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Catalogue Number 12 - Susanne Schulz-Falster

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Irish linen manufacture. The patents show machinery developed for the<br />

spinning of yarn and subsequently the manufacture of linen, and are here<br />

published by the Irish Linen Board. The inventors of the seven patents<br />

described were John Royds of Rochdale in Lancaster, John Kendrew and<br />

Thomas Porthouse of Darlington in Durham, Matthew Murray of Leeds<br />

(credited with the invention of two separate machines), Jean Arnoux of<br />

Westminster, Paul Tate of Manchester, and William Sellars and Peter<br />

Standage of Salop.<br />

In each case detailed information is given on the newly patented machinery,<br />

with exact technical information, advice on its application and use, and<br />

illustrated on the engraved plates. The Irish Linen Board had been established<br />

in 1710 as a well-Wnanced body to encourage the manufacture of<br />

linen. Despite its eVorts, it was disbanded in 1830, because of the general<br />

depression of the Irish linen industry, which could not compete with Scottish<br />

machine-produced yarns. From the early 1830s, however, machinery<br />

was Wnally introduced on a large scale and guaranteed the Irish linen<br />

industry the inXuence it had from the mid- nineteenth century. The present<br />

publication was clearly too early for the real upturn in Irish linen manufacturing.<br />

Uncommon, ESTC t118449, (British Library; Queen’s University, Belfast; National<br />

Library of Ireland); OCLC adds a copy at Yale; not in Kress or Goldsmiths’.<br />

The Economics of ScientiWc and Literary Production<br />

60 PECCHIO, Giuseppe. Sino a qual Punto le Produzioni<br />

ScientiWche e Letterarie seguano le Leggi Economiche della<br />

Produzione in generale... Lugano, Ruggia, 1832. £300<br />

Tall <strong>12</strong>mo, pp. xv, [1]; 199, fold-out table inserted at p. 66; some light<br />

spotting and browning; uncut in the original printed wrappers, some<br />

wear to spine, and fraying to extremities, but holding Wrm.<br />

First edition of an interesting study of the economics of scientiWc and literary<br />

production. Pecchio investigates whether the basic laws of economics,<br />

i.e. the rule of supply and demand, also govern scientiWc and literary production.<br />

He includes a quantitative analysis of literary works produced in<br />

England and France and gives their correlation to political events. Overall<br />

he maintains that literary works produced in situations of adversity tend to<br />

be more long-lasting. Overall, however, literary and scientiWc production<br />

seems to thrive in booming economies.<br />

Pecchio (1785–1835), writer and economist, is best known for his history<br />

of Italian economists. For many years he lived in England, where the<br />

present work was written.<br />

Einaudi 4337; Goldsmiths’–Kress 27290; OCLC lists copies at the University of<br />

Kansas and Cambridge only.<br />

Opening Night at La Fenice in 1792<br />

susanne schulz-falster rare books catalogue twelve<br />

61 PEPOLI, Alessandro. I Giuochi d’Agrigento. Dramma<br />

per Musica del Conte Alesandro Pepoli da rappresentarsi<br />

nell’apertura del nuovo Teatro detto La Fenice. Venezia,<br />

Stamperia Curti, 1792. £2500<br />

8vo, frontispiece view of the theatre, [ii], 86, and four engraved<br />

portraits; engraved title vignette; some light foxing, else clean;<br />

contemporary marbled stiV wrappers, some wear to spine, with loss to<br />

paper covering at foot of spine; a Wne copy.<br />

First edition, uncommon, of the opera that opened the famous Venetian<br />

opera house ‘La Fenice’, one the most important Italian opera houses, particularly<br />

famous for the countless premieres of Italian musical theatre and<br />

melodrama. The opera was composed by Giovanni Paisiello with dance<br />

scenes by Viganò.<br />

Presumably in honour of the special occasion, the libretto includes a view<br />

of the newly built theatre and Wne portraits of the composer and the three<br />

main stars, the famous soprano Brigida Banti (she was a favourite with London<br />

audiences at the end of the eighteenth century), the baritone Giacomo<br />

David, and Gasparo Pacchiarotti, one of the last great castratos.<br />

The theatre’s name La Fenice, ‘the phoenix’, proved prophetic judging by<br />

the numerous Wres that ravaged the opera building, the most recent one in<br />

1996.<br />

A second edition was published in 1794.<br />

Lapiccirella 203; Morazzoni p. 248; rare, RLIN and OCLC list copies at Yale and<br />

the Getty only.

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