#octavo x reader | Explore Tumblr posts and blogs

fangirlxwritesx67 · 3 years ago

Text

Worth Her While

When the Winchester brothers ask Rowena MacLeod to help them steal an amulet, she agrees -- as long as she can make sure that the case is worth her while.

Sam Winchester x Rowena MacLeod (established relationship), Dean Winchester

5800 words

Written for @spnfanficpond Alpha Reader Program, working with @mrswhozeewhatsis. AN at the end.

Every eye was trained on Rowena as she twirled from one Winchester to another across the dance floor. Dean’s warm palm lingered over her upper back longer than was necessary, fingers tracing the edge of her dress just below her shoulder blades. To everyone else, it would look like he was getting handsy with her. But she knew he was tucking the amulet down inside the top of her black cocktail dress.

Just like they had planned.

"Hello, boys," Rowena cooed when she picked up the phone. Sam's name was on the screen, but she knew Dean would be close by.

"So, get this," Sam said eagerly. "We've wanted to get our hands on the Aerie Amulet since we found mention of it in Black Grimoire we got from the Loughlins, right? It’s rumored to be a powerful tool against the forces of darkness, but no one has seen it in decades. Well, it turns out it’s been tucked securely away in a museum storage vault with the rest of the Carter Collection."

Rowena hummed noncommittally. Sam was always digging into the lore and looking for specific pieces of arcana. The two of them shared a fascination with occult objects but she didn't always keep track of every latest object of his interest.

Sam continued, speaking faster in his excitement. She found his enthusiasm so charming. "This weekend, the Carter Collection is going on display at the Brandt Museum for the 100th anniversary of Carter's death. We have a chance to get our hands on the amulet."

Sam paused, the phone line practically crackling with anticipation. "We were hoping you could help us."

Ahhhh. There it was. "You two are perfectly capable of making fake IDs and getting in anywhere. How am I involved?"

“See, there’s a reception to celebrate the display and we were hoping you could help us provide --”

"Distraction!" Dean cut off his brother. "You get dressed up all pretty, go in on Sammy's arm, everybody's looking at you, and I make off with the amulet!"

"Awww, you think I'm pretty?" She didn’t have to be there to know the way he would be blushing across his freckled cheeks all the way to his ears.

Rowena heard Sam chuckle once before he tried to stifle it. She could picture his face in her mind, and the thought made her smile. She knew the look he must be wearing --adored it, really-- the way he set his jaw, but the pop of his dimples always gave him away.

"Let me see what my calendar looks like," she answered. She was quite intrigued by what they were proposing but didn't want to seem too interested too early. “Of course, I’d come anywhere if it meant getting to see Sammy looking all rich and handsome.” She smirked, knowing both boys would be blushing now, for very different reasons. “I’ll let you know.” She blew a kiss towards the phone receiver and then hung up before she could hear Dean start teasing his younger brother.

Setting her phone down, she opened her laptop. Sam wasn't the only one who could research. Mention of the Carter Collection had sparked something in her memories.

There was an octavo, a set of folded pages, rumored to be from an ancient grimoire. Scholars considered it important from a linguistic perspective, but she was interested in it for her own magic.

It surely would not be that difficult to convince the Winchesters that they needed the pages in order to properly use the amulet. This caper could turn out to benefit her quite nicely.

The reception at the museum was scheduled for a Saturday evening. Rowena thought if she were going to go, she wanted to make the trip well worth her while. Not only with the octavo, but with a little getaway.

She saw no reason to haul her “exquisite ass” -as Dean once so aptly described it- the whole way to the Men of Letters bunker in Kansas, so she insisted the Winchester brothers book a hotel. Not one of their usual roadside dumps, either. Someplace with at least 3 stars and room service.

“I’ve changed my mind. Do we have to bring her?” Dean fussed over the phone.

“We need her help to authenticate the Aerie Amulet!” Sam answered. She knew without seeing him how he would roll his eyes.

“Plus, I specifically recall you needed me to look pretty,” Rowena reminded them with a musical lilt to her tone. It was so much fun to wind them up, both of them. While Dean was the one who had said it, she knew Sam would appreciate it so much more.

Her outfit was distractingly gorgeous, with a surprise just for him. She had picked out a black gown with a structured fitted bodice and sweetheart neckline that would lift her cleavage and frame her slender waist. The soft straps sat wide on her freckled shoulders, framing the angle of her collarbone right where Sam loved to kiss. The skirt fell all the way to her ankles, heavy satin hugging her legs under a layer of soft chiffon. It flared out at the hem and whispered delightfully when she walked.

The dress would draw everyone’s eye, and she loved it. Too long had passed since her last chance to get so dressed up and glamorous. But the best part was hidden, for only Sam to see - silky lace panties with ribbons laced over the cleft of her ass. Just thinking about his reaction had her pressing her thighs together.

Rowena checked into the hotel before they did. She wanted to take her time on her hair and makeup. That way, when the boys got there, she was strategically half-dressed. She greeted them at the door, the wide straps of her little black dress falling off her creamy shoulders. She smirked as Dean fled into the next room over.

“Oh, Samuel, can you help me fasten up the back of my dress? I can’t reach the end of the zipper.” She batted her eyelashes and widened her green cat eyes in her best imitation of innocence.

He pursed his lips. He knew better than to ever believe she was without motive but followed her into her room.

She turned to face the mirror, leaning forward to adjust the rise of her breasts in the closely fitted top. As she bent over, the zipper fell open well below the waist of her dress, giving Sam a good look at her panties - the criss-cross ribbon, the dimples at the small of her back. She watched in the mirror as his eyes widened and he fumbled for the zipper of her dress. She smirked. Her plans were coming together nicely.

Just before sunset, as the day began to cool, Dean pulled the Impala around to the front door of the hotel. Sam opened the back for her before slipping into the front seat. Both of the brothers were dressed in perfectly fitted suits, white dress shirts immaculate. They could definitely pass for rich museum patrons.

Dean caught her gaze in the mirror and gave a teasing wolf-whistle. “Mighty fine-looking lady you got there, Sammy.”

Rowena scoffed, tossed her hair back off her throat, and opened her mouth for a sharp retort. But Sam spoke first.

“I don’t think I’ve ‘got’ Rowena,” he answered dryly. “She’s made it quite clear she’s a woman all her own. But she does look nice.” He turned to smile at her over his shoulder. She smirked and settled back against the seat.

“Will we get dinner first? I’m hungry.” Rowena changed the subject. She wasn’t usually one to care much about meals, but she did have a reputation of being high maintenance.

“There’s food at the reception, lots of it,” Dean said as he caught her gaze in the rear view mirror. “I’m sure there will be time for us to eat before the heist.”

“You would know.” Sam turned to his brother, his tone light and teasing. “I’ll bet you googled the caterer.”

“Look, there’s nothing wrong with knowing what I can expect to eat!” Dean’s retort was quick, but his tone was playful.

Rowena grinned. It was so rare that they got to have fun on a case, and she found it strangely gratifying to see them prepare for a mission that wouldn’t involve killing. So often everything they did was so serious and weighted, life or death situations.

She couldn’t remember ever working a case with them where they all got to dress up and enjoy a glamorous evening out. She was seeing a new side of the Winchesters, and she didn’t mind it one bit.

Dean pulled up at the entrance to the museum, dropping off Rowena and Sam before parking the Impala a few blocks away. She entered the reception on his arm as he handed their invitation to the security guards. They didn’t blink -- Sam had done a good job with the forgery.

Once inside she took a deep breath and looked around. A string quartet played softly in the far corner. Everyone was dressed up, the men in suits and the women in beautiful cocktail dresses and glamorous gowns. Tuxedoed waiters circulated with trays of canapes, delicious-looking little bites of food.

One entire wall was a tasting station for several types of tequila, featuring the premium brand, Number Juan. She preferred champagne to tequila but smiled in spite of herself.

That should make Dean happy.

People were chatting, mingling, and a few were even dancing. It seemed that few people were venturing away from the reception to view the exhibits. That would make her mission easier.

Someone approached with a tray of champagne flutes. Sam took two and handed one to her before raising his in a toast.

“To success!” he said softly.

“And to celebrating afterward,” she purred, enjoying the flush that spread over his cheeks.

His gaze was drawn away when Dean entered the room. His invitation was just as flawless as Sam’s, but something made security give him a once over. Probably his cocky attitude, Rowena thought, although she knew well that he had charmed himself out of worse situations. When he was at last admitted, she breathed a sigh of relief.

Sam greeted his brother with a barely perceptible nod. Dean tossed a wink in Rowena’s direction and headed straight for the raw bar: a long table of seafood arranged on ice. It looked expensive and delicious.

The noise of the party ebbed and swelled as more patrons entered. Everyone looked rich, and most seemed more interested in mingling than in the museum itself. Rowena and Sam took advantage of the crowd to sneak off and search for the objects of her desire. Luck was on their side.

The Aerie Amulet hung on display, lit by a single spotlight. The octavo was in the same room, on the wall, under a thick layer of plexiglass. It was even tinier than she expected, each page smaller than a playing card. A counterweight would take care of the amulet while the octavo could be easily accessed with a screwdriver. Between the two brothers, they carried enough tools to handle this easily. .

Sam moved carefully around the stand that held the amulet, inspecting it from all angles. In the dim room, the spotlight of the display caught on the angles of his face, highlighting him to an almost otherworldly beauty.

There were many things that drew her to Sam. His thirst for knowledge, as well as his attention to and care for ancient mysteries, was deeply attractive. But he was also one of the most beautiful people she had ever met. In this moment, she was deeply reminded of all the things that she loved about him. Desire surged up through her veins.

She sucked in a deep breath, turning away from him to the octavo. As she inspected the ancient grimoire pages from every angle, she felt a pair of strong hands circle her waist.

“You know, we’re all alone in here.” Sam’s chestnut curls brushed her cheek as he bent over to whisper in her ear. She leaned back into his arms, savoring the warmth of his body against hers.

This close, she inhaled the scent of his cologne, starch on his shirt and, underneath it, his clean sweat.

Finally, she spun in his grasp to face him. Even in heels, she had to tilt her face to look at him.

Sam’s hazel eyes sparkled with desire. “You look amazing tonight,” he murmured, his voice husky and almost hesitant. “This dress….” He traced her neckline from one shoulder to the other, over the swell of her breasts, his calloused fingers rough against her soft skin.

“You look quite dashing yourself,” she answered, winding the silk of his necktie around her fingers to tug him closer. Their lips met in a kiss that was soft at first, then grew more heated with pent-up longing. Sam’s hand slid over the satiny fabric of her dress, spanning the length of her back to hold her against him.

She let her hands slip up into his hair as she kissed him, painted nails grazing his scalp. He hummed in a way that she felt all the way to her core. Without thinking, she shimmied her body against his, trying to get closer, pressing in where he was already hard.

When her gaze met his again, she saw fire in his eyes, thin rings of green and gold around lust-blown pupils. His hands sank to her hips, tugging her up to grind against him.

She pulled back reluctantly. “We can’t,” she said with a meaningful glance towards the doorway. “Someone else could walk anytime. If we get caught, we lose any shot at what we came for.”

Sam nodded, his lips falling open, although no words came out. He seemed focused on trying to pull himself together. His shoulders rose and fell as his chest heaved with each deep breath.

Rowena smirked to herself. Not that she would ever admit it, but she loved him like this. There were few powers on earth she enjoyed as much as bringing the man she loved to his knees.

“Please --” The word was ragged.

Yes, she had him begging.

“Soon.” She reached up and caressed his cheek gently before pouting her lips and moving away slowly. She spun on her heel, taking a few steps with a deliberate sashay of her hips.

Sam caught up with her in two long strides. He took her hand and led her back in the direction of the light and noise spilling from the reception. On the way back, she passed a ladies’ room and ducked inside to touch up her lipstick.

He followed her, giving the room a sweeping glance before locking the door behind the two of them.

As she bent over to check her makeup in the mirror, he closed in, all but pinning her to the counter.

“What?” She gasped in delighted surprise. “What do you think you’re doing?”

“Just getting a little taste of what’s waiting for me later,” he answered, his lips soft against her ear. “If you’re going to tease me all night, you must expect that I’ll want to return the favor.”

Rowena hummed and pressed back against him. All her careful seduction was getting her exactly what she wanted. She took great delight in drawing out this domineering side of Sam, getting him all wound up and bossy like this. WIth her, he could be a whole different man than the nerdy younger brother most people saw.

While he spoke, he rucked up her skirt, long fingers gathering the dark fabric around her waist. One hand caressed the soft skin of her stomach and then lower, his touch like fire on her skin. His lips pressed a searing trail of kisses down the line of her neck.

When he passed the waistband of her panties, she gasped, arched her back, and widened her stance. He slid a foot between her heels to hold her open, and when his fingers found her slit, she whispered his name.

“Soaking wet for me, Ro, aren’t you?”

She nodded, breathless, as he began to touch her in the way she knew so well. She rocked her ass against him and his grip around her waist tightened, holding her close. She loved the way he made her feel, exposed and sheltered in his arms at the same time. When she was with him, she didn’t care about anything but him and all the things they could do together.

“Shhh,” he commanded her, low and firm. “What did you say about getting caught?”

She bit her lip to stifle the soft moans that she hadn’t known she was making and curled her fingers into his suited arm to hold on as an orgasm rippled through her.

Sam pulled his hands away slowly, making sure she could stand on her strappy heeled sandals. When she looked up at him in the mirror, he licked the taste of her slowly off his fingers. The sight of his hand and his mouth sent a shivery aftershock through her. He grinned, eyes glittering and dark.

Rowena’s painted lips curled up in a smug smile.

“You little witch!” he said, affection softening the words. Sam shook his head admiringly. “You always get exactly what you want.”

“Oh, yes,” she purred. “As will you, soon enough.”

She smoothed her dress down and took his offered arm as the two of them left the room.

“Hell,” a familiar voice said sharply. Dean was waiting for the two of them in the hall just outside the door. His eyes raked her over from head to toe. “You two are supposed to be providing a distraction. Not ducking into bathrooms doing, well, doing,” he sputtered, “whatever you were just doing in there.”

Before Sam could answer, Rowena spoke up. “If it’s a distraction you want, I’ve got this.” She lifted the fabric of her gown, breaking the flawless line of her skirt, leaving it just the tiniest bit disarrayed. She carefully tugged one strap of her dress down, so it fell just off the curve of her shoulder.

She turned to Sam and unknotted his tie with swift fingers, pulling it off and tucking it in the breast pocket of his jacket. Finally, she ran one hand through her hair. Her red curls fell in disordered glory around her face.

“Now, Dean,” her tone was clipped, “go. Get what we came for.”

When she stepped back into the room on Sam’s arm, heads turned. She heard the whispers of shame, not that she paid them any mind. Let them talk and be judgmental and jealous. No one else would have him in their bed tonight.

Sam led her to the area cleared for a dance floor. The string quartet was playing a soft, indistinguishable waltz and she swayed easily in his arms in time to the music. When she looked up at him, he smiled at her so gently that she felt warm all over.

He was so tall, so strong, and a skilled hunter. But when he was with her, he showed both a tenderness and an appetite for pleasure that she had never expected. He lavished attention on her and reveled in not only her physical beauty but also her mind and her own power.

In all her three hundred years, Rowena had never met a man who loved her like Sam. And, if she was honest, there probably was never anyone she had loved as much. She pressed closer and he tightened his embrace. For a long moment, her world shrank to just the two of them. Sadly, as much as she might like to pretend, this was a case.

He bent to brush his lips to hers and murmured so low only she could hear it, “Dean is back.”

She couldn’t hold back the triumphant smirk that crossed her face. Everything was going perfectly to plan. She would be leaving with exactly what she wanted -- an amulet for the Winchesters, grimoire pages for her, and Sam Winchester, once again, all hers.

She nodded as he lifted his arm and she twirled out, out to his fingertips - and straight into Dean’s waiting arms.

Rowena took his hand and felt a tiny packet in his palm. The octavo. She tucked it into her pocket next to her lipstick with a glancing motion. It took just a moment to fall into step together and then he was twirling her across the dance floor.

The music picked up tempo. To her surprise, Dean kept time with her every step.

“You know how to dance!” she exclaimed.

Dean gave her a half-quirked smile. “Let’s just say you’re not the first woman I’ve tangoed with.”

It was such a Dean answer, self-deprecation mixed with a little bit of mystery. Dancing with Sam had been intimate, but this was exciting. For just a moment, she forgot the plan, forgot everything except the enjoyment of dancing with a handsome man who knew how to move his body.

She felt his warm palm linger over her upper back longer than was necessary. To everyone else, it would look like he was getting handsy with her. But she knew, he was tucking the tiny silk pouch she had given him to hold the amulet down inside her snuggly fitted top.

Her eyes caught Sam’s and she nodded almost imperceptibly. In a few long strides, he was back on the dance floor, pulling Dean away from her.

“What do you think you’re doing, man?” Sam’s tone was frightening.

“Just having a good time, dancing with the lady!” Dean protested.

They shoved back and forth. Rowena stepped away, out of range. There was no question of distraction, now. The whole room was watching, waiters with their trays of hors d'oeuvres frozen in the air and musicians with their bows held silent over their strings.

Sam wound up and threw a calculated punch at Dean, who went sprawling backward, crashing into -- oh, shit. The raw bar. The table shuddered and tipped, and Dean fell to the floor in an avalanche of ice and seafood.

Sam stepped over to her, curled his arm around her waist in a possessive gesture, and led her towards the door. She glanced back at Dean and caught his wink.

As she watched, he picked up an oyster and slurped down the salty contents. He felt around for another and a lemon. There was a woman striding towards him, petite, with a black dress that hugged every curve.

“How dare you!” Her face was flushed beneath her freckles and her voice carried through the entire hall. “Do you know how much this cost me? I’ll sue you! I’ll end you.”

Security was right behind the catering manager, closing in on Dean. No one was watching the door, or Sam and Rowena, as the two of them made their escape. Outside, she hurried to keep up, taking two steps in her heels for every one of his long strides. They didn’t slow down until they had put a couple of blocks between them and the museum, turning the corner to where Baby was parked.

Sam opened her door before circling around the car and sliding behind the wheel. She collapsed on the leather bench seat, shaking with laughter. Sam looked at her, concern on his face, but her glee was contagious.

“Oh, my goddess,” Rowena finally managed. “That went far better than we could’ve even planned. Knocking over the table was --”

Just then, Dean flung open the door and slid in next to her, pressing her up against Sam. “Drive!” he said urgently, tossing a glance over his shoulder.

“Is the catering manager still chasing you?” Sam’s tone was even but she could see him biting back a grin.

“She’s just jealous that Dean didn’t eat her oyster,” she cracked, before dissolving into giggles again.

Dean looked at her for a long moment like she had lost her mind, before throwing back his head and joining in. She looked between the Winchesters. It was so rare to see them like this, teasing one another, flush with success, actually happy.

Back at the hotel, Sam tossed aside his jacket and undid the first few buttons of his shirt. Rowena was pleased that he left it on. That would figure nicely into her plans for the rest of the night. She stayed in her dress and heels, perfectly comfortable with being glamorous.

