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Diftincto quartam qua otinētur epleofutato rie plimon béticos et detracton baierommi Jerommus otra beludiu.æpetua¥gimitate fce marie.Epla prima. Soprrogat a fratri bufur aducrfus bbellú cuiusdā belшudij respon: &rem-facerc distuli:nő q difficile fueit boicm rufticanúavix pmifos

a imbutilris.fupwriaf fertione suince:ß ne respondédo dignus fiét que vincétur. Luc accedebat o bo turbulētus et folus in vmuerso müdo fimuler laicus faċ dos.qui ut aitille loquacitatë facundiă existi mat et maledicć omibɔ bone ofactie fignú ar bitratur:accepta materia disputādi āpli? mciperet blafphemarea quæ fublimi loco in to tum ozbé ferre fniam:mèq3 q witate nó pollet laceraret suicijs. Seru be omes tam ufte filentij cause ob sandalûfrm & adeus rabie moucbatur iuftiozi fine cellert:iam ad radices infructuohi arboris cuágelij fecuris é admoué da et cũ infecüditate folion, tradede flämms: ut difcat aliqn reticere q nunc didicit loqui: Igitur mcbifcus muocadusē fpus ut marie ginitaté fuo fenfu meo oze defendat:muocā dus dns ibelus ut facriventris hofpiciu cuius


[NUMBER 893]


897. HILL (THOMAS). A profitable instruction of the perfite ordering of Bees, with the maruellous nature, propertie, and gouernemente of them: and the necessarie vses both of their Home and waxe, seruing diuersly, as well in inward as outward causes: gathered out of the best writers. To which is annexed Treatise, intituled: Certaine husbandly coniectures of dearth and plentie for euer, and other matters also meete for Husbandmen to knowe, &c. Title within woodcut border. Printed in Gothic type. Small 4to, full olive levant morocco, gilt ornament on sides, by Rivière. Imprinted at London by Henrie Bynneman, 1579 Second Edition. A superb copy of this excessively rare work, of which no edition appears to have occurred in many years.

898. HIND (HENRY YOULE). Narrative of the Canadian Red River Exploring Expedition of 1857, and of the Assissiboine and Saskatchewan Exploring Expedition of 1858. Beautifully illustrated with colored lithograph plates, and maps, besides woodcuts in the text. 2 vols. 8vo, original cloth, uncut. London, 1860

FIRST EDITION. Fine clean copy of the Large Type Library Edition. 899. HINDU MANUSCRIPT. A Collection of Hymns, Devotional and Philosophical Tracts, Tales of the Gods, etc. Hindu Manuscript (Kashmir character) on native paper (upwards of 800 leaves 434 x 734 inches) finely written in long lines 8 to a page, within painted borders. With 28 FINELY PAINTED AND RICHLY ILLUMINATED MINIATURES OF HINDU MYTHOLOGY, measuring 434 x 3 inches, some plain corners of the MS. damaged. Oblong 4to, original leather binding. Sæc. XVI?

900. HIPPOCRATES. The Aphorismes of Hippocrates, Prince of Physicians. With an exact Table shewing the substance of every Aphorism, and a short Comment on each one taken out of those Notes of Galen, Heurnius, Fuchsius, etc. Engraved portrait of Hippocrates by Cross. 24mo, old mottled calf.

London: Printed for Humphrey Moseley, 1655


901. HOBBES (THOMAS). Leviathan; or, the Matter, Forme, and Power of a Commonwealth Ecclesiastical and Civil. Engraved title, divided into 11 compartments. Folio, half mottled calf (hinges a little weak). London: Printed for Andrew Crooke, 1651

FIRST EDITION, with the folding table intact. Pepys, in his "Diary' remarks on the scarcity of this work because the Bishops will not let it be printed again." There are quite a few marginal notes of an interesting nature, inscribed in pencil by a former owner.

901A. [HOBBES (THOMAS).] Considerations upon the Reputation, Loyalty, Manners and Religion of Thomas Hobbes of Malmesbury. Written by himself By Way of a Letter to a Learned Person. Small 8vo, three-quarter morocco. London, 1680



902. HONTER (JOHN). Rudimentorum Cosmographicorum Libri III (in verse). Cum tabellis Geographicis elegantissimis. The atlas contains 12 double-page maps; 1 full-page, and one small map. 2 parts: the first, 32 unnumbered leaves, including last blank; the second, 16 leaves, including last two blanks. Small 8vo, in contemporary limp vellum.

