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James Boswell’s Book of Company at Auchinleck.
The Book of Company is much more than a visitor’s book, since James Boswell comments on the men and women he met and entertained, and the occasions of his doing so, are all his own. It is therefore an important addition to his many-sided self-portrait. Beginning in 1782, two years before Samuel Johnson died, and ending five months before Boswell’s own death in May 1795, it reflects Boswell’s anguished uncertainties, as well as the everyday details of where he was, with whom he dined, whom he saw in the evening and – punctually recorded – how many bottles of wine and spirits were dispatched. The book is here reproduced in full facsimile, interleaved with a transcript on facing pages. At the foot of each page is a commentary, largely drawn from Boswell’s correspondence and journals, which converts it into a comprehensive day by day diary of his thoughts and actions throughout the period.
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De rebus a Iudaeoru[m] principibus in obsidione fortiter gestis, deq[ue] excidio Hierosolymorum, aliarumq[ue] ciuitatum adice[n]tium, libri V diuo Ambrosio Mediolanensi episcopo interprete. Eiusdem Anacephaleosis fini operis adiecta est.
An early edition of this popular Latin account of the Jewish War of 66-73 AD, with a dedication by Philipp Melanchthon. The text borrows heavily from the Jewish War and Jewish Antiquities of the first-century Jewish historian Josephus, and is attributed in extant manuscripts either to Hegesippus – a possible corruption of Iosippus – or to Ambrose of Milan. Its composition is usually dated to the late fourth century: book 2 contains an allusion to the conquest of Britain by Theodosius c. 370 AD. The text is followed by the Pseudo-Ambrosian work Anacephaleosis, a Carolingian treatise on the destruction of Jerusalem, and the volume ends with tables of concordance between Hegesippus and Josephus’s works.
The constant mistress ... with engravings by Eric Gill.
No. 174 of a limited edition of 300 copies. Enid Clay was Eric Gill’s sister; he also provided engravings for her Sonnets and Verses (1925). Gill’s collaboration with the Golden Cockerel Press was enormously successful: ‘For a while the Golden Cockerel was Eric Gill’ (Fiona MacCarthy, Eric Gill p. 187). ‘No other wood-engraver of the period comes near to Gill’s originality and verve’ (ODNB).