued the thread of his story from Constantine the Great to the close of the sixth century, and, like him, limited themselves to a simple, credulous narration of external facts, and a collection of valuable documents, without an inkling of the critical sifting, philosophical mastery, and artistic reproduction of material, which we find in Thucydides and Tacitus among the classics, and in many a modern historian. None of them touched the history of the first three centuries; Eusebius was supposed to have done here all that could be desired. The histories of Socrates, Sozomen, and Theodoret run nearly parallel, but without mutual acquaintance or dependence, and their contents are very similar. Evagrius carried the narrative down to the close of the sixth century. All of them combine ecclesiastical and political history, which after Constantine were inseparably interwoven in the East; and (with the exception of Philostorgius) all occupy essentially the same orthodox stand-point. They ignore the Western church, except where it comes in contact with the East.” History of the Christian Church, Volume III: Nicene and Post-Nicene Christianity. A.D. 311-600.

Thomas Ussher could well be the Thomas Ussher of Dublin (given the Gaelic inscription in his hand), died 1610, who was the son of Henry Ussher (c.1550 – 2 April 1613) the Irish Protestant churchman, a founder of Trinity College, Dublin, and Church of Ireland Archbishop of Armagh. He is recorded in the ‘The Ussher memoirs; or, Genealogical memoirs of the Ussher families in Ireland’ as requesting James Ussher, to preach at his funeral, for whom, as an ecclesiastical historian, this work would have been of the greatest interest. Hamner’s translation was the only available in England, and went through at least 10 editions before the end of the seventeenth century. A handsome copy of this important  work with most intriguing Provenance.

ESTC S121375. STC 10573. Lowndes II 762.


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Poems, VVith elegies on the authors death.

London, by M[iles]. F[lesher]. for John Marriot, 1635.


8vo. [xii], 388, [xxxii] Roman letter, some Italic. Engraved portrait of Donne within oval, verse beneath, floriated woodcut initials, engraved bookplate of Bayfield Hall Library, ‘The Richard Jennings copy in pencil’ ms in pencil, Robert Pirie’s below, front e-ps. waste from a bible in double column, very rare marginal spot or mark. A fine copy, crisp and clean, in contemporary calf, covers bordered with a double blind and single gilt rule, spine gilt ruled in compartments, a.e.r. tiny restoration to lower upper joint, in a sumptuous velvet lined red morocco folding case.

The important second edition, enlarged with many new poems, exceptionally rare in a contemporary binding, the second collected edition of the greatest of all the metaphysical poets and the first edition of seventeen of Donne’s poems. It is the first edition of the poems with the famous engraved portrait of Donne aged 18. “engraved by Marshall; the painting from which the engraving is done is not known. .. His dress is plain, but he is represented with long hair and a large ear-ring in the shape of a cross hanging from his right ear. His right had is grasping the hilt of his sword. .. below are eight lines of verse specially written for this book, beginning: ‘This was for youth, Strength Mirth and wit’, and signed Iz:Wa [Izaak Walton]” Keynes. A fine fresh copy.

Donne considered having some of his poems printed for private circulation at his own expense during his lifetime. However, this was not to be, and the poems continued to circulate in manuscript form, until their posthumous publication in 1633. The poems were collected, from a number of manuscript sources, include a mixture of Holy Sonnets, Epigrams, Elegies, satires and letters to various of Donne’s friends. Donne is the first and most famous of the English metaphysical poets, and his poetry, while sometimes impenetrable to the casual reader, is, by turns, moving, eloquent, charged with a malicious humour, and full of the energy of early love. Donne’s poetry can be broadly divided in two; his earlier poems on the theme of love, and the poems he wrote in his middle years and after, following his entry into the Church, which are more spiritual. Very little of Donne’s work survives in holograph, making the early editions especially important.

“In this edition the pieces have been rearranged and there are some changes in the text; They include all that had appeared in 1633, with the exception of Basse’s Epitaph upon Shakespeare, and Thomas Browne’s elegy on the author. Of the thirty seven pieces that have been added twenty-nine are poems supposed to be by Donne; of these one (no. 17) appears twice and eleven are not accepted as genuine. This edition contains therefore seventeen additional poems by Donne ” Keynes.

The very important second edition, particularly rare in a contemporary binding in a fresh crisp state.

STC 7046. ESTC S1701. Keynes, Donne 79. Not in Pforzheimer (1st and 3rd edns only). Grolier 286. Hayward 54.


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SAINT GERMAN, Christopher

Saint German, Christopher. The fyrste dyalogue in Englysshe, wyth newe addycyons. London, R. Wyer, 1531. [with]. Saint German, Christopher. The secunde dyalogue i[n] englysshe wyth new addycyons. London, in Southwarke by Peter Treueris, 1531. [with]. Saint German, Christopher. Here after foloweth a lytell treatise called the newe addicions. [London] Thomas Bertheletus regius impressor excudebat, anno domini. 1531.


