#[Ira et Avaritia]

[sins-of-the-sea]

Once upon a time, certain members of the Vespucci Family from Florence branched out and attempted to establish a foothold in Venice in the 1300s. There, they commissioned their own palazzo, Ca'Vespucci, styled that of Venetian Gothic along the Grand Canal in San Marco; from there, generations would have sons become part of the city-state's oligarchy, from seats of the Council of Ten to directly working with the Doge. If not, then growing wealth with trade across the Adriatic, with sons thereby becoming merchant princes.

However, a scandal in the 1460s would see a sharp decline of the Vespucci's influence, resulting in being fully cut off from the Florentine family altogether. Supposedly, God has had enough of the Venetian Vespucci's licentiousness and greed; by midsummer of 1498, the end of the Vespucci had begun as though through a curse. The family numbers dwindled sharply within just eight years; by 1521, the last two members were murdered in their own home. No children were left behind, and the killer was never caught.

Today, Ca'Vespucci is used as a museum and is regularly maintained by historians curious of the Vespucci Curse. Through various accounts and local legends, the curse came in the form of a child. Initially, historians believed that said child was likely subjected to changeling myth, but the word 'varòƚo' is seen constantly in records in reference to him--likening him to smallpox. Later historians would come to the conclusion that the Venetian Curse was very likely a tragic case of scapegoating the youngest member of the family until his death in 1506 at age eight.

Though there is contesting if the child died at all in 1506. There are recent discoveries scratched within the walls of one of the lowest rooms of Ca'Vespucci, once reserved for holding wine. Scratched in the stonework, over and over again, were the words

Per piasser no desmentegarme. Per piasser no desmentegarme. Per piasser no desmentegarme. Per piasser no desmentegarme. Per piasser no desmentegarme. Per piasser no desmentegarme. Per piasser no desmentegarme.

"Please do not forget me."

The historians can't tell, for certain, if the Venetian Curse was thrown in the cellar... and if he was, how long was he kept there.

#abuse tw #murder tw #child abuse tw #[Giovanni Vespucci] #[Memories of Venice] #[Memories of Gregorio and Lorenzo] #[Memories of Home] #[Ira et Avaritia]

[magpie-masterpieces]

Theme Breakdown for the Demons/Angels Universe (Part 1 of ???)

Someone suggested I do this, here’s a break down of how I chose all the themes for the Sins + Virtues. The reasons will range from “something extremely deep” to “haha instrument go brrrr.” I’ll do more characters from this universe in the future.

I compile everyone’s themes for this universe in this playlist!

Invidia: String Quartet No. 3, BB 93: Seconde parte: Allegro – Béla Bartók

Starting off strong with a not that deep reason, the opening trill from the second violin has always reminded me of a snake. Invidia’s design draws inspiration snakes given that she’s canonically the Serpent of Eden.

This is a very musically technical piece, I like how it all comes together to sound very layered and barbaric. I think that fits Invidia, she’s got a lot of pent up emotion underneath her cold exterior.

Ira: Symphony No. 10 in E Minor, Op. 93: II. Allegro – Dmitri Shostakovich

Supposedly this is meant to be a musical portrait/representation of Joseph Stalin.

Heavy brass evokes imagery of marching armies. Reminds me of John Williams’ work for the original Star Wars trilogy.

Acedia: Music for Strings, Percussion, and Celesta, Sz. 106, BB 114: I. Andante tranquillo – Béla Bartók

This was a bit of a fine line I had to walk, I wanted something peaceful but still sinister.

I find that Bartók walks that line perfectly in this movement, it’s simultaneously tranquil but there’s a darker tone to it.

Superbia: Ruslan and Ludmilla: Overture – Mikhail Glinka

Overtures are usually the openings to operas, ballets, etc. They’re typically very flourishing and bombastic. I find that this specific overture is the right amount of bombastic I wanted for Superbia’s theme

Luxuria: Samson et Dalila, Op. 47, R. 288: Bacchanale – Camille Saint-Saëns

In music, bacchanales are typically meant to depict drunken revels/orgies.

The opera is based off of the story of Samson and Delilah from the Old Testament. In many interpretations of the tale, Delilah is meant to be a sinful, sexual woman.

Gula: Symphony No. 1 in D Major "Titan": II. Kräftig Bewegt, Doch Nicht Zu Schnell - Trio: Recht Gemächlich - Tempo Primo – Gustav Mahler

I found the extremely long title of this movement really funny lmao

There’s a playful, joviality to this piece. I think that fits given Gula’s the more optimistic one of the Sins.

Avaritia: The Marriage of the Figaro Overture – W.A. Mozart

Historically, operas have been associated with the upper class and wealth. Many operas were commissioned by nobility

Mozart is the best of the best, it’s only fitting that Ava’s theme would be the best of the best as well

Camael: Variations on an Original Theme, Op. 36 “Enigma”: VIII. W.N. (Allegretto) – Edward Elgar

All of the movements of Elgar’s Enigma Variations are inspired by various friends and loved ones of the composer.

More graceful and lyrical melody in contrast to Invidia’s barbaric and savage theme.

Zadkiel: Symphony No. 9 in E Minor: III. Scherzo: Molto Vivace – Antonín Dvořák

You’ll notice that Michael and Zadkiel’s themes are similar. Both are from the same composer (Antonín Dvořák), both are the third movement of a symphony, and both are scherzos.

It ties into Zadkiel being Michael’s successor. Not just literally, but his musical theme (symphony 9) being a successor to Michael’s theme (symphony 7).

Gabriel: Piano Quintet in C Minor: II. Scherzo (Allegro non troppo) – Alexander Borodin

Scherzos are usually short, fast paced and playful pieces.

Raphael: Petite Suite (orchestrated by Henri Büsser): IV. Ballet – Claude Debussy

Very happy and playful piece, easily fits her personality

Uriel: String Sextet in D minor "Souvenir de Florence", Op. 70: II. Adagio cantabile e con moto – P.I. Tchaikovsky

Very innocent and romantic vibes, contrasts with Luxuria’s boisterous bacchanale

There’s a viola solo in this piece. And I feel like there’s a viola joke to be made here with Uriel being the most uptight, pretentious asshole, but I’m blanking out on one >:(

Jophiel: Double Concerto in A Minor: III. Vivace non troppo – Johannes Brahms

A big motif I keep with Jophiel is balance, their theme is no different.

The piece starts in a minor key and ends in a major key. The concerto is meant for a solo violin (the upper register of stringed instruments) and a solo cello (the lower register of string instruments), along with the orchestra.

Michael: Symphony No. 7 in D Minor: III. Scherzo: Vivace – Antonín Dvořák

I already talked about how Michael and Zadkiel’s themes mirror each other, so I won’t copy and paste it all here lmao

I became obsessed with this particular piece during the early days of the COVID pandemic. I’ve always associated this piece with enduring things despite the hard times.

#oc #demons/angels universe #melo’s musings: art blog edition #bts notes #aka my excuse to ramble about classical music

[bylagunabay]

Unseen Warfare

DELIVERANCE PRAYERS

- Msgr. John Esseff, Exorcist (2-minute read)

The pandemic is a real medical crisis. It is also a spiritual crisis. The medical professionals are working hard to protect us. The spiritual “professionals” need to do the same. So, let’s get praying these prayers and mobilizing God’s legions of angels to cast out these ugly demons. There is not a moment to lose!

1 POPE LEO XIII EXORCISM PRAYER

I want to pass along the experience of our Philippine Brothers in the exorcism ministry. They are doing a great job of mobilizing their exorcism teams in the wake of the crisis.

They are saying the Leo XIII exorcism prayers and adding the names of the evil spirits directly attacking people in the wake of the virus. Their gifted people identified the following demonic spirits: DEATH, INFIRMITY, DESPAIR, CONFUSION or CHAOS, DIVISION (DISUNITY), ANXIETY, AVARICE, INJUSTICE, FEAR, ANGER, HATRED, LUST, SLOTH, and PRIDE.

Caution: Generally speaking, the laity can use the same prayers as the priests but should refrain from addressing demons directly. Rather, they should adjust the prayers, so they are directed to God/Jesus/BVM and asking them to cast out the demons. These are “deprecatory” prayers.

So, they are recommending that priests use the Leonine exorcism and add the following prayers: In Latin: “Exorcizámus te, omnis immúnde spíritus –mortis, infirmitas, desperationis, confusionis (chaos), schismae, anxietatis, avaritiae et iniustitiae, timoris, irae, odii, lussuriae, accidiae, superbiae, omni satánica potéstas, omnis incúrsio infernális adversárii, omnis légio, omnis congregátio et secta diabólica, in nómini et virtúte Dómini nostri Jesu Christi eradicáre et effugáre a Dei Ecclésia, ab animábus ad imáginem Dei cónditis ac pretióso divíni Agni sánguini redémptis …”

In English: “We drive you from us, whoever you may be, unclean spirits, spirits of death, infirmity, despair, confusion, division (disunity), anxiety, avarice and injustice, fear, anger, hatred, lust, sloth, and pride, all satanic powers, all infernal invaders, all wicked legions, assemblies and sects; in the Name and by the power of Our Lord Jesus Christ, may you be snatched away and driven from the Church of God and from the souls made to the image and likeness of God and redeemed by the Precious Blood of the Divine Lamb…”

Original Prayer to Saint Michael by Pope Leo XIII, October 13, 1884: https://catholictruth.net/en/archive_NRC.asp?d=20140925P2...

