{"title":"Emblem Books","description":"\u003cp\u003eBooks with symbolic images and text to convey moral, allegorical, or philosophical meanings.\u003c\/p\u003e","products":[{"product_id":"de-bourgogne-antoine","title":"DE BOURGOGNE, Antoine","description":"\u003cp\u003eAn emblem book with a uncommon didactic twist: the typical pairing of each image with an instructive motto has been split in two, one describing the scene untruthfully ('vanitas'), the other its reality ('veritas'). For instance, surrounding an image of a printing house (p. 10) it is said that Verborum copia and Nihil copia, sed usus: although there is an abundance of words and writing, abundance means nothing without use. In fifty chapters, the book provides a dual commentary over subjects as diverse as memory, marriage, political power, fame, and eating habits. As de Bourgogne argues in the preface, the exercise proves that poor judgement sometimes allows vain conclusions to be drawn from truth. The work is critical of its own tradition, since other books of emblems encourage forming many different possible interpretations of word and image, both religious and profane. De Bourgogne's recognizes both tendencies in the genre, and his commentary reveals to readers not only which he takes to be true, but instructs them how to arrive at truthfulness for themselves. The volume is a fresh and innovative continuation of his earlier emblem book, Linguae vitia et remedia (1631) which focuses on remedies for the abuse of language through insults, lies, blasphemies, and calumnies. It was popular into the 18th century, reaching several other editions and translation into Dutch and German. \u003cbr\u003e\n Little is known about Antoine de Bourgogne (1594 - 1657), Canon and Archdeacon of Bruges, although in one of the five laudatory poems at the beginning of the Mundi Lapis, he is connected by his friend the poet Olivarius Vredius, with the ancient House of Burgundy, through his namesake Anthony, bastard of Burgundy to Anthony's father Philip the Good (1396 - 1467), and finally Philip's father John the Fearless (1371 - 1419).\u003c\/p\u003e","brand":"DE BOURGOGNE, Antoine","offers":[{"title":"Default Title","offer_id":57816068489551,"sku":"L1227","price":2250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1016\/2425\/0703\/files\/De-Bourgogne-L1227-1.jpg?v=1781795325"},{"product_id":"epiphanius-of-constantia-saint","title":"EPIPHANIUS of Constantia, SAINT","description":"\u003cp\u003eSecond edition, edited by Consalus Ponce de Leon (following the Rome edition of the year before), an attractive and popular emblem book from the Plantin press. Mainly consisting of 25 chapters of the 'Physiologus', a study on animals and their behaviour, each chapter with an illustration, the work was tremendously popular in the Middle Ages, and was translated from Greek into Latin and many vernacular languages. \"With the Physiologus starts the series of medieval bestiaries\" (Voet). The Physiologus was not, however, a work of Natural History. Rather, it was a deeply moralising work, aiming to present Christian doctrine in its allegorical moral tales of animals. \"Physiologus was never intended to be a treatise on natural history. ... Nor did the word ... ever mean simply \"the naturalist\" as we understand the term, ... but one who interpreted metaphysically, morally, and, finally, mystically the transcendent significance of the natural world.\" (Curley, Physiologus, 1979, p. xv). This made the Physiologus an ideal text for emblem books, which were very popular in the 16th and 17th-centuries (first appearing in the 1530s), especially in the Low Countries, combining as they did an apparently mysterious image with an aphorism and a section of explanatory text (usually in rhyme), which carried a moralistic message and were all three unintelligible without looking at the other two. \u003cbr\u003e\n  \u003cbr\u003e\n The text is most likely to have been composed in the second century and later falsely attributed to Epiphanius. It is followed by an eleven page Homily on the feast of Palm Sunday in parallel Greek and Latin. Epiphanus was born c. 315 in Judea and was Archbishop of Constantia (Cyprus) from 367 until his death at sea in 403. Ponce de Leon was a Spanish theologian living in Rome, whose careful editing of the text saw him consult three manuscripts to ensure textual accuracy. The attractive and interesting half-page illustrations were based on the woodcuts used for the Rome edition and are attributed to Borcht on the basis of style. They are here in very fine, clear, impression.