‎Manuscritos‎

‎Predonzani, Pietro, ital. Theologe (fl. um 1830).‎

‎Concetti divoti ad Onore dell' Augustissimo Sacramento Eucaristico. Dedicati con ossequio Alla Sacra Imp. Reg. Maestà Carolina Augusta Imperatrice dell' Austria da Pietro Predonzani Arciprete Parroco e Vicario Generale di Parenzo. Parenzo (d. i. Porec, Istrien), Mai 1832.‎

‎Eigenh. Manuskript mit U. (1) Bl., 95 (recte: 96) SS. In weinrotem Seideneinband mit Bindebändern und Lesenbändchen. Gr.-8vo. Kalligraphisch ansprechend gestaltetes Widmungsmanuskript mit geistlichen Betrachtungen in Versen zur Eucharistie, gewidmet der Kaiserin Karoline Augusta. Im Folgejahr in ausführlicherer Form publiziert als "Concetti devoti in onore dell'eucaristia" (Venedig: Giuseppe Gattei, 1833), dürfte die vorliegende Handschrift als dekorativ ausgeführtes und gebundenes Unikat jedoch Präsentationszwecken gedient haben. Das Widmungsvorwort von Predonzani in seiner gewöhnlichen Handschrift unterschrieben. - Vorderer Seidenspiegel gelockert, insgesamt jedoch hübsch und wohlerhalten.‎

‎Koschatzky, Cajetan Rudolf, Theologe, Pädagoge und Schriftsteller (1789-1824).‎

‎"Schreiben an einen Freund in ***** über eine Reise von Jägerndorf nach Olmütz". Eigenh. Manuskript (Fragment) mit Namenszug im Titel. O. O. u. D.‎

‎2 SS. 4to. "Schönheit und Wahrheit sind die herrlichen Geschenke, die die Natur ohne Unterlaß den vernünftigen Bewohnern des Erdballs darbiethet. Allein wissend, daß sie dieselben einem höheren Wesen zu verdanken habe und nur das Medium sey, durch welches jenes lehrend und wohlthuend dem Menschengeschlechte sich nähert, tritt sie dem Beschauenden in einfachem Gewande still und bescheiden entgegen und verbirgt die gabenreiche Hand nicht selten in geheimnisvolles Dunkel [...] Diese Wahrheiten [...] schwebten mir auf meiner Reise von Jägerndorf nach Olmütz beständig vor [...]". - Es fehlt zumindest ein zweites Blatt. - C. R. Koschatzky war Stadtkaplan in Jägerndorf und wurde 1822 Erzieher der Kinder des Landeshauptmanns von Troppau auf Schloss Streptowitz.‎

‎Bossche, Johannes Baptista van den.‎

‎Instructie om deuchdelick synen tyt [...] ghemaeckt by den Eerwerdighen heere, Johannes Baptista vanden Bossche, prioor en pater van het Syon [...] int Jaer 1617. [No place], 1617.‎

‎8vo. Dutch manuscript on paper. 87 ff., last blank pasted to back cover (collation: A-L8). Interesting devotional manuscript in Dutch containing extensive instructions and rules for behaving, praying and meditating, and living a good religious life in a monastery from hour to hour. The booklet also gives the texts prayers and meditations to perform during the day. It is a sort of "Diurnale" (a shortened Breviary), written by the prior of a monastery ("het Syon"), for his brothers. - Strangely enough the text seems to have been written by a Dutchman from the northern Netherlands where all the monasteries were demolished during the beginning of the Eighty Year's War, and where the Roman-Catholic faith was tolerated at best. "Het Syon" is an often used name for a monastery, for example one near Beverwijck, or near Delft, but, again, these cloisters were no longer in existence. Possibly, Johannes Baptista van den Bossche was a refugee from the north and active in the Southers Netherlands. The manuscript is written in a clear, sophisticated, and almost calligraphical handwriting (by Johannes van den Bossche himself?) in two scripts: italic and a script reminding the civilité type. - Very well preserved.‎

‎Grünstein, Joseph, Schriftsteller (1841-1926).‎

‎Maidenspeech. O. O. u. D., (zumeist 1876-1878).‎

‎136 nn. Bll. mit zahlreichen (davon 11 ganzs.) eigenh. Aufzeichnungen und 17 (einmontierten bzw. beiliegenden) Korrespondenzen diverser Schreiber (u.a. von Franz von Dingelstedt, Luise Erhart und Theodor Liedtcke), eingeklebten Rezensionen, Programmzetteln u. a. Zeitgenössischer Pappband. 4to (170 x 220 mm). Anscheinend vom Autor selbst angelegtes Album mit einer Sammlung zeitgenössischer Materialien zum Einakter "Maidenspeech", seiner am 16. März 1876 im Königlichen Schauspielhaus in Berlin uraufgeführten, ersten dramatischen Arbeit. Grünstein war Berufssoldat in der österreichischen Marine, ehe er Journalist - u. a. Redakteur beim "Berliner Fremdenblatt" - und freiberuflicher Schriftsteller wurde. Über die Premiere hieß es u. a.: "'Maidenspeech' wird bald Repertoirstück aller hervorragenden Bühnen werden" (Dt.-österr. Theaterzeitung v. 19. März 1876). Im Jahr darauf wurde "Maidenspeech" u. a. am Münchner Hoftheater und am Hamburger Thaliatheater gleichfalls mit großem Beifall begrüßt. Für Luise Erhart, die Darstellerin der Gräfin Rüden in der Uraufführung, war es eine ihrer letzten Rollen, da sie 1878 ihren Abschied von der Bühne nahm; Theodor Liedtcke, der den Grafen Holms spielte, war bis 1889 Ensemblemitglied des Berliner Hoftheaters. - Einband berieben; einige Rückenfehlstellen. Theatergeschichtlich interessantes Unicum.‎

