P. Ovidii Nasonis Opera omnia, in tres tomos divisa, cum integris notis Nicolai Heinsii D.F. lectissimisque Variorum notis. Quibus non pauca, ad suos quaeque antiquitatis fontes diligenti comparatione reducta, accesserunt, studio Borchardi Cnippingii.

Amsterdam (Amstelodami), Prostant apud Waesbergios, Boom, & Goethals, 1702. 8vo. 3 volumes: (XVI),832,(16); 805,(10),(1 blank); 810,(6) p., 15 plates, 1 portrait, 1 frontispiece & 2 engraved titles. Vellum 19 cm (Ref: STCN ppn 320300935, ppn 320301095 & ppn 320301176; Schweiger 2,631; Dibdin 2,267/68; Moss 2,343; Brunet 4,272; Graesse 5,70; Ebert 15368) (Details: Volume 1: an engraved portrait of Ovid and a frontispiece, depicting the Judgment of Paris. Title with woodcut printer's mark, depicting a celestial sphere flanked by Hercules and Father Time. Volume 2 & 3 have engraved titles, depicting the abduction of Europa by Zeus (2), and a Roman emperor on horseback (3). Vol. 2 is adorned with 15 full page engravings. In this copy the index of usually 9 pages has been printed on 6 pages in smaller type)(Condition: This nice set has 1 flaw: stains on the margins of 21 leaves of volume 1, and of 16 leaves of volume 2, caused by an attempt to remove ink annotations. Small red ink annotations on 7 pages of vol. 2. Vellum slightly soiled. Paper yellowing) (Note: The Roman poet Ovid, 43 B.C. - 17 A.D, 'is perhaps the most consistently influential and popular writer of the classical tradition. His central position is suggested by the many surviving manuscripts of his works and their early publication in printed editions. (...) Most would agree that it is his Metamorphoses that has had the greatest influence, but his other major poems, the Heroides, Tristia, Fasti, and particularly his racier works, the Amores, Ars amatoria, and Remedia amoris, have played their part in maintaining his reputation as a writer of enduring importance and appeal'. (The Classical Tradition, Cambr. Mass. 2010, p. 667) § Ovid was widely read in antiquity, and remained to be read at the Carolingian court in the Middle Ages. The 12th/13th centuries are even called the 'aetas Ovidiana', for Ovid's love elegy was one of the mainsprings of the phaenomenon of courtly love and its literary expression. His 'Ars amatoria' and the 'Remedia' became part of the school curriculum. Ovid became also the favourite poet of the Renaissance. Shakespeare was inspired more by Ovid than by Vergil. (Neue Pauly 9,110/119)Ovid's appeal lies beyond the bounderies of the scholarly and literary world. Numerous artists in the 16th to 18th century were inspired by the Metamorphoses. § A new age dawns in the textual history of Ovid's poems with the work of the famous Dutch scholar, neolatin poet and diplomat, Nicolaas Heinsius, 1620-1681, 'who, after 345 years, remains the central figure in any account of the editing of Ovid. No modern editor will fail to mention his name in the preface as the 'sospitator Ovidii; no 'apparatus criticus', will fail to cite his numerous contributions to the improvement of the text'. (P.E. Knox (ed.), 'A companion to Ovid', Chichester 2013, online version) Heinsius' editions of Ovid offer texts that are based on an extensive first hand knowledge of the manuscripts, and that are supplemented with a full textual commentary which records and discusses 'variae lectiones', and notes alterations of the vulgate text. In making his selection from the vast mass of variants, Heinsius was, according to Sandys, guided by a fine taste and a sound judgment acquired by long experience. Heinsius was almost exclusively an editor of Latin poets. (Sandys 2,323/6) The first Ovid edition based on Heinsius that was produced by the Dutch schoolmaster (?) Borchardus Cnippingius, appeared in 1670. It saw reissues in 1683 and in 1702. Cnippingius included also observations of other leading scholars) (Collation: Volume 1: pi1, *8 (minus blank leaf *8), A-3G8 (leaf 3G8 blank) (our gathering * has one more leaf than the STCN copy). Volume 2: A-3E8. (Binder's error in last gathering of volume 2: leaf 3E1 has been bound after the index). Volume 3: A-3E8. STCN calls for a gathering 3F2 at the end of volume 3. That is because in our copy the index of 9 pages has been boiled down to 6 pages in smaller type. The collation of our copy is therefore complete)(Photographs on request) (Heavy book, may require extra shipping costs)