PERSIUS.

Auli Persii Flacci Satirarum liber. Isaacus Casaubonus recensuit, & commentario libro illustravit. Ad virum amplisissmum D. Achillem Harlaeum senatus principem. (Volume 2: Isaaci Casauboni in Persii Satiras Liber commentarius. Eiusdem Persiana Horatii imitatio)

Paris (Parisiis), Apud Hieronymum Drouart, 1615. 8vo. 2 volumes in 1: (XV),(1 blank),43,(4),(1 blank); (XXXII),558,(26 index) p. Vellum 17.5 cm (Ref: Schweiger 2,711; Graesse 5,212; Ebert 16282; Smitskamp, 'The Scaliger collection', no. 116) (Details: 5 thongs laced through the joints. The first title shows an engraving of a 'thiasos': a drunken Bacchus is carried off by a bunch of satyrs, accompanied by some revellers. The second title has an oval woodcut printer's mark; it depicts a thisle flank by the initials A and D. of Ambrosius (Ambroise) Drouart, the brother of Hieronymus (Jerôme). Hieronymus kept using his brother's printer's after his death in 1608; the motto, in fact 2 mottoes, reads: 'Nul ne s'y frote', 'patere aut abstine' ('let no one meddle', and 'bear of forebear'). The first volume contains a preface, the Latin text of the Satires and 18 pages with 'Glossae veteres in Persium'. The second volume contains the commentary of Casaubon) (Condition: Vellum age-tanned and somewhat soiled. All four ties gone. Endpapers worn and somewhat soiled. First title dustsoiled, and its right margin is very thumbed) (Note: The well-born and well-to-do Roman poet Aulus Persius Flaccus, 34-62 A.D., produced during his short life one book (libellus) with 6 satires, together 650 hexameters. 'They are well described as Horatian diatribes transformed by Stoic rhetoric'. (OCD 2nd ed. p. 805) The first is 'on the decay of literary taste in his own time and the neglect of the manly Republican authors, the second on vanity of wealth and luxury, the third on idleness, the fourth on self-knowledge, the fifth on true liberty, the sixth on the proper use of riches'. (H.J. Rose, 'A History of Latin Literature', London, 1967, p. 377) The style is obscure, contorted and crammed with allusions to Horace and Lucilius. He was much read in antiquity and admired as a moralist in the Middle Ages, but now he is found dull, too difficult, cryptic, too far fetched, and too complicated. 'So fühlte sich zumal das 19. Jh. von seinem vielschichtigen Stil abgestossen, während sich erst neuerdings eine gerechtere Würdigung durchsetzen beginnt'. (Neu Pauly, 9, 619) A specimen of this new appraisal is the following quote: 'The elements of composition in Persius' satires - words and ideas, images, steps in the argument, registers of speech and literary style, speeches in dramatic dialogue- are abruptly or peculiarly, even bizarrely, combined. One is faced by an unpredictable, surprising series of conceptions; continuous attention is necessary if one is to understand. However, the surprises and incongruities are often observably intelligent, apt and curiously artistic. From a literary point of view, the quality of continual surprise in Persius' style makes the Satires amusing to read'. (J.R. Bond, 'Persius, the Satires', Warminster 1980, p. 5) § This 1615 Persius edition is a reissue of the edition previously published in 1605, also from the presses of the Drouart brothers. The Latin text was based on that which was edited by the French scholar Pithou in Paris in 1585. The edition of 1605 and its extensive commentary were produced by the French protestant scholar Isaac Casaubon, 1559-1614, the first critical commentator of Persius. His preface is a vigorous defense of Persius' Stoic earnestness end philosophic constancy. 'The ethical interest is strong in his Persius (1605), on which he had lectured at Geneva and Montpellier, and his commentary on the Stoic satirist, of which Scaliger said that the sauce was better than the meat, was reprinted in Germany as late as 1833, and has been ultimately merged in Conington's edition' (of 1872)) (Provenance: On the front pastedown the name: 'E.A. Groenman, 1839'. We found an Albertus Groenman, 1814-1861, member of the 'Provinciale Staten van Groningen' from 1851 till 1859, elected for Zuidhorn, profession manufacturer and merchant. He might have been the owner once) (Collation: a8, A8, b-c8, â8, ê8, A-Z8, 2A-2NO8, 2O4) (Photographs on request)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 120143

Catalogue: Old and Rare books

Keywords: (Oude Druk) (Rare Books) Latin literature Persius antike altertum antiquity römische Literatur satire satyra

JUVENALIS & PERSIUS.

D. Junii Juvenalis et Auli Persii Flacci Satyrae: cum Veteris Scholiastae & Variorum Commentariis. Accurante Cornelio Schrevelio.

Leiden (Lugd. Batav.), Ex officina Hackiana, 1671. 8vo. (XVI),604,(42 index) p. Vellum 20 cm (Ref: STCN ppn 840013876; Schweiger 2,511; Dibdin 2,154; Moss 2,158/9; Ebert 11242; Graesse 3,520) (Details: 5 thongs laced through both joints. Short title in ink on the back. The engraved title, which is not signed, is used here for the third time. It was first used for the original edition of 1648, for a repetition in 1658, and for this 1671 reissue. In 1648 the engraved title still bears the name of the engraver, it is executed by the Dutch Golden Age engraver Reinier van Persijn. The title depicts a complicated allegorical scene: on the left a naked woman sitting on a crocodile, holding in her hand a parrot; then a Janus-headed woman, with bird feet and a tail, holding up in her left hand a Momus-mask, and in her right 2 flaming hearts; in the centre sits on a throne an old woman, holding in her left hand a sack of money (?), and in her right what seems a little flask; on the right in the foreground a king reaching for that sack; he is accompanied by a priest, a farmer (?) and a soldier; in a window central above the old woman we see the ascension of the poet. See for an explanation of the allegory the note below) (Condition: Vellum age-toned and soiled. Boards worn at the extremities. Front hinge cracking but still strong. Front flyleaf loosening. Name on the front flyleaf. Small old inscription on the rear pastedown. Occasional small ink underlinings. Small wormhole in the right lower corner of the first 14 gatherings, never even coming near to the text) (Note: The Roman poet Juvenalis, ca. 55-140 AD, was the last and most influential of the Roman satirists. He 'uses names and examples from the After p. 65 has been added a plate showing a allegoric triumph scene with prince Frederik Hendrik of Orange. See for this plate: rkd.nl/nl/explore/portraits/record?filters[plaats][]=Den+Haag&filters[kunstenaar][] =Vinckboons%2C+David+%28I%29&query=&start=2)past as protective covers for his exposés of contemporary vice and folly'. His main theme is the dissolution of the social fabric. (The Classical Tradition, Cambr. Mass., 2010, p. 501) The satires of the stoic poet Aulus Persius Flaccus form one 'libellus' of 6 satires, together 650 hexameters. 'They are well described as Horatian diatribes transformed by Stoic rhetoric'. 'He wrote in a bizarre mixture of cryptic allusions, brash colloquialisms, and forced imagery'. (OCD, 2nd ed. p. 805) This edition of 1671 is a 'Variorum' edition. It offers the 'textus receptus' which is widely accepted, accompanied with the commentary and the annotations of specialists, taken from earlier useful, normative or renewing editions. Editions like these, 'cum notis Variorum', were useful, but never broke new ground. The production of this kind of editions was the specialty of Dutch scholars of the 17th and 18th century. The compilers seldom were great scholars, but often hard working schoolmasters. Their involvement in publishing a new edition was limited to the necessary, but ungrateful task of the beast of burden. Such a plodder was the Dutch editor Cornelius Schrevelius, who taught classics at the Schola Latina at Leiden, where he had been raised himself. In 1642 he succeeded his father, Theodorus Schrevelius, as the rector (Moderator) of the school. He raised at least 11 kids, and fell in 1664 victim to the then raging plague. His first Juvenal edition he published in 1648, and it was reissued by Hackius in 1658, 1664 and in 1671. Schrevelius' aim was to promote the studies of his young students and to instill in them a necessary fear (optatam metam), which would make them useful citizens and the pride of their parents. Juvenal is a suitable author for such an enterprise, for he flogs wrongdoers, and learns them to avoid the path of wickedness and to embrace honesty. (Dedicatio p. *2 verso) Especially in shameless times as ours, he continues, satyre is needed. Decent behaviour and faith have been replaced by deceit and swindle. In a short 'Benigno Lectori' (*4 verso and *5 recto) Schrevelius tells that he relies for the text on the earlier editions of Robertus Stephanus and Pithoeus, and that he excerpted the notes and commentaries of Lubinus, Farnabius and Casaubon. In addition he offers, he says, a complete and emendated edition of the old Scholiast. Schrevelius even used two excellent manuscripts which were lent to him by the Leiden professor Salmasius, which, he tells, helped him to solve many difficult problems. § The engraved title deserves some attention. The easiest description we found was 'an engraved title with many figures'. To us, it seems an allegorical scene based on the tenth satire, Juvenal's famous declamation on the folly of men in desiring in their prayers from the gods vane things as honor, fame, wealth, power, beauty, or a long life, instead of a sane spirit in a healthy body. 'Whole households have been destroyed by the compliant gods in answer to the masters' prayers. In camp (nocitura militia) and city (nocitura toga) alike we ask for things that will be our ruin'. (Vss. 7/9, in the Loeb-translation of Ramsay) Juvenal offers a list of pityful examples, such as the once powerful Sejanus, who like the Libyan general Gadaffi many centuries later was 'being dragged along by a hook, as a show and joy to all'. (Vss. 66/67, translation Ramsay) Victims of their lust for power were Alexander the Great, Xerxes, or the punic conqueror Hannibal, the man who was once about to destroy Rome. We assume that the royal figure who reaches out for the sack of money, or from whose hands it is being snatched, is Hannibal. The clue for this assumption is the woman on the crocodile. Such a woman was in 17th century iconography the common personification of Africa, for instance on maps. The fate of this scourge of Rome is treated by Juvenal in evocative language in 20 beautiful verses. It begins like this: 'Put Hannibal into the scales; how many pounds' weight will you find in that greatest of commanders? This is the man for whom Africa was all too small'. (vs. 147/8). Together with the old woman he is the central figure on the title. The positioning of the three woman brings in mind a Triad, a triple diety, such as the Graces, the Moirai or Fates, or the Harpies. The Erinyes, the avenging spirits, also sometimes form a trinity. The standing woman seems to be a mixture of an Erinye and a Harpy. She has some features of such a Harpy, the personification of deamonic powers, and an agent of terrible punishment. She is bare breasted and stands on huge bird claws, with which she abducts the souls of the dead to their doom. In her right hands she holds, instead of the usual horrifying snake, a Momus mask, which personifies satire and mockery, the power to make a fool or ass of someone. In her left hand rest two flaming hearts, catholic imagery, distastful to the protestants, and therefore perhaps reprensenting idolatry. Her double faced Janushead, looking to the future and the past, might be an image of Time. The old woman on the throne is the central figure on the title. To her all movement on the picture is directed. She has the features of Atropos, the riged and inflexible one, the oldest of the 3 Moirai, or Fates, and in iconography often depicted as an old woman. She has power over life and death, and represents the fate that cannot be avoided. She holds Hannibal's fate in her hands. She withdraws the sack of money (power) and offers with her right hand the once mighty suppliant a little flask or small beaker, with the invitation to poison himself. Juvenal on Hannibal's unglamorous bleak death: 'What then was his end? Alas for glory! A conquered man, he flees headlong into exile, and there he sits, a mighty and marvelous suppliant, in the Kings's antichamber, until it pleases his Bithynian Majesty to awake! No sword, no stone, no javelin shall end the life which once wrought havoc throughout the world: no, but that which shall avenge Cannae and all those seas of blood, a ring (containing poison)'. (Vss 158/165, translation Ramsay) The engraver follows for this scene the better known version of the Roman historian Livy. In chapter 51 of the 39th book of his History of Rome, 'Ab Urbe Condita', Livy tells that Hannibal took his poison in an 'poculum' cup/goblet/bowl/beaker) (Provenance: Manuscript ownership entry of 'A.J. Enschedé' on the front flyleaf. Adriaan Justus Enschedé, 1829-1896, was a member of a famous Dutch dynasty of printers. His forefather Izaak Enschedé established himself in Haarlem in 1703, and there the firm remained for more than 300 years. The firm was, and still is famous for the quality of its printing of bonds and banknotes. In 1810 they printed the first Dutch banknotes. Adriaan Justus entered the firm and kept it flourishing. From 1857 onward he was also Keeper of the archives of the city of Haarlem. He wrote several books on the history of Haarlem, and on the history of the Wallon Church in the Netherlands) (Collation: *8, A-2R8 2S4 (2S4 blank)) (Photographs on request)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 130097

