‎GERARD CATHALA‎
‎A LA SOURCE‎

‎Advis (Avis) et devis de la source de l'idolatrie et tyrannie papale par quelle practique et finesse les Papes sont en si haut degre montez‎

‎Geneve / chez Ivles guillaume fick 1866 in8. 1866. reliure plein velin. 188 pages. titre complet / Advis (Avis) et devis de la source de l'idolatrie et tyrannie papale par quelle practique et finesse les Papes sont en si haut degre montez suivis des difformes Reformateurz de ladvis et devis de menconge et des faulx miracles du temps présent Etat correct‎

‎Message in a Bottle. Merchants' letters, merchants' marks and conflict management in 1533-34. A source edition‎

‎, Brepols, 2022 Hardback, 257 pages, Size:178 x 254 mm, Illustrations:15 b/w, 7 tables b/w., 2 maps b/w, Language: English. ISBN 9782503595405.‎

‎Summary In 1533, a batch of merchants' letters was to be delivered from Antwerp to London. They never reached their destination, and were only opened in a Hanseatic archive almost 500 years later. Like a message in a bottle, the letters unfold unknown individual stories and large-scale drama. They offer a fascinating glimpse into the world of the early 16th century, from hard-nosed business and prices in code sent to a wife, to the fond greetings of an English father to his three young sons or a secretive message of a grandmother from Antwerp. At the backdrop, war was looming: the letters were part of a booty taken in the English Channel in August of 1533. Lübeck privateers plundered six neutral ships, carting the goods of English, Dutch, Spanish, Venetian and Hanseatic merchants off to Lübeck and Hamburg. As a result, Henry VIII of England exploded with rage and restitution claims were made. Soon after, Lübeck realized the potential political cost of the action and an administrative machinery for the return of the booty was set in motion. Extensive documentation was produced under the eye of notaries, providing an overview of properties of the involved parties, including many merchant marks. The combination of unique letters and administrative documents offers new openings into the study of economic, political and social history of pre-modern northern Europe. Highlights are the migration of people and goods, resourceful conflict management and the voice of ordinary people, captured in their letters. TABLE OF CONTENTS 1. Introduction (I) by Stuart Jenks: serendipitous source find and source highlights; large-scale political context of 1533 from the English and Hanseatic point of view; English letters (holographs: business and private matters); documentation on the recovery of the cargo; English, Hanseatic, Venetian, Dutch, Spanish losses (goods) 2. Introduction (II) by Justyna Wubs-Mrozewicz: large-scale political context from the point of view of the Low Countries (and Spain); the position of Antwerp as metropolis [NB the discovered correspondence was between Antwerp and London]; the letters in Dutch ((holographs: business and private matters; uniquely: women writing); merchants' marks and the pilot database 3. Notes on the edition of the text (both editors) 4. Bibliography Source edition 5. Merchants' letters (English and Dutch) 6. Capture of the ship of Adrian Johnson (Antwerp) 19.08.1533 (depositions in Low German, Latin) 7. English losses in the ship of Adrian Johnson (in English, Low German) 8. Goods taken from Venetian merchants in the ship of Adrian Johnson (Latin) 9. Hanseatic losses in the ship of Adrian Johnson (Low German) 10. Goods taken in the Spanish ships (Latin, Low German) 11. Goods taken from ships of the Low Countries (Latin, Low German) [thumbnails of merchants' marks with annotation of occurrence in text] 12. Index‎

‎A methode unto mortification: called heretofore, the contempt of the world, and the vanitie thereof Written at the first in the Spanish. - [A SOURCE FOR SHAKESPEARE'S ""LOVE'S LABOUR'S LOST""]‎

‎London, Iohn Windet, 1608. 12mo. In contemporary full calf. Small paper-label pasted on to top of spine. Wear to extremities, corners bumped. Edges of boards with loss of leather. Previous owner's names to front and back end paper (""Robert Wilson"" & ""Edvard Wilson, anno domini 1666""). Internally with a few light dampstains. (20), 328, 328-499, (4) pp.‎