2 VADE SATANA

They also recommended that the command to leave, “Vade Satana,” be repeated at least 12 times. They added that they have given the laity permission to use this command, “Vade Satana”, over their families since parents have a recognized spiritual authority over them.

3 PROTECTION, BINDING, CLEANSING, HEALING PRAYERS

They also suggested that priests reciting the prayers of minor exorcism also say prayers of protection such as the “Sealing Prayer of Protection” and “Binding Prayer”. These prayers can be found in our APP: “Catholic Exorcism” under prayers “For Use By Catholic Priests Only.”

4 DELIVERANCE PRAYERS FOR THE LAITY

In the absence of a priest, the laity can pray the “Deliverance Prayer for the Home” (last prayer in the APP).

Minor Exorcism Prayers: https://www.catholicexorcism.org/prayers-for-priests

Demons are tech freaks and find malicious delight in disrupting our communications. So, they recommend blessing and praying over your electronic devices before we use them:

UMBRELLINO PRAYER FOR TECHNOLOGY

Lord Jesus Christ, Sovereign King enthroned in Heaven, in your love and mercy establish a perimeter of protection with Your Precious Blood around our communication devices and all technology used during this session, the cameras or webcams, microphones, speakers, displays, any and all software, WiFi connections in the air, both my router and the router of N. and anyone assisting, the optic cables involved in the transmission of data, and the light waves being used to transfer data. Cleanse them with your precious blood and drive from them any satanic influence. Establish around them a sanctuary of your mercy where Satan and any other evil spirit or human agency cannot interfere. I ask Father that you would block, bind, rebuke and render impotent any assault of the evil one from them in any way. Father, so long as these instruments are utilized in this ministry of Divine mercy, we ask you to allow them to enjoy the protection of the Blessed Mother, St. Michael the Archangel and all the Holy Angels. We ask this in Your Most Holy Name, the Name before which every knee shall bow, in heaven, on the earth and under the earth, that Jesus Christ is Lord. Amen.

Deliverance Prayers for Laity: https://www.catholicexorcism.org/prayers-for-laity...

The following deliverance prayers can be recited by the laity:

Cleansing Prayer

Litany of the Saints

The Litany of the Blessed Virgin Mary (Litany of Loreto)

Litany of Our Lady of Seven Sorrows

The Chaplet of St. Michael

Pope Leo XIII Prayer to St. Michael

Litany to St. Joseph

Prayer to St. Joseph After the Rosary

Prayer to St. Joseph Terror of Demons

Litany of the Most Precious Blood

Litany of the Sacred Heart of Jesus

Deliverance Prayer

Litany in Honor of St. Michael

Litany to the Holy Angels

Litany in Honor of St. Gemma Galgani

Padre Pio's Sacred Heart Novena

Prayer for Breaking the Wall Built Up Around the Heart

Litany of the Holy Name of Jesus

Litany to the Holy Spirit

Litany to the Infant Jesus

Litany of the Holy Face of Jesus

Rosary of Liberation

Breastplate of St. Patrick

Litany of God the Father

A Litany of Blessed Michael McGivney

Little Psalter of the Most Holy Face of Jesus

Litany of the Passion (John Henry Newman)

Litany of the Resurrection (John Henry Newman)

Litany of the Seven Dolours (John Henry Newman)

#catholic church #catholic #exorcism #deliverance #prayers

[volumina-vetustiora]

Novem Circuli Inferorum

(Nine Circles of Hell)

I Limbus

II Luxuria

III Gula

IV Avaritia

V Ira

rabida

tristis

VI Haeresis

VII Violentia

homicidium

mors voluntaria

blasphemia

VIII Fraus

lenones et seductores

adulatores

simoniaci

venefici

politici

hypocritae

fures

consiliatores mali

satores discordiae

falsifici

IX Perfidia

Caina, traditores familiae

Antenora, traditores patriae

Ptolomaea, traditores hospitum

Iudecca, traditores dominorum

#latin #languages #translation #dante's inferno

[carsinoska]

MONOLOGIA

Album: MONOLOGIA Artist: Otsuki-sama Koukyoukyoku

Ragnarøk

kono yo no hate de kanaderu shuuen no merodi kuzureru sekai to tomo ni azayaka ni chire

Pierce vane han trodde. Anset li som kan vente fremover. Verdens sammenbrudd. La osso benne! “Ragnarøk”

taiyou wo nomi, tsuki wa shizumu houkai no neiro wa dokoka natsukashiku tenkuu wa ware, hoshi wa ochite chishiryou no uso wa hikari wo keshisaru

kusari to ashikase de subete wo fuujita tsumori nara sono orokana shikou wo kowasouka? osore to kyoufu wo onore no mune ni fukaku kizami tonae yo   chinureta jashin no na wo

kono yo no hate de kanaderu shuuen no merodi tansei, kyoukan   utsukushii senritsu de todoroku itetsuku sora ni shirushita touran no keifu kuzureru sekai to tomo ni azayaka ni chire

Pierce vane han trodde. Anset li som kan vente fremover. Verdens sammenbrudd. La osso benne! “Ragnarøk”

Next Stage

Jucunda memoria est praeteritorum malorum. Verba volant, cantus manent.

yoake no sora ni hitori tatazumu suiheisen no mukou supottoraito watashi no uta ni rinku suru sazanami kankyaku wa shiokaze ga saratteiku

kasundeyuku tsuki ni miokurareru you tsugi no butai e tobitatsu no itsuka kimi to kanadeta ano merodi ga watashi no se wo oshite kureru

aratana tobira wo hiraku   sono shunkan wa kitai to fuan   mazariatte shimau kedo tooi umi wo koeta saki   tsumugareru sutoorii saa maku wo akete   Next Stage

yume mita basho e   Next Stage

Purgatorium

hitotsu   kieta tomoshibi wo atsumete souretsu wa haruka kanata e nobiru futatsu   meguru tsumi no kazukazoete yurushikoi inori sasageta

hikisakare sou na itami sura mo sora e noboru kate ni naru no naraba sou   sei wo ukete kara no gukou subete ima koko de tsugunatte misemashou

Purgatorium yokubukaki kono mi e no imashime sono tsumi ga mada watashi wo todomeru no nara Indulgentia moesakaru honoo ni kogasarete tamashii made shiro ni kaesou

amata tsuraneta wazukana ayamachi namida de wa jouka e wa michibikezu ikudo sono tsumi no na wo tonaete mo kokoro wa imada shibararete

koe ga kareru hodo ni sakendemo kesenu shirushi koso ga sadame naraba sou kako no miren, guretsu, toga mo subete ima koko de tachikitte misemashou

Purgatorium shounetsu ni mi wo tokasu makuai owarinaki zange no hate hikari wa miezu Indulgentia taeshinogu sono saki ni matsu no ga yasuragi dato shinji tsudzukete

Superbia, Invidia, Ira, Acedia, Avaritia, gula, luxuria Verum salvatio! Verum purgatio! Amen!

Purgatorium kore wa owari nano ka hajimari ka sono tsumi wo hakidashitara sukuwareru no ka Indulgentia oto mo iro mo kioku mo ubatte watashi to iu mono wo kowashite–?

ultima Thule

Sic infit Et facta est lux, spem perficio Ibi semper est victoria, ubi concordia est Crede! Ex aequo “ultima Thule”

Per angusta ad augusta Spectat ille ad stella caelestis Labore vinces Fortes fortuna adjuvat

Gratia, certamen singulare Fatus, Vinculum, Possibilitas Concursio, Consensus, Promissum Ingens gloria!

Sic infit Et facta est lux, spem perficio

Ibi semper est victoria, ubi concordia est Crede! Ex aequo…

Pax et lux Pulvis et umbra sumus. Omnia paratus Desine fata deum flecti sperare precando Vincit veritas! Ah-

Ibi semper est victoria, ubi concordia est Crede! Ex aequo “ultima Thule”

MESSIAH

Nunc dimittis servum tuum. Domine, secundum verbum tuum in pace Quia viderunt oculi mei salutare tuum

seijaku ni nomareta seidou de itetsuita ai wo utatte chinurareta sono te de idaku no wa hizumi sura ooikakusu kibou

kore de yokatta no da   kore ga tadashiki michi da anji no you nushin ni kurikaesu mou modorenai nara   yurusarenakute mo ii kokoro wo kudaki   hoshi no kakera e to   kaesou

MESSIAH

tsuki ni inoru   hitotsubu koboreta namida wa oto naku hoho wo tsutai ochiteyuku shiroku hibiku   kasureta zange no senritsu sono kizu nidoto iezu to mo subete no kanashimi ni shuushifu wo

owaranai sekai no hate wo ikite-...

