‎Pierre-Gauthiez‎
‎Florence‎

‎Histoire de Florence. Traduction nouvelle. 2 vols.‎

‎Amsterdam, Henri Desbordes, 1694. 8vo. Uniformly bound in two contemporary full calf bindings with five raised bands and richly gilt spines. Edges of boards gilt. Small paper label pasted on to upper compartment of spines. A very nice set. (34), 588 pp. 624 pp.‎

‎A fine late 17th century-edition of Machiavelli's Florentine Histories" his famous account of the political events and power struggles in Florence during the Renaissance. Essentially being a panegyric to the house of Medici, Machiavelli's work offers valuable insights into the rise and fall of political factions, the challenges faced by republican governments, and the dynamics of power in a city-state. Although often overshadowed by his more famous 'The Prince', the present work is important in understanding Machiavelli's broader political philosophy and is an indispensable document in understanding renaissance politics in general. The Histories constitute an essential work for understanding the political development of the late Machiavelli, and is “also an important item in modern historiography because for the first time the issue of conflict, and more precisely of urban conflict, finds itself at the heart of historical narrative (…).Infact, the Histories constitute the first attempt in modern historiography to analyze the totality of individual and collective agents and factors that allow a community to sustain itself or to founder. This analytical quality was certainly at the basis of the interest in the work outside Florence and the fact of its being translated. As Yves de Brinon explains in dedicating his ‘Histoire Florentine [the present work] to Cathrine de Medici, the case of Florence is a model for the dangers that threaten the integrity of every state and the Kingdom of France in Particular.” (Landi, A re-reading of Machiavelli). Machiavelli visited France, representing the Republic of Florence, where he - and later his writings - exercised great influence. The Huguenot, Innocent Gentillet, whose work commonly referred to as 'Discourse against Machiavelli' or 'Anti Machiavel', accused Machiavelli of being an atheist and accused politicians of his time by saying that his works were the ""Koran of the courtiers"", that ""he is of no reputation in the court of France which hath not Machiavel's writings at the fingers ends"" (Birely, The Counter Reformation, 1990). “Although Machiavelli became the embodiment of a real ""devil theory of history,"" there was nothing supernatural or even suspicious about his journey across the Alps. As the French translator remarked to his customers in 1544, ""This Florentine merchant has voluntarily left his own country to be received into yours.... Do not be so ungracious as to refuse him citizenship. From all appearances he was welcomed with open arms, or at least open minds. Within a few years, one of his admirers declared that he was a prophet honored more in France than in his own country."" (Kelley, Murd'rous Machiavel in France: A Post Mortem). Following the crisis of 1513, which involved arrests for conspiracy and torture, Machiavelli's relationship with the Medici family gradually improved. Despite the dedication of his book ""Il Principe"" to Lorenzo II de' Medici having little effect, Machiavelli found favor with a faction in Florence that was not opposed to him and was granted an appointment. In a letter Machiavelli expressed his dissatisfaction with his idle state and offered his valuable political experience to the new ruler. To further solidify his position, Machiavelli, adopting a somewhat courtier-like attitude, arranged for the staging of his play ""Mandragola"" at the wedding of Lorenzino de' Medici in 1518. In 1520, he received an invitation to Lucca for a semi-private mission, indicating that his ostracism was coming to an end. Later that year, Giulio Cardinal de Medici commissioned him to write a history of Florence. Although this was not exactly the role he desired, Machiavelli accepted it as the only way to regain the favor of the Medicis. The purpose of the work, although unofficial, was to restore the city's official historical standing. The salary for this appointment was not substantial, starting at 57 florins per year and later increased to 100. In May 1526, Machiavelli formally presented the finished work to Giulio de' Medici, who had become Pope Clement VII. The Pope appreciated the work and rewarded Machiavelli, though only moderately, and sought his support in creating a national army based on his theoretical work ""The Art of War,"" in preparation for the War of the League of Cognac. However, Machiavelli's hopes were shattered following the Sack of Rome in 1527 and the fall of the Medici government in Florence. Soon after, Machiavelli passed away. ‎

‎Histoire florentine de Nicolas Machiavel citoien et Secretaire de Florence. Nouvellement traduicte d'Italien en Francois, Par le Seigneur de Brinon Gentil-homme ordinaire de la chambre du Roy. - [FIRST FRENCH TRANSLATION OF MACHIAVELLI'S 'FLORENTINE HISTORIES']‎

‎Paris, Guillaume de la Noue, 1577. 8vo. In recent full limp vellum with yapp edges. Woodcut printer's device on title, woodcut headpieces and initials. Small closed tear to upper inner margin of title-page. First 33 ff. with small worm tract in inner margin, with minor loss of text. Light dampstaining to first and last leaves. A good copy. (36), 294, (6) pp. ‎

