s pe c i a l l i s t 4 9 1
R I C H A R D C. R A M E R
Special List 491
Colonial
Brazilian Authors
2
r i c h a r d c . r a m e r
R I C H A R D C . R A M E R
Old and Rare Books
225 east 70th street . suite 12f . new york, n.y. 10021-5217
Email rcramer@livroraro.com . Website www.livroraro.com
Telephones (212) 737 0222 and 737 0223
Fax (212) 288 4169
October 18, 2023
Special List 491
Colonial
Brazilian Authors
Items marked with an asterisk (*)
will be shipped from Lisbon.
SATISFACTION GUARANTEED:
All items are understood to be on approval,
and may be returned within a reasonable time
for any reason whatsoever.
VISITORS BY APPOINTMENT
s pe c i a l l i s t 4 9 1
Special List 491
Colonial
Brazilian Authors
Rebirth of the Study of Mathematics and Engineering in Portugal and the
Reflection of this Movement in Brazil:
Second Book on Military Engineering Written in Brazil and
Second Such Book Written by a Brazilian,
Dedicated to Gomes Freire de Andrade—With 20 Folding Engraved Plates
1. ALPOIM, José Fernandes Pinto de. Exame de bombeiros, que com
prehende dez tratados .... Madrid: En la Officina de Francisco Martinez
Abad, 1748. 4°, contemporary pebbled sheep (some wear, but sound;
curved piece about 7 x 7 cm. torn away from lower outer corner of
front free endleaf; rear free endleaf gone), spine gilt with raised bands
in five compartments (wear at head and foot), crimson leather lettering
piece in second compartment from head. Title page in red and black.
Engraved allegorical vignette on f. *3r. Engraved portrait of Gomes
Freire de Andrade. In very good condition overall. Five lines of old ink
manuscript inscriptions above half title. Engraved portrait, (20 ll.), 444
pp. [i.e., 442; pagination skips from 372 to 375], 20 folding engraved
plates and 1 folding table.
$9,000.00
FIRST and ONLY EDITION. This work and Alpoim’s Exame de artilheiros, Lisbon
1744, are “proofs of the rebirth of the study of mathematics and engineering in Portugal
and the reflection of this movement in Brazil, and they symbolize a Luso-Brazilian con
tribution to this movement. They are, in short, the first two books on military engineering
written in Brazil and the first two ‘textbooks’ of this kind by a Brazilian author” (Borba
de Moraes I, 26).
The Exame de bombeiros is a comprehensive textbook on military bombardment.
Written in dialogue form, the Exame first covers the mathematics necessary for plotting
trajectories, proceeds to a long discussion of mortars and how to use them most effec
tively, describes more recent inventions such as the howitzer and the petard, and closes
with a long treatise on the many types of incendiary shells and their proper use. The text
is enhanced with frequent references to the contributions of other military engineers,
including Galileo and Vauban, and historical notes on how bombardment had contrib
uted to the success or failure of various military campaigns. The plates depict mortars,
projectiles, and incendiary shells, many shown in cross section.
Borba de Moraes devotes three pages to unraveling the “veritable bibliographic
puzzle” of the printing of this work, and to dispelling the myth that it and/or Alpoim’s
Exame de artilheiros were printed in Rio de Janeiro by Antonio Isidoro da Fonseca in
1747—a theory first suggested by Varnhagen. Since the Exame de artilheiros was banned
by a decree of 15 July 1744 (for not adhering to the rules for the use of military titles),
Varnhagen thought Fonseca might not have wished to publish it under his own imprint.
To support his theory, Varnhagen cited the facts that Alpoim was a native of Brazil, that
the work was written there and dedicated to Gomes Freire de Andrade, Governor of
Brazil, and that the letters to the author in the preliminary leaves are from Brazilians. The
4
r i c h a r d c . r a m e r
Item 1
s pe c i a l l i s t 4 9 1
most puzzling evidence of all is plate XVII, which has “Rio 1749” engraved in the lower
right-hand corner. If this plate was engraved and printed in Brazil, it would be the earliest
extant Brazilian engraving. Even Borba de Moraes, who argues strongly that the Exame
de bombeiros and Exame de artilheiros were printed in Madrid and Lisbon, as their respec
tive title-pages state, could give no convincing explanation of the plate XVII inscription.
Alpoim was born in Rio de Janeiro and served as professor at the Aula de Fortificação
in Rio de Janeiro; at his death in 1770 he held the rank of Brigadier.
The engraved portrait of Gomes Freire de Andrade is signed by Olivarius Cor.
Soares notes that nothing is known of this artist except that he worked in Portugal from
1744-1748, and may have been one of the foreigners invited by D. João V. The other
plates, which illustrate geometric figures, cross-sections of cannons, and ballistics, are
signed by José Francisco Chaves, about whom Soares had no biographical information.
❊ Borba de Moraes (1983) I, 25-7: “famous and rare”; Período colonial 9-10. Alden
& Landis 748/2. Sacramento Blake IV, 422. Innocêncio IV, 326. Pinto de Mattos (1970) p.
