London: Typis Jacobi Flesher: prostant verò apud Cornelium Bee, M DC LXIII. 1663
Folio: 31.8 x 20.1 cm , 886 p. Collation: (a)2, (b)-(g)2, A-Z2, 2A-9Z2, 10A-10P2
In his “Early Printed Editions of Aeschylus (1518-1664)”, J.A. Gruys gives a detailed account of Stanley’s working method, beginning with an examination of the extant manuscript materials, and vindicates Stanley from Fraenkel’s charges that Stanley’s edition relied too heavily on the work of the scholar John Pearson and that Stanley himself was a scholar of much meaner abilities.
Rome: Chez Bouchard et Gravier Libraires François rüe du Cours près de Saint Marcel, de l 1761
Large Folio: 51 x 35.5 cm. VIII, 90 pp. Collation: [π]1, [a]-[c]1, A-Z, Aa-Yy1. With 73 added plates. Complete.
The French artist Jean Barbault arrived in Rome in 1747 and quickly became involved with the circle of Piranesi, with whom he worked on the “Varie Vedute di Roma Antica e Moderna” and for whose “Antichità Romane” he contributed figures for 14 plates “thus becoming one of the few official collaborators” of Piranesi. Barbault’s own views appeared 7 years after his collaboration with Piranesi.
Two Large Folio Volumes: 56 x 38 cm. Vol I: 2 ff. (General printed title conjugate with dedication), 2 ff. ("Ad lectorem"), 1 f. (Dedication), 2 ff. (Printed section title, half title), 1-253 pp., 1 f. (Index leaf). Illustrated with an engraved frontispiece and 74 plates.
A fine set of one of Joan Blaeu’s most magnificent productions. This set is very rare, owing probably to the fire that ravaged Blaeu’s workshop in 1672, the year before the publication of these “town books”. This copy has an additional plate, not recorded by Koeman, of the Obeliscus Pamphilius, in volume 2.
The two volumes are profusely illustrated with town views, architectural plans, ancient, Renaissance, and Baroque architecture (including many villas); and sculpture.
Octavo: 17 x 11 cm. (32), 523, (1, blank), (108) pp. Collation: I. *8, **8 (**4 and 5 are conjugates that form the folded map of Spain), a-z8, A-Q8, R4. II. 134, (16) pp. Collation: A-I8, K4
This edition of Caesar includes the texts of the “Gallic Wars” and “Civil War”, together with the "De bello Alexandrino", "De bello Africano", and "De bello Hispaniense", ascribed to Aulus Hirtius. This edition also includes Raimundo Marliano’s useful index of the topography of Gaul in Roman times.
Admired for their style (most famously by Cicero) and read by both his supporters and detractors alike in antiquity, Caesar’s Commentarii fell into obscurity in the Middle Ages.
Folio: Jean-Baptiste Coignard, Engraved title page, , 324 pp. Collation: [ ]1 (Etched title page), [π]2, e2, i2, A1, B-E2, F1,
“Antoine Desgodets, born into a family of prominent craftsmen, was already working in the Département des Bâtiments by the age of 16. In 1672 he began to assist at the conferences of the Académie Royale d’Architecture, and in 1674 was sent by Colbert to Rome. In 16 months he measured many of the important ancient buildings, with greater accuracy than had been achieved to that date.
Rome: Appresso Gottifredo de Scaichi alla insegna dell’Aquila negra in Parione vicino la Chiesa di S. Thomaso, 1621
Oblong quarto: Sheet size: 41 x 26.2 cm. -40 engraved plates, comprising: the engraved title page () and 39 views of monuments, numbered 2-40.
The Royal Institutes of British Architects’ catalog, “Early printed books, 1478-1840”, describes this as the sixth state of these plates. Taken together, RIBA and Ashby present a clear picture of the printing history, which may be summarized as follows: The first edition appeared at Rome in the jubilee year 1575, with two states of the title page. They were next printed as part 1 of a 3-volume set of engravings for the jubilee of 1600; once again, only the title plate was modified.
RIBA 3833, state 6; Ashby, “Le Diversi Edizioni dei ‘Vestigi dell’Antichità di Roma’ di Stefano Du Pérac” in La Bibliofilia, Vol. 16, No. 11-12, Feb-March 1915, p. 400-421. See: Fowler No. 111 (pp. 93-4); Borroni 7957; Olschki 16857-8; Millard IV, 35; Berlin 1847; Cicognara V, 3821; Brunet II, 888
The First Complete Edition of All of Euripides’ Extant Tragedies
The text is printed entirely in Greek, introduced by a Latin letter by Johannes Oporinus (who oversaw the production of this edition), five Greek Epigrams, lives of Euripides by Manuel Moschopoulos and Thomas Magister, and a brief monograph on the "eidolon" by Moschopoulos (this essay precedes the "Hecuba" in which the "ghost" of Polydoros sings the prologue.)