Catalogue: Old and Rare books

Keywords: (Oude Druk) (Rare Books) Altertumswissenschaft Altphilologie Antike Antiquity Hannibal Iuvenalis Juvenal Juvenalis Latin literature Satiren Satires Satyrae Schrevelius classical philology römische Literatur

JUVENALIS & PERSIUS.

D. Junii Juvenalis et Auli Persii Flacci Satyrae: cum Veteris Scholiastae & Variorum Commentariis. Accurante Cornelio Schrevelio.

Leiden (Lugd. Bat.), Apud Franciscum Hackium, 1658. 8vo. (XVI),638,(42 index) p. Overlapping vellum 20 cm (Ref: STCN ppn 840202245; Schweiger 2,511; Dibdin 2,154; Moss 2,158/9; Ebert 11242; Graesse 3,520) (Details: 6 thongs laced through both joints. Shorttitle in ink on the back. The engraved title, which is not signed, is used here for the second time. It was first used for the original edition of 1648, of which this 1658 edition is a reissue; The engraved title of 1648 still bears the name of the engraver, it is executed by the Dutch Golden Age engraver Reinier van Persijn; for this edition of 1658, the X before LVIII was simply filed away from the copper plate, and at the same time the name of Persijn, just beneath the X. The title depicts allegorical scenes: on the left a naked woman sitting on a crocodile, holding in her hand a parrot; then a Janus-headed woman, with bird feet and a tail, holding up in her left hand a Momus-mask, and in her right 2 flaming hearts; in the centre sits on a throne an old woman, holding in her left hand a sack of money (?), and in her right what seems a little flask; on the right in the foreground a king reaching for that sack; he is accompanied by a priest, a farmer (?) and a soldier; in a window central above the old woman we see the ascension of the poet) (Condition: Vellum age-toned and slightly worn. Oddly enough a previous owner has replaced the vanished X in the impressum for a new one in ink. Outer margin of the first 2 leaves sligthly thumbed) (Note: The Roman poet Juvenalis, ca. 55-140 AD, was the last and most influential of the Roman satirists. He 'uses names and examples from the past as protective covers for his exposés of contemporary vice and folly'. His main theme is the dissolution of the social fabric. (The Classical Tradition, Cambr. Mass., 2010, p. 501) The satires of the stoic poet Aulus Persius Flaccus form one 'libellus' of 6 satires, together 650 hexameters. 'They are well described as Horatian diatribes transformed by Stoic rhetoric'. 'He wrote in a bizarre mixture of cryptic allusions, brash colloquialisms, and forced imagery. (OCD, 2nd ed. p. 805) This edition of 1658 is a 'Variorum' edition. It offers the 'textus receptus' which is widely accepted, accompanied with the commentary and the annotations of specialists, taken from earlier useful, normative or renewing editions. Editions like these, 'cum notis Variorum', were useful, but never broke new ground. The production of this kind of editions was the specialty of Dutch scholars of the 17th and 18th century. The compilers seldom were great scholars, but often hard working schoolmasters. Their involvement in publishing a new edition was limited to the necessary, but ungrateful task of the beast of burden. Such a plodder was the Dutch editor Cornelius Schrevelius, who taught classics at the Schola Latina at Leiden, where he had been raised himself. In 1642 he succeeded his father, Theodorus Schrevelius, as the rector (Moderator) of the school. He raised at least 11 kids, and fell in 1664 victim to the then raging plague. His first Juvenal edition he published in 1648, and it was reissued by Hackius in 1658, 1664 and in 1671. Schrevelius' aim was to promote the studies of his young students and to instill in them a necessary fear (optatam metam), which will make them useful citizens and the pride of their parents. Juvenal is a suitable author for such an enterprise, for he flogs wrongdoers, and learns them to avoid the path of wickedness and to embrace honesty. (Dedicatio p. *2 verso). Especially in shameless times as ours, he continues, satyre is needed. Decent behaviour and faith have been replaced by deceit and swindle. In a short 'Benigno Lectori' (*4 verso and *5 recto) Schrevelius tells that he relies for the text on the earlier editions of Robertus Stephanus and Pithoeus, and that he excerpted the notes and commentaries of Lubinus, Farnabius and Casaubon. In addition he offers, he says, a complete and emendated edition of the old Scholiast. Schrevelius even used two excellent manuscripts which were lent to him by the Leiden professor Salmasius, which helped him to solve many difficult problems. The engraved title deserves some attention. The easiest description we found was 'an engraved title with many figures'. To us, it seems an allegorical scene based on the tenth satire, Juvenal's famous declamation on the folly of men in desiring in their prayers from the gods vane things as honor, fame, wealth, power, beauty, or a long life, instead of a sane spirit in a healthy body. 'Whole households have been destroyed by the compliant gods in answer to the masters' prayers. In camp (nocitura militia) and city (nocitura toga) alike we ask for things that will be our ruin'. (Vss. 7/9, in the Loeb-translation of Ramsay) Juvenal offers a list of pityful examples, such as the once powerful Sejanus, who like Libyan general Gadaffi many centuries later was 'being dragged along by a hook, as a show and joy to all'. (Vss. 66/67, translation Ramsay) Victims of their lust for power were Alexander the Great, Xerxes, or the Punic conqueror Hannibal, the man who was once about to destroy Rome. We assume that the royal figure who reaches out for the sack of money, or from whose hands it is being snatched, is Hannibal. The clue for this assumption is the woman on the crocodile. Such a woman was in 17th century iconography the common personification of Africa, for instance on maps. The fate of this scourge of Rome is treated by Juvenal in evocative language in 20 beautiful verses. It begins like this: 'Put Hannibal into the scales; how many pounds' weight will you find in that greatest of commanders? This is the man for whom Africa was all too small'. (Vss. 147/8) Together with the old woman he is the central figure on the title. The positioning of the three woman brings in mind a Triad, a triple diety, such as the Graces, the Moirai or Fates, or the Harpies. The Erinyes, the avenging spirits, sometimes form a trinity too. The standing woman seems to be a mixture of an Erinye and a Harpy. She has some features of such a Harpy, the personification of deamonic powers, and an agent of terrible punishment. She is bare breasted and stands on huge bird claws, with which she abducts the souls of the dead to their doom. In her right hands she holds, instead of the usual horrifying snake, a Momus mask, which personifies satire and mockery, the power to make a fool or ass of someone. In her left hand rest two flaming hearts, catholic imagery, distastful to the protestants, and therefore perhaps reprensenting idolatry. Her double faced Janushead, looking to the future and the past, might be an image of Time. The old woman on the throne is the central figure on the title. To her all movement on the picture is directed. She has the features of Atropos, the riged and inflexible one, the oldest of the 3 Moirai, or Fates, and in iconography often depicted as an old woman. She has power over life and death, and represents the fate that cannot be avoided. She holds Hannibal's fate in her hands. She withdraws the sack of money (power) and offers with her right hand the once mighty suppliant a little flask or a small beaker, with the invitation to poison himself. Juvenal on Hannibal's unglamorous bleak death: 'What then was his end? Alas for glory! A conquered man, he flees headlong into exile, and there he sits, a mighty and marvellous suppliant, in the Kings's antichamber, until it pleases his Bithynian Majesty to awake! No sword, no stone, no javelin shall end the life which once wrought havoc throughout the world: no, but that which shall avenge Cannae and all those seas of blood, a ring (containing poison)'. (Vss. 158/165, translation Ramsay) The engraver follows for this scene the better known version of the Roman historian Livy. In chapter 51 of the 39th book of his History of Rome, 'Ab Urbe Condita' Livy tells that Hannibal took his poison in an 'poculum', a cup/ goblet/ bowl/ beaker) (Provenance: The last owner was Lennart Håkanson, professor of Latin Literature of the University at Uppsala, 1980-1987) (Collation: *8, A-Z8 Aa-Tt8 Vv4) (Photographs on request)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 130103