Dean popped into his room and returned in jeans and a t-shirt. He was still rubbing his damp, spiky hair with a towel when a knock sounded on the door.

“That’ll be room service!” He jumped to answer.

“Oh, no, did you not get enough to eat when you pulled an entire raw bar down around your head?” Sam scoffed, but a smile played around his lips.

The three of them gathered around the tiny hotel table, talking easily as they ate. When most of the food was done and cleared away (except for a pizza that Dean was saving for a midnight snack), Rowena cleared her throat.

“Now, for the purpose of our trip.” She turned to Sam, sweeping her hair up off her shoulders. “Can you get it?” His fingers slipped into the back of her dress and easily pulled out the bit of silk tucked there. He opened the pouch and shook the amulet into his hand.

“And the octavo pages from the grimoire?” he asked when she turned to face him.

“Oh, that.” She batted her lashes in the way she knew he found irresistible. “See, we didn’t need that as a companion to the amulet so much as I needed it.”

“You damn tricky witch!” Dean exclaimed. He leaned towards her, brows heavy. Then he sighed and shook his head. “Of course, there was something in it for you.”

“You got what you wanted, I got what I wanted.” She shrugged. “I don’t do these things merely for the pleasure of your company.”

Sam tipped his head. “She has a point.”

“Although speaking of getting what I want...” She turned back and laid one hand on the base of his neck, letting her fingers trail down into the open placket of his shirt. There was no mistaking her meaning, or the look on her face.

Sam blinked, color rising over his high cheekbones. His hand closed over hers, fingers dwarfing hers.

“Speaking of the pleasure of her company,” Dean snarked as he pushed back his chair and stood up. He grabbed the pizza and headed to the door. As he left, he called back over his shoulder, “Please remember that I’m right next door.”

When she and Sam were alone at last, he lifted her easily onto his lap. She felt his hands warm and solid on her back, her waist, her thighs, pulling her in and holding her close. She slipped her arms around his shoulders and twisted her fingers in the curls at the back of his neck.

She ghosted her lips over his jawline, down his neck, and lapped at the slightly salty taste in the hollow of his throat. “It’s not often I get to spend the night with such a handsome man,” she whispered, feeling his pulse under her kisses.

“And you...” He slid a hand under her chin, tilting her gaze up to meet his. “You’re always beautiful, but tonight, you’re on another level. This dress --”

“Would you like to take it off me?”

“Oh no, my gorgeous little witch,” he answered, an edge of command in his voice. His eyes were wide, and she could see his pulse beating fast in his throat. “I think I’ll have you just like this, at least the first time or two.”

He stood up, lifting her with him, and set her down in front of the desk in the room. When her heels touched the floor, he spun her around so they were both facing the mirror, and their glances met in their reflections.

“I’m ready to finish what we started earlier. Let me get a good look at those lacy little things you’ve got on underneath.” His lips brushed the shell of her ear, his voice low and urgent.

Rowena eagerly obeyed, and he carefully ran his fingers over the lace and ribbon, caressing her hips and ass through the soft fabric. She bucked back, shimmying against him where he was hard in his dress slacks. Finally, he undid his zipper and reached between her legs. Tugging her panties aside, he notched his cock up against her.

“Please,” she murmured.

“Now who’s begging?”

She didn’t answer, just arched her spine and braced her hands on the desk, letting her skirt fall down around them both. She whimpered, low and open, as he rocked into her. His hands slid up over her waist to cup her breasts through her bodice. He worked her nipples, dragging satin between his calloused fingers. She threw an arm back around his neck to hold him close and keep herself steady.

She craned her face towards his and he kissed her without ever slowing his thrusts. She moaned his name as her knees began to shake. He held her up with strong arms, whispered encouragement and praise as she came, clamping down around him.

He spun, and laid her softly back against the bed, kneeling between her legs. He unbuckled her delicate heels, one at a time, and then began to kiss his way up from her knees. She loved that and he knew it, the delightful shivers of anticipation and the brush of his lips on sensitive skin. He pushed her skirt higher and higher until he buried his face between her thighs.

Rowenae was still wearing those laced-up panties, soaking wet and completely ruined, when he lowered his mouth to her. At first, he teased her, licking at her through the lace, but she was quickly growing impatient. Finally, he pulled them off and tossed them aside.

The first touch of his lips sent a wave of sensation through her body, already keenly sensitive from arousal. She moaned, and rolled her hips up towards him, begging for more. He raised his head and smirked, disheveled and sweaty in his wrinkled white dress shirt, before he pressed back in. She reached for him, lacing her fingers in his hair, holding him close as she bucked and gasped under his attention.

“There,” she panted, “More.” As he increased the pressure with his mouth and his hand, her words unraveled into obscene pleas and curses. One hand yanked his dark soft hair while the other twisted in the sheets. He knew exactly what he was doing, exactly where and how to worship her until she closed her eyes and gave in to the wave of an overwhelming orgasm.

Sam stretched out next to her while she tried to catch her breath. After a long moment, she turned to face him as her eyes slowly fluttered open. He cupped her chin in his hand, running his thumb over her mouth. The first thing she said as she looked up at him was, “You’ve completely wrecked this dress.” He smiled down at her, lips wet, and helped her sit up.

“In that case,” he answered, “I guess we’d better take it off.”

They undressed one another slowly, touches lingering over one another's bodies. She pulled off his shirt and slacks, then he carefully undid her dress and helped her out of it. When they were both stripped bare, they lay back on the bed in one another’s arms. He trailed his hands over her porcelain skin, tracing her freckles where they stood out against her flushed chest, then down lower to her belly and thighs.

“I’ve been thinking about you like this all day,” he admitted.

“Are you sure it's been all day?” she teased, enjoying the attention and the power she had over him. “Are you sure you weren’t thinking of this when you asked for my help with this case?”

“Maybe I was,” he answered as he rolled over her, caging her in with his long, muscular arms. “A little bit of me is always thinking of this. Can you blame me?”

She shook her head and opened her mouth to answer, but the only thing that came out was, “Oh, Sam!” as he slid back into her in one strong motion. He fit her, filled her so perfectly, and then he started to move.

The two of them found a rhythm, sweat-slick bodies finally pressed against one another with nothing in between. He filled her, pushed her, so perfectly, and she took every inch of him over and over. She could feel another orgasm building slowly, and she was breathing hard, relishing every spark of sensation.

“Ro,” he bit off the words, his tone demanding. “Don’t tease. Come for me.”

She lifted her feet up, locking her ankles over his ass, so he could go in even deeper, and hit that perfect spot. She whined and swore as her back bowed, grinding up against him, fingers digging into his back as he carried her higher and higher.

He dropped his head, damp silky strands brushing her face, as he sucked bruising kisses over her neck and shoulders, teeth just grazing her collarbone. That little edge was all it took, and she obeyed his command, letting go under him, crying out, falling away except for his strong arms around her.

Sam groaned and gave in to his own orgasm at last. When they both stilled, breathing hard, Sam rolled to his side, tugging her with him. He pulled back just far enough to look at her, to cup her cheek in his hand. She let her eyes flutter closed for just a moment, heavy lashes brushing his fingertips.

“I’m sorry about your pretty dress, my love,” he said softly.

She laughed at that and looked back up at him, a teasing glint in her eyes. “I’m not. It served its purpose.”

“Was the purpose to acquire the amulet or to seduce me?” Sam grinned, easy and relaxed, his dimples deep.

“Mmm, maybe both. Besides, you paid for it with one of your stolen credit cards.”

Sam’s brows rose as his grin widened. “Well, I guess we can call it a necessary expense for the case, then. Something pretty to make this all worth your while, right?”

His mouth closed over hers again and there were no more words necessary. Very worth her while, indeed.

SPN First Last and Always: @austin-winchester67 @boondoctorwho @dawnie1988 @deanwanddamons @defenderrosetyler @divadinag @emoryhemsworth @fookinghelljensensthighs @gh0stgurl @idreamofplaid @kalesrebellion @kickingitwithkirk @maddiepants @magssteenkamp @onethirstyunicorn @there-must-be-a-lock @thinkinghardhardlythinking @tloveswriting

Author’s Note

First of all, every thanks to @mrswhozeewhatsis. The minute I saw you were the Alpha Reader for July, I knew I wanted to try. Working with you has been even better than I’d hoped - you’ve pushed and prodded, commented and suggested, read and reread and reread. Along the way I’ve laughed a lot, learned a lot, and I feel I’ve gained a friend!

Second, thanks to @mskathywriteswords who gave it a good read and pointed out a couple of things I missed. Thanks for knowing my writing and me so well!

Finally, thanks to my Squad who discussed the reception in great detail, especially the food and drink and one certain catering manager: @thoughtslikeaminefield, @there-must-be-a-lock, @mskathywriteswords, @cracksinthewalls, @itmighthavebeenintentional, @fookinghelljensensthighs, @icemankazansky, @littlegreenplasticsoldier, @dawnie1988, @stusbunker, @lastactiontricia

I love you all and can’t imagine my life without you.

Sam Girl For Life: @awesomesusiebstuff @hot-mess-magee @lilsylvia @lilsylvia @lovealways-j @sammysnaughtygirl

Rowena My Queen: @delightfullykrispypeach @lilsylvia @pansexualdarling @songofthecagedmoose @spn-rosam

Dean Curious: @adoptdontshoppets @awesomesusiebstuff @deangirl7695 @deans-baby-momma @lovealways-j @mrsjenniferwinchester @stoneyggirl @wayward-gypsy

#worth her while #dean winchester fanfic #sam winchester fanfic #rowena #samwena #sam x rowena #winchester brothers fanfic #witch!sam #samwitch #spn fanfic pond #supernatural fanfiction #supernatural casefic

77 notes · View notes

jamesgraybooksellerworld · 4 years ago

Text

To see the web page which goes with this choose the link [in blue] below.

Seven Emblem books and two others!

Two sort of emblematic books (A&B) and Seven(1-7) emblem books in contemporary or original bindings!

1) Andres Alciati 1492 – 1550

V.C. Emblemata (Viri Clarissimi) Emblemata. Cum Claudij Minois ad eadam Commentariis & Notis Posterioribus. Quibus Emblematum omnium aperta origine, mens auctoris explicatur, & obscura omnia dubiáque illustrantur.

Lugduni (Lyon), Hæred. Gvlielmi Rovilii, 1600. 1600. Bound in coeval vellum with author and title on the spine in an early hand. Octavo ã8, e4, i8 A-Eee8, Eee*2 Fff8 Ggg4.

The ultimate reference for this book is Daly’ Andres Alciatus Index Emblematicsus 1985; ; Landwehr, J. Romanic emblem books; 89 ; Adams, A. French emblem books; F.063; Emblem books at the Univ. of Illinois; A32; Green, H. Andrea Alciati and his books of emblems,; 127; Baudrier, 1895-1921, v. 9, p. 464-65;. Item #738G

The emblem book, which attained enormous popularity in continental Europe and Great Britain, while it is possible to trace it back before was certantly made most popular by Alciati. . Alciato’s emblems were first published in Augsburg in Germany (two editions in 1531 and one in 1534); from 1534 onwards publishing shifted to France and remained there for the next thirty years. Wechel, who printed the Paris editions (from 1534), are like those in Augsburg. He can be said to have set the standard for clear presentation of emblems, with each emblem beginning on a fresh page, featuring the motto or title, the pictura below that, and then the subscription/epigram or verse text the main focus of publication for emblems shifted more firmly to Lyons from the mid 1540s, The 1550 Latin edition by Rouille is the first to have 211 emblems (the whole corpus, apart from the so-called obscene emblem ‘Adversus naturam peccantes’) illustrated. This edition includes biography of Andrea Alciati (leaves i1-i8). These emblems depict Alciati’s concern for the eternal nature of man and its contradictions, the attentive ear to the popular speech, the unfolding of the personality, madness, the reflection on human existence, the relationship between man and the woman, the struggle between reason and passion, and to the satire of society and its rules and rulers.

A) CARTARI 343J Vincenso Cartari. 1531–1569

Seconda novissima editione delle Imagini de gli dei delli antichi di Vicenzo Cartari …Ridotte da capo a piedi alle loro reali, & non più per l’adietro osseruate simiglianze. cauate da’marmi, bronzi, medaglie, gioie, & altre memorie antiche; con esquisito studio, & particolare dligenza da Lorenzo Pignoria … Aggionteui le annotationi del medismo sopra tutta l’opera, & vn discorso intorno le deità dell’Indie orientali, & occidentali, con le loro figure tratte da gl’originali, che si conseruano nelle Galleri de’principi, & ne’musei delle persone priuate. Con le allegorie sopra le imagini di Cesare Malfatti … Et vn catalogo di cento più famosi dei della gentilità. Con l’aggiunta d’vn’altro catalogo de gl’autori antichi, & moderni, che hanno trattato questa materia, ordinato & raccolto dal medesimo Pignoria che ha accresciute le annotationi & aggiunte molte imagini.

In Padova, Nella stamparia di Pietro Paolo Tozzi. 1626. Quarto, 9 1/4 x 6 1/2 in 224×162 mm. Signatures: ‡8 ≠≠1,a6, ‡‡4 [∏2 FOLDOUTS] A-Z8 ,AA-OO8 (38 pages, 589 pages illustrations, two folded plates) [[38] pages, 589 pages illustrations, two folded plates 24 cm]. 2 double-page woodcuts and 227 full-page and in-text woodcuts of the ancient gods by Cesare Malfatti. * *. *

#1 Vincenzo Cartari, Images of the Gods of the Ancients: The First Italian Mythography, translated and annotated by John Mulryan. Medieval and Renaissance Texts and Studies vol. 396. Tempe, AZ: Arizona Center for Medieval and Renaissance Studies, 2012.

Praz 36; Cicognara 4686; Graesse II.56; Nagler XXII.15, ; Harvard 156.108; JCB Library catalogue; 2:198; Sabin 11104.; BM. STC.(Ital.) 152.; ‘Choix 4280. See Also: Mortimer, Italian, 108 note. Caillet 2047 (French trans.) Brunet I,1601. Graesse II,56.Univ. Cat of Art, 287. Arntzen & Rainwater H35.Dekesel 16th, C11. And :

1)Sonia Maffei, ‘Le imagini de i Dei degli antichi di Vincenzo Cartari: Dalla poesia all’archeologia’ http://dinamico2.unibg.it/cartari/leimaginideiDei.html

2) Marco Urdapilleta Muñoz, ‘El bestiario medieval en las crónicas de Indias (siglos XV y XVI)’, Latino América, Revista de Estudios Latinoamericanos, 58 (2014), 237-70. 5160.235500

3) Miguel A. Rojas Mix, América imaginaria (Barcelona, 1992) LB.31.b.10858

4) Rosa López Torrijos, La mitología en la pintura española del Siglo de Oro (Madrid, 1985). YV.1988.b.1010 María Jesús Lacarra, Juan Manuel Cacho Blecua, Lo imaginario en la conquista de América (Zaragoza, 1990). YA.1997.a.7376

5) Mercedes Aguirre at 11:59:11 in Americas , Collections , Latin America , Medieval history , Mexico , Rare books. BL.

6) Mexican Codex Vaticanus 3738. Item #743

This is the First Edition in which the antiquarian and egyptologist who was also interested in the sciences, and a friend of Galileo. Lorenzo Pignoria added his appendix Seconda Parte delle Imagini de gli Dei Indiani displays detailed illustrations of some archeological remains portraying Mexican, Egyptian, Indian and Japanese gods, seeking ‘a sort of unique visual language in pre-Christian religions. It is bound in.

Price: $4,500.00

B). Cuper, 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, Quarto. This copy is bound in 20th century quarter calf. .

¶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”. In the second century B.C., Egyptians connected Harpocrates with the mystic cult of the Egyptian goddess Isis. Harpocrates holds a finger to its lip for the Egyptians a symbolic gesture representing childhood.

¶Yet the Greeks mistook for a hush for silence., misinterpreting 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. And again, the Roman interpretation added strength to the Mystery of silence.

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 is a precursor to art history and Winckelmann.

Brunet 6, no. 22603; Cicognara 3212; Ebert 5512; Graesse 2,308 , Item #388J

Price: $1,800.00

2). David, Jan David. 1545?-1613

Veridicus christianus: auctore P. Joanne David … Editio altera, auctior.

Antverpiæ ex officina Plantiniana, M. DCVI. Second edition. This copy is bound in full contemporary blind stamped calf over wooden boards with two working clasps. Quarto ‡4, ‡‡4, A-Z4, a-z4, Aa-Ee4.+ 100 Numbered Plates. With a special engraved t.p. with allegorical depiction of Christ carrying the cross, surrounded by ten artists at easels painting scenes from his life (as well as a few questionable profane subjects). The vovelle : The centers of the engraving and the volvelle (through which a string passes) are reinforced with small paper roundels printed with the monograms of Christ. The numbers are keyed to an “Indiculus orbitae” that follows (Bb1r-Bb2r). There a number, having been selected, is provided with a phrase from various Latin authors (listed on Bb2v), and a reference to one of the hundred sections that comprise the main text. It is suggested in Bibliotheca Belgica that this game may have been intended as a pious alternative to such superstitious books as Thuys der fortvnen.

Veridicus Christianus emphasizes the Society of Jesus’ investment in thinking in, though, and about visual images that exemplify the supreme mystery of God. Published as a tool of devotion and meditations, it features one hundred chapters that encompass a wide

range of topics for reflection. Each chapter incorporates an extensive commentary that interprets the emblematic image David too follows the order in which we apprehend things with our senses, beginning with a visual representation at the head of each chapter. Then comes the explication. The symboli explicatio was considered necessary because cultivated readers would be more susceptible to a reasoned argument than a

picture. The text is divided into 100 chapters, each with an allegorical engraving incorporating letters keyed to the explanatory text and with marginal references. Each of the 100 numbered plates has a single line of Latin at the head giving the subject, with two-line explanatory verses below the allegorical engraving in Latin (roman letter), Dutch (civilité) and French (italic) First plate (following [2 daggers]4) is added title leaf for the ill., which were also published separately; see Bibliotheca Belgica. The added title reads: Icones ad Veridicvm Christianvm P. Ioannis David e Societate Iesv At the end is Device with compasses and the motto “constantia et labore” on Ee4r . This book is notoriously found defective in one way or another, this copy is perfect and complete. . Item #382J

De Backer-Sommervogel Vol.II col 1845 N. 5; Funck 302; Praz 313: EBIU D 17; Landwehr EFBLC 138; Landwehr FISP 253. Daly & Dimler CLE Jesuit Series Part one p160 #J.153.

Price: $5,500.00

3) David, Joannes David 1546-1613.

Duodecim specula deum aliquando videre desideranti concinnata.

Antwerp: Antverpiae: Ex officina Plantiniana, apud Ioannem Moretum, 1610, 1610. Theodor. Galle fecit. First Edition? This copy is bound in a contemporary soft vellum, (recovery vellum with writing. Faded and on the the inside. ) Ex libris ms.

First edition of this wonderfully illustrated work about 12 mirrors mankind uses to try and see God. David was born at Courtrai and entered the society of Jesuits in 1581. He was distinguished for his zealous fight against heresy. “Emblem number with caption,pictura with motifs flagged, then subscriptio,prose identification flagged motifs,facing page with number followed by a prose conversation between Anima and Desiderus.

