‎Manuscrit‎

‎[Artillery].‎

‎Di alcuni principi di geomettria, necessarij per intendere, e sapere fare spedissam[en]te tutto quello, che si appartiene ad un valoroso bombard[ie]re. Italy, 17th century.‎

‎Large folio (ca. 270 x 410 mm). Italian manuscript on paper. 60 ff. comprising 9 pp. of text and 54 plates (versos blank), with 8 additional drawings loosely inserted or pasted on the inside front cover. Contemporary carta rustica. Comprising mainly 54 full-page plates executed in pen and ink, illustrating cannons, mortars, explosives, crossbows (with explosives), hoists, winches, ballistic trajectories, diagrams and artillerymen. Many of the drawings in this manuscript are modelled on the engraved plates in Diego Ufano's treatise on artillery, first published in Spanish (Brussels, 1612). There does not appear to have been an edition in Italian. - Binding worn with some staining to lower corners. From the collection of Thomas Fremantle, 3rd Baron Cottesloe (1862-1956), commander of the Territorial Army and president of the Society for Army History Research.‎

‎(Ebendorfer, Thomas, von Haselbach, theologian and historiographer [1388-1464]).‎

‎Sermones de poenitentia et restitutione (Poenitentiale). Sermones de confessione. (Probably Vienna, after 1460).‎

‎Small folio (ca. 235 x 306 mm). Latin manuscript (bastarda in black ink) on paper. (4 blank), 365 numbered, (6 blank) ff. (fol. 37 vacat; contemporary ms. foliation continued 366-370). With 16 pretty four-line initials in colour and gilt and numerous red (and occasional blue) lombardic initials; partly rubricated and with red marginalia. Contemporary blindstamped pigskin over wooden boards, signed by the Vienna bookbinder Mathias, preserving 3 of the original 10 brass bosses, 7 of the 8 leading edge fittings, and both catch plates on the upper cover, as well as the original straps, ruled in blind. Crenellated spine-ends. Extensive collection of mostly late sermons by the versatile Austrian theologian Thomas Ebendorfer from Haselbach near Korneuburg, who is best remembered for his "Cronica Austrie" and who long served as professor as well as variously as dean and rector of the University of Vienna. All writings here present are also to be found (in a slightly different order) in the Vienna manuscript Cod. 4041, in the author's own hand. They comprise on the one hand the fairy widely copied "Sermones de confessione" (a series of eight sermons) in Ebendorfer's revised version from 1447, and on the other a set of 25 treatises collected under the title "Poenitentiale", which focuses on penitence and repentance, reparation, debt, usury, pledges, testaments, and related subjects (1456-1461). According to Lhotsky this latter collection does not appear to have been widely disseminated beyond the author's original manuscript: although we have been able to trace individual parts in other codices (Eichstätt University Library, Cod. st 761: Lhotsky 134, 110, 102, 111, 112, 132, 133; Vienna, Schottenstift, Cod. 387: Lhotsky 110, 102, 111), this series was obviously copied very rarely, and the only other known similarly complete transmission remains the autograph in the Austrian National Library. Contains individually: - 1r: Collationes de ieiunio (Lhotsky 134), nine sermons; followed by a poem (36vb) "Gloria, laus et honor ... Apicum hic scriptor quem Haselpach vexit ad ortum ut prece placatus sit deus ipse pius" (Lhotsky 136); the remainder of the column as well as the entire leaf 37 are left blank. - 38r: Tractatus de contritione (Lhotsky 110, inc. "Ait dominus per prophetam", but the painted initial "S" corrupts this to "Sit ..."); interrupted on 42va (with a marginal note "hic non est defectus") and continued on 43ra; an oblong 8vo leaf written on both sides in a different hand, bound before 72r, contains inserted text; expl. 82va "... suo pondere ad aliud trahit. Sic est finis huius primae partis". - 82rb: Collationes de confessione (Lhotsky 102), inc. "Ecce nunc tempus"; expl. 135va "Expliciunt collationes Mgri Thomae d'Haslpach De confessione". - 135vb: De satisfactione (Lhotsky 111), ten sermons; inc. "Reddite ergo omnes debita. Ita hortatur". - 180rb: Tractatus specialis de restitutione que est pars satisfactionis (Lhotsky 112), inc. "Reddite omnibus debita. Ita praecipit". - 185ra: Sermo secundus de restitutione (Lhotsky 113). - 190ra: De restitutione rapine (Lhotsky 114). - 196ra: De contractibus emptionis (Lhotsky 115). - 207rb: De mutuo faciendo (Lhotsky 116). - 212vb: De usura et iudeis (Lhotsky 117). - 218vb: De usura (Lhotsky 118). - 224rb: Collatio tertia de usuris (Lhotsky 119). - 232rb: Collatio de restitutione usuarum (Lhotsky 120). - 238ra: Collatio secunda de restitutione usure (Lhotsky 121). - 243rb: Collatio de restitutio pignorum (Lhotsky 122). - 247rb: Sermo de solutionibus debitorum (Lhotsky 123). - 251va: De restitutione vinctorum (Lhotsky 124). - 255va: De testamentis (Lhotsky 125). - 260va: De locatione et conductione (Lhotsky 126). - 264rb: De comodato (Lhotsky 127). - 266va: De custodiendo et servando deposito (Lhotsky 128). - 271ra: De restitutione dampnificancium in corpore proximum (Lhotsky 129). - 276rb: De restitutione dampnificatorum in bonis anime (Lhotsky 130). - 281va: Collatio de restitutione fame ablate (Lhotsky 131). - 286ra: Collationes de elemosina (Lhotsky 132), seven sermons. - 315ra: Collationes de oratione (Lhotsky 133), eleven sermons; dated "1460" in the margin of 329v; expl. 365rb: "Et sic est finis illarum collationum". - Of the 26 individual chapters, no fewer than 16 are decorated with small, but quite meticulous initials in colours and gilt, while the others have lombardic initials. Bound in an attractive, immediately contemporary Gothic pigskin binding by the Viennese bookbinder Mathias, exhibiting the typical features of his mature work. "Mathias is foremost among Vienna's bookbinders of the Gothic period; his name is known from the scroll stamp he used. He was active from about 1450 to 1474. It was he who created the classic Viennese binding style that was to be much imitated but never replicated [...] Several books bearing Mathias's stamps were bound for Emperor Frederick III [...] His craft reached its first peak around the year 1460" (cf. H. Kühnel, Ausstellung Gotik in Österreich, Krems 1967, p. 265). - Of the original five brass bosses to each of the covers, the present volume wants three on the upper and four on the lower cover, as well as the brass clasps. Insignificant worming to lower and tiny chafe marks to upper cover. Front hinge starting at top. Several additions and insertions in the margins and on extra leaf in a different contemporary hand; numerous manicules. Small traces of worming to the upper corner of fols. 217-229, occasionally just touching foliation. - Provenance: from the library of the Servite Order in Vienna's Rossau suburb with their 18th century engraved bookplate on the front pastedown and a smaller version thereof, as well as a faded stamp, on the first page; handwritten shelfmark "MS 73" (olim: 30); traces of an additional stamp on the front pastedown. A splendid Viennese codex containing writings by one of the great Viennese scholars of the late Middle Ages, in an original binding by the leading Viennese bookbinder of the Gothic period. A. Lhotsky, Thomas Ebendorfer: ein österreichischer Geschichtschreiber, Theologe und Diplomat des 15. Jahrhunderts (Stuttgart 1957), nos. 102, 110-134, 136. - For the binding: Kyriss K 51; Schunke, Schwenke-Slg. II, 283; Einbanddatenbank w000166; Mazal, Europ. Einbandkunst, no. 29.‎

‎[Gritti family chronicle].‎

‎Catastico priv[ato]. Arm[um] Gri[ti] MDCLXXII. - Libro di tutti li acquisti, et instromenti scritture appartinenti alla Casa Gritti, cioè di Piero Gritti fu dell’Alvise, fu dell dom[eni]co et come meglio dall’ ingiunto albero si vede 1672 in Venezia li 18 [settem]bre in S. Marcuola. Venice, ca. 1672.‎