Catalogue: Old and Rare books

Keywords: (Oude Druk) (Rare Books) Altertumswissenschaft Altphilologie Antike Antiquity Hannibal Iuvenalis Juvenal Juvenalis Latin literature Satiren Satires Satyrae Schrevelius classical philology römische Literatur

PETAVIUS,D.

D. Petavii Aurelianensis e Societate Iesu Rationarium Temporum in partes duas, libros tredecim distributum. In quo aetatum omnium sacra profanaque historia chronologicis probationibus munita summatim traditur. Editio ultima, nonnullis accessionibus auctior facta, & ab Auctore recognita.

Paris (Parisiis), Apud Sebastianum Cramoisy, Regis & Reginae Architypographum, 1662 - 1663. 12mo. 2 volumes in 1: (XX),526 (recte 516),(76 index),(2 blank); 241,(7 index),(2 blank) p. Calf. 15 cm (Details: Back gilt, and with 5 raised bands; red morocco letterpiece in the second compartment. Marbled enpapers) (Condition: Binding worn at the extremities. Corners bumped. Owner's entry on the title. Small label on the front pastedown partly removed) (Note: This 'Rationarium Temporum' of the French Jesuit classical scholar, historian and theologian Denis Pétau, latinized as Dionysius Petavius, 1583-1652, is a summary, made for a greater public and for the use at schools, of his great work on chronology 'De Doctrina Temporum', which he published in 1627. The summarized version 'Rationarium Temporum' first appeared in 1633, and was reissued/revised/augmented many times. It was also translated into French, English and Italian. In KVK we counted till 1745 22 Latin editions, of which 8 were published by Cramoisy in Paris between 1633 and 1673. Petavius devoted a large part of this 'Doctrina Temporum' to the vehement criticism of 'De Emendatione Temporum' of the great protestant French scholar J.J. Scaliger, 1540-1609, who is considered to be the first serious modern student of chronology. The Jesuits however considered Scaliger, who lost no opportunity to attack them, an heretic and a great danger to the catholic church. Their opinion on his 'De Emendatione Temporum' (1593) was that it was worthless (frivolum) and a pack of lies (commentitum). Especially Scaliger's denial of the authenticity of the works of Dionysius Areopagita raised their anger. The Jesuits believed that Scaliger undermined the authority of the church, for in the work of Dionysius Areopagita the Jesuits found proof of the 'transsubstantiation', the belief that the substance of the bread and wine used in the sacrament in the Eucharist changed into that of the body and blood of Christ. (J. Bernays, 'Joseph Justus Scaliger', Berlin 1855, p. 81) Dionysius Petavius, a member of the Jesuits, an order called colloquially 'God's Soldiers', took up the fight against Scaliger with the publication of his 'Doctrina Temporum' of 1627. Petavius was a brilliant scholar, and he succeeded in correcting and improving the chronological labours of Scaliger on many points, even though his criticism directed against the protestant scholar was unfair and mean. The science of locating historical events in the ancient world in time is ultimately based on the work of Scaliger and Petavius) (Provenance: Name on the title of 'Hebert Le Jeune, 1720', lightly crossed out. The remains of the small bookplate on the front pastedown are of a Jesuit library) (Collation: a8, e2; A-2A12, 2B8, 2C2 (leaf 2C2 blank); A-K8, L2, M2 (2M2 blank) (Photographs on request)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 120290

Catalogue: Old and Rare books

Keywords: (Oude Druk) (Rare Books) Chronologie French imprints Jesuits alte Geschichte ancient history antike altertum antiquity chronology

PETIT,P.

Petri Petiti, Philosophi & Doct. Medici, De Amazonibus dissertatio, qua an vere extiterint, necne, variis ultro citroque conjecturis & argumentis disputatur. Multa etiam ad eam gentem pertinentia, ex antiquis monumentis eruuntur atque illustrantur. Editio secunda, auctior & correctior.

Amsterdam (Amstelodami), Apud Johannem Wolters & Ysbrandum Haring, 1687. 12mo. (XII),398,(3 addenda),(1 blank),(8 index) p., more than 50 engraved text illustations on 39 p., of which one is full page; folding map, frontispiece. Overlapping vellum 16.5 cm (Ref: STCN ppn 102316597; Brunet 4,1 529; Graesse 5,219) (Details: 5 thongs laced through the joints. The frontispiece, designed and executed by Joh. van den Aveele, depicts a seated Amazone, in the background a battle scene, obviously inspired by Rubens' painting 'Battle of the Amazons', or 'Amazonomachia'. The map, 24x18, depicts the Eastern Mediterranean) (Condition: Neat ink inscription on the front flyleaf, name on the front pastedown. Some gatherings yellowing, some at the end browning) (Note: Greek mythology situated the nation of the Amazons, a tribe of virile warrior-women, on the borders of the ancient world, somewhere along the Danube. Homer, for instance, tells that their queen Penthesilea came to the help Priamus after Hector's death, and that she was killed on the battlefield by Achilles. The heros Heracles campaigned against the Amazons to get their queen's girdle, and Plutarch tells how king Theseus was besieged by the Amazons, and how their queen Hippolyta came close to conquer Athens. Herodotus located the tribe in the land of the Sarmatae, or Sauromates on the Balkan. § The Amazons, a female nation skilled in the masculine art of warfare, caught the fancy not only of Greek authors, but also of sculptors and painters. They were very popular in art from the 7th century B.C. The female warriors wore short tunics, sometimes Scythian trousers, and often showed one breast. After the Renaissance the epithet 'Amazon' designated a woman on horseback, and was usually offered as a compliment. Jeanne d'Arc fought like an Amazon, and as proof of military might the Flemish painter Rubens painted Maria de Medici in the guise of 'Minerva Victrix', her right breast bared. The female military prowess however was also considered to pose a threat to civilization. In Germany some protestant demonologists drew a link between Amazons, witches and witchcraft. There was however no consensus in modern Europe as to the historical existence of the Amazons. There were reports of Amazon societies in the New World, others maintained that because Hippocrates, a most reliable source, spoke of them, the story of Amazons could not be mere legend. In his 'De Amazonibus dissertatio' Pierre Petit, or Petrus Petitus, tried to prove with the help of the reports of ancient historians, of old coins, medals, reliefs and monuments, that the warrior-women of Greek myth really existed in antiquity, but that the 'Amazons were never a nation of self-sufficient women. Petit points out (correctly) that although Hippocrates describes the Amazons on horseback, wielding arms, and killing men, he also characterizes them as the wives of the Sauromates. In the late 17th century, improved philology gave rise to skepticism with regard to the historical existence of a tribe composed exclusively of warring woman, another skeptical current, which Petit traces back to the Greek geographer Strabo (ca. 58-25 B.C.), dismissed the Amazons as legend because of the impossible (male/female) inversion they presented'. (R.M. Wilkin, 'Women, Imagination and the Search for Truth in Early Modern France', Aldershot 2008, p. 48) To the 20th century the Amazons have become a topic of feminist studies, subject of Broadway productions, inspriration for television series and the game industry. § The French scholar Pierre Petit, 1617-1687, published on medical subjects, e.g. on blood transfusion, canibalism, the history of tears through the ages, and on some classical authors. His 'De Amazonibus dissertatio' was first published in 1685 by the Parisian printer Cramoisy. A French translation was published in 1718 in Amsterdam) (Provenance: On the front pastedown: 'M. Johannes Sartorius'. This Sartorius also wrote on the front flyleaf: 'Petrus Petit, de Amazonibus scripsit tanta diligentia, quantam expectari fas erat a doctissimo viro, qui nihil quod in hisce nummis ad Historiam, vel ad Geographiam pertineret, inexplanatum relinquere voluit'. The source of this quote has been added: 'Anselmus Banduri in Bibliotheca Nummaria, p. 57'. This work was published in Hamburg in 1719. § The owner probably was M(agister) Johannes Sartorius, 'Polyhistor und Schulmann', 1656-1729. He took his Magister degree in 1678 at the University of Wittenberg, and was appointed Professor at the Gymnasium in Thorn. In 1699 he became Rector of the Gymnasium in Elbing. He left in 1704 for a professorship 'der Poesie und Beredtsamkeit' at the academic Gymnasium in Danzig. (Allgemeine Deutsche Biographie 30 (1890), p. 388) (Collation: pi2, *4; A-P12, Q10, R12 (leaf R11 verso blank, minus blank leaf) chiR12), R4) (Photographs on request)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 120431