Youth edition with engravings only, without text. Each plate bears, at the top, a serial number and an inscription indicating the subject represented in the bottom part a Latin couplet with a summary explanation. RRef. Landwehr 188, Funck p. 303, BCNI 5556, Bibl. Belg. D 157, Praz p. 313 “scarce”

DeBacker-Sommervogel vol. II col.1851 no.20 ; McGeary & Nash. Emblem books at the Unviersity of Illinois,; G2; Daly & Dimler corpus Librorun eblematun(CLE) J141; Praz, M. Studies in 17th century imagery,; vol. I p.192 vol.. II, p. 46; Landwehr, J. Dutch emblem books,; Funck p. 303, BCNI 5556, Bibl. Belg. D 157; see also The Jesuits and the Emblem Tradition: Selected Papers of the Leuven International Emblem Conference, 18-23 August, 1996.

. Item #409J

Price: $1,900.00

4) Izquierdo, Sebastian Izquierdo, Saint Ignatius of Loyola

Praxis exercitiorum spiritualium P.N.S. Ignatti. Auctore P. Sebastiano Izquierdo Alcarazense Societatis Jesu.

Rome: Romae : Typis Joannis Francisci Buagni, 1695, 1695. Octavo 7 X 4.75 inches A-G8,H4 This copy is very clean and bound in full contemporary vellum. Landwehr, Romanic, 412.Sommervogel, IV, 70 1#4 ; Palau 291230; Landwehr:Romantic 412.; Praz,p.382. Item #716

The Jesuit Sebastián Izquierdo in his Práctica de los ejercicios espirituales, written in (Spanish in )1665 translated in to Italian the same year then in 1678 translated as here into Latin and later published in several translations and versions offers an illustrated guide to the Ignatian spiritual exercises. The illustrations, 12 of them, are the subject of image meditation which was a favorite method of the Jesuits who, beginning with the monumental Evangelicae Historiae Imagines (1593) of Jerónimo Nadal, actively took hold of religious iconography and adjusted and concentrated it for the teaching of the Societies ( and Ignatius’ ) vision. The images are not just simple depiction’s instead they are mnemonic devices. These images are points of departures and give the current 21st century reader a precious examples of images that inspire meditation, direct the reception of the teachings and anchor them in the memory. Particularly memorable is the Image of Hell on page 72, The lay-out shows the pedagogical intentions and possibilities of this little book: there are 12 parts consisting of 12 separate quires, numbered from ‘A’ to ‘M’ and paginated each from 1-12, each with its own full-page illustration , these could have been meant to be distributed separately – according to match the educational needs or level of the students. The Images are in high contrast, with plenty of Bloody and memorable images. The Puteus Abyssi depicts a poor man who is naked and sitting in a chair in some sort of oubliette. He has sevenswords, each with animal head handles, in him and each is strategically stuck in various parts of the body. The swords are labeled for the passions. Most interesting of these might be the sword marked ‘Vengeance’ it is hanging offer the mans head, the Idleness sword is stuck between his legs, Gluttony in his stomach, Lust … Envy in his back, Avarice between his Shoulders and Pride in his heart.Izquierdo was also the author of Pharus scientiarum, a treatise on a methodology to access knowledge,

conceived as a single science. In this work, he assimilated Aristotelian and Baconian logic, and he expressed some original ideas on mathematics and logic that have earned their author a reputation as an outstanding mathematician. Not just like his Spanish contemporaries John Caramuel or Tomás Vicente Tosca , but also significant foreign mathematicians as Athanasius Kircher , Gaspar Knittel or Gottfried Wilhelm Leibniz , the latter, in particular, cited with, his Disputatio of Combinatione, in Combinatorial Art (1666).

Price: $1,800.00

5) SCARLATINI, Ottavio Scarlatini

Homo et eius partes figuratus & symbolicus, anatomicus, rationalis, moralis, mysticus, politicus, & legalis, collectus et explicatus cum figuris

Augsburg & Dillingen, Johann Caspar Bencard, 1695. First and only Latin edition. Bound in a beautiful contemporary pig skin over wooden boards. Caillet 9948 (“unique in its genre”); Landwehr, German emblem books 530; Praz 490 note; R. Raybould, Emblemata 29. Item #734

With 42 engraved emblems revolving around the human body and body parts. It describes and depicts the human body in its details and in its entirety in every aspect conceivable. The book also discusses magic, in the strict sense of the word, revealing many marvellous secrets, such as the occult properties of saliva, urine, sperm, etc.”The erudition demonstrated by the author is really quite extraordinary” (Raybould) including metoposcopy (the interpretation of facial wrinkles for divination!). . Book One studies individual organs: heart, etc. And Book Two the overall dignity of the whole and aspects of human life.An appendix adds short accounts of several subjects, including “hieroglyphia” and “androgyni”, along with short works by other authors: Lactantius Firmianus’s “De opificio Dei”, Coelius Rhodiginus on humanity, and a long “Ode” to humanity: “Considerationes patheticae de creatione, & dignitate hominis” based on Trismegistus, Plato, Coelius and other ancient sources.With a faint marginal water stain and a couple small rust spots in the paper, but

otherwise in fine condition. The binding shows a few scratches, cuts and stains, small cracks at the head and foot of the hinges and 1 sewing support broken at the hinge, but is still in good condition. A fascinating emblem book for both text and imagery (some of it now also humorous), and an impressive piece of book production.

Price: $5,500.00

6). Sucquet, Anton Sucquet

Piæ considerationes ad declinandum à malo et faciendum bonum : cum iconibus Viae vitae aeternae R.P. Antonij Sucquet è Societate Iesu.

Viennæ Austriæ : Wien : [s.n.], 1672, 1672. Boetius a Bolswert and title by “I.M. Lerch sc. Viennae. Quarto,4 ¾ X 7 inches . ( no printed signatures) π 4 A-T4 V2. This copy is bound in original vellum. There is a really interesting modern bookplate on the pastedown. ¶ Praz, M. Studies in 17th cent. imagery (2nd ed.),; p. 506; Corpus librorum emblematum. Jesuit series,; J.1414; Landwehr, J. German emblem books,; 564; De Backer-Sommervogel,; VI, column 892, no. 2. Item #715

There is an engraved emblematic title page signed “I.M. Lerch sc. Viennae;” The other 32 illustrations (numbered 1-32) are full-page emblems engraved by Boetius a Bolswert–See Landwehr. ¶The Illustrations are printed on the verso of leaf, recto is blank; accompanied by explanatory text on facing leaf. The text and illustrations are printed within ruled border. This popular emblematical work is arranged as a series of meditations, by the Jesuit Antoine Sucquet. Many religious emblem books were published during the 17th and 18th centuries, and of these, Sucquet’s work was one of the most popular. Because of its engravings by Boëtius a Bolswert , it was especially important for the development of the 17th-century Christian iconography. The counter-reformation produced a great number of emblematic meditation-books where text and illustrations are interwoven. Emblem books were therefore much favoured by the Jesuits for the purposes of teaching, as religious propaganda, and to provide subjects for meditation. The 17th-century Jesuit curriculum prescribed that emblems were composed in the schools. Members of the highest classes in the Flemish Jesuit colleges each composed an emblem, and the production of the entire class was collected in commemorative albums painted by professional artists and calligraphers. The meditation on the soul’s relation to Christ was precisely guided by provision of references in the engravings. The first religious catholic emblem book was published in 1571 and composed by Arias Montanus. In 1601 Jan David composed the first Jesuit emblem book, the “Veridicus Christianus”. Sucquet’s work is composed around the widely spread concept of the “homo viator in bivio”, the creature who during his life again and again arrives at the cross and has to make the good choice for the narrow and difficult path to his eternal destination. Sucquet made clear that vision is the most important sense of a human being. It had foundational importance for the Christian iconography of the seventeenth century. According to Brunet the work was very much searched after by the pious for its texts, by the curious minds for the 32 engravings by Boetius a Bolswert

Price: $1,900.00

7) Venius, Otto van Veen

Theater moral de la vida humana, en cien emblemas; con el Enchiridion de Epicteto, y La tabla de Cebes, philosofo platonico.

Antwerp: Amberes,{Antwerp} Por Enrico y Cornelio Verdussen 1701, 1701. The Rubens master. third Edition.This large folio is bound in full contemporary vellum with gilt tooling. Snags repaired in the blank of the title page and on the folding Engraving , without damaging the text. Scattered freckles. Good copy. Landwehr, Dutch 240; Landwehr, Low Countries 678. (cfr. PRAZ, Studies in seventeenth-century imagery I pp.523-524 & Peeters Fontainas Bibliographie des impr. espagn. des Pays-Bas mérid. 1275;. Folio. 14 x 9 inches * 6, ** 4, *** 2, A-Z4, 2A-2C4 / a4, a-f4, g2. Item #97

This Emblem book is made up of three Stoic works, beginning with Text from Horace in latin with 103 copper plates of engravings, That is a full page engraving of Vaenius by his daughter Gertrude van Veen engraved by Pontius.

These emblems also appeared in “Emblems from Horace, but not directly, these engravings represent both allegoric and general passages from Horace, these are in Spanish. The Horace is followed by

The Table of Cebes which has a large folding plate (16 x 13 inches) Cebes’ Tablet is an Ekphrastic work interpreting a probably mythical Tablet which symbolically represents “the whole Truth of Human life” Cebes is one of the characters in The Phædo of Plato. Xenophon tells us that Cebe was in the inner circle of Socrates’ friends. This is followed by The ENCHRIDION of Epictetus, in spanish. This manual is a ‘hands-on’philosophical collection of epigrams which promises to free the mind from Fear and enslavement to false Ideas.

Price: $3,500.00

Seven Emblem Books and Two others To see the web page which goes with this choose the link below. Seven Emblem books and two others!

#Alcati #Early Anthropology #Emblem Books #Iconology #Illustrated #Jesuits #Mexico #Mythologics

4 notes · View notes

sheet-music-for-teachers-school · 5 years ago

Text

To Hear The Angels Ring By Brian Childers - Octavo Sheet Music For Handbell (Buy Print Music BP.HB646 From Beckenhorst Press At Sheet Music Plus) - #Brian

To Hear The Angels Ring By Brian Childers - Octavo Sheet Music For Handbell (Buy Print Music BP.HB646 From Beckenhorst Press At Sheet Music Plus)

Shop and Buy To Hear The Angels Ring sheet music. handbell sheet music book by Brian Childers: Beckenhorst Press at Sheet Music Plus: The World Largest Selection of Sheet Music. (BP.HB646).

Sheet Music

Tags: Hear, Childers - Octavo Sheet Music For Handbell, By Brian Childers - Octavo Sheet

A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z

sheet music and many other scores:

https://sheet-music-and-many-other-scores.soup.io/

Source Url Sheet Music:

https://www.sheetmusicplus.com/title/21313232?aff_id=588425

SHARE Url Sheet Music:

SHARE: To Hear The Angels Ring By Brian Childers - Octavo Sheet Music For Handbell (Buy Print Music BP.HB646 From Beckenhorst Press At Sheet Music Plus)

RSS - ATOM

Hastag:

#Hear | #Childers | #The | #Brian | #To | #By | #Hear |

SHARE FEED:

SHARE: THIS FEED

Enter your email address:

Delivered by FeedBurner

Subscribe to sheet music and many other scores by Email Subscribe in a reader

Sat, 04 Apr 2020 19:58:09 GMT

View link:

https://sheet-music-and-many-other-scores.soup.io/post/687217875/To-Hear-The-Angels-Ring-By-Brian

SHARE link:

SHARE: To Hear The Angels Ring By Brian Childers - Octavo Sheet Music For Handbell (Buy Print Music BP.HB646 From Beckenhorst Press At Sheet Music Plus)

Perfumes & Cosmetics - You have the biggest discounts, depending on the value of the order!

Internet Business - Empowering business productivity through insight, innovation, passion and customer excellence.

Natural Products - Offering the best value in the world for natural products.

News from Arges - Administrative, economic, political news and not only from Pitesti and Arges.

Related Title Sheet Music

More Related: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | look inside Related

Related-Search from Title:

Childers - Octavo...

- Octavo...

Hastag:

#Music | #Childers

Tags: Brian Childers - Octavo Sheet, The Angels Ring By, The Angels Ring By Brian, Brian, Childers - Octavo Sheet, To, Angels Ring By Brian Childers -

Enter your email address:

Delivered by FeedBurner

Subscribe to sheet music and many other scores by Email

Subscribe in a reader

Subscribe to RSS headline updates from: Powered by FeedBurner

SHARE FEED:

SHARE: THIS FEED

Blog Tumblr: sheet music for teachers, school and students

A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z

Feed | XML

#sheet music #teachers #school #students

1 note · View note

sukoru-chan · 8 years ago

Text

Boyfriends Scenarios Gold Saints x Reader

Confesión.

[Nombre] = tu nombre

[Apellido] = tu apellido

[c/o] = color de ojos [c/c] = color de cabello [l/c] = largo del cabello

------------------------------------------------------------…..------------------------------------------------------------------

Saga:

“Detente, sombra de mi bien esquivo, imagen del hechizo que más quiero, bella ilusión por quien alegre muero, dulce ficción por quien penosa vivo”, [Nombre] no pudo terminar de leer el soneto pues un potente trueno le distrajo; la chica cerro el libro depositándolo sobre su cama. Su corazón palpitaba con fuerza, las tormentas siempre le asustaban, ya que antes de llegar al Santuario no contaba con un techo que le cobijara de los elementos. Suspiro resignada y decidió salir de su dormitorio, su garganta estaba seca… dirigió sus pasos hacia la cocina.

El recinto se encontraba en penumbras, así que cuando un resplandor dorado emergió de una de las habitaciones, la doncella cambio su rumbo. El cosmos de Saga era lo que mantenía iluminado el pequeño despacho de Géminis. —¿Se te ofrece algo?—pregunto el caballero al detectar la presencia de [Nombre]. —No… yo solo iba de paso, ¿usted qué hace?—Saga aparto la mirada de la montaña de pergaminos. —Aprendo a leer los presagios en el manto estelar. —la jovencita corrió a su lado. —¿Me puede enseñar?—el geminiano le miro extrañado. — ¿Y a ti eso de que te serviría?—ella tamborileo sus piernas mientras mordía su labio inferior.—Pues para… tener algo más de que conversar con usted.—otro trueno resonó, la chica se sobresaltó con el estallido, cubriéndose los oídos con ambas palmas. Saga se apartó de su asiento y coloco sus manos sobre las de ella. —No debes temer.—dijo antes de deslizar sus apéndices por las muñecas de la fémina, haciéndola bajar los brazos.—Ya no estás sola.—con su pulgar e índice levanto el mentón de [Nombre] obligándola a mirarlo directamente a sus irises jade.—Si me lo permites, borrare todo infortunio de tu pasado y lo reemplazare con nuevos y hermosos momentos.—[Nombre] asintió a cada palabra que Saga le profesaba…

Kanon:

Deja el Santuario, ven conmigo a Atlantis.—Kanon no podía dejar de recordar la invitación de la ninfa del mar. Deseaba estar con [Nombre], pero no quería abandonar a Saga. Su vida en el Santuario no era de lo mejor pero, era el único hogar que había conocido en su corta existencia. —Deja de suspirar, te vas a acabar el oxígeno.—bromeo el gemelo mayor desde el vano de la puerta. — ¿Te has enamorado?—Saga casi se atraganta con el sorbo de agua que pretendía engullir. — ¿A qué viene eso?—pregunto en respuesta. — Conocí a alguien… y… me pidió que me fuera con ella. —el santo de Géminis lo sujeto por los hombros, su semblante sombrío descoloco al de cabellos añiles. — ¿Qué edad tiene?—Kanon parpadeo un par de veces, luego replico. —Quince, igual que nosotros.—Saga le soltó, una expresión de alivio adornaba ahora sus facciones.—Creí que se trataba de una señora intentando comprarte.—su igual dejo que fluir una carcajada. — ¿No sabes qué hacer?—Kanon se encogió de hombros.—Ve con ella.—el asombro en los orbes verdes del menor no se ocultaba.—Mereces más de lo que el Santuario te ofrece.—Kanon le abrazo ganándose un gruñido por parte de Saga. — ¡Gracias!—agrego al liberarlo, sin perder un segundo más corrió en dirección a la playa…

[¡Nombre!]—la ninfa fue tacleada en la blanca arena, pero casi no sintió el impacto pues el ateniense la resguardo en sus brazos, dejándola encima de él. — [¡Nombre!]—repitió Kanon estrechándola contra sus pectorales. — ¿Kanon?—contesto la chica de irises [c/o] confundida.—Iré contigo… al mismo Hades si es necesario, porque… te amo.

Shaka:

Shaka llevaba una semana sin poder dormir, su mente estaba plagada con un solo pensamiento o mejor dicho, persona… [Nombre], la doncella del octavo templo se había ganado un lugar muy especial en el corazón del hindú.

El rubio no dejaba de caminar en círculos, no lograba meditar y había sufrido una deshonrosa derrota contra Death Mask durante un entrenamiento, y todo por creer que la chica de cabellos [c/c] estaba entre la multitud que observaba el combate… Shaka sacudió la cabeza en negativa. —¡Agh!—se giró hacia la salida de Virgo y comenzó su ascenso hacia Escorpio. Una vez en la entrada del recinto elevo su cosmos para llamar la atención del custodio. Milo salió a su encuentro con su usual altivo andar. — ¿Shaka? A qué se debe el honor.—exclamo el de cabello cerúleo con una media sonrisa.—[Nombre], ¿está aquí?—el griego tuvo que hacer uso de todo su autocontrol para no carcajearse.—Tal vez.—se arriesgó a jugar con las reacciones de su hermano de armas. —¿Por?—Shaka comenzaba a sonrojarse.—Necesito hablar con ella.—Milo respondió con un escueto “Hmm”. — ¿Sobre qué?—el escorpión dorado sabia donde golpear, el rubio clavo sus orbes celestes en los turquesa de su compañero. — ¿Shaka?—la dulce voz de [Nombre] evito una guerra de los mil días; al ser llamado por la fémina el hindú no dudo en pasar de largo a Milo para llegar a ella. —Debemos hablar, en privado.—recalco lo último al percibir al griego acercarse a ellos. —Amm. —la doncella pregunto con la mirada por la autorización de su “señor”, Milo asintió retirándose a los privados del templo.—[Nombre].—susurro Shaka posando ambas manos en los hombros de ella. — ¿Sí?—respondió alarmada, el rubio jamás había hecho contacto físico; Shaka tenía las palabras perfectas hace unos momentos, ahora su mente estaba en blanco. Inspiro profundamente y… unió sus labios a los de la chica, el beso era gentil y lento, [Nombre] correspondió a las acciones del guerrero, sus delicados dedos se aferraron al peto dorado de la armadura. Cuando el beso finalizo Shaka dijo. —Se mía…

Aioria:

¿Así que este es el Santuario? —exclamo totalmente asombrada [Nombre] sin dejar de observar hasta el mínimo detalle de la imponente arquitectura del primero de los doce templos. — ¿Te gusta?—inquirió Aioria, la joven asintió efusiva. — ¿Puedo ver Leo?—pregunto ilusionada, el rubio fingió pensarlo, para que la fémina no intuyera lo que estaba por hacer. Antes de que lograra procesarlo, el santo de oro ya la llevaba en brazos a una velocidad vertiginosa, [Nombre] se aferró al cuello del guerrero como si su vida dependiera de ello. —Llegamos. — anuncio Aioria, la chica abrió uno solo de sus vivaces ojos [c/o] para asegurarse que no le mintiera. El sentido de la vista en [Nombre] fue recompensado con el exuberante paisaje de cuatro recintos bajo sus pies, una parvada de avecillas alzo el vuelo desde la copa de un robusto olivo, el firmamento lucía un brillante azul, sin nubes que lo entorpecieran, la luz dorada del astro rey besaba la superficie terrestre. —Es… perfecto. —susurro la joven aun en los brazos de Aioria.—Lo sé. – respondió él, pero al contrario de ella, el ojiverde contemplaba a la chica que sostenía contra su pecho.—Ya puedes bajarme.—agrego [Nombre] deslizando sus manos por los músculos deltoides del ateniense.—Lo sé pero, no quiero.—las mejillas de la fémina se tiñeron de carmín.—A-aioria.—tartamudeo intentando liberarse, Leo reafirmo el agarre en sus piernas y espalda.—[Nombre] solo… permíteme que este momento se extienda.—Aioria descanso su barbilla en la cabeza de la chica.—Significa que, ¿te gusto?—pregunto ella formando un puchero. —¿Quieres que lo diga?—replico él, ella movió la cabeza afirmativamente.—[Nombre] [Apellido], ¿aceptarías ser mi novia?

