Madrid, Por Antonio Marin, 1738.. FIRST EDITION. Large folio (41 x 28 cm.), contemporary Spanish mottled calf (spine chipped and joints cracking at head and foot, hinges weak, rubbed), spine richly gilt in seven compartments with red morocco lettering-piece in second compartment from head, gilt border on each cover, marbled endleaves, text-block edges rouged. Lavishly illustrated with engraved plates, vignettes, and initials; woodcut headpieces, illustrations, and initials. Greek type on several pages. Occasional light offsetting from plates and text; 2 folding plates with short tears repaired, without loss; a few small stains and occasional minor soiling. Internally in fine condition; overall very good. Old purple stamp of the Dukes of Palmela (a ducal coronet over the monogram) in blank portion of letterpress title; unidentified armorial label (chipped) at spine foot. Engraved title (numbered 1), (3), xxvii ll., 6 ll. engraved plates (numbered 11, 33-4, 36-8), engraved title (numbered 53, dated 1729), engraved portrait (numbered 54), (36 ll.), 4 engraved calligraphic titles (general title plus section titles introducing plates of fourteenth-, fifteenth- and sixteenth-century scripts) and 123 plates (numbered 55-181; including 3 folding, 1 double-page, and 34 printed on both sides of 17 ll.). Large engraved headpiece, 2 engraved initials, 3 engraved and 35 woodcut illustrations (several full-page) in text. A very good copy in an attractive contemporary binding. *** FIRST EDITION of this fundamental work on Spanish and Portuguese paleography. When Rodriguez began this study in 1708 he thought he would be the first to write about the script of early documents for the general public. While the work was in progress, however, he came across Mabillon's De re diplomatica (1681-1704), which covered only scripts through the tenth century. Rodriguez incorporated about fifteen of Mabillon's plates into this study. Because Rodriguez covers scripts through the sixteenth century, his work is a significant extension of the study of scripts. Bibliotheca universal was the first study of Spanish scripts following Mabillon's. In the prologue (pp. i-xxvii) the editor, D. Blas Antonio Nassarre y Ferriz (the King's chief librarian) explains Rodriguez's theories about script. This section includes thirteen engravings and woodcuts showing more than thirty coins from ancient and medieval times. It also includes engraved and woodcut representations on fifteen leaves of medieval monuments, among them several in Arabic. The prologue is followed by a number of lengthy censuras and aprobaciones that evaluate the usefulness of the work, describe the state of paleographical studies in the early eighteenth century, discuss the various scripts used in Spain and its New World colonies over the centuries, and explain the value of being able to read ancient documents and inscriptions. The main text, which begins with its own engraved title page, has expertly prepared plates, many of which were not only drawn but engraved by Rodriguez himself. The examples are arranged in chronological order with separate section titles for each century, beginning with antiguo (Roman and medieval), then progressing through the fourteenth through sixteenth centuries. There are separate plates for Catalan, Valencian, and Portuguese paleography. Many plates are enhanced by an interlinear transcription in italic script and include an alphabet at the foot of the plate. The plate facing the printed title page shows a library with coffered ceiling whose shelves recede far into the distance. At the left Minerva (crowned and wearing period dress, holding a shield and spear) looks toward the reader and gestures toward the library. On the right Mercury, modestly draped, wears a winged hat and holds a caduceus and also gestures toward the library. The library and its patron deities are set within an elaborate architectural frame. Crowning it are the royal arms of Spain. At the foot, a partially unrolled sheet bears the book's title and the name of D. Blas Antonio Nassarre, who saw the work through the press. The engraving is signed by Christus a Sto. Ioanne as artist and Paulus Minguet as engraver. On f. A2r, an allegorical vignette signed by Manuel de Chozas (as artist and engraver) represents a man and a woman in armor supporting a bust-length portrait of the King of Spain in a round frame; below are the accouterments of war and art (helmet, palette, cannon, etc.). The motto above the portrait is "Non solus armis" ("Not with arms alone"). A second engraved title page (following quire P) is set within an elaborate architectural frame, with a monogram at the head, a male nude on either side, and a banner below giving information on the author. This one is signed by D. Christ. Rodrig. as artist and Vidal as engraver. The engraved portrait of Rodriguez on the leaf following is signed by Ioannes Perez as engraver; it has an askance look that suggests a self portrait. Many of the plates with scripts are signed by Christoval Rodriguez as artist and Vidal as engraver. Rodriguez (1677-1735) was archivist at the Cathedral of Ávila and later archivist to the Excelentísima Casa y Estados del Infantado. The Bibliotheca universal was completed in 1730, and was published after Rodriguez's death by order of King Philip V. Provenance: The extensive library of the Dukes of Palmela, formed mainly in the nineteenth century, was dispersed, for the most part, during the second quarter of the twentieth century through the 1960s. The first to hold the title was D. Pedro de Sousa Holstein (1781-1850), a Portuguese diplomat who served as prime minister at various times in the 1830s and 1840s. He wrote profusely on politics and economics. (See Grande enciclopédia XX, 123-8.) *** Palau 272808. Aguilar Piñal VII, 1119: incorrect collation. Cotarelo y Mori, Diccionário biográfico y bibliográfico de calígrafos españoles 943: incorrect collation. Mateu Ibars, Bibliografia paleográfica p. 59. Bonacini 1543. Universal Penman 218. Maggs, Spanish Books 877A. Heredia 3498. Victoria and Albert 218: "Cotarelo y Mori ... has some very harsh things to say about Rodriguez and his publication. Nevertheless, he is forced to concede its importance as the first work of its kind in Spain. It is typical of its period in focusing on a national hand. It is also a splendidly produced book." Rebiun: Biblioteca de la Casa de Velazquez; AECI Bibliotecas.