8vo. 3 works in one volume. 1) ff. lxxviii [ii] 2) ff. 166, [vi]. 3) ff. 22 [ie 32] leaves ;  8. Black Letter. Woodcut royal arms on first title-page, small woodcut on verso of last of St. John the Evangelist with xylographic ‘Robert Wyer’ below, small woodcut initials some white on black, small woodcut of Christ and the trinity on verso of last page of text in second work, title of third part within woodcut border, ’Will Stamfold’ in contemporary hand at head of t-p, another below, ‘John Thrower of ..’ in early hand on verso of last, contemporary note partially rubbed out on verso of last of second work (small hole just affecting on letter on verso) ‘John Colinye’ in later hand below, C19th mss ex dono to Mr Samuellson on fly. Very light age yellowing, first title very slightly dusty, light marginal stain or spot in a few places. Very good copies, crisp and clean in seventeenth century speckled English calf, covers double blind ruled to a panel design, blind fleurons to outer corners, initials GB gilt stamped at centres, rebacked, spine with raised bands gilt ruled in compartments, a.e.r.

Rare second edition in English of an extremely important work in the history of English law. First published in 1528 as Dialogus de fundamentis legum Anglie et de conscientia, St German’s influential dialogue between a Doctor of Law and a student was first published in English in 1530. The present edition (the second), further revised, is bound with the similarly revised second edition of the Second dialogue first published by Treveris at the end of November 1530. The work is an investigation of the inter-relationship between the foundations of English law and conscience, cast in the form of an exchange between a doctor (or teacher) and a student. This form is kept in the English translation. ‘The New addicions’ printed by Berthelet form a separate piece, and these thirteen chapters are concerned with parliament’s jurisdiction in spiritual matters.

“Christopher Saint Germain was a legal writer and controversialist, born about 1460, was educated at Oxford, as a member, it is said, of Exeter College. He then entered the Inner Temple, where he studied law and was called to the bar. As a rule Saint-German avoided politics, and confined himself to legal and literary work, and to the collection of a library which exceeded that of any other lawyer. In religious matters Saint-German was a moderate reformer. Saint-German is, however, chiefly remembered as author of ‘Doctor and Student,’ a handbook for legal students, which was not superseded until the appearance of Blackstone’s ‘Commentaries.’ This work was first issued by Rastell in 1523 in Latin, under the title ‘Dialogus de Fundamentis Legum et de Conscientia.’ Herbert possessed a copy, but none is now known to be extant. Another edition was published by Rastell in 1528. An English translation, entitled ‘A Fyrste Dialoge in Englysshe,’ was brought out in 1531 by Wyer, and a ‘Second Dialoge in Englysshe’ was published by Peter Treveris in 1530. Both these were printed in 1532 ‘with new addycions’. Subsequent editions were numerous.”DNB

The Dialogue “was of enormous importance. It appeared just before the secularisation of the Chancery by Henry VIII, and emphasised and preserved those rules of equity derived from canon law in a format readily understandable by common lawyers and all learned men. In so doing, it laid the foundation for English equity jurisprudence. Although St. German was technically a common lawyer, his work was influenced by civilian ideas both through and apart from the obvious canonist influences. St. German may also have been influenced by the continental Bartolists, who tested the rules of the secular civil law with cases of ‘conscience’. He attempted to do the same with the English common law as applicable ‘secular’ law. The result was a pioneer excursion into comparative law and a brilliant attempt to analyse the legitimate sources of English law.  St. Germain was firmly patriotic, anti-clerical and conservative; but, unlike Littleton, he boldly and critically analyzed the sources of the English national law. His object was mutual reinforcement between custom and reason, nationalism and learning. His true heir would be Francis Bacon” Daniel R. Coquillette. ‘Comparative Studies in Continental and Anglo-American Legal History’.

A very good copy of this rare and important work complete with all three parts.

1) ESTC S104738. STC 21562. 2) ESTC S104655. STC 21566. 3) ESTC S110793. STC 21563.


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WILBYE, John [with] YONGE, Nicholas


Wilbye, John. The first set of English madrigals to 3.4.5. and 6. voices: newly composed by Iohn Wilbye. [Bassus] London, Printed by Thomas Este, 1598. [with]

YONGE, Nicholas. Musica transalpina. Madrigales translated of foure, five and sixe parts, chosen out of divers excellent authors, with the first and second part of La Verginella, made by maister Byrd, upon two stanza’s of Ariosto. [Bassus] London, By Thomas East, the assigné of William Byrd, 1588.