505. Martins de Carvalho, Dicionário bibliográfico militar portugues (1976) I, 58-9. Soares,
História da gravura artística em Portugal 499-500. Bosch 194 (cf. 187). Mindlin, Highlights
384. Indiana University, Lilly Library, Brazil 48. Not in Rodrigues. On Olivarius Cor, see
Soares, História da gravura artística em Portugal I, 171, nº 499 (under Chaves); on Olivarius
Cor, see I, 180-185 (this work not listed). NUC: DLC-P4, ICN. OCLC: 35175211 (Catholic
University-Oliveira Lima Library, Library of Congress, Newberry Library, Brown Uni
versity); 18678333 (Arizona Historical Society, University of Michigan, University of
Mississippi); 79814401 (John Carter Brown Library); 257680375 (Universität Göttingen);
433371703 (Biblioteca Nacional de España). Porbase lists a copy at the Biblioteca Nacio
nal de Portugal, and another copy there with the imprint “Lisboa: Imp. Regia 174?” Not
located in Jisc. KVK (51 databases searched) repeats Porbase.
Tropical Fevers Treated in Brazil and Angola;
Attacks Excessive Use of Bleeding
*2. AZEREDO, José Pinto de. Ensaios sobre algumas enfermidades d’Angola
…. Lisbon: Regia Officina Typografica, 1799. 8°, recent burgundy Oasis
morocco, marbled endpapers, edges sprinkled red (contemporary).
Some light waterstains. In very good condition. xvi, 149 pp.
SOLD
FIRST and ONLY EDITION. The author (1763-1807), a native of Rio de Janeiro who
studied at Edinburgh (1786-1788) and presented his graduate thesis on gout at Leyden,
practiced medicine in Rio de Janeiro, Bahia and Pernambuco before being appointed
Fisico-mor de Angola. In this famous work he notes that the tropical fevers found in Brazil
and Angola are very similar, and draws on his experience with both venues. Pinto de
Azeredo achieved excellent results with his “new method” of treatment, which included
the use of quinine, nux vomica, arsenic, and the inside of the coconut rind. The Ensaios
has separate sections dealing with the causes and cures of dysentery and tetanus. In
the introduction, Pinto de Azeredo attacks the excessive use of bleeding in Angola and
in America (“com particularidade na Bahia”). Lengthy footnotes include citations of
authoritative references and recipes for cures such as various kinds of tea.
❊ Borba de Moraes (1983) I, 62-3: “very rare”; Período colonial pp. 39-40. Sacramento
Blake V, 137: calling in error for 165 pp. Innocêncio V, 103; XIII, 171. Imprensa Nacional
532. JCB, Portuguese and Brazilian Books 799/1. Ribeiro Filho, Dicionário biobibliográfico de
escritores cariocas pp. 30-1. Bosch 257. National Library of Medicine, Eighteenth-Century
6
r i c h a r d c . r a m e r
Item 1
s pe c i a l l i s t 4 9 1
STC p. 25. Lisbon, Faculdade de Medicina, Catálogo da colecção portuguesa, I, 33. Pires de
Lima, Catálogo da Bibliotheca da Escola Medico-Cirurgica do Porto 273. Macedo, Anno Bio.
Braz. III, 467. Santos Filho, História geral da medicina brasileira p. 375. Ferreira de Mira,
História da medicina portuguesa p. 305. See also J. Walter, Um português carioca professor da
primeira escola medica de Angola, Lisbon 1970. NUC: adding ICN.
Earliest Published Works by the “Mulatto Muse”
One of Colonial Brazil’s Most Important Poets
3. [BARBOSA, Domingos Caldas]. Collecção de poesias feitas na feliz
inauguração da Estatua Equestre de ElRey Nosso Senhor Dom José I em 6
de Junho de 1775. (Lisbon: Regia Officina Typografica, 1775). 4°, mid-
twentieth-century quarter cloth over decorated boards, decorated
endleaves. A few small stains on title page, otherwise crisp and clean.
Overall in very good condition. 27 pp.
$3,800.00
FIRST and ONLY separate EDITION, and perhaps the first appearance of this
extremely rare collection of poems in honor of the dedication of D. José I’s statue in
Lisbon’s Praça do Comercio, in 1775, written by one of the finest Brazilian poets of the
colonial period. The volume includes odes by allegorical figures of Asia (pp. 15-7), America
(pp. 18-20), Europe (pp. 21-4) and Africa (pp. 25-7), as well as another ode and 7 sonnets.
The Narração dos applausos of Lisbon, 1775, which is less rare than the Collecção,
includes all but one of the poems in the Collecção; the one that does not appear is the sonnet
beginning “Ja de huma e outra parte a estranha gente,” on p. 4. Whether the Narração or
the Collecção came first is not clear. The type is set in very similar style in both, but there
are variations in wording, and the order in which the poems appear differs considerably.
Borba de Moraes knew of no later reprints, separately or in anthologies. The work is
hence of great importance for the study of colonial Brazilian literature.