The Aldine “editio princeps” of 1503 and Herwagen’s previous two editions of Euripides (1537 and 1544) comprised eighteen tragedies in Greek.
Cambridge: Ex officinâ Johan. Hayes, celeberrimæ Academiæ typographi. Impensis Richardi Green bibliopolæ Cantab., 1694
Folio: 32 x 20.5 cm. , lvi, 330; , 529, [43 ] p. Collation: a-g4, h2, (A)2, B-Z4, Aa-Tt4, Vv2, a-z4, aa-zz4, aaa-zzz4, aaaa-bbbb4, cccc2. With two added engraved portraits of Barnes and Euripides.
“The merits of all preceding editions are eclipsed by this celebrated one of Joshua Barnes. Fabricius observes that ‘the text is accurately revised and printed, the metrical rules of Canter diligently corrected, and the entire ancient scholia on the first seven plays subjoined and enriched by excerpta from a manuscript in Corpus Christi College, Cambridge. The notes of various learned men, and those of Barnes accompany the scholia; the fragments of Euripides are carefully collected and displayed, with Greek and Latin notes as far as verse 2068; lastly, there are some epistles, attributed to Euripides.
Venice: Bartolomeo Zanetti, for Joannes Franciscus Trincavellius, 1537
Quarto: 20.8 x 15 cm. , 188 leaves. +4, [alpha]-[psi]8, [omega]4
First and sole Zanetti edition, an edition famous for its typographic beauty. This edition is of central importance, as it contains the first printing of the Greek scholia, and formed the basis of virtually all subsequent editions. Dibdin says that "this is a truly valuable, if not indispensable, volume in a library of any classical pretension." This edition includes all of the works ascribed to Hesiod: the "Works and Days", the "Theogony" and the "Shield of Herakles".
Quarto. 24.5 x 20.3 cm. Two volumes bound as one: *4, **4, A-Z4, Aa-Zz4, Aaa-Zzz4, Aaaa-Vvvv4, Xxxx2; a-z4, aa-zz4, aaa-xxx4, aaaa-eeee4, ffff2
This edition contains the Greek texts of the Homeric epics, the "Iliad" and "Odyssey"; as well as the Homeric Hymns and the mock epic "Batrachomyomachia". With the Latin translation of the classical scholar Cornelius Schrevelius (1608-1661) and the Greek commentary of Pseudo Didymus.
"Whatever our views may be on the authorship of the Homeric poems, there is no doubt of their astonishing quality.
Willems 1202; Dibdin II, 53; Brunet III, 272; Graesse III, 328; Schweiger I, 158; Bibliotheca Philologica Classica et Archaeologica (1913), 2087 ('Cette belle édition est recherchée à cause des commentaires')
Folio: 351 x 232 mm. [alpha]-[gamma]6, a-z6, A-P6, Q4, R-S6; [alpha]2, Aa-Zz6, AA-HH6, II4, KK-LL6
Second edition with the commentary of the French Calvinist scholar Jean de Sponde (1557-1595), dedicated to his patron Henri de Navarre. Includes the Greek text and Latin translations of the Iliad, Odyssey, Batrachomyomachia, and the Homeric Hymns. This volume also includes the fifth century (?) pseudo-historical "De Bello Troiano" by Dares the Phrygian and the "Ilias Latina", a first century (?) Latin epitome of the Iliad ascribed in medieval manuscripts to "Pindarus Thebanus".
Venice: Joannes and Gregorius de Gregoriis, 17 May, 1483
The works of Horace with the commentary of the celebrated Renaissance humanist Cristoforo Landino (1424-1498), tutor to Lorenzo and Giuliano de Medici and member of Marsilio Ficino’s Florentine academy. His literary skills were wide-ranging and his edition of the “Commedia” marked a watershed in Dante criticism. Landino’s was the first humanist commentary to be written on Horace’s poems.
Strasbourg: Johann Reinhard, called Grüninger, 12 March, 1498
Folio: 298 x 222 mm. Collation: [*]6, A-V6, X-Z6, AA-II6, KK-LL8; [**]6
This copy is partially rubricated and is annotated, in Latin, throughout in at least two contemporary hands. The early annotations are intact, having been spared by the binder’s knife, and consist of metrical notations, citations from other authors, and comments. There are also two glosses in Greek (leaves S6v and FF1r) as well as an apparent note in German (leaf FF6). An added manuscript index for the “Epistolae” is bound after the final text leaf.
Hain 8898; Goff H 461; BMC I, 112; Polain 1989; Proctor 485; Walsh 182; Fairfax Murray (German) 205; Rosenwald Collection 188; Dibdin, Bibl. Spenceriana II, 87-95. For Grüninger, his illustrated books, and Locher’s edition of Horace, see Mark Morford, Johann Grüninger of Strasbourg in “Syntagmatia: Essays on Neo-Latin Literature in Honour of Monique Mund-Dopchie and Gilbert Tournoy (Humanistica Lovaniensia, XXVI) 2009
Quarto: 19 x 14 cm. Aa-Bb4; A-X4, Y6; aa-dd4. Complete.