Catalogue: Old and Rare books

Keywords: (Oude Druk) (Rare Books) Amazonen Amazones Amazons Frauenforschung Mythologie Sarmatians Scythes antike altertum antiquity mythology women's studies

PETITE GRAMMAIRE FRANÇOISE, A L'USAGE DES ÉLEVES DE L'ÉCOLE ROYALE MILITAIRE.

(Bound with:) Petite grammaire latine à l'usage des élèves de l'École Royale Militaire. (&:) Petite grammaire grecque à l'usage des élèves de l'École Royale Militaire.

Paris, Chez Nyon l'aîné, 1778. 3 volumes in 1: 59,(1 blank); 93,(3 blank); 70 p. Contemporary wrappers. 18 cm (Details: Marbled wrappers. Woodcut ornament on the title, depicting a radiant sun, in the heart of which stand the three fleurs-de-lis of the House of Bourbon) (Condition: Back worn & slightly damaged. The last five leaves slightly waterstained) (Note: The 'École Royale Militaire' 'was founded in 1750, after the War of the Austrian Succession, by Louis XV on the basis of a proposal of Marshal Maurice de Saxe and with the support of Madame de Pompadour and the financier Joseph Paris Duverney, with the aim of creating an academic college for cadet officers from poor noble families. It was designed by Ange-Jacques Gabriel, and construction began in 1752 on the grounds of the farm of Grenelle, but the school did not open until 1760. The 'Comte de Saint-Germain' reorganised it in 1777 under the name of the 'École des Cadets-gentilshommes' (School of Young Gentlemen), which accepted the young Napoleon Bonaparte in 1784. He graduated from this school in only one year instead of two'. The 'École Militaire' still exists, it is a vast complex of buildings housing various military training facilities located in the 7th arrondissement of Paris, Southeast of the Champ de Mars. The School was closed down in 1787, and plundered during the Revolution. In 1878 this school for the higher education of future French officers was opened again, now as 'École Supérieure de Guerre' (ESG). (Source Wikipedia 'École Royale Militaire') This convolute of 3 grammars is rare outside France. The Bibliothèque Nationale de France (BnF) states that the author is Étienne-Maurice Chompré (1701-1784)) (Collation: A-B12, C6 (leaf C6 verso blank); A-D12 (leaf D11 verso and D12 blank); A-F6 (minus blank leaf F6)) (Photographs on request)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 120376

Catalogue: Old and Rare books

Keywords: (Oude Druk) (Rare Books) 18th century French linguistics Grammatik Greek linguistics Latin linguistics Schulbuch antike altertum antiquity französiche Sprachwissenschaft grammar griechische Sprachwissenschaft lateinische Sprachwissenschaft schoolbook

ATHENAGORAS & HERMIAS PHILOSOPHUS.

Sancti Athenagorae Atheniensis Philosophi Deprecationem (vulgo Legationem) pro Christianis. Edidit M. Io.Gottlieb Lindner, rector Scholae Arnstadiensis. (Bound with:) HERMIOU PHILOSOPHOU DIASURMOS TÔN EXÔ PHILOSOPHÔN. Hermiae Philosophi Gentilium Philosophorum Irrisio. Cum adnotationibus Hier. Wolfii, Thomae Galei, Wilh. Worthii suisque. Graece in usum praelectionum separatim edidit Jo. Christoph. Dommerich, dialect. et philosoph. primae professor P.O. in Academia Helmstadiensi.

Langensalza (Longosalissae), Sumptibus Io.Chr. Martini, 1774. Ad 2: Halle (Halae), Apud Carolum Hermannum Hemmerde, 1764. 8vo. 2 volumes in 1: XXXIV,238,(28 index); 108,(3),(1 blank) p. Late 19th century half cloth 17 cm (Ref: Ad 1: Hoffmann 1,400: 'Dem Text sind schätzbare Anmerkungen beigefügt'; Brunet 1,537; Graesse 1,245; Ebert 1322; Ad 2: Hoffmann 2,214; Brunet 3,117: 'Seule édition séparée de cet ouvrage'; Graesse 3,251; Ebert 9495) (Details: Some woodcut ornaments. Ad 1: After the introduction comes the Greek text, with at the lower part of the pages some critical notes and the commentary. Ad 2: After the introduction come 16 pages with the Greek text, followed by 70 pages commentary) (Condition: 19th century binding. Two small paper labels with shelf numbers on the frontcover. Two small stamps on the title. Title of first work slightly soiled. Paper of second work yellowing) (Note: Athenagoras of Athens, a converted pagan philosopher, was a Christian apologist who addressed between 176 and 180 AD an apology, called 'presbeia' (legatio) to the emperor Marcus Aurelius Antoninus (died 180) and Commodus (appointed 176), in which he refuted traditional charges against the Christians, of atheism, canibalism, and incest. Athenagoras is considered to be the most eloquent of the Greek apologists. His 'Legatio', in this 1774 edition called 'Deprecatio', is in the form of a speech composed according to the rules of Greek rhetoric. Through his wide reading in pagan literature he had a good grip of Greek philosophy and religion. He used technical philosophic terms that were current among educated pagans. His style is elegant, 'free from superfluous expressions, forcible and at times rising to great heights of descriptive power. His arrangements of material is always clear and his argument moves forward quietly and majestically. Even when apparent irrelevant mythological references are introduced they are made to serve Athenagoras' purpose of holding the hearer's and reader's attention and providing interesting information'. (L.W. Barnard, 'Athenagoras: A Study in Second Century Christian Apologetic', Paris, 1972, p. 32) § Johann Gottlieb Lindner, born in 1726, was appointed Prorector of the school in Langensalza through the agency of Ernesti. In 1765 be became Rector of this local Lyceum. He died in 1811. (Allgemeine Deutsche Biographie 18/705-706) His notes to Athenagoras deserve particular attention. Ad 2: Hermias Philosophus 'was an obscure Christian Apologist, presumed to have lived in 3rd century. Nothing is known of him, except his name. He wrote a Derision of heathen philosophers ('diasurmos tôn hexo philosophôn', in Latin 'Gentilium Philosophorum Irrisio'), a short parody on Greek philosophy themes (the nature of the body, the soul, the world). From Paul's statement in the First Epistle to the Corinthians that 'all worldly knowledge is madness from God' he affirms that all philosophical doctrines come from the apostasy of the angels and are therefore wrong and laughable. Hermias relies rather on cynical and skeptical culture critique and on philosophical biographies and anedoctes than in their real writings if he had ever read them'. (Source: Wikipedia's article 'Hermias', which offers also a link to the English translation by J.A.Giles, 1857. See also the pages on Hermias on the site: 'The Tertullian Project' § Johann Christoph Dommerich, 1723-1767, was since 1759 professor of 'Logik und Metaphysik' at the University of Helmstedt (Allgemeine Deutsche Biographie 5/326-327) (Provenance: On the title a stamp of 'Bibliotheca Conventus Woerdensis', and of 'Studiehuis Minderbroeders Nijmegen') (Collation: a-c8, A-R8 (minus the blank leaves R6, R7 & R8); A-G8 (leaf G8 verso blank)) (Photographs on request)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 120380

Catalogue: Old and Rare books

Keywords: (Oude Druk) (Rare Books) Apologie Apology Hermias Spätantike ancient philosophy antike Philosophie antike altertum antiquity early christianity frühes Christentum late antiquity

PHOTIUS.