‎The exceedingly rare second edition (the first being from 1586) of Roger’s somewhat free translation of ‘Papist’ Diego de Estalla’s work “Libro de la vanidad del mundo (Toledo, 1562). Roger’s admit that he had no access to the original but had to use the Itanlian and Spanish translations. This present English translation, however, is of significant interest since recent research suggests it was a source and inspiration for Shakespeare’s ‘Love’s Labour’s Lost’: At the opening of ‘Love’s Labour’s Lost’, the vow to renounce worldly pleasure has barely been announced before one of Navarre’s book-men declares his success: “Dumaine is mortified” (I.i.28). This ‘mortified’ is not a word Shakespeare would use often. It appears here in the sense of ‘having the appetites and passions in subjection’ and insensible or impervious to (the world and its pleasures), the latter informing Dumaine’s gloss: ‘To love, to wealth, to pomp. I pine and die’. The fact that this is the earliest use of ‘mortified’ in the Shakespearean canon is the first clue that one of the sources for Love’s Labour’s Lost was Thomas Roger’s A Methode unto Mortification, published in London in 1586 and again in 1608. Shakespeare’s pleasure in frustrating the ambitions of this book went some way to shaping his play”. (Kingsley-Smith, A Method unto Mortification: A New Source for Love’s Labour’s Lost). ""Love's Labour's Lost"" is one of William Shakespeare's early comedies, believed to have been written in the mid-1590s. The play revolves around the King of Navarre and three of his noble companions who make a pact to swear off women and focus on scholarly pursuits for three years. However, their resolve is tested when the Princess of France and her entourage arrive on a diplomatic mission. Each of the men falls in love with one of the women, leading to a series of comedic misunderstandings, romantic entanglements, and wordplay. “It is also possible that some facts about the original author sparked Shakespeare’s interest. Diego de Estella was born in Navarre, and spent time the court of Philip II of Spain before incurring disapproval for his criticism of court life and being forced into a Franciscan monastery. Armado, the braggart and clown of Love’s Labour’s Lost, is the first Spaniard to appear in Shakespeare”. (Kingsley-Smith, A Method unto Mortification: A New Source for Love’s Labour’s Lost).‎

‎Romaikes Archaiologias Biblia Deka (in Greek). Antiquitatum Romanarum. Lib. X. Ex Bibliotheka Regia. + Peri Syntheseos Onomaton pros Roufon (in Greek). De compositione, seu orationis partium apta inter se collectione, ad Rufum. - [THE MAGNIFICENT EDITIO PRINCEPS OF THE MOST IMPORTANT SOURCE TO OUR KNOWLEDGE OF ROMAN HISTORY]‎

‎Paris, Robertus Stephanus, 1546 + 1547. Folio. Early 17th century full calf binding with six raised bands to spine, gilt title-label and single line-gilding to both spine and boards. Red speckled edges. Leather on boards with abrasions, and spine and corners restored. Loss of the original leather to capitals. First and last leaves with a bit of light brownspotting, but otherwise just the slightest of brownspotting. A very good, clean, well-margined copy. 19th century owner's name (Aubert) to inside of front board, 18th century note to front free end-paper, and Abraham du Prat's (1616-1660) handwritten ex-libirs to the first title-page, above which he has noted R. Estienne's age and year of death. Early armorial and Lyon Public College stamp (19th century) to blank part of first title-page. 538 (recte 542), (2) pp. + 128, (4) pp. Magnificently printed in Greek lettering, in Garamond's Grecs du Roi type, with titles, corrections, and colophons in Latin. Large decorated woodcut ornaments and initials. Title-pages with woodcut snake and olive branch. ‎

