Large 4to, pp. 63, [1 blank]; woodcut initials and attractive head- and tail-pieces; a little creasing to corners; very good, stab-stitched in contemporary marbled paper wrappers; slightly worn.
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Hypermnestre, tragedie, mise au theatre de l’Academie Royale de Musique de Lyon, pour la prémière fois en 1742. Le prix est de douze sols.
Very scarce Lyon edition of the libretto for the tragedy Hypermnestre by the French playwright Joseph de Lafont (1686-1725). First performed in 1716, with music by Charles-Hubert Gervais, the play was initially criticised for its fifth act, but after rewriting by abbé Simon-Joseph Pellegrin enjoyed considerable success both with the public and at court. Lafont died at the age of 39, succumbing to his affection for wine.
In 1742 Hypermnestre was performed for the first time at the Royal Academy of Music in Lyon, and this edition gives the names of the singers, actors and actresses who performed. The title role was played by Mlle Louise Jacquet (b. 1722) who began her singing career at the Paris Opera in 1738 and subsequently moved to Aix-en-Provence. An attractive portrait of her was painted by Jean-Etienne Liotard.
In Greek mythology, Hypermnestra was one of the fifty daughters of Danaus, king of Argos, who defied her father by refusing to kill her husband Lynceus.
We have traced only 3 copies, at the BnF, BM Lyon, and the Library of Congress.
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Cerimonie piu’ notabili della messa privata; Cavate dalle rubriche del Missale, ed altri autori da un Sacerdote D.C.D.M. Coll’aggiunta di quelle della messa, e vespri solenni si pei vivi, che pei defunti, col modo di servire alla messa privata. Da un’Alunno del Seminario di Torino.
As far as we are aware unrecorded edition of this uncommon treatise on the celebration of the mass and its associated rituals. Dealing both with private (low) masses and with solemn mass and solemn vespers, the work explains the meaning and performance of the non-verbal aspects of the liturgy: genuflection, the sign of the cross, the communion of the faithful, the movements of the celebrant’s hands, the role of acolytes and thurifers (also during requiem masses), the office of the subdeacon and deacon, the use of incense, and instructions for serving at the missa private. The woodcut on page 200 depicts the altar, annotated with numbers referring to the relevant parts of the text.
The text itself appears first to have been published around the turn of the century; the earliest issue in SBN is a Naples printing of 1701, but that claims to be ‘novamente riviste, ed accresciute’, and is only of 134 pages in 12s. Other editions appeared in Pavia, Turin, and Modena, while Venetian printings were issued in 1739 and 1750. All seem very scarce.
Not in OCLC, which records only a Venice printing of the same year (in the Polish Union Catalogue); SBN does not record this edition.
HEBRIDAL SMELT YARRELL, William.
A History of British Fishes … illustrated by nearly 400 Woodcuts.
First collected editions, with an autograph letter on the Hebridal smelt from the species’ discoverer. Published serially from 1835 to 1836, Yarrell’s History of British Fishes was reprinted within a year, and followed soon after by Thomas Bell’s British Reptiles in 1839 and his own British Birds in 1843 published by van Voorst and together forming a comprehensive survey of British wildlife. Though noted for his careful observations, Yarrell is here corrected on several points in an autograph letter to the antiquarian Adam Sim (1805–1868) from William Euing (1788–1874), who had discovered the Hebridal smelt (first included in the Supplement) in November 1837.
Despite this contribution to Scottish ichthyology, Euing, a Fellow of the Royal Society of Edinburgh and President of the Glasgow Archaeological Society, is best remembered for his fine library, of which some twelve thousand volumes now belong to Glasgow University.