\u003c\/p\u003e","brand":"EPIPHANIUS of Constantia, SAINT","offers":[{"title":"Default Title","offer_id":57816120688975,"sku":"L565","price":3950.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1016\/2425\/0703\/files\/DSC_0126.jpg?v=1781795294"},{"product_id":"gailkircher-wilhelm","title":"GAILKIRCHER, Wilhelm","description":"\u003cp\u003eFirst and only edition of a rare moral and devotional book of emblems. Very little is known about the author. Gailkircher was born in Munich and later became canon of S. Maurice in Augsburg and a respected Catholic Neo-Latin poet. This is his only published work, in which Gailkircher mixed the wisdom of the ancient philosophers and writers   Plato and his followers in particular   with Christian precepts, so as to devise a guide for heaven ( Charriot of Aeternitas ). Virtuous examples and mottos are provided along with some remarkable engraved illustrations by Sadeler, including the Last Rites, Last Judgment, Hell, Christ as Salvator Mundi, Virgin and Child, the navicula Petri and an allegorical depiction of Vices. The Quadriga is dedicated to the secretary of the archbishop of Cologne. \u003cbr\u003e\n  \u003cbr\u003e\n This copy was bound for the well-known English collector, George Spencer-Churchill, 5th Duke of Marlborough (1766-1840), Fellow of the Society of Antiquaries. His crest, a griffin s head between two wings expanded out of a ducal coronet, appears on the covers surmounted by two crowns, one for the dukedom, the other for the Spencer barony. Most of his family fortune was spent on books and antiquities, which he amassed on his estate at Whiteknights Park at Earley, near Reading.\u003c\/p\u003e","brand":"GAILKIRCHER, Wilhelm","offers":[{"title":"Default Title","offer_id":57816132026703,"sku":"L1884","price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1016\/2425\/0703\/files\/L1884-Gailkircher-1-e1449158779421.jpg?v=1781795258"},{"product_id":"flittner-johann","title":"FLITTNER, Johann","description":"\u003cp\u003eFirst edition of the Latin versification of Thomas Murner's ruthless satire Der Schelmen Zunft ( The League of Rogues ), published in 1512. Not to be confused with the contemporary Evangelic pastor and prominent hymn-writer, Johann Flittner was born in Schleusingen, became  Gerichts-Procurator  in Frankfurt, and was appointed poet laureate of the Holy Roman Empire around 1620. This Latin translation after Murner   the early sixteenth-century master of satiric pamphlets who penned, i.a., a harsh parody of Luther   was Flittner s most relevant and successful achievement.   It consists of a series of 33 erudite jokes in the form of illustrated verses against personal vice. Everything is taken and represented in its literal meaning, creating some funny emblems like the one depicting strict censors as people who  go around sifting excrement.  Very fittingly, the work opens with a dedicatory epigram to Momus, the Greek god of mockery, which illustrates the meaning of the title ( Rascal of Rascals: A Teasing Reproach of Contemporary Idleness ).\u003c\/p\u003e","brand":"FLITTNER, Johann","offers":[{"title":"Default Title","offer_id":57816132419919,"sku":"L2143","price":3250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1016\/2425\/0703\/files\/L2143-Flittner-1.jpg?v=1781795256"},{"product_id":"sucquet-antoine","title":"SUCQUET, Antoine","description":"\u003cp\u003eBeckford s copy of the first edition of 'an immensely popular book' (Praz) of Catholic devotion. Antoine Sucquet (1574 - 1627) was a Belgian scholar and leading member of the Jesuits in the Low Countries. Together with his Testamentum Christiani hominis, this is his only published work, providing complex visions of Heaven and Hell through a strong combination of text and images. Each emblem is beautifully illustrated with a high-quality plate by a pupil of Rubens, the Flemish artist Bo√´ce van Bolswer (1580 - 1633), and is accompanied by biblical quotations and in-depth explanations in prose referring to the figures depicted. The book found immediate success, with frequent reprints and translation into the main European vernacular languages, even if no later edition was able to retain the remarkable style of the engravings illustrating this editio princeps. \u003cbr\u003e\n  \u003cbr\u003e\n As pointed out in the modern pencil annotations on the front pastedown and the following cut-out from an early twentieth-century sale catalogue, this copy comes from the library of two eminent British collectors, William Beckford (1760 - 1844), and the 10th Duke of Hamilton (1767 - 1852). It was sold as lot 2302 during the eleven day-sale of the third portion of his renowned collection, in July 1883. In light of Beckford s interest in Catholic culture, it is not surprising to find marks of his illustrious ownership on Jesuit books.