Caldas Barbosa was probably born in Rio de Janeiro in 1740; his mixed parentage
(father Portuguese, mother African) led some nineteenth-century critics to dub him
the “Mulatto Muse.” When his satirical poetry offended some powerful citizens of his
native city, he was sent to serve in the army at Colonia do Sacramento, in present-day
Uruguay, for several years, until 1762. After another 7 or 8 years in Rio de Janeiro he
moved to Lisbon, where he became the protégé of the Conde de Pombeiro and was widely
acclaimed as a singer and poet until his sudden death in 1800. Varnhagen describes the
author’s popularity in Lisbon society: his presence “se tornou quase uma necessidade de
todas as festas, sobretudo nas partidas do campo. Nas aristocráticas reuniões das Caldas,
nos cansados banhos de mar, nos pitorescos passeios de Sintra, em Belas, em Queluz,
em Benfica, sociedade onde não se achava o fulo Caldas com sua viola não se julgava
completa” (Florilégio da poesia brasileira, quoted in W. Martins II:7, n. 578).
A founder and president of the major literary establishment in Portugal during the
eighteenth century, the Nova Arcadia, Caldas Barbosa’s nom-de-plume was “Lereno”—
hence the title of his major work, Viola de Lereno, “Lereno’s guitar.” Bandeira describes
Caldas Barbosa as the “first Brazilian whose poetry has an entirely native flavor” (Brief
History of Brazilian Literature p. 61). He introduced Afro-Brazilian folk themes to Portugal
by composing lundas, comic popular songs of African origin in which Brazilian-Indian
and African speech were used, and wrote many modinhas, sentimental songs without
music taken from Portuguese modas.
Sílvio Romero gives evidence of Caldas Barbosa’s popularity in Brazil: “Quase
todas as cantigas de Lereno correm de boca em boca nas classes plebéias truncadas ou
8
r i c h a r d c . r a m e r
ampliadas. Formam um material de que o povo se apoderou, modelando-o ao seu sabor.
Tenho dêsse fato uma prova direita. Quando em algumas provincias do norte colligí
grande cópia de canções populares, repetidas vêzes, colhí cantigas de Caldas Barbosa,
como anônimas, repetidas por analfabetos. Foi depois preciso compulsar as obras do
poeta par expungir da coleção anônima os versos que lhe pertenciam. É o maior elogio
que, sob o ponto de vista etnográfico, se lhe pode fazer” (quoted in the Rio de Janeiro,
1944 edition of Viola de Lereno, ed. Francisco de Assis Barbosa, I, xvii-xviii).
❊ Borba de Moraes (1983) I, 70-1 (“rare”); Período colonial pp. 41-4. Sacramento
Blake II, 198-9. Innocêncio II, 185 and VI, 267-8. Imprensa Nacional p. 90: lists no copy
in the Imprensa Nacional’s library. Lisbon, Câmara Municipal, Catálogo da exposição
bibliográfica, iconográfica e documental relativa à estátua equestre 71. JCB, Portuguese and
Brazilian Books 775/1. Palha 3427. See also Jong, Four Hundred Years of Brazilian Literature
p. 72, and Dorothy B. Porter, “Padre Domingos Caldas Barbosa, Afro-Brazilian Poet,”
Phylon XII (1951), 264-71. Not in Bosch or Rodrigues. Not in Azevedo-Samodães, Ameal,
Avila-Perez or Monteverde. NUC: MH. OCLC: 19911420 (Harvard University, University
of São Paulo); 79415035 (John Carter Brown Library). Porbase locates two copies, both
Biblioteca Nacional de Portugal. Not located in Jisc.
Rare & Important Work by Noted Afro-Brazilian Author
In a Splendid Contemporary Binding
4. [BARBOSA, Domingos Caldas]. Narração dos applausos com que o Juiz
do Povo e Casa dos Vinte-Quatro festeja a felicissima inauguração da Estatua
Equestre onde tambem se expõem as allegorias dos carros, figuras, e tudo o
mais concernente ás ditas festas. Lisbon: Na Regia Officina Typografica,
1775. 4°, splendid contemporary Portuguese binding of crimson sheep
(light wear at corners, head and foot of spine; short splits in joints near
head of spine), spine richly gilt with raised bands in six compartments,
richly gilt roll-tooled border on each cover, edges of covers gilt tooled,
all text-block edges gilt. Woodcut vignette and initial. Occasional slight
marginal soiling. Overall in fine condition. Bookplates of Victor Avila-
Perez and Fernando Alves Barata. 123 pp., (1, 1 blank ll.). $3,500.00
FIRST EDITION. “A very important book, and very rare indeed” (Borba de Moraes),
containing many poems (all unsigned) written in 1775 in honor of the dedication of the
statue of D. José I in Lisbon’s Praça do Comércio. These are preceded by a description
of the dedication ceremonies (pp. 3-74). Borba de Moraes mentions a variant in which
the pagination is not continuous throughout the volume.