Antwerp: John Richard (ab. 1545, not later than 1546) VERY RARE. WITH MAP SHOWING AMERICA. This is a very fascinating little book written by a very interesting person. John Honter, claimed both by Hungarians and Rumanians as their compatriot was born in Cronstadt in Transylvania, educated at Basle and Cracow University, and became Reformist, took refuge in Cracow, where he was appointed professor of Geography in the University, and where he published in 1532 or 1533 the first edition of this book, of which only two copies are known, and then returned to Transylvania. His biographers call him the first important reformer who introduced the Reformation into Transylvania. He died there in 1549.

The book became very popular, passed through many editions before 1600, and at least one piracy (which see under “Darinel” in the present collection).

Only two sets of maps were used in the different editions-the first up to 1545 or 1546, and the second, closely recut, was used from 1546, in Zurich.

Some of the editions are described by Harrisse; others by Sabin; some by Estreicher, and most fully by the Hungarian Bibliographer, Szabo.

903. HONTER (JOHN). Another Edition, with set of maps recut in 1546. Small 8vo, old olive levant morocco, gilt backs and borders, gilt edges. Zurich: Apud Froschouerum, 1546

The Heber copy, with his stamp.

904. [HOOD (THOMAS).] Odes and Addresses to Great People. 8vo, original boards, paper label, uncut, in half morocco slip-case. London: Printed for Baldwin, Cradock, & Joy, 1825

FIRST EDITION, very rare, especially in original binding. This is the author's First Book, issued anonymously. An unusually fine, crisp copy.

905. HOOD (THOMAS). Hood's Own; or, Laughter from Year to Year. With portrait of Hood, the only one ever taken up to this time, and numerous woodcuts in the text. In the original 12 monthly parts, original wrappers, uncut, as issued, in half red morocco slip-case. London: A. H. Baily & Co., 1838 FIRST EDITION. Rare in original parts. The pictorial covers were designed by Crowquill.


906. HOOKES (NICHOLAS). Amanda, a Sacrifice To an Unknown Goddesse, or A Free-will Offering Of a loving Heart to a Sweet-Heart. By N. H. of Trinity-Colledge in Cambridge. With

the brilliant engraved frontispiece by Faithorne. Small 8vo, full old sprinkled calf. In brown morocco solander case.

London: Printed by T. R. and E. M. for Humphrey Tuckey, 1653

FIRST EDITION, OF THE UTMOST RARITY, and most unusual in its present state, with the HALF-TITLE; CANCELLED LEAF a4 (also the revised leaf); THE GENUINE BLANK LEAVES G5 and Hi.

THE PRESENT COPY IS IN PERFECT CONDITION, surpassing that in the British Museum which lacks the half-title. This leaf has the word "Amanda" printed vertically upon it. The frontispiece, a brilliant impression, is said by a former possessor to be the "chef-d'œuvre of Faithorne. the best engraver of his day."

The pedigree of the present copy is most unusual, it being the Ouvry copy, and purchased by W. F. Prideaux, the eminent bibliographer, who has written concerning this copy, on the fly-leaf. It also contains the bookplates of T. D. C. Graham, and Francis Freeling, indicating further distinguished ownership.

Laid in, is a printed article by Prideaux which appeared in "Notes and Queries regarding this work detailing at length the variations of the cancelled leaf, and further valuable information. No separate leaf of errata was published with the book, that appearing on the verso of the cancelled and substituted leaves.

The catalogue description of the Hoe copy makes no mention of the cancelled leaf, and the Huth copy was imperfect.

REMARKABLE FRANCO-SPANISH MS. OF THE XV. CENTURY 907. HORÆ. Written on fine vellum, in a French hand, middle of XV. century. 93 leaves, size 8 x 53% inches, 31 lines to a page. Richly illuminated and decorated with miniatures, borders and initials. The ink used for the text is of a peculiar brown tint. 8vo, contemporary binding of unusual character, wooden boards with beveled edges, covered with black leather, blind tooled, with fillets, and border of conventional design of foliage, gilt gauffred edges. The binding is of Spanish (?) origin. In full morocco solander Written about 1450 in Paris (?) Collation: 2 leaves, plus as be7 ds e7 fgh8 i2 ks 110 m8 n4-together 93 leaves numbered 92 as the 44th leaf is numbered 43 bis. Six leaves are blank.


