THE EARLIEST KNOWN WOODCUT BORDERS

26. APPIANUS. De Bellis Civilibus. Printed in Roman characters, 212 unnumbered leaves, including the first blank, 32 lines to a full page, with signatures. Fol. a2 with woodcut initial and beautiful woodcut border.

Colophon: Impressum est hoc opus Venetijs per Bernardu pictorem & Erhardum ratdolt de Augusta una cum Petro loslein de Langencen correctore ac focio. 1477

and

APPIANUS. Historia Romana. Printed in Roman characters, 132 leaves, including the first blank (cut away), 32 lines to a full page, with signatures. Numerous fine woodcut initials and a remarkably fine woodcut border on Fol. a2. In one volume, 4to, full dark brown levant morocco, richly blind tooled on back and sides in the style of 15th century binding, gilt edges, by Cape.

Colophon: Impressum est hoc opus Venetijs per Bernardu pictorem & Erhardum ratdolt de Augusta una cum Petro loslein de Langencen correctore ac focio. 1477

ONE OF THE FINEST AND EARLIEST BOOKS FROM THIS PRESS, AND THE

EARLIEST KNOWN WOODCUT BORDERS.

These very remarkable volumes belong to the group of the finest books printed in Italy, and Redgrave, Director of the Art Library in the Victoria and Albert Museum in London, in his book on the printers of these works goes even farther and says on page 13: "To my mind, there are few printed books in any age, which can be compared with the Appian of 1477, with its splendid ink, its vellum-like paper and the finished excellence of its typography."

But Redgrave in his praise omits a much more remarkable artistic feature of these volumes, that is, their exquisitely beautiful woodcut borders. The borders were introduced FOR THE FIRST TIME in the printed books by Ratdolt and his partners, who printed these volumes, and they killed, at least in Italy, the art of hand coloring of the first pages of sumptuously printed books. In 1476, Ratdolt made his first attempt on a small scale in the "Calendar of Regiomontanus" (in this library), followed by two magnificient borders in the Appian in 1477. Altogether, he introduced six remarkable borders, but the height of beauty was reached in Number 2 and 3 of Appian.

It is not known who designed them, nor is it known why the seventh border used by Ratdolt is so poor. It is conjectured that the original artist died, and that his successor was much less skilful. Mr. Pollard of the British Museum in his book of "Italian Book Illustrations" says on page 11: "Of the beauty of all but the last of their woodcut borders, it is difficult to speak too highly."

Of Appian's writings, only two works have reached us: The Roman History, and the Civil Wars of Rome. Both were originally written in Greek, and at the time of the Revival of Learning in the 15th Century, they were translated into Latin, the common language of Europe at that time. This translation is by P. Candidi.

Appian's works on Rome are regarded as Classical and belong to the most monumental works on this subject. He was a Greek, born in Alexandria, Egypt, in the second century after Christ, but lived and wrote in Rome.

Hain, *1307 (2); Copinger, *1397(2); Pellechet, 915,II; Proctor, *4367, "Type 1'; Redgrave, 3; Prince d'Essling, N. 221.

[SEE ILLUSTRATION]

FIRST BOOK PRINTED AT SCANDIANO

27. APPIANUS. Roman History. In Latin. Printer's device
at foot of last page. Folio, boards.

Colophon: Scandiano, Peregrino Pasquale, 1495

THE FIRST BOOK PRINTED AT SCANDIANO. A very fine clean copy, in perfect
condition. The date is misprinted in the Colophon, 1465 (M. CCCCLCXV).
The work is extremely rare, but three books being printed at this place in
the fifteenth century. Not in the Hoe or Huth collections.

FIRST PRESS IN ULM

28. AQUINAS (THOMAS). Questiones de Quodlibet. Printed
in a remarkable Gothic type, 232 leaves, including the first blank.
With very striking large woodcut initials and numerous small ones.
Small folio, beautifully bound in contemporary wooden boards
covered with stamped red morocco, blind ornamentation of oriental
design.
Ulm: John Zainer, 1475

A SUPERB SPECIMEN OF THE FIRST PRESS IN ULM. A rare and fine book
by a great medieval philosopher. This book is printed in the EARLIEST
ZAINER TYPE, as used for his Latin books.