‎[Herbarium]. Strail, Charles Antoine, theologian and botanist (1808-1893).‎

‎[Herbier]. Ière Partie. Magnée (Wallonia, Belgium), 1848.‎

‎4to (19 × 24 cm). 51 double leaves of dried plant specimens, mounted under narrow paper strips, carefully labelled and identified. (Includes:) The same. Autograph letter signed. Magnée, 18 June 1848. 8vo. 2 pp. To Mr. de Kessel. Stored loosely in contemporary marbled portfolio with heart-shaped cover label. This charming, well-preserved herbal, of whose "deux petits volumes" (as mentioned in the accompanying letter) only this present first one has survived, was compiled for the wife of Mr. de Kessel by the priest and amateur naturalist Charles Strail, a founding member of the "Société Royale de Botanique de Belgique". The plants, collected on a trip to Beaufays, are accompanied by detailed taxonomic information, such as Strail's following note on the baneberry specimen: "Le calice de cette plante tombe aussitot que sa fleur s'ouvre". Abbé Strail would later go on to publish a "Florule de Chaudfontaine et de Magnée" (1863) as well as a standard work on mints, for which he corresponded with like-minded scholars and enthusiasts throughout Europe, including members of the "Botanical Exchange Club of the British Isles". - Backing leaves slightly browned with a few short tears. Portfolio somewhat rubbed; letter wrinkled with edge tears (formerly mounted on the inside front cover, where the upper left corner with "Bath" stationery mark remains). Altogether a very well-preserved herbal, and a fine example of the 19th century's physico-theological enthusiasm for naturalism.‎

‎[Theologische Handschrift].‎

‎["Schluß Denksprüche" (Incipit)]. O. O. u. D., [wohl Anfang 19. Jhdt.].‎

‎90 beschr. SS. auf 46 Bll. Marmorierter Pappband der Zeit. 4to. Der zweite Teil einer theologischen Handschrift über "Motivenlehre. Von der Unsterblichkeit der menschlichen Seele", "Von dem besonderen Gerichte", "Von dem Reinigungsorte der menschlichen Seele", "Von der Auferstehung der Todten am Ende der Welt", "Von dem allgemeinen Gerichte", "Von dem Himmel", "Von dem Orte des ewigen Unglückes" u. a. Handschrift schließt mit den Worten "Ende des zweyten Kurses der dritten Grammaticalklasse". - Der Einband etwas berieben und bestoßen, innen tadellos.‎

‎Baroque pattern book and album‎

‎of the blanket maker Johann Franz Hörmannsperger. Vienna, 1736.‎

‎Oblong folio (390 x 252 mm). 118 numbered ff. (but 115: ff. 96, 106, and 112 skipped). Calligraphic preface by Hörmannsperger, 58 full-page textile designs by the same, mostly in red, blue, green, and gilt (including one folded, double-page sized specimen and 4 ff. with 2 designs each), 7 splendid gouache washes raised in gilt and silver; bound in between these are a total of 52 engravings on 48 plates, all in splendid contemporary colour raised in gilt and silver. Contemp. marbled boards. Unique, museum-quality document of late Baroque craftsmanship among the urban Third Estate: apart from 58 meticulously executed textile designs, the album contains seven large-format gouaches showing the self-assured author practising his trade in his workshop, advertising and selling his wares to customers, as well as playing music and even bowling, but also attending the general meeting of the Viennese blanket makers. The engravings which Hörmannsperger inserted between his own works all show mundane subjects (dwarves, soldiers, caricatures, etc.): thus, his autograph textile designs and gouaches are interleaved with some of the rarest and most charming pieces produced by the 1720's Augsburg school of engraving. - The album is introduced by a self-portrait of the 26-year-old Hörmannsperger in his workshop (with his compass and one of the later-included textile designs lying on the table); on the opposite page he offers a brief preface to the volume: "for true art speaks for the master: here is a book, all mine, with many drawings, as they will be seen, all drawn by me, though I say so myself, with much time, labour, and trouble [...] I, Johann Frantz Hörmansperger" (transl.). The captions to the splendid gouaches prove the author's humour (sometimes bawdy) as well as a trait of surprising self-confidence. Pitching his self-plaited blanket to a female customer, he addresses her: "My dear lady, here's a fine blanket for you - you may well stretch yourself under this: one and a half ells wide and two in length; perfect for flipping over with your husband underneath" (transl., f. 84). Another image shows him selling saddlecloths to military officers ("we'll have these and take them into battle", f. 86); yet another shows him bowling in a Baroque garden at the weekend ("All gay and jolly, for we are journeymen of the trade: and so the virgins may be; they will not be bored - here is red wine and white, so well we may make merry", f. 94) and dancing ("Be merry all. Musicians play! Thus do the blanket makers frolic and dance with pretty girls until their shoes may fall to pieces", f. 104). The final leaf shows an apprentice received into the society of blanket makers at their quarterly general assembly ("The blanket makers convene today to discuss what concerns the society: the young man must have learned his trade; he is not too tall nor too small. But he must put in his time, until he is made a journeyman", f. 118). Some of Hörmannsperger's ornamental designs, created with the use of a compass, include centerpieces showing armorial or figural motifs; one design (f. 113) is apparently a commission for Emperor Charles VI (bearing his monogram and Imperial insignia); according to the later caption, it was indeed executed for him. - Between his own works Hörmannsperger bound engravings by the great Augsburg masters of his age, all splendidly coloured and raised in gilt and silver: eight engravings from Elias Bäck's dwarf series (fencing school, drinking, gluttony, and tobacco addiction), a complete cycle of the seasons and the life stages of man by Martin Engelbrecht ("Der Menschen Jahr Veränderung"), a total of 19 of the famous engravings by Pfeffel, Schmidt, and Engelbrecht showing a soldier's life (two with movable parts), as well as a fine broadsheet by Albrecht Schmidt showing the seven Honest Swabians, and finally an untitled eight-page cycle showing the female tempers. - The Austrian and especially the Viennese bedclothes were known for their high quality throughout the continent. During their golden age in the 18th century they were exported to all European courts, as well as to Greece, Turkey, and many oriental countries. At the time this album was drawn up, there were ten masters of the profession in Vienna alone creating blankets and mattresses as well as backpacks and cuirasses. - Provenance: acquired in 1893 "from Mr Josef Lang's son-in-law" by the bedclothes merchant Josef Pauly, supplier to the Royal and Imperial court, and passed on by him to Mr. Junghofer, chairman of the bedclothes makers' cooperative, in 1896 (cf. Pauly's autograph dedication note on the flyleaf); last in an Austrian private collection. Boards imperceptibly restored at lower spine end; interior slightly fingerstained; slight tears to two leaves, but in excellent state of preservation altogether.‎