Refrain

Traicit et fati litora magnus amor. Fortuna opes auferre potest, non animum. “memento mori”

mezameta shinryoku no ji   ushinawareta kioku hibiku kodou no kyoumei   fukashigina rojikku doushite koko ni manekare   tsumi wo seotta no ka ikura shikou wo megurasedo kai wa mitsukarazu

subete wo hodoku kagi wa   hisatsu no mokushiroku ni itsuka no nukumori motome te wo nobasu saa kaigouse yo   Refrain

Quem metui moritura? Ades animo et omitted timorem. Sunt lacrimae rerum et mentem mortalia tangunt.

kuuhaku umeru histoire sora e to sasageru deuil michibiite miseyou   sono saki e subete wo terasu espoire koko kara hajimaru mythologie kataritsugou   sore ga shimei naraba--

Repaint

Ergo exeundum ad libertatem est. Verba volant, scripta manent. Vere ac libere loquere. Dum exspiro, spero.

mukishitsuna sora ga miorosu machi de boku wa tada tachisukumu bakari monokuro no shihai   mienai kusari torawareta mama de owaru no ka?

me wo tsubureba nouri ni ukabi agaru risou   kuusou   gensou egaku sube nara koko ni aru

saa furue   sono efude ni kometa omoi subete wo omou ga mama ni irorunda tokihanate   bokura wa mada nanimo ushinattenai azayakana sekai wo torimodosu tame ima, Repaint

tachimukae   haiiro no kioku wo uwagaku you ni eien wo mosu shikisai e to egakidase   mabataki sura oshii hodo no sekai wo tobikomou   tashika ni yumemita mirai e ima, Repaint

Apocrypha

Stellae mare, Caeli lux, Floret caelum albus flos, Aeternum com deus, Liber senex teneas. Nunc aperir sunt "Apocrypha"

Fabula narratur. Praemium vitae aeternae exsepectabit. Quia mille anni in quaestionem. Exspectatis lucem.

Prodigium, Ritus, Contractus, Iuratio, Praedicatio, Astrologia, Triumphus, res novae, Sanctio, Dic ad initium et finis.

Stellae mare, Caeli lux, Floret caelum albus flos, Aeternum com deus, Liber senex teneas. Nunc aperir sunt "Apocrypha"

MONOLOGIA

kanata ni sobieru tou no oku byoushin wa ugoki wo tometa seijaku, hiraita peeji no saki makuai no hate no sonzai shoumei

dare ni tsutaetai no ka dare ni todoketai no ka nanimo wakaranu mama ni nagareru merodi tsumuide

itsuka kono koe ga todoku hi wo yumemite utai, utae, dokuhaku no naka ima wa mada hitori tasogare ni tayutai kono monogatari no owari sagashi motomeru no

inori wo sasageru hitobito e itsuwari no fukuin yonde tsukisasu kiinaru sono shisen wa ima nao, watashi wo shibari hanasanai

ikudo, yo ga akereba ikudo, hi wo miokureba watashi tobitateru no? to mogareta tsubasa ni toikake

itsuka kono koe ga tansei ni kawatte mo kobore ochiru kotoba wo tadoru sora no iro   kaze no oto sura mo wasurete rougoku no hate de towa wo katari tsudzukeru no

kieta hitokage wo zanzou no kaidou wo daremo inai kokuu ni sagasu...

itsuka kono koe ga todoku hi wo yumemite utai, utae, dokuhaku no naka ima wa mada hitori tasogare ni tayutai kono monogatari no owari sagashi motomeru no

#MONOLOGIA #otsuki sama koukyoukyoku #moon symphony

[saudadenaotemcura]

Reposted from @frei_berg_ofm "Onde há caridade e sabedoria, aí não há temor nem ignorância. Onde há paciência e humildade, aí não há ira nem perturbação. Onde há pobreza com alegria, aí não há cobiça nem avareza. Onde há quietude e meditação, aí não há solicitude nem distração. Onde há temor do Senhor guardando a porta, aí o inimigo não acha jeito de entrar. Onde há misericórdia e discrição, aí não há superficialidade nem endurecimento." (Admoestação XXVII, São Francisco de Assis) ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Ubi caritas est et sapientia, ibi nec timor nec ignorantia. Ubi est patientia et humilitas, ibi nec ira nec perturbatio. Ubi est paupertas cum laetitia, ibi nec cupiditas nec avaritia. Ubi est quies et meditatio, ibi neque sollicitudo neque vagatio. Ubi est timor Domini ad atrium suum custodiendum, ibi inimicus non potest habere locum ad ingrediendum. Ubi est misericordia et discretio, ibi nec superfluitas nec induratio. (DE VIRTUTE EFFUGANTE VITIA) ⠀⠀⠀⠀⠀⠀⠀⠀⠀ #franciscanos #ofm #fraternidade #vocação #oração #virtudes #franciscan #católica #catholic #vidaconsagrada #vocacionados #vidareligiosa - #regrann https://www.instagram.com/p/B_57WG4pXRJ/?igshid=11g419m0ewou1

#franciscanos #ofm #fraternidade #vocação #oração #virtudes #franciscan #católica #catholic #vidaconsagrada #vocacionados #vidareligiosa #regrann

[mytherbalegwladys]

FR: Superbia le démon de la vanité, Gula le démon de la gourmandise, Luxuria la démone de la luxure, Invidia la démone de l'envie, Avaritia le démon de l'avarice, Acedia le démon de la paresse et Ira le démon de la colère. EN: Superbia the demon of vanity, Gula the demon of gluttony, Luxuria the demoness of lust, Invidia the demoness of envy, Avaritia the demon of greed, Acedia the demon of sloth and Ira the demon of wrath.

#batim #batim ocs #toons #Bendy and the Ink Machine #demons #Seven Deadly Sins

[just-tadzio]

3 . “ Désenchanté . “

L’Orgueil

Superbia en latin.

"Consiste à s’attribuer des mérites qui sont des dons de Dieu."

Tadzio pense qu’il peut lui même faire sa justice. Prendre une vie, celle de son tortionnaire. S’il est apprécié, c’est parce qu’il est doué, beau, intéressant. Il a beau se détester secrètement parfois, il porte souvent une haute estime de lui même, et joue de ses charmes. Et il a toujours raison, toujours.

L’Avarice

Avaritia en latin.

"Principe et action d’accumulation de richesses recherchées pour elles-mêmes."

Tadzio veut ce joli manteau, ce nouveau téléphone, des bijoux, il ne les rangera jamais, les perdra sûrement, mais il veut, il veut toutes ces belles choses. On les lui paie, ou il les achète. Ca ne sert à rien, il n’a nulle part ou les ranger, mais il en veut toujours plus. Quelle jolie paire de talons! Ah.. Il les veut.

L’Envie

Invidia en latin.

"Le fait de ressentir de la tristesse face à la possession par un autre d’un bien avec la volonté de se l’approprier à tout prix."

Le client a un joli vase, un joli canapé, de beaux meubles et des vêtements plus beaux que les siens. Il tripote, il regarde, il a envie de les posséder. Tadzio se ballade dans l’appartement en s’imaginant y vivre, il est jaloux. Jaloux aussi du couple qui se tient la main, rentrant chez eux, jaloux à mourir des gens qui ont une vie normale, même si au final il n’aimerait pas qu’ils aient la sienne, non, il aimerait mériter d’avoir cette vie là aussi. Hop, un collier est glissé dans sa poche, il le vole, il se sent un peu mieux.

La Colère

Ira en latin.

"Comportement (paroles et actes) excessif se traduisant par des violences et des insultes."

Ca monte comme la moutarde, Tadzio fronce les sourcils. Sa souffrance se mue en rage, et il crie, il lance les objets autour de lui, frappe du pied, renverse un meuble. Il beugle des insultes, et il a envie de frapper. Parfois ça lui prend, une claque sur la joue de son interlocuteur qui a dit quelque chose qu’il ne fallait pas, ou une colère sourde lorsqu’il se rappelle que son agresseur est toujours là, quelque part, à vivre sa meilleure vie. Enfoiré, il aimerait qu’il crève de ses propres mains.

La Luxure

Luxuria en latin.

"Le plaisir sexuel est recherché pour lui-même."

Vous croyez qu’il n’y prend pas plaisir ? Avec ses clients ? Ah, parfois, ça arrive. Il y a des mauvais coups partout. Mais au final, Tadzio s’y ai fait, et il adore ça, le sexe. Il y est presque autant drogué qu’à sa cigarette. Sous son petit air innocent -quand il n’ouvre pas sa bouche-, il scrute la foule, minaudant, battant des cils, espérant que le bel homme,  là bas, lui demande de ses services. Ah, et en plus il est payé pour prendre son pied, ça au moins, c’est bien.

La Paresse

Acedia en latin.

"La paresse est ici morale voire intellectuelle.L’âme n’est plus nourrie par la lecture spirituelle, la prière et la pénitence."

On lui demande ce qu’il pense du culte, il hausse les épaules. Tadzio s’en fout. Pour autant, plus jeune, il lisait beaucoup, s’intéressait à l’ancien monde autrement que pour sa mode, ses musiques, mais maintenant, il s’en fiche. Pourquoi réfléchir trop longtemps ? Ah! Ca lui ferait du mal, il sait que ça l’énerverait. Alors il ne fait pas d’efforts, pour sa santé mentale déjà bancale.

La Gourmandise

Gula en latin.

"Le mot plus juste serait la gloutonnerie qui traduit l’idée de démesure."

Le blond n’a pas mangé depuis deux jours, mais le voilà, devant un poulet rôti entier, et ses frittes, sa montagne de frittes. Le gros gâteau au chocolat sur la table ? Ah! C’est pour lui aussi. Il avait si faim, il a bien travaillé, alors il mange, il mange, il mange, pendant des heures. Son client a le malheur de lui proposer à manger ? Il dévalise la cuisine. Ben quoi ? Il a besoin d’énergie, il est jeune et il se dépense beaucoup..

[rnainframe]

Tell me about big brother?