‎The exceedingly rare first French, and presumably very first overall, translation, of Machiavelli's Florentine Histories" his famous account of the political events and power struggles in Florence during the Renaissance. Essentially being a panegyric to the house of Medici, Machiavelli's work offers valuable insights into the rise and fall of political factions, the challenges faced by republican governments, and the dynamics of power in a city-state. Although often overshadowed by his more famous 'The Prince', the present work is important in understanding Machiavelli's broader political philosophy and is an indispensable document in understanding renaissance politics in general. The Histories constitute an essential work for understanding the political development of the late Machiavelli, and is “also an important item in modern historiography because for the first time the issue of conflict, and more precisely of urban conflict, finds itself at the heart of historical narrative (…).Infact, the Histories constitute the first attempt in modern historiography to analyze the totality of individual and collective agents and factors that allow a community to sustain itself or to founder. This analytical quality was certainly at the basis of the interest in the work outside Florence and the fact of its being translated. As Yves de Brinon explains in dedicating his ‘Histoire Florentine [the present work] to Cathrine de Medici, the case of Florence is a model for the dangers that threaten the integrity of every state and the Kingdom of France in Particular.” (Landi, A re-reading of Machiavelli). Machiavelli visited France, representing the Republic of Florence, where he - and later his writings - exercised great influence. The Huguenot, Innocent Gentillet, whose work commonly referred to as 'Discourse against Machiavelli' or 'Anti Machiavel', accused Machiavelli of being an atheist and accused politicians of his time by saying that his works were the ""Koran of the courtiers"", that ""he is of no reputation in the court of France which hath not Machiavel's writings at the fingers ends"" (Birely, The Counter Reformation, 1990). “Although Machiavelli became the embodiment of a real ""devil theory of history,"" there was nothing supernatural or even suspicious about his journey across the Alps. As the French translator remarked to his customers in 1544, ""This Florentine merchant has voluntarily left his own country to be received into yours.... Do not be so ungracious as to refuse him citizenship. From all appearances he was welcomed with open arms, or at least open minds. Within a few years, one of his admirers declared that he was a prophet honored more in France than in his own country."" (Kelley, Murd'rous Machiavel in France: A Post Mortem). Following the crisis of 1513, which involved arrests for conspiracy and torture, Machiavelli's relationship with the Medici family gradually improved. Despite the dedication of his book ""Il Principe"" to Lorenzo II de' Medici having little effect, Machiavelli found favor with a faction in Florence that was not opposed to him and was granted an appointment. In a letter Machiavelli expressed his dissatisfaction with his idle state and offered his valuable political experience to the new ruler. To further solidify his position, Machiavelli, adopting a somewhat courtier-like attitude, arranged for the staging of his play ""Mandragola"" at the wedding of Lorenzino de' Medici in 1518. In 1520, he received an invitation to Lucca for a semi-private mission, indicating that his ostracism was coming to an end. Later that year, Giulio Cardinal de Medici commissioned him to write a history of Florence. Although this was not exactly the role he desired, Machiavelli accepted it as the only way to regain the favor of the Medicis. The purpose of the work, although unofficial, was to restore the city's official historical standing. The salary for this appointment was not substantial, starting at 57 florins per year and later increased to 100. In May 1526, Machiavelli formally presented the finished work to Giulio de' Medici, who had become Pope Clement VII. The Pope appreciated the work and rewarded Machiavelli, though only moderately, and sought his support in creating a national army based on his theoretical work ""The Art of War,"" in preparation for the War of the League of Cognac. However, Machiavelli's hopes were shattered following the Sack of Rome in 1527 and the fall of the Medici government in Florence. Soon after, Machiavelli passed away. This exceedingly scarce first French edition was issued with two variant title-pages, the present referred to as variant-b. (see Gerber, Niccolo Machiavelli). Bibliopgraphia Machiavelliana, p. 60, no. 160. Gerber, dritter teil, p. 37, D-b. Brunet 1279.‎

‎Courteline - Les pensées recueillies par DUPIN, Florence et HAYMANN, Emmanuel. Collection les pensées. Paris. Le cherche Midi éditeur. 1989.‎

‎1 volume in-8° broché, couverture illustrée, 191 p. - Très bel état. ‎

‎Florence and the Idea of Jerusalem‎

‎, Brepols, 2024 Hardback, 338 pages, Size:216 x 280 mm, Illustrations:30 b/w, 107 col., 1 tables b/w., Language: English. ISBN 9782503597867.‎