‎[Horses].‎

‎Hyakuba no zu [The Hundred Horses]. [Japan, Bunsei era, 1818-30].‎

‎Manuscript (brush and wash), 2 vols., 194 × 105 mm, concertina-folded, with 61 drawings of horses (each double page, i.e. c. 210 × 195 mm), captioned. Original blue paper covered boards, labels to upper covers titled in manuscript. Traces of a numerous very neat paper repairs (usually correcting minute wormholes, as typical of Japanese books of this date, not affecting images), former (Japanese) owner's stamps to cover labels and first illustration in each volume. Preserved in a later blue silk covered folding case (wanting one bone closure). An elegant and delightful series of manuscript portraits of horses by an unidentified Japanese hand. 'The Hundred Horses' was a popular subject in Japanese art and is represented both in panel pictures, scrolls and books. The title is representative rather than prescriptive and does not denote one hundred in number, but simply 'many'. While the horse was an ancient component of Japanese art, the subject of the Hundred Horses was probably introduced into Japan under Chinese influence by the beginning of the Edo period (1603), with associations of courtly culture based on the noble and military connotations of the horse. The concern here is for careful typology of the different breeds, with characteristics of physique and markings neatly depicted and explained in the captions ('chestnut', 'spotted' etc), but the various postures and attitudes are arresting. An example of a manuscript book of similar period, slightly more elaborate, is preserved in Waseda University Library.‎

‎[La Republique de 1879].‎

‎La Republique de 1879. [France, c. 1880].‎

‎Oblong 4to. French ms. on paper. 46 pen-and-ink drawings on plates (numbered 1-48; wants 2, 17, and 18); 2 mounted photo prints. Contemp. half calf with giltstamped cover title "Album". Interesting album containing political caricatures of a high quality, levelled at the state and society of the Third Republic under President Grévy (1879-87). During his term, France underwent strong social and political changes which are immediately reflected in the drawings. Obviously the work of a professional caricaturist, they were probably intended for publication in newspapers and magazines (or may even have been published). Some pictures poke fun at everyday events, others provide a comment on the developments of several months. - Several drawings tipped in; also includes two revised photographs of drawings (a third one is lacking).‎

‎[Venice].‎

‎Statutes and ordinances of the Senate of Venice: legal collection, 14th-16th century, compiled under the doge Nicolò da Ponte. Venice ("data in nostro Ducali Palatio"), 11 June 1579 ("indictione septima").‎

‎4to (230 x 160 mm). Latin and Italian manuscript on vellum. 80 numbered ff., 21 lines. Headings and highlighted words in red; ruled throughout. Contemp. auburn calf, covers and spine elaborately gilt; all edges gilt; giltstamped supralibros "Iacobo Priolo" and date "MDLXXVIIII" on the covers. Wants ties. Interesting manuscript on the constitutional and legal history of the Venetian state, with many decrees regulating commerce, drafted in the age of Venice's great trade relationship with the East. The clean and well-legible manuscript, written in the classical humanist chancery style, was obviously prepared for members of the senate (signed at the end by the secretary, Giulio Zamberti, with the scribe's monogram). The decrees are arranged in chronological order, rater than by subject. The earliest dated decree is from the year 1351, but most date from the mid-16th century. The edicts regulated public life of the Venetian state, including civil servants' salaries, matters of commerce and trade, offices, criminal law, banishment, and other matters. The first leaf bears the dedication by the doge Nicolò da Ponte (in office 1578-85) to Jacopo Priuli, a member of one of the foremost modern-age families of Venetian patricians (producing two doges in the 16th century). The familiy, ennobled as early as 1297 and one of the richest in Venice, is also known for its patronage of the arts, commissioning several Tintoretto portraits. As a member of the senate, Jacopo would have been entitled to a private copy of the statues. The high quality of the binding with its rich arabesque ornamentation and wide ornamental borders on the covers reflects the importance of the patron family. - Engraved bookplate of Amadeo Svayer (Gottlieb Schweyer, 1727-91), a Venice-based German merchant and bibliophile who had assembled a huge and select library which after his death was almost entirely integrated into St Mark's library.‎

‎Justumus, Dominique.‎

‎Cahier d'écriture. Auch (Midi-Pyrénées), 1857.‎

‎Folio (433 x 280 mm). 17 ff. Coloured ink on coloured paper. Contemp. half cloth with gilt-stamped spine title. Highly original and exceptionally colourful manuscript in elegant calligraphy, written in inks of various colours (mainly white, blue, red, and green) on glossy and silk paper in alternating colours. The writing is surrounded by elaborate calligrams showing birds and penwork. The text itself consists mainly of descriptions of various kinds of birds (such as the magpie, quail, pheasant, peacock, jay, and swallow), but also includes bits on bears and hedgehogs; another page offers two capital blackletter alphabets instead. The calligrapher has succeeded in marrying content, script, and image, achieving a unique and impressive synthesis, undoubtedly penned with a feather quill. - Binding insignificantly rubbed; extremeties bumped. The delicate pages show occasional slight signs of wrinkled; the silk papers are browned. Several pages show ink bleeding or offsetting on the reverse.‎

‎[Iron industry in Lower Austria].‎

‎Register aller Stahl- und Eisen Commerzial-Arbeiter zu Waidhofen an der Yps. ("Index of all Commercial Steel and Iron Workers in Waidhofen upon Ybbs"). Waidhofen/Ybbs, 26 Aug. 1823.‎

‎Oblong 4to (256 x 204 mm). Manuscript (ink on paper), 64 pp. with numerous illustrations in watercolours and pen-and-ink, mainly in Grisaille manner (iron tools as well as punch-marks and monograms). Contemporary coloured pink and turquoise papered boards with gilt cover borders and paper applications. All edges gilt. This uncommonly attractive manuscript from Waidhofen an der Ybbs, the centre of the Lower Austrian iron industry since the Middle Ages, depicts the products of the various local ironsmiths as well as their punch-marks in watercolours of superior quality, thus providing an invaluable a key to identifying extant iron tools. The illustrated tools include scythes, sickles, knives, hammers, pliers, compasses, wrenches and vices, saws, razors, locks and keys, axes and hatchets, spades, sabres, horseshoes, bells, lamps, guns and crossbows, files, nails, hooks, pots and pans, watering cans, spoons and ladles and many other specialist tools. - Dedicated to the 30-year-old Archduke Ferdinand (1793-1875), later (1835-48) Emperor of Austria as Ferdinand I, with illustrated dedicatory leaf following the title page: "Ihro Kais. Kön. Hoheit dem Kronprinz Ferdinand von Oesterreich bey Hochderselben Durchreise in der Commerzial-Stadt Waidhofen an der Yps, den 26. August 1823, in Ehrfurcht gewidmet vom Stadtmagistrat zu Waidhofen an der Yps" ("To his Imperial and Royal Highness the Crown Prince Ferdinand of Austria on the Occasion of His Passing Through the Commercial Town of Waidhofen Upon Ybbs on the 26th of August, 1823, Dedicated Reverently by the Town Council"). - Binding slightly rubbed and insignificantly stained in places. A fine document of Lower Austrian craft and trade history, important as a historical source.‎

