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Ci ispiriamo agli antichi maestri giapponesi che cantarono la bellezza della natura e del cosmo, in 17 sillabe che chiamarono HAIKU. I am very fond of her, she has known me since I was a child. In the evening, when I come back home,I often go to say hello to her. I Know her habits,I know that at the time of my coming back home, she is cooking for dinner, which is always the same,very frugal.

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Io le sono molto affezionato, mi conosce da quando ero piccolo. Sempre la stessa, molto parca. Numerosissimi, alti e vetusti gli alberi: cipressi , platani, aceri, faggi, castagni. Accanto ad aulici mausolei, cappelle sfarzose e statue imponenti si trovano sepolcri semplici e umili. Nomi illustri e nomi sconosciuti. Tombe grandiose che ospitano intere generazioni di familiari e tombe piccolissime con un solo occupante.

The plot is about a female physician, an oddity at least in those days, and a defrocked monk who work together to discover who is killing young people, one a poor boy and the other a wealthy young woman. What do they have in common? Not much, yet there seems to be enough of a connection that it needs to be looked into.

When they add that there is a young man who is being accused and is likely to be put to death, in the most abhorrent way possible, very soon, the two join together to find out who the real murderer is. I loved the story and the translation is very readable. Are the two events connected? This is just one of the questions that a former scribe, Edgardo, and female physician, Abella, intend to answer.

As I progressed through the novel, however, my impressions oscillated widely. One minute I was enjoying a medieval Venetian landscape elaborately constructed with historical detail, and then I was forced to sigh at the misleading employment of addictive substances. Another minute I was engrossed in an exciting investigation, and then I found myself eyerolling at plot deviations. Upon reaching the end, I was treated to an amazing motive but found it lodged in a rushed and jumbled conclusion.

Apr 17, Thomas rated it really liked it Shelves: storici. Overall, I liked this installment of the medieval Venice murder series and, clearly, a third book is planned. Medieval Venice must have been a dark and disturbing place. Strengths of the book are the capture of the poverty of regular people and their widespread ignorance and their belief in a form of Christianity that incorporates plenty of elements of the supernatural. The book introduces a female doctor who s Overall, I liked this installment of the medieval Venice murder series and, clearly, a third book is planned.

The book introduces a female doctor who stands for reason, clarity of thought and scientifically based knowledge; attributes that are rare and easily overpowered in medieval Venice, especially as they come from a woman. A tale that draws the reader to medieval Venice with authenticity. The cast of characters are well written with human failings, kindness, and triumphs.

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Supported by some, impeded by others Edgardo must see through emotions and motivations to find the truth. A book that kept my interest engaged from page one till the end. A page-turner, for sure. Interesting details about Venice in the 12th century. I liked the characters, but did not know it was part of a series. The ending left an opening for another book, so not complete closure at the end. Some gross descriptions of Carnival excesses and a bit flowery, but that could be the translation.

I did enjoy the story, but did find it a bit odd. Beautiful descriptions of Venice. A tale of medicine, malformation and mummies. A seemingly rushed ending let the novel down. Which was a shame- having read and absorbed all the fine detail throughout- I felt the tale concluded within 3 chapters too hurriedly and left me disappointed. Nevertheless, worth a read! This an Italian book translated by Katherine Gregor. Is a medieval novel taking place in Venice. I struggled through this book due to gross scenes of violence.

Very graphic and disgusting at times. Is a book of mysteries and political intrigue. Thanks to Goodreads. I wasn't too sure about this one at first but the unlikely team of the female physician and the misfit grew on me. I have to say that the descriptions of this ancient city and the brutality that occurred during the novel was disturbing at times. I could have done with a little less atmosphere! Loved it. Very cool! Oct 16, M. A medieval mystery and a good read! If you like historical fiction you will enjoy this book. A vivid [picture of Venice. Highly recommend.


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Well written murder mystery set in Venice. Wasn't sure I would enjoy a novel of venice a. But it was absolutely entertaining. A delight and a page turner. Tiraboschi brings 12th century Venezia to life with an engaging mystery. Beautifully descriptive language sometimes leads into grotesque depictions; but it does seem historically plausible.

Quite dark an excellent picture of Venice 12th century when it was more marshes than buildings. Mar 11, Alessandro Nicolai rated it really liked it. Two volumes containing four works, in near uniform bindings. First volume. Three works bound together, folio x mm.