\u003c\/p\u003e","brand":"SUCQUET, Antoine","offers":[{"title":"Default Title","offer_id":57816132550991,"sku":"L1888","price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1016\/2425\/0703\/files\/L1888-Sucquet-1.jpg?v=1781795255"},{"product_id":"liceti-fortunio","title":"LICETI, Fortunio","description":"\u003cp\u003eVery good copy of the FIRST and ONLY EDITION of this handsomely illustrated work on the emblematics of ancient gemstone signets. Born and raised in Rapallo, Fortunio Liceto (1577-1657) was a philosopher, physician and natural scientist who taught at Bologna, Pisa and Padua. His wide-ranging writings influenced by Aristotelianism include works on the movement of comets, teratology and the soul of animals.  Hieroglyphica  was an excursion into the world of antiquarianism a study of the iconography of ancient sculpted  gemmae anulariae  (gemstones on signet rings). Traced back to the Egyptians, such gemstone emblems e.g., three Cupids, a girl kidnapped by a Triton, a crow, Roman quadrigae, a skull with a moth were popular in classical antiquity; moral and philosophical messages were communicated through their iconography, beautifully portrayed and learnedly explained by Licetus with the help of classical sources, the humanist methodology of numismatics, and the assistance of fellow scholars. For instance, the  Smithia gemma , which represents a cross on a hill flanked by two fish, came from the collection of the famous Dutch antiquarian Johannes Smetius. The scholar Nicolaus Heynsius, who sent it to Liceti from Leiden in 1651, confirmed it to be a very precious relic of early Christianity, which Liceti read as a mystical representation of the apostles as  fishers of men  who preached about the crucified Christ. An incredibly erudite and handsomely produced work of antiquarian scholarship.\u003c\/p\u003e","brand":"LICETI, Fortunio","offers":[{"title":"Default Title","offer_id":57816155717967,"sku":"L2889","price":2450.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1016\/2425\/0703\/files\/IMG_5306.jpg?v=1781794912"},{"product_id":"cats-jacob","title":"CATS, Jacob","description":"\u003cp\u003eFirst collected edition of these beautifully illustrated emblem books by Jacob Cats, one of the most important author s of emblem books  whose volumes still form one of the adornments of Dutch houses. Cats took inspiration from proverbs and everyday life, his realistic emblems form a counterpart to genre painting and supply interesting evidence for the history of costume  (Praz p. 86). The work contains, each with separate pagination: Sinne ende Minnebeelden, (an expanded version of  Silenus Alcibiadis ); Emblemata Di Iacobi Catsii, in linguam Anglicam transfusa, (an English verse translation of the foregoing sometimes attributed to Josuah Sylvester); Emblemata moralia et aeconomica, (with illustrations copied from Maechden plicht); the Latin text, with French translation, of the dialogue between Anna and Phyllis from Maechden plicht; Galathee ofte Harder Minne-klachte. Laudatory poems by D. Heinsius, A. Hofferus, J. Arcerius, I. Lyraeus, A. Roemers, I. Luyt, S. de Swaef, L. Peutemans, I. Hobius.  \u003cbr\u003e\n Jacob Cats (1577-1660), seventeenth-century poet, moralist, and statesman, was one of the leading poets in the golden age of Dutch literature. His emblem books, which reflected a stolid Calvinist philosophy, exhorted readers to virtuous and industrial lives. Enormously popular, the books became the source of many well-known maxims and proverbs, giving him the title of  Father Cats,  a fond soubriquet still used by modern Dutch to describe him. He is best known as a poet and author of emblem books illustrated collections of didactic and moralistic (although clever and often humorous) poetry. They are valued as treasure troves of sociological and historical detail, illustrating not only many facets of daily life in the seventeenth century, but the moral and philosophical ideals of the era as well. Cats s first book Sinne-en minnebeelden (Portraits of morality and love) was published in 1618, when he was forty years old. The book, divided into three sections, contains prose, poetry, Bible verses, quotations from the classics, and common proverbs in Dutch, French, and Latin. Each illustration was accompanied by three different texts, each of which was designed to give three different but always instructive interpretations: the first romantic, the second social, and last religious. This combination of texts, styles, and languages in various degrees of complexity made the book accessible to a broad public. The images for many of Cats s books were supplied by Adriaan van de Venne. He drew literally hundreds of illustrations for the books, and they were, in turn, reproduced by master engravers.  \u003cbr\u003e\n  Cats is one of the major fingers in emblem literature, exerting a wide influence on later exponents of the genre. He is responsible for two regular emblem books, whose bibliography is complicated for a number of reasons. Firstly they appear under various different names: his first emblem book, Silenus Alcibiadis is also known in Latin as Proteus and in Dutch as Minnelikje, zedelijke en stichtelijke sinne-beelden en gedichten, or sinne- en minne bilden. Often associated with Silenus Alcibiadis is another work which is broadly emblematic, although the text is in dialogue form, Maschden-plicht or Monita amoris virginei. In 1627, the engraving designs for this work were reused in a new emblem book, Emblemata moralia et oeconomica. For all three works, Adriaen van de Venne supplied the designs for the engravings, which were executed by different engravers for different printers, according to the required size and shape, sometimes in mirror image  Alison Adams, Stephen Rawles.  A Bibliography of French Emblem Books.\u003c\/p\u003e","brand":"CATS, Jacob","offers":[{"title":"Default Title","offer_id":57820295332175,"sku":"L2014a","price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1016\/2425\/0703\/files\/Screenshot-2024-08-05-at-16.27.02.png?v=1781794851"},{"product_id":"cats-jacob-1","title":"CATS, Jacob","description":" The English translation of Cats s first book Sinne-en minnebeelden (Portraits of morality and love) published in 1618, extracted from the collected edition of his emblematic work published in 1627. Jacob Cats (1577-1660), seventeenth-century poet, moralist, and statesman, was one of the leading poets in the golden age of Dutch literature. His emblem books, which reflected a stolid Calvinist philosophy, exhorted readers to virtuous and industrial lives. Enormously popular, the books became the source of many well-known maxims and proverbs, giving him the title of  Father Cats,  a fond soubriquet still used by modern Dutch to describe him. He is best known as a poet and author of emblem books illustrated collections of didactic and moralistic (although clever and often humorous) poetry. They are valued as treasure troves of sociological and historical detail, illustrating not only many facets of daily life in the seventeenth century, but the moral and philosophical ideals of the era as well.  \n  Some time ago a study appeared of Cat s indebtedness to certain English social traditions. His indebtedness was by no means left unrepaid; Cats did not borrow from English literature without some return from his own store. In her valuable  English Emblem Books , Miss Rosemary Freeman remarked that Cat s work was  translated into English  by Thomas Heywood, among others. .. So far as I can discover, his emblems do not appear translated in the works of English emblematists. Such English translations as were made of his individual emblems are to be found in so obvious a place that they have apparently escaped notice; the 1618 edition of Cat s Sinne-enMinne Beelden. The emblems appear in the body of the text in three languages, Cats  native Dutch, French, and Latin. A commendatory sonnet addressed  Au tres-digne d Honeurs \u0026amp;amp; Bon-heurs, le Tres-docte Signeur Iaques Cats,  by Joshuah Sylvester, famous in English literature for his translations of Du Bartas, praised Cats   Tri-lingue Stile  which leads to the conclusion that the author himself was responsible for the French and Latin version of his emblems. At the back of this edition are included English translations of fifty-one emblems,  Emblemata D. Iacobi Catsii; In Linguam Anglicam transfusa. ; there is no indication of any translator. It may have been Cat s himself, with or without the assistance of his pietist friend, William Teellinck, who translated the emblems into English; it might conceivably have been Sylvester, who was for some time a factor in Middelburg and must have known some Dutch at least and who certainly knew French and Latin well. In any case, whoever Englished the emblems did so almost as soon as the Dutch originals appeared in print, a fact which suggestsCats himself or someone in Middelburg very close to him.  