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Index Librorum prohibitorum Sanctissimi Domini nostri Pii Sexti Pontificis Maximi Jussu Editus. Romae, Ex Typographia Rev. Camerae Apostolicae, 1786 8vo large. 180x115 mm. Coeval full stiff vellum binding, gilt title to spine, red speckled cuts. Pages XLIV, 323, 1 blank; 6, 2 blank; 5, 1 blank. On frontispiece coat of arms of Pope Pius VI impressed in woodcut. Figured and ornate initials. Antiporta intaglio is missing. Slight traces of use to binding,light occasional foxing,good copy. Rare edition. Two Appendices are added to the end of the Index with a list of forbidden books updated to August 2, 1790 and January 11, 1796. Large 8vo. 180x115 mm. Contemporary stiff vellum, gilt title the spine, Red speckled edges. Pages XLIV, 323, 1 blank; 6, 2 blank; 5, 1 blank. On the Titlepage woodcut coat of arms of Pope Pius VI. Illustrated and ornate Initials. The chalcographic Frontispiece is missing. Slight signs of wear on the binding, slight occasional foxing, good copy. Rare edition. Two Appendices are added at the end of the Index, with the list of prohibited books updated on August 2, 1790 and January 11, 1796.

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Index Librorum prohibitorum Sanctissimi Domini nostri Pii Sexti Pontificis Maximi Jussu Editus. Romae, Ex Typographia Rev. Camerae Apostolicae, 1786 8vo large. 180x115 mm. Coeval full stiff vellum binding, gilt title to spine, red speckled cuts. Pages XLIV, 323, 1 blank; 6, 2 blank; 5, 1 blank. On frontispiece coat of arms of Pope Pius VI impressed in woodcut. Figured and ornate initials. Antiporta intaglio is missing. Slight traces of use to binding,light occasional foxing,good copy. Rare edition. Two Appendices are added to the end of the Index with a list of forbidden books updated to August 2, 1790 and January 11, 1796. Large 8vo. 180x115 mm. Contemporary stiff vellum, gilt title the spine, Red speckled edges. Pages XLIV, 323, 1 blank; 6, 2 blank; 5, 1 blank. On the Titlepage woodcut coat of arms of Pope Pius VI. Illustrated and ornate Initials. The chalcographic Frontispiece is missing. Slight signs of wear on the binding, slight occasional foxing, good copy. Rare edition. Two Appendices are added at the end of the Index, with the list of prohibited books updated on August 2, 1790 and January 11, 1796.

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Emmanuel CHABRIER . 8 L.A.S. "Emmanuel" or "Emml", La Membrolle March-July 1889, to HIS WIFE Alice; 24 pages mostly in-8, one envelope (qqs. slight cracks to folds). Beautiful and amusing letters to his wife about his life at La Membrolle during the composition of Briséïs. [Correspondence 89-19, 58, 60, 67, 68, 72, 73] [Bordeaux] Wednesday [March 13]. Stay in Bordeaux for a concert of his works, with arias from Le Roi malgré lui sung by Rose Delaunay and Frédéric Boyer: "I have them rehearse this evening the Chanson tzigane, the Entrée du Roi, & the duet from Les Gondoles. [...] This evening, I'll spend some time at the Tribut de Zamora, a roustissure by Father Gounod [...] tomorrow, at 8 h. ½, rehearsal at the theater of all my pieces.".... [La Membrolle] Thursday morning [June 20]. Amusing account of a village wedding... " Gayet and I are the groom's witnesses; we abolish our names, first names, ages and qualities; after the pas de l'écharpe danced by the mayor and the schoolteacher who serves as his secretary, we take each other's arms and head for the church; [...] at the groom's request, I rush to a piece of harmonium; in! - I drop a few new chords at the Offertory, Elevation and Agnus. Meanwhile, the father of the bride, who is a cantor, and another gentleman, father of the daughter of Nanie Chenesseau, your old friend, also a cantor, were shouting out matching Kyries. At the end, I played a little more nonsense; it was midday and getting hotter. - We were hungry and even more thirsty. - 70 at table [...] At 3 a.m. dancing, bowls, billiards &a; I danced like a puppet until 8 p.m. I was indefatigable! I was tireless! [...] At 8 h. ½, dinner; 100 people; a lot of mouths to crack, old people like you only see in the country; the little girls sang their romances to the little birds [...] At 11 h ½, we went to redance. I bounced like a young jaguar on my dancers"... - June 23. "It's Corpus Christi, and the coup des reposoirs. [...] At last, it's sunny; that's always good! because it's worth telling you that 4 days ago we were hit by a dreadful storm; the road in front of the house was a raging torrent, carrying whole trees, carts, cattle and poultry, wheat-threshing machines, not to mention a large number of women, children and old people, perfectly drowned and more or less stripped of their clothes. It was a horrible sight. From my desk, I didn't give a damn. [...] In a few moments, the local brass band will announce the arrival of the Blessed Sacrament, and the little party will take its course. He leaves for Bayreuth on July 19; "on August 5, I'm back and we leave for Cusset. At the end of August, general return to La Membrolle, until 8bre. In 8bre, I return to Paris with you. I'm tired of being alone. I have a trick not to be bothered in Paris"... - Sunday [June 30]. Intsructions and financial recommendations. - Tuesday [July 2]. "Your mother will write to you about the quinces. But you must admit that the openrier is an incomprehensible being: if he drinks brandy, it does him harm; if he drinks milk, it does him no good; it is better not to be an openrier". Miscellaneous news... -5 July. Complaints about his sons: "Here are two lazy wretches who can boast of giving me trouble! I'm sure I'll take a dislike to them. When will that great coward Marcel understand all the sacrifices we make for him, and all the trouble he causes me, by going around telling everyone about his sad affair! It's heartbreaking! [...] Oh, these 2 slackers, these 2 worthless fertilizers absolutely disgust me. - It's very sad to have to talk like that about one's children"... - Saturday [July 6]. "Never in my life have I wanted to give Angèle my arm. That would be foolish. I'm staying so as not to offend your mother, but it bothers me. I give my arm to Made Grandin, M. Sérée gives it to your mother and M. Froget to his niece. And I'm off the next day. - Don't invent any more than there is; it's enough as it is. - Yesterday, at lunch, I timidly ventured that Jean (who bought himself an 18F top hat that he'll never wear again) might well have married in a round felt hat that would have come in handy later on... Ah! I assure you I wasn't fresh; grandma would have swallowed me up; she gave me this epic reply: Eugène did wear big hats, and you did get married in a big hat! - There's no answer to that. And I kept my mouth shut so as not to scream"... Strasbourg [July 18, 1889], trip