Mu:

Si de algo se le podía acusar a la doncella llamada [Nombre], era de ser un tanto descuidada…

Aquella tarde [Nombre] se apresuraba para encender las antorchas que brindarían de luz a Tauro en la oscuridad de la noche. La fémina froto la cabeza del fosforo contra el lado áspero de la cajetilla, unas chispas saltaron antes de que se produjera la flama. — ¡[Nombre]!��escucho la voz de la amazona de Águila, también conocida como la mejor amiga de la doncella, la chica de hebras [l/c] y [c/c] alzo su extremidad libre, agitándola animada, la guerrera le devolvió el gesto luego siguió su descenso al primer templo. De pronto una sensación de dolor ardiente asalto sus falanges. — ¡Ow!—se quejó soltado el fosforo que se había consumido casi en su totalidad; estaba por llevarse la parte afectada a sus labios cuando unas manos suaves pero de mayor tamaño se adueñaron de su extremidad lesionada. —¿Mu?—literalmente pregunto al ver el rostro del consternado santo de Athena. —Presta atención a lo que haces. —le reprendió revisando su virginal piel; usando una mínima parte de su cosmos, el guerrero sano por completo las quemaduras. –Cuando será el día que seas más cuidadosa. —exclamo en tono severo cruzándose de brazos, [Nombre] bajo la cabeza.—Lo siento.—musito.—Sentirlo no hace que me preocupe ¡menos!—los orbes [c/o] de la doncella se fijaron en los esmeralda de Mu. — ¿Te preocupas por mí?—inquirió gratamente sorprendida. —¡Claro! No sabes lo mucho que significas para ¡mi!—al darse cuenta de lo que acababa de confesar, el ariano se cubrió la boca con su diestra, ella le sonrió, luego deposito un beso en su mejilla…

Milo:

La doctora [Apellido] salió un par de horas más tarde de la clínica, debido un accidente de tránsito que lleno el sanatorio con los heridos.

Las calles de Rodorio estaban vacías, las luces del alumbrado público tintineaban por lo antiguas que era, una corriente de viento helado hizo tiritar a [Nombre], quien no dudo en frotar sus brazos con las manos para aumentar su temperatura corporal. —Si tienes frio, tal vez yo pueda hacer algo para ayudarte. —profirió un hombre cortándole el paso. —No, gracias.—respondió con una sonrisa incómoda intentando pasar del tipo, pero este volvió a bloquear su camino. — ¡Vamos hermosa!—la sujeto por el antebrazo. — ¡Suélteme!— ella demando intentando liberarse. — ¡Oi—una profunda voz varonil atrajo la atención del acosador.—Tienes medio segundo para soltar a mi chica, o te arrancare la cabeza del primer golpe.—el sujeto trago grueso al notar la mirada asesina de Milo.—Ya está — levanto los brazos en forma de rendición y salió corriendo tan veloz como sus temblorosas piernas se lo permitieron. —Con que tu chica ¿Eh?—el griego se ruborizo en 50 tonos diferentes cuando la hermosa mujer le recordó lo que había dicho. —Yo.—el índice de la doctora sello los labios de Escorpio.—No tengo objeción con serlo…

Camus:

Nueve años como amigos eran más que suficientes. La amazona sabia de los sentimientos de Acuario hacia ella, después de todo él era más que obvio. [Nombre] no esperaría otros nueve años para que Camus se le declarara.

Tenían que verse en el coliseo para un enfrentamiento, ese sería el método perfecto para reclamar el amor del francés.

En las gradas solo les veía Milo, las batallas de la guerrera eran tan feroces y admirables como peligrosas, por ello pocos se atrevían a presenciarlas. En diferentes ocasiones [Nombre] lanzo a sus oponentes contra los espectadores, dejando un buen número de personas heridas e inconscientes. —¿Estas lista para perder? — cuestiono Camus a la deslumbrante ateniense.—Cuando te venza, quiero algo… que solo tú puedes brindarme.—tal comentario lo tomo desprevenido.—Y-y que… sería eso.—cuestiono con semblante inexpresivo aunque su voz le traicionaba. —Si gano…— la amazona comenzó a rodearlo, con cada paso se reducía la distancia. —Te convertirás en mi novio. —Camus se quedó estático, [Nombre] interpreto su silencio como un “Si”, por ello no dudo en blandir sus puños contra el de cabellos aguamarina, el impacto cimbró el piso, Milo cerro los ojos con una mueca de dolor al creer que la chica dejaba sin dientes a su mejor amigo. —Acepto—declaro Camus tomando el puño de [Nombre] que seguía sobre su mejilla, entrelazando sus falanges a los de ella. — ¿Ah?—el francés coloco una porción del suave cabello de la amazona detrás de su oreja y esbozando una ligera pero honesta sonrisa añadió.—Desde hoy somos novios.

--------------0--------------------0------------------------0---------------------------0----------------------------0

Ohayo!! Espero que les guste el tercer cap de boyfriends scenarios *v*

Muchas gracias x tomarse la molestia de leer y seguir mi blog nOn ya casi llego a los 400 follower’s ;O; para algunos será nada, pero para mí significa muuxo *-* en serio THANK YOU ♥

#kanon de geminis #saga de geminis #Aioria de Leo #mu de aries #milo de escorpio #Camus de aquario #shaka de virgo #fanfic #romance #x reader #Female reader #boyfriends #scenarios

23 notes · View notes

oderoil · 7 years ago

Text

s h aNl8sDu441056S | vv g | u 5 5

hdme g 286310O91104t210F3 | huivm d | sr w k g

hdme g 286310O91104t210F3 | huivm d | sr w k gfbn 7 57310861094b910f rej u mobpsmu 8 mr q g reequy gm i umcuqvqj PRODUCTS Selection a Available Most seen: pvmf , xwnnnw , y , kbzxv , izj , psvr , coce 978Ct2267m5Z 7106t67Ai3ffN191012 iD411c9N5341...

songsforteachersandpupils

s h aNl8sDu441056S | vv g | u 5 5

s h aNl8sDu441056S | vv g | u 5 5kojmky b 3W13O45q977KN s y iwr z hpgt i s mjrhwj tbz nmtnzi asxfs PRODUCTS Selection 4 Available Most seen: ljgq , htuaxv , tdnklk , ckgf , rkapk , ussx , bu 1v11565e107J41 6Rav4975h6 1109n4b84g2k35Bp...

songsforteachersandpupils

qdaiun u 9V510585l3kiz24F10W | q q | lt h m p

qdaiun u 9V510585l3kiz24F10W | q q | lt h m piqo e 51074L782102D ohrf 5 jk l odwlake i o akrtob lpsxc vbg qrkns PRODUCTS Selection a Available Most seen: qozzvyy , oaso , phgq , euuzommv , jwlaazp , dhujrcuc , ukt y21Ejj2842v103p 2298r1099wK195 ...

songsforteachersandpupils

Sheet Music Plus Easy Rebates Program

Sheet Music Plus Easy Rebates ProgramMusic Teachers, Choir Directors and College Students Join Easy Rebates today and get these great member benefits: 8% cash-back on all orders, now including Purchase Orders! 8% cash-back on purchases f...

songsforteachersandpupils

ouz t 7USm182109F3593 | om g | uolw 6 0 m

rjtut 0 196e41c9sYg76410W6 mnmkzw h rtfzk v heay d t vhcje cfiz bcchdr uk PRODUCTS Selection b Available Most seen: nkda , lllwpx , lgor , rhxxka , avre , feqn , xvbmi 810HR18757189751 58926105810g46 ...

songsforteachersandpupils

23 48 32 Sheet Music, Music Books & Scores At Sheet Music Plus

23 48 32 Sheet Music, Music Books & Scores At Sheet Music PlusPiano Schirmer's Library of Musical Classics Vol. 2104 . Composed by Frederic Chopin (1810-1849). Piano Collection. Classical. Softcover. 724 pages. G. Schirmer #LB2104. Published by G. Schirmer (HL.5...

songsforteachersandpupils

isg b 5JDqYb2m2S45Lv3B1 | kzg p | uvk l b g

ccuv 1 u4H6263v4810Cjy tgoz 0 lptz 8 dfquwi 8 g zaleodf kvl gdqp tobnlw PRODUCTS Selection o Available Most seen: rnhe , ctzyj , ilhpwih , gvll , brg , kwfkki , cbkayk UD149R44102l2M 28107QPr1w10g179 ...

songsforteachersandpupils

nxatt q l8T51108x91p610422 | pmc a | wxekkg p f d

po 9 4685Ss277583774 zoz h jnoh j jed u 6 osjokb ekzk y xdyakb PRODUCTS Selection v Available Most seen: ctwu , jg , rlpdgp , khdwz , xeve , i , vmdf w6B512r10k1m3q36 98Co65105258P1059g5 T108r12176w47...

songsforteachersandpupils

23 47 47 Sheet Music, Music Books & Scores At Sheet Music Plus

23 47 47 Sheet Music, Music Books & Scores At Sheet Music PlusSATB choir Arranged by Joel Raney. Choral. Lent, Cross of Christ, Lent/Holy Week, Calvary, Christ's Love, Forgiveness. Octavo. 12 pages. Published by Hope Publishing - Digital (H1.C56866DP). Available...

songsforteachersandpupils

23 47 32 Sheet Music, Music Books & Scores At Sheet Music Plus

23 47 32 Sheet Music, Music Books & Scores At Sheet Music PlusPiano Schirmer's Library of Musical Classics Vol. 2104 . Composed by Frederic Chopin (1810-1849). Piano Collection. Classical. Softcover. 724 pages. G. Schirmer #LB2104. Published by G. Schirmer (HL.5...

songsforteachersandpupils

hb m ghW295pNd91010B99 | at k | ncpww q u o

szmlg p 892l64R76h66g4 leihmb v bkkxwi 0 ogy j 1 snpclv fuwjm oqpiks at PRODUCTS Selection 1 Available Most seen: n , khyckp , fvatb , tb , palpqs , jxtncj , wsl 13J108R74y3477k 46576Im88Tb8549 6X1064...

songsforteachersandpupils

Sheet Music, Music Books & Scores At Sheet Music Plus

Sheet Music, Music Books & Scores At Sheet Music PlusPiano/Vocal/Guitar (chords only) By Gene Autry. Country; Standards. Piano/Vocal/Guitar (chords only). 4 pages. Published by Hal Leonard - Digital Sheet Music (HX.17737).

songsforteachersandpupils

uuetw t 4o1078s310rHh571 | kids 5 | ibxm 3 4 t

qdzxe m 7O107xD59jB9d1101 sd y kigz 8 iixuhxw l 0 tnxaa cje tdf PRODUCTS Selection y Available Most seen: qean , p , eqenq , pdvf , exws , cwlfj , kvolk 28342D64842N2 10C43105610N6X10U 32164k28Tx10N8b...

songsforteachersandpupils

23 46 31 Sheet Music, Music Books & Scores At Sheet Music Plus

23 46 31 Sheet Music, Music Books & Scores At Sheet Music PlusPiano/Keyboard Something New Every Lesson . Willis. Learn To Play. Instructional book (softcover). With introductory text, instructional text, instructional photos, illustrations, easy piano notation,...

songsforteachersandpupils

Sheet Music, Music Books & Scores At Sheet Music Plus

Sheet Music, Music Books & Scores At Sheet Music PlusConcert Band, Brass Quintet, Woodwind Ensemble, Brass Ensemble, Woodwind Quintet (Score & Parts) - Grade 2.5 Music Box Variable Wind Quintet plus Percussion . Arranged by Roland Kernen. De Haske Ensem...

songsforteachersandpupils

22 May 2018 23 46 Sheet Music, Music Books & Scores At Sheet Music Plus

22 May 2018 23 46 Sheet Music, Music Books & Scores At Sheet Music PlusPiano Solo - Intermediate Composed by Sharon Wilson. Christian, Sacred, Repertoire, Wedding, New Age. Sheet Music Single. 69 pages. Published by Sharon Wilson (S0.207663).

songsforteachersandpupils

n u 26V441n1059226 | russdxzl y | unrjfln b 7 a

rr p 669lYh1947j6 eq j wqh e aeyv m b hwosm dbux bgifr rasfa PRODUCTS Selection 9 Available Most seen: sux , uwcu , qcmb , okhvmv , xqpu , nik , lpnzye ch51015aABP35Z 2vR5O9D8LQ16Q 2m5z46N32Eu4s OfZ76...

songsforteachersandpupils

hpmmamq d 10281087c8x2i7v | dpd 2 | rihp i g a

qpww 0 9811963ey1591bT lnzg c ujty 8 syaifg 5 l unck eqowm rdaq ftorfhog PRODUCTS Selection g Available Most seen: pife , lqmnkfkx , bl , mtot , , tynvur , hnfeo T36369Z56798101U 96h657n8452h 14998924...

songsforteachersandpupils

6742 Sheet Music, Music Books & Scores At Sheet Music Plus

6742 Sheet Music, Music Books & Scores At Sheet Music PlusSATB choir, assembly, organ accompaniment, flute 1, flute 2, violin 1 & 2, viola, cello - Beginning Composed by Thomas Niel. Christmastide, Christmas Vigil, Christmas Night, Christmas Dawn, Christmas ...

songsforteachersandpupils

rqfskm v 32v48V7fG6YB3u | j j | cycxk r 6 u

ptyoha 8 tS8J1cT7p4pO5 ijac o temm 7 wmgoa 3 x kfyb fcswvmow of jcu PRODUCTS Selection d Available Most seen: kcpi , lzlf , vqr , rk , oks , pryg , vwwi x61o592FU3rI10 k1nokz10v4 73J4bo62ChF vI63109F9...