‎Folio (240 x 355 mm). Italian and occasionally Latin manuscript by several hands, brown ink on paper. 198 numbered ff. With numerous, mostly full-page sketches, genealogical trees, and architectural drawings, some with touches of colour. Contemporary limp vellum with fore-edge flap, ruled in blind; handwritten title to spine and upper cover. Stored in modern half cloth box. Hitherto unknown, unpublished chronicle of the Gritti, a Venetian Doge family, containing a genealogy, account book, and lists of building projects from ca. 1566 to 1680. - The most famous representative of the family, which can be traced back as far as the 13th century, was probably Andrea Gritti (1455-1538), the 77th Doge of Venice. Their rise to fame and immense fortune is mostly due to the achievements of the ancestor of the very branch of the family commemorated here, namely Ludovico Alvise Gritti (1480-1534), who was closely involved in the fate of the city republic as a merchant, banker, and politician. Alvise Gritti had important trade connections throughout Ottoman Hungary and the Orient; as a minister under Sultan Suleyman I (1494-96) he worked in Istanbul, reporting directly to the Grand Vizier of the Ottoman Empire, Makbul Ibrahim Pascha (1493-1536). From 1530 to 1534 he served as Imperial Regent of Hungary. - The manuscript begins with an "arbor consanguinitatis" of the Gritti, starting in 1539 with Alvise's son Domenico Gritti di S. Marcuola and reaching as far as the fifth generation; additional descendants were pencilled in by later members of the family who inherited the volume and later consigned it to the trade. This is followed by numerous copies of relevant documents, often with a small sketch of the seal. Entries pertain to births and baptisms ("fede di Battesimo della Signora Sulpicia") with copies of the certificates, marriage documents ("copia del Sposalizio della Signora Orsetta Menegalla con il N. H. S. Antonio Gritti ... 3 Agosto 1623"), claims of ownership, purchases ("segue la nota dei beni", "divisione delli beni, et heredità ... dalla Signora Contessa Galeazzo"; "scriture per l'acquisto della casa in corte della calla"), gifts and bequests of moveables and immoveable properties as well as estates: "In Dei Eterni Nomine Amen. Anno ab Incarnatione D.N.J.C. 1675 in die xiii. die vero veneris 5. Aprilis. Patrone il S. H. E. Ottavian Gritti ... che qui sotto volerà esser referto de Sc[udi] 50 d'entrata annua perpetua sopra una casa posta in questa Città". Also mentions commissions for villas in Veneta awarded to important architects: "In Christi Nomine Amen. Anno 1543 12 Maji Gritti, Procurator d. Marei Ven., ... constitutus de D. ... Sansovino Architectus con sua fabbrica in Villa di Cessalto..., Villa Albarella...". Leaf 115v contains another family tree ("Vitturi") from Daniel to Domenico and Isabetta Gritti and onwards to the tenth generation. - Binding a little duststained, rubbed and bumped; vellum covers splitting along the edges. A large flaw to the upper cover as a result of the fastener for the flap's tie having been torn out. A unique survival.‎

‎[Italian military manuscript].‎

‎Libro utillissimo et molto necessario di varii secreti importantissimi per l'essercitio di guerra, come appare nela seguente indice. Italy, before 1581.‎

‎Small folio (210 x 277 mm). Title, (14) ff. of contents, 187 numbered ff. (a total of 202 ff.) with 60 coloured illustrations (mainly full-page, 7 on large folding sheets). Italian manuscript on paper (watermark: a bird on 3 hillocks, Briquet 12,250 [ca. 1566-1583]). 16th century red morocco (possibly German) with gilt-stamped border fillets, cornerpieces and centrepiece (dated "1581" on upper cover), lacking ties. All edges gilt. Stored in modern slipcase. An unusual and attractive Italian Renaissance manuscript on the art of war, lavishly illustrated in colour and in a sumptuous contemporary binding. The text comprises eight chapters dealing with the duties of the captain, making gunpowder, siege-breaking devices, the deployment through artillery of artificial fire, smoke and poisonous fumes, the use of cannons, ballistics and artillerymen, and the logistics and practice of moving artillery and cavalry. - The title of the first chapter accords with that in an earlier manuscript in the Biblioteca Riccardiana in Florence (Ms 2525), "Il primo capo tratta universalmente dell'uffitio del capitano dell' Arteglieria, con che ordine, modo et diligenza egli habbia à procedure, ad ogni cosa appartinenti alla munitione dell' Artegl[eri]a et all' ufficio suo", dated ca. 1529-30 (cf. Mariano D'Ayala, Bibliografia militare-italiana [1854], p. 159). The third chapter contains illustrations of siege devices similar to those in Franz Helm's "Armamentarium Principale oder Kriegsmunition und Artillerey-Buch" (1625), which was originally written around 1530. - Some paper (and text) loss through oxidation of the ink, restored and silked. Rebacked, retaining part of the old spine, by Joseph William Zaehnsdorf in 1919, according to old pencil note on flyleaf. - Provenance: from the collection of Thomas Fremantle, 3rd Baron Cottesloe (1862-1956), commander of the Territorial Army and president of the Society for Army History Research. On a note pasted to the flyleaf, Cottesloe writes: "This was in the library of Wistow Hall, Leicester, during the lifetime of Sir Henry St John Halford Bt (1828-97) but nothing is known as to how or when it came there" (dated Wistow, September 1945).‎

‎Missal.‎

‎Latin manuscript on vellum. Northern France, ca. 1500.‎

‎Large 8vo (ca. 140 x 203 mm). 105 ff. (without blank leaf 82), numbered in roman numerals, with 2 page-sized and 23 small miniatures as well as 3 large and 438 smaller initials, all in colours and gilt. Mostly 29 lines per page in an elegant black bastarda with red (and occasional gilt) headings and emphases; numerous rubrications and small initials in gilt on blue or red background. Leaves 101r-105r contain somewhat later additions in red and black ink; 2 unnumbered vellum leaves with a table of contents in red ink bound at the end (probably contemporaneous with the binding). Gatherings (ab8, c10, d-n8) and catchwords marked throughout by the scribe. Green satin binding, ca. 1550, with white silk pastedowns and vellum endpapers. All edges gilt. Stored in custom-made half morocco solander case. An uncommonly painstakingly prepared liturgical manuscript with remarkable illumination by the Parisian artist Jean Coene IV, known as the "Master of the Paris Entrances", probably commissioned for a nuns' order. Apart from the hundreds of initials, painted on gilt background and mostly decorated with flowers, berries, and leaves, the manuscript contains the following illustrations: folio 7v, St Jerome (28 x 30 mm); 19r, the Eucharist, with two nuns and a young clergyman in prayer at the bottom (148 x 102 mm); 20v, God enthroned, surrounded by the symbols of the four evangelists, a lower compartment showing 12 nuns and the same young clergyman in prayer (148 x 104 mm); 27r, Nativity (50 x 47 mm); 28v, Resurrection (37 x 34 mm); 29v, Assumption of Christ (42 x 46 mm); 40v, Madonna on a Crescent Moon (48 x 53 mm); 43v, the Virgin in the Temple (60 x 56 mm); 44v, Christ in the Temple (60 x 56 mm); 46r, Annunciation of Mary (41 x 43 mm); 48r, Visitation (65 x 53 mm); 49r Assumption of Mary (45 x 38 mm); 50v, God surrounded by the Saints (54 x 58 mm); 53v, John of Patmos (48 x 43 mm); 55r, St Benedict of Nursia (25 x 36 mm); 56r, St John the Baptist (48 x 45 mm); 57v, Mary Magdalene (44 x 39 mm); 59v, St Anne and the Virgin (45 x 44 mm); 62r, St Paul (28 x 29 mm); 64r, St Peter (23 x 24 mm); 74r, St Francis of Assisi (34 x 31 mm); 77v, St Adrian (28 x 30 mm); 78r, St Catherine and the Virgin (45 x 50 mm); 79r, Christ Crucified, with two saints (40 x 36 mm); 89r, a saint with a crozier and heart (23 x 23 mm). The miniatures are of exceptional quality throughout, showing delicate draughtsmanship and a stark but well-balanced colour palette. The emphasised name of St Dionysius (76rv) suggests that this splendid manuscript was commissioned by a Paris monastery, very possibly a Benedictine convent (as may be inferred from the illumination of this saint, fol. 55, as well as from the habit of the nuns depicted in the two page-sized and several of the smaller miniatures). The young male oblate seen in the two large illustrations is very likely a self-portrait by the artist. - Jean Coene IV was a Paris-based illuminator much in demand during the first two decades of the 16th century, a contemporary of the artist Jean Pichore, with whom he collaborated repeatedly. He is known as "Maître des Entrées parisiennes" for his series of illuminations prepared on the occasion of the entrances of Mary Tudor as wide of King Louis XII of France and of Claude de France as wife of François I. - Spine somewhat rubbed with light traces of worming. Folios 79v, 80 and 81 are numbered and ruled but remained blank (as was the lacking folio 82); tiny cuts in the vellum of ff. 83-85 bear witness to the knife that excised the preceding leaf. A very short repair to the edge of fol. 27, very occasional insignificant ink or paint smudges. A few quire signatures trimmed at the lower edge, but otherwise quite exceptionally well preserved with wide margins, clean and without any abrasions to the paint; the illuminations appear outstandingly crisp. We are indebted to Dr Isabelle Delaunay, Paris, for her help in identifying the artist. - Provenance: 1) likely Parisian Benedictine convent; 2) early note on the manuscript on verso of front flyleaf; 3) recto of front flyleaf inscribed by a royal official Coucault (?), dated Saumur, 2 Oct. 1706; 4) front pastedown has an old note of the acquisition price, as well as 5) the woodcut bookplate (printed in red) of the Belgian printer and art dealer Jean-Baptiste Verdussen (1698-1773), who collection was dispersed by sale in 1776; 6) sales notice clipped from 1951 Librairie Lardanchet catalogue tipped in to flyleaf; 7) last sold at Hartung & Hartung's sale 62 (1990), lot 16. For the artist cf. I. Delaunay, "Le Maître des entrées parisiennes", in: Art de l'enluminure 26 (Sept.-Nov. 2008), pp. 52-59, 62-69; for the identification with Jacques Coene cf. E. König, Cat. Tenschert 1997, pp. 306-309, 320, and M. Orth, Renaissance Manuscripts: The 16th Century (2015), cat. 19-22.‎

