LUCIEN et XÉNOPHON. Extracts from Lucian and Xenophon, translated by M. L'abbé G…

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LUCIEN et XÉNOPHON.

Extracts from Lucian and Xenophon, translated by M. l'abbé Gail. Paris, chez l'Auteur, Brocas, Nyon, Colas, Le Jay, 1786. In-12, red morocco, triple gilt fillet, small iron in the corners, coat of arms in the center, ornate spine, green title page, small inner scroll, gilt edges (Period binding). A dedication copy, with the arms of Louis Le Peletier de Mortefontaine (1730-1799), maître des requêtes, prévôt des marchands de Paris and conseiller d'État (OHR, pl. 894). Minor stain to four leaves at the end of the volume. Spine slightly creased.

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LUCIEN et XÉNOPHON.

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Estim. 200 - 300 EUR

[Étienne de LA BOÉTIE]. XENOPHON. Xenophon's Mesnagerie. Plutarch's Marriage Rules. Plutarch's letter of consolation to his wife. In-8, blond calf, spine with 5 small ornate nerves, interior roulette, gilt edges ( Thouvenin). De Backer, 326 // Tchemerzine-Scheler, III-785. 120 f. (of 131) / A-P8 / 106 x 163 mm. Second edition of these translations, published by Montaigne as a tribute to his faithful friend. The volume contains four prefaces or warnings by Montaigne. The last eleven leaves, which were intended to contain an extract extract from a letter by Montaigne... on the death of La Boétie. Old restorations, top of jaws slightly cracked.

XENOPHON - La Cyropaedie ou l'Histoire de Cyrus, translated from the Greek of Xenophon by Mr Charpentier, de l'Académie Françoise. Paris, Antoine de Sommaville, 1660 (1659). In-folio, (12) ff, 285 pp, (8) ff, 33 pp, (3) ff, minor soiling to title, many worms on margins without affecting text, many light spots, many underlining, worn stocking, spine missing, epidermis. First edition of this translation dedicated to Cardinal de Mazarin. François Charpentier had already published Les Choses mémorables de Socrate by this author in 1650. He joined the Académie Française in 1651, and was its dean for 51 years. French coat-of-arms on title, numerous intaglio headbands and lettering.

Starting price 5 EUR

LIVRES DU XXEME SIECLE

Estim. 600 - 800 EUR

Russian icon of the second half of the 19th century. "Saint Xenophon and Mary". Oil, gold leaf on panel. It presents multiple chips in the gilding. Measurements: 18 x 14 cm. The venerable Xenophon and his wife Mary, and their sons Arcadius and John, were noble citizens of Constantinople in the 5th century. Despite their wealth and nobility, they were distinguished by spiritual simplicity and kindness. Wishing to give their sons a better education, they sent them to the Phoenician city of Beirut. Unfortunately, the ship, on which the two brothers had sailed, was shipwrecked. They were tossed by the waves to different parts of the shore. Grief-stricken by their separation, the brothers consecrated themselves to God and accepted monasticism. The parents received no news of their sons for a long time and considered them perished. But Xenophon, now an old man, kept faith in the Lord, comforted his wife Mary and advised her not to grieve and to believe, that the Lord would protect their children. Several years later, the couple went on pilgrimage to holy places and by chance met their children in Jerusalem, who at that time were already ascetics in various monasteries. Out of the joy of what happened and in gratitude to God, Xenophon and Mary accepted monasticism, and dedicated their entire lives to Christianity. The monks Arcadius and John, after bidding farewell to their parents, ascended to the desert, where, after long ascetic acts, they became famous for the gift of wonder-working and penetration. The venerable elders Xenophon and Mary also received the gift of miracles from God, performing asceticism in silence and strict fasting. In the Orthodox cult, the venerable Xenophon and Mary are the protectors of all the missing. In iconographic terms, the most common representation of these two saints is with their two children. However, representations, such as the one in the auctioned lot, are also acceptable in traditional iconography. This icon, executed in oil on panel, presents fine decorative elements, which simulate enameling. Vibrant golden background, it adds light, and symbolizes the divine radiance. A series of signs, although very subtle and almost diluted in the traditional iconography, such as, for example, the blessing with two fingers and the eight-point cross visible on the chiton of Saint Xenophon, indicate that the present icon could have been produced in the workshops of the Old Believers.

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