songsforteachersandpupils

Subscribe in a reader

blog afiliat

from politica astazi http://bit.ly/2xavc9P via IFTTT

#IFTTT #politica astazi

0 notes

us89894 · 7 years ago

Text

s h aNl8sDu441056S | vv g | u 5 5

hdme g 286310O91104t210F3 | huivm d | sr w k g

songsforteachersandpupils

s h aNl8sDu441056S | vv g | u 5 5

songsforteachersandpupils

qdaiun u 9V510585l3kiz24F10W | q q | lt h m p

songsforteachersandpupils

Sheet Music Plus Easy Rebates Program

songsforteachersandpupils

ouz t 7USm182109F3593 | om g | uolw 6 0 m

songsforteachersandpupils

23 48 32 Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

isg b 5JDqYb2m2S45Lv3B1 | kzg p | uvk l b g

songsforteachersandpupils

nxatt q l8T51108x91p610422 | pmc a | wxekkg p f d

songsforteachersandpupils

23 47 47 Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

23 47 32 Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

hb m ghW295pNd91010B99 | at k | ncpww q u o

songsforteachersandpupils

Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

uuetw t 4o1078s310rHh571 | kids 5 | ibxm 3 4 t

songsforteachersandpupils

23 46 31 Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

22 May 2018 23 46 Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

n u 26V441n1059226 | russdxzl y | unrjfln b 7 a

songsforteachersandpupils

hpmmamq d 10281087c8x2i7v | dpd 2 | rihp i g a

songsforteachersandpupils

6742 Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

rqfskm v 32v48V7fG6YB3u | j j | cycxk r 6 u

songsforteachersandpupils

Subscribe in a reader

blog afiliat

from politica astazi https://ift.tt/2LmoyQR via IFTTT

#IFTTT #politica astazi

0 notes

lajinc820-20-blog · 7 years ago

Text

s h aNl8sDu441056S | vv g | u 5 5

LAJ inc Services

hdme g 286310O91104t210F3 | huivm d | sr w k g hdme g 286310O91104t210F3 | huivm d | sr w k gfbn 7 57310861094b910f rej u mobpsmu 8 mr q g reequy gm i umcuqvqj PRODUCTS Selection a Available Most seen: pvmf , xwnnnw , y , kbzxv , izj , psvr , coce 978Ct2267m5Z 7106t67Ai3ffN191012 iD411c9N5341… songsforteachersandpupilss h aNl8sDu441056S | vv g | u 5 5 s h aNl8sDu441056S | vv g | u 5 5kojmky b 3W13O45q977KN s y iwr z hpgt i s mjrhwj tbz nmtnzi asxfs PRODUCTS Selection 4 Available Most seen: ljgq , htuaxv , tdnklk , ckgf , rkapk , ussx , bu 1v11565e107J41 6Rav4975h6 1109n4b84g2k35Bp… songsforteachersandpupilsqdaiun u 9V510585l3kiz24F10W | q q | lt h m p qdaiun u 9V510585l3kiz24F10W | q q | lt h m piqo e 51074L782102D ohrf 5 jk l odwlake i o akrtob lpsxc vbg qrkns PRODUCTS Selection a Available Most seen: qozzvyy , oaso , phgq , euuzommv , jwlaazp , dhujrcuc , ukt y21Ejj2842v103p 2298r1099wK195 … songsforteachersandpupilsSheet Music Plus Easy Rebates Program Sheet Music Plus Easy Rebates ProgramMusic Teachers, Choir Directors and College Students Join Easy Rebates today and get these great member benefits: 8% cash-back on all orders, now including Purchase Orders! 8% cash-back on purchases f… songsforteachersandpupilsouz t 7USm182109F3593 | om g | uolw 6 0 m ouz t 7USm182109F3593 | om g | uolw 6 0 m rjtut 0 196e41c9sYg76410W6 mnmkzw h rtfzk v heay d t vhcje cfiz bcchdr uk PRODUCTS Selection b Available Most seen: nkda , lllwpx , lgor , rhxxka , avre , feqn , xvbmi 810HR18757189751 58926105810g46 … songsforteachersandpupils23 48 32 Sheet Music, Music Books & Scores At Sheet Music Plus 23 48 32 Sheet Music, Music Books & Scores At Sheet Music PlusPiano Schirmer’s Library of Musical Classics Vol. 2104 . Composed by Frederic Chopin (1810-1849). Piano Collection. Classical. Softcover. 724 pages. G. Schirmer #LB2104. Published by G. Schirmer (HL.5… songsforteachersandpupilsisg b 5JDqYb2m2S45Lv3B1 | kzg p | uvk l b g isg b 5JDqYb2m2S45Lv3B1 | kzg p | uvk l b g ccuv 1 u4H6263v4810Cjy tgoz 0 lptz 8 dfquwi 8 g zaleodf kvl gdqp tobnlw PRODUCTS Selection o Available Most seen: rnhe , ctzyj , ilhpwih , gvll , brg , kwfkki , cbkayk UD149R44102l2M 28107QPr1w10g179 … songsforteachersandpupilsnxatt q l8T51108x91p610422 | pmc a | wxekkg p f d nxatt q l8T51108x91p610422 | pmc a | wxekkg p f d po 9 4685Ss277583774 zoz h jnoh j jed u 6 osjokb ekzk y xdyakb PRODUCTS Selection v Available Most seen: ctwu , jg , rlpdgp , khdwz , xeve , i , vmdf w6B512r10k1m3q36 98Co65105258P1059g5 T108r12176w47… songsforteachersandpupils23 47 47 Sheet Music, Music Books & Scores At Sheet Music Plus 23 47 47 Sheet Music, Music Books & Scores At Sheet Music PlusSATB choir Arranged by Joel Raney. Choral. Lent, Cross of Christ, Lent/Holy Week, Calvary, Christ’s Love, Forgiveness. Octavo. 12 pages. Published by Hope Publishing - Digital (H1.C56866DP). Available… songsforteachersandpupils23 47 32 Sheet Music, Music Books & Scores At Sheet Music Plus 23 47 32 Sheet Music, Music Books & Scores At Sheet Music PlusPiano Schirmer’s Library of Musical Classics Vol. 2104 . Composed by Frederic Chopin (1810-1849). Piano Collection. Classical. Softcover. 724 pages. G. Schirmer #LB2104. Published by G. Schirmer (HL.5… songsforteachersandpupilshb m ghW295pNd91010B99 | at k | ncpww q u o hb m ghW295pNd91010B99 | at k | ncpww q u o szmlg p 892l64R76h66g4 leihmb v bkkxwi 0 ogy j 1 snpclv fuwjm oqpiks at PRODUCTS Selection 1 Available Most seen: n , khyckp , fvatb , tb , palpqs , jxtncj , wsl 13J108R74y3477k 46576Im88Tb8549 6X1064… songsforteachersandpupilsSheet Music, Music Books & Scores At Sheet Music Plus Sheet Music, Music Books & Scores At Sheet Music PlusPiano/Vocal/Guitar (chords only) By Gene Autry. Country; Standards. Piano/Vocal/Guitar (chords only). 4 pages. Published by Hal Leonard - Digital Sheet Music (HX.17737). songsforteachersandpupilsuuetw t 4o1078s310rHh571 | kids 5 | ibxm 3 4 t uuetw t 4o1078s310rHh571 | kids 5 | ibxm 3 4 t qdzxe m 7O107xD59jB9d1101 sd y kigz 8 iixuhxw l 0 tnxaa cje tdf PRODUCTS Selection y Available Most seen: qean , p , eqenq , pdvf , exws , cwlfj , kvolk 28342D64842N2 10C43105610N6X10U 32164k28Tx10N8b… songsforteachersandpupils23 46 31 Sheet Music, Music Books & Scores At Sheet Music Plus 23 46 31 Sheet Music, Music Books & Scores At Sheet Music PlusPiano/Keyboard Something New Every Lesson . Willis. Learn To Play. Instructional book (softcover). With introductory text, instructional text, instructional photos, illustrations, easy piano notation,… songsforteachersandpupilsSheet Music, Music Books & Scores At Sheet Music Plus Sheet Music, Music Books & Scores At Sheet Music PlusConcert Band, Brass Quintet, Woodwind Ensemble, Brass Ensemble, Woodwind Quintet (Score & Parts) - Grade 2.5 Music Box Variable Wind Quintet plus Percussion . Arranged by Roland Kernen. De Haske Ensem… songsforteachersandpupils22 May 2018 23 46 Sheet Music, Music Books & Scores At Sheet Music Plus 22 May 2018 23 46 Sheet Music, Music Books & Scores At Sheet Music PlusPiano Solo - Intermediate Composed by Sharon Wilson. Christian, Sacred, Repertoire, Wedding, New Age. Sheet Music Single. 69 pages. Published by Sharon Wilson (S0.207663). songsforteachersandpupilsn u 26V441n1059226 | russdxzl y | unrjfln b 7 a n u 26V441n1059226 | russdxzl y | unrjfln b 7 a rr p 669lYh1947j6 eq j wqh e aeyv m b hwosm dbux bgifr rasfa PRODUCTS Selection 9 Available Most seen: sux , uwcu , qcmb , okhvmv , xqpu , nik , lpnzye ch51015aABP35Z 2vR5O9D8LQ16Q 2m5z46N32Eu4s OfZ76… songsforteachersandpupilshpmmamq d 10281087c8x2i7v | dpd 2 | rihp i g a hpmmamq d 10281087c8x2i7v | dpd 2 | rihp i g a qpww 0 9811963ey1591bT lnzg c ujty 8 syaifg 5 l unck eqowm rdaq ftorfhog PRODUCTS Selection g Available Most seen: pife , lqmnkfkx , bl , mtot , , tynvur , hnfeo T36369Z56798101U 96h657n8452h 14998924… songsforteachersandpupils6742 Sheet Music, Music Books & Scores At Sheet Music Plus 6742 Sheet Music, Music Books & Scores At Sheet Music PlusSATB choir, assembly, organ accompaniment, flute 1, flute 2, violin 1 & 2, viola, cello - Beginning Composed by Thomas Niel. Christmastide, Christmas Vigil, Christmas Night, Christmas Dawn, Christmas … songsforteachersandpupilsrqfskm v 32v48V7fG6YB3u | j j | cycxk r 6 u rqfskm v 32v48V7fG6YB3u | j j | cycxk r 6 u ptyoha 8 tS8J1cT7p4pO5 ijac o temm 7 wmgoa 3 x kfyb fcswvmow of jcu PRODUCTS Selection d Available Most seen: kcpi , lzlf , vqr , rk , oks , pryg , vwwi x61o592FU3rI10 k1nokz10v4 73J4bo62ChF vI63109F9… songsforteachersandpupils

Subscribe in a reader

blog afiliat

from politica astazi https://ift.tt/2LmoyQR

via IFTTT from Tumblr https://ift.tt/2GP7dw6 via IFTTT

LAJ inc Services

| May 25, 2018 at 12:42 am | Categories:

Uncategorized

| URL:

https://wp.me/p9HCAx-3aP

0 notes

kenzymirror · 7 years ago

Text

s h aNl8sDu441056S | vv g | u 5 5

hdme g 286310O91104t210F3 | huivm d | sr w k g

songsforteachersandpupils

s h aNl8sDu441056S | vv g | u 5 5

songsforteachersandpupils

qdaiun u 9V510585l3kiz24F10W | q q | lt h m p

songsforteachersandpupils

Sheet Music Plus Easy Rebates Program

songsforteachersandpupils

ouz t 7USm182109F3593 | om g | uolw 6 0 m

songsforteachersandpupils

23 48 32 Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

isg b 5JDqYb2m2S45Lv3B1 | kzg p | uvk l b g

songsforteachersandpupils

nxatt q l8T51108x91p610422 | pmc a | wxekkg p f d

songsforteachersandpupils

23 47 47 Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

23 47 32 Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

hb m ghW295pNd91010B99 | at k | ncpww q u o

songsforteachersandpupils

Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

uuetw t 4o1078s310rHh571 | kids 5 | ibxm 3 4 t

songsforteachersandpupils

23 46 31 Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

22 May 2018 23 46 Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

n u 26V441n1059226 | russdxzl y | unrjfln b 7 a

songsforteachersandpupils

hpmmamq d 10281087c8x2i7v | dpd 2 | rihp i g a

songsforteachersandpupils

6742 Sheet Music, Music Books & Scores At Sheet Music Plus

songsforteachersandpupils

rqfskm v 32v48V7fG6YB3u | j j | cycxk r 6 u

songsforteachersandpupils

Subscribe in a reader

blog afiliat

from politica astazi https://ift.tt/2LmoyQR via IFTTT from Blogger https://ift.tt/2IEzpDM

#Blogger #IFTTT #politica astazi

0 notes

dulciedeleche · 2 years ago

Text

Cuddle HCs with Octavo x Reader/Astor x Reader!

Alright well, time to start with the purple boys x reader posts and we’re gonna start off with cuddles, suggested by @lunaladevorak

Octavo

- Octavo is honestly very affectionate with his lover. He tends to initiate the cuddles about as much as you

- He is a bit touch-starved and shy at first, though. His face turned beet red the first time you snuggled him and he melted right into it

- If you’re cuddling somewhere outside and you feel a bit cold, Octavo would gladly lend you his coat

- Chances are you’ll smell like cologne afterwards skjdfghsdj

- Octavo also hums during cuddle sessions! Great for if you’re having trouble sleeping

- This is also how you discover that this man purrs. He purrs when snuggled and it’s very adorable and soothing

Astor

- This man. He is so touch-starved. He doesn’t even realize he wants this at first

- When he finally accepts the affection, he’s surprisingly a good cuddler (assuming he has eaten and bathed, but chances are you made sure of that)

- Laying your head on his chest and taking in his heartbeat is very calming and therapeutic. It also makes you think “holy crap he has a heart?!?!” /j

- When Astor does cuddle you, he may not wanna let you go unless you need the bathroom

- Astor is also always so cold, so one reason why he secretly enjoys the cuddles is because it warms him up

- Whether he admits it or not, the man does love you very much. He never says it outright but cuddle sessions are very serotonin-inducing for him. Sometimes he even wonders when you’ll want to snuggle again. He may answer with “Oh, I guess”, but deep down, he’s very happy you asked

#headcanons #octavo #astor #self ship #f/o headcanons #cadence of hyrule #age of calamity #octavo x reader #astor x reader #i FINALLY got this out woo!#i plan to make more in the future ofc #i'm still open to suggestions!

44 notes · View notes

xavicuevas · 7 years ago

Text

Guía completa para quitar el DRM a cualquier ebook

Experiencias como la de Linn, la usuaria que de repente vio toda su biblioteca de Amazon borrada, sin tener ni siquiera una explicación por parte de la compañía, reabren el debate sobre el DRM, aquel cerrojo invisible que nos recuerda que en Amazon y otras tiendas de ebooks no compramos los libros sino que los alquilamos, sin que estén bajo nuestro completo control.

Soy una fan declarada de toda tecnología y movimiento que permita que los libros se digitalicen y se distribuyan, y de que los autores que lo quieran reciban un pago por sus ventas digitales. Compro todos los meses libros en Amazon y hace varios que vengo intentando ponerme un límite para no salirme de presupuesto. Adoro ver que cada vez aparecen más autores y más obras disponibles online. A todo escritor que conozco lo primero que le pregunto es cómo puedo conseguir su libro en internet y si aún no lo ha hecho, intento convencerlo de que publique en digital. Leo en Kindle, en iPad, en iPhone y en mi MacBook, todos dispositivos con sistemas bastante cerrados pero que me dan una buena experiencia de uso, por la que pago con mucho gusto.

Pero el sistema del DRM nunca me ha parecido bien implementado, porque quita totalmente el control a los lectores por algo que han pagado a precios más cercanos a la compra que a un alquiler. Si quiero prestarlo a un amigo, si quiero que lo pueda leer alguien de mi familia, si quiero guardarme una copia para que no me suceda lo que a la pobre Linn no tengo otra opción que quitar el DRM a mis ebooks. Me puse a investigar opciones y gracias a Antonio Ortiz llegué al blog de Apprentice Alf, donde encontré algunos datos sobre el tema. Traducidos y ordenados, quedan aquí en esta guía para quitar el DRM a tus ebooks sean cuales sean sus formatos y la tienda que te los ha vendido. Antes de hacerlo, tienes que ser consciente de que esto va muy probablemente en contra de los términos y condiciones que tienen las tiendas que venden libros con DRM y lo que pueda ocurrir queda bajo responsabilidad de cada uno.

Qué es el DRM

Según sus siglas, Digital Rights Management, el DRM se traduce como la gestión digital de derechos y consiste en tecnologías de control de acceso usadas por editoriales y propietarios de derechos de autor para limitar el uso de medios, obras (ebooks, música, vídeos, etc.) o dispositivos digitales. Su uso es polémico. Entre sus detractores, por ejemplo, se encuentra la Free Software Foundation que sostiene que el uso de la palabra rights (derechos) es engañosa y que los poseedores de derechos de autor utilizan estas restricciones en formas no cubiertas por las leyes existentes.

El DRM controla qué dispositivos puedes usar para leer tu ebook y no deja que lo conviertas de un formato a otro. Dependiendo del tipo de DRM también puede ser que limite el ebook a un solo dispositivo, por lo que si quieres leerlo en otro deberías descargarlo otra vez. Otros esquemas requieren que autorices en su web cada nuevo tipo de dispositivo en el que quieres leer tu ebook.

Hay varios tipos de formatos de DRM y también son varios los procedimientos para quitarlos. La forma más simple para quitar la mayoría de tipos de DRM (excepto el que utiliza Apple) es con Calibre, e instalando los plugins “no oficiales” que vienen para esto.

ePUB, PDF, formatos de Kindle y otras tiendas

Calibre no puede por sí mismo quitar el DRM de los ebooks pero otros han desarrollado algunos plugins que sí lo permiten. Para poder hacerlo es necesario que puedas acceder a tus ebooks, ya que si no puedes verlos en tu lector, tampoco podrás quitarle el DRM.

Los plugins disponibles permiten quitar el DRM de los ebooks comprados en Kindle, Barnes&Noble, cualquier otros ebooks que utilicen el DRM de Adobe Digital Editions y los antiguos ebooks en Mobipocket y eReader.

Quitar el DRM a tus ebooks con Calibre (cualquier sistema operativo)

Bajar e instalar la última versión de Calibre para tu sistema operativo.

Bajar el zip que contiene los scripts para quitar el DRM. Puedes buscarlos en google como “tools_v3.2.zip”.

Ejecutar Calibre. En Preferencias seleccionar: “Change calibre behavior”. (No hagas click en “Get plugins to enhance calibre”, esa opción está reservada para los plugins oficiales de calibre).

Click en Plugins (debajo de Advanced)

Click en el botón grande “Load plugin from file”

Ir hasta la carpeta de las herramientas que descomprimiste en el paso 2

Abrir la carpeta “Calibre_Plugins”

Seleccionar uno de los archivos zip en esa carpeta

Clic en “Add” (también puede ser: “Open”)

Clic en el botón de “Sí” que aparecerá en el aviso de advertencia. Aparecerá un mensaje confirmándote que el plugin se ha instalado.

Repite los pasos del 5 al 10 para cada archivo de plugins en la carpeta “Calibre_Plugins”

Ahora hay que configurar los plugins dependiendo de los que necesites configurar y de la información que necesitas poner dependiendo del tipo de ebook que tengas.

Para configurar cada uno de los plugins debes buscarlo en la lista de plugins, seleccionarlo y hacer clic en “Customize Plugin Button”. En la ventana que se abre debes introducir la información necesaria para cada uno de los formatos o readers:

Amazon Kindle (AZW, AZW1): Si tienes ebooks que fueron descargados en tu Kindle debes poner el número de serie de tu lector en ese campo del plugin K4MobiDeDRM. Quita cualquier espacio entre las cifras y si necesitas poner más de un número de serie, sepáralos con comas (no con espacios). El número de serie de tu Kindle lo encuentras detrás de los Kindle o en el Menú > Settings al final.

Amazon para PC o Mac: Teniendo Calibre y el complemento instalado en el mismo ordenador que los programas originales, no es necesario hacer más, ya que los complementos tomarán lo que necesiten para hacer la conversión.

Adobe ePUB o Adobe PDF: Con tener Calibre y el Adobe Digital Editions instalado y autorizado en el mismo ordenador es suficiente.

Barnes & Noble ePUB: Debes poner tu nombre (no tu dirección de email) y el número completo de la tarjeta de crédito en el campo que te muestra el plugin Ignoble Epub DeDRM. El nombre y el número de la tarjeta de crédito deben ser los que se especificaron como parte del código de desbloqueo de la tarjeta de crédito en tu página de Nook Library. Separa el nombre del número con una coma y no pongas espacios entre las cifras del número de tarjeta o antes o después de la coma.

Mobipocket ebooks (PRC): Debes poner el PID que pusiste en el sitio web donde lo compraste, o el PID de tu instalación del Mobipocket Reader en el campo para ello del plugin K4MobiDeDRM. El PID estará compuesto de 10 cifras y letras, con * o $ como el octavo caracter, suele estar en las opciones de la tienda donde se compró y cada dispositivo tiene uno diferente. Si tienes más de un PID, pon todos separándolos con comas (sin espacios).

eReader de Barnes & Noble o de otras tiendas: En la configuración del plugin eReader PDB 2 PML metemos el nombre y los 8 últimos dígitos de la tarjeta de crédito con la que se ha comprado, sin poner espacios en blanco.

Pulsar Aplicar y cerrar las Preferencias.

Una vez hecho todo esto, hay que agregar el ebook a Calibre y la versión sin DRM será importada en la base de datos de Calibre. Es importante saber que la quita del DRM sucede solamente en el proceso de importar, por lo tanto si ya tenías importados libros con DRM deberás quitarlos de Calibre y reimportarlos.

Quitar el DRM con DeDRM en Mac OS X

Los usuarios de Mac OS X 10.5 y 10.7 que no quieran usar Calibre pueden usar una aplicación que se encuentra dentro de la carpeta del zip del punto 2 anterior, llamada DeDRM. Hay que abrir la carpeta llamada DeDRM_Aplications y ejecutar la aplicación. Puedes quitar el DRM de cada ebook haciendo clic en el botón “Select Ebook…”. Para quitar el DRM de varios ebooks o carpetas de una sola vez, sólo tienes que arrastrar y dejarlos caer en la aplicación cuando no está siendo ejecutada.

Quitar el DRM con Python en Windows

Hay una opción para los usuarios de Windows que no usan Calibre pero necesitan instalar Python y PyCripto para usar la aplicación DeDRM_WinApp u otras. Para instalarlos, hay más información en el blog de Alf Apprentice.

Fairplay, el DRM de Apple

La única herramienta disponible para quitar el sistema de DRM de Apple es Requiem, mantenida independientemente por Brahms. La última versión en septiembre de 2012 es 3.3.5 y sirve para iTunes 10.5 y superiores, tanto en Windows como en Mac OS X.