‎Silberhorn, Matthäus, Swabian goldsmith and painter (fl. 1830-1850).‎

‎Der Harnisch von seinem Entstehen bis zu seinem Wiedervergehen in Bildern dargestelt und gezeichnet von G. P. Rugendas. Southern Germany, "1714" (but apparently early 19th century).‎

‎Folio (217 x 337 mm). German manuscript on paper. Pictorial watercolour title, (5) pp. of text, and 14 watercolour plates or arms and armour, each with German text mounted on verso. Interleaved with a calligraphic English translation and tissue guards. - (And:) I Gradi della Cavalleria [...]. "1688" (but apparently also early 19th century). Watercolour title-page and 17 watercolour plates, captioned in Italian. With an additional watercolour plate, initialled "M.S.", loosely inserted. Late 19th century red morocco by R. W. Smith with finely gilt spine and spine-title; leading edges and inner dentelle gilt. Green calf doublures. Marbled flyleaves. Two striking series of highly decorative watercolours illustrating the history of armour throughout the ages. The first is purportedly copied after an earlier manuscript by the Augsburg artist G. P. Rugendas, dated 1714. The latter, with a date of 1688, is attributed to one "Matteo Argenteocorno" - a pseudonym for the goldsmith Matthäus Silberhorn from Ulm (cf. Thieme/Becker XXXI, p. 21), whose authorship is further established by his erased name on the final page of the first series: "Diversa objecta historialia, invenit & delineavit, & in argentam, vel aurichaleam caelavit [M. Silberhorn] a Ulmae [1841?]" (including a reference to an additional illustration not present here, showing the capture of Frederick the Fair at Mühldorf in 1322), and also by the loosely inserted watercolour bearing his initials "M.S." in ligature. - The series attributed to Rugendas shows armour from southern Germany, including a suit from the armoury at Lucerne, while four of the illustrations depict tournament armour. The Augsburg-based Rugendas was famed for his battle scenes, and while the style of the present watercolours is generally consistent with his popular drawings and prints, no original manuscript on which the present series might be based could be identified, and they are more probably original designs by Silberhorn, painting in the manner of an admired predecessor. The "Argenteocorno" manuscript depicts 13 cavalry ranks in uniforms of the War of the Spanish Succession (1701-14) set in landscapes, often with additional figures. It includes four medallion portraits of Eugene of Savoy, Maximilian Emmanuel of Bavaria, Frederick William of Brandenburg, and Alexander von Württemberg, surrounded by allegorical figures, military trophies, and battle scenes. - Hinges of the binding slightly rubbed. Some plates on variant laid papers, hinged on tabs. A unique survival, sumptuously bound in elaborately gilt American red morocco by R. W. Smith, long associated with the Grolier Club Bindery.‎

‎[Aichen, Peter von].‎

‎Doktordiplom der juridischen Fakultät der Universität Siena für Peter von Aichen, später Regierungsrat und niederösterreichischer Landschreiber. Siena, 12. X. 1645.‎

‎(8) SS. in Schwarz und Goldschrift. Pergamentlibell. Lose einliegend in originalem Prachteinband, Leder mit reicher Deckelvergoldung. 4to. Schöne Doktorurkunde, ausgestellt von Annibal Melarius, Generalvikar des Erzbischofs Asciano II. Piccolomini. Mit eh. Unterschrift des Vincentius Barcius für Franciscus Barcius. Nach Erlangung des Doktortitels wurde Peter von Aichen 1647 Sekretär beim nö. Landmarschallsgericht, 1656 Regierungsrat und 1661 nö. Landschreiber. Am 18. Februar 1666 wurde Peter von Aichen unter die neuen Geschlechter des nö. Ritterstands aufgenommen; er kaufte das Gut Inzersdorf bei Wien. Am 16. März 1674 folgte seine Aufnahme unter die alten nö. Ritterstandsgeschlechter. - Mit wohl eh. Besitzvermerk am Vorsatzblatt: "Peter v. Eichen Dr. Diplom 1645". Rücken oben aufgeplatzt, Bug unten eingerissen; vereinzelte Spuren von Wurmfraß. Schließbänder fehlen.‎

‎[German military manuscript].‎

‎Military treatises. No place, 1554-1562.‎

‎Folio (206 x 297 mm). Three parts written by two different hands on the same paper stock (watermark: hound with a collar). A total of 270 pp. including 5 full-page pen-and-ink illustrations, with geometrical footers to each page. Later half vellum over marbled boards (ca. 1900). A pretty composite manuscript of the mid-16th century, in the main following closely or styled after the gunsmith manual repeatedly printed by Christian Egenolff between 1529 and 1597. The preface (14 pp., dated "1554" at the end) consists of "Eine lehr so Keiser Maximilian in seiner Jugent durch erfarne treffliche seine Kriegsräht zugestelt ist", an instructional work for Emperor Maximilian also found in Egenolff's book from its 1534 edition onward. This is followed by the first main section: "Büchssenmeysterei von Geschoß, Büchsen, Pülver Salpether und Fewerwergk &c eigentlich zuzurichten, Büchssenmeystern und Schützen zuwissen nötigk" (70 pp.), likewise directly taken over from Egenolff's compilation. The second part is a legal treatise (as in Egenolff's book, though with different content) discussing martial law, entitled "Gerichts Hendell unnd Cautele in malefich Hendelnn Schüldtrechten unnd gastrechten" (72 pp.). The third part is an extensive treatise on a soldier's duties and the oaths to be sworn by the various ranks ("Artickel darauff die Hauptleut [...] unnd gemeine knecht der Ro. Kay. Maj. unserm aller gnedigisten Herrnn gelobenn und schwerenn sollen S. K. M. zu dienen", 114 pp.), going substantially beyond its counterpart in Egenolff's handbook. This is written in a different hand and contains copious explanations as well as five full-page illustrations showing military equipment and devices in red and black ink (fiery arrows, "Wie man eine glüende Kugell inn Holtzwerck schiessen soll", etc.). At the end the manuscript contains an index, military multiplication tables, and legal addenda by various hands, dated 1562, with elaborate geometrical borders. - Provenance: bookplate of the English explorer, horseman, and big game hunter Col. J. Hamilton Leigh (1867-1944) of Stockport. Later in the collection of the collection of Thomas Fremantle, 3rd Baron Cottesloe (1862-1956), commander of the Territorial Army and president of the Society for Army History Research. Cf. Jähns 653 (Egenolff's manual, 1597 ed.).‎