FIRST EDITIONS. Two works in one. 4to. 1) [ii], XXX. A-D. 2) ff. (ii) LVII (i) A² A-G (without last blank). Woodcut type notation, Roman letter. Both titles within typographical border with small woodcut ornaments, floriated and historiated woodcut initials in second work, full page woodcut arms of dedicatee Gilbert, Lord Talbot on verso of second title. Light even browning in both works, first t-p and verso of last dusty, small waterstain to blank lower outer corner of first few leaves, minor waterstain in places, rare mark or spot. Very good original copies, entirely unsophisticated in original limp vellum, upper cover with BASSUS stamped in black, lower cover stamped with B above with monogram WR separated with a heart at centre, holes for ties, a little soiled and stained, a little loose in binding, in fldg. box.

Very rare first editions of these madrigals, both of them bass parts, remarkably, and exceptionally rarely, preserved in their original vellum; this is of particular importance as it shows exactly how the work would have been used at the time. If you sang bass you would only have needed the bass parts. Most extant copies of such works have collected various parts together and have been rebound for reference, not for use. The first work is the first collection of Madrigals by Wilbye and the second is an important collection of madrigals that include works by Byrd, Donato, Lassus, and Palestrina amongst many others.

“It is through his madrigals that Wilbye (1574–1638), who spent most of his life in comparative obscurity as a domestic musician, is known. The New Grove Dictionary of Music and Musicians (2001) describes him as ‘one of the finest English madrigalists’. Meanwhile, the Tudor music specialist Edmund Horace Fellowes yet more superlatively stated that Wilbye was ‘regularly acknowledged to be the greatest stylist of the Elizabethans’ (introduction to his edition of the First Set of Madrigals). He also asserted him to be ‘one of the greatest figures in English Music’ (The English Madrigal Composers, 2e, 1948, p. 221). Wilbye wrote in all styles to a high standard. Yet more importantly, he established the serious madrigal as a recognised form of composition. Wilbye published 64 madrigals in all, the 30 here (1598) and the rest in his Second Set of Madrigales (1609). They are written for between three and six voices. .. For the book historian, the volume is also interesting for its publisher, Thomas Este, or East (1540–1608). From 1587 onwards, East specialised in music printing and publishing. He edited music carefully and was faithful to the intentions of the composers. He was ‘the’ madrigal printer of his time, having printed the Musica Transalpina in 1588 (the first printed collection of Italian madrigals with texts translated into English), most of the following collections of ‘Englished’ Italian madrigals of the time, and the works of many of the Elizabethan madrigalists. Both William Byrd and, later, Thomas Morley sometimes employed him. As well as printing the work of established composers, East invited young, up-and-coming composers to his press – one of who was Wilbye.” Dr Karen Attar ‘Senate House Library.’

“The most important formative influences on Wilbye’s music were Morley’s canzonet manner and, to a lesser extent, the madrigalian idiom of Alfonso Ferrabosco… The most marked influence of Morley is to be heard in the three-voice pieces that open Wilbye’s First Set of English Madrigals (1598). Here Wilbye already shows a firm command of Morley’s facile canzonet style, generating fluent little paragraphs that are as polished as they are unenterprising. Signs of Ferrabosco’s influence may be most clearly discerned in certain of the five-voice works of this collection, with their more staid expression and counterpoint. Lady, your words doe spight mee actually uses a text already set by Ferrabosco (in Yonge’s Musica transalpina, 1588), and is the only example of Wilbye’s borrowing some musical material from an earlier setting. The best of the five-voice pieces is Flora gave mee fairest flowers, a far more canzonet-like piece, whose clearcut paragraphs and specially sprightly conclusion contrast sharply with the amorphous counterpoint and relatively neutral expression of its companions.” David Brown in Grove Music Online.

“Yonge was the editor of two anthologies of Italian madrigals published, with English texts, as Musica transalpina in 1588 and 1597. The first contains 57 pieces (including an English version of La verginella by Byrd with a new second part, and four settings of French texts) by 18 composers, of whom the most liberally represented are the elder Ferrabosco and Marenzio. In 1583 and 1585 Pierre Phalèse of Antwerp had issued three madrigal anthologies which not only provided the model for Yonge’s venture, but also afforded him a quantity of Italian madrigals by minor Flemish composers (19 pieces came from these three sources). Yonge’s 1588 collection was a direct result of the growing English enthusiasm during the 1580s for Italian madrigals. He explained that most of the English translations had been made in 1583 by ‘a Gentleman for his private delight’. ..Yonge’s 1588 volume was the most influential of the five volumes of Italian madrigals in translation to appear in England between 1588 and 1598.” David Brown in Grove Music Online.

1) ESTC S101316 STC 25619. Hirsch III, 1150. RISM W1065. 2) ESTC S120284 STC 26094. RISM Recueils Imprimés XVIe-XVIIe Siècles 1588-29.

1) Folger (4 copies), Princeton, Illinois (2 copies).

2) Folger, Harvard, Huntington, Lib Congress, Texas


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