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The manuscript includes 6 pages of finely-executed diagrams of alchemical furnaces and stills. The recipes include both ingredients and methods. At least a quarter are concerned with the central alchemical processes of transmutation and many involve metals: mainly gold, silver, mercury and the related element of antimony. These concern purification, the extractions of essences and alloying using processes such as melting and calcination (bringing about decomposition at a temperature below melting point). Others describe chemical offshoots from these processes and include practical applications for the manufacture of dyes and pigments, and of materials such as ‘malleable glass’. The medical receipts are not formally separated from the others and are interspersed throughout, as further examples of alchemical and hermetic philosophy. Their ingredients are both chemical (or pharmaceutical) and herbal. In addition to these numerous recipes the manuscript has also been used to copy up more theoretical texts in the alchemical sciences: we find substantial excerpts from the Italian alchemist Bernard of Treviso, from Ramon Lull, from the sixteenth-century Marcello Palingeni (his well-known reflection on the Philosopher’s Stone from his Zodiacus Vitae is reproduced here, see full contents below) and large extracts from the Rosarium philosophorum by the medieval Arnaldus de Villanova. Throughout, there are also many occasional references and allusions which might further illuminate the writer’s context. For example, we find: a transcription of a recipe (for ‘sale armoniaco’) from a manuscript of Theophrastus with a folio number (363), [our p. 67]; a description of ‘Ein Gradier Wasser von Lorenzen Camper[?] wie es dem Römischer Kayser Rudolfo [Rudolf II] übergeben un probiret worden’ [p. 75]; a remedy for gout proved in the city of Augsburg in February/March 1690 [p. 167]; and a recipe for malleable glass demonstrated to the Count of Fiesco in 1679 [p. 187-9]. This is a manuscript compiled over a period of time and the entries are often in a variable ink and slightly variable hand. Whether the latter indicates compilation by several people is debateable. The hand certainly changes as the manuscript moves between German, Latin and Italian, but it is quite possible (indeed probable) that the same writer changed his hand according to the language. Nonetheless there are certainly numerous corrections, amendments and annotations in other and later hands and at least one insertion of materials from elsewhere: the inserted bifolium pp. 193-6 bearing a list of herbal and medical ingredients. The status of the fine illustrations of alchemical furnaces towards the end is also arguable: they are drawn on the same paper-stock but are clearly by another hand to the main text. Variability of condition throughout suggests an oft-consulted and oft-amended text. The likely place of production is Augsburg or at least Southern Germany to judge by the reference on p. 167 and which might explain the presence of German and Italian texts within the same manuscript and perhaps the preponderance of texts of Italian origin in a largely Germanic volume. We have found only a few dated entries, of 1604 (p. 134), 1690 (p. 167) and 1679 (p. 187) and the styles of handwriting suggest writing and compilation around the latter dates. An unfortunate loss is from the central portion [pp. 89-104] of the extract from the Rosarium philosophorum which may have included the well known sequence of hermetical illustrations found in sixteenth-century printed editions. Contents: pp. 1-42: 85 chemical, alchemical and medicinal recipes in German and Italian: to make: aqua fortis (1), shining gypsum (1), gold plating (2), green pigment (2), a good furnace (4), an oil for gout (14); vitrum antimonii (16) red and black pigments (20); pearls, in the manner used by Pope Paul III (22); wine from legno santo (23); solid mercury (35); mercury sublimate (36); red flowers of antimony (39) &c. pp. 42-46: Ex Epistola Comitis Bernardi (Bernard of Treviso) (in German, probably an excerpt from the alchemical text Responsio ad Thomam de Bononia). 46-63: 25 alchemical recipes in German and Latin to make: oil of vitriol [sulphuric acid] (47); essences of antimony (47-8); purifying and preparing metals (49-52); extract from Ramon Lull (54-57); aqua solis (57); Arbor philosophorum (58); calcinatio solis (61 & 62); to make mercury from any metal (62) &c. 64-66: Ex Marcello Palingenis in suo Zodiacus Vitae [In Latin, Book 10, entitled Capricorn this excerpt being lines 180-238, the famous consideration of the Philosopher's Stone]. 