Collation: A Issued without title-page, opening with dedicatory epistle to Innocent XI. Twelve numbered half-page engravings accompanied by explanatory text below, printed on recto only. The plates are partly dated between and , engraved by Giovanni Battista Falda and Jacques Blondeau, after Meyer. Typographical ornament on the title-page. Fifteen engravings in the text, two of which are double page.

Most of the plates signed by Meyer as designer, and sometimes as both designer and engraver.

The double-page astronomical engraving is signed by Ioannes Baptista Honoratus Polustinus. Extremities of the spine damaged. Fine, unsophisticated copy. Worm-tracks on the upper margin of several leaves not affecting the text, some leaves somewhat loose. Second volume. Three parts, folio x mm. All leaves are unsigned, except for fols. The edition includes: two additional titles with dedication to Innocent XI and a large allegorical engraving present here in two states one variant has the caption title 'Fluminis Fluctus Letificant Civitatem' written on a cartouche on top of the engraving, while the second version has 'D.

The final 15 pages contain the relations of the Sacra Congregatio riparum Tyberis, and end with the colophon 'Romae, ex Typographia Rev. The first illustration of part two, a double-page map showing the Delineatione del stagno di Maccarese , is captioned: 'In Roma, nella stamperia di Nicol'Angelo Tinassi, '. The comet plate referred to in the list of plates is absent, in keeping with all other copies. At the bottom of the figura quarta in Part one are two contemporary ink drawings of technical structures. Woodcut head- and tailpieces. Contemporary vellum, over thin boards. Spine with inked title, partly damaged and with a few losses.

A genuine copy, with good margins. Some browning and foxing, double-page map of Delinatione del stagno di Maccarese heavily browned. Provenance: I. Meyer's own inscription 'Ex dono Auctoris' on the verso of the front flyleaf; on the front pastedown nineteenth-century armorial ex-libris of the Odescalchi family, bearing the motto 'per servire s'acquista servi quando poi', and engraved by Michelassi.

Meyer's own inscription 'Ex dono Auctoris' on the verso of the front flyleaf. Two-volume set containing four rare first editions by Cornelius Meyer Cornelis Meijer , both volumes bearing the author's inscription 'Ex dono Auctoris'. Dedication copies of these already rare works are extremely hard to come by separately, and even more so bound together, and in copies complete with all their parts. This is the case of this set, in which the first volume also bears the ex-libris of the Odescalchi family, and it is especially noteworthy that Pope Innocent XI Odescalchi was the patron of Meyer as well as the dedicatee of the second edition bound in this volume.

The first work bound — Nuovi ritrovamenti divisi in due parti Parte prima — though printed seven years later, in , forms the first section of a two-part work, which gathers some of the author's technical inventions and scientific experiments. The second part, Nuovi ritrovamenti dati in luce , was issued first, in , but both texts are clearly related insofar as the index to both parts is printed at the end of the Part one.

The plates show inventions and experiments undertaken by Meyer in Rome and other places like Livorno and Civitavecchia: among others, the large magnet of the Grand Duke of Tuscany, instruments and technical tools to raise cannons and poles from below the sea and to break stones underwater, methods for melting metals, canalization and other hydraulic works, a plan of the harbor of Livorno, fortification works, spectacles, games and curiosities including how to break a glass with a musical instrument, the eclipse of Jupiter's first satellite, a map of the mouth of Po river, chariots, the design of a room, the orbit of a comet, and fountains.

One of the plates included here shows the Civitavecchia harbor, where the author recovered the hull of a sunken vessel. The third work included in the first volume — the one bound in the middle — is the rarest of all three. It was issued without a title-page and opens with a dedication to Innocent XI Odescalchi.

Meyer's name appears at the end of the dedication, while the imprint is at the bottom of the last two leaves. As stated in the notice to the reader, with this publication Meyer intended to show to the general public how he so brilliantly completed the first task assigned to him by Clement X upon his arrival in Rome. Born in Amsterdam, Cornelius Meyer left his country in for Venice, then a popular destination for Dutch engineers seeking employment.