It's based around these two twins, Adonis and Ib Megalos, who live in a high tech false utopia type country, called Levis, in the richest district of it for "normal people", Lumnia. One night, their father, Augustus, gets contacted by the AI in charge of surveillance and security for the entire country, Autarch. He informs him that his twin children have been deemed "impure" and will be deported to the Superbia district unless he can prove otherwise within seven days. Superbia is where those classified as "impure" (not affected by the chemical Purity in the air that makes everyone docile and uncaring towards how messed up the country actually is), disabled, or otherwise "not normal" health wise. Really ableist, nobody in there likes the guy who made the districts like this - Alistair Crane. Current head of HEAT, a big company that also controls the country. They produce high tech technology and medical stuff. Living conditions in Superbia aren't great, and they're often found missing with HEAT turning a blind eye. Because they're why people go missing. The other districts are Ira, Envidia, Avaritia, Libido, and Deploro. There were originally others (given all of these besides lumnia have names that correspond to sins), but they didn't really work out. Ira is where anyone with animal traits go - hybrids, shifters, cabali (a race of mythological, supernatural, etc creatures capable of taking on a human form), familiars with no magi, etc. Envidia houses those with kinesis. Kinetics are arguably the most oppressed in Levis, given they even are required to wear mechanical wristbands that are fastened with a digital lock and small needles that inject a chemical that artificially deactivates the genes that allow for the usage of kinesis.Avaritia is where the rich go, as well as Magi. People with more mana than the norm in their blood, capable of using a form of magic fueled by it. Their blood is like a dark red violet in color from the mana in it. Kinetics and Magi hate each other, given they're extremely similar yet one is treated as an almost aristocratic class in the country. Libido is where demons have to live. They're not that bad, just their own race. Vesels, sins, imps, et cetera. Fun times. Deploro is locked up, only allowed to be entered or left with high level HEAT authority, due to what's contained there. It's just the undead, "stitches", and other things they want to keep secret.Anyways, Adonis and Ib are pretty much racing against time to try and figure out a way to stay home until HEAT decides they have.. other plans for them.

[jamesgraybooksellerworld]

‘VIVITUR INGENIO’

  392J. Albrecht DÜRER 1471-1528, Translator Giovanni Paolo Gallucci,; 1538-1621?

Di Alberto Durero pittore, e geometra chiarissimo. Della simmetria dei corpi humani. Libri quattro : Nuouamente tradotti dalla lingua Latina nella Italiana, da M. Gio. Paolo Gallucci Salodiano. Academico Veneto. Et accresciuti del quinto Libro, nel quale si tratta, con quai modi possano i Pittori, & Scoltori mostrare la diuersità della natura de gli huomini, & donne, & con quali le passioni, che sentono per li diuersi accidenti, che li occorrono. … Opera à i Pittori, e Scoltori non solo utile, ma necessaria, & ad ogn’altro, che di tal materia desidera acquistarsi perfetto giudicio.

Venetia [Venice] : Appresso Roberto Meietti, Hora di nouo stampati. 1594.            $15,500

Folio, !6 A-L6 M7 N-P6 Q8 R-Z6 .  Bound in contemporary limp vellum.

In this book there are hundreds of woodcut illustrations on almost every opening in the book, each representing the proportions of the human body depending on the age, the sex and the personal development. Each body is drawn/represented a frontal, side and in motion ,view  while the heads are shown in different positions, such as looking upwards or downwards. Depicting which kind of perspective the artist should take in order to represent a person better.

In the first three books Dürer discusses methods of measuring and representing human proportion. The third book concludes with a passage on the relationship of art to God. The fourth book discusses the representation of movement and bent postures.

Most of the illustrations are close copies of those in the first, German edition (1528).

This book is a cornerstone  in the history of the human representation.

  The work was published for the first time posthumously in Nuremberg, in 1528, with the original German title Vier Bücher von menschlicher Proportion. 

  The first book was mainly composed by 1512/13 and completed by 1523, showing five differently constructed types of both male and female figures, all parts of the body expressed in fractions of the total height. Dürer based these constructions on both Vitruvius and empirical observations of “two to three hundred living persons”.  The second book includes eight further types, broken down not into fractions but an Albertian system, which Dürer probably learned from Francesco di Giorgio’s ‘De harmonica mundi totius’ of 1525. In the third book, Dürer gives principles by which the proportions of the figures can be modified, including the mathematical simulation of convex and concave mirrors; here Dürer also deals with human physiognomy. The fourth book is devoted to the theory of movement.

Appended to the last book,  is an essay on aesthetics, which Dürer worked on between 1512 and 1528, and it is here that we learn of his theories concerning ‘ideal beauty’.  Dürer rejected Alberti’s concept of an objective beauty, proposing a relativist notion of beauty based on variety. Nonetheless, Dürer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code.  In 1512/13 he wrote that his three criteria were function (‘Nutz’), naïve approval (‘Wohlgefallen’) and the happy medium (‘Mittelmass’).

However, unlike Alberti and Leonardo, Dürer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images.  Between 1512 and the final draft in 1528, Dürer’s belief developed from an understanding of human creativity as spontaneous or inspired to a concept of ‘selective inward synthesis’.

In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things. Dürer’s belief in the abilities of a single artist over inspiration prompted him to assert that “one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another’s work at which its author labours with the utmost diligence for a whole year”.

  Adams D, 1055; Cicognara 321; Durling/NLM 1299; Mortimer, Italian 169 (in nota); Wellcome II, 1920. E. PANOFSKY, Albrecht Dürer, I, pp. 244-245:

«Dürer was the firstartist, who, brought up in the late-medieval workshops of the North, fell under the spell of art theory as it had evolved in Italy. It is in his development as a theorist of art that we can study in vitro, as it were, the transition from a convenient code of instructions to a systematic and formulated body of knowledge».

•Selz, Albrecht Dürer: le peintre, le graveur et le théoreticien (1996);                                •A. Dürer, The writings of Albrecht Dürer, tr. and ed. W.M. Conway (1958);                                        •E. Panofsky, ‘Dürer as a theorist of art’, in E. Panofsky, Albrecht Dürer, vol. I (1943), p.260-84.;                                                                                                                                                  •E. Panofsky, ‘The history of the theory of human proportions as a reflection of the history of styles’, in Meaning in the visual arts (1955), p.55-107;                                       •V. Mortet, ‘La mesure de la figure humaine et le canon des proportions d’aprs les dessins de Villard d’Honnecourt, d’Albert Dürer et de Léonard de Vinci’, in Mélanges offerts à M. Emile Chatelain (1910), p.367-71.

                                  §§

   2) 398J.  Antoninus Florentinus

Confessionale: Defecerunt scrutantes scrutinio… Add: Titulus de restitutionibus; Conclusiones et decisiones in foro conscientiae; Versus decem praeceptorum ac septem peccatorum mortalium

Venice:  Venetiis : Impressum per Petrum Jo. de q[ua]rengijs Bergome[n]se[m] 15 February 1499.

Imprint from colophon (leaf z3v) which reads: Explicit vtilissima [con]fessio[n]alis su[m]mula cu[m] tractatu[m] de Restit[uti]o[n]ibus … Reuerendissimi b[ea]ti Antonini archiepiscopi florentini … Impressu[m] p[er] Petrum Jo. de q[ua]rengijs Bergome[n]se[m]. die. 15. febrarij. [sic] 1499.                       $5,500

  Octavo  (150 x 102 mm), a-y8 z6 contemporary reversed vellum from a Medieval manuscript, preserved in a red velvet box, ff. [182].Gothic type 13:69G and 17:98G. Text in Latin on 2 columns, Gothic type, 33 lines. A large woodcut at colophon, repre-senting a blessing angel. In this book Antoninus deals with the authority, science and doctrine of confessor and illustrates all the methods to question the penitent soul.  Antoninus, Archbishop of Florence. Shows us the  the powers of the confessor, the seven deadly sins (the initial of each of the seven sins capitals ordered by their importance: Superbia, Avaritia, Luxuria, Ira, Gluttony, Invidia and Accidia (pride, avarice, lust, anger, gluttony, envy and laziness) (book 2, section 2), the manner of interrogating people of different social and professional status (including butchers, bakers, musicians, jewellers, physicians and pharmacists, book 2, section 3), together with absolution and imposition of penance.

There are  three  versions of the Confessionalia which are distinguished by their incipits, the first one (GW 2075- 2079) “Curam illius habe” which is in Italian and sometimes known as “Medicina dell’anima”, and the second “Omnis mortalium cura” or “Specchio di coscienza”, again in Italian, to which various other texts are appended (GW 2152-2176). The third, found here, “Defecerunt scrutantes scrutinio” (GW 2080-2151) is by far the most printed and is known not only in Latin but was translated into Italian and Spanish,

This work is of considerable interest for the student of medieval and renaissance social history.

PROVENANCE: Inscription Ad usum Jo. Ant. Romagnoli  on the title-page.

ISTC ia00830000 : Goff A831;GW; 2138 (variant colophon); Hain,; *1206 ; IGI 653; BSB-Ink A-591; H 1206*; Pellechet854; Richard 43; IDL 347; IBP 413; Sajó-Soltész 244; Sack(Freiburg) 225; Lőkkös(Cat BPU) 35; Gisi 28; Sack 225:Husung 111 .

https://data.cerl.org/istc/ia00831000

  §•§

  3). 388J  Gisbert Cuper. 1644-1716

Gisb. Cuperi Harpocrates, Sive Explicatio imaguncluæ argenteæ perantiquæ; quæ in figuram Harpocratis formata representat Solem. Ejusdem Monumenta Antiqua Inedita. Multi Auctorum loci, multæ Inscriptiones, Marmora, Nummi, Gemmæ, varii ritus, & Antiquitates in utroque Opusculo emendantur & illustrantur. Accedit Stephani Le Moine Epistola de Melanophoris.