‎Körmendy, István László, Hungarian jurist (1700-1804?).‎

‎Status iurium, et totalis modernae constitutionis familiae Körmendianae à Martino Literato de Körmend in suis ramis ab anno 1550 condescendentis et propagatae, in haereditate sua Egbell, in comitatu Nitriensi sita et habita. [Gbely?, ca. 1740, with additions to 1762].‎

‎Folio (235 x 360 mm). (248) pp., 53 blank ff. (35) pp., 13 blank ff. Latin, German and Hungarian ink manuscript on paper, with a double-page illustration of a family tree. Contemporary full calf, spine elaborately gilt with two red spine labels "Status Familiae Kormendianae, Cum Deductione Universali" and "Opera Spectabilis Dni. Stepha Ladislai De Körmend"; covers in two shades of brown leather with two giltstamped borders and elaborate ornamentation. Leading edges gilt; marbled endpapers. Edges goffered and gilt with red marbled middle sections. A vast, hitherto untapped collection of document copies spanning some two centuries of the history of the Körmendy family, edited by a descendant as a keepsake and portable archive for his heirs. Important not only for the history of this branch of the Körmendys, but also as evidence of the proliferation of nobility in early modern Europe, especially in Hungary, and of the legal ramifications within the realms of public law (governing the acquisition of noble status and the family's position within the state), civil law (lawsuits fought among noble families), and house law (the self-posited internal rules governing the family's dynastic succession and inheritance). - The manuscript begins with an autobiographical account of the writer, Stephan Ladislaus de Körmend, born on the 25th of July 1700 in Egbell in the Hungarian county of Neutra (today, Gbely in the Trnava Region of Slovakia), to parents Franciscus de Körmend and Zuzanna Zaffiry. It goes on to include an extensive array of copied documents which demonstrate the family's descent and legally tangled history from the mid-16th century onwards, when Martinus "Literatus" de Körmend was granted a title of nobility by King Ferdinand I for gallant military service under Peter Bakics (cf. Siebmacher 33.2, p. 135). A fine, double-page spread illustration shows the family tree growing from Martin Literatus at the bottom. At the end of the volume, a separate section in German provides communications from Imperial commanders in the Austro-Turkish War of 1737-39 that illustrate military operations of the year 1738, in which the writer appears to have been involved in a legal capacity. - Körmendy served as head notary of Bács-Bodrog County near the Serbian border from 1734 to 1739, but the upheavals of the war seem to have necessitated his return to his native northern Hungary. Other than that, he was previously known to Hungarian historians only as a diarist: a journal he kept in 1736 is mentioned in Gyula Dudás's work on the noble families of Bács (cf. below), and Péter László's Encyclopedia of Hungarian Literature published in 1994 records his professional work in Bács-Bodrog as well as his diary. - Hungarian genealogy knows of numerous families named Körmendy, and it is not clear whether or how they are related to each other: Béla Kempelen's dictionary of Hungarian noble families lists no fewer than ten (the present branch being the first), while that of Nagy has a nearly page-long entry on the various families, specifically citing one hailing from Trencsén county (now Trencín in Slovakia, neighbouring Trnava). Indeed, not every family named Körmendy was necessarily a noble one: the name is derived from the city of Körmend in Vas county, and the -y (or -i) at the end of the name (rendered in Latin as the preposition "de") primarily denotes origin and need not be an indication of nobility. It is important to note that the socially highly differentiated Hungarian nobility comprised close to five percent of the total population - some 75,000 families in 1787, compared to a mere 26,000 in France in 1789 - and thus was one of the largest noble classes in Europe both by percentage and in absolute numbers (cf. B. Király, Hungary in the Late 18th Century [1969], p. 38). While many members of the lesser gentry lived in conditions bordering on destitution, they were nonetheless fiercely proud of their aristocratic birth (which in 18th century Hungary still entailed exemption from taxation) and resisted as an intolerable break with tradition every Habsburgian effort to modernize the country. - A different, more sensational perspective on this painstaking collection of documents, possibly not reliable in all respects, is presented by the Viennese-born political journalist Anton Gross-Hoffinger (1808-73): in his popular account of Hungary, "Ungarn, das Reich, Land, und Volk wie es ist" (published under his pseudonym "Hanns Normann" in 1833), he states that Körmendy was an 18th-century Hungarian lawyer who exploited his country's proliferation of nobility and the chaotic legal situation surrounding it by forging not only his own family's title, but also those of many other ambitious, well-to-do individuals. According to Gross-Hoffinger (p. 141-143), he was finally taken to court when sixty years of age and, having managed to draw out the investigation for two decades, was sentenced to life imprisonment at the age of eighty (for no death penalty was pronounced on octogenarians), ultimately dying incarcerated at the age of 104. - Several stamps of the Körmendy family archive, Budapest ("A Körmendy nemzet seg családi levéltára Budapest") in green ink. Some annotations and markings in pencil or red crayon by later hands. A mended tear to the title page, and slight worming to the upper cover near the top edge, otherwise a very well preserved manuscript, elaborately bound as an heirloom. Cf. Péter László, Magyar irodalmi lexikon II, 314. Gyula Dudás, A bácskai nemes családok : adalékul Bács-Bodrogh vármegye történetéhez (Zombor 1893). Siebmacher 33 (Die Wappen des Adels in Ungarn: Bd. IV, 15. Abt., 2. Teil), p. 135 with plate 98. Béla Kempelen, Magyar nemes családok VI (Bp. 1913), p. 246. Iván Nagy, Magyarország családai czimerekkel és nemzékrendi táblákkal VI (Pest 1860), p. 448f.‎

‎Rabenhaupt (Rabenhapp), Johann.‎

‎Originals Raitunng aller Empfanng und Außgaben Johan des Ellttern Rabenhapps vonn Suchee sr. Röm. Khaÿ. Mt. Renntmaysters im Khünigreich Beheimb als ob vonn dem Erstenn tag Januarii bis zu ennt December unnd tzu Ausganng diß fünfundsechtzigisten Jar. Prague, 1565.‎