Five of the odes and six sonnets are generally acknowledged to be the work of
Domingos Caldas Barbosa, one of the finest Brazilian poets of the colonial period. These
poems also appeared (again unsigned) in the undated, 27-page Collecção de poesias feitas
na feliz inauguração da Estatua Equestre, which is itself a rare work. Of these 11 poems
Borba knew of no later reprints, separately or in anthologies. Whether the Narração or
the Collecção came first is not clear: the type is set in very similar style in both, but there
are variations in wording, and the order in which the poems appear differs considerably.
Given the thematic structure of the Narração, it is possible that some of the poems
that did not appear in the Collecção were also the work of Caldas Barbosa. In the Narração,
an ode entitled “Europa,” which is attributed to Caldas Barbosa, is followed (pp. 79-84)
s pe c i a l l i s t 4 9 1
Item 3
1 0
r i c h a r d c . r a m e r
Item 4
s pe c i a l l i s t 4 9 1
1 1
by one entitled “Convoca a Europa os Genios festivos do paiz, e as deidades maritimas
... ,” then by Caldas Barbosa’s “Asia,” then by an ode and a sonnet entitled, respectively,
“Vem a Asia offerecer os seus dons ao muito alto, e poderoso Rey ... “ (pp. 88-91), and
“Vem Africa applaudir o felicissimo dia da famosa inauguração da estatua equestre ...
“ (p. 92). These are followed by two more poems attributed to Caldas Barbosa, entitled
“Africa,” and “America,” which are followed by the unattributed ode “Vem a America
applaudir o feliz dia da famosa inauguração da estatua equestre ... “ (pp. 99-101). If these
are not the work of Caldas Barbosa, it would be extremely interesting to know who
composed these transitional pieces; a study of the style might clarify matters. A stylistic
study might also show whether all 13 of the sonnets on pp. 117-23 are Caldas Barbosa’s
work, rather than only the five that appeared in the Collecção.
Caldas Barbosa was probably born in Rio de Janeiro in 1740; his mixed parentage
(father Portuguese, mother African) led some nineteenth-century critics to dub him the
“Mulatto Muse.” When his satirical poetry offended some powerful citizens of his native
city, he was sent to serve in the army at Colonia do Sacramento, in present-day Uruguay,
for several years, until 1762. After another seven or eight years in Rio de Janeiro he
moved to Lisbon, where he became the protégé of the Count of Pombeiro and was widely
acclaimed as a singer and poet until his sudden death in 1800. Varnhagen describes the
author’s popularity in Lisbon society: his presence “se tornou quase uma necessidade de
todas as festas, sobretudo nas partidas do campo. Nas aristocráticas reuniões das Caldas,
nos cansados banhos de mar, nos pitorescos passeios de Sintra, em Belas, em Queluz,
em Benfica, sociedade onde não se achava o fulo Caldas com sua viola não se julgava
completa” (Florilégio da poesia brasileira, quoted in W. Martins II:7, n. 578).
A founder and president of the major literary establishment in Portugal during the
eighteenth century, the Nova Arcádia, Caldas Barbosa’s nom-de-plume was “Lereno”—
hence Viola de Lereno, “Lereno’s guitar.” Bandeira describes Caldas Barbosa as the “first
Brazilian whose poetry has an entirely native flavor” (Brief History of Brazilian Literature
p. 61). He introduced Afro-Brazilian folk themes to Portugal by composing lundas, comic
popular songs of African origin in which Brazilian-Indian and African speech were used,
and wrote many modinhas, sentimental songs without music taken from Portuguese modas.
Sílvio Romero gives evidence of Caldas Barbosa’s popularity in Brazil: “Quase
todas as cantigas de Lereno correm de boca em boca nas classes plebéias truncadas ou
ampliadas. Formam um material de que o povo se apoderou, modelando-o ao seu sabor.
Tenho dêsse fato uma prova direita. Quando em algumas provincias do norte colligí
grande cópia de canções populares, repetidas vêzes, colhí cantigas de Caldas Barbosa,
como anônimas, repetidas por analfabetos. Foi depois preciso compulsar as obras do
poeta par expungir da coleção anônima os versos que lhe pertenciam. É o maior elogio
que, sob o ponto de vista etnográfico, se lhe pode fazer” (quoted in the Rio de Janeiro,
1944 edition of Viola de Lereno, ed. Francisco de Assis Barbosa, I, xvii-xviii).
Provenance: The library of Victor Marat d’Avila Perez was one of the most important
ever sold at auction in Portugal. A total of 8,962 lots went under the hammer from Octo
ber 1939 through April 1940 from a six-part catalogue, each part lasting an unspecified
number of nights (our guess is five nights for each part).
