Christianity

First edition printed from the Vatican archives, one of 27 numbered copies on pure linen paper, deluxe copy.
Rare and fine copy.
Commentary by Raymond Ritter.

Recto-verso fragment of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of the ornaments is representative of the production of Rouen and Parisian workshops at the turn of the 16th century.

Two illuminated pages on a recto-verso leaf: border divided into bands and flowers decorated with floral motifs and leafy designs, gilt initials painted in alternating red and blue and rubrics.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social claim affirmed by the richness of the artists' work. A veritable small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the Office of the Dead at the moment of lauds. On the recto of the leaf: antiphon "A porta" followed by the canticle "Ego dixi in dimidio dierum meorum...". The office of the dead is a collection of prayers dedicated to the salvation of the souls of the deceased. More than commiseration, this devotion reflects the constant fear of medieval men for death.
Script called cursiva libraria on long lines. Witness to the formalization of cursive writing at the dawn of the French Renaissance, this script is emblematic of the production of French copyists for laypeople during the period.

Recto verso fragments of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This division into compartments of the ornaments is representative of the production of Rouen and Parisian workshops at the turn of the 16th century.

Two illuminated pages on a recto verso leaf: border divided into bands and fleur-de-lis decorated with floral motifs and scrollwork, gilt initials painted in alternating red and blue and rubrications.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social claim affirmed by the richness of the artists' work. A veritable small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the penitential psalms, the end of the fourth psalm "Miserere mei, Deus, secundum magnam misericordiam tuam..." and the beginning of the following one "Domine, exaudi orationem meam,et clamor...". This part of books of hours ordinarily serves to ask forgiveness for one's sins and to express repentance.
Writing called cursiva libraria on long lines. Witness to the formalization of cursive writing at the dawn of the French Renaissance, this script is emblematic of the production of French copyists for laypeople during the period.

Recto verso fragments of a manuscript Book of Hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of ornaments is representative of the production of Rouen and Parisian workshops at the turn of the 16th century.

Two illuminated pages on a recto verso leaf: the border is divided into bands decorated with floral motifs and leafy designs, gilt initials painted in alternating red and blue and rubriques.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of Hours were at the time jewels of piety, both an instrument of religious practice and a social claim affirmed by the richness of the artists' work. A veritable small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
Here we find a fragment of the Hours of the Virgin between the end of the office of none and the beginning of vespers. Despite the antiphon "Missus est", different from the classical usage of the Roman ritual, we find following it the usual psalm eight: "Dixit dominus...". This antiphon is found rather in the liturgy of the diocese of Die, but with the announcement of the rubric preceding vespers, we can suppose a minor Roman usage.
Writing called cursiva libraria on long lines. Witness to the formalization of cursive writing at the dawn of the French Renaissance, this writing is emblematic of the production of French copyists for laypeople during the period.

Recto verso fragments of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of ornaments is representative of the production of Rouen and Parisian workshops at the turn of the 16th century.

Two illuminated pages on a recto verso leaf: border divided into bands decorated with floral motifs and foliate scrolls, gilt initials painted in alternating red and blue and rubrics.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social statement affirmed by the richness of the artists' work. A veritable small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the hours of the Virgin between the end of the office of vespers and the beginning of compline. The succession of pieces at the end of vespers approaches the use of Die but the capitulum differs "Egredietur virga radice iesse et flos de radice eius ascendet", this could also be a minor Roman use as the rubric of the announcement of vespers announced it.
Writing called cursiva libraria in long lines. Witness to the formalization of cursive writing at the dawn of the French Renaissance, this writing is emblematic of the production of French copyists for laypeople during the period.

Recto verso fragments of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of ornaments is representative of the production from Rouen and Parisian workshops at the turn of the 16th century.

Two illuminated pages on a recto verso leaf: border divided into bands and lozenges decorated with floral motifs and leafy designs, gilt initials painted in alternating red and blue and rubrics.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social statement affirmed by the richness of the artists' work. A true small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the Office of the Dead at the moment of the first nocturn of matins. On the recto of the leaf: antiphon "Dirige me" followed by psalm five "Verba mea auribus percipe, Domine...". The office of the dead is a set of prayers dedicated to the salvation of the souls of the deceased. More than commiseration, this devotion reflects the constant fear of medieval men for death.
Script called cursiva libraria on long lines. Witness to the formalization of cursive script at the dawn of the French Renaissance, this script is emblematic of the production of French scribes for laypeople during the period.

Recto verso fragments of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of ornaments is representative of the production from Rouen and Parisian workshops at the turn of the 16th century.

Two illuminated pages on a recto verso leaf: border divided into bands and lozenges decorated with floral motifs, fruits and leafy designs, gilt initials painted in alternating red and blue, line fillers and rubrics.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social statement affirmed by the richness of the artists' work. A true small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the suffrages which contains four prayers to the Saints: to St. John the Baptist, St. John the Evangelist and two others "Pulchre salutationes ad xpm. videlicet in elevatione corporis ipsius" followed by "Alia salutatio. Salue sancta caro dei..."
Script called cursiva libraria on long lines. Witness to the formalization of cursive script at the dawn of the French Renaissance, this script is emblematic of the production of French scribes for laypeople during the period.

First edition, rare. This is the second book devoted by the author to this subject. Manuscript bibliographical note on the endpaper, in black ink, by F. Annibal Destouches, 1834.
Half glazed camel calf binding. Spine with false raised bands decorated with fleurons. Long-grain morocco boards with gilt roll border.
Contemporary full brown sheep binding, speckled. Decorated spine with raised bands. Gilt title. Small lack at head. Tailcap partly worn. Upper joint cracked at head and foot over 7 cm. Corners bumped.

First bilingual edition translated and annotated by Le Maistre de Sacy. Ruled copy. Text in double columns.

Contemporary full burgundy morocco binding. Jansenist spine with raised bands. Roll tooling on edges and board-edges. All edges gilt. Trace of dampstain in lower margin of first leaves fading away, reappearing on some leaves in the middle and at the end.
Before appearing in its entirety in 1696 under the secular title Bible de Port-Royal, Pierre Thomas du Fossé gathered the various manuscripts left by Le Maistre de Sacy at his death in 1684 and published them punctually. He continued the unfinished work and published separately first the translations of the Vulgate by Le Maistre de Sacy. Each chapter is followed by its explanation and commentary. Before this considerable work by the writers of Port-Royal, never had the Bible been so accessible to a wide public; this work which was inaugurated by the translation of the New Testament as early as 1666 by Antoine Arnaud and Le Maistre de Sacy.

Second Elzevir edition of Milton's first text, which was originally published in 1651 in Amsterdam. First edition of Milton's Second and Third Defences.
Full polished tobacco calf bindings, ca. 1820. Spines with raised bands, decorated with four floral tools, fillets and rolls. Chocolate morocco title and volume labels. Cold-stamped border on the boards with small corner fleurons. Inner roll-tooled border. All edges gilt. A handsome copy.


NB: This volume is available at the bookshop on request within 48 hours.

First edition.

Contemporary full speckled brown sheep binding. Decorated spine with raised bands. Brown sheep title label. Headcap torn away. Loss to upper joint at head. Upper joint split at tail with loss. Library label at head. Corners very much bumped.