Only edition of an account of the medieval church of S. Maria in Monticelli in Rome and its renovation in 1715-1716 by the architect Matteo Sassi (1646-1723), a pupil of Carlo Fontana, modifying the designs of a fellow-pupil, Domenico Antonio de Sanctis. The book is a product of the occasional press established about 1695 in the Seminary in Montefiascone and is thus relatively uncommon: four copies only can be located in North American libraries (Harvard, Canadian Centre for Architecture, Columbia University, National Gallery of Art Library), a single copy by COPAC in the United Kingdom (British Library), a single copy in France (Institut National d'Histoire de l'Art, Paris), two copies in Germany (Staatsbibliothek zu Berlin / Preußischer Kulturbesitz, Universitätsbibliothek München), and just eight copies in Italian libraries (including Bibliotheca Hertziana and British School at Rome).
London, Her Majesty's Stationery Office, 1963-1973
Six volumes (25 cm) and two boxes of plans, Volumes I-II (The Middle Ages, compiled by R. Allen Brown, H.M. Colvin and A.J. Taylor, 1963): 1139 pp., 52 plates. Volume III (1485-1660, compiled by H.M. Colvin, D.R. Ransome and John Summerson, 1975): 469 pp., 45 plates. Volume IV (1485-1660, compiled by H.M. Colvin, John Summerson, Martin Biddle, J.R. Hale and Marcus Merriman, 1982): 826 pp., 52 plates. Volume V (1660-1782, compiled by H.M. Colvin, J. Mordaunt Crook, Downes and John Newman, 1976): 535 pp., 69 plates. Volume VI (1782-1851, compiled by Mordaunt Crook and M.H. Port, 1973): 744 pp., 66 plates. Plans: 7 large scale plans, I-IV (1963) in a plan box, V-VII (1982) in plastic folder, as issued. - An account of public building in England covering the period from the Middle Ages until the reforms of 1782, which marked the end of the Office of the King’s Works as it had existed since the 16th century. ¶ Immaculate copy of a monument of 20th-century scholarship.
(23 cm), 240 pp., 148 plates. Publisher’s printed wrappers. - A large exhibition (148 works) featuring original drawings by Boullée and Lequeu from the Cabinet des Estampes de la Bibliothèque Nationale, never before shown outside of Europe. “An invaluable tool, not the least for the illustrations of forty-five designs from the warped mind of Lequeu… His are the only sexy and perverted architectural designs I have ever seen… The catalogue, which concludes with a very useful bibliography, has delighted all” (from a review by John Harris, in Master Drawings, volume 7, 1969, pp.180-182). ¶ Good, unmarked copy.
New York, Published by New York University Press for the College Art Association of America, 1974
(29 cm), xiv (2), 156 (2) pp.,  leaves of plates. Publisher’s cloth (issued without dust jacket). - Kitao attempts to prove that for Bernini the colonnades did not describe an oval, but a circle. The first chapter summarizes the historical background of Bernini’s design and reconstructs the initial phases of the project (to 17 March 1657, when Bernini presented his oval plan to the Congregation of Cardinals overseeing the work); the other chapters continue the history, down to the construction of the Via della Conciliazione according to the design of 1938 by Marcello Piacentini and Attilio Spaccarelli. ¶ Faint waterstain in lower margin of four leaves; good, unmarked copy.
(21.5 cm), 173 pp.,  p. of plates. Publisher’s pictorial wrappers. - Fourth edition (tenth impression; first published in Great Britain in 1973). ¶ Ownership inscription on half-title; occasional ink annotations in text.
(24 cm), xxx (2), 615 (1) pp., 458 illustrations. Publisher’s cloth, pictorial dust jacket. - Describes the influence of Dutch architecture on English architects (notably Robert Hooke, John Webb, and Christopher Wren). The survey emerged from the author’s catalogue raisonné of Dutch 17th-century architectural books and prints (redacted here as Chapter 25, “The Printed Sources”), and the author is generous in his assessments of the influence of these publications (”one should not underrate the importance of the loose sheets with engraved buildings…”, p.211). ¶ Minor defects to dust jacket; otherwise a very good, unmarked copy.
Cambridge, MA & London, MIT Press / Edizioni dell'Elefante, 1980
(30 cm), 337 (3) pp., illustrations. Publisher’s red cloth, printed dust jacket. - Nine papers by art historians who were residents and fellows at the Academy from 1973 through 1977: James Ackerman, Kathleen Weil-Garris and John D’Amico, William Hood, Virginia L. Bush, Leo Steinberg, Michael Conforti, Henry A. Millon, John A. Pinto, Anthony Clark. ¶ Dust jacket affected by humidity, edges worn; otherwise a good copy.
(25 cm), (2) 1011 (1) pp., profusely illustrated. Publisher’s cloth, dust jacket. - An extravagantly illustrated survey, reproducing more than 1500 engravings, plans, and photographs. Originally published as Storia della città (Rome: Laterza, 1975). ¶ Short tears in dust jacket. Good, unmarked copy.
(23 cm), xxiv (2), 220 pp., 130 illustrations. Publisher’s pictorial wrappers. - Collection of seven essays demonstrating the importance of architectural drawings for the study of Renaissance architecture (some in new translations, revised by the author, with postscripts “of important publications that have appeared since mine”), accompanied by “Bibliography 1938-1974 Wolfgang Lotz” and “Introduction” by James S. Ackerman. “These pieces are so significant, so rich in implications, and so compressed stylistically that anyone working in the area must read them again and again” (from a review by Sara Ruth Watson, in Technology and Culture, volume 19, 1978, pp.531-533). Reissue in wrappers of the MIT Press edition, 1977. ¶ Very good, unmarked copy.