The decoration is by French and Spanish artists.


Fol. 4-Sequitur Hore de Passione (Hours of the Passion).
Fol. 28-Passio domini Ihesu Christi (Passion of our Saviour).
Fol. 32-Hore de Cruce (Hours of the Cross).

Fol. 45-Hore de Sancto Spiritu (Hours of the Holy Ghost).

Fol. 55b-Preces ad dominum nostrum I. C. (Prayers to Jesus Christ).
Fol. 59-Bl.

Fol. 61-Incipit jubilus cum jubilo Beati Bernardi de Ihu. ad omnes

horas diei.

Fol. 68-Explicit jubilatio. Incipiunt orationes devote Beati Bernardi
Abbatis ad Ihesum Christum (Prayers of St. Bernard to
Jesus Christ).

Fol. 83-Psalterium ad Deum Patrem (Psalter to God, the Father).
Fol. 84-Psalterium ad Deum Filium (Psalter to God, the Son).
Fol. 85b-Psalterium ad Spiritum Sanctum (Psalter to the Holy Spirit).
Fol. 86b-Sequitur Psalterius Beati Iheronimi (Psalter of St. Jerome).
The above collation of the text is given, because the composition of this
Book of Hours is very unusual, and therefore perhaps of some additional

liturgical and historical interest. The origin of Horæ is comparatively recent, although still very obscure. None earlier than the beginning of the XIVth century are known. Some authorities suggest that they were introduced by the Benedictines. With certainty we can only say that the Psalter which contained, besides the one hundred and fifty Psalms, Canticles, and often the Litany, was superseded by the book of private devotions, called Horæ, normally used by clerical and lay persons. With the development of Hore the number of Psalms included was gradually decreased, so that by the 15th century only certain Psalms, such as the seven Penitential Psalms, etc., were included. In a normal, most fully developed Horæ, we find the Kalendar, Sequences of the Gospels, Hours of the Blessed Virgin invariably, Hours of the Cross, Hours of the Holy Ghost, Offices of the Dead, the Litany, Seven Penitential Psalms, Prayers to various Saints, and very often fifteen Psalms of degrees. The arrangement of the Hore which is being described is quite different, but the most important feature is the omission of the Hours of the Blessed Virgin. They are not cut away as may be suggested, as the collation of the MS. clearly shows how it was formed. Throughout the MS. are many separate Prayers to the Virgin Mary, but the usual Hours of the Blessed Virgin were deliberately omitted, and were substituted by other Hours and Prayers, This has led some English students of Liturgy to suggest that the unusual arrangement and omission may be regarded as one of the first steps towards the Reformation and the reformation of Liturgy. The question however, is still an open one.


Sixteen full-page paintings by a Spanish artist, plus three removed (before ff. 14, 19, 34).

In addition to the borders around the 16 paintings there are 33 others. A new type of border called the compartment border, begins on fol. 40. There is a great use of the IHS symbol made in several borders.

Throughout the text there are a very large number of fine, small initials executed on a background of burnished gold. A fine, large, elaborate initial in blue, red and white, on a background of burnished gold on each of the pages containing borders, except those pages containing full-page paintings.

The artistic features of this MS. are of the utmost absorbing interest. While the borders and initials were produced by three distinct schools of illumination, unmistakably French, the numerous paintings were undoubtedly done by a Spanish artist, and for Spanish art of the 15th century they are of very high quality. All the typical characteristics of Spanish illumination of the period are present in these paintings-barbaric splendor of pigments, which are of the most brilliant colors, including bright brick red, figures of demons of more monstrous and repulsive character than are usually depicted in French MSS., more traces of blood shown in the scenes of the Scourging and Crucifixion than in similar scenes in MSS. of the other European schools of illumination, many figures look Semitic and Spanish, and the pigments, especially white, are employed in thick layers as was the custom of the Spanish artists of that period. These points quite clearly indicate a Spanish hand. As it is unlikely that a MS. written and decorated in France at that period would have been sent to Spain for the purpose of having the miniatures painted, the only remaining explanation seems to be that some Spanish painter living in Paris at the time painted the miniatures in the Spanish style.

The provenance of this MS. cannot be traced as there are no definite heraldic or other indications, unless the fleur-de-lys, some in white, some in gold, forming part of the border decoration of leaf 67a have some heraldic meaning.

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