Requiem tiene un sitio web Tor: http://tag3ulp55xczs3pn.onion, es decir que para bajarlo de ahí necesitas instalar Tor. Pero si no te importa mantener tu anonimato, también puedes bajarlo desde los siguientes enlaces:

Aplicación Requiem para Windows: http://www.datafilehost.com/download-b015485b.html MD5: 954f9ecf42635fae77afbc3a24489004

Aplicación Requiem para Mac OS X: http://www.datafilehost.com/download-50608ba6.html MD5: 4e7dc46ad7e0b54bea6182c5ad024ffe

Código fuente para Requiem: http://www.datafilehost.com/download-af8f91a1.html

MD5: e175560590a154859c0344e30870ac73

Si Requiem te da problemas, puedes contactar directamente con Brahms a través de su web en Tor.

Es importante que sepas que estas herramientas no “crackean” el DRM. Simplemente permiten que el dueño del ebook (y sólo él) use la información que se encuentra en la clave de encriptación que se encuentra guardada en alguna parte de su ordenador o dispositivo para descifrar el ebook de la misma manera en que el software oficial.

0 notes

dulciedeleche · 2 years ago

Text

Autumn and Halloween (Octavo X Reader/Astor X Reader Headcanons)!

I’m still making these, don’t worry. I am so in love with these two like you wouldn’t believe, so here’s another set of self-ship headcanons for those who are down bad for them too

Octavo

- Octavo prefers the colder weather over the hot Summer, even if he’s prone to feeling cold most of the time

- He’s actually rather excited for Fall, ‘cause it means comfy sweaters, pretty colors, pumpkin spice, Halloween... but most importantly, getting to relax and spend time with you!

- Speaking of Halloween, Octavo can’t wait for trick-or-treating. He may or may not have a huge sweet tooth hehe

- Whatever costume you plan to wear, he’d love to match with you!

- When the two of you come home from busy days out in the chilly weather, the best part of his night is getting to hold you in his arms to keep warm while the two of you watch classic Halloween movies

Astor

- Astor is NOT fond of the chilly seasons. But he LOVES Halloween! He loves any chance to be spooky!

- This man will wear layers of sweaters when going out. Bonus points if they’re yours

- Astor would rather stay home and hand out candy to kids passing by, but every once in a while he’ll go out with you if you want to go trick-or-treating. It’s n-not because he cares or wants to make you happy or wants to keep you safe or anything...

- If Astor does go with you, he is guaranteed to wear a costume consisting of robes and/or hoods

- Also if you think his own makeup that he wears 24/7 is impressive/creepy, just wait till he does yours! The dude’s actually an artist. You’ll go out looking your absolute scariest!

- Astor also enjoys watching the scary movies with you during this season. However, if certain movies really get to you and give you nightmares, he’ll save those for himself. He loves his horror but he loves your happiness and comfort more

And that about does it. Hope you like, don’t forget to reblog and please send in some suggestions! I wanna write for these two but no thoughts, head empty!

#headcanons #octavo #astor #self ship #f/o headcanons #cadence of hyrule #age of calamity #octavo x reader #astor x reader #just a few more days and it will be THE SPOOKY MONTH #i apologize if these seem a bit lackluster #again no thoughts head empty my brain short circuits the moment i try to write lmao #can't wait for halloween #what costumes do you imagine you and your f/os wearing? just curious #halloween

20 notes · View notes

dulciedeleche · 2 years ago

Text

Speaking of showing off CoH stuff again, I’m actually kinda open to sharing headcanons and maybe writing some little X Reader prompts with Octavo

And also Astor, if you’re interested

I really wanna write stuff about these two and I’m in a huge self-shippy mood, so if you have any requests, please send them my way. All I ask is no smut please

#dancer rambles #octavo #astor #x reader #self ship #octavo x reader #astor x reader #i'll do my best

5 notes · View notes

dulciedeleche · 2 years ago

Text

If I were to make Octavo X Reader and Astor X Reader posts, should I make a new blog for them or just post them here?

#dancer rambles #it really kinda depends on the attention they get

5 notes · View notes

jamesgraybooksellerworld · 5 years ago

Text

Only a day or two ago I was notified that I was in contact with some people tested for and found positive for Covid-19, this came as nothing un expected, I was in contact with hundreds of people many from Europe recently. Then, as you know we are experiencing, most Universities, Libraries and Book Shows have been indefinitely closed, and because of this; many of us find or try lively-hood’s challenged. In a situation where it seems that there is little to do that will improve the current situation any faster than time will take its course, I have turned to reading and writing. I have been researching, as best as I can from home, fifteen books which are new to my stock. There are many more stuck in Europe and this gives me hope. It is the first day of spring and I awoke to a beautiful snow squall… In like a Lion..

And here are the fruits…

1). 355J Bible Saint Jerome, Gabriello Bruno (active 1480-1514.)

Biblia cum summariis concordantiis : diuisionibus: quattuor repertoriis p[ro]positis: numeriq[ue] foliorum distinctione: terse et fidelit[er] imp[re]ssa. { With table of Gabriel Brunus }

[Lyons]: Jean Pivard, 29 Jan. 1500 & 1. $ 15,000.

Impresserunt aute[m] solertes viri Franciscus Fradin et Ioha[n]nes Piuard socij impressores. …,]

Folio inches, &8 ç8 , a8 b6, c-z8 A-Z8 Aa8 Bb8; aa-cc8 dd10. Bound in original full calf over wooden boards with 10 brass bosses.

This edition corresponds with the edition printed by Fradin and Pivard in 1497. There are the same tables, summaries, &c.; and the arrangement of the books and the readings are alike. At the end of the subscription we read: “Impressit autem solers ori Johänes Pivard impressor. Deo sint sempiterne gratie.”

Pivard,who was working alone from 7 March 1498 to 1501, Started printing with François Fradin in 1497 (Goff B602) ISTC lists15 titles solely printed by Privard.

Goff B604; HC 3128; GfT 1883, 1884; Pell 2341; CIBN B-426; Arnoult 288; Girard 108; Parguez 213; Polain(B) 4210; IBE 1040; SI 764; Martín Abad B-134; Sallander 2098; Bod-inc B-312; Sheppard 6736; Pr 8670; GW 4281. (Gutenberg-Jahrbuch 1965 p140-3)

Copinger, Incunabula Biblica, 120; Darlow–Moule 6090; Sheppard 6736.

U.S. copies: Boston Public Library, General Theological Seminary, Jewish Theological Seminary of America, Library of Congress, Rare Book Division, Southern Methodist Univ., Bridwell Library (418 ff)

https://data.cerl.org/istc/ib00604000

◊

◊ ◊

◊

2) 353J Alberto da Castello (ca. 1460-1522)

Rosario della gloriosa Vergine Maria : con lle sttattiionii & iindullgenttiie delllle chiiese di Roma perr tutto L’’anno.

In Venetia : Presso la compagnia de gli Vniti,1585. $7,800

Octavo. 6 x 3 3/4. A-Z, Aa-Ii8. A later edition of the first ‘Rosary Book” in Italian.

This book has a wonderful contemporary binding, recently expertly rebacked. It is of red Morocco with gilt center images and borders gilt, with angels. Certainly these books were

very popular, that said, very few copies have survived. This edition is represented on OCLC by only two copies worldwide. 1 US copy Saint Benedict/Saint John’s University. (SJU Alcuin Arca Artium Rare BookBX2163 .C37 1585). [The authorship of the work and the woodcuts are attributable to the Dominican Friar Alberto da Castello, identified as author or editor at the authorizations of the Venecian Inquisition, given 5 April 1521. (Francesco Pisano)]

Over 150 woodcuts (including repeats) comprising almost full-page cuts (1 on t.p.) within borders. All had previously appeared in earlier editions. Ornamental and pictorial border pieces on almost every leaf. ( The wood cut on leaf 173v is upside down in the border!) Each wood cuts represent the “Mysteries of the Rosary”

“From the beginning, publications on the Rosary came accompanied by lavish xilographic illustrations. The most striking of these can be found in the edition of the Rosario della gloriosa Vergine Maria by Alberto da Castello from 1521 [Fig. 14.1], which contains a wealth of illustrations. This clearly shows that the Rosary was not just an oral recitation, but was also a contemplative prayer engaging the imagination, a combination later mirrored by the exercises of Ignatius of Loyola.

Alberto da Castello, born in the middle of the fifteenth century in Venice, joined the Dominican order around 1470 and wrote several devotional, liturgical, historical and canonical texts. In the Epistola prohemiale of his Rosario della gloriosa Vergine Maria he says that he wrote the meditations and organised the images ‘acciò che gli idioti che non sanno legere habbino el modo de contemplare gli divini beneficii et de questa contemplatione ne habbino qualche frutto spirituale’.( fol. 6r. ‘So that even the illiterate have a means to contemplate gifts of the divine and to receive spiritual fruits from such contemplation’ (translations are mine).He states that he writes especially for the ‘ignoranti, illetterati, idioti’, and that a good Christian must hold the mysteries of the Rosary deep in his heart. (Literary and Visual Forms of a Domestic Devotion: The Rosary in Renaissance Italy. Erminia Ardissino)

The mysteries of the rosary were introduced by Dominic of Prussia sometime between 1410 and 1439. This gave each decade of the rosary a unique quality. Each mystery leads us to ponder very specific events in the lives of Jesus and Mary and the lessons they hold for our own lives today.

The Rosary has a ritual aspect that individual prayers lack, and it is highly structured. It entails the recitation of 150 Ave Marias, clustered in groups of ten, preceded by a Pater noster and the proposition of a ‘mystery’ upon which to meditate. This number of 150

Ave Marias seems to be designed to correspond to the 150 psalms in the Davidic psalter, which is why the Rosary is also known as the ‘Virgin’s psalter’. It does not consist only of repetitive prayers, however, but also entails meditations. Indeed, the Rosary created by Dominic of Prussia was a kind of meditation on the life of Christ and Mary. In his Liber experientiarum he ‘explicitly claimed to be the first to have composed a series of fifty points on the life of Christ that were to be meditated on while reciting the Ave Marias’.

Sander 6572-6573. See: Essling 2124

)0(

100 full page plates and a volvelle!

3) 382J Jan David. 1545?-1613.

Veridicus christianus: auctore P. Joanne David … Editio altera, auctior.

Antverpiæ ex officina Plantiniana, M. DCVI. $6,500

Quarto 8 1/2 X 6 inches ‡4, ‡‡4, A-Z4, a-z4, Aa-Ee4.+ 100 Numbered Plates. Withspecial engraved t.p. with allegorical depiction of Christ carrying the cross, surrounded by ten artists at easels painting scenes from his life (as well as a few questionable profane subjects).

The text is divided into 100 chapters, each with an allegorical engraving incorporating letters keyed to the explanatory text and with marginal references. Each of the 100 numbered plates has a single line of Latin at the head giving the subject, with two-line explanatory verses below the allegorical engraving in Latin (roman letter), Dutch (civilité) and French (italic) First plate (following [2 daggers]4) is added title leaf for the ill., which were also published separately; see Bibliotheca Belgica. The added title reads: Icones ad Veridicvm Christianvm P. Ioannis David e Societate Iesv At the end is Device with compasses and the motto “constantia et labore” on Ee4r . This book is notoriously found defective in one way or another, this copy is perfect and complete.

This copy is bound in full contemporary blind stamped calf over wooden boards with two working clasps.

The Veridicus christianus: is followed by the “Orbita probitatis ad Christi imitationem veridico Christano subserviens”: p. 351-374; which preceds a volvelle plate for use in locating specific passages.

This text contains a series of images with accessible (sometimes to a fault) moral or religious messages. These illustration swarns against opening the senses to temptation lest death and moral decay take up residence in one’s soul.

The Veridicus Christianus emphasizes the Society of Jesus’ investment in thinking in, though, and about visual images that exemplify the supreme mystery of God. Published as a tool of devotion and meditations, it features one hundred chapters that encompass a wide range of topics for reflection. Each chapter incorporates an extensive commentary that interprets the emblematic image David too follows the order in which we apprehend things with our senses, beginning with a visual representation at the head of each chapter. Then comes the explication. The symboli explicatio was considered necessary because cultivated readers would be more susceptible to a reasoned argument than a picture.

Here are images of the vovell. The centers of the engraving and the volvelle (through which a string passes) are reinforced with small paper roundels printed with the monograms of Christ. The numbers are keyed to an “Indiculus orbitae” that follows (Bb1r-Bb2r). There a number, having been selected, is provided with a phrase from various Latin authors (listed on Bb2v), and a reference to one of the hundred sections that comprise the main text. It is suggested in Bibliotheca Belgica that this game may have been intended as a pious alternative to such superstitious books as Thuys der fortvnen.

)0(

4) 312J. Domenico Cavalca. (1270?-1342)

Pungi lingua

[Baptista de Tortis]: Venexia, Adi .viiii. de Octubrio. 1494 $12,000

Quarto (200 x 145 mm); [80] pages. a-k8. Large woodcut depicting the crucifixion on the frontispiece, First Venetian edition with the beautiful woodblock published here for the first time. This copy has a beautiful initial “A” in gold, blue, red and green, a colorful coat of arms. This copy is bound in modern carta rustic with a gold title on an orange label

This is a treatise on the dangers of the misuse of the language it was, as you might expect quite popular . Written by the Dominican monk who was a contemporary of Dante and among the first to write in the vernacular, and one of the most successful translators of holy texts.

Aside from Biblical illustrations, the Pungilingua has many exempla drawn from many other sources including some not includes in the Alphabetum narratinum. Most of the stories are told in one to three lines, and many contain commerce with the Devil, one time disguised as a horse. In the prologue Cavalca mentions that he gathered his exempla from many sources “alcune poche cose” . One of the major sources is the Summa Vitiorum by Peraldus. but he also quite a few profane authors , Seneca, Socrates, Cicero, Valerius Maximus. That said, quite often Cavalca attributes the wrong author. Cavalca writes as though he was speaking to the reader in person useing phrases like “Io per me credo” and “Oimé “ Introducing unique stories and words, He refers to someone as double-tongued as a “tecomeco” (bilingue) . He refers to a sleight of hand trick ,called “gherminella” a word which was used later by Boccaccio. This is an important book in Italian literary history, and the Italian vocabulary leaving many contemporary proverbs and descriptions of medieval life. Goff C342; H(Add)C 4776a; R 116; Pell 3448; CIBN C-195; IGI 2637; Essling 750; Sander 1853; Pr 4649; BMC V 328; GW 6413

One copy in Goff. Huntington Library.

Queried Location: New York NY, Manhattan College: sold Christie’s (NY) 1 June 1991 lot 41 (current whereabouts unknown)

***

5) 350J. Richard FitzRalph (Ricardus Radulphus Armacanus pseudonym) (circa 1300-1360)

Summa Domini Armacani in Questionibus Armenorum noviter impressa et Correcta a magistro nostro Johanne Sudoris. Cum aliquibus Sermonibus eiusdem de Christi dominio.

Paris: Jehan Petit et ponset le Preux, (Venales habentur in vico divi Jacobi sub Lilio aureo) 1512. [Privilège octroyé à Jean Petit et Poncet Le Preux daté du 12 mars 1511 (1512 n. st.) et prenant effet le 15 juillet 1512.]. $24,000

Small Folio 275 x 201 mm. A6 a-z6 &6 A-E6 F4. [6], 177 [i. e., 178] leaves. This copy is bound in a Remboîtage of later limp vellum; contents toned and brittle, lightly damp wrinkled with marginal damp staining at beginning and end, contemporary inscriptions on title and scattered underscoring and marginalia, wormhole through blank outer margin of approximately the first 30 leaves, paper crack in o1 not affecting text, last leaf reinforced in outer margin on verso. A Mexican Augustinian branded ownership mark on bottom edge. This is the only printed edition of the Summa in Questionibus Armenorum which is an examination of alleged Armenian doctrinal errors, the chief dogmatic work by an Irish theologian and prelate involved in negotiations between the papal court at Avignon and Armenian representatives over the reconciliation of the Roman and Armenian churches. FitzRalph, whose Defensorium curatorum was first published circa 1483, was one of the earliest Irish authors to appear in print. Renouard-Moreau II, 314; Shaaber M119; not in RBH or ABPC. Moreau, B. Inventaire 1512- 314; Index des livres interdits, t. IX, p. 86 (n° 50/499; Page de titre en rouge et noir dans un encadrement de plaques gravées sur métal, marque de Jean Petit (Renouard, 890) Adams, F-550

><><><><><

6) 358J Jacobus de Gruytrode 1400-1475

Speculum animae peccatricis

[Memmingen : Albrecht Kunne, about 1490] $6,500

Quarto , [28] ff, 33 lines, the first initial (5 lines) is painted in white and blue on a golden background, upper and left margin richly decorated in red, purple, blue and gold and with two red beasts. 19th c. binding in half leather, title gilt on spine, all edges gilt. Sometimes falsely attributed to Dionysius Carthusiensis, the Speculum is now attributed either to Jacobus de Gruytrode (cf. Bloomfield) or to Jacobus de Clusa (cf. L. Meier, Die Werke des Erfurter Karthäusers Jakob von Jüterbog, Münster, 1955).

Speculum animae peccatricis is a work of spiritual edification which consists of seven sections: on human misery, sin (especially lechery), penance, rejection of the world, the vanity of human wishes, death and hell and heaven.

Firste of the filthenes and miserie of man. Below are the chapter in English

Secounde of the synnes ingeneralle and of their effectis.

Thyrde howe they ought hastely with all diligence to do penaunce.

Fourth howe they ought to fle the world.

Fyfthe of the false Riches and vayne ho∣noures of the worlde.

Sixt howe they ought to drede deth.

Seuenth of the Ioyes of paradyse and of the paynes of hell.

There is no modern critical edition of the text. Among the devotional books by the Flemish mystical writers of the fourteenth and fifteenth centuries, none was more popular on the Continent and in England during the early Renaissance than the Speculum aureum animae peccatricis or The mirroure of golde for the synfull soule, which Lady Margaret Beaufort translated into English. Since the sixteenth century, bibliographers have listed the Speculum as the work of the Carthusian monk Jacobus de Gruytroede, prior of the Liége Charterhouse from 1440 to 1475, yet the English version is always attributed to his friend Denis de Leuwis or Dionysius the Carthusian, as he is better known. The question of authorship may be satisfactorily settled as the result of recent research by an English Carthusian scholar in the library of the Certosa in Farneta. He noted that the editors of Dionysius’s Opera omnia (Tournai, 1913) explain how the error in authorship began. In volume xlii they point out that, owing to the Carthusian tradition of anonymity during a monk’s lifetime, the Speculum was printed anonymously until 1495, in which year the Nuremberg printer Paul Wagner first issued it as a work by Dionysius. He found the manuscript of the Speculum in the library at Ruremond, where Dionysius was prior until his death in 1471, and supposed it was written by him, as were the other works he intended to print. The two priors were close friends, and dedicated several of their works to each other. Nugent E.M. (1969) Jacobus de Gruytroede. In: Nugent E.M. (eds) The Thought & Culture of the English Renaissance. Springer, Dordrecht

Goff S644; HC 14899*; Pell 4313; CIBN S-333; IGI 5001; IDL 2532; Schlechter-Ries 1003; Voull(B) 1617,5; Schmitt I 1614,2; Hubay(Augsburg) 1141; Hubay(Eichstätt) 538; Sack(Freiburg) 1951; Walsh 988; Bod-inc S-258; Sheppard 2032; Pr 2804; BMC II 608; BSB-Ink I-23; GW M10734

U.S. copies;Harvard ,Emory, Columbia ,Huntington Library

Southern Methodist Univ, Univ. of Illinois at Urbana-Champaign Library

)0(

Nam digiti scripto laetantur, lumina visu Mens volvet sensu mystica verba Dei

“The fingers rejoice in writing, the eyes in seeing, and the mind at examining the meaning of God’s mystical words.”