‎[Clement XIV].‎

‎"Supplica che fà Roma al Re Cattolico per la Morte di Clemente XIV". Anonymous anti-Jesuit eulogy for the deceased Pope. N. p., ca. 1774.‎

‎Folio. Italian manuscript on paper. 1½ pp. In the guise of a supplication by the city of Rome to Spanish King Charles III (1716-88) following the death of Pope Clement XIV in 1774, this poem with 34 verses of 6 lines is a fiercely caustic enumeration of anti-Jesuit tropes and slanders. Among the common accusations levied against the Jesuits was the fabrication of a link between the Society and Robert-François Damiens, who had attempted to assassinate Louis XV in 1757: "Tu sai che nella Francia / Un caro a lor si cangia / In Sicario ed assase, / Perfido disleale, / Il Monarca al cospetto / Del Popol tutto per uprirgli il pecto." In one of the final verses the poem calls for Charles III, who "will extinguish the stains on the forks", to take up his sword "in every street" against those who have insulted "the majesty of the kings and of the church". - The most consequential and controversial decision of Pope Clement XIV was the suppression of the Society of Jesus in 1773. This political act led to a surge in propaganda for and against the Jesuits and the Pope. Spain had already expelled the Jesuits in 1767. - Traces of folds and insignificant brownstaining.‎

‎[Andachtsbüchlein].‎

‎Schöne Gebeter aus Karl H. Seibt herausgezogene Andachts-Übungen als Morgens Abends Meß und Beichtgebeter. Von mir Vinzenzio Kramolino niedergeschriebene sind den 1. Januarii 1796. O. O., 1. I. 1796.‎

‎Deutsche Handschrift auf Papier. (122) SS. Mit gest. Frontispiz. Goldgepr. Lederband der Zeit. Dreiseitiger Goldschnitt, Buntpapiervorsätze. 8vo. In passendem Lederschuber. Privatabschrift mit Auszügen aus dem bekannten "Katholischen Lehr- und Gebetbuch" des katholischen deutschen Pädagogen und Theologen Karl Heinrich Seibt (1735-1806) in sauberer Kurrente aus der Feder des Vinzenz Kramolin. Das Gebetbuch erschien erstmals 1779 in Prag und erlebte bis ins 19. Jahrhundert zahlreiche Neuauflagen und Nachdrucke. Der Kupferstich von Gottfried Bernhard Götz (1708-74) zeigt den heiligen Dismas, den mit Jesus gekreuzigten "rechten" ("guten") Verbrecher oder Schächer, der nach dem Lukasevangelium am Kreuz Reue zeigte, wofür ihm Jesus das Paradies versprach. - Die letzten 14 Seiten enthalten Gesänge für die Heilige Messe in anderer, zeitgenössischer Hand (auf anderem Papier). Einband und Schuber etwas wurmstichig und am Rücken berieben. Wenige Seiten mit kleinen Knickfalten; vereinzelt leicht braunfleckig. Hübsches Dokument privater Andacht, vermutlich aus dem ostösterreichischen oder böhmischen Raum.‎

‎[Gewey, Franz Karl] / Blumauer, Aloys.‎

‎Komische Gedichte über die Vorstädte Wiens [...] von Aloys Blumauer. [Wohl Wien, um bzw. bald nach 1812].‎

‎4 Teile in 2 Bdn. sowie 1 Bd. weiterer Gedichte. Dt. Handschrift auf Papier. (4), 81, (1); (2), 100 (recte: 104), (2) SS. 82; 122 SS. (2), 69 (statt 71), (3) SS. 8vo. Marmorierte Pappbände d. Zt. mit goldgepr. Rückenschildchen. Zeitgenössische Privatabschrift von Geweys populärer Wientopographie in Versform sowie eine Sammlung von Gedichten Blumauers. Mit dem vielzitierten Spottgedicht auf den Wienfluss, anspielend auf dessen Verschmutzung: "Was deine Nachbarn nicht im Hause dulten [!], / Das drängen sie dir schmählich auf, / Du wirst oft lästig, ohne dein Verschulden, / Und olivfärbig ist dein Lauf. / Zum Höllenflusse ganz dich umzustallten [!], / Vermaß sich dieser Frevler Lohn, / Du bist der Stix, der Phlegeton der Alten, / Ihr schwefelreicher Acheron [...]". - Geweys humoristische Gedichtsammlung erschien 1812 bei Geistinger in vier Heften; in Zusammenarbeit mit Carl Meisl veröffentlichte er 1824 die ergänzenden Hefte V und VI. Auf der Titelseite ist die Sammlung fälschlich Aloys Blumauer (1755-98) zugeschrieben, von dem nur die Gedichte im dritten Band tatsächlich stammen. Die Werke des Freimaurers und Aufklärers Blumauer waren zur Zeit der Anfertigung dieser Abschrift in sämtlichen habsburgischen Landen polizeilich verboten, weswegen eine Verbreitung in handschriftlicher Form nicht unüblich war. Umso mehr überrascht es, wenn hier auch die Gedichte des nicht verbotenen Gewey dem behördlich verpönten Blumauer zugeschrieben werden. - Aus dem 3. Band ein Blatt (SS. 69f.) herausgetrennt, daher von dem abschließenden Gedicht "Ich und Du" nur die letzte Strophe erhalten. Einbände berieben, an Ecken und Kanten stärker bestoßen. Papier stellenweise etwas gebräunt. Die Vorderspiegel mit handschriftlichen Bibliothekssignaturen des 19. Jahrhunderts.‎

‎[Liturgy - Divine Offices].‎

‎Ordine da osservarsi nell'oratorio di Santa Maria di Passione, circa gli Essercicii Spirituali delle feste cavato dalla Regola maggiore. [Compagnia di Santa Maria della Passione, Milan, 18th century].‎

‎Folio (27,5 x 18,5 cm). (1 blank), (1), 66 pp. With 5 full-page and 2 half-page hand-painted religious illustrations and 9 hand-painted initials on a blue background, heightened with gold and silver. 18th c. gold- and blind-tooled vellum, each board with a blind ornamental centrepiece in a blind-tooled frame, within a larger frame of gold fillets, with a gilt floral design in each of the 6 spine compartments. A manuscript service book for the divine offices of the confraternity of Santa Maria di Passione (Santa Maria della Passione), remarkably illustrated and penned on vellum in a very fine and legible hand, largely imitating roman printing types. It contains seven illustrations, the five full-page examples showing the Virgin Mary: the Pietà, the Annunciation, Mary as the Woman of the Apocalypse, a Madonna and child, and the Assumption of Mary. The two approximately half-page tailpieces serve a more decorative function, representing of six putti on a garland with grape vines and a tree or shrub (laurel?) growing out of a gold vase (the fragments of red and black text on the vase are in mirror image and must have stuck to the paint). All illustrations are hand-painted with gouaches in striking colours. - A divine office, or liturgy of the hours, contains the official set of prayers for the eight canonical hours of the day: matins, lauds, prime, terce, sext, nones, vespers and compline. The day began with the matins at approximately 2 a.m. and ended at 7 p.m. with compline. Each of the offices in this manuscript begins with a hand-painted initial in gold on blue ground with silver foliage; the text of the matins contains an extra initial, bringing the total to nine. Apart from a detailed description and instruction for the offices, the manuscript also contains other instructions and rules to be observed by members of the confraternity, such as the rites for welcoming novices and pilgrims. - The first known mention of the confraternity of Santa Maria di Passione was in 1455; a set of rules ("Ordini riformati della compagniadi santa maria della passione al campanile dei reverendi canonici") has survived from 1565. The confraternity was located in Milan, in a building right next to - or even attached to - the basilica of Sant'Ambrogio called the Oratorio di Santa Maria di Passione. The basilica was built by St Ambrose in the 4th century, and during its long history it has hosted multiple religious communities, some simultaneously. Even after the damage done during the bombing of Milan by Allied forces in 1943, the building still shows this history in the many different chapels and the existence of two towers, one built for the canons located on the north side and one built for the monks on the south side of the basilica. The confraternity was disbanded near the end of the 18th century and the oratory, until then an autonomous building, was bought by the management of the basilica. The oratory was decorated with several frescos, which were auctioned off at the end of the 19th century, including three bought by the South Kensington Museum (now the Victoria and Albert Museum) in London. - Binding slightly soiled. With an owner's label "Sub tutela matris" (under protection of the [holy] mother) and an inscription in Dutch on the front pastedown: "Handschrift met geschilderde prenten. Italiaansch werk op perkament" ("manuscript with painted illustrations. Italian work on vellum"). The vellum leaves vary in colour from white to slightly toned. Illustrations, initials and text leaves generally in good condition except for the initials on pp. 7 and 31; illustration on p. 33 shows some minor soiling. A tear in p. 9 repaired with tape (but text remains legible), lower corners of the leaves show minor signs of wear, otherwise in good condition. Illustrated manuscript written in a very fine, legible hand. An attractive Italian manuscript that provides an insight into the day-to-day religious life of the members of the confraternity of Santa Maria di Passione in Milan and is supplemented with eye-catching, hand-painted illustrations and initials. Cf. A. Rovetta, "Oratorio di Santa Maria della Passione - Cenni storici", in: Oratorio della Passione in Sant'Ambrogio a Milano: Risanamento degli intonaci e restauro degli affreschi (Milan, 2004), pp. 10-17.‎