Utrecht: (Trajecti ad Rhenum) Apud Franciscum Halma, Acad. Typogr., 1687.       $1,800

Quarto. *4, A-Z4, Aa-Pp4, Qq2. (Two blank leaves follow Qq2 which may or may not be integral.)

This book has an added engraved title, forty-one text engravings, seven folding engravings, and one text woodcut. It is in bright, crisp condition throughout,

“Gisbert Cuper, a Dutch critic and philologist, born at Hemmendem in 1644. He was for many years professor of history at Deventer, and published serveral valuable works.” (Thomas’ Pronouncing Dictionary)

Harpocrates was adapted by the Greeks from the Egyptian child god Horus, who represented the newborn sun, rising each day at dawn. Harpocrates’s name was a Hellenization of the Egyptian Har-pa-khered or Heru-pa-khered, meaning “Horus the Child”. Yet  to the Romans, who misinterpreted Harpocrates as the personification of silence, and this particular work is a study of statues and other art from classical antiquity that depict these later figures of silence.

STCN ppn 833724266; Brunet 6, no. 22603; Cicognara 3212; Ebert 5512; Graesse 2,308)  The engraved frontispiece,  depicts Harpocrates standing on a pedestal, around him gods like Apollo, Hermes, Serapis and Isis, and in the foreground Tempus, who shovels for Egyptian antiquities.  Woodcut printer’s mark on the title, motto: ‘vivitur in genio’, ‘only through his genius man survives’. there are 3 cul de lampe vignettes, text engravings on 39 pages, small woodcuts on 2 pages; 6 plates depicting ancient monuments) This is a philological tour de force of the Dutch classical scholar Gisbertus Cuper. In the second century B.C., and who was connected with the mystery cult of the Egyptian goddess Isis. Cuper’s research began, he tells us in the preface, with a small silver statuette which he saw in the famous collection of his friend (and scholar) Johannes Smetius, whom he visited in 1674 in Nijmegen. The statuette was found in the ground of the collector’s hometown Nijmegen. It is a sculpture of a small boy, almost naked, and with a lotus flower on his head. He is winged and wears a small quiver on his back; the boy holds the index finger of his right hand against his lips, as if to enjoin silence. (p. 1: ‘manus dextrae digito indice premit vocem, & silentia suadet’) From his right arm hangs a small bucket (situla), and around his left arm coils a snake. His left hand rests on a club, around which another snake coils, and to which a goose has been attached. At the boy’s right foot sits a rabbit or hare. At his left foot a small bird of prey (accipiter vel alia avis). (p. 2) As soon as Cuper saw this aenigmatic figurine, he decided to examine it, for he could not imagine that all those attributes had been added without any intention. He recognized the boy from a Egyptian hieroglyph as Harpocration, whom Egyptian superstition brought to Rome. He immediately realized also that this boy did not ask for silence (non silentium tantum digito suadens), but that he represented the Sun (verum Solis imaginem referens). (p. 2) In the rest of the book Cuper closely examines all the relevant passages concerning Harpocrates’ iconography in ancient authors, in mythology, coins, inscriptions, amulets etc., to prove his point, that Harpocrates’s finger was misunderstood, from the Roman scholar Varro to Augustine, and that the boy was not a diety of Silence at all.  This 1687 edition is a reissue, considerably augmented with ‘Gisberti Cuperi Monumenta antiqua inedita’ (ca. 70 pages) in which Cuper discusses recent finds. He examines various inscriptions in leading his reflection on the various cults Hercules, Diane.  He offers a description and image of the finds, and tries to explain matters with the help of ancient sources and the work of contemporary scholars. At the end has also been added ‘Ad Gisb. Cuperum De Melanphoris epististola’ (30 pages) written by the French orientalist Stephanus Le Moine, 1624-1689, who lectured in Leiden from 1676. His letter is a treatise on the black clothes (melamphoroi), which the members of the Isis fraternities wore when they lamented.

Cuper was one of Pierre Bayle’s Dutch correspondents who was an important source of information for the Nouvelles de la &Republique des Lettres and the Dictionnaire historique et critique was Gisbert Cuper (1644-17 i6), a well-known humanist and professor of history at Deventer. A recognized numismatist and author of several scholarly works on aspects of Roman history and culture, Cuper was also a magistrate and a deputy from the province of Overijssel to the Estates-General from i686 to I693. In recognition of his scholarly interpretations of Roman medals and coins, he was named as one of the first foreign correspondents to the Academie des Inscriptions.

Because he was in the mainstream of both the scholarly and political life of Holland, Cuper was an invaluable correspondent for Bayle. Because Cuper was an important source of material and information, Bayle could use him for his own publications. Also Bayle, who was often under attack for his unorthodox views on religion and politics, was in need of the favor and protection that can be offered by respected and influential people. Cuper was on good terms with conservative elements of Dutch society of the times, such as the Orangists, and thus was in a strategic position to be helpful.

Cuper and Bayle first began corresponding in July, I684, soon after the first issue of the Nouvelles (March I684), in which Bayle reviewed the former’s commentary on a cameo, L’Apotheose d’Home’re grave’e sur un marbre.  Subsequently the two corresponded on a fairly regular basis over a period of twenty years, exchanging information on scholarlv activities underway on the continent and Cuper’s work, Apotheosis seu coissecratio Homneri (Amsterdam, I683), is re- viewed in the Nouivelles for March, i684, art, VIII.

This content downloaded from 47.14.74.123 on Fri, 27 Mar 2020 18:35:29 UTC All use subject to https://about.jstor.org/terms

The frontispiece signed and dated in the plate: Joh. van der Avele invention and fecit. Title page in red and black. This edition is enhanced with a letter of Etienne Le Moyne; this text has a half-title and the second text: Monumenta Antiqua. Cuper’s research are a precursor to art history and Winckelmann. Many Greek and Hebrew quotations in the texts. 

  §§

4)  389J Anonmyous

The humours, and conversations of the town, expos’d in two dialogues, the first, of the men. The second, of the women.

London : printed for R. Bentley, in Russel-Street, in Covent-Garden, and J. Tonson, at the Judge’s-Head in Chancery-Lane, 1693.                                    $2,000

Octavo A⁶ B-G¹².

    Wing (2nd ed.), H3720;  Macdonald, Hugh. John Dryden; a bibliography. Oxford, 1939, p. 275-276.

§§

  5). 393J Lucretius

THE LAST BOOK PUBLISHED BY ALDUS

.

Venice: Aldus Manutius and Andrea Torresani di Asolo, 1515        $4,500

Octavo. *8a-q8  (*8, q78 blank except for device on q8) This is the second Aldine edition, the first edited by Andrea Navagero (1483–1529), the editor of all the last Latin editions published by Aldus from the Cicero of 1514 onwards, and considered  superior to the edition of 1500.   Bound in an18th century stiff vellum with label and gilt-lettered title at spine, yellow edges. This books was published one month before Aldus’s death, on February 1515 and contains his last preface, addressed to Alberto Pio, prince of Carpi.The title-page was restored and remounted; honest copy with short margins.

This book is a classical enchiridion, in the octavo format with text in Italic types, with no accompanying commentary or printed decoration. De rerum natura of Titus Lucretius Carus, the first century B.C. Roman natural philosopher, expounds, in the form of an epic poem, the cosmological theories of his teacher, the Greek philosopher Epicurus, demonstrating the workings of his model of a universe based on the atom as the fundamental particle. In the preface Aldus notes that although much of the philosophy expounded by Lucretius is repugnant to a believing Christian, t is much of value in his work and he should tfore be read anyway. Aldus, now sixty-five, would die within a month of publication of this, his last production. Thus his complaint concluding the preface becomes the more poignant: “But, if it weren’t for the bad health with which I have been rather harshly afflicted for some months now, quite a bit would have been added which would testify to all of our diligence, and would have made [the text] of Lucretius itself fuller.” From all accounts, Aldus simply wore himself out (as the eulogy in the 1515 edition of Lactantius states). This 1515 Lucretius is one of the celebrated Aldine editions of the ancient classics in the handy small 8vo format.

Lucretius was the first of the Latin classic poets printed by Aldus, selected for both his elegance and his philosophical interest. Although De rerum natura has notably anti-religious undertones, its psychedelic vision of swerving atoms enchanted early modern readers—including Pope Sixtus IV, Aldus’s preoccupation with the integrity and correctness of the original text lies behind the publication of his edition of the Epicurean poem De rerum natura .It might be  a strange choice if one considers the controversial nature of the text often in contrast with Christian beliefs–as the publisher himself points out in his dedicatory letter–but a natural choice given the philosophical nature of the text, in line with Aldus’s interests in scientific and philosophical texts from the Antiquity. Aldus’s admission that the text has also been chosen in view of the classical elegance of the verse introduces a new element of interest in the text.