Phôtiou Patriarchou Kônstantinou-poleôs Epistolai. Photii Sanctissimi Patriarchae Constantinopolitani Epistolae. Per Reverendum Virum Richardum Montacutium, Norvicensem nuper Episcopum, latine redditae, & notis subinde illustratae.

London (Londoni), Ex officina Rogeri Danielis, 1651. Folio. (8), 393,(1 blank),(10 index) p. Contemporary calf. 35 cm (Ref: ESTC R12714; Hoffmann 3,89; Brunet 4,624; Ebert 16779; Graesse 5,276) (Details: Gilt back with 6 raised bands. Gilt coat of arms on both boards. Woodcut printer's device on the title, depicting a palm tree, the motto reads: ''Depressa resurgo'. 'Oppressed, higher I rise'. Printed in 2 columns, Greek text of 248 letters, with parallel Latin translation. At the end have been added 5 letters 'ex veteri codice orientali') (Condition: Binding somewhat rubbed. Upper & lower part of the front joint split over 4 and 6 cm. Tiny bump in front board. Small stamp on the title. Small hole in the text of leaf 2A2) (Note: This edition is the 'editio princeps' of 248 letters of the great Byzantine scholar Photius, ca. 810 - ca. 893, who was Patriarch of Constantinople from 858 to 867, and from 877 to 886. He was the leader of the Byzantine Renaissance, and left works of immense value. The most important is the 'Bibliotheka', a critical bibliography of 280 works with his comments. Gibbon said that it was a living monument of erudition and acute criticism. This work is often the best and only source of notable works now lost. Photius also compiled a 'Lexikon', a glossary drawing upon earlier lexicographic works. The 'Mystagogia' is a theological work treating the Trinity. The 'Amphilochia' or 'Quaestiones ad Amphilochium', concerns ca. 300 catechetical question-and-answer discussions of religion and philosophy. § The surviving letters of Photius, 298 or 299, were written between 859 and 886, i.e. from the beginning till the end of his Patriachy. They show the same acute criticism and learning as his other works. It is thought that there were two collections of letters during Photius' lifetime. The first contained the letters 1/248, and was compiled ca. 875. The second corpus contained the letters 1/283 and it dated from ca. 886. The first collection, 1/248, was first published in 1651, with a Latin translation and notes, by the well known English Greek scholar Richard Montagu, bishop of Norwich, (1577-1641) from a manuscript in the Bodleian Library. At the end have been added 5 letters, with a translation, from a manuscript brought to England by Chr. Ravius. Montagu's first fruit was an edition of the Invectives of Gregorius Nazianzenus against the emperor Julianus Apostata, which was published in 1610) (Provenance: Coat of arms on boards: a shield with 2 eagles and 2 griffins in the quarters, flanked by 2 collared and lined greyhounds standing on the hindlegs. Above the shield a ducal coronet, left of the crown a bishop's mitre, on the right a crosier. Stamp on the title: 'Minderbroeders, Heerlen') (Collation: A-3D4, 3E6) (Photographs on request) (Heavy book, may require extra shipping costs)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 22020

Catalogue: Old and Rare books

Keywords: (Oude Druk) (Rare Books) Briefe Byzantion Byzantium Correspondence Letters Phothios Photius byzantine literature byzantinische Literatur

PINDARUS.

Pindari carmina. Ex editione Chr. Gottl. Heyne.

Oxford (Oxonii), Typis N. Bliss, impensis M. Bliss et R. Bliss, 1808. 16º 2 volumes in 1: (IV), 230,(2 blank);138,(2 blank) p Black morocco 12 cm (Ref: Hoffmann 3,100: 'Schöne Ausgabe'; Schweiger I,236; Brunet 4,660; Graesse 5,295; Ebert 16880; Not in Gerber; Rico, Ensayo de bibliografia Pindarica, p. 3) (Details: Back gilt and with 3 raised bands. Boards with double fillet gilt borders. Within these borders a band of blind-stamped floral motives. Edges of the boards and of the book-block gilt. Gilt inside dentelles. Charming and fine typography. The odes are preceded by explanatory 'argumenta'. There is no Latin translation, nor commentary) (Condition: Wear to the extremes of the binding. Ownership inscription on the front flyleaf) (Note: A quarter of the works of the Greek poet Pindar, ca. 518-438 B.C., his four books of epinicia, named after the Great Games, the Olympian, Pythian, Nemean and Isthmian, survive. Pindar wrote eulogistic hymns to celebrate a victory in athletics, boxing and horse racing. Praised in a magnificent way are the victor, his family, the native city. 'Each ode draws from a variety of historical, cultural, and mythological sources. The highly allusive manner by which this material is presented is complemented by an equally rich repertoire of metrical patterns from epic, Doric, and Aeolic systems'. (The Classical tradition, Cambridge Mass., 2010, p. 729) 'Extended similes and difficult metaphors, intricate syntax and rapid narration, far-reaching digressions and bold disruptions' result in grandiose, but also enigmatic poetry. § Pindar's influence on European literature is great. The great number of editions and translations of Pindar's odes that were printed in the 16th century are an indication of a widespread humanist interest. Pindar was, with the Roman poet Horace, the chief classical model for modern formal lyric poetry. The poets of the Renaissance borrowed first of all thematic material from Pindar. 'They enriched their language on the model of Pindar's and Horace's odes, taking it father away from plain prose and from conventional folk-song phraseology. And in their eagerness to rival the classics, they made their own lyrics more dignified, less colloquial and song-like (.) more ceremonial and hymn-like'. (G. Highet, 'The classical tradition', Oxford 1978, p. 230) § Many of Pindar's maximes and punctuated statements, containing elements of traditional wisdom, were collected in Renaissance anthologies of 'sententiae'. 'Pindar (.) provided the Humanists of the Reformation with pithy statements of moral instruction and wordly advice, which ensured the poet's place in pedagogical circles. Moreover, as a source of proverbial wisdom, Pindar was elevated nearly to the status of biblical Salomon. (.) The sheer variety of Pindarically influenced traditions -the political ode and the personal, the religious hymn and the song of genius, the freely aimless and the rigorously concise- all serve as a testament not only to Pindar's versatility, but also to his rich potential to inspire'. (The Classical tradition, Cambridge Mass., 2010, p.729/30) § The German classical scholar Christian Gottlob Heyne, 1729-1812, was, according to Sandys, not an original genius. 'He was a many-sided scholar, who studied and expounded ancient life in all its successive phases, and became the founder of that branch of classical teaching that deals with the study of Realien'. (Sandys 3, p.40) The criticism and exposition of ancient poetry is represented in his still important editions of Tibullus, Vergil, Pindar and the Iliad of Homer. His textual criticism is weak. 'His choice among different readings is guided more by personal preference than by an impartial weighing of the evidence'. (.) The preparation of the metrical part of his Pindar was entirely entrusted to Hermann, then 25 year of age. Heyne's own interest lay, not in the metre, but in the subject-matter of the Odes'. (Idem, ibidem)) (Provenance: On the front flyleaf: 'Louis LeBrun, from his sincere friend W.L., 11 Mars 1859') (Collation: pi2, B-P8, Q4 (leaf Q4 blank); pi2, B-I8, K4 (leaf K4 blank)) (Photographs on request)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 120415

Catalogue: Old and Rare books

Keywords: (Oude Druk) (Rare Books) Greek literature Griechische Literatur Heyne Odes Pindar Pindarus antike altertum antiquity

PINDARUS.

PINDAROU PERIODOS. Pindari Olympia, Pythia, Nemea, Isthmia. Johannes Benedictus, medicinae doctor, & in Salmuriensi Academia Regia linguae Graecae Professor, ad metri rationem, variorum exemplarium fidem, scholiastae ad verisimiles coniecturas directionem, totum authorem innumeris mendis repurgavit. Metaphrasi recognita, latina paraphrasi addita, poeticis & obscuris phrasibus graeca prosa declaratis; denique adiectis rerum & verborum brevibus & sufficientibus commentariis, arduum eiusdem sensum explanavit. Editio purissma, cum indice locupletissimo.