‎[Alchemical manuscript].‎

‎Alchemical manuscript on vellum containing a series of complex symbols, diagrams and cipher text. [Northern Italy, not before 1560s].‎

‎4to (159 x 218 mm). Latin and Italian manuscript on vellum. 16 leaves, the first part containing notarial records of land ownership paginated 1-15; the second half with 14 pages of symbols, diagrams and cipher text, in red ink. Stored in custom-made morocco-backed clamshell case. An unusual and sophisticated alchemical manuscript showing a range of influences from Paracelsus to the Kabbalah. - Beginning in the middle of the single gathering, the manuscript contains a series of complex symbols and diagrams with cipher text, encoding alchemical processes. The illustrations start off with a symbol incorporating four watchtowers, a Star of David, and alchemical glyphs; later images include various furnaces, stills, and other apparatus, a seven stage ascent beginning with a flask and culminating in a throne (probably representing chemical processes), a fountain (similar to the opening image of the Rosarium Philosophorum), an alchemical rebis, a tree growing on a tomb with seven mountains in the background, a fruit bearing tree growing from a male figure impaled on a sword, a bird (apparently an owl) with an alembic on its head, and a distillatory furnace, many of the images partly composed of lines of cipher characters and incorporating various glyphs, also with diagrams of geometrical speculation, tables with Hebrew letters (perhaps showing permutations of solar and lunar qualities), and related material (ff. 9-15v). - Paracelsian influence is in evidence in the manuscript's list of the three essential ingredients of the Philosophers' Stone (Mercury, Sulphur, Salt), while the geometric representations of these tria prima resemble those found in the works of the Belgian alchemist Gerard Dorn (1530-84). Jewish elements include the use of Hebrew characters and the appearance of a Menorah in the rebis figure. The accompanying text is entirely in a cipher which resembles that of the Aiq Bekr or Kabbalah of the Nine Chambers. This manuscript reveals an alchemist whose work combines in a unique way many features found in contemporary practitioners such as, in England, John Dee. - Prefixed to the alchemical section is a series of notarial records including land transactions and a will, dating from 1537 to 1561 (providing the terminus post quem for the succeeding part) and localisable to northern Italy, specifically the Veneto (there is mention of a church of "Sancti Floriani de Rippa", or Riva, and of Venice itself). - Some staining, smudging to a few images and tears to outermost leaves. - Provenance: Sotheby's, 26 November 2008, lot 7.‎

‎[Tirol - Rattenberg].‎

‎Wareneingangsbuch einer Fernhandelsniederlassung. Rattenberg, 1788-1807 und 1810-1824.‎

‎Folio (ca. 265 x 350 mm). Deutsche Handschrift auf Papier. 1007, (25) SS., durchschossen. Blindgepr. Halblederband der Zeit über gemusterten Deckeln. Schließbänder. Eindrucksvolles Geschäftsbuch aus der Tiroler Gemeinde Rattenberg, einst zentraler Umschlagplatz für Waren der Innschifffahrt mit Beziehungen bis in den Mittleren Osten. Die jährlich dokumentierten Warenlieferungen, darunter vornehmlich Spezereien und textile Erzeugnisse sowie Branntwein, Kaffee, Tabak und Schokolade, zeugen von florierenden Handelsbeziehungen, vorrangig mit Städten in Deutschland, Österreich und Italien. Darüber hinaus scheinen auch Prag in Böhmen und sogar das Osmanische Reich auf: so importierte man in Rattenberg etwa Güter wie Rotgarn und Safran vom Händler Berusi in Konstantinopel (S. 262). - Unter den stark frequentierten europäischen Häusern sind die Tabakfabrik Maffei in München, das Handelshaus Lödel & Merkel in Nürnberg sowie die Firma Tabiseo & Pontini in Triest zu nennen. Ferner sind regelmäßige Einkäufe bei der Haller Frühlings- und Herbstmesse sowie bei der Bartholomäusmesse in Linz verzeichnet. - Von den Wirren der Napoleonischen Kriege berichtet ein Eintrag am Ende des Jahres 1796: "Dißes Jahr war der Krieg mit die Franzoßen am allerhöchsten. Sie drangen iber Brixen bis Mittewald vor und zogen durch Pusterthall bis Leoben in Steyer Mark [...]" (S. 274). - Ab 1817 mit der Angabe "in Rattenberg" in der Kopfzeile zusätzlich zu der Devise "Soli Deo Gloria" oder "Mit Gott". Einige leere Seiten herausgetrennt. Einband leicht berieben und etwas wurmstichtig, 2 Schließbänder nur fragmentarisch erhalten. Hinteres Innengelenk angebrochen; die erste Lage vom Block gelöst. Am Ende unten mit kleinem Wasserrand; vereinzelt etwas fleckig. - Überaus reichhaltige Quelle zum internationalen Warenverkehr dreier Jahrzehnte.‎

‎[Traumdeutung].‎

‎"Daß große und Neue Traum Buch oder daß wahre Mittel für Spiellustige aus der Lotterie zu gewinnen". O. O., 1791.‎

‎Deutsche Handschrift in brauner und rosa Tinte auf Papier. (211) SS. auf 116 Bll. Halblederband der Zeit. 8vo. Seltenes und schönes Zeugnis populärer Astrologie und Zahlenmagie im Zeitalter der Aufklärung. Auf einen kurzen "Vorbericht" zur Einführung in die Thematik und ein Anwendungsbeispiel ("Es träumt einem von Äpfeln, so wird in dem Alphabet unter Lit. A. gesucht [...]") folgt eine alphabetische Liste, die hunderten Begriffen von Aal bis Zwinger jeweils Lottozahlen von 1 bis 90 zuordnet. Eine anschließende Liste mit einem Auszug von 90 zuvor genannten Begriffen und der Wunsch "Viell-Glück" schließen diesen Teil des Werkes ab. - Es folgen kurze Abschnitte mit einem Planetenkalender, einer Erklärung der Tierkreiszeichen, einer "Regula Astrologa", einer Liste mit kabbalistischen Zahlen für die 12 Monate, sowie einer Anleitung für das "geheime Italiänische Würfelspiel" mit dazugehöriger Punktetabelle. Das Manuskript wird als Übersetzung des Werks eines Astrologen aus San Marino ausgewiesen: "Von einen wohl erfahrnen italiänischen Stern Deuter in St. Marino verfasset und aus dem Italiänischen in daß Deutsche übersetzet 1791". Tatsächlich steht das Manuskript in der Tradition des neapolitanischen Traumdeutungsbuchs "La Smorfia", abgeleitet von Morpheus, dem Gott der Träume und Interpretation, das bis heute von italienischen Lottospielern benutzt wird. Das Traumdeutungssystem zu den italienischen Lottozahlen 1-90 dürfte auf das frühe 18. Jahrhundert zurückgehen, die zugrundeliegende Zahlenmystik und Traumdivination sind freilich viel älter. In Österreich wurde die erste staatliche Lotterie 1751 unter dem Namen "Lotto di Genova" durch Maria Theresia eingeführt. - Als typische Gebrauchsliteratur sind erhaltene Exemplare von "La Smorfia" äußerst selten. Auch dem vorliegenden Manuskript ist seine langjährige Benutzung anzusehen. Beide Innendeckel sind in Blei und Tinte mit Ziffern vollgeschrieben, eine Notiz stammt aus dem Jahr 1875. - Einband stärker berieben, obere rechte Ecke fehlt, Rücken eingerissen. Innen ein durchgehender leichter Wasserfleck, fleckig und gebräunt. Stellenweise etwas verblichen. Zahlreiche Seiten an der rechten obere Ecke geknickt.‎