In the preface Aldus notes that although much of the philosophy expounded by Lucretius is repugnant to a believing Christian, there is much of value in his work and he should therefore be read anyway. Aldus, now sixty-five, would die within a month of publication of this, his last production. Thus his complaint concluding the preface becomes the more poignant: “But, if it weren’t for the bad health with which I have been rather harshly afflicted for some months now, quite a bit would have been added which would testify to all of our diligence, and would have made [the text] of Lucretius itself fuller.”

Gordon, Bibliography of Lucretius, 6; Adams L-1651. New UCLA 130;Davies, Devices of the Early Printers, no.236).; Renouard AA p. 74:11;  Kallendorf & Wells #127; Dibdin II 198-199. Renouard, 74.11.;Keynes.H.1.33, fol. q6 recto; Censimento 16 CNCE 37499; Texas 126;

    §§

  6) 223J  Rubens, Peter Paul, 1577-1640. Barbé, Jean Baptiste,; 1578-1649. Galle, Cornelis,; 1576-   1650. Leczycki, Mikolaj,; 1574-1652. Pázmány, Péter,; 1570-1637.

Vita beati P. Ignatii Loiolae Societatis Iesu fundatoris.

Romae [Rome, Italy] : [s.n.], 1609          $3,800

Engraved architectonical frontispiece of important founders of the Society.

Quarto, 2 leaves plus 79 numbered cuts. This book consists of 81 copper engravings (including title page and frontispiece)–attributed either to Jean Baptiste Barbé or Cornelis Galle, the elder. Nineteen drawings for the engravings have been identified as the work of Peter Paul Rubens. Cf. The Rubens engravings of The life of St Ignatius (St Omers Press, 2005), p. 107-108; Diccionario histórico de la Compañia de Jesus, v. 4, p. 3428; Dictionary of art, v. 12, p. 16 (under Cornelis Galle)./

Commissioned by the Society of Jesus in 1605/1606 and issued in 1609, the year of Ignatius’ beatification. Each engraved plate includes a descriptive caption in Latin, attributed to Nicolaus Lancicius (i.e. Mikolaj Leczycki)–and Cardinal Peter Pázmány. Cf. modern edition: Vida de San Ignacio de Loyola en imágenes (Ediciones Mensajero, Bilbao, [1995])./ Title within architectural border depicting significant members of the Society of Jesus.

81 copper engravings (including title page and frontispiece) 19 after Rubens. Small (4to) 18×13.5 cm (7×5¼”) Later vellum ornamented with stamps of gilt St. Benedict, spine lettered on red morocco label in gilt, modern marbled endpapers. 

Nineteen drawings for the engravings have been identified as the work of Peter Paul Rubens. Cf. The Rubens engravings of The life of St Ignatius (St Omers Press, 2005), p. 107-108; Diccionario histórico de la Compañia de Jesus, v. 4, p. 3428; Dictionary of art, v. 12, p. 16 (under Cornelis Galle)./ Commissioned by the Society of Jesus in 1605/1606 and issued in 1609, the year of Ignatius’ beatification. 

Each engraved plate includes a descriptive caption in Latin, attributed to Nicolaus Lancicius (i.e. Mikolaj Leczycki)–and Cardinal Peter Pázmány. Cf. modern edition: Vida de San Ignacio de Loyola en imágenes (Ediciones Mensajero, Bilbao, [1995])./ Title within architectural border depicting significant members of the Society of Jesus.

to (20.5cm), attractive binding in contemporary limp vellum with gold fillets on boards and central fleuron, golden edges (some marginal repairs to a few leaves, light browning).  First edition of this iconographic biography of St Ignatius Loyola, which was the result of an international collaboration: the two promoters, the Jesuit Nicholas Lancicius (Polish) and Philip Rinaldi, supported by the Hungarian P»ter P?zm?ny, composed the Latin text, while it is possible that the images used for the engravings by Jean Baptiste Barb» were drawn by Rubens, at the start of his collaboration with the Jesuits (although another hypothesis is that they are the work of Cornelis Galle). The author, a skilled Latinist, is particularly known for his history of the JesuitsÌ early ventures to Asia. He refers here to IgnatiusÌs friend, Francis Xavier, and the mission to the East Indies and Japan, which Xavier had embarked upon in 1541  (Quaritch Cat. 1226, 132). Cicognara 2139; Thieme-B. XIII, 106; Hollstein VII, 169-249.

The book was published in Rome in 1609, on the occasion of the beatification of Ignatius of Loyola. Includes 79 copper engravings (in addition to the cover page and portrait) that illustrate the life of the founder of the Society of Jesus, since its inception in 1491, its conversion, its journey to the Holy Land and so on, until its death in 1556. Surely the book was in preparation for some time and was part of the Jesuit strategy to make S. Ignazio’s figure more important to the public. 

Backer-Sommervogel,; v. 6, column 409, no. 13; as well as  Vol XI col 1485(Quaritch Cat. 1226, 132). Cicognara 2139; Thieme-B. XIII, 106; Hollstein VII, 169-249.

  §§

7) 583G  Eleven works bound together, .

1) Vindiciae doctrinae societ: Iesu a Calumniis patroni torunensium anonymi. [Bound with] 2) Apologia Roberti S.R.E. Cardinalis Bellarmini, pro responsione sua ad librum Iacobi     Magnae Britanniae … [Bound with]                                                                                                                                         3) Controversia de ecclesia verbo dei, conciliis, summo pontifice, certis conclusionibus comprehensa. [Bound with] 4) Monita Calvinistarum privata & publica, generalia & specialia, ex libris illorum, dictis, & factis collecta … [Bound with] 5). Pax non pax seu rationes aliquot, quibus confoederationis Evangelicorum cum Catholicis pacem … [Bound with] 6). Obronarozsadku o niedopuszczeniu Budowania Haeretyckiego zboru wpoznaniu narespons … [Bound with] 7) Krotkie a Zwiezne otworzenie oczu [Bound with] 8) Symbola tria. Catholicum. Calvinianum. Lutheranum. Omnia. Ipsis eorum auctorum verbis expressa. [Bound with] 9) Symbolum Lutheranum [Bound with] 10)Theses Catholicae, de vocatione ministrorum evangelicorum. [Bound with] 11) Veritas catholica [in Hebrew] Tres divinae personae pater, filius, & spiritus sanctus in una essentia contra obstinatos Iudaeos, Arianos, & Anabaptistas.            $11,500

  Quarto, 7.25 x 6 in.   The collations for all ten works are as follows: (1.) A-G4 (2.) *4, A-K8 (3.) *2, A-B2, A4 [-*3, *4] (4.) A-E4, F2 (5.) A4, B6 (6.) A-M4 (7.) π, A4, B5 (8.) *4, A-F4 (9.) A-D4 (10.) π, A4, B6 (11) A3, B-E4, F1

This sammelband is bound in the original Eastern European binding of blind tooled calf with ties. The binding has been strengthened as the sewing supports were virtually non-existent. The works are all in very good condition, a minor tear to D3 in the sixth work, and the work by Brezeski, the third work, lacks two leaves of preliminaries.    This sammelband contains eleven Catholic controversial works of mainly Polish and Lithuanian origin the majority of which are by Jesuit authors. Most of the works could not be located in any institution world-wide. 1. Tyszkiewicz, George (1571-1625) The author of the first work was a long-time professor of philosophy and theology at Posen and at Lubin in addition to serving as rector of many of the different colleges. This work, a response to the second work of Patronus Torunensium that attacked the doctrine of the Jesuits, is not recorded by OCLC and no copies could be located world-wide. Krakow: in Officina Andreae Petricouii S.R.M. Typographi, 1616.

2. Bellarmino, Robert (1542-1621)

Bellarmino, who taught the humanities for many years at Florence, is well known for his controversial literature of which, this work is an example. Bellarmino wrote this work under the pseudoname “Matthaeus Torti” in response to England’s king James I “Triplici nodo triplex cuneus,” an apology for the oath of allegiance and consequently an attack on papal authority which James associated with he antichrist. The “Triplici” first appeared in 1607 and Bellarmino’s response, in 1609. This edition is one of five editions that appeared in 1610. 3. Brzeski, Albertum Stanislaum. Brzeski taught philosophy and theology in the Jesuit school at Alma and this disputation took place on June 21, 1626. Interestingly, the author thanks George Tyszkiewicz, the author of the first work in this volume, as the overseer of the school in which Brzeski teaches. This author is not in Sommervogel and no books by him appear in OCLC. 4. Kaczorowski, Kacorovius (1578-1628) Kaczorowski taught grammar, rhetoric and math. There is an interesting note in De Backer/ Sommervogel questioning the authorship of this work and offering the possibility that it was written under pseudonym. The “Monita” is very much in the vein of other sixteenth and seventeenth century controversial works. Kaczorowski has, as he states on the title page, collected information from the books, sayings and deeds of the Calvinists to produce this attack on their doctrine. One copy only  OCLC. First edition Crachow: Typis Francisci Cesarii, 1616

5. Bembus, Matthieu (1567-1645) Bembus entered the Jesuit order in 1587 and soon after taught taught philosophy and theology. He was named rector of Posen and then superior of the house at Crachow before his death in 1645. Joseph Lukaszewicz, another Polish Jesuit and Polish historian, held Bembus in high regard and penned a elegy upon his death in 1645: “in sacred eloquence, he occupies the first rung after father P. Skarga; his sermons are not only a monument of eloquence and style, but a mine of documents for the history of Poland.” TWO copies  recorded by OCLC. First edition. [no imprint info, but dated 1615]

6 and 7.  Not much is known about these two Polish language works. Neither work is recorded by OCLC. The printer, Roku Panskiego, produced mainly catholic works and these two works join the five works recorded by OCLC (all appearing before 1600) as having been issued from his press. The first work is dated 1616 and the second 1624.