Saumur, (Salmurii), Ex typis Petri Piededii, 1620. 4to. (XVI),756,(recte 750),(56 index) p. Calf 24 cm (Ref: Gerber p. 5; Rico p. 13; Hoffmann 3,99; Schweiger 1,235; Dibdin 2,288; Moss 2,410: 'a very good and critical edition'; Brunet 4,659; Graesse 5,294; Ebert 16864) (Details: Back with 5 raised bands, elaborately gilt & expertly rebacked in antique style (in the 19th century?). Red morocco shield in the second compartment. Boards with gilt fillet borders, having also 2 double fillet gilt rectangles, and a gilt coat of arms in the center. 19th century marbled endpapers. Woodcut ornament on the title. Edges dyed red) (Condition: Binding worn at the extremes. Edges of the boards chafed. Corners bumped. Leather on the boards crackled. Strip of 1 cm cut from upper margin of the title, and repaired with a new strip. A few old ink marginalia. § The Greek is accompanied on the left by a Latin paraphrasis and a Latin translation on the right.) (Note: A quarter of the works of the Greek poet Pindar, ca. 518-438 B.C., survives, his four books of 'epinicia', named after the Great Games, the Olympian, Pythian, Nemean and Isthmian. Pindar wrote eulogistic hymns to celebrate a victory in athletics, boxing and horse racing. Praised in a magnificent way are the victor, his family, the native city. 'Each ode draws from a variety of historical, cultural, and mythological sources. The highly allusive manner by which this material is presented is complemented by an equally rich repertoire of metrical patterns from epic, Doric, and Aeolic systems'. (The Classical tradition, Cambridge Mass., 2010, p. 729) 'Extended similes and difficult metaphors, intricate syntax and rapid narration, far-reaching digressions and bold disruptions' result in grandiose, but also obscure, enigmatic and sometimes seemingly awkward poetry. Already in antiquity the comic playwright Aristophanes presented in the 'Aves' Pindaric poetry as foolish, pretentious and embarrassing. The Hellenistic poets Callimachus and Theocritus wrote poetry under his influence. The Roman poet Horace thought him grandiose and sublime. § Pindar's influence on European literature is great. The great number of editions in Greek, and Latin translations of Pindar's odes that were printed in the 16th century are an indication of a continuous and widespread humanist interest. Pindar was, with the Roman poet Horace, the chief classical model for modern formal lyric poetry. The lyric poets of the Renaissance borrowed first of all thematic material from Pindar. It brought a nobler and graver spirit. 'They enriched their language on the model of Pindar's and Horace's odes, taking it father away from plain prose and from conventional folk-song phraseology. And in their eagerness to rival the classics, they made their own lyrics more dignified, less colloquial and song-like (.) more ceremonial and hymn-like'. (G. Highet, 'The classical tradition', Oxford 1978, p. 230) The 'loudest and boldest answer to the challenge of Pindar's style and reputation came from France', beginning with Pierre de Ronsard, born 1524. Ronsard wanted to be the French Pindar, introducing the Pindaric ode into the vernacular literature of France. He, together with his poetic friends 'were the energy and the material, of the group of poets who rebelled against the traditional standards of French poetry and proclaimed revolution in ideals and techniques. They called themselves the Pléiade, after the group of seven stars which join their light into a single glow'. (Op. cit. (Highet) p. 231) Their work amounted to a closer synthesis between French and Greco-Latin literature, and was the annunciation of a new trend in French, and European literature. § Many of Pindar's gnomic maximes and punctuated statements, containing elements of traditional wisdom, were collected in Renaissance anthologies of 'sententiae', for example in Erasmus's Adagia. Already the first full Latin translation of Pindar (1528) indexed all the gnomes according to moral lessons. 'The sententious Pindar (.) provided the Humanists of the Reformation with pithy statements of moral instruction and wordly advice, which ensured the poet's place in pedagogical circles. Moreover, as a source of proverbial wisdom, Pindar was elevated nearly to the status of biblical Salomon. (.) The sheer variety of Pindarically influenced traditions -the political ode and the personal, the religious hymn and the song of genius, the freely aimless and the rigorously concise- all serve as a testament not only to Pindar's versatility, but also to his rich potential to inspire'. (The Classical tradition, Cambridge Mass., 2010, p. 729/30) For Filelfo, Pontano, Cowley, Dryden Pindar was a model for political encomium, and there are quite a number of imitators of Pindar in European literature. The French author Voltaire made the witty remark that Pindar wrote verses that no one understood, and everyone had to admire. § This Pindar edition of 1620, produced by the scholar Jean Benoist, or Johannes Benedictus, (died 1664) is based on the edition of Wittenberg of 1616 by the German scholar Erasmus Schmi(e)d(t), or Schmidius, 1570-1637, who was the first truly important Pindaric scholar, and according to Dibdin the 'eruditorum Pindari facile princeps'. Benoist was a doctor of medecin, and, it is said, of German origin. He was appointed on the recommandation of the great Greek scholar Isaac Casaubon the King's professor of Greek at the protestant Academy of Saumur. A year before Benoist had published in Saumur an edition of Lucian, also with his Latin translation. His Latin translations leaves however, according to Hutton, much to be desired. (J. Hutton, 'The Greek Anthology in France', Ithaca, N.Y., 1946, p.176/77) The commentary of Benoist on the other hand is excellent, for many philological, historical and mythological problems are explained in a sagacious manner. The text also contains many valuable readings from other earlier works, and there are excerpts of scholia. 'Benedictus contributed 23 emendations, 4 of which are printed and 2 mentioned in the Snell-Maehler Teubner edition on 1980'. (Gerber,D.E., 'Emendations in the Odes of Pindar', in 'Pindar', Entretien sur l'Antiquité Classique XXXI', p. 9) (Provenance: On the boards the gilt coat of arms of John Henry Gurney. This might be John Henry Gurney Sr., 1819-1890, who was an English banker, amateur ornithologist, and Liberal Party politician, or his son John Henry Gurney Jr., 1848-1922, who was an ornithologist. (See for them Wikipedia)) (Collation: a4, e4, A-5I4, 5K2 (minus the blank leaves 2H2 (p. 243/44), minus leaf 3P3 (p. 485/86), and minus leaf 4N3 (p. 653/54); the pagination seems irregular, owing to the removal of these 3 blank leaves)) (Photographs on request)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 140034

Catalogue: Old and Rare books

Keywords: (Rare Books) French imprints Greek literature Greek text Griechische Literatur Isthmian Odes Latin translation Nemean Odes Olympian Odes Pindar Pindaros Pindarus Pythian Odes antike altertum antiquity

PINDARUS.

PINDAROU OLUMPIA, PUTHIA, NEMEA, ISTHMIA. Pindari Olympia, Pythia, Nemea, Isthmia.

Leiden (Lugduni Batavorum), Ex officina Plantiniana, Apud Franciscum Raphalengium, 1590. 8vo. (XVI),246,(4 blank) p. Vellum. 16 cm (Ref: Hoffmann 3,98; Graesse 5,294; Ebert 16858) (Details: Woodcut printer's mark on the title, it depicts a hand that comes out of a cloud, and draws a circle with a pair of compasses, the motto is: 'Labore et constantia'. Short biography of Pindar by Gyraldus in Latin precedes the Greek text of the epinicia. Greek text only) (Condition: Vellum age-tanned. Some small wormholes in the blank upper corner of the first gathering, smaller pinpoint ones in next six gatherings, nowhere affecting the text. The edges of the lower corner of the first gathering eaten away by some insect) (Note: A quarter of the works of the Greek poet Pindar, ca. 518-438 BC, his four books of 'epinicia', named after the Great Games, the Olympian, Pythian, Nemean and Isthmian, survive. Pindar wrote eulogistic hymns to celebrate a victory in athletics, boxing and horse racing. Praised in a magnificent way are the victor, his family, the native city. 'Each ode draws from a variety of historical, cultural, and mythological sources. The highly allusive manner by which this material is presented is complemented by an equally rich repertoire of metrical patterns from epic, Doric, and Aeolic systems'. (The Classical tradition, Cambridge Mass., 2010, p. 729) 'Extended similes and difficult metaphors, intricate syntax and rapid narration, far-reaching digressions and bold disruptions' result in grandiose, but also obscure, enigmatic and sometimes seemingly awkward poetry. Already in antiquity the comic playwright Aristophanes presented in the 'Aves' Pindaric poetry as foolish, pretentious and embarrassing. The Hellenistic poets Callimachus and Theocritus wrote poetry under his influence. The Roman poet Horace thought him grandiose and sublime. Pindar's influence on European literature is great. The great number of editions in Greek, and Latin translations of Pindar's odes that were printed in the 16th century are an indication of a continuous and widespread humanist interest. Many of Pindar's gnomic maximes and punctuated statements, containing elements of traditional wisdom, were collected in Renaissance anthologies of 'sententiae', for example in Erasmus's Adagia. Already the first full Latin translation of Pindar (1528) indexed all the gnomes according to moral lessons. 'The sententious Pindar (.) provided the Humanists of the Reformation with pithy statements of moral instruction and wordly advice, which ensured the poet's place in pedagogical circles'. 'The sheer variety of Pindarically influenced traditions -the political ode and the personal, the religious hymn and the song of genius, the freely aimless and the rigorously concise- all serve as a testament not only to Pindar's versatility, but also to his rich potential to inspire'. (Op. cit. p. 730) For Filelfo, Pontano, Cowley, Dryden Pindar was a model for political encomium, and there are quite a number of imitators of Pindar in European literature. Giangiorgio Trissino wrote a tragedy and three canzoni in a form approximating Pindar's practice, Luigi Alamanni modelled his hymns on the Pindaric ode, Ronsard wanted to be the French Pindar, introducing the Pindaric ode into the vernacular literature of France. The French author Voltaire made the witty remark that Pindar wrote verses that no one understood, and everyone had to admire. For Thomas Gray, Goethe and Hölderlin he was a genius. § This Pindar edition of 1590 is based, according to Hoffmann, Graesse & Ebert, on the Greek text of the edition of 1560 produced by the French scholar/printer Henri Estienne (Henricus Stephanus). Stephanus published a second (1566) and third edition (1586), all three containing in addition to the Greek text a Latin translation of the odes, but the 1560 edition is to be preferred, because the Greek text is, according to Dibdin the most correct. Plantin published a reissue of the Greek text of this 1560 edition earlier in 1567. Greek text only) (Provenance: On the front pastedown in pencil: '18 april 1961', written by the Flemish linguist Walter Couvreur, 1914-1996, who was an Orientalist, and professor of Indoeuropean linguistics at the University of Gent. It indicates the date of aquisition. The place of acquisition he wrote on the flyleaf at the end: 'Utrecht, Beijers, veiling Wille'. On the front flyleaf an illegible name, and 'J. Wille, 10 febr. 1928'. J. Wille, 1881-1964, was professor of Dutch literature and linguistics and at the same time librarian of the protestant Free University at Amsterdam. His specialty was 18th century Dutch literature, and an excessive buyer of books. His books were auctioned by Beijers at Utrecht on the 23rd, 26-27th april 1961. It was the largest private library ever auctioned by Beijers. (P.J. Buijsters, 'Geschiedenis van de Nederlandse bibliofilie, boek- en prentverzamelaars 1750-2010', Nijmegen, 2010, p.110/11; including a picture of Wille) (Collation: *8, A-P8, Q6 (leaves Q5 & Q6 blank) (Photographs on request)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 120117

