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                <text>Aesopi Phrygis Fabulae elegantissimis eiconibus [B. Salomon] veras animalium species ad viuum adumbrantes […]</text>
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                <text>This item has been rebound at least once since its initial binding, this being demonstrated by evidence that the text block has been cut to fit a newer binding. The current binding is on calfskin which has been dyed green. While it is usually morocco leathers, that is, goatskin leathers, that are dyed a variety of colours, it is not unknown for calfskin to undergo a similar aesthetic treatment. Calfskin was less expensive leather than morocco and this was probably an attempt by the book’s owner to have a colourful binding at less cost. The colour of the original calfskin is to be seen along the edges, most likely due to the loss of dye on exposure to sunlight.</text>
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                <text>Vocabvlario del hvmanista de Lorenço Palmireno : añadieron se en esta segunda impression, pons caesaris, selecta animalia, stromata, etc.</text>
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                <text>Archives and Special Collections, University of Ottawa [PC 4766 .P35 1575]</text>
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                <text>Barcelona, Impresso en casa de Pedro Malo</text>
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                <text>This work, published in Barcelona at the end of the 16th century, has two 20th century ex-libris labels affixed to its interior cover. These two ex-libris are associated with the same owner, namely Isodoro Fernandez, a Spanish collector and bibliophile. Fernandez’ spectacular library was sold in 2013, and his books have ended up in diverse collections across the globe. </text>
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                <text>Officium Hebdomadae Sanctae : secundùm Missale &amp; Breviarium Romanum, Pii V. Pont. Max. iussu editum, Clementis VIII. &amp; Urbani VIII. auctoritate recognitum</text>
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                <text>This item’s binding is of black morocco (goatskin), one of the many colours that this very fine goatskin leather could be dyed with at the time. Its title appears in gilt on the spine, with gilt double borders on its front and back covers and gilded edges. There is evidence that this is a rebinding due to the visible cutting of the text block, which has caused a minor loss of text.</text>
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                <text>Archives and Special Collections, University of Ottawa [BX 2010 .A2 1660]</text>
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                <text>Essai sur la médecine du coeur […]</text>
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                <text>This is a tree-calf binding, with the tree-like appearance produced by pouring acid over the leather and the binding moved in a specific way to generate the desired pattern. Using a method that requires a high degree of mastery, the pattern is generated by pouring acid over polished leather. The collection at Archives and Special Collections contains several examples of this technique, one that would have been known to only a privileged few master binders. There are many designs generated onto bindings with the use of acid, the “marbled” effect being the most common. There is also an effect that simulates the mark of a cat’s paw.</text>
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                <text>Petit, Marc Antoine (1766-1811)</text>
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                <text>Archives and Special Collections, University of Ottawa [R 708 .P48 1806]</text>
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                <text>Méspris de la cour, et louange de la vie rustique. Composé premièrement en Espagnol par Antoine de Gueuarre ... &amp; depuis traduit en Italien, François et Allemand […]</text>
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                <text>A binding of parchment on cardboard, this binding has had its blind-stamped ornamentations coloured black. Its title has also been handwritten in ink on the spine. Note the demi-lune shape of the textblock’s fore-edge: this is a technique typical of bindings that were held closed with metal clasps. The outer edges have also been painted in a dark colour, which is typical of a Germanic binding. Was this text once bound within a clasped binding?&#13;
&#13;
This work displays the printer’s mark of Étienne Dolet (1509-1546) on its title page. Dolet was an extremely tragic figure in printing history. Born in Orléans, France, in 1509, Dolet was a translator, scholar and printer. Critical of the Inquisition, with purported leanings towards Protestantism, Dolet was accused of atheism and heresy. Dolet was imprisoned several times until he was executed on his 37th birthday in Place Maubert, Paris, burnt to death with his own books. Dolet’s mark depicts an axe poised over a tree branch, with the motto “Scabra, et impolita ad amussim dolo, atque perpolio. - Scabra dolo. - Durior est spectatae virtutis, quam incognitae conditio” which translates partially to “Preserve moy, ô Seigneur, des calumnies des hommes”. </text>
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                <text>Archives and Special Collections, University of Ottawa [PQ 6398.G8 A62 1614]</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Memoires de feu M. Omer Talon, avocat general en la cour de Parlement de Paris</text>
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                <text>Embossed in gold on the cover of a fine example of mottled calf, we see an as of yet unidentified, elaborate coat of arms. For those who love enigmas, do not hesitate to inform us of your findings!</text>