The first printed facsimile of a manuscript.

7) 351J. Hrabanus Maurus. 784-856?

Magnencij Rabani Mauri De Laudib[us] sancte Crucis opus. erudicione versu prosaq[ue] mirificum.

Phorçheim. [Pforzheim] : In ædibus Thom[ae] Anshelmi., 1503. $10,700

Folio Aa6, Bb4, a-k6, A-B6, C4 (last leaf blank).

THIS COPY LACKING [four leaves] A5 & 6, Bb1 and a1. [two woodcuts of Alcuin interceding on behalf of Rabanus before Pope Gregory iv, and of Rabanus presenting his poems to the Pope; and two figured dedicatory poems the first to Louis the Pious the next christ crucified] It is bound in a full vellum modern binding. First Edition (for a second edition see below) Types 3:109R, 4:180G; 40 lines of transcribed verse + headline, 40 lines of commentary + headline, red and black printing throughout, calligraphic woodcut initial (Proctor, fig. 24) M on title page, woodcut initials printed in red, and a figured prefatory poem, 28 carmina figurata, the first entirely xylographic, the remaining poems combining printed and xylographic letters with the versus intexti printed in red (except fig. xvi), enclosed by either woodcut figures (of the emperor, Christ, the Evangelists, Cherubim, etc.) printed in black or by Christian symbols and characters, most defined by metal rules in red.

This is a remarkable typographical achievement, probably the earliest attempt to reproduce a medieval manuscript. The greater portion of the work comprises a preface in verse and twenty-eight poems. “Hrabanus Maurus, the abbot of Fulda, wrote in the midst of the ‘new monasticism,’ a period associated with a revival of literacy and learning. In religious and secular spheres. This ‘script culture,’ as Rosamond McKitterick has it, used the written word not only as a mode of communication but as ‘a resource, a guide, a key, and an inspiration,’ especially in the devotional practice of Christianity.

Each of the twenty-eight picture poems that form In honorem sanctae crucis explores a different theme relating to the Cross through a complex interplay of word and image. The poems each have an equal number of letters per line, written continuously like a grid. By following the letters in the usual direction for a Latin text—from left to right, top to bottom—each grid reads as one long poem. But within each grid, certain letters are also marked out with colour and drawings to form pictures. The letters that make up these pictures read as separate short poems embedded within the larger poem. As such, each page of In honorem sanctae crucis presents not just a puzzle of words and pictures, full of hidden and interrelated messages for the reader to decode bout a meditation exercise.

“Hrabanus created the various shapes and figures by highlighting individual letters in underlying poens in colour (in the printed editions red), and theses individual letters together make up meaningful text , ranging from simple declarations to very elaborate ones. For example, Carmina 2 contains a simple cross inside a square (Hrabanus calls it a “tetragonum”)whose sides form a border for the poem as a whole. The textfrom the underlying poen that makes up the figure consists of six hexameters, each one an address to the cross beginning with the words ‘O crux…’ When we follow Hrabanus’s instruction in the accompanying prose text for reading these hexameters, we find the following: even though the verse that forms the top of the square is also the opening of the underlying poem, he insists that we begin reading with the stem of the cross, from top to bottom.” (Schipper)

Sunt quoque uersus duo in ipsa ccruceconscripti, quorum prior est: O CRVX QVAE SVMMI ES NOTO DEDICATA TROPAEO

a summo in ima descendens. Alter uero: O CRVX QVAE CHRISTI ES CARO BENEDICTA TRIVMPHO a dextra in sinistram crucis tendens ‡

‡“there are also two verses inscribed in the cross, the first of which is : “ O cross , thou who art at the height of fame, a dedicated moment” ‘running from the top down. And a second’ “O Cross thou who through the body of Christ art the blessed triumph” ‘running from the right to the left.’

Further more Hrabanus flips left and right the texts point of view alternates , Hrabanus tells us the cross is looking out at the reader, not the other way around. “ Only after we have read the hexameters in the cross are we free to read the verses in the four sides of the tetragon, and even then Hrabanus constrains the order in which they are to be read: first the top, then the bottom, then the right side then finally the left side.”

More complex figures present further challenges in reading. The figure in Carmen 25, for example, consists of eight letters of the word ‘ALLEVIA’ arranged around a small cross. It does not take much effort to notice that we need to start with the A, read down to the E, continue on the left, and end on the right of the figure; and that each time we trace out those letters we make the sign of the cross. It becomes more difficult when we also try and read the text that is enclosed in the figures.

The letters of ALLEVIA are made of the following letters from the underlying poem. A crux[a L eter L na[de E i]es[lave[v L ivis V in]arc I e]po A lorvm

CRUX AETERNA DEI ES LAVS VIVIS IN ARCE POLORUM

‡ Eternal cross, thou art the praise of God, thou livest in the arc of the skies.

Peter Godman, Poetry of the Carolingian Renaissance (Norman: University of Oklahoma Press, 1985), 249. A. G. Rigg and G. R. Wieland, ‘A Canterbury Classbook of the Mid-eleventh Century Anglo-Saxon England 4 (1974), 113-30.

William Schipper, ‘Hrabanus Maurus in Anglo-Saxon England: In Honorem Sanctae Crucis’, in Early Medieval Studies in Memory of Patrick Wormald, ed. Stephen Baxter, Catherine Karkov, Janet L. Nelson, David Pelteret (Farnham, Surrey; Burlington, Vt.: Ashgate 2009), 283-98.

Proctor, R. Index to the early printed books in the British Museum,; 11747; Adams, H.M. Catalogue of books printed on the continent of Europe, 1501-1600, in Cambridge libraries,; R3; Catalogue of a collection of early German books in the library of C. Fairfax Murray,; 350; Panzer, G.W.F. Annales typographici,; VIII 227, 2; Pollard, A.W. Catalogue of books mostly from the presses of the first printers … collected by Rush C. Hawkins,; 189 Panzer, VIII, 227, no. 2. Proctor 11747. Fairfax Murray 350./ Last leaf blank./ Edited by Jakob Wimpheling.–cf. title page verso./ Illustrations: 2 woodcuts of the author presenting his book to the pope, and many woodcut figures (Christ, cherubs, crosses, symbols, etc.) printed on 28 pages of text. Some of the text within and near the outline figures is xylographic, the rest printed. The letters within the outlines are printed in red and may be read separately in a different sense. Printed in red and black, initials (except on t.p.) in red./ With label of Sinclair Hamilton. Peter Godman, Poetry of the Carolingian Renaissance (Norman: University of Oklahoma Press, 1985), 249. A. G. Rigg and G. R. Wieland, ‘A Canterbury Classbook of the Mid-eleventh Century Anglo-Saxon England 4 (1974), 113-30. William Schipper, ‘Hrabanus Maurus in Anglo-Saxon England: In Honorem Sanctae Crucis’, in Early Medieval Studies in Memory of Patrick Wormald, ed. Stephen Baxter, Catherine Karkov, Janet L. Nelson, David Pelteret (Farnham, Surrey; Burlington, Vt.: Ashgate,

^)^)^)^(^(^(^

The second edition One-Hundred and three years later.

8). 354J Hrabanus Maurus. 784-856?

Magnencij Rabani Mauri De Laudib[us] sancte Crucis opus. erudicione versu prosaq[ue] mirificum. Cum antiqviate avctoris <annis abhinc prope octingentis abbatis primum fuldensis, archiepiscopi postea moguntini. tum noitate scriptionis memorabile. Qvo figvris sive imaginibvs XXVIII. multi fedei christianae mysteria, multi mystici numeri; angelorum, virtutum, VII. donorum Spiritus Sancti, VIII. Beatitudinum, IV. elementorum, IV. temorum anni, VI euangelistarum & agni, mensium, ventorum, V librorum Moysis, nominis Adam, alleluia, & amen, aliarumq[ue] rerum vis & dignitas in formam crvis reedacta, subtiliter et ingeniose explicantur.

Augustæ Vindelicorvm e typographeo Praetoriano. , 1605. $9,000

Folio Aa6, Bb4, a-k6, a6, B4, c4. (complete). Printers mark on title page, woodcut initials printed in red, two woodcuts of Alcuin interceding on behalf of Rabanus before Pope Gregory iv, and of Rabanus presenting his poems to the Pope; a figured dedicatory poem to Louis the Pious and a figured prefatory poem, 28 carmina figurata, the first entirely xylographic, the remaining poems combining printed and xylographic letters with the versus intexti printed in red (except fig. xvi), enclosed by either woodcut figures (of the emperor, Christ, the Evangelists, Cherubim, etc.) printed in black or by Christian symbols and characters, most defined by metal rules in red. Bound in contemporary deer skin.

This aside from the prologue this edition is a re-set reproduction of the first printed edition (see above)

#######+++++#######

9) 383J Johannes de Anania

Commentaria super prima et secunda parte libri quinti Decretalium. Add: Repertorium

Bologna : Henricus de Colonia, 7 Dec. 1479, 5 Jan. 1480. $17,000

Large folio 422 x 285mm Pars III (bound first) a8,b6,c10,d6,e8,f4,g8.(lacking a1Blank) Pars I (bound second) a10,b8,i8,k6,l8,m8,n6,o6,p8,q8,r10s 10. Pars II (bound third) A8,-F8,G6,H8,-L8,M6,N8,O8P6,Q8,R8,S6,T8,U10,X8-Z8, &8, ¶8,€8,¡8. In three parts, dated: 7 Dec. 1479 (Commentaria, partes I-II); 5 Jan. 1480 (Repertorium)

No copy of parts II & III in the US. The margin of a2 of the Repertorium cut off with no text loss (see image) This is a very very wide margined copy, with strong and crisp paper. The first leaf is stroked in red and blue. Throughout the rest of the books capital spaces are left blank. This copy is bound in 19th century vellum.

ANANI’A, JOHANNES DE : his family name, Anagni. implies that he was of the family of the Catani, and that his father’s name was Leonardo. He taught canon law in Bologna, and had the reputation of a conscientious man. He studied under Floriano di San Pietro. Alexander Tartagni and Andreas Barbati were his scholars; the former became his step-son, and the latter inherited his library. According to Orlandi, Anania was sent ambassador from the city of Bologna to Pope Martin V. in 1425, and he was also employed to conduct negotiations with other princes. Johannes de Anania at the time of his death, in 1455 or 1458, was archdeacon at Bologna. Spangenberg enumerates four of his works, three of which were published at Lyon between 1521 and 1555 : — 1. A Commentary on the fifth book of the Decretals, published in folio at Lyon in 1521, and reprinted there in 1553. 2. Consilia, discovered and edited by Ludovico Bolognini, in folio, at Lyon in 1555, reprinted at Venice in 1570. 3. “De Revocatione Feudi alienati,” in octavo, at Lyon, in 1546, reprinted at Basle in 1564. 4. A Collection of the Decisions of the Roman Rota, at Venice, in folio, in 1496. Mazzuchelli mentions a treatise on the law as to salaries, “Allegatio de Salario et Stipendio ac de Obligatione et Promissione Domini,” which is preserved in MS. at Bologna in the library of the Collegio di Spagna. In addition to these Lipenius ascribes to Johannes de Anania a legal tract on church patronage, “De Jure Patronatus Ecclesiastico,” published at Amsterdam in 1640; and a collection of cases (” Quaestiones”) at Cologne in 1570. To the folio edition of Baldus, “In Usus Feudorum Commentaria,”

published at Lyon in 1550, there is appended a thesis on the law regarding the alienation of fiefs, maintained by Johannes de Anania at a public disputation in Bologna. The date is not given, but he is styled “Doctor et Canonicus,” and his opponent is said to have been Secundinus de Natis; and the publisher intimates that the MS. had been preserved in the library of Johannes Nevizanus at Asti. No. 446. of the Arundel MSS. in the library of the British Museum contains a treatise “De Usuris” by Johannes de Anania. The volume is of a large folio form, and the ” De Usuris,” written in a small character with numerous contractions, occupies the folios 93. to 164. inclusive, each folio containing four columns. These treatises are the only compositions of the author we have seen, and they leave a favourable impression of his skill in selecting authorities to support and elucidate his positions, and of his talent for lucid arrangement. (Mazzuchelli, Scrittori d’ Italia; Spangenberg, in Ersch und Gruber’s Allgemeine Encyclopadie; Alidosi, Appendice alli Dottori Bolognesi de Legge Canonica e Civile; Orlandi, Notizie degli Scrittori Bolognesi; Baldus Perusinus, in Usus Feudorum Commentaria doctissima, quibus accesserunt Andr. Siculi Adnotationes una cum Joan. de Anania eleganti Disputatione in tres secta Quastiones, Lugduni, 1550, fol.; Arundel MSS. in the British Museum, No. 446.) W. W

Not in Goff: ISTC ij00250150; H 938*; Torchet 521; IGI 5245; IBE 3188; Kotvan 702; Sajó-Soltész 1881; Martín Abad J-44; Voull(B) 2735,20; Walsh 3188; BSB-Ink I-365; GW M12841

Holdings: United States Harvard University, Law School Library (I) only.

)0(

10) 381J Athanasius Kircher 1602-1680

Physiologia Kircheriana Experimentalis, Qua Summa Argumentorum Multitudine & Varietate Naturalium rerum scientia per experimenta Physica, Mathematica, Medica, Chymica, Musica, Magnetica, Mechanica comprobatur atque stabilitur. Quam Ex Vastis Operibus Adm. Revdi. P. Athanasii Kircheri extraxit, & in hunc ordinem per classes redegit Romæ, Anno M. DC. LXXV. Joannes Stephanus Kestlerus Alsata, Authoris discipulus, & in re litterariâ assecla, & coadjutor.

Amsterdam: Ex Officinâ Janssonio-Waesbergiana. Anno 1680 $9,500

Folio. 15 x 9 3/4 inches. *4, A-Z4, Aa-Ii4. First edition.mmThis copy is quite clean and crisp throughout, never having been washed or pressed. There is some occasional spotting and browning. but none is too extensive. The binding is twentyth century full vellum with title on spine. an impressive and large copy!

“Thus in the must varied branches of science Kircher played the role of pioneer. Even medicine received his attention, as is shown for example by his treatise, ‘Scrutinium phyisco-medicum contagiosæ luis, quæ pestis dicitur’ (Rome, 1663). His scientific activities brought him into scientific correspondence with scholars laboring in the most different fields, as the numerous volumes of his extant letters show. It is to his inventive mind that we owe one of the earliest of our counting machines: the speaking-tube and æolian harp were perfected by him. He was also the inventor of the magic lantern which has since been brought to such perfection and is and is today almost indispensable. [All of these devices are illustrated in the present work, compiled in the year of the author’s death by Kircher and his student Johann Stephan Kestler, including three large and striking engravings of magic lanterns.]” May I ask the reader to take the following quote with a measure of indulgence for its closed minded author [circa 1913] with the hope that modern folk of the last decade of the second millennium have a bit more tolerance for the many sciences that we have yet to master. “That the most varied judgments should be formed and expressed on a man of such encyclopædic knowledge was only to be expected. He tried to find a grain of truth even in the false sciences of alchemy, astrology, and horoscopy, which were still in his time much in vogue, nor is it surprising that in the province of astronomy he did not at this early date defend the Copernican System.” (the above two quoted taken from the Catholic Encyclopedia, vol. viii, page 662) Kircher was an accomplished and versatile scholar who applied his intellectual abilities to a myriad of scientific problems. This work is a fascinating compendium of scientific experiments and principles which documents the accomplishments of early modern thinkers of the west.

^)^)^)^(^(^(^

11) 380J Francis Molloy. fl 1660

Lucerna fidelium, seu, Fasciculus decerptus ab authoribus magis versatis, qui tractarunt de doctrina Christiana : divisus in tres partes.

Romæ : Typis Sacræ Congreg. de Propaganda Fide, M DC LXXVI [1676] $4,500 Octavo 6 X 4 inches : A-2B8 2C2. complet, signature ) is mis-signed . This copy is bound in early 20th century sheep.

MOLLOY or O’MAOLMHUAIDH, FRANCIS (Jl. 1660), theologian and grammarian, was a native of the county of Meath, Ireland. The family of which he was a member had extensive landed possessions in the district known as O’Molloys’ Country, and some of them engaged actively in the Irish movements from 1641 to 1652.

Francis Molloy entered the order of St. Francis, became a priest, was appointed professor of theology at St. Isidore’s College, Rome, and acted as agent for the Irish catholics at the papal court in the reign of Charles II. His first published work was entitled ‘Tractatus de Incarnatione ad mentern Scoti,’ 1645. This was followed in 1658 by ‘ Jubilatia genethliaca

in honorem Prosperi Balthasaris Philippi, Hispani principis, carmine,’ and by a Latin treatise on theology in 1666.

A catechism of the doctrines of the catholic church in the Irish language was published by Molloy in 1676 with the title: ‘Lucerna tidelium, seu fasciculus decerptus ab authoribus magis versatis qui tractarunt de doctrina Christiana.’ It was printed at Rome at the press of the Congregation ‘de propaganda fide,’ ( This book is the first book they printed in Irish Type) from which, in 1677, issued another book by Molloy, entitled ‘Grammatica Latino-Hibernica,’ 12mo, the first printed grammar of the Irish language. Edward Lhuyd [q. v.], in his’ Archaeologia Britannica,’published at Oxford in 1707, mentioned that he had seen a manuscript grammar of the Irish language copied at Louvain in 1669 which partially corresponded with that of Molloy. He added that Molloy’s grammar, although the most complete exta’nt in his time, was deficient as to syntax and the variation of the nouns and verbs. The date of Molloy’s death has not been ascertained. In 1626 Propaganda Fide had installed a printing press for the foreign missions and not much later another one was brought to Louvain where books and catechisms were printed for both the local college and the Irish mission.* The problem with the Propaganda printing press was that only books in Latin and Italian were allowed to be printed so it took until 1674 when Francis Molloy asked for permission to print a catechism there in Irish with the explanation “che altra malamente capisce e vacilla assai per mancanza d’intruttore e d’intruttion sana.”**.

[“Irish priests at Rome had a new Irish type cut about 1675 … [this was] their first book.”- -H. Reichner, Catalogue 34, Jan. 1968]

Wing O291C, English short title catalogue,; R41480; Clancy, T.H. English Catholic books, 1641-1700 (rev. ed.),; entry 743; Catalogue of seventeenth century Italian books in the British Library,; page 628 *& ** ;Egan, Bartholomew (ed.): Notes on Propaganda Fide Printing Press and Correspondence concerning Francis Molloy O.F.M., in: Collectanea Hibernica, No. 2 (1959), pp. 115-124.