‎Summary From the time of Dante through the 17th century and beyond, Florence had a special relationship with the Biblical Jerusalem?with the idea, that is, of a city chosen by God to be a sign of human peace. This collection of essays traces the development of this 'Idea of Jerusalem' from the Divine Comedy and medieval Holy Land pilgrimages through the 1439 Council of Florence, Savonarola's end of the 15th-century preaching, and the astonishing project of Grand Duke Ferdinand I to transfer the Holy Sepulcher from Jerusalem to Florence. The volume also recalls the city's 19th- and 20th-century Jerusalem image. TABLE OF CONTENTS Timothy Verdon, Foreword Timothy Verdon, Introduction: Earthly City and 'Coelestis urbs'. Florence and the Idea of Jerusalem PART I: Biblical, historical, and cultural Background Timothy Verdon, Jerusalem in the Bible: Theology, Poetry, Identity Andrew Frisardi, Dante and Jerusalem Franco Cardini, Three 'Synoptic Journeys' to Jerusalem, 1384-1385 Shulamit Furstenberg-Levi, Solomon's Temple in the Writings of Jewish Humanists in the Renaissance Alexei Lidov, The Florentine Hierotopy of the Holy Land: Lo Scoppio del Carro and Re-Enactments of the Jerusalem Miracle of the Paschal Fire Gerhard Wolf, Jerusalem(s) in Florence: A Walk PART II: The 'Jerusalem moment' of the Florence Council Davide Baldi, Florence as New Jerusalem in the Documents of the Council (1439-1442) Marcello Garzaniti, The Council and the City of Florence as Seen by Russians in the 15th and 16th Centuries Alessandro Diana, Florence Between Athens and Jerusalem: Myth, Image, Reality Luca Calzetta, ?That Most Holy Although Unmovable Relic?: Ferdinando I and the Holy Sepulcher PART III: The Arts Ben Quash, ?In England's green and pleasant land?, The New Jerusalem in London Annette Hoffman, Wood, Water and Earth. The Legend of the Holy Cross in Santa Croce in Florence Lorenzo Gnocchi, Man in Heaven and the Heavenly Jerusalem on Earth: The St. John the Evangelist Sacristy in the Church of San Lorenzo in Florence Diane Apostolos Cappadona, ??The smell of her consecrate lily?: The Madonna and Child as Conduit between the Earthly City and the Heavenly City in Florentine Medieval and Renaissance Art Maria Lidova, The Mosaic Icon of Maria Orans in San Marco and Byzantine Imagery in Florence Stefano Garzonio, The Image of Florence in Russian Poetry. From the Beautiful to the Sacred PART IV: Monastic Roots Martin Shannon CJ, The New Jerusalem as Compelling Vision: Monasticism and the Liturgy of Hope Giulio Conticelli, Florence and Jerusalem. Giorgio La Pira: A 20th-Century Witness for the Third Millennium Bernardo Francesco Maria Gianni OSB, The 'Vocation and Mystery' of Florence. A Prophetic Look at the New Jerusalem from San Miniato al Monte PART V: The Exhibition Timothy Verdon, The Exhibition New Jerusalem: A Contemporary Sacred Art Exhibition by Filippo Rossi and Susan Kanaga List of Abbreviations Author and Contributor Biographies Image Credits‎

‎Voyage d’étude à Florence, Pise, Sienne et la Toscane, automne 1969. 25 Planches gravées par les élèves de l’école d’Art de La-Chaux-de-Fonds.‎

‎ La-Chaux-de-Fonds, Ecole d’Art 1969, 260x270mm, 25 planches gravées en feuilles avec chemise toile rempliée rigide. Sous emboitage en toile de l’éditeur. Toutes les planches sont numérotées n.° 10 / 40. Planche 1: Florence 1 gravure par C. Rosselet. - Planche 2: Florence 3 gravures par F. Rebetez, J. C. Froideveaux et R. Desvoigues. - Planche 3: Florence 2 gravures par R. Lauper et P. A. Quilleret. - Planche 4: Florence 3 gravures par R. Rebetez et J. C. Froideveaux. Planche 5: Florence 2 gravures par E. Villemin et C. Rosselet. Planche 6: Florence 1 gravure par M. Bourrut. Planche 7: Florence 1 gravure par C. Neury. Planche 8: Florence 1 gravure par M. Bourrut. Planche 9: Florence 1 gravure par C. Neury. Planche 10: Florence 1 gravure par J. F. Douzé. Planche 11: Florence 1 gravure par C. Neury. Planche 12: Florence 1 gravure par F. Laurent. Planche 13: Florence 1 gravure par C. Rosselet. Planche 14: Sienne 2 gravures par F. Zurbuchen et M. Huber. Planche 15: Sienne 1 gravure par R. Desvoigues. Planche 16: Sienne 2 gravures par C. Resselet et P. Dubied. Planche 17: San Giuviniano Sienne 2 gravures par R. Rebetez et R. Desvoigues. Planche 18: Sienne 1 gravure par C. Rosselet. Planche 19: San Guivaniano 1 gravure par R. Desvoigues. Planche 20: San Guivaniano 2 gravures par P. A. Quilleret et F. Leuba. Planche 21: San Guivaniano 1 gravure par P. Dubied. Planche 22: San Giuvaniano 1 gravure par J. F. Douzé. Planche 23: Pise 1 gravure par R. Desvoigues. Planche 24: Pise 1 gravure par R. Desvoigues. Planche 25: Pise 1 gravure par J. C. Froidevaux. Exemplaire à l'état de neuf.‎

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