‎Folio (235 x 314 mm). German ms. on paper with calligraphic captions and several half-titles. 453 ff. Contemporary blindstamped pigskin on wooden boards. Wants ties. Exceptionally attractive and important manuscript from the Bohemian Royal offices; the principal document of the Bohemian national finances in the second year of the rule of Emperor Maximilian II. A beautiful and hitherto unknown document of Renaissance bookkeeping in its well-preserved original binding. - In the present manuscript, Johann Rabenhaupt, head of the Royal bursary and responsible for the accounting year 1565, has testified the correct statement of revenues and expenditures by his signature on every page. The volume begins with an alphabetical index, arranged in double pages and listing revenues (on left) and payments (on right) by name. Among the payers and recipients are several important names, most of them members of German-Bohemian, Czech and Polish noble families, the Tyrolean glass manufacturer Sebastian Hochstetter von Scheibenegg (d. 1573), but also the great physician Pietro Andrea Mattioli (1500-77): "Petter Andreas Mathiolo [...] Ertzherzog Ferdinanden zu Osterreich LeipPhisicus, hatt zu farlicher Provision Ainhundert gulden Reinisch, die khun zwayundvierzig schockh Ainundfunffzig groschen drey pfennig behamisch; dieselb hab ich Ime für dreyzehen Monat Anzuraitten [...]" (f. 263v). Mattioli, known especially for his Dioscorides commentary, moved to Prague in 1552 as personal physician to Archduke Ferdinand, where he was later to be made head medical advisor to Emperor Maximilian II (cf. Hirsch IV, 168). The volume not only documents salaries, duties, and court expenditures, but also the receipt of border taxes, Turk taxes, tithes, loans, deposits, realties, costs of funerals and the Prague castle vineyard, etc. - Johannes Rabenhaupt von Sucha, the man responsible for this splendid Renaissance account book, was a descendant of an old Bohemian noble family which is also documented in the Palatinate, in Franconia, and in Upper Austria. Although there have been attempts at biographical studies of the Royal bursar Rabenhaupt (without knowledge of the present manuscript), historical science has been forced to admit its temporary failure in this respect (see literature below). - Slight worming to several ff. Some offsetting of ink, but generally very well legible and hardly browned. The finely blindstamped binding shows a wide border of arched friezes; the central compartment bears the ms. title. On the back cover, the friezes frame a roll representing Virtues; central compartment decorated with two parallel arched friezes. Edges, spine-ends, and endpapers with traces of professional restoration; otherwise perfect. Beket Bukovinská, "Wer war Johann Rabenhaupt? Unbeachtete Aspekte in den Beziehungen zwischen Prag und Südwest-Deutschland", in: Rudolf II, Prague and the World. Papers from the International Conference. Prague, 2-4 September, 1997. Praha, Artefactum - Institute of Art History, Academy of Sciences of the Czech Republic [1998], p. 89-94.‎

‎Lenton, John, composer (1657-1719).‎

‎Instrumentall Musick For New Years day 1703. Composed by Jo.n Lenton. [London, 1703].‎

‎Oblong 8vo. Musical manuscript in English, on paper written in a single cursive hand in brown ink, four staves to a page. 12 leaves: blank, title, dedication, 11 pp. of music on 6 leaves, 3 blanks. Dedication to Queen Anne on second recto. In a contemporary morocco binding, exuberantly tooled and gilt by Robert Steel, arguably the finest binder in England at the time; board edges gilt, marbled endleaves, all edges gilt. An exquisite musical manuscript, composed and bound for royal presentation on New Years' Day (then celebrated on Lady Day, March 25). Inscribed to Queen Anne of England. Signed "J.L." at the end, the pieces are marked "Overture", "Minuett" (bass), "Minuett" and "Scotch Air", one passage to be played "slow". - The violinist, singer and composer Lenton joined the ensemble of royal musicians, known as the King's Musick, in 1681 under Charles II and played at the coronations of James II and of William and Mary (cf. New Grove X, 665). As violinist, Lenton accompanied William to Holland in 1691 and contributed to the royal musical repertoire. He wrote incidental music for some dozen plays between 1682 and 1705 and accumulated the offices of Gentleman Extraordinary at the Royal Chapel (1685) and Groom of the Vestry (1708). The binder Robert Steel (fl. 1668-1711) apprenticed with Samuel Mearne and took possession of his tools after his death in 1686. In turn, one of Steel's workmen, Thomas Elliott, secured Mearne's tools and became a principal binder for the Harleian Library. - In fine condition: the splendid binding shows a repeated flower-and-foliage tool flanked by rules forming the outer frame; the panels have small fleurons and lobate tools at left and right from which spring billowy sails and branches with clusters of grapes and curled leaves; a gilt-lettered title "Lenton New Year 1703" fills the central cartouche of drawer handles; concentric circles and fleurons cover the spine. For the binding cf. Maggs Bros., Bookbinding in the British Isles Catalogue 1075 (1987), no. 118 (the outer frame tool, there called a roll) and Catalogue 1212 (1996), no. 70 (frame tool), as well as Foot, The Henry Davis Gift II, no. 148.‎

‎[Ottoman Sultans].‎

‎Selseleh Nameh (Book of Descent). [Ottoman Empire, ca 1840].‎

‎Small folio (188 x 292 mm). 50 pp. on 26 leaves. Ottoman Turkish in Arabic script. Ink on western laid paper (watermarked "Victory") written within gilt rules, with two 'unwan headpieces in colours and gilt, a corner endpiece, and fine illustrations showing small watercolour portraits of each ruler before gilt discs. Bound in smooth lacquered boards showing a fine floral motif with central medallions and large flower decoration to inner covers; rounded corners; calf spine. Family tree of the Ottoman Sultans, beginning with their purported descent from Adam and Eve and including the prophets Noah, Hud, Lut, Haroon, Joshua, Ishmael, the Abbasids, and Ghenghiz Khan, also noting the kinship between the Seljuks and Turks of central Asia in the Anatolian Seljuk Sultanate. It continues throughout the Ottoman dynasty founded by Osman I Gazi (The Warrior) in the late 13th century and ends with Mehmed IV (d. 1693), showing him seated on the throne. - Some browning and staining throughout; luxuriously decorated lacquer cover shows slight rubbing to lower cover, but beautifully preserved.‎

‎[Austrian legal manuscript - Walther, Bernhard, jurist (1516-1584)].‎

‎Private-Law Treatises [and other works, including (incipit): Der Fünff N.O. Lannde und Fürstlichen Graffschafft Görz Vergleichung Anno 1542]. Probably Austria, later 17th century.‎