‎[Clement XIV].‎

‎"Al Sepolcro di Papa Clemente XIV". Manuscript copy of an anonymous sonnet. No place, ca. 1774.‎

‎8vo. Italian manuscript on paper. 1 p. Together with another contemporary copy of the sonnet (8vo, ½ p.). This unpublished sonnet was written in honour of the deceased Pope Clement XIV, who had died on 22 September 1774, and probably circulated in Rome at that time: "Chi giace in questa Tomba? Il Corpo giace / Del Gran Clemente. E l'Alma or è salita? / In grembo al suo Fattor pronto e spedita, / E di sua luce ivi trionfa e tace. / Chi piange? Il Mondo. E chi duol si sface? / Roma. Ed al duolo qual cagion l'invita? / Perchè sparendo Lui, seco è sparita / E Giustizia, e Bontà, Letizia, e Pace. / Chi fà al Sepolcro suo fregio, e corona? / Religion. Chi serba [!] la memoria? / Colui, che alla Virtude applausi dona. / Dunque in van Morte rea si vanta, e gloria, / Se in Cielo, e qui frà noi vive, e risuona, / E chiaro andrà nella futura Istoria". - The poem is a close adaptation of an elegiac sonnet in Giacomo Bratteolo's collection "Rime di diversi elevati ingegni della Citta di Udine" published in 1597. - The most consequential and controversial decision of Pope Clement XIV was the suppression of the Society of Jesus in 1773. This political act led to a surge in propaganda for and against the Jesuits and the Pope. The sonnet at hand must be seen in this context, although it does not refer to the disgraced Jesuits, choosing rather to elevate the deceased Pope as a beacon of virtue whose grave is rightfully crowned by Religion. - With minor fire damage.‎

‎[Suppression of the Society of Jesus].‎

‎Anonymous anti-Jesuit poem written upon the death of Pope Clement XIV. No place, ca. 1774.‎

‎8vo. Italian manuscript on paper. 1 p. The poetic persona of this slanderous sonnet is the devil who informs the Jesuits of Clement's demise and incites them to use the opportunity for their malefactions, implying that they are responsible for papicides and regicides: "Mort'é Clemente (all'empia Società / Il Diavol' prese tosto a dir' così.) / Teneri Figli miei, vedete già, / Quanto per voi m'adopri e notte, e dì. / Or sappiate, che in man vi tornerá, / Tutto ciò, che il destin à voi rapí, / E che La Compagnia risorgerá, / Ad onta di Colui, che vi abboli, / Deh.' [Non] cari Figli, non temete più, / Seguite pur à uccider Papi, e Ré, / Ch'io sempre vi darró [!] forza, e virtú, / Ed al vostro valor ampia mercè, / Finchè verrete poi tutti quaggiù, / Eternamente ad abitar con me". - A slightly different version of this poem was published in the posthumous eighth volume of José Ortiz y Sanz's "Historia general de España" with the sardonic comment that the "devil apparently had some prognostic power" but that his words are unreliable, as is to be expected for a statement by the devil. - On 21 July 1773, Clement XIV issued the papal brief "Dominus ac Redemptor Noster" ordering the suppression of the Society of Jesus. This was probably the most controversial political decision of the 18th century, leading to a surge of propaganda for and against the Jesuits and the Pope that culminated after Clement's death on 22 September 1774. - Traces of folds. With a small burn hole and minor stains. J. Ortiz y Sanz, Historia general de España, Volume VIII (Madrid, 1846), p. 243.‎

‎[Suppression of the Society of Jesus].‎

‎Anonymous manuscript with three anti-Jesuit texts. No place, ca. 1773.‎

‎4to. 1¾ pp. on bifolium. The first text is a Life of the controversial Jesuit Gabriel Malagrida (1689-1761) with its satirized counterpart, written in opposing columns. Italian introductions were added in order to lend the Latin "original texts" a note of authenticity: "Short chronicle printed underneath the image of Father Malagrida, found in the case of a Jesuit father who had been robbed in Belforte. The figure is conical and Father Malagrida is represented in the habit of a Jesuit missionary with a walking stick in hand [...]". The satirized version of the introduction identifies the Jesuits as thieves and describes Malagrida in "the habit of an assassin with a deadly knife in hand". Both "vitas" follow an established formula for short biographies of deceased Jesuits. The satirical version is fiercely vitriolic, repeating common accusations against the Jesuits such as disloyalty, idolatry, and regicide. The description of the image probably refers to an actual engraved "portrait" of Malagrida. This anonymous engraving, clearly libellous, would not have been carried by a Jesuit and circulated in various copies with anti-Jesuit captions. - Gabriel Malagrida was an Italian Jesuit who worked as a missionary in Brazil for 28 years. When he returned to Portugal in 1750, Malagrida was highly respected at court. His fervour in explaining the 1755 earthquake of Lisbon as a divine punishment gave his biggest enemy at the court, prime minister Sebastião José de Carvalho, the leverage to procure Malagrida's banishment from the capital. In 1758 he was falsely accused of having been part of the conspiracy behind an attempt on the life of King José I and found guilty of high treason. This so-called Távora affair served as a pretext for the banishment of the Jesuits from Portugal in 1759. As the Inquisition found no proof of his guilt, Malagrida could not be executed for treason, and Carvalho moved on to accuse him of heresy based on falsely attributed texts. In a blatant miscarriage of justice, Gabriel Malagrida was strangled and burned in Lisbon on 21 September 1761. - The first of two sonnets completing the collection is presented as if it had been recited by a brother of King George III during the solemn unveiling of a statue of Pope Clement XIV in the house of a Catholic English Lord. Pope Clement XIV was surprisingly popular in Britain, as he did not recognize the Catholic Jacobites as pretenders to the British throne, and for his anti-Jesuit stance. A bust of the Pope by Christopher Hewetson was copied several times for members of the British nobility. - The second anonymous sonnet "against the Jesuit fathers" was supposedly "sent to Rome printed in golden characters to the ambassador of Spain and presented to the Pope by him". The sonnet describes the purported reaction of Lorenzo Ricci, the Superior General of the Jesuits, to the suppression of the Society by Pope Clement XIV. The first stave reads: "Ricci crollando l'orgogliosa testa / Chiamo fremente i suoi Compagni, e disse / Reco novella, o Figli miei funesta, / Il rio Clemente il gran decreto scrisse". - Lorenzo Ricci was arrested soon after the suppression of the Jesuits on 21 July 1773. He was indefinitely imprisoned without trial at the Castel Sant'Angelo in Rome and died there in 1775. - Some browning, creases, and minor tears. Minimal damage due to ink corrosion.‎

‎[Suppression of the Society of Jesus].‎

‎"Per la soppressione della Società". Manuscript copy of ten anti-Jesuit poems. No place, late 18th century.‎