Catalogue: Old and Rare books

Keywords: (Oude Druk) (Rare Books) Dichtkunst Greek literature Griechische Literatur Isthmian Odes Nemean Odes Olympian Odes Pindar Pindarus Poesie Pythian Odes antike altertum antiquity poetry

PLAUTUS.

M. Acci Plauti Comoediae Superstites XX. Accuratissime editae.

Amsterdam (Amstelodami), Typis Ludovici Elzevirii, 1652. 24mo. 715,(5) p., engraved title. 19th century half calf. 13.5 cm (Ref: Willems 1152, note; Bergmann 2214; Rahir 3319; Schweiger 2,766; Ebert 17196; Brunet 4,709; Graesse 5,329) (Details: Back gilt, and divided in 7 compartments, in 4 of them gilt lozenges filled with tiny floral motives. Marbled endpapers. Uncut right and lower margin. Engraved title, depicting the playwright Plautus pointing with his left hand to a performance, in his right hand he holds a jester staff) (Condition: Binding slightly scuffed. Head of the spine very slightly damaged. Boards somewhat scratched and corners somewhat bumped) (Note: M. Accius Plautus, ca. 250-184 B.C., better known as Titus Maccius Plautus was a playwright of great talent, 'one of the highest type of dramatists, worthy to rank with Sophocles, for example, or Shakespeare'. (Rose,H.J. A handbook of Latin literature, London, 1967, p.40). 21 of his plays, the socalled 'fabulae Varronianae' survive more or less complete. His Vidularia survives only in mutilated fragments, and is not incorporated in this edition. This 1652 edition seems to be a reissue of the edition of 1630, which was produced by the Dutch scholar Johan Isaac Pontanus, 1561-1639. It was repeated in 1640 by the Blaeu Brothers, and in 1652 by Louis Elsevier, but only the text of the comedies, the short notes of Pontanus printed at the end were omitted. There exist however counterfeits of the Elsevier edition of 1652, and this book is one of them. This fake Elzevier edition was probably printed on a later date by Johan Blaeu. It has exactly the same original engraved (Elzevier) title, the same number of pages, and the same 5 pages at the end with a short biography of Plautus and testimonia. The only differences are the ornaments on the first and the last page, and the number of verses per page. Rahir supposes that Johan Blaeu or another printer, might have bought the copper plate of the engraved title of the 1652 edition, once used by the Amsterdam establishment of Lodewijk (Louis) Elzevier, at the sale of its material, after it had been closed down. If Rahir is right, Blaeu might have misused the good reputation of the Elzeviers, to sell his own product) (Provenance: A 19th century engraved armorial bookplate on the front pastedown: a seated fox, above his head a crown. The text reads 'Holland House'. Holland House was one of the first great houses built in Kensington in London. It was bought in 1768 by Henry Fox, First Baron Holland. This huge mansion was destroyed during the Blitz in 1940. On the verso of the front flyleaf in ballpoint the name 'Lennart Hakanson', 1939-1987, professor of Latin at the university of Uppsala) (Collation: A-2Y) (Photographs on request)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 120295

Catalogue: Old and Rare books

Keywords: (Oude Druk) (Rare Books) Altertum Altertumswissenschaft Antike Antiquity Blaeu Elzevier Janssonius Komödie Latin literature Plautus Pontanus classical philology comedy römische Literatur

PLUTARCHUS.

Eenige morale of zedige werken van Plutarchus. Vertaalt door R. T.

Amsterdam, Voor Hendrik Maneke, 1634. 12mo. (VIII),477,(3 blank) p., frontispiece. Vellum 12.5 cm (Ref: Geerebaert 69,8; Geerebaert gives as date 1644; OiN 307) (Details: 5 thongs laced through the joints. Engraved frontispiece, depicting a writer/philosopher and the Greek god Hermes standing beneath a bust (of Plutarch?) The frontispiece bears the impressum 'Amsterdam, 1643') (Condition: Vellum slightly soiled and spotted. Front hinge cracking, frontispiece loosening. Right margin of first gatherings somewhat thumbed. Very tiny and almost invisible pinpoint wormholes in the left lower corner, never coming near any text) (Note: This is a translation into Dutch of 10 treatises of Plutarch's Moralia: 'Van d'opvoedingh der Kinderen. Hoe, en met wat inzicht, de Ionghelinghen de Poeeten leezen moeten. Hoe men hooren moet. Van de zeedelijkcke duechd. Van de zonde, en van de duechd. Dat men de duechd kan leeren. Hoe men de vleider, en pluim-strijcker van de vriend onderscheiden kan. Van de langhmoedichheyd. Van de Nieus-gierichheydt. Van de veelheit der Vrienden'. The Greek philosopher, historian and educator Plutarchus of Chaeroneia was born before 50 A.D., and died after A.D. 120. He is our most important witness of the spiritual climate of the first and second century A.D. He wrote numerous short treatises of popular moral philosophy, which go under the general name of the Moralia. They include debating themes, works in the form of question and answer, and serious discussions of philosophical topics. His warm and sympathetic personality can be traced in many treatises, which contain also a great deal of antiquarian knowledge picked up by Plutarchus in the course of his wide reading. (H.J. Rose, A Handbook of Greek literature, London 1965, p. 408). The Moralia were very influential in the Renaissance. 'It is no exaggeration to say that Renaissance and early modern Europe discovered Greece and Rome through Plutarch's eyes'. (The Classical Tradition, Cambr. Mass., 2010, p. 748). § The 10 treatises were translated by one 'R.T.' Van Doorninck and STCN declare that this is Reinier Telle, 1558/59-1618. He was rector of the Schola Latina of Zierikzee, his hometown, from 1604-1610. He translated several works from Latin and Italian. According to De la Fontaine Verwey he was also a worthy satirical poet. Interesting as this may be, this cannot be correct, for the translation is preceded by a dedication to 'Franciscus Heermans', signed by R.T. The writer of this dedication tells that the publication of the 'gulde spreuken' of Heermans inspired him to translate a number of golden treatises of Plutarch as well. Now, Franciscus Heermans, or Franciscus Heerman, who lived from 1610 till after 1670, published his 'Toneel der deughdt, ofte guldene annotatien' only in 1631, 13 years after the death of Reinier Telle. Heermans was only 10 when Telle died. Heermans book was very successful, about 30 editions appeared during the next hundred years. (See for Heermans or Heerman Van der Aa 8,382/83; see for Telle preferably 'Biografisch lexicon voor de geschiedenis van het Nederlands Protestantisme' volume 1,375/6) (Provenance: On the front pastedown a nice small paper label 'M.M. Couvée, Lange Pooten 41, La Haye'. M.M. Couvée ran a posh bookshop and publishing firm in The Hague from 1859 till 1885. Members of the Royal family were among his clients) (Collation: A-8, A - V-8 (V7 verso & V8 blank) (Photographs on request)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 120155

Catalogue: Old and Rare books

Keywords: (Oude Druk) (Rare Books) Altertum Altertumswissenschaft Altphilologie Antike Antiquity Dutch translations Greek literature Griechische Literatur Moralia Plutarch Plutarchus classical philology

PLUTARCHUS.