‎The splendid first edition - with a highly interesting provenance - of Dionyssos Halicarnassos' extremely important ""Roman Antiquities"", also known as ""Early Roman History"", which, together with Livy’s, is the most valuable source to our knowledge of early Roman history. It treats of Rome from its origins to the First Punic War, in twenty books, of which only the first 11 remain extant. Dionysius is the first major historian of early Roman history whose work is now extant, and his seminal “Roman Antiquities” is responsible for most of the knowledge that we have of ancient Rome as well as the primary source for the accounts of the Roman foundation myths, including that of Romulus and Remus. The myth spans the first 2 volumes of the work, beginning with Book I chapter 73 and concluding in Book II chapter 56. Most other ancient historians who wrote about early Roman history almost certainly used Dionysius as a source for their material, which can be traced back to the foundational magnum opus “Roman Antiquities”. Though written from a pro-Roman standpoint, the work was very carefully researched. Dionyssos selected carefully among authorities and preserved a wealth of details that would otherwise not have been known to us today. This seminal editio princeps is of the utmost importance for obvious historic reasons, but also plays a significant role in printing history. It is usually referred to as one of the most beautiful Greek books ever printed (beginning with Harwood), and it is with this edition that Robert Estienne’s son Henri, then merely 15 years old “was introduced to the work of his life, by helping his father correct the text. The book, magnificently printed in “grecs du roi”, has been called (by Harwood) one of the most beautiful Greek books ever printed. It is said that Francois I himself selected the work for publication from a manuscript in his library.” (Schreiber). “EDITIO PRINCEPS. “One of the most beautiful books the Greek press ever produced”, says Harwood. Freytag, in his Adpar.litt.t.ii. 1304-13, treats largely of this splendid edition, and of the books it contains (note: Besides the eleven books of Roman antiquities, it contains the first four chapters of “Ars rhetorica, de Genere dicendi Thukydides,” &c). “Typis vereregiis ac nitidissimis” says Fabricius.” (Dibdin). As often, the present copy of the “Roman Antiquities” is bound with Dionyssos’ rhetorical works “De compositione” etc., described as Schreiber as “Beautiful edition of Dionysius’ rhetorical works, which Robert printed, in “grecs du roi,” as a companion volume to the precious item (i.e. “Roman Antiquities”"" the two works are often found together. Provenance: Abraham du Prat (1616-1660) was a famous French physician and prominent member of l'Académie Montmor, a group of scholars who met in Paris to discuss scientific questions. He corresponded with Hobbes and translated Caspar Bartholin's ""Anatomicae institutiones"". Dibdin: I:507" Schreiber: 91a & 91b Renuard: 68:24 Adams D:626. Brunet II:726. ‎

‎Exposé des principes et vertus de l'eau d'une source découverte à Vaugirard, dans le jardin de M. Le Meunnié ‎

‎[Paris] Imprimerie de Valleyre l'aîné s.d. [1769] in-4 en feuilles, réparation à une pliure du dernier feuillet ‎

‎8 pp.Seulement deux exemplaires au CCF (BnF et BIUM). Très rare analyse chimique et pharmaceutique (Exposé des principes et vertus de l'eau d'une source découverte à Vaugirard dans le jardin de M. Le Meunnié), donnée par le grand chimiste et apothicaire Guillaume-François Rouelle (1703-1770), qui avait donné par ailleurs une analyse des l'eau minérale de Passy.Ici, on a affaire de surcroît à une pure supercherie commerciale, à la vie longue : le propriétaire d'un domaine sis sur l'actuelle rue Blomet (XVIe arrondissement), un certain Lemeunié, construisit en 1764 une fontaine et aménagea un accès descendant fait de trente-six marches, y ajoutant cette même année 1769 un jardin d'agrément de presque 4 000 m2, pour recevoir les clients. Un prospectus vantait en même temps les vertus l'eau qui en sortait. L'eau, parfaitement plate, n'avait rien de minéral et la supercherie fut dénoncée par la Faculté dans un premier rapport le 15 avril 1765. L'exploitant sut cependant trouver des appuis en Cour, si bien que deux pavillons furent ajoutés à un bâtiment principal et la bonne affaire fut même vendue par les héritiers au peintre Jean-François Lhuillier le 4 août 1781. Le propriétaire suivant, monsieur Chapot, éleva un bâtiment de trois étages et, à chaque coin du jardin, quatre pavillons de cure où, en 1842, l'eau était encore distribuée soit au verre, sur place, soit en bouteille, à emporter.Il ne semble pas que Rouelle se soit laissé circonvenir pour cette nouvelle analyse, et il conclut : "Il en résulte que cette source ne contient aucun esprit minéral, ni soufre, ni principe martial, & qu'elle est exactement dans le même état que l'eau de puits qui est au bout du jardin. D'après cet examen, nous soussignés, ne croyons pas que l'eau de cette source mérite le nom d'eau minérale" ‎