Fourth and most complete edition of Huttich’s "Imperatorum et Caesarum Vitae", his most important work, first published in 1525. The first section covers the imperial families from Julius Caesar to Gallienus, the son of Valerian. This section is followed by "thirty tyrants", a group of third-century would-be usurpers and self-proclaimed Augusti and Caesares, and the emperors and Augusti from Aurelian to Theodosius II and Valentinian III.
Folio: 30.5 x 21 cm. , 122,  pp. A6, A-B4, C-L6
Illustrated with 23 fine woodcut illustrations (of which five are full-paged), including a double-page map of Rome signed by the calligrapher Giovanni Battista Palatino (Frutaz 12). The map is of great importance in the history of Roman cartography, as it is the source for Bufalini’s plan of 1551, which in turn served the model for Nolli’s plan of 1748. The most famous and influential of the illustrations is a full-paged woodcut of the spectacular sculptural grouping of Laocoön and his sons, a Roman marble copy of a Hellenistic original, discovered in the Baths of Titus in January, 1506 and removed to the Vatican at the direction of Julius II.
Octavo: 19.3 x 11.5 cm. I. *8 (-*1, blank), **8, ***2, A-Z8, Aa-Oo8, Pp4, Aaa-Lll8; II. *4, A-F8, G4 (lacking blank leaf G4) With an added, engraved title page by Romeyn de Hooghe (1645-1708).
Michael Hadrianides’ 1669 edition of Petronius is the first to incorporate the “Fragmentum” discovered in Trau, Dalmatia, which contained the hitherto unknown text of the “Cena Trimalchionis” and is also "the first edition to contain all the fragments of the novel that we currently possess”. This copy is bound together with the –often lacking- 1670 edition of the “Fragmentum”, which prints the text as it appeared in the manuscript, here edited by Johannes Lucius, with the Apologia of Marino Statileo, who discovered the manuscript in Dalmatia.
Schmeling & Stuckley, Bibilography of Petronius, 71 & 78; Gaselee (Bibliography of Petronius), 49 & 51; Schweiger II p.723; Brunet IV 574; Graesse Vol 5 p. 239; Dibdin (4th ed.) Vol II, p. 276. Literature: See M.S. Smith’s 1975 Oxford edition of the “Cena Trimalchionis”, pp. xxii-xxiii and xxxvi; See also Alfred R. Allinson’s introduction to his translation of the “Satyricon.”
Quarto: 23 x 16.2 cm. (16), 487, (6) pp. Collation: ¶4, ¶¶4, A-Z4, AA-ZZ4, AAA-PPP4, QQQ2. Leaf Q4 is blank and present.
“Possibly the first book printed by Paul Estienne after he took over his father’s firm. This is the first and only Estienne edition of Pindar in quarto format (all previous and later editions were small 16mo pocket editions) and the only one to include the ancient Greek scholia….The Greek text is newly edited by Paul Estienne with the assistance of his famous brother-in-law Isaac Casaubon.
Oblong folio: 37 x 24.5 cm. I. Engraved title page and 50 engraved plates. II. 24 plates on 12 sheets (2 per sheet), and 1 full-page map.
Thirty-six of these images were copied by Aegidius Sadeler from Etienne Du Perac's "I Vestigi dell' antiquità di Roma" (Rome 1575). For the other images, Sadeler drew on drawings by Jan Breughel the elder and Pieter Stevens. Marco Sadeler, whose name appears on the plates, was an engraver and print seller in Prague in the early 1600's and probably the nephew of Aegidius.
Olschki 18017; Fowler 283; Berlin Katalog 1856; Bartsch (1978) LXXII, pt. 1, 161-211; Cicognara 3871 (1606 ed.); Hollstein Dutch XXI, 151-201; Weinreb 2, 129; BAL III, nr. 2882 (all plates listed individually); Kissner 408; Catalogue of the exhibition "Vestigi delle antichita ... Momenti dell'elaborazione di un'immagine", edited by Anna Grelle, Rome 1987, pages 123-144 and passim.
Quarto: 25.8 x 16.7 cm. *4, a-z4, aa-zz4, aaa-kkk4, lll2; A-Z4, Aa-Gg4, Hh2 (includes blank ggg4; lacks blank Hh2).
“The great Estienne Sophocles, important for the scholia, which include those of Triclinius. The Greek text is followed by the commentary of Joachim Camerarius, and his Latin versions of Ajax and Electra. [Estienne] has again employed his peculiar system of diacritical annotations.” (Schreiber) With Estienne’s “Noli altum Sapere” printer’s device on the title page.