BENZI, Hugh. Expositio Ugonis Senensis super libros Tegni Galeni. Venice, Eredi di Ottaviano Scoto, 1518 Folio; 310x220 mm. Modern binding in full vellum. 93 cc. Colophon on paper 93v: "Venetijs, impensa heredum quondam domini Octauiani Scoti Modoetiensis; ac sociorum, 19 Ianuarij 1518" .Under typographic mark with initials O.S.M. Text in two columns, Gothic typeface. Numerous woodcut initials, many on criblé ground. Some marginalia in old hand. Fine copy. Bound with: BENZI, Hugh. Expositio Vgonis Senensis super Aforismos Hippocratis: & super commentum Galeni eius interpretis. Venice, Eredi di Ottaviano Scoto, 1517 Papers 159, 1 blank. Colophon on paper 159v: "Venetijs: sumptibus heredum quondam domini Octauiani Scoti Modoetiensis ac sociorum, 18 Iulij 1517." Typographic mark with initials O.S.M. in the recto of the last blank paper. Text in two columns, Gothic font. Numerous woodcut initials, many on criblé background. Some marginalia in old hand. Fine copy. Very rare edition. Collected in one volume are Benzi's two fundamental commentaries on the texts of Hippocrates and Galen. The commentary on the first work refers to Galen's "De Arte Medica," known as Tegni (a deformation of the Greek word τέχνη, "art"). During the Middle Ages, in fact, the Greek τέχνη ἰατρική was used to refer to Galen's Ars medica; the second work contains commentaries on the Aphorisms of Hippocrates. These commentaries on Hippocrates and Galen were born, according to the customs of the time, for the teaching in universities of classical texts: the doubts, problems, and discussions that arose from the teachers' explanations and the disciples' questions formed the basis of the quaestiones, through which the study of the ancient masters was attempted, and which were an integral part of the commentaries. Ugo Benzi, c. 1360 - 1439, born in Siena, initially studied at the Sienese Studio, then taught in Siena, Parma, Bologna, Pavia, Perugia and possibly at the Sorbonne; he was physician to the king of France, who called him to Paris. In 1437 he took part in the Council of Ferrara, at the call of Nicolò III d'Este, who had been cured of a serious skin disease by Benzi. First work: Durling; p. 221 n. 1845. Index Aureliensis, III, 116976. Second work: Wellcome, no. 3350. Cf. Dean Putnam Lockwood, Ugo Benzi, medieval philosopher and physician, 1376-1439, University of Chicago Press, 1951. Folio; 310x220 mm. Later full vellum binding. Leaves 93. Colophon on l. 93v: "Venetijs, impensa heredum quondam domini Octauiani Scoti Modoetiensis; ac sociorum, 19 Ianuarij 1518" and printer's device with the initials O.S.M. Text on two columns, gothic type. Several woodcut initials letters, a lot on criblè background. Some ancient handwritten marginalia. Nice copy. Bound with: BENZI, Hugh. Expositio Vgonis Senensis super Aforismos Hippocratis: & super commentum Galeni eius interpretis. Venice, Eredi di Ottaviano Scoto, 1517 Leaves 159, 1 blank. Colophon on l. 159v: Papers 159, 1 blank. Colophon on paper 159v: "Venetijs: sumptibus heredum quondam domini Octauiani Scoti Modoetiensis ac sociorum, 18 Iulij 1517" and printer's device with the initials O.S.M. Text on two columns, gothic type. Several woodcut initials letters, a lot on criblè background. Some ancient handwritten marginalia. Nice copy. Very rare editions. In one volume are bound two fundamental Benzi's comments on the Hippocrates and Galenus' texts. The commentary on the first work refers to Galen's "De Arte Medica," known by the name of Tegni (deformation of the Greek word τέχνη, "art"). During the Middle Ages, in fact, the Ars medica of Galen was indicated by the Greek term τέχνη ἰατρική; the second work contains the commentary on the Aphorisms of Hippocrates. These comments on Hippocrates and Galen were born, according to the customs of the time, for the teaching of classical texts in universities: the doubts, problems, discussions from the explanations of the masters and the questions of the disciples constituted the basis of the quaestiones, through which attempts were made to deepen the study of the ancient masters, and which were an integral part of the commentaries. Ugo Benzi, ca 1360 - 1439, born in Siena, initially studied at the Studio Senese, then taught in Siena, Parma, Bologna, Pavia, Perugia and perhaps also at the Sorbonne, was doctor to the King of France who called him to Paris. In 1437 he took part in the Council of Ferrara, at the request of Nicolò III d'Este, who had been cured of a serious skin disease by Benzi.