❊ Borba de Moraes (1983) I, 70-1; Período colonial pp. 41-4. Blake II, 198-9. Innocên
cio II, 185 and VI, 267-8. Imprensa Nacional p. 93 (under Antonio Pereira de Figueiredo):
lists no copy in the Imprensa Nacional’s library. Lisbon, Câmara Municipal, Catálogo da
exposição bibliográfica, iconográfica e documental relativa à estátua equestre 574. Shäffer, Por
tuguese Exploration to the West and the Formation of Brazil 92. JCB, Portuguese and Brazilian
Books 775/3. Azevedo-Samodães 2191: calling for only 32 pp. See also Jong, Four Hundred
Years of Brazilian Literature p. 72, and Dorothy B. Porter, “Padre Domingos Caldas Barbosa,
Afro-Brazilian Poet,” Phylon XII (1951), 264-71. Not in Palha or Rodrigues. NUC: CtY,
InU, MH, ICN. Porbase locates five copies at Biblioteca Nacional de Portugal and one
(with only 32 pp.) at Biblioteca Central da Marinha.
1 2
r i c h a r d c . r a m e r
Item 4
s pe c i a l l i s t 4 9 1
1 3
Rare & Important Work by Noted Afro-Brazilian Author
5. [BARBOSA, Domingos Caldas]. Narração dos applausos com que o Juiz
do Povo e Casa dos Vinte-Quatro festeja a felicissima inauguração da Estatua
Equestre onde tambem se expõem as allegorias dos carros, figuras, e tudo o
mais concernente ás ditas festas. Lisbon: Na Regia Officina Typografica,
1775. 4°, early nineteenth-century (ca. 1825) tree sheep (some scraping
to boards; wear to corners; minor wear to head of spine; foot of spine
defective), smooth spine gilt in cathedral style, black morocco letter
ing piece, gilt letter, marbled endleaves, text-block edges sprinkled.
Internally clean and crisp. In very good condition. 123 pp., (1 l.).
$1800.00
FIRST EDITION. “A very important book, and very rare indeed” (Borba de Moraes),
containing many poems (all unsigned) written in 1775 in honor of the dedication of the
statue of D. José I in Lisbon’s Praça do Comercio. These are preceded by a description
of the dedication ceremonies (pp. 3-74). Borba de Moraes mentions a variant in which
the pagination is not continuous throughout the volume.
Five of the odes and six sonnets are generally acknowledged to be the work of
Domingos Caldas Barbosa, one of the finest Brazilian poets of the colonial period. These
poems also appeared (again unsigned) in the undated, 27-page Collecção de poesias feitas
na feliz inauguração da Estatua Equestre, which is itself a rare work. Of these 11 poems
Borba knew of no later reprints, separately or in anthologies. Whether the Narração or
the Collecção came first is not clear: the type is set in very similar style in both, but there
are variations in wording, and the order in which the poems appear differs considerably.
Given the thematic structure of the Narração, it is possible that some of the poems
that did not appear in the Collecção were also the work of Caldas Barbosa. In the Narração,
an ode entitled “Europa,” which is attributed to Caldas Barbosa, is followed (pp. 79-84)
by one entitled “Convoca a Europa os Genios festivos do paiz, e as deidades maritimas
…,” then by Caldas Barbosa’s “Asia,” then by an ode and a sonnet entitled, respectively,
“Vem a Asia offerecer os seus dons ao muito alto, e poderoso Rey …” (pp. 88-91), and
“Vem Africa applaudir o felicissimo dia da famosa inauguração da estatua equestre …”
(p. 92). These are followed by two more poems attributed to Caldas Barbosa, entitle
“Africa,” and “America,” which are followed by the unattributed ode “Vem a America
applaudir o feliz dia da famosa inauguração da estatua equestre …” (pp. 99-101). If these
are not the work of Caldas Barbosa, it would be extremely interesting to know who
composed these transitional pieces; a study of the style might clarify matters. A stylistic
study might also show whether all 13 of the sonnets on pp. 117-23 are Caldas Barbosa’s
work, rather than only the five that appeared in the Collecção.
Caldas Barbosa was probably born in Rio de Janeiro in 1740; his mixed parentage
(father Portuguese, mother African) led some nineteenth-century critics to dub him
the “Mulatto Muse.” When his satirical poetry offended some powerful citizens of his
native city, he was sent to serve in the army at Colonia do Sacramento, in present-day
Uruguay, for several years, until 1762. After another 7 or 8 years in Rio de Janeiro he
moved to Lisbon, where he became the protégé of the Count of Pombeiro and was widely
acclaimed as a singer and poet until his sudden death in 1800. Varnhagen describes the
author’s popularity in Lisbon society: his presence “se tornou quase uma necessidade de
todas as festas, sobretudo nas partidas do campo. Nas aristocráticas reuniões das Caldas,
nos cansados banhos de mar, nos pitorescos passeios de Sintra, em Belas, em Queluz,
1 4
r i c h a r d c . r a m e r
em Benfica, sociedade onde não se ahcava o fulo Caldas com sua viola não se julgava
completa” (Florilégio da poesia brasileira, quoted in W. Martins II:7, n. 578).