‎Folio (210 x 310 mm). German manuscript on paper. 698 written pages on 396 unnumbered ff. Contemporary calf; spine gilt. Collection of almost entirely German (Austrian) 16th century legal texts, but also comprising a few 15th century sources (and one in Latin), thus assembled in the late 17th century. The tax legislation for all five Lower Austrian countries and Gorizia from 1542 (copied from the printed book) is followed by the extensive Treatises of Bernhard Walther (the "father of Austrian law" who in the mid-16th century collected the Lower Austrian customary law). The present, very complete manuscript comprises 14 of the 15 treatises (all except that on bankruptcy), and it was used by Max Rintelen for his critical edition, published in 1937 (cf. reference below). The treatises are followed by decisions concerning the law of inheritance ("Von Erbschafften drey Fragen, dem Herrn Landtmarschalkh ... alhier anzuzaigen"; "Ob deß abgestorbnen Wittib, oder Glaubiger den Vorgang haben: Der Regierung Rathschlag" etc.), "Bericht wegen der Caution im Landtsrechten in Österreich Under der Enß", "General wegen der Verstorbenen Pfarrer in Steyer Verlassenschafft", "Tractatus de testibus, ex secundo tomo actionum forensium D. Joan. Oldendorffii"; "Königlicher Bevelch daß ain jede Sach vor dem ordentlichen Gericht erster Instanz clagt soll werden (4 March 1534); "Khay. May. Declaration und Spruch zwischen der Löblichen Universitet zu Wienn, und gemainer Statt daßelbst" (1571), "Gemaine Beschwerung der Erblande" (with detailed regulations on mining and minting, manslaughter, gypsies, Jews, etc.), confirmations of decrees issued by Frederick III in 1444, 1462 and 1470, etc. - Some waterstaining near end; occasional slight staining. Spine-ends professionally repaired. Provenance: Handwritten ownership of Baron Anton von Egger (d. 1727): "Ex lib. Ant. L. B. de Egker". Later in the collection of the Austrian legal historian and numismatist Arnold Luschin von Ebengreuth (1841-1932) with his etched bookplate to the front pastedown. After Luschin's death his heirs presented the volume to his student, the legal historian Max Rintelen (1880-1965); cf. his entry in blue ink: "Von Luschins Erben erhalten. Max Rintelen". M. Rintelen, Bernhard Walthers privatrechtliche Traktate (Leipzig 1937), Ms. LE (p. XVIII).‎

‎[Beethoven, Ludwig van].‎

‎Grand Sonate pour le Piano-Forte composée par Louis van Beethoven oeuvre 28. O. O., nach 1802.‎

‎Notenmanuskript. Quer Folio (240 x 330 mm). 30 Bll. letzte Seite leer. 8 Doppelblätter in 2 Lagen, Fadenbindung, starke Bütte, handrastriert, 10-zeilig, die beiden letzten Seiten 8-zeilig. Zeitgenössische Abschrift des Op. 28, deren Vorlage Rätsel aufgibt: Ein Vergleich mit dem Autograph und dem Erstdruck (Bureau des Arts et d'Industrie, PN 28, Wien 1802) sowie mit Titelauflagen und frühen Nachdrucken (Autograph, Abschrift und Originalausgabe im Querformat, Simrock 240 [1802] und Zulehner 130 [ca. 1807] im Hochformat, Hummel 1321 [1805/1806] im Querformat) führt zu folgenden Resultaten: Das Manuskript hat einige Gemeinsamkeiten mit dem Erstdruck und dem Autograph, die es von späteren Drucken unterscheidet, die daher nicht als Vorlage in Frage kommen. Es gibt aber auch Gemeinsamkeiten mit dem Autograph, in denen sich dieses vom Erstdruck unterscheidet (!), sodass auch eine zwischenzeitliche Abschrift der Sonate aus dem Manuskript vor dem Erstdruck als Kopiervorlage in Frage kommen kann. - Eine mögliche Erklärung dafür wäre der verhältnismäßig lange Zeitraum zwischen Entstehung im Herbst 1801 und Veröffentlichung der Sonate im August 1802 aufgrund der personellen Veränderungen in der Gründungsphase des Verlages: 1. Gesellschaftsvertrag vom 1. 5. 1801 "Kunst- und Industrie-Comptoir" Kappeller und Holer. 2. Dem Gesuch zur Firmenprotokollierung vom 23. 10. 1801 legten die Verleger eine "Kontraktliste" bei, nach der sie bereits über eine Reihe von Kompositionen für die Veröffentlichung verfügten, darunter auch Beethovens Sonate Op. 28. 3. Die neue Firma wurde am 1. 5. 1802 protokolliert, 4. aber erst ab August 1802 die Musikalien des Verlages in der Wiener Zeitung (WZ) annonciert, wobei mit Beethovens Op. 28 (und der dazu passenden Verlags-/Plattennummer 28) ein öffentlichkeitswirksamer Paukenschlag gesetzt werden sollte: Beethovens Sonate wurde am 14.8.1802 (WZ 65) alleine vorgestellt, 4 Tage später folgte dann die Ankündigung der Werke von Krommer, Call, Albrechtsberger, Förster, Eberl, etc. mit den Verlagsnummern 1-30 (ohne die bereits vorgestellte VN 28, 18.8.1802, WZ 66, Weinmann, S. 220 f). - Gertsch/Prahia erwähnen im Vorwort zur Henle Urtext-Ausgabe (2008) zur Erklärung der ungewöhnlichen Zeitspanne zwischen Entstehung und Druck auch die - nicht belegbare - Hypothese, dass Beethoven "dem Widmungsträger Joseph Freiherr von Sonnenfels (1732-1817) auf die Sonate ein Exklusivrecht von einigen Monaten oder gar einem Jahr eingeräumt" hätte. - Das Papier ist nach Auskunft des Archivs der Gesellschaft der Musikfreunde für Wien um 1800 untypisch, und zeitlich nur grob auf die ersten beiden Jahrzehnte des 19. Jahrhunderts bestimmbar. - Etwas fingerfleckig, ansonsten sauber.‎

‎[Meurer, Noe].‎

‎Wie weidmennisch vonn allem Weydwerkh zu reden. Probably Southern Germany, ca. 1590 / later 16th century.‎