Described by Hain but not seen by him, 1403; Copinger, 1403 and
Pellechet 1007 do not mention the first blank leaf. Proctor, *2510. Only
one copy in Pub. Libr. of France (Bibl. Nat.). A copy in the Br. Mus.
and Bod. Lib.

Zainer introduced printing into Ulm in 1473, beginning with the publi-
cation of books in German. All his Latin books prior to 1487 were printed
in folio.

St. Thomas Aquinas was a pupil of Albert, the Great, and was one of
the greatest minds of the Medieval Ages. A voluminous writer, he dis-
cussed physiological questions in his theological and philosophical writings,
and advised the dubious animistic doctrine of Qualities Occultæ. He
and Duns Scotus founded rival schools of philosophy, which wrangled for
three centuries.

29. ARABIAN NIGHTS. The Thousand and One Nights, com-
monly called, in England, The Arabian Nights' Entertainments.
A new translation from the Arabic, with copious Notes, by Edward
William Lane. Illustrated by many hundred engravings on wood,
from original designs by William Harvey. 3 vols. tall 8vo, original
cloth, uncut.
London: Charles Knight, 1839

FINE COPY OF THE FIRST EDITION.

EDITIO PRINCEPS OF THE EARLIEST FLORENTINE
HISTORY

30. ARETINO (LEONARDO). HISTORIA FLORENTINA tradotta
in vulgare di Donato Acciaioli. (History of Florence, translated
into Italian by Donato Acciaioli). Printed in Roman type, 218
leaves, including the first blank (cut away), 41 lines to a full page;
on first leaf is a contemporary Venetian initial illuminated in gold
and colors, and on the lower margin a wreath with bands, painted
in colors, without coat-of-arms, but initials of an owner, “G. M.”
added in a later hand. On one of the blank leaves is a MS. note
dated Apr. 5, 1723, signed P.(?) J. Wright-perhaps owner. Sig-
natures a-k1o; kk°; l-p1o; q12; r-x1o. Folio, beautifully bound in

an early 18th century scored Russia, gilt back, dentelle border on sides, canary edges (two leaves remargined, and a few brown ink spots, otherwise a fine copy).

Printed by Maestro Iacomo de Rossi di natione Gallo, Venice, 12 Feb. 1476.

EDITIO PRINCEPS of one of the greatest Italian Chronicles, and the earliest Florentine history ever printed. The author, whose real name was Bruni, but called Aretino after the place of his birth, Arezzo, was a famous historian, poet laureate, story and essay writer. A collection of his letters was printed as early as 1472. Donato Acciaioli translated Aretino's Chronicle from the manuscript. On account of the purity and elegance of the style, this translation is cited by the Academy of Crusca. It was reprinted in Florence in 1492 and many times later. It contains material for the study of Shakespeare's Italian plays, and is therefore included in Shakespearean literature.

That Aretino's History of Florence was the earliest Florentine Chronicle printed can be sustained from the minute details given by the printer who not only mentions the year of publication, but the actual day of the month. Were it not for this, bibliographers would have another quarrel about the priority of two publications, because in the month of March in the same year, another famous Florentine history was published-that of Poggio.

From a typographical point the above described volume is remarkable for beauty of type and the skill shown by the printer, a Frenchman from Chablis, whose name in the French form was Jacques Le Rouge. He printed in Venice from 1473 to 1478 and cut his No. 1 type on the lines of the Jenson No. 1 type. The books of both these printers, in their early types, reveal something foreign in their elegance and general aspect. Perhaps the French national love of beauty and grace influenced their work. After leaving Venice in 1478 Le Rouge printed in 1479 several books in Pineroll, on the slope of the Alps. Nothing is known about his peregrination for many years until we find him again a printer, but this time in his native France, in Erbrum, in 1489.

The Jenson and Le Rouge types were regarded as so beautiful by William Morris that they were copied by him for use in his own publications.

Hain-Copinger, *1562; Proctor, *4243; Dibdin, "Bibl. Spenceriana,' IV. 63; Pellechet, 1115. The present is a very large copy, measuring 121⁄2 x 81⁄2 inches.