A founder and president of the major literary establishment in Portugal during the
eighteenth century, the Nova Arcadia, Caldas Barbosa’s nom-de-plume was “Lereno”—
hence Viola de Lereno, “Lereno’s guitar.” Bandeira describes Caldas Barbosa as the “first
Brazilian whose poetry has an entirely native flavor” (Brief History of Brazilian Literature
p. 61). He introduced Afro-Brazilian folk themes to Portugal by composing lundas, comic
popular songs of African origin in which Brazilian-Indian and African speech were used,
and wrote many modinhas, sentimental songs without music taken from Portuguese modas.
Sílvio Romero (quoted in the Rio de Janeiro, 1944 edition of Viola de Lereno, ed. Fran
cisco de Assis Barbosa) gives evidence of Caldas Barbosa’s popularity in Brazil: “Quase
todas as cantigas de Lereno correm de boca em boca nas classes plebéias truncadas ou
ampliadas. Formam um material de que o povo se apoderou, modelando-o ao seu sabor.
Tenho dêsse fato uma prova direita. Quando em algumas provincias do norte colligí
grande cópia de canções populares, repetidas vêzes, colhí cantigas de Caldas Barbosa,
como anônimas, repetidas por analfabetos. Foi depois preciso compulsar as obras do
poeta par expungir da coleção anônima os versos que lhe pertenciam. É o maior elogio
que, sob o ponto de vista etnográfico, se lhe pode fazer” (I, xvii-xviii).
❊ Borba de Moraes (1983) I, 70-1; Período colonial pp. 41-4. Blake II, 198-9. Innocên
cio II, 185 and VI, 267-8. Imprensa Nacional p. 93 (under Antonio Pereira de Figueiredo):
lists no copy in the Imprensa Nacional’s library. Lisbon, Câmara Municipal, Catálogo da
exposição bibliográfica, iconográfica e documental relativa à estátua equestre 574. Shäffer, Por
tuguese Exploration to the West and the Formation of Brazil 92. JCB, Portuguese and Brazilian
Books 775/3. Azevedo-Samodães 2191: calling for only 32 pp. See also Jong, Four Hundred
Years of Brazilian Literature p. 72, and Dorothy B. Porter, “Padre Domingos Caldas Barbosa,
Afro-Brazilian Poet,” Phylon XII (1951), 264-71. Not in Palha or Rodrigues. NUC: CtY, InU,
MH, ICN. Porbase locates five copies at Biblioteca Nacional de Portugal and one (with
only 32 pp.) at Biblioteca Central da Marinha. Jisc locates a single copy, at British Library.
Important Work By the “Mulatto Muse”—Third and Best Edition
*6. BARBOSA, Domingos Caldas. Recopilação dos successos principaes
da historia sagrada em verso …. Segunda impressaõ [sic], augmentada,
correcta, e addicionada com hum index alphabetico, que lhe serve de annota
çoens. Lisbon: Na Off. de Antonio Rodrigues Galhardo, Impressor da
Serenissima Casa do Infantado, 1793. 8°, contemporary sheep (slight
wear), smooth spine with gilt fillets and crimson morocco lettering
piece, short title lettered gilt, marbled endleaves, text-block edges
sprinkled green. Woodcut vignette of a laurel wreath on title page.
Typographical headpieces. In very good condition. Old ink manuscript
inscription on upper portion of second front free endleaf recto: “Este
Livro he // de Francisca Ignacia // da Silveira”. Bibliographical notes
in pencil on verso. 184 pp. A-L8, M4.
$2,200.00
Third and best edition of this poem in 1,998 verses, considerably expanded from
the first edition of Lisbon, 1776 and the second edition of Porto, 1792, by the addition of
s pe c i a l l i s t 4 9 1
1 5
Item 6
1 6
r i c h a r d c . r a m e r
a lengthy index (pp. 77-184). Innocêncio and Blake state, incorrectly according to Borba
de Moraes, that the first edition had only appeared in 1792. A fourth edition—actually a
reissue—appeared in 1819 with a different title (História sagrada em verso) and without the
index. The poem is a summary of events in Scripture, meant for the use and edification of
Portuguese youth. It appeared well before the author’s major collection of poetry, Viola
de Lereno, published in 1798 and 1826. Wilson Martins (II, 76) cites the appearance of this
third edition, along with Francisco de Mello Franco’s Reino da estupidez and Gonzaga’s
Marilia de Dirceu, as signs of “amadurecimento nacional no qual a tradição e a ambição
se absorvem dialeticamente uma na outra.”
Caldas Barbosa was probably born in Rio de Janeiro in 1740; his mixed parentage
(father Portuguese, mother African) led some nineteenth-century critics to dub him
the “Mulatto Muse.” When his satirical poetry offended some powerful citizens of his
native city, he was sent to serve in the army at Colonia do Sacramento, in present-day
Uruguay, for several years, until 1762. After another 7 or 8 years in Rio de Janeiro he
moved to Lisbon, where he became the protégé of the Count of Pombeiro and was widely
acclaimed as a singer and poet until his sudden death in 1800. Varnhagen describes the
author’s popularity in Lisbon society: his presence “se tornou quase uma necessidade de
todas as festas, sobretudo nas partidas do campo. Nas aristocráticas reuniões das Caldas,
nos cansados banhos de mar, nos pitorescos passeios de Sintra, em Belas, em Queluz,
em Benfica, sociedade onde não se ahcava o fulo Caldas com sua viola não se julgava
completa” (Florilégio da poesia brasileira, quoted in W. Martins II:7, n. 578).