Rosalie L. Colie.  A note on the English translations from Jacob Cats . ","brand":"CATS, Jacob","offers":[{"title":"Default Title","offer_id":57820297396559,"sku":"L2014b","price":750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1016\/2425\/0703\/files\/L2014b.jpg?v=1781794849"},{"product_id":"paradin-claude","title":"PARADIN, Claude","description":"\u003cp\u003eFirst edition of Claude Paradin s influential book of emblems augmented by a commentary by Francois D Amboise, beautifully illustrated with 174 emblematic engravings. Paradin first published his  Devises hero‚àö√òqves  in 1551; publication was taken over by Christophe Plantin in Antwerp from 1561, with the addition of 37  devises  and the inclusion of a Latin translation of the combined text order to provide for a wider reading public. It was later published in a Dutch translation in Antwerp in 1563 and in an English translation in London in 1591 and then in this revision in Paris with a commentary by Adrien d Amboise. Paradin s work was influential in England: Mary Queen of Scots, held at Tutbury Castle, and Bess of Hardwick knew and used Paradin s emblems in the design of embroidered hangings.  Interest in Emblems and interest in devices had from the earliest days of the genre run hand in hand, and this pattern also continues in the seventeenth century. The pioneering collections of devices compiled by Simeoni, Giovio and Paradin were all extremely popular in France in the first half of the the sixteenth century, but somewhat surprisingly no French versions of Giovio were published after the 1560 s although interest in the work of the native French Paradin was more enduring, with editions of his devices continuing to be published in France into the first two decades of the seventeenth century. ..An expanded French edition of the work of Paradin .. was published in 1614. .. This lasting popularity was not reserved just to France. As well as these seventeenth-century editions of Paradin in French published in Paris.. the popularity of the work extended to England also, where an English version was published in London in 1591.  Alison Saunders.  The Seventeenth-century French Emblem: A Study in Diversity.  \u003cbr\u003e\n  \u003cbr\u003e\n Paradin was innovative in the introduction and explanation of his emblems, introduced in his second edition.  This second edition of 1557 offers a version of the text which is markedly different from that of the original edition published by De Tournes in 1551. There the work was much smaller, containing only 118 devices, whereas the 1557 edition contains 182. But more significantly the nature of the work is changed: the original version giving a set of basic devices comprising woodcut figure plus motto, is transformed in 1557 by the addition at the end of each device of a French commentary explaining its significance, and identifying the person who used it, or   in the case of the unattributed devices   the universally applicable lesson which could be derived from them. In this new form   which became the norm for subsequent editions   Paradin s work is thus far more informative and overtly moralistic than in its original text-free form. Its increased  educational  dimension is reflected also in the marginal notes accompanying the prose commentaries, identifying sources.  French Emblems at Glasgow. \u003cbr\u003e\n  \u003cbr\u003e\n The dispersal of the library amassed by George Spencer-Churchill (1766-1840), Marquess of Blandford and later fifth Duke of Marlborough, at Whiteknights is most commonly cited today as a preservative against folly. The collection contained some of the most sought-after incunabula of a period defined by the high prices paid for early printed books. It included a fine selection of Caxtons, spectacular botanical and emblem books, and the iconic Valdarfer Boccaccio   the first edition of the Decameron, purchased by Blandford in 1812 for the unprecedented sum of GBP2,260. The Boccaccio was symptomatic of the profligate expenditure of its buyer. By 1819 his spendthrift ways had ruined him, leading to the sale of his opulent estate at Whiteknights, near Reading, and the dispersal of one of the key libraries in the era of bibliomania.