‎4to. Italian manuscript on paper. 7½ pp. on bifolia. The collection starts with a long poem comprising 37 verses of 3 lines each that calls for the suppression of the Jesuits, starting: "Giorno d'ira, e di furore / Di ruine apportatore / Spunta all'empio, e all'impostore". The unpublished poem is addressed to the Pope and repeats typical accusations brought against the Society of Jesus. - It is followed by three sonnets concerning the controversial and at the time unsuccessful canonization process for Juan de Palafox y Mendoza (1600-59), the former bishop of Puebla who had briefly served as Archbishop of Mexico (1640-42) and as Viceroy of New Spain (1642). Palafox y Mendoza is famous for his long conflict with the powerful Jesuits of New Spain over ecclesiastical jurisdiction. The Jesuits ultimately succeeded in having the bishop transferred from Puebla to a minor see in Old Castile in 1653, effectively ending his career. In the 18th century, Palafox y Mendoza's anti-Jesuit writings gained popularity and were an important factor in the banishment of the Jesuits from Spain in 1767. The introduction of the cause of beatification was approved by Pope Benedict XIII in 1726 but a positive decision by the responsible congregation in 1777 was suspended by Pope Pius VI through the intervention of the Jesuits. The poems must be seen in this context; the first stave of the third poem reads: "Oh Gesuiti! Della Terra f[a]ex, / Infine l'ha pur vinta Palafox, / E difesolo il forte Hispaniae Rex, / Che no teme da Voi la mala Nox". - The fourth sonnet in the collection is a caustic reinterpretation of the famous prophecy that Ignatius of Loyola had received in a vision of Christ near Rome in 1537, starting: "I shall be favourable to you in Rome". - Four sonnets are warnings and outright criticisms of Pope Clement XIII (1758-69), a former Jesuit. The first of the sonnets is a speech by the personification of the Adriatic Sea to the Pope, commanding him to safeguard the honour of St Peter and warning him of coming storms. This is followed by three variations of a sonnet that does not directly address Clement but openly criticizes Papal decisions and his opposition to the ruling Princes of Europe, comparing the Pope to the Kings of Egypt and Assyria in an allusion to the biblical stories of Moses and Judith. - The final sonnet in the collection with two additional staves of 3 lines in the end strikes a similar tone, now directly attacking the Jesuits. It underlines that Rome must obey the European potentates, directly mentioning the court in Vienna, in order to be saved and restore its glory by "extinguishing" the Jesuits: "Che sarai salva, e con gloria distinta / Quando la Società vedrassi estinta". - With very slight stains. Well preserved.‎

‎[Rezeptbuch].‎

‎Rezeptbuch eines Baders. Wohl Tirol, um 1680.‎

‎4to. Deutsche Handschrift auf Papier. Zus. ca. 358 beschriebene SS. auf 264 Bll.: (1), (1 weiß), (2), (6 weiß), (1), (1 weiß), 1-344 (davon 5 weiß), (18 weiß), (23), (26 weiß), (1) SS. (davon 32 SS. nachgebunden mit zus. 17 SS. alphabeth. Registereinträge, meist mit Griffregister). Pergamentband der Zeit. Sehr umfangreiche Sammlung von Heilmittelrezepten eines Baders oder Feldschers (wie aus der zweiseitigen gereimten Vorrede hervorgeht). Außerdem richten sich zwischen dem mehr als 500 Rezepte umfassenden ersten Teil (SS. 1-240) und dem zweiten mit etwa 150 weiteren Rezepten (SS. 278-344), in der gleichen Handschrift, zwei Texte an diesen Berufsstand: "Fragen von der Baders Profession" (SS. 241-261) und "Frag Stuckh, wie man sich nach denen Fragen freintlich beantworten soll" (SS. 265-270). Hier werden auch frühneuzeitliche anatomische Fragestellungen erläutert, beispielsweise zur Lage und Beschaffenheit des Gehirns: Dieses bestehe aus drei Teilen und sei in absteigender Größe für Vernunft, Gedächtnis und Vorstellungskraft verantwortlich und in seiner Substanz "weiss und weich". Auf die Arzneimittel folgen Verzeichnisse der Apothekerzeichen (mit einem zusätzlichen Griffregister versehen), Apothekergewichte und Listen unterschiedlicher Wasser und Öle sowie von Pestkräutern und -wurzeln. Am Ende finden sich ein Inhaltsverzeichnis mit alphabetischem Griffregister und ein Verzeichnis lateinischer Pflanzennamen. - Belegt wird der Gebrauchswert des Rezeptbuchs für Bader in einzelnen Überschriften der Rezepte, wie "Ein anders von Joseph Mayr Bader" oder "Wan ein Bader die Aderen nit finden kann". Eine Fülle einfacher Hilfs- und Heilmittel wird vorgestellt, etwa "Wunden zu trukhnen", "Pflaster zu alten Schäden", "Die Milben im Haar zu tödten" oder "Meiß oder Fluigen zu vertreiben". Auch die Behandlung schwerer Erkrankungen wie Gelbsucht, Pest oder Krebs wird diskutiert. Besonders interessant - und giftig - ist eine krebshemmende Salbe mit Bleiweiß "für den Krepss das Er nit umbfresse"; auch jenem, der "das Wasser nit abschlagen khan", soll geholfen werden können. Manche Mittel sind für "Mensch und Vich" geeignet, andere sollen gegen Zauberei helfen, wie etwa das Tragen einer Wurzel von Eisenkraut. - Auf die Herkunft aus Tirol weist neben der mundartlichen Färbung etwa ein Rezept für einen "Wundt Tranckh, so Herzog Sigmund selbsten gebraucht". An einigen Stellen wurden Rezepte von anderen Händen, wohl wenig später, ergänzt. - Oben teilweise mit leichtem Wasserrand, etwas braun- und teilweise leicht fingerfleckig. Der Einband stärker braunfleckig bzw. gebräunt, mit einigen kleineren und einem größeren Wurmloch im Deckel, einem kleinen Wurmloch im Rücken und wenigen größere Einschnitten im Hinterdeckel, bestoßen und berieben.‎

‎[Arznei- und Kochbuch].‎

‎Heilmittel- und Kochrezeptsammlung. Wohl Tirol, zweite Hälfte des 18. Jhs.‎

‎4to. Zus. ca. 255 SS. auf 147 Bll. (2), 158, 163-231, (62) SS. (davon 1½ SS. mit Register, S. 148-158, 163-183 und die letzten 4 SS. weiß). Deutsche Handschrift auf Papier. Mit kalligraphierten Überschriften. Halbpergamenteinband der Zeit mit marmorierten Buchdeckeln, Lederbändern und dreiseitigem grün-rot gefärbten Schnitt. Umfangreiche Sammlung von Heilmittel- und Kochrezepten, wohl von der Mitte bis zum Ende des 18. Jahrhunderts von mehreren Händen zusammengetragen. - Unter dem Titel "Arzney Buech" finden sich im ersten Teil des Manuskriptes (SS. 1-148) etwa 120 Heilmittelrezepte für Salben, Pflaster, Pillen, Pulver und Balsam, meist nach der Art der Mittel geordnet. Das Spektrum reicht vom "Salbl zum Schlaff machen" mit Muskatöl über ein "Pulffer des Lebens", das auch einige der schon seit Hildegard von Bingen bewährten Kräuter wie Muskat, Zitwer, Allant, Süßwurzel, Ingwer, Galgant, Zimt und Tausendgüldenkraut würdigt, oder ein "Recept der Pest Pillen von Wienn" bis zu Edelsteinheilmittel (SS. 109-112). Gegen Ende dieses Teiles finden sich auch einige Spirituosen, vom Branntwein bis hin zu Likören wie "Marillen-Roßolly" oder "edlen Schokolati Rosoli". - Die ordentliche breite Kurrentschrift wird auf S. 141 durch eine etwas kleinere und engere Handschrift abgelöst. In diesem Teil findet sich nach dem Rezept für "ein bewehrtes Raicher vor üble und güfftige Kranckhoiten, und Pest" der Hinweis, dass das Mittel 1773 in Zeiten der Pest verwendet wurde. Damit ist zugleich ein Terminus post quem für die Entstehungszeit zumindest dieses Teils des Manuskriptes gegeben. Nach einigen weißen Blättern (SS. 148-183) folgen ca. 130 Koch- und Backrezepte für verschiedene Knödel, "Kräpffl", "Nudl", "Dorten", "Strauben", "Klezenzelten", "Pomeranzen Sulz" oder "Korn Bluemen Saafft" sowie im letzten Teil, von breiterer Hand, mehrere Fischrezepte, meist zu Karpfen und Hecht, sowie einige Teig- und Mehlspeiszubereitungen, ebenfalls in ordentlichen Kurrentschriften von zwei verschiedenen Händen aufgeschrieben. Die mundartlichen Eigenheiten verweisen auf eine Herkunft aus Tirol. - Der Einband etwas fleckig, angestaubt und beschabt. Am Ende und im unbeschriebenen Teil einige Bll. entfernt, daher fehlen die paginierten SS. 159-162, etwas fleckig. Mit Exlibris des Kufsteiner Volksschullehrers Carl Wagner.‎