Opuscula Plutarchi Chaeronei sedulo undequaque collecta, & diligenter recognita, ac in unam faciem bellatule coimpressa, quorum ante praefationem patebit & numerus & series, praemisso quam amplissimo & rerum & verborum indice. Addita autem sunt nuper opuscula haec duo, De cohibenda iracundia & curiositate.

N.pl. (Paris), Vaenundantur in Officina Ascensiana, (1526). (Colophon at the end: 'Sub prelo Ascensiano ad Nonas Febru. 1526'). Small folio. (XIV),191 leaves. Contemporary leather. 31 cm (Ref: BP16_104378; Renouard, Badius Ascensius 3, p. 175, no. 9; Hoffmann 3,198/99; cf Schweiger 1,264, ed. Paris, Asc. 1521; Graesse 5,362, Graesse forgot to mention the year 1526; Pettegree/Walsby 83345) (Details: Spine with 6 raised bands. Gilt floral motives in the compartments. Ascensius's woodcut printer's device with the date 1520 on the title-page, surrounded by broad woodcut borders with some allegorical scenes. The short preface of Iodocus Badius Ascensius' is dated 1521. Ca. 60 big woodcut initials) (Condition: Cover grazed, scuffed & soiled. Foot of the spine chafed. Red morocco shield in the second compartment partly gone. Gilt stamp in the centre of both boards erased and made unrecognizable, probably with sandpaper. Two old and faint ownership entries on the title. Below the printer's mark a small name has been erased, resulting in a tiny hole in the paper. Lower margin of the second half waterstained. Big stain on one leaf. Foxing near the end. Lacking the last blank leaf. Some old ink underlinings and notes) (Note: The Greek philosopher, historian and educator Plutarchus of Chaeroneia was born before 50 A.D. and died after A.D. 120. He is our most important witness of the spiritual climate of the first and second century A.D. He wrote numerous short treatises of popular moral philosophy, which go under the general name of 'Moralia'. They include debating themes, works in the form of question and answer, and serious discussions of philosophical topics. His warm and sympathetic personality can be traced in many treatises, which contain also a great deal of antiquarian knowledge picked up by Plutarchus in the course of his wide reading. (H.J. Rose, A Handbook of Greek literature, London 1965, p. 408) The Moralia were very influential in the Renaissance. 'It is no exaggeration to say that Renaissance and early modern Europe discovered Greece and Rome through Plutarch's eyes'. (The Classical Tradition, Cambr. Mass., 2010, p. 748). Hoffmann mentions a great number of Greek, Greek/Latin editions, and Latin translations of (part of) the Moralia which were produced during the first half of the 16th century. The French publisher of Flemish origin Badius Ascensius (1462-1535), who was himself an accomplished Greek scholar, produced between 1503 and 1526 9 different editions of treatises of the Moralia, with translations of Erasmus and Guillaume Budé. The last one, this edition of 1526, has Latin translations made by Erasmus, Budaeus, Melanchthon, et alii. It copies the preceding edition of 1521, but adds at the end 8 leaves with 2 new treatises, 'De cohibenda iracundia' & 'De curiositate', both translated by Erasmus. The edition contains also short introductions to several treatises written by the leading scholars of that period) (Provenance: 2 faint and illegible names on the title, one word recognizable as 'Anthonii')) (Collation: â8, ê6, a-z8, A8 (minus A8, a blank leaf)) (Photographs on request)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 140127

Catalogue: Old and Rare books

Keywords: (Oude Druk) (Rare Books) Altertumswissenschaft French imprints Greek literature Griechische Literatur Latin translation only Moralia Philosophie antike altertum antiquity classical philology philosophy

PLUTARCHUS.

Ploutarchou tou Chairôneôs Parallêla, ê Bioi parallêloi. Plutarchi Chaeronensis Parallela, seu Vitae parallelae, id est Vitae illustrium virorum, quos binos quasi paria composuit.

(Geneve, Henricus Stephanus, 1572). 8vo. 3 volumes: vol. 1: (II),579,(1 blank); vol. 2: (2, = p. 581/82), p. 583-1213,(3 blank = p. 1214/16); vol. 3: p. (2 = p. 1217/18),1219-1923,(1 blank). 19th century vellum. 18 cm (Ref: GLN-2438; Renouard 134/35; Brunet 4,733; Hoffmann 3,171; Schweiger 2,258/9; Dibdin 2,336/7; Moss 2,507; Ebert 17406; Not in Graesse) (Details: These three volumes are the volumes 4, 5 & 6 of the 13 volume set 'Plutarchi Chaeronensis quae extant opera', which is the first edition of the complete works of Plutarch published by Henri Estienne in Geneva in 1572. The 3 volumes contain the complete Greek text of 'Ploutarchou tou Chairôneôs Parallêla, ê bioi parallêloi. Plutarchi Chaeronensis Parallela, seu vitae parallela', being tomus primus, secundus and tertius. § Backs gilt with floral motives in 4 compartments. Red morocco shield on the backs. Boards with gilt borders that consist of a long floral wreath of wine leaves. Board edges decoratively gilt with complementary inside (inner) dentelles. Edges gilt. Marbled endpapers) (Condition: Bindings slightly soiled and very slightly scratched. Bookplate on the front endpaper of the first volume. Faint and small library stamp on the titles) (Note: The Greek philosophic stylist Plutarchus of Chaeroneia, ca. 46-120 A.D., wrote numerous short treatises on ethics and philosophy. He is however best known as historian and biographer. Plutarch composed with his famous 'Vitae' (or Parallel Lives), written ca. 100-120 A.D., a work of timeless quality. His aim was not writing history, but biography, so his chief interest was in the characters of the heroes and villains he portrayed, never avoiding a good story. Plutarch exercised a very profound influence on Western civilisation. His collection of 'Vitae' has been one of the most frequently and continuously read books of the Western tradition. Treacherous to the historian, Plutarch has won however since the Renaissance the affection of the many generations to whom he has been a main source of understanding of the ancient world, that is, early modern Europe discovered the ancient world through Plutarch's eyes. The Lives could gain an enormous impact by providing later biographers and literary authors an outstanding model. Authors like Montaigne, Corneille, Racine, Rousseau, Schiller and Shakespeare heavily drew upon the Lives. Until the 19th century the Lives were invoked as models of totalitarism, anticlericalism by supporters and opponents. 'The founders of American democracy were avid readers of Plutarch as well, and some laced their prose with evidence of that fact. Franklin and Hamilton, in particular, proclaimed their admiration for the Lives'. (The Classical Tradition, Cambr. Mass., 2010, p. 749) The first complete edition of Plutarch was published by the French humanist scholar/printer Henri Estienne (Henricus Stephanus), 1531-1598, who contributed greatly in the field of classical philology. He produced 58 Latin and 74 Greek editions of ancient authors, of which 18 were 'editiones principes'. He is still famous for his huge 'Thesaurus Graecae Linguae' of 1572, his Plutarch edition of the same year, and his 3 volume Plato edition of 1578. Scholars today still refer to the works of Plato and Plutarch by their ‘Stephanus’ pagination) (Provenance: Bookplate of 'docteur Paul Lecène'. It depicts a faun who is sitting on a book, while playing a flute. Around him a motto in Greek: 'GÊRASKÔ D'AEI POLLA DIDASKOMENOS'. A famous text of the Greek philosopher Solon, one of the Seven Wise. It means 'I grow old forever learning many things'. Monsieur Lecène, 1878-1929, was a wellknown French surgeon. He has his own street, 'La rue du Docteur-Lecène' in the 13th arrondissement of Paris. § The round stamp on the title is rather vague, it seems to read: 'BIBLIOTHECA DUACENA'. This set must once have belonged to the University (Library) of Douai, in the North of France. In 1793, during the French Revolution, this Catholic bulwark against protestantism, which was founded in 1560 by the Spanish king Philipp II, was closed down, and its library was incorporated in the 'Bibliothèque Municipale'. This library numbered 115000 works, when it burned down by a bombardment on the 11th of August 1944. Nine tenth of the books were destroyed, but the core of the collection, manuscripts and 8 000 old books, among which 450 incunables were saved. How this set of Plutarch escaped the confiscation and fire, we do not know. (See Wikipedia French: 'Universités de Douai') (Collation: 1: pi1, a-z8, A-M8, N10 (N10 verso blank). 2: pi1, a6, b8, Cc-Zz8, aA-rR8 (leaf rR7 verso and rR8 blank). 3: Aa-Zz8, Aaa-Vvv8, Xxx10 (leaf Xxx10 verso blank)) (Photographs on request) (Heavy set, may require extra shipping costs)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 130371

Catalogue: Old and Rare books

Keywords: (Rare Books) Biographie Estienne Greek history Greek literature Greek text Griechische Literatur Roman history Stephanus Swiss imprints antike altertum antiquity biography griechische Geschichte römische Geschichte