31. ARIOSTO (LUD.). Ariosto's Satyres (in verse) in Seven Famous Discourses, shewing the State: I. Of the Court and Courtiers; 2, Of Libertie, and the Clergie in generall; 3, Of the Romane Clergie; 4, Of Marriage; 5, Of Soldiers, Musitians, and Louers; 6, Of Schoolmasters and Scholars; 7, Of Honour, and the Happiest Life. In English by Garuis Markham. Printer's device on title. Small 4to, full red levant morocco, Jansen style, gilt edges, by Sangorski and Sutcliffe (one running headline in facsimile).

London: Printed by Nicholas Okes, for Roger Jackson, 1608 A VERY IMPORTANT AND RARE FIRST ENGLISH EDITION. Bibliographers do not mention that this translation contains very interesting commentaries by R. Tofte, who was personally acquainted with Italy, and who gives in them a mass of information relating to the manners of the Italians at the end of the 16th century. This version was really written by Robert Tofte, and the ascription of the work to Gervase Markham appears to have been a fraud upon the part of the publisher, for Tofte, in an address to the reader in the "Blazon of Jealousie,''-(in this library)—says:

"I had thought for thy better contentment to have inserted (at the end

of this booke) the disastrous fall of three noble Romane gentlemen overthrowne thorow Jealousie in their Loues; but the same was with Ariosto's 'Satyres' (translated by mee out of Italian into English verse, and notes upon the same) printed without my consent or knowledge in another man's name."

EDITIO PRINCEPS OF ARISTOPHANES

32. ARISTOPHANES. Comoediae, graece. Greek characters; 347 unnumbered leaves (including the blank 90), with signatures. Fine woodcut headings and initials in the interlaced manner. Folio, contemporary Venetian binding in brown morocco, panelled sides, with blind tooled ornaments, clasps, very probably executed in the Aldine shop (back and corners slightly and skilfully re.stored). Venetiis apud Aldum, 1498

EDITIO PRINCEPS OF ARISTOPHANES and a masterpiece of typographical art, certainly one of the most beautiful books issued by Aldus. The scholia which accompany the text were collected by Marcus Musurus from several ancient manuscripts.

This copy belonged in the first half of the 16th century to the wellknown Hellenist, Ciriaco Strozzi, of the noble Florentine family of that name, professor of Greek at the University of Bologna and Pisa. His autograph signature (in four places) and autograph notes are to be found in the volume. With bookplate of John Lord Sommers, Baron of Evesham (1650-1716), and also bookplate of Charles T. Stanford. A fine and large copy, with 2 leaves in duplicate. Hain-Copinger, 1656; Pellechet, 1174; Proctor, 5566; Renouard, 3d Edit. p. 16, No. 3.

33. ARISTOTLE. Oeconomicorum Aristotelis libelli cum comentariis Leonardi Aretini. Large printer's device on last page. 24 unnumbered leaves, 36 lines to a full-page. Printed in Roman type. Small 4to, old elaborately stamped calf.

Colophon: Impressus Senis per Symeone Nicolai Nardi Ano Salutis. M.D.VIII. Calendis Februarii.

VERY RARE.

FIRST HERBAL WITH WOODCUTS PRINTED IN VENICE 34. ARNALDUS DE VILLANOVA. De Virtutibus Herbarum. Illustrated with a herbal woodcut on nearly every page. Small 4to, original oaken boards, partly covered with stamped calf, which has been repaired and strengthened. In brown morocco solander case. Venice: S. Bivilaqua, 1499

THE FIRST EDITION OF THE FIRST HERBAL WITH WOODCUTS PRINTED IN VENICE. A very fine, crisp copy of this important work, printed in heavyfaced Roman type. The work is very rare. Hain *1807; Proctor *5415; Copinger *1807.

This remarkable work contains 150 woodcuts, not only of the foliage of the herb described, but the flower as well, and is a truly marvellous production. The copy is an especially large one, measuring 84 x 51⁄2 inches, with ample margins throughout.

35. ARNOLD (MATTHEW). The Strayed Reveller, and other Poems. By A. 12mo. original cloth, uncut.

London: B. Fellowes, 1849 FINE COPY OF THE EXTREMELY RARE FIRST EDITION. This work was suppressed by the Author, and only a few copies got into circulation.