A founder and president of the major literary establishment in Portugal during the
eighteenth century, the Nova Arcadia, Caldas Barbosa’s nom-de-plume was “Lereno”—
hence Viola de Lereno, “Lereno’s guitar.” Bandeira describes Caldas Barbosa as the “first
Brazilian whose poetry has an entirely native flavor” (Brief History of Brazilian Literature
p. 61). He introduced Afro-Brazilian folk themes to Portugal by composing lundas, comic
popular songs of African origin in which Brazilian-Indian and African speech were used,
and wrote many modinhas, sentimental songs without music taken from Portuguese modas.
Sílvio Romero gives evidence of Caldas Barbosa’s popularity in Brazil: “Quase
todas as cantigas de Lereno correm de boca em boca nas classes plebéias truncadas ou
ampliadas. Formam um material de que o povo se apoderou, modelando-o ao seu sabor.
Tenho dêsse fato uma prova direita. Quando em algumas provincias do norte colligí
grande cópia de canções populares, repetidas vêzes, colhí cantigas de Caldas Barbosa,
como anônimas, repetidas por analfabetos. Foi depois preciso compulsar as obras do
poeta par expungir da coleção anônima os versos que lhe pertenciam. É o maior elogio
que, sob o ponto de vista etnográfico, se lhe pode fazer” (quoted in the Rio de Janeiro,
1944 edition of Viola de Lereno, ed. Francisco de Assis Barbosa, I, xvii-xviii).
❊ Borba de Moraes (1983) I, 72; Período colonial pp. 45-6. Blake II, 198: giving the
title as Recapitulação dos successos .... Innocêncio II, 186: “consideravelmente melhorada.”
JCB, Portuguese and Brazilian Books 793/1.Not in Bosch or Rodrigues. Not in Palha. Not in
Welsh, Greenlee Catalogue or Ticknor Catalogue. Not in Azevedo-Samodães, Ameal, Avila-
Perez or Monteverde. See also Jong, Four Hundred Years of Brazilian Literature p. 72 and
Porter, “Padre Domingos Caldas Barbosa, Afro-Brazilian Poet,” Phylon XII (1951), 264-71.
W. Martins, História da inteligência brasileira II, 76; see also II, 7-11, 176. NUC: DLC-P4.
OCLC: 20934403 (Library of Congress, Houghton Library-Harvard University, John Carter
Brown Library); the Lisbon, 1776 edition is located only at John Carter Brown Library
(80392726). Porbase locates two copies at Biblioteca Nacional de Portugal; of the Lisbon,
1776 edition, one copy each at Biblioteca Nacional de Portugal and Biblioteca Municipal
de Elvas; of the Porto, 1792 edition, no copy. Jisc locates a single copy, at British Library.
s pe c i a l l i s t 4 9 1
1 7
Item 6
1 8
r i c h a r d c . r a m e r
Item 8
s pe c i a l l i s t 4 9 1
1 9
7. BARBOSA, Francisco de Villela, later 1.º Visconde and still later 1.º
Marquês de Paranaguá. Breve tratado de geometria spherica … em addita
mento aos seus Elementos de geometria. Lisbon: Typ. da Academia Real
das Sciencias, 1817. 8°, later wrappers (slightly soiled, chipped along
spine). Title page slightly soiled; uncut and partially unopened. Overall
in very good condition. 30 pp., 1 folding engraved plate of diagrams.
Lacks the three unumbered advertisement leaves at the end. $150.00
FIRST EDITION. It was later reprinted as part of the author’s Elementos de geometria
(first published in 1816? see Borba de Moraes), which was widely used as a geometry
textbook in Portugal and Brazil through the nineteenth century.
Villela Barbosa (1769-1846), a native of Rio de Janeiro, taught mathematics at the
Academia Real de Marinha and was an officer of the Academia Real das Sciencias.
Having served in the 1821 Côrtes, he returned to Brazil in 1823 at the conclusion of that
Parliament, and was one of the three negotiators who concluded the 1825 treaty by which
Portugal recognized Brazilian independence. He later held high government offices in
Brazil. Created 1.º Visconde de Paranaguá by the Brazilian Emperor D. Pedro I in 1825,
and 1.º Marquês in 1826, Villela Barbosa is better known for his poetry, e.g., Poemas,
Coimbra, 1794, and Primavera, Lisbon 1821.
❊ Borba de Moraes (1983) I, 75: collating as our copy; Período colonial p. 54. Innocêncio
III, 81-2: calling for only 28 pp. and 1 plate. Sacramento Blake III, 134-7: also calling for
28 pp. Not in JCB, Portuguese and Brazilian Books (but JCB has this according to Josiah).