66-80: 22 alchemical recipes in German and Latin, including several for processes involving gold. 80-88: Hec sequitia’ sunt ex Valde antique manuscipte excerpta… [fragmentary extract from the Rosarium philosophorum by Arnaldus de Villanova]. 89-104: blanks, on original paper stock, but apparently replacing a portion of the above text previously extracted. 105-109: [conclusion of Rosarium philosophorum]. 108-9 being a table and a list of metals and compounds with their alchemical symbols. 109-160: c. 50 alchemical texts and recipes, mainly in German and Latin, with some Italian, in several hands. Includes a recipe on p, 134 for ‘Ein schöner goldtgrundt’ for illuminating parchment, dated 1604 at head. 161-166: a register of recipes contained in the preceding text, with a continuation in a slightly later hand giving a table of recipes found in the subsequent text. 167: a medicinal recipe for the treatment of gout (‘Podaggra’) used in Augsburg in February 1690. 168-169: Requista. Seu proprietates Mercurii Sorfici, ad sequentem tractatum Elucitatio. 170-172: blank 173-191: Sapientia aperta / Incipit liber Sapientia, followed by c. 10 alchemical recipes and including a sketch diagram of what appears to be the exterior of a large alchemical laboratory. Includes an entry giving a recipe for malleable glass shown to the Conte Fiesco in 1679. 193-196: inserted bifolium, previously folded several times with a list of herbal and medical ingredients in Latin. 197-211: original blanks, followed by a number of inserted later blanks. 213-218: finely executed pen and ink drawings of alchemical furnaces and apparatus, captioned in a neat calligraphic German hand. 219-220: blank. Plus early notes to endpapers, two early inserted slips with manuscript text, 16pp. modern manuscript transcriptions loosely inserted. see full details...
Though a little younger than the University of Bologna, the university at Pisa is one of the oldest in Europe, with origins in the legal school existing in the eleventh century and fully-fledged in the twelfth century. Its importance to the early history of European law lay in part in its custody of the oldest surviving manuscript of Justinian’s Pandects, which it kept until its was taken by the Florentines at the beginning of the fifteenth-century. Pisa attracted many jurisconsults in the eleventh century (prominent among them were Opitone and Sigerdo) while no less than four professors of the Bologna law school (Bulgarus, Burgundio, Uguccione, and Bandino) were educated there. Borgo, who published a separate work on the Pandects manuscript the previous year (Dissertazione sopra l’istoria dei Codici pisani delle Pandette di Giustiniano imperatore, Lucca 1764), here traces the origins of the university as a law school long before Papal recognition was granted in the fourteenth century. Borgo was born and educated at Pisa, graduating in law in 1726 and teaching Civil Law there from 1731. His life was devoted to the study of law and of the early record of the city and university. see full details...
![‘SECTANI, Q[uinto]’ [pseudonym of Lodovico SERGARDI].](/photos/591/main/591.jpg "‘SECTANI, Q[uinto]’ [pseudonym of Lodovico SERGARDI].")
His fourteen Latin satires mocked contemporary Roman society and, more particularly, the poet and jurist Giovanni Vincenzo Gravina. In 1690 Gravina was instrumental in creating the Accademia degli Arcadi, founded with the intention of reforming Italian poetry. Gravina’s writing was steeped in influences from the classical past, resulting from his researches into Roman law and history, which was an attitude quite in tune with his fellow Arcadians early attempts to return to classical perfection in poetry. The Academy, however, soon found itself reverting to fashionable baroque style, a tendency deplored by Gravina, who tried to suppress any such decadent backsliding. He alienated many of his former friends and colleagues and was the butt of frequent satires. Despite the claim of the title page (‘nunc primum in lucem editae’) the Satyrae first appeated at Rome, with the same false imprint, in 1696 There seem to have been several early pirated editions, as might be expected for a scurrilous work, which accused Gravina of both pedantry and paedophilia (Susan Dixon, Between the real and the ideal: the Accademia degli Arcadi and its garden in eighteenth-century Rome, 2006). see full details...
![[BECCARIA,Cesare, marchese di.]](/photos/327/main/327.jpg "[BECCARIA,Cesare, marchese di.]")
![[SGUARIO, Eusebio.]](/photos/388/main/388.jpg "[SGUARIO, Eusebio.]")