‎Oblong 4to (222 x 172 mm). 1 blank leaf, 50 unnumbered written pages, 2 blank leaves. German manuscript (dark brown ink) on paper, fine calligraphy by a single scribal hand (titles and headlines in blackletter, text in cursive script). Later limp vellum wrappers, spine reinforced with a fragment of a 15th century vellum manuscript with red and blue rubrication. Stored in a modern custom-made half morocco case. Calligraphically appealing 16th century manuscript on the art and terminology of hunting and falconry, written by a professional scribe for an unidentified sponsor, though likely for a highly placed personage or member of the nobility in South-Western Germany. The manuscript contains contemporary extracts from the end of the third part of Noe Meurer's "Von Forstlicher Oberherrlichkeit und Gerechtigkeit", an important study of hunting first published in Pforzheim by Georg Rab in 1560, and then, in expanded form, in Frankfurt, by Georg Rab & Weigand Han, in 1561. Meurer (born ca. 1525 in Memmingen in Southern Swabia, died in Heidelberg in 1583) was one the first German legal scholars to write in his native tongue rather than in Latin; among his works are treatises on the law of inheritance and of water. In particular, he was the first German author to publish monographs on the subjects of forestry and hunting, not as mere chapters within the larger framework of agriculture, for which reason he was of great importance for the study of forestry in the 16th century. The present extracts comprise the only parts of Meurer's book concerned with the practical, technical aspects of hunting, rather than with its legal foundations. They include sections on hounds, canned and net hunting, the hunting of stags, roes, boars, foxes, rabbits, bears, wolves, ibexes and chamois, as well as a section on how to tell a deer from a roe when viewing the animal from the rear. The final part is dedicated to hunting with falcons and hawks. The entire section on deer ("Die Hürsch zu suchen, wie auch der Hürsch für der Hinndin zue erkennen etc.") is not part of the first edition of Meurer's book, suggesting that the scribe based his work on the second edition of 1561 (leaves LXXXIIII verso to XCVII verso). Yet the order of the individual sections does not follow the published book in all particulars, and the present arrangement would seem to reflect the scribal editor's or the sponsor's private considerations. - The paper stock for this manuscript is from a paper mill in Meurer's native Memmingen (watermark: Gothic letter "P" - or more likely "Q" - with the arms of Memmingen: Briquet III, no. 8750 and p. 468; cf. Briquet I, p. 72; specimens dating from the late 1580s to 1590s). - Very well preserved and legible, untrimmed manuscript from the collection of the Swiss-born German merchant and entrepreneur Hans Dedi (1918-2016), chairman of the "Quelle" mail order concern and the Schickedanz business group, with his bookplate in the marbled solander case and his gilt signet on the spine. Cf. VD 16, M 5017.‎

‎St Jerome.‎

‎Epistolae (LXVIII Epistola ad Castrutium; CXLVI ad Evangelum). France or Germany, second half of 12th century.‎

‎Folio (197 x 322 mm, written space 155 x 255 mm). The greater part of a leaf written in double columns in a good romanesque hand, above top line, 37 lines, ruled in plummet, two-line initial 'L' (Legimus) on verso, capitals stroked in red. A fine, two-sided, nearly full-page manuscript fragment discovered within (and subsequently removed from) the covers of a binding: most of Saint Jerome's letter 68, to Castrutius, beginning with "homines volutari in ceno [libidi]num". The text of the letter is continued and completed on the verso, there followed by Jerome's letter 146 to Evangelus, here breaking off with "et Galliae, et Britanniae, et [Afri]ca, et Persis, et Oriens et India". - In his letter to Castrutius, a blind man from Pannonia who had been thwarted in an attempted pilgrimage to Palestine, where he had wanted to visit the Church Father in Bethlehem, Jerome consoles the recipient by thanking him for his intentions and assuring him that blindness is not a condition brought about by sin. He comforts him by referring to Christ's words about the man born blind (John 9:3) and by telling him the story of Antony and Didymus. The letter was written in 397, during his work on his famous Bible translation from Hebrew into Latin. The letter to Evangelus, of unknown date, concerns the arrogance of Roman deacons. - Trimmed and discoloured from use in binding, with loss of part of inner column of text; verso dust-soiled and slightly stained; vertical slit in vellum along outer edge of outer column without loss. An exceptional, early survival. Migne, Patrologia Latina 22, cols. 652f. & 119+2-4.‎

‎[Medieval medical manuscript].‎

‎Fragments from four leaves from a medical treatise. [France, early 13th century].‎

‎Decorated manuscript in Latin, ink on parchment. Four cuttings once re-used to form pastedowns and endleaves for a landscape format volume (measuring 140 by 200 mm). Remains of single column up to 32 lines in a tiny early gothic bookhand. Rubrics in pale red, initials in red or blue with contrasting penwork. Fragments from four leaves from a medical treatise discussing diseases and disorders of the stomach. There are entries here on pleurisy, pain in the stomach, vomiting, and on childbirth, as in the medieval tradition this was often grouped with other stomach disorders. - 17th-century ownership of Michel Bonniel inscribed to one cutting. Some scuffs, small holes and discolouration, otherwise in good condition.‎

‎[Kollár, Adam František, Geschichtsforscher und Bibliothekar (1718-1783), Berater Maria Theresias].‎

‎Paragraphi per deputationem regnotenus ordinatam ex libro Adami Francisci Kollar Anno 1764 typis Viennae edito excerpti, et excelsis proceribus, ac inclytis statibus regni, humillime exhibiti. - Sacratissimae caesareo regiae et apostolicae majestati dominae dominae clementissimae excelsis regni Hungariae proceribus et inclytis statibus atque ordinibus humillime oblata apologia. Wohl Wien, um 1765.‎