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He moved to Rome one year later. Pope Clement X put Meyer in charge of a major project aimed at protecting the Via Flaminia against the flooding of the Tiber. Meyer, whose plans were less expensive than those proposed by the project's former head engineer, Carlo Fontana, constructed a passonata , i. First edition of Meyer's important work on the restoration of the Tiber River for navigation, L'arte di restituire a Roma la tralasciata navigatione del suo Tevere , which is considered his masterpiece, and is presented here in its second issue the first issue is dated on the title-page.

After this first successful work on the Tiber, Clement X and his successor Innocent XI hired Meyer to improve navigation on the river with the purpose of increasing commerce. Meyer came up with revolutionary solutions to expedite travel along the river and in , with the help of artist Gaspar van Wittel, he published his projects in L'arte di restituire a Roma la tralasciata navigatione del suo Tevere. The book, which is divided into three parts, was both a record of Meyer's engineering skills as well as a form of self-promotion for seeking further commissions.

It was with his designs in L'arte di restituire that Meyer consolidated his reputation among the artistic and scientific elite of Rome. Engraved author's portrait as a frontispiece. Thirty engraved folding plates.

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Contemporary vellum, ink title on the spine. A very good copy, pale waterstains to the lower outer margin, small wormholes to the gutter of a few leaves, without any loss. Provenance: Antonio Vallisneri, given as a gift by him to the Italian scholar and historian Francesco Saverio Quadrio ; see Vallisneri's dedication on the recto of the first leaf, 'All'Ill mo P. Francesco Xauerio Quadrio della Comp.

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First edition of this collection of Vallisneri's writings on natural history, offered here in a fine copy gifted by him to the renowned Italian historian Francesco Saverio Quadrio, who is especially well-known for his Della storia e della ragione di ogni poesia , a voluminous history of poetry, theatre, and music.

Antonio Vallisneri was born at Trassilico, in Garfagnana, on 3 May His education initially followed the traditional path of the Jesuit schools — a path reserved for the sons of the 'best' families of the day. In , he started attending Bologna University, where he became one of Malpighi's students. In , he was awarded a degree from the College of Reggio Emilia , after which he extended his practical knowledge and experience in Venice, Padua and Parma. He subsequently returned to his homeland, where he practised his profession and simultaneously initiated an extremely intense period of natural history studies.

Vallisneri's works and observations evince an original interpretation of the themes and perspectives of the Galileian medical tradition followed by Malpighi and Redi and were positioned along the most advanced front of the debates between natural history and life science that were then under way in Europe. Vallisneri was inclined to set his scientific hypotheses within a general theoretical framework although maintained a Baconian respect for empirical data, and he committed himself to overcoming the limits of Cartesian dualism and mechanism, first with reference to Malebranchian thought and then to that of Leibniz.

His teachings were based on his meticulous observations of natural science, particularly in the fields of entomology and comparative anatomy; he was convinced that scientific knowledge is best acquired through experience and reasoning, and this principle was followed in his anatomical dissections and carefully drawn descriptions of insects. Vallisneri's research into reproduction demonstrated the non-existence of spontaneous generation and anticipated evolutionist theory.

In the collection presented here the Lezione Accademica intorno all'Origine delle Fontane is especially noteworthy. The lucidity of Vallisneri's experimental approach makes it a perfect example of the Galileian method. Garrison-Morton, ; Pritzel ; M. Sabia, Le opere di Antonio Vallisneri medico e naturalista reggiano Bibliografia ragionata , Rimini , pp.

Contemporary wrappers, small losses to the spine. A fine, uncut copy. The second, augmented edition of this entertaining ludic poem, or cicalata. A notice is printed before the title-page referring to the first edition printed in Rimini in The name of the author is given only under the form of an anagram, 'Giri di Luna', in the dedication on p.

This work, by the canon from Savignano Luigi Nardi, though written as a cicalata for the marriage of Carlo Ridolfi from Verona to Madonna Rosa Spina from Rimini, represents a real treatise on the history and art of making porchetta roast pork. According to Nardi, the only true porchetta is that traditionally made in Romagna, the author's region, a version which has nothing to do with that produced in Naples or Bologna. Nardi then explains that in Ancient Roman cuisine, 'porcus troianus' referred to pork stuffed with various meats, which, when cut open at the table — often in a spectacular manner — revealed its precious contents, as in the famous Homeric episode of the Trojan horse.

The first volume. The second volume. The third volume. Ordinamento: Ord. In original speaking-binding. A bibliographical puzzle. The first appearance in print of the Galateo.