‎[Hugo, Victor].‎

‎Der letzte Tag eines zum Tode Verurteilten. O. O., 19. Jh.‎

‎Deutsches Manuskript auf Papier. 9 SS. auf 5 ff. 8vo. Interessante Abschrift der ersten vier Kapitel von Victor Hugos berühmten Roman und Plädoyer gegen die Todesstrafe "Le Dernier Jour d'un Condamné" (1829). Der hier gegebene Titel weicht vom üblichen deutschen Romantitel "Der letzte Tag eines Verurteilten", etwa der frühesten Übersetzungen von W. Wagner (Frankfurt/M, 1835) und Friedrich Seybold (Stuttgart und Leipzig, 1835), ab. Beim vorliegenden Manuskript könnte es sich daher um die Reinschrift einer eigenständigen (Teil-)Übersetzung eines anonymen Verfassers handeln. - Wohlerhalten.‎

‎[Medizinische Handschriften].‎

‎Aufzeichnungen der Alfhausener Ärztefamilie Eymann. Göttingen und Alfhausen, 1833-1883.‎

‎11 Bände. Deutsche und lateinische Manuskripte auf Papier. Zusammen ca. 2800 SS. Papp- und Halblederbände der Zeit. Teilweise mit Rückenschildchen; Rot- und Gelbschnitt. Die vorliegende Manuskriptsammlung reicht zurück in die Studienzeit des Joseph Eymann (1812 - nach 1872), wahrscheinlich in Göttingen. Das älteste Objekt ist die auf 1833 datierte Abschrift der "Ars obstetricia" eines Dr. Heine. Ungefähr zu dieser Zeit dürfte auch die Abschrift von Friedrich Benjamin Osianders "Lehrbuch der Hebammenkunst" (Göttingen, 1796) entstanden sein: In eigenen Anmerkungen zur Thematik am Ende des Bandes zitiert Joseph Eymann wissenschaftliche Artikel der Jahre 1832-38. Es ist anzunehmen, dass auch die Abschrift des dritten Bandes von August Gottlieb Richters berühmter siebenbändiger "Wundarzneykunst" zu den "Krankheiten der Augen" (Wien, 1790) aus Eymanns Studienzeit stammt. - Spätestens ab 1838 praktizierte Joseph Eymann als Landarzt in Alfhausen bei Osnabrück. In diesem Jahr begann er ein "Liber Testimoniorum medicinalum" mit Fallbeschreibungen seiner Patienten. Die Notizen auf 42 teilweise paginierten Seiten reichen bis in das Jahr 1854. Schon am 1. Januar 1843 legte Eymann ein neues "Diarium medicinale" mit 391 paginierten Seiten an, gefolgt von einem Personen- und Krankheitsregister. Im folgenden Jahr begann Eymann ein weiteres medizinisches Tagebuch. Die Eintragungen enden auf S. 169 am 18. September 1844. Auf SS. 280-282 folgt die Abschrift eines Artikels aus Johann Ludwig Caspers "Wochenschrift für die gesammte Heilkunde" 14 (1845), der die "Neue Behandlung des übermäßigen Monatsflusses" aus Johann Heinrich Kopps "Denkwürdigkeiten" kommentiert. Ein 1841 angelegtes Notizheft mit Einträgen bis 1872 kann in einen wirtschaftlichen und einen poetischen Teil mit Gedicht- und Textabschriften unterteilt werden. - Der zweite Teil der Manuskriptsammlung ist auf den Arzt Ludwig Eymann (1841-91), sehr wahrscheinlich Joseph Eymanns Sohn, zurückzuführen. In seiner Göttinger Studienzeit kopierte Eymann zwei chirurgische Lehrbücher von Wilhelm Baum (1799-1883); eine der Abschriften ist auf den 14. November 1867 datiert. Ludwig Eymann hat die Praxis seines Vaters wohl im Laufe der 1870er Jahre übernommen; ein Patientenregister von Alfhausen, das ihm zugeschrieben werden kann, ist auf 1882 datiert. Am inneren Vorderdeckel dieses Bandes findet sich auch eine Notiz Eymanns zum Tod seiner Frau Auguste Schulte am 7. November 1882 im Alter von 33 Jahren. Auguste Schulte ist auch die undatierte Abschrift einer Ästhetik in 19 Paragraphen gewidmet, die wohl ebenfalls von Ludwig Eymann angefertigt wurde. - Einbände beschabt und bestoßen; ein Band mit gebrochenem Rücken, einer mit teilweise abgelöstem Rückenbezug. Die Manuskripte teilweise minimal angeschmutzt, doch durchgehend in gutem Zustand.‎

‎[Salzburg - Bergwesen].‎

‎Des hochlöblichen Erzstift Salzpurg Perckhwerchs Ordnung sampt dem Register und Vorred. Getrucht in der erzbischöflichen statt Salzburg durch Hansen Pauman von Rotenburg auf der Thauber anno 1551. [Salzburg, vor 1550 bzw. nach 1551].‎

‎Deutsche Handschrift auf Papier. (6), 63, (16) Bll., zwischen Titelblatt und Register durchschossen. Grün gefärbter Pergamentband der Zeit. Kl.-Folio (200 x 305 mm). Zeitgenössisches Manuskript der wichtigen Bergwerksordnung des Fürsterzbischofs Matthäus Lang von Wellenburg von 1532, die 1551 als eines der ersten gedruckten Bücher von Salzburg bei Hans Baumann erschien. Die neue Bergwerksordnung löste die älteren, teils mehrdeutigen und unverständlichen Regelwerke ab; sie bestand mit mehreren Novellierungen auch nach dem Ende des Erzstiftes weiter und wurde erst 1854 durch das Allgemeine Berggesetz für die Österreichische Monarchie abgelöst. - Die Ordnung regelte die Rechte und Pflichten der landesfürstlichen Beamten, der Gewerken und Hutleute, die Abgaben der Bergleute, die Versorgung der Bergwerke mit Holz und Lebensmitteln sowie die Arbeits- und Ruhezeiten, wobei der übermäßig lange Aufenthalt im Wirtshaus nach Feierabend unter Strafe gestellt wurde: "Wir wollen auch das unnsere Perckhrichter zu fürderung gemeines nutz und der perckhwerch [...] allenthalben darob seyen, Das die Huetleut, Lehenhewer, Gedingheuer und annder Arbaiter, all zu rechter zeit, und wie obgemelt ist, zue und von der Arbait geen, und sich nit in den Wirtshewsern, Tafernen oder anndern ennden uber die gewönndliche zeit versitzen oder verhalten, bey peen aines Reinischen guldens [...]" (fol. 35). - Der erste Teil der vorliegenden Handschrift stammt noch aus der ersten Hälfte des 16. Jhs., bricht jedoch bei Artikel 34 (fol. 63v) ab und wurde nach dem erwähnten Baumann-Druck wohl im dritten Viertel des 16. Jhs. ergänzt. Das im Zuge dieser Komplettierung entstandene Titelblatt entspricht jenem der gedruckten Ausgabe. - Einband fleckig, Rücken lädiert, Schließbänder fehlen. Papier durchgehend leicht fleckig; einzelne Seiten mit kleinen Randläsuren, teils alt mit Papierstreifen hinterlegt.‎

‎[Société archéologique de Béziers].‎

‎"Musée lapidaire. Aperçu général de l'histoire de Béziers." Manuscript for a general history of Béziers based on the objects of the Museum of the Archaeological Society. [Béziers], 1910-1911.‎

‎4to. French manuscript in blue and red ink on paper. 107 pp. With an index and 68 photographs mostly outside the text (37 numbered plates). Original half cloth notebook. Sewn. Beautiful, unpublished manuscript that must be attributed to a member of the Archaeological Society of Béziers. From 1866, the society’s "Musée lapidaire" was housed in the unfinished monastery attached to the Béziers Cathedral. Today, only a few of the more than 300 objects are still on display there, while most have been transferred to the Musée du Biterrois. The author traces the eventful history of Béziers based on objects of the collection and their inscriptions, dating from the Roman period to the 18th century. The objects from the Roman period offer the greatest variety; they include a head of Silenus, the statue of a Roman Emperor, locally known as Pépézut, funerary monuments and architectural ornaments. In the preface, the author thanks the former president of the Archaeological Society, Louis Noguier, and two other members who contributed to the establishment of the museum. In 1899, Noguier had published a book on the museum’s inscriptions from the Christian period. Based on a clipping from a local newspaper with an article on a congress of the Archaeological Society in January 1911, the manuscript can be tentatively ascribed to Joseph Dardé, secretary of the society and curator of the museum. - Several pages loose, as are the plates. Some browning. Occasional bent corners, margins, and minor tears.‎