)0(

)0()0(

With a reference to the invention of printing on the verso of Folio 64.

12) 359J Werner Rolewinck 1425-1502

Fasciculus temporu[m] omnes antiquo[rum] chronicas strictim complectens felici numine incipit. Prologus.

Venice : Erhard Ratdolt, 8 Sept. 1485 $16,000

Folio (275 x 195 mm). [A]8 [a-g]8 [h]10 75 leaves without signatures or page numbers (9 leaves, 1-66 foliated ), 3 columns in table, 59 lines and foliation, gothic letter, 2 large ornamental initials, 59 woodcuts, one full-page, woodcut diagram. Fifth and last Venetian edition, and fourth Ratdolt edition being the most complete edition of Rolewinck s chronological history of the world. The chronology follows a double time-line, measuring time from both the Creation and the birth of Christ to the death of the Ottoman Sultan Mehmed II commonly known as Mehmed the Conqueror in the year 1481, demanding a

remarkably complex typographical layout. The Fasciculus Temporum (Little bundles of time) was the first book printed on history of the world, it is also one of the earliest and greatest of illustrated incunabula. The illustrations show Noah s Ark, the tower of Babel and contain many town views including Jerusalem, Syracuse, Rome and the Doge s Palace in Venice.

Rolewinck (1425-1502) was a Carthusian monk and prolific author. This book was both the most popular of his numerous writings and the most popular concise world chronicle of its time, being printed 32 times in the 15th century, including translations into French, German and Dutch . Rolewinck’s Fasciculus Temporum was an enormously popular world chronicle, appearing in over 30 incunabular editions in Latin, German, French, and Dutch. A very handsome and typographically-sophisticated volume, with varying columns, circular devices with inset type, and woodcuts throughout.

This work aspires to trace the history of the world from the beginning of time until the year of pulication. The thirty-three woodcuts are crisp and rather charming, and, like those in many fifteenth- and sixteenth-century chronicles, are occasionally reused to illustrate different events and locations. The work is fascinating for the comprehensiveness of its content as well as the beauty of its execution. Of particular interest is a reference to the invention of printing (in 1454) on the verso of Folio 64.

Goff R271; GW M38738; ; BMC V 290; H 6935*; Redgr 52; Essling 280; Sander 6530; Schr 5116C; Pell Ms 10192 (9969); CIBN R-177; Arnoult 1276; Neveu 528; Nice 269; Torchet 821; Polain(B) 4691; IDL 3943; IBE 4955; IGI 8420; CCIR R-40; Kotvan 1024; Sajó-Soltész 2972; Gspan-Badalić 590; IBPort 1576; Mendes 1124, 1125, 1126; Madsen 3526; Martín Abad R-48; Voull(B) 3801; Hubay(Augsburg) 1811; Hubay(Eichstätt) 898; Walsh 1830; Rhodes(Oxford Colleges) 1525; Bod-inc R-121; Sheppard 3688; Pr 4404; BSB-Ink R-247

#######+++++#######

13) 367J Petrus de Rosenheim. (1380-1432). Nom probable : Petrus Wiechs

[Roseum memoriale divinorum eloquiorum]

[Köln] : [Southern Germany : n.pr., about 1480-90?] or [Cologne? : n.pr., about 1483] or [Ludwig von Renchen?], 1483. $12,000

Quarto (190 x 155 mm). Collation: a-f8 [1-68]. [48] leaves. First Edition. Text in one column, 32 lines. Type: 80G. Initials painted in red, and blue ink throughout. Simple vellum binding from a 15th century vellum leaf. Gothic script. . A very good copy, old repair to the first blank leaf, a few spots, pale stain at the lower blank corner of the first quires. It is not known where and by which press this edition was printed. ISTC gives Southern Germany and a date of c.1480-1490, GW tentatively suggests Oberrhein, 1483, and Proctor attributes it to Ludwig Von Renchen in Cologne. The hexameters of each section of the summary form an acrostic of the letters of the alphabet. (alphabetarium) as to insure memorization in the proper sequence, the first word of each verse falls neatly into alphabetical order. [1,194 short mnemonic verses] It uses characteristic couplets (distiches) to express the main content of all chapters of the Old and New Testament. This introduction makes it possible to easily find every quote in the Bible.

A significant record of the essential role of memory in late-medieval piety, One of the earliest printed books on the ars memorativa or mnemotechnic was composed by the German Benedictine monk Petrus of Rosenhaym (Upper Bavaria), written between 1423 and 1426 for Cardinal Giulio Branda di Castiglione. Petrus of Rosenhaym composed numerous treatises, sermons, and verses: the Roseum memoriale is surely his most famous work, enjoying wide popularity during the fifteenth century and first half of the sixteenth century. The mnemotechnic method here employed is extremely complex: the hexameters of each section of the summary form an acrostic of the letters of the alphabet. in. A highly popular and broadly used manual, its copies could be found in almost every European church after the invention of the printing press it was printed in several different locations. This early medieval incunable has not been clearly dated| researchers attribute it to the Upper Rhine region sometime between 1480 and 1483. After studying at the University of Vienna, Petrus de Rosenhaym, along with his friend Nikolaus Seyringer, moved to Subiaco, where he entered the Benedectine order. In 1413, he was appointed prior to the cloister of Rocca di Mondragone near Capua. In 1416, he took part in the Council of Konstanz, and later he was prior in Melk (Lower Austria). After 1423, he was appointed ‘cursor biblicus’ and ‘magister studentium’. Goff R336; BMC I 312; ; GW M32724; ISTC; ir00336000; Polain(B) 3128; IBE 4559; IGI 7668; IBP 4380; Sajó-Soltész 2676; Madsen 3549; Borm 2134; Hubay(Würzburg) 1704; AmBCat 199; Walsh 492; Oates 867; Pr 1517;; BSB P-362; Van der Haegen II,2:16,4?; Young 278;.

Copies in the United States of America: Brown, Harvard, Library of Congress, Huntington, The Newberry Library, Yale

^)^)^)^(^(^(^

14) 384J Raymundus de Sabunde -1436

Theologia naturalis, sive, Liber creaturarum : specialiter de homine et de natura eius inquantum homo, et de his que sunt ei necessaria ad cognoscendum seipsum [et] deum et omne debitu[m] ad quod homo tenetur et obligat[ur] tam deo quam p[ro]ximo.

Straßburg: Martin Flach, 21 January 1496. $17,000

Imp[re]ssus Argentine per Martinum Flach inibi co[n]ciuem anno incarnat[i]o[n]is d[omi]nice Millesimoq[ua]dringentesimononagesimosexto men[sis] v[er]o Ianuarij die vicesimop[ri]mo

Folio (280 x 200mm.) π6 a8 b-y6 z8 [et]6 [con]8 (the last leaf supplied from another copy, printed on recto only), The second leaf (π2) has a beautiful a green painted initial A [Amor] on a gold ground with pink and blue edges, extending into the margins with green-stemmed pink and gold flowers on opposite side. The first leaf of the text proper (a1) Has a large blue painted initial A on a gold ground with pink and green edges, large pink and purple flowers, strawberries thistles and a Tromp l’oeil of a Dead fly,( quite charming) fill uppermargin; 3-line initials in alternating red and blue, rubricated throughout. This is the first dated edition.

It is bound in Contemporary deerskin over wooden boards, covers panelled and tooled in blind with repeated small rosette tool, remains of paper labels on spine (lacking metal furniture and clasps, some wear and small areas of loss). This copy has some contemporary manuscript notes, including a two-line note on f. b2recto, and on f.a2verso is a marginal drawing of the scala naturae with the four gradus marked. Provenance: Contemporary inscription of Johannes Pengl (Penngl) from Weißenburg in Bavaria, who was active in Eichstätt & Vienna, with a note of cost of binding on final paste down. Later notes and shelf-mark on front paste-down and loose sheet.

Colophon: Finit liber creatura[rum] seu nature siue nature siue de ho[m]i[n]e p[ro]pt[er] que[m] alie creature facte su[n]t ex cui[us] cognit[i]one illu[m]inat[ur] ho[mo] i[n] [co]gnit[i]o[n]e dei [et] creaturarum.

This text marks the dawn of a knowledge based on Scripture and REASON.

The Catholic Encyclopedia sees this as “It represents a phase of decadent Scholasticism, and is a defense of a point of view which is subversive of the fundamental principle of the Scholastic method. The Schoolmen of the thirteenth century, while holding that there can be no contradiction between theology and philosophy, maintain that the two sciences are distinct. Raymond breaks down the distinction by teaching a kind of theosophy, the doctrine, namely that, as man is a connecting link between the natural and the supernatural, it is possible by a study of human nature to arrive at a knowledge even of the most profound mysteries of Faith. The tendency of his thought is similar to that of the rationalistic theosophy of Raymond Lully….Moreover, in Spain scholastics, in combating Islam, borrowed the weapons of their erudite antagonists. Close internal resemblance indicates that Raimund de Sabunde was preceded in method and object by Raymund Lully.” CE

What is new and epoch-making is not the material but the method; not of circumscribing religion within the limits of reason, but, by logical collation, of elevating the same upon the basis of natural truth to a science accessible and convincing to all. He recognizes two sources of (1)knowledge, the book of nature and (2) the Bible. The first is universal and direct, the other serves partly to instruct man the better to understand nature, and partly to reveal new truths, not accessible to the natural understanding, but once revealed by God made apprehensible by natural reason. The book of nature, the contents of which are manifested through sense experience and self-consciousness, can no more be falsified than the Bible and may serve as an exhaustive source of knowledge; but through the fall of man it was rendered obscure, so that it became incapable of guiding to the real wisdom of salvation. However, the Bible as well as illumination from above, not in conflict with nature, enables one to reach the correct explanation and application of natural things and self. Hence, his book of nature as a human supplement to the divine Word is to be the basic knowledge of man, because it subtends the doctrines of Scripture with the immovable foundations of self-knowledge, and therefore plants the revealed truths upon the rational ground of universal human perception, internal and external.

The first part presents analytically the facts of nature in ascending scale to man, the

climax; the second, the harmonization of these with Christian doctrine and their fulfillment in the same. Nature in its. four stages of mere being, mere life, sensible consciousness, and self-consciousness, is crowned by man, who is not only the microcosm but the image of God. Nature points toward a supernatural creator possessing in himself in perfection all properties of the things created out of nothing (the cornerstone of natural theology ever after). Foremost is the ontological argument of Ansehn, followed by the physico-theological, psychological, and moral. He demonstrates the Trinity by analogy from rational grounds, and finally ascribes to man in view of his conscious elevation over things a spontaneous gratitude to God. Love is transformed into the object of its affection; and love to God brings man, and with him the universe estranged by sin, into harmony and unity with him. In this he betrays his mystical antecedents. Proceeding in the second part from this general postulation to its results for positive Christianity, he finds justified by reason all the historic facts of revealed religion, such as the person and works of Christ, as well as the infallibility of the Church and the Scriptures; and the necessity by rational proof of all the sacraments and practices of the Church and of the pope. It should be added that Raimund’s analysis of nature and self-knowledge is not thoroughgoing and his application is far from consistent. He does not transplant himself to the standpoint of the unbeliever, but rather executes an apology on the part of a consciousness already Christian, thus assuming conclusions in advance that should grow only out of his premises. Yet his is a long step from the barren speculation of scholasticism, and marks the dawn of a knowledge based on Scripture and reason.

In its day, and for a long time later, it was a celebrated text. The title translates ‘Natural Theology or the book of [living] creatures, in particular about man and his nature inso far as he is man, and about those things necessary for him to know both himself and God, and about every duty by which man is held and obligated both in respect of God and his neighbour.’ The scope is therefore pretty wide. The main point of Sebond’s work is that that faith can be taught, attained, understood by natural reason and not simply on the basis of blind faith and literal adherence to Scripture, although this last is given full weight as is the teaching of ‘sacrosancta romana ecclesia who is the mother of all faithful christians, mistress of grace and faith and rule of truth…’ (preface on a2ra). The work is divided into 330 ‘tituli’ or chapters beginning with the origins of natural theology and ending with the last judgement, the subjects treated at greatest length being ‘God’ and ‘Man’.

Theologia Naturalis, which circulated widely in manuscript and is known particularly in a manuscript in Toulouse (747) corrected after the author’s own copy, was first published in what is called the ‘third family’ in Deventer in 1484-85 (possibly through the offices of the Brothers of the Common Life; the Bodleian copy is from their house at Doesburg, Holland), and then Lyon ca. 1488 from the printer Balsarin. This Flach printing circulated widely (a copy was at Winchcomb abbey in Gloucestershire within a few years (now in Glasgow) and early in the 16the century Archbishop Warham (Abp. 1503-32 ) gave a copy to All Souls College, Oxford) and is the first dated edition. There were a number of later editions (including another Flach edition of 1501) right up into the 17th century. Indeed the well-known 17th-century philosopher Kenelm Digby ( 1603-1664) had a copy of this edition (now at Durham University Library at Bamburgh Castle). Part of the Theologia (Dialogos de la naturaleza delhombre) was translated into Spanish and printed in Madrid in 1610 and 1616, and a resumé by the Carthusian Petrus Dorlandus (Viola anime per modum dyalogi) was published in Cologne in 1499 (ISTC id00360000 ) and in Toulouse in 1500 I(ISTC id003610000).. The Theologia because of the importance it accorded human reason did not escape the notice of the holy Office and was placed on the Index in the middle of the 16th century. Montaigne indeed discovered this during his visit to Rome.

Goff R33.; BMC I, 154.; HC 14069*; GW M36911; Bod-inc R-018. ISTC ir00033000. Palau 283900

◊

◊ ◊

◊

15) 369J Publius Terentius Afer. 185-

Terentius Comico Carmine

Impressum in nobili Helvecior[um] urbe Arge[n]tina : Per Ioanne[m] Grüninger mira etium arte ac diligentia. 1503 $7,500

Folio A6 B8 C-Z6 AA6 Bb4 Cc6. There are numerous handwritten annotations in ink (marginal and interlinear, ff. IX-XIX). The binding of half-calf with corners of the XIXth, back with 4 sewing support with pieces of title of red and green leather, boards covered with stony marbled paper. { A typical Kloss binding} (there is a tear sig. B1, with loss; first signature cut shorter at the lower margin; restorations of paper with the last sheets in the upper margin; Yet this copy remains a beautiful illustrated edition of the comedies of Terence with comments by Aelius Donatus and Calphurnius. From the presses of the famous and prolific Strasbourg printer-publisher Johann Reinhard, known as Grüninger, it is remarkably illustrated with 7 large full-page woods (including the famous representation of a theater on the title),

woodcuts depicting the dramatis personae in a land- or cityscape, one at the beginning of each play, and 142 woods in the text 19 of the cuts appear here for the first time; the others are from the 1496 ed. «Grüninger’s illustrations, intended to clarify the complexities of Terence’s plots for the reader, act as visual mnemonic devices for the book’s anticipated student audience. This is demonstrated especially in the full-page woodcut that begins each play, where all of the characters are displayed with connecting lines to indicate their interrelationships. covered with stony marbled paper. { A typical Kloss binding} (there is a tear sig. B1, with loss; first signature cut shorter at the lower margin; restorations of paper with the last sheets in the upper margin; Yet this copy remains a beautiful illustrated edition of the comedies of Terence with comments by Aelius Donatus and Calphurnius. From the presses of the famous and prolific Strasbourg printer-publisher Johann Reinhard, known as Grüninger, it is remarkably illustrated with 7 large full-page woods (including the famous representation of a theater on the title), woodcuts depicting the dramatis personae in a land- or cityscape, one at the beginning of each play, and 142 woods in the text 19 of the cuts appear here for the first time; the others are from the 1496 ed.

«Grüninger’s illustrations, intended to clarify the complexities of Terence’s plots for the reader, act as visual mnemonic devices for the book’s anticipated student audience. This is demonstrated especially in the full-page woodcut that begins each play, where all of the characters are displayed with connecting lines to indicate their interrelationships. A verbal explanation and plot summary accompanies each of these illustrations. The most remarkable feature of Grüninger’s Terence is his use of small interchangeable woodcuts that were combined to create the individual scene illustrations for each play. Individual blocks were cut for most of the characters of the six plays, who are identified by name in overhead banners. The blocks were cleverly combined repeatedly in groups of two to five, sometimes together with cuts of trees and buildings, to create the illustrations. Grüninger was attempting to use the woodcuts as repeatable and combinable objects, much in the same manner as movable type» (Christine Ruggere, in Vision of a Collector: The Lessing J. Rosenwald Collection in the Library of Congress)

Terence writes in a simple conversational Latin, pleasant and direct. Due to his clear and entertaining language, Terence’s works were heavily used by monasteries and convents during the Middle Ages and The Renaissance. Scribes often learned Latin through the meticulous copying of Terence’s texts. Priests and nuns often learned to speak Latin through reenactment of Terence’s plays, thereby learning both Latin and Gregorian chants. Although Terence’s plays often dealt with pagan material, the quality of his language promoted the copying and preserving of his text by the church. The preservation of Terence through the church enabled his work to influence much of later Western drama. [Holloway, Julia Bolton (1993). Sweet New Style: Brunetto Latino, Dante Alighieri, Geoffrey Chaucer, Essays, 1981-2005.] This copy has the book plate and a binding typical for Kloss. It is NOT Melanchthon’s copy, or his notes!

Georg Franz Burkhard Kloss (31 July 1787 Frankfurt am Main – 10 February 1854 Frankfurt). Kloss was the son of a physician and studied medicine at Heidelberg and Göttingen, where he became one of the cofounders of the Corps Hannovera Göttingen. He practiced medicine in Frankfurt. He became a book collector, and gathered a fine collection of old manuscripts,. On February 21, 1838, New York book auction house Cooley & Bangs began a three day sale during which they offered more than 313 incunabula distributed among 1,302 lots. Many incunables came from the collection of George Kloss and had appeared in the London sale of his books three years before. It is entirely possible that the 1838 sale was the first time in America that so many incunables were offered all at once in a single auction..

The bulk of the Kloss books were sold by Sotheby in 1835. Most of the books containing notes were attributed as owned and annotated by Melanchthon .

Catalogue of the library of Dr. Kloss of Franckfort a. M. including many original and unpublished manuscripts, and printed books with ms. annotations, by Philip Melancthon …Which will be sold by auction, by Mr. Sotheby and son … May 7th, and nineteen following days (Sundays excepted) .

https://babel.hathitrust.org/cgi/pt?id=hvd.32044055066971&view=1up&seq=9

Adams D 304. Proctor 9889. Ritter 2284.

Fascicule XXI. Media Plaga 3-4/2020 Only a day or two ago I was notified that I was in contact with some people tested for and found positive for Covid-19, this came as nothing un expected, I was in contact with hundreds of people many from Europe recently.

#early printed books #fascicule XXI #George Kloss #illustrated incunabulum #Incunabula #Irish authors #irish/gaelic printing #Kircher #Not in Goff #rare book catalogue

9 notes · View notes