8. Cnoglerus, Quirinus The present work, the “Symbola Tria” was edited by Cnoglerus and was printed with his explanatory notes by a press operated by the Jesuit order in Vilnius, Lithuania. The work consists of parallel columns of extracts from various Catholic, Calvinist and Lutheran authors and Cnoglerus’s commentary on them. Copies are located at the National Library of France, In Sweden at the Kungl. Biblioteket in Stockholm, in addition to four loacations in the United Kingdom including Oxford. Vilnius: Ex officina typographica Societ. IESU, anno, MeDIatorIs ChrIstI [or 1592 or 1602, but probably the latter]

9.and 10 Cnoglerus, Quirinus Another work by Cnoglero follows in this sammelband and like the earlier work, it is another controversial work directed this time against the Calvinists in Vilnius in Lithuania and like the previous work, it was printed by the Jesuits. No copies could be located world-wide. Vilnius, typis acad. societ. IESU. 1603

11. Pikel, Sebastien Very little information is available on this author. Even De Backer / Sommervogel mentions that their records contain little or no information on this author. Pikel wrote one other work that made it to the press, another controversial work printed in 1642 and like the preceding works, executed by the Jesuit press in Vilnius in Lithuania. No copies of this work could be located world-wide. First edition. Vilnius: Typis Academicis Societatis Iesu, 1642.

1. Sommervogel VIII: 331 Oclc 2 copies Rome & Poland 2. Sommervogel I: 1213.  Oclc 1 copy Mannheim Germany 3. Not in Sommervogel. Oclc no copies 4. Sommervogel IV: 894.  Oclc no copies 5. Sommervogel I: 1279. Oclc 2 copies both Rome 6. Not in any major reference work 7. Not in any major reference work 8. Jocher I: 1977 .  Oclc 5 copies 9. Not in any major reference work. 10. Sommervogel VI: 749

§§

§§

    9) 399J     Benjamin Jenks

A letter to a gentleman of note, guilty of common swearing. Recommended now to all such of that rank, as are under the same guilt. And fit to be perused by all Their Majesties good subjects, that would please both God, and the king, in helping to suppress this crying sin By B.J

  London: London Printed for Randall Taylor 1690.                   $900

      Wing (CD-ROM, 1996),; J618A; McAlpin,; IV, p. 388; ESTC (RLIN),; R008925.kesU

Free Library of Philadelphia

Harvard University

Henry E. Huntington Library and Art Gallery

Princeton Theological Seminary

Union Theological Seminary

Yale University, Beinecke Rare Book and Manuscript Library

  §§                                                                                       00                                                                                §§

  10).   397J.   Balthasar Mentzer, d.ä.

Concordia. Pia et unanimi consensu repetita confessio fidei & doctrinæ electorum : principum et ordinum imperii, atque eorundem theologorum, qui Augustanam confessionem amplectuntur: cui e sacra scriptura unica illa veritatis norma & regula, quorundam articulorum, qui post D. Martini Luther felicem ex hac vita exitum in controversiam venerunt, Solida accessit declaratio. Ante haec tempora communi eorundem electorum, principum ac ordinum imperij consilio, nunc verò singulari Serenissimi Saxoniae electoris Christiani II. mandato, instituendis & erudiendis subditis, Ecclesijs atq[ue] scholis suis, ad posteritatis memoriam typis vulgata.

[bound with]

Exegesis Augustanæ confessionis: cuius articuli XXI. breviter & succincte explicantur & Succincte explicantur, & subiecta antithesei ton heterodoxon Papistarum, Calvinistarum & Photinianorum, illustrantur. Authore Balthasare Mentzero SS. TheologiÆ ejusq olim in Marpurgensi, nunc Giessensi Academia Professore, & stipendiatorum Ephoro. Editio quarta castigatior & multo auctior.

Lipsiæ : Abrahamus Lamberg , Anno 1618.                                                                                                                                                                                               & [bound with]                                                                                                                                                     Lubecæ, typis & sumptib. Samuelis Jauchij. M. DC. XVII

Very thick Octavo. 6 1/2 x 3 3/4 inches ;  a8-b8, c4, A-Z8,  Aa-Zz8Aaa-Lll8.                                                                                         [bound with]                            (?)8, A-Z8, Aa-Ii8

adII VD17 1:080914U Balthasar Mentzer], a German Lutheran divine, greatly noted for his decided opposition to the Reformed Church theologians, was born in Allendorf Hesse, February 27, 1565. He studied at the University of Marburg, where he excelled by the display of unusual talents and knowledge. After preaching for several years at Kirtorf, he was appointed in 1596 professor of theology at his alma mater. While in this position he was involved in many controversies because of his prince’s tendency towards the doctrines of the Reformed Church. Mentzer was especially radical in his opposition to their views on the doctrine of Ubiquity, on Iconoclasm, the Lord’s Supper, and the Decalogue, and in 1605 was actually forced to quit Marburg, and, together with’ his colleagues, Winckelmann and Leuchter, removed to Giessen; to take a position in the new university founded by landgrave Lewis, and there became one of the most renowned teachers. He died Jan. 6, 1627, at Marburg, to which place the university had been removed in the mean time.

Mentzer was a pure Lutheran; his Christian faith was a truly orthodox belief in the Christological dogma as furnished in the idiomatic and ubiquistic doctrine. He published many works, most of which bore a polemic character. His Latin works were afterwards collected and published by his son: Opera theologica Latina (Frankf. 1669,2 vols. 8vo). His apologetic works against Romanism aid the Reformed Church contain the Exegesis Confessionis Augustance (Giessen, 1603). Similar to this is his Repetitio Chemnitiana. Challenged by the work of the Romanist John Pistorius (Wegweiser fur alle ves fuhrte Christen), he wrote Anti-Pistorius sui disputatio de prcecipuis quibusdam controversis capitibus (Marburg, 16 ( “Engelischer Wegweiser (Marburg, 1603); and many others. He engaged in a controversy with John Crocius, profesor Marburg, against whom he sent forth Abstersio calumniarum J. Crocii, Apologetica, Anticrocia, Collatio Augustance Confessionis cum doctrina Calvini, Bezoe et sociorun (1610). He had also a controversy with John Sadeel, of Paris and Geneva, Matthias Martinius, at Herborn, Paul Stein, at Cassel, Schinfeld, and Pareus: Elencheus errorumn J. Sadeelis in libello de veritate humance naturce Christi (Giessen, 1615): — Elencheus errorunm J. Sadeelis in libello de sacramentali manducatione (Giessen, 1612): Anti Martinius sive modesta et solida responsio, etc. (Giessen, 1612); and many others. These polemics concerning the human nature of Christ, the sacramental use of the Lord’s Supper, and the idiomatic use of impanation, give an idea of the logic of the Reformed criticism and the tenacity of the Lutheran defence. The humanity of Christ, the “Word was made flesh, and dwelt among us,” are the principal points of Mentzer’s theological grounds. He condemns his opponent’s view as Arianistic: ” Non igitur existimo, unquam exstitisse inter Christianos, qui Christo homini vel naturse ejus humanae minus gloriae et auctoritatis et potentale tribuendum censuerint, quam Martinium hunc Freienhagensem” (Anti-Martinius, p. 167). In a communication to Martinius, Mentzer’s assertion, “Ipsa divina pruesentia juxta sacras literas est actio,” provoked another controversy with his colleagues at Giessen, professors Winckelmann and Gisenius. This controversy was settled by the landgrave’s personal interference only, who in 1607 imposed silence and peace on all parties. Mentzer’s principal work is Necessaria et justa defensio contra injustas criminationes L. Osiandri, M. Nicolai, Th. Tummii, in qua multi de persona et officio Christi erroris deteguntur et refutantur (1624). This was answered in 1625 in Thummi’s Acta. In 1618 Mentzer was called to Wolfenbittel to give his opinion on Calixtus’s Epitome theologice. He never went thither, but sent a criticism to his son-in-law, superintendent Wiedeburg, acknowledging the eminent talents of the author, but judging his epitome from his own narrow and exclusive stand-point. See Witten, Mem. Theol. 1:223 sq.; Strieder, Hessische Gelehrtengeschichte, vol. viii; Walch, Relig. Streitigkeiten innerhalb der Luth.-Kirche; also, Streitigkeiten ausserhall der’ Luther. Kirche, 3:505; Henke, Georg. Calixtus, 1:123, 282, 307, 321; 2:23; Memor. Theol. 1:223 sq.; Gasz, Gesch. der protest. Theol. 1:277, 278; Walch, Biblioth. theologica, 2:654; Dorner, Doctrine of the Person of Christ, 2:243 et al. (J. H. W.)