Paris, Éditions de la Réunion des musées nationaux, 1982
(24 × 21.5 cm), 252 (4) pp., illustrations (some in colour). 285 catalogue entries. Publisher’s pictorial wrappers. - Exhibition of paintings, prints, architectural drawings, manuscripts, liturgical objects, and decorative arts. The catalogue is arranged chronologically, with subsections on such themes as the basilica as archetype, the Heavenly Jerusalem, the central plan in the Renaissance, the interior of the church as depicted in 17th century Dutch painting, Protestant churches, synagogues, temple façades and plans in 18th century secular architecture, ruins and caprices, Romanticism, Gothic Revival in England, Orientalism, temples in an industrial age. ¶ As new.
Paris, Éditions de la Réunion des musées nationaux, 1982
(24 × 21.5 cm), 252 (4) pp., illustrations (some in colour). 285 catalogue entries. Publisher’s pictorial wrappers. - Exhibition of paintings, prints, architectural drawings, manuscripts, liturgical objects, and decorative arts. The catalogue is arranged chronologically, with subsections on such themes as the basilica as archetype, the Heavenly Jerusalem, the central plan in the Renaissance, the interior of the church as depicted in 17th century Dutch painting, Protestant churches, synagogues, temple façades and plans in 18th century secular architecture, ruins and caprices, Romanticism, Gothic Revival in England, Orientalism, temples in an industrial age. ¶ Very good, unmarked copy.
(26 cm), 304 pp., 357 illustrations. Publisher’s pictorial wrappers. - Reprints fifteen of Wittkower’s essays (original publication date within parentheses): Carlo Rainaldi and the architecture of the high Baroque in Rome (1937), The third arm of Bernini’s Piazza S. Pietro (1949), A counter-project to Bernini’s Piazza S. Pietro (1939-1940), The vicissitudes of a dynastic monument: Bernini’s equestrian statue of Louis XIV (1961), The role of classical models in Bernini’s and Poussin’s preparatory work (1963), Pietro da Cortona’s project for reconstructing the temple of Palestrina (1935), Santa Maria della Salute (1963), Francesco Borromini, his character and life (1967), Guarini the Man (1972), A Sketchbook of Filippo Juvarra at Chatsworth (1949), Vittone’s domes (1972), Vittone’s drawings in the Musée des Arts Décoratifs (1967), Piranesi’s architectural creed (1938), Piranesi as architect (1961), Piranesi and eighteenth-century Egyptomania (1970). First paperback edition (original edition London: Thames and Hudson, 1975). ¶ Very good, unmarked copy.
(25 cm), xviii, 317 pp., 115 illustrations. Publisher’s boards, pictorial dust jacket. - A masterpiece of concision, this invaluable work on the architecture, painting and sculpture of Baroque Rome (c. 1620 to the mid-18th century) is organised into alphabetical sections on churches, palaces, the Vatican, villas, fountains, miscellaneous buildings, and the Alban Hills (Frascati, Ariccia, Castel Gandolfo, Grottaferrata, Genzano and Marino). The bibliographies include references to early guidebooks and other contemporary literature; the illustrations have been limited to contemporary and early prints and drawings which show features of design and planning that have been lost. ¶ Dust jacket shelf worn; otherwise a very good, unmarked copy.
(31.5 cm), x (2), 100 pp.,  p. of colour plates, text illustrations. Publisher’s cloth, pictorial dust jacket. - Siena, San Gimignano, Montepulciano, Pienza, Volterra, Cortona, Arezzo; Perugia, Assisi, Orvieto, Todi, Spoleto, Gubbio. The author became an authority on Italian cuisine; in 1993, she was elected to membership in the Accademia Italiana della Cucina, and in 2004 she was made a Knight in the Order of Merit of the Italian Republic. ¶ Slight wear to dust jacket; otherwise an excellent, unmarked copy.
(25.5 cm), viii (4), 585 (1) pp., illustrations. Publisher’s pictorial wrappers. - Covers the work and thought of Inigo Jones; Christopher Wren; Nicholas Hawksmoor; Richard Boyle, Earl of Burlington; William Kent; William Hogarth; Piranesi; Carlo Lodoli; Johann Joachim Winckelmann; Johann Bernhard Fischer von Erlach. First edition in paperback (original edition 1980). ¶ Wrapper worn; otherwise a good, unmarked copy.
(28 cm), 354 pp., 150 illustrations (some in colour). Publisher’s printed wrappers. - An introductory section on the Vicentine cultural scene (pp.1-59) is followed by a catalogue of Bertotti’s executed and unexecuted architectural projects (pp.61-330), bibliography, and indices. ¶ Light wear to wrappers; otherwise a good, unmarked copy.
Two volumes (31.5 cm), I: (4) 535 (1) pp.,  p. of text and plates on printed on thick card, colour frontispiece and text illustrations (some in colour). II: (4) pp., pp.545-892 (3),  p. of text and plates on printed on thick card, colour frontispiece and text illustrations (some in colour). Uniform publisher’s blue percaline; original slipcase. - Translation of Ginori’s I palazzi di Firenze nella storia e nell’arte (Florence 1972). The work is organised in three parts: the first discusses the palazzi in the broader historical context of Florentine society and culture; the second provides detailed descriptions and histories of 131 palazzi grouped according to their locations within the historic wards; and the last consists of various appendixes presenting documents, tables, ground plans, coats of arms, specialized studies on stucco work and sgraffito, and archival sources for the old families owning palazzi. ¶ Binding of volume I cracking; slipcase cracking along one joint.