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                <text>La Haye, Gosse &amp; Neaulme [i.e. Paris]</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>ARSC_RB_DC130.T23A31732</text>
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              <name>Title</name>
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                  <text>The Rare Book Collection includes  over 14,000 printed books from the 15th to the 20th centuries which cover subjects such as medicine, law, literature, philosophy, natural sciences, geography, science, architecture, history, arts, etc. The collection includes books published in Europe and America, but there is also a significant collection  of Canadiana, including periodicals.</text>
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                <text>El ingenioso Hidalgo Don Quijote de la Mancha</text>
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                <text>This leather binding sports a large floral ornament blind-tooled into the centre of each cover, with double borders in gilt. Although printed in Madrid, this item contains the stamp of a bookseller in “Habana”. Is this perhaps a Cuban binding. </text>
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                <text>Cervantes Saavedra, Miguel de (1547-1616)</text>
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                <text>Archives and Special Collections, University of Ottawa [PQ 6323 .A1 1850]</text>
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                <text>1850</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>ARSC_RB_PQ 6323 .A1 1850</text>
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                  <text>Rare Books Collection </text>
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              <name>Subject</name>
              <description>The topic of the resource</description>
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                  <text>The Rare Book Collection includes  over 14,000 printed books from the 15th to the 20th centuries which cover subjects such as medicine, law, literature, philosophy, natural sciences, geography, science, architecture, history, arts, etc. The collection includes books published in Europe and America, but there is also a significant collection  of Canadiana, including periodicals.</text>
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            <description>A name given to the resource</description>
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              <elementText elementTextId="91">
                <text>Sauuage de Fontenailles en Brie, o additionnées, selon les modernes historiens, iusques à cest an mil cinq cens cinquante &amp; sept.</text>
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            <description>An account of the resource</description>
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                <text>We see here not one but two ex-libris on the front endpaper. The second owner (or another person entirely) has scraped out the name of his predecessor, which was located below a coat of arms surrounded by the following motto: “Mallem Mori Quam Mutare” (Death before change.) Taking this into account, this is most likely the ex-libris bookplate of Walter Raleigh Gilbert (1785-1853), Es. Major General in the Honorable East Indian Company’s Service. The second ex-libris is that of Kenneth Rapoport, a modern collector of classical and scientific literature, whose collection has now been scattered to all corners of the globe. </text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Archives and Special Collections, University of Ottawa [DC60 .8G55 1557]</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1557</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Archives and Special Collections, University of Ottawa</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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            <description>A language of the resource</description>
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                <text>Very similar in style to the neighbouring 1544 Virgil, this binding is also of pigskin seating for metal clasps, these now lost, visible. The covers have been over wooden boards, with hardware blind-tooled with various botanical borders, with the figure of Judith having been embossed on both covers. This technique is realised by impressing a heated decorative tool of brass into leather that has been moistened. Typical of Germanic bindings of this time frame, the initials of the owner have been embossed (RCT) above the centre-most border, with the date of 1563 appearing below. 1563 is most likely the date the book made it into the possession of its owner, thus two years after the text was printed.</text>
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                <text>P. Vergilij Maronis Latinorum poetarum principis Bucolica, Georgica, et Aeneis […]</text>
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                <text>A typical binding for the geographic region and timeframe whence it was printed, it is likely that this binding was executed with little time lag from the day it left the printer’s studio. Parchment (pigskin) has been laid over wooden boards. The parchment has then been hand-tooled and embossed with various tools to produce various designs of geometric forms. This book was most likely part of the collection of the Jesuit community, due to the device of the Jesuits (IHS) impressed into the front cover, and the emblem of the Virgin Mary (crown over pierced heart superimposed with the letters MAR) on the back cover. Now lost, the covers would have closed together by means of leather bands held by metal clasps. Seating for the metal hardware is still visible on the fore edges of the covers.</text>
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