‎110 SS., (4 w. Bll.). Lateinische Handschrift auf Papier (Abschrift). Interimsbroschur. Dreiseitiger Rotschnitt. 8vo. Zeitgenössische Abschrift der Apologie Kollárs, des großen slowakisch-ungarischen Historikers und Sprachgelehrten, der als aufklärerischer Berater Maria Theresias den Widerspruch des konservativen ungarischen Adels wie auch des Klerus hervorrief. In seiner Schrift "De originibus et usu perpetuo potestatis legislatoriae circa sacra apostolicorum regum Ungariae" ("Von den Anfängen und dem immerwährenden Gebrauche der gesetzgebenden Gewalt in geistlichen Dingen seitens der Apostolischen Könige Ungarns", 1764) verteidigte er das Recht der Habsburger, im ungarischen Teil des Reiches bindende Vorschriften in kirchlichen Dingen und sogar tiefgreifende Reformen zu erlassen, die für die magyarische Nobilität so Undenkbares wie das Ende der Leibeigenschaft, religiöse Toleranz und die Besteuerung des Adels umfassten. Nachdem das Werk zum "Bestseller" des Jahres wurde (Csizmadia, 6) und, kaum erschienen, Maria Theresia auf dem Landtag von 1764 in Verlegenheit brachte, wurde zur Beruhigung der Gemüter ein landesfürstliches Verbot für das Königreich Ungarn ausgesprochen (immerhin wurde das Buch schon 1769 unter "erga schedam" wieder freigegeben); der Vatikan setzte die schmale Abhandlung von 174 Seiten, die den Stein des Anstoßes gebildet hatte, auf den Index Librorum Prohibitorum (vgl. Reusch II, 945f.), wo sie bis zu dessen Abschaffung 1966 verblieb. Auf Wunsch des Hofes verfasste Kollár widerwillig noch im Juli 1764 eine Abbitte in Form einer oft fein ironischen Verteidigungsschrift, um die enragierten ungarischen Stände weiter zu besänftigen. "Der Reihe nach führt er die [...] beanstandeten Teile vor und ist bestrebt nachzuweisen, daß seine Behauptungen alle durch die ungarischen Gesetze unterstützt seien [...] Er ehre auch den Klerus, aber die Verehrung könne sich nicht so weit erstrecken, daß er die mit dem öffentlichen Wohl verwandte Göttin der Gerechtigkeit nicht noch mehr verehre oder gar verlasse. Wenn er also etwas gesagt hätte, das zu lesen und zu hören unangenehm ist, sei das auf das Konto der Gerechtigkeit und der Gesetze zu schreiben" (Csizmadia, 28f.). Obwohl die Apologie nicht gedruckt wurde, sind einige Abschriften bekannt, darunter in Budapest in der Széchenyi-Bibliothek und im Staatsarchiv sowie in der Bibliothek des Doms von Esztergom (vgl. ebda., Fußn. 77); die vorliegende ist von zeitgenössischer, sehr sauberer Schreiberhand ausgeführt. Vgl. v. Arneth, Maria Theresia VII, 114-122. Csizmadia, Adam Franz Kollár und die ungarische rechtshistorische Forschung (1982), S. 28f. Böhm, Die Handschriften des kais. u. königl. Haus-, Hof- und Staats-Archivs, S. 100, Nr. 275: Opera varia A. F. Kollar (Österr. Staatsarchiv, HHStA HS Handschriftensammlung 275 [36, Hung. u. s. Nebenr.]). Ungar. Staatsarchiv I, 7, Bd. 54.‎

‎[Schuselka, Franz, Publizist und Politiker (1811-1886)].‎

‎Der moderne Hagestolz. Lustspiel in 4 Aufzügen. [Wohl Wien], 1839.‎

‎Eigenh. Manuskript, 3 von 4 Faszikeln. Zusammen 63 SS. auf 34 Bll. Fadengeheftet. Folio. Bis auf den letzten Akt vollständiges Komödienmanuskript: ein Jugendwerk, das zwar nicht zur Aufführung gelangte, jedoch vom Verfasser zur Erzählung "Der Flatterling" umgearbeitet wurde, die 1841 fortsetzungsweise in Gottlieb Haases Unterhaltungsblatt "Bohemia" erschien (Nrn. 144-150). Wie jeweils auf Bl. 1 verso angeführt, sind die Personen des "in einer großen Residenz" spielenden Lustpiels: "Mildner - ein reicher Privatmann / Theresia - seine Gemahlin / Karl - sein Sohn / Holm - ein pensionirter Offizier / Lorchen - dessen Tochter / Dem. Florette - eine Schauspielerin / von Hahn, Chevalier Larmin [und] Marotti - Karls Freunde / Johann - Karls Jo[c]key / Marie - Florettens Kammermädchen / ein Diener Mildners”. Im linken Rand von 18. Jänner bis 11. Februar fortlaufend datiert, weist das Manuskript zahlreiche Streichungen, Korrekturen und teils mit Rotstift ausgeführte Ergänzungen auf. - Der Jurist Schuselka war einer der bekanntesten österreichischen Persönlichkeiten der Märzrevolution 1848. Ab 1839 hatte er, "der schon seit seiner Studentenzeit journalistisch tätig war, die Laufbahn eines freien Schriftstellers [ergriffen], vorerst v. a. als Mitarbeiter bei Zeitungen. Zu Beginn der 40er Jahre wandte er sich ganz der politischen Publizistik zu [...] Schuselka zählte im Vormärz wegen der polemischen Schärfe seiner gegen die Politik Metternichs und gegen die nichtddeutschen Nationalitäten des Habsburgerreiches gerichteten Schriften zu den bekanntesten liberalen Schriftstellern" (ÖBL XI, 380). Als Vertreter der großdeutschen Linken spielte er seine bedeutendste Rolle im Wiener Oktoberaufstand von 1848, wo er an der Spitze des Sicherheitsausschusses stand. Nach der Übergabe Wiens ging er nach Kremsier, wo er im Reichstag der Führer der Opposition wurde. 1850 wurde er nach seiner Rückkehr aus Wien ausgewiesen. Seiner Liebe zum Theater blieb er treu: 1849 heiratete er die Schauspielerin Ida Wohlbrück (1817-1903). - Äußerlich angestaubt; unbeschnitten.‎

‎Ricciardelli, Niccolò Leonardo, Italian physician (fl. ca. 1700).‎

‎Autograph medical manuscript (lecture transcript). Naples, 1681.‎

‎8vo. 276 numbered ff., written on both sides, with 10 pp. of index at the end. Italian cursive on paper. Contemporary limp vellum over cardboard, one of two clasps. Sprinkled edges. Full transcript of a lecture from Ricciardelli's medical training at the University of Naples. An introduction, covering four topics: "De natura et praestantia medicinae", "De obiecto medicinae", "Quotnam in partes medicina dividatur", and "Quaenam disciplina nobilior medica ne, an iuridica?", is followed by the six chapters, "De physiologia", "De principis generationis humani corporis", "De temperamentis", "De spiritibus", "De humoribus", and "De facultatibus animae". Avicenna is mentioned several times, for example on p. 227 verso, regarding the tempers and the production of "pituita" (phlegm), or p. 231 recto and verso, within the discussion of melancholy. The writer, who would go on to graduate as a doctor of medicine, signs his name at the beginning of the second and third chapter as Nicolaus (Leonardus) Ricciardelli from Pescho Constanzo (Pescocostanzo, in the Province of L'Aquila in Italy's Abruzzo region). The beginning of the third chapter is dated X calendas Martii (20 February) 1681. - Vellum of upper cover repaired; a very well-preserved, well-legible specimen. For Ricciardelli cf. Memorie intorno alla origine e progresso di Pesco Costanzo (Monte Cassino 1866), p. 159.‎

‎[Buddhist manuscript].‎

‎Sutra. Burma, [ca. 1896 ].‎

‎600 x 65 mm. 21 palm leaves between two painted wooden boards with cord. Burmese manuscript in Pali, most likely a register of Buddhist monastic rules. - Signs of age.‎