  *§()§*

11) 342G.  Jean Hermant   1650-1726

La storia delle eresie, nella quale si descrive con ordine Alfabetico il nome, e la Vita degli Eresiarchi che hanno turbata la Chiesa dalla Nascita di Gesucristo fino a nostri tempi, e gli errori che vi hanno disseminati. Con un Trattato tradotto dal Latino di Alfonso de Castro, Il quale risolve molte Questioni generali intorno all’Eresia     

Venezia, Appresso Francesco Pitteri, in Merceria all’Insegna della Fortuna Trionfante, 1735 [Venice: Pitteri, 1735].                                  $2,800

The first volume is mostly a history of heresies and what makes an heresie.  Followed in volume two and three a list of heretics in alphabetical order with brief listings of their crimes from (one of my favorites ) Abelardo to- Zuingliani, it it a little disturbing that I have read most of the books by these guys.. go figure?

Three duodecimo  volumes A-Z4 Aa-Zz4 Aaa-Lll4.              pp. 448 to first volume, pp. 432 to the second one, pp. 450 (ther last leaf is blank) to the third volume. Text in Italian.                        Each of the three volumes are bound in full matching vellum binding, handwritten title at spine, marbled edges .  Provenance: I. Handwritten inscription to the first fly-leaf of volume I (partially erased), Continet hoc liber xxxx Delle Hesie (sic) Tom Primo | Pro Medarum Biblioteca | Pater Conradus | a | Castro S.ti Joannis | Dicavit | Amodo Rev.di Patres | Mon(a)st(e)ri | permissu. II. On the verso of the front fly-leaf of each volume, handwritten inscription Ad uso del P. Corrado di Castel S. Gio. dedicato alla Lit.a di S. Fra.sco di Medes con licenza del Sup.e Pro.le.

  Palau [49088].{CCPB 000353019-1; ICCU.; Toda 6030}

Fascicule XXII 11 more books . Media Plaga ‡ Aprili MMXX 'VIVITUR INGENIO' 392J. Albrecht DÜRER 1471-1528, Translator Giovanni Paolo Gallucci,; 1538-1621? Di Alberto Durero pittore, e geometra chiarissimo.

#Media Plaga #Vivitur Ingenio

[sins-of-the-sea]

//I'm studying more and more a lot about character design, character design language, the usage of curves, lines, and sharp angles, and... well.

I agree with a lot of them. But I choose not to employ them for one very specific reason: the characters of Devil's Eye are human beings. They are not monsters. They are more than story archetypes. Even when they are written for a certain purpose, to speak of a language at a first glance... many of them otherwise are intended to create ambivalence and uncertainty. You are not supposed to know how to feel with certain characters, and the heart-wrenching ambivalence serves the moral complexity that drives the main characters.

So I do not apologize for designing Lorenzo and Gregorio Vespucci with softer, rounder features that is usually reserved for kinder, more approachable, "cuter" characters. In Giovanni's eyes, despite them shoving him in a cellar for 10 years, he sees them as his protectors, mentors, and beloved family who cared for him despite being a 'pox'. And you can't convince him otherwise. Any complaints of being in the cellar and worrying about drowning in the acqua alta is treated like a kid complaining he didn't the best toy brand of the season, or some other "first world spoiled child problem".

I'm still learning and mastering the language of character design, though, so this may change. But I don't want to change the narrative that Giovanni is so attached to his abusers. Mostly because said abusers are continuing a cycle that was imposed on them. How do you neatly resolve a story so troubling and complex when they were killed before a chance at redemption was finally at hand?

#[Ira et Avaritia] #[About Giovanni] #[Memories of Gregorio and Lorenzo] #child abuse tw #child neglect tw

[sins-of-the-sea]

Ca'Vespucci, Republic of Venice, 1506

"Why do I have to stay in here? It's cold in here! And it gets wet!"

"It's just for now, Giovanni. At least for a couple days or so."

"Why a couple days?! That is MY bedroom! We have a lot of guest rooms for Ca'Vespucci! They can take the other rooms!"

"W-well..."

"...It's because of me, isn't it? You promised me and Papa you'd take care of me after Mama died."

"Giovanni-"

"You promised Papa at his deathbed! That you'd let me see the sky! That you'd let me see the sun, the moon, and the stars!!"

"We know what we promised, Giovanni! Just-... please. For a few days. People are still scared of you being around and-"

"Scared of me being around??"

"It's complicated, all right?! People talk and-"

"What do they talk about?? That I'm-"

"....."

"....That I'm a pox? Are you... telling me to go in the cellar so you can hide the world from me?"

"....We just want to keep you safe, Little Nani. From people like Mama."

"It's just... a couple days, right? You're not going to let the acqua alta get to me?"

"It's a couple days. We promise, Nani. Just stay quiet and... don't draw attention to yourself. If you do, people are going to be scared of you and won't want to become your friend."

"You'll be safer there, away from people who think they'll get hurt if you're present. But we'll be here, Nani. We'll keep you safe. When those other people are gone, we'll get you back into your bedroom, and you won't have to worry about causing bad luck to anyone anymore. Do you promise to keep quiet?"

"I promise. Just... don't forget about me...."

#ableism tw #child neglect tw #child abuse tw #meant to post this last night but ASFOIASHFOIASHFOASIHF #I AM SORRY FOR THOSE AFFECTED BY GIO'S GREED #[Ira et Avaritia] #[Giovanni Vespucci] #[Gregorio Vespucci] #[Lorenzo Vespucci]

[sins-of-the-sea]

"Oh, I traumatized them back, all right. There is a segment of Barcelona, just outside the city walls, where a fortress estate belonging to minor nobility has fallen into ruins due to 'unnatural causes'. No one dared to rebuild. No one dared to step into the ruins to even study it, even for the sake of historical preservation. The place is cursed now, for millennia to come.

"I made sure of it."

#[Dashboard Commentary] #a thousand thank yous to Cappn in suggesting how House Frances becomes a part of the greater Devil's Eye story even in the Main Story! #otherwise it would have just been stuck as background #[Ira et Avaritia] #[Captain Josep Frascona] #trauma tw #murder tw

[sins-of-the-sea]

@riiese

Captain Frascona doesn't answer the question right away. He just keeps staring at the estate just outside the walls around the main city. Well… what was once an estate.

"Lots of things. Wicked things. Commands to make sure people got hurt. Rumors spread to bring in more hurt to those they cannot touch. Words to encourage that the hurt needed to happen and that it was all a good thing. All to maintain status to two Crowns that cared little for us. Status that wouldn't climb even if the people here wanted it to. And the experimental magic that took it all down….

"It was experimental in the sense that it wasn't done at this scale and power before. It couldn't be contained. Everything it touched, it crumbled. It took apart. It destroyed. Years upon years of hurt, returned thirty-six fold. On behalf of so many names, from the home itself to the courts and ghettos they extended their reach.

"That magic is rage. Fury. Anger. Wrath. The story of the destruction of the House of Frances shall be told as a cautionary tale to anyone who uses the name of God and the Crown to inflict pain and control upon others.

"A tale of Wrath incarnate. Alive and breathing, today and for eternity. Sung from the endless, darkest depths of the sea."

#AAAAAAAAAA poor Ingvar ;-; #riiese #death tw #murder tw #[Captain Josep Frascona] #[Ira et Avaritia]

[sins-of-the-sea]

"Look, everyone. The food Venice had is not like the rest of Italy. We had mostly rice and polenta instead of pasta, and our proteins were often seafood. I only started cooking the other regional foods because it was requested by the others of the Crew whenever they wanted something that isn’t Spanish/Catalan, Caribbean, Arabian, French/Sephardic, or Chinese.

"That, and I frankly really, really, really hate polenta."

"What's wrong with polenta?"

"Because it was all that I was given to eat. For ten. Long. Years."

"Huh? No way you were given just that, you were-

".............."

"Locked in a cellar for ten years trying not to drown in the acqua alta, NEVERMIND FORGET I ASKED, WE WILL ONLY ASK FOR THE NICE STUFF THAT HAS NOTHING TO DO WITH VENICE, I’M SO SO SORRY GIOOOO!!"

#according to wikipedia #polenta had other grains before its base was corn #remember corn came from the Americas #so you can't be all 'awww Gio you had cornbread growing up! :D #also hey new icon art for Gio from artwork I haven't posted yet WEEE #child endangerment tw #child abuse tw #starvation tw #food tw #[Giovanni Vespucci] #[Wang Ruixiong] #[Ira et Avaritia]

[sins-of-the-sea]

//I'd love to rewrite Ira et Avaritia someday. I now have a firmer grasp of Catalan history within the grand scheme of Spain, a more developed idea of Josep's relationship with his brother and cousins, and by the suggestion of CappnRob and another friend, how I can tone down the extremity of Giovanni's childhood abuse by the hands of his brothers after their father died.

Oh, Gio was still hidden from the world, got tossed in the cellar, and nearly drowned in the acqua alta more than once, but the acuteness of the direct abuse has been modified to where Giovanni shouldn't be so that, realistically speaking, he would have developed permanent cognitive disabilities that that would prohibit him from being able to sign up for the Magellan Expedition by adulthood.

It also would make Gregorio and Lorenzo significantly far less depraved, irredeemable monsters, and that the tragedy of the relationship they and Josep/Gio had is that, if Josep hadn't killed them, they COULD have been redeemed, mended their relationship with Giovanni (and even each other), and helped him recover. But it didn't happen because Josep killed them first. And it would be a theme on how no one should be denied a chance of redemption and being accountable if they are truly, truly, truly remorseful.

#fuck Renaissance Family Drama is living rent free in my head again STOP THAT #STOP THAT NOW #[Ira et Avaritia] #[Captain Josep Frascona] #[Giovanni Vespucci] #[OOC] #child abuse tw #abuse tw