W. Martins, História da inteligência brasileira II, 5-7 (“um árcade retardatário, um clássico
extemporâneao e um mau poeta”), 177, 212. Veríssimo, História da literatura brasileira
(1969) pp. 87, 113, 119. Not located in NUC.
One of 50 Copies According to Innocêncio
8. BARBOSA, Francisco de Villela, later 1.º Visconde and still later 1.º
Marquês de Paranaguá. A primavera. Cantata. Impressa no Tomo VI Parte
1 das Memorias da Academia das Sciencias de Lisboa em 1819. 4 works in 1
volume. Lisbon: Na Typografia da [Real] Academia das Sciencias, 1821.
Large 4° (25.4 x 19.4 cm.), contemporary marbled wrappers (spine rather
defective). Woodcut arms of the Real Academia das Sciencias de Lisboa
on title page. Light foxing. Overall in very good condition. 15 pp.
4 works in 1 volume.
$1,600.00
Second separate edition of A primavera, and first separate editions of the three
following works, published as reprints from the Memorias of the Real Academia das
Sciencias de Lisboa.
Villela Barbosa (1769-1846), a native of Rio de Janeiro, studied at Coimbra and
became professor of mathematics at the Academia Real de Marinha. When he wrote the
three Discursos in this volume, in 1821, he was Vice-Secretario of the Academia Real das
Sciencias. He served in the Côrtes of 1821 but returned to Brazil when the Parliament
concluded in 1823, and became one of the three negotiators of the 1825 treaty recognizing
Brazilian independence. He later served as Senador, Conselheiro de Estado, Coronel de
Engenheiros, and several times as Ministro de Estado. Created 1.º Visconde de Paranaguá
2 0
r i c h a r d c . r a m e r
by the Brazilian Emperor D. Pedro I in 1825, and 1.º Marquês in 1826, Villela Barbosa is
best known for his poetry, such as Poemas, Coimbra, 1794, and Primavera, Lisbon 1821,
but also published several popular geometry textbooks.
❊ Borba de Moraes (1983) I, 75: citing an 1819 reprint from the Memorias of the
Academia; and Período colonial p. 54, citing this edition, correcting Sacramento Blake’s
comments on the editions, and quoting Innocêncio that only 50 offprints (sic; i.e. reprints)
were produced. Sacramento Blake III, 136. Innocêncio III, 82: states that while Villela
Barbosa is not a poet of the first rank, “cabe-lhe de justiça um logar distincto entre os
poetas do Brasil; e na opinião de judiciosos criticos mostra em suas composições mais
imaginação, mais força, e estylo mais poetico que o seu compatriota e contemporaneo
José Bonifacio d’Andrade.” See also Rodrigues 2553. Not in JCB, Portuguese and Brazil
ian Books (but sold to JCB by us in 2011, along with the other works here bound in). Not
in Palha. W. Martins, História da inteligência brasileira II, 5-7 (“um árcade retardatário,
um clássico extemporâneao e um mau poeta”), 177, 212. Veríssimo, História da literatura
brasileira (1969) pp. 87, 113, 119. NUC: Not located; cites the 1794 Poemas at DLC-P4 and
DCU-IA. OCLC: 810924454 (John Carter Brown Library). Not located in Porbase. Not
located in Jisc. Not located in KVK (51 databases searched).
BOUND WITH:
BARBOSA, Francisco de Villela, 1º Visconde and Marquês de
Paranaguá. Discurso historico, recitado na sessão publica da Academia Real das
Sciencias de Lisboa no dia 24 de junho de 1821 pelo Vice-Secretario …. 18 pp.
Includes summaries and evaluations of reports received by the Academia during
the past year, including geological and botanical reports from São Paulo, Minas Geraes,
Rio Negro, Amazonas and Mato Grosso.
❊ Borba de Moraes, Período colonial p. 55. Sacramento Blake III, 135-6. Innocêncio
III, 82. Not in Palha.
AND BOUND WITH:
BARBOSA, Francisco de Villela, 1º Visconde and Marquês de
Paranaguá. Discurso recitado no Paço de Queluz perante ElRei o Senhor D.
João VI, em 9 de julho de 1821, por occasião do seu feliz regresso ao Reino de
Portugal. (1 l.)
❊ Not in Borba de Moraes, Período colonial or Sacramento Blake. Innocêncio III, 82
refers to a version published in the Memorias of the Academia. Not in Palha.
AND BOUND WITH:
BARBOSA, Francisco de Villela, 1º Visconde and Marquês de
Paranaguá. Discurso recitado no Paço de Queluz perante o Serenissimo
Senhor Infante D. Miguel, Presidente da Academia, em 17 de julho de 1821,
por occasião da sua chegada ao Reino de Portugal. (1 l.).
❊ Borba de Moraes, Período colonial p. 55. Not in Sacramento Blake. Innocêncio
II, 82 refers to the version published in the Memorias of the Academia. Not in Palha. Not
located in BLC or NUC.