\u003c\/p\u003e","brand":"PARADIN, Claude","offers":[{"title":"Default Title","offer_id":57820338946383,"sku":"L3228","price":2250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1016\/2425\/0703\/files\/L3228.jpg?v=1781794848"},{"product_id":"alciato-andrea-trans-marquale-giovanni","title":"ALCIATO, Andrea, trans. MARQUALE, Giovanni.","description":"\u003cp\u003eA rare and lovely copy of the first Italian translation of Andrea Alciato’s (1492-1550) Emblemata, in an attractive binding preserving the panels of a contemporary French, probably Lyonnaise gold-tooled binding with painted coloured interlaces. There are 136 emblems, including the 11 ‘arbori’ or trees at the end, all set within an incredibly diverse and beautiful collection of woodcut borders. Alciato’s Emblemata, first published Augsburg 1531, is one of the most famous books of the Renaissance and the originator of the Emblems genre, which combined epigraphs and verses with enigmatic symbols and images to convey a moral message illustrative of virtues or vices.\u003c\/p\u003e  \n\n\u003cp\u003e‘For a very long period of time this was the only utterance in Italian of Alciati’ (Sears). Giovanni Marquale was mostly likely a publisher working in Venice. He did not simply reproduce Alciato’s texts but provided ‘an autonomous text which has strengths of its own … Marquale clearly aims at stylistic elaboration and enrichment, including the use of rhyme [and several metres] … He has a systematic tendency to reduce and simplify the moralising content: for Marquale, one moral message per emblem seems to suffice’ (Richard Greenwood, ‘Marquale’s Italian Version’ in Emblems in Glasgow (Glasgow: 1992), p. 58). The emblems are grouped according to their moral messages, as follows: divinity and religion, faith, prudence, strength, concord, hope, faithlessness, insanity, luxury, sloth, gluttony, astrology, love, fortune, princes, death, friendship, vengeance, peace, science, ignorance and marriage.\u003c\/p\u003e\n\n\u003cp\u003e‘The editions of Alciati’s Emblems, issued by Rouille and Macé or Mathias Bonhomme, at Lyons, from the year 1548 up to 1516, are by far the longest and most important series ever printed, both as regards the designs and engravings of the wood-cuts, with very elaborate borders on every page, as well as the variety of the translations, and the completeness and fulness of the Emblems’ (Sears, p. 14). The engravings are by Pierre Eskrich, a Protestant engraver born in Paris. This was one of his first commissions for the Lyon printers, where he arrived in 1548, and also probably one of the last, as he is supposed to have fled to Geneva around 1550. The final section, ‘Arbori’ or trees, is made up of 11 illustrations using elegant cuts taken directly from herbals, each accompanied by a short verse. These were the last emblems to be added by Alciato to his work, which continued to grow after his death. The trees shown here are the cyprus, oak, laurel, fir, quince, holm-oak, ivy, box, willow, almond and mulberry\u003c\/p\u003e   \n\n\u003cp\u003eThis is a rare and attractive example of a mid-C16th French mosaiqué binding with painted interlaces, a style prominent in Paris from the 1550s. There are examples of Parisian bindings with geometric designs that were produced more cheaply using single metal stamps, but ours was clearly tooled by hand, and the decoration is perhaps unusually dense, with equally unusually mottled painting around the central arabesque. The interlacing of Parisian bindings was often painted black, such as those made for workshops for Thomas Wotton, the ‘English Grolier’ (Henry Davis Gift III, 36-50), though bindings with black interlaces were also likely produced in Lyon in the period (Henry Davis Gift III, 99). Coloured examples were produced for Jean Grolier in Paris (Le Bars, 50 Reliures (Paris: 2012), 34-35, 40-41) and were also produced in Italy (e.g. De Marinis, I, 844 (pl. B2)).\u003c\/p\u003e\n\n\u003cp\u003eAn edition was issued simultaneously by Rouille as part of the partnership with Bonhomme, priority not established: ‘they are … essentially the same but seem to have been issued each by its respective publisher’ (Green).\u003c\/p\u003e\n\n\u003cp\u003e‘Figurato in legno con molta eleganza’ (Cicognara).\u003c\/p\u003e\n\n\u003cp\u003e‘This may be called a very rare book, seldom appearing for sale on the catalogues, and, when found, generally defective and soiled’ (Sears).\u003c\/p\u003e","brand":"ALCIATO, Andrea, trans. MARQUALE, Giovanni.","offers":[{"title":"Default Title","offer_id":57868721783119,"sku":"L4484","price":12500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1016\/2425\/0703\/files\/L4484-frontcover.png?v=1781793345"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1016\/2425\/0703\/collections\/Screenshot_2026-06-13_at_5.21.35_PM.png?v=1781367759","url":"https:\/\/www.sokol.co.uk\/collections\/emblem-books.oembed","provider":"Sokol Books Ltd","version":"1.0","type":"link"}