Salomonis Kirchenbraut — Gründtliche Erklärung des Hohenlieds Salomonis, 1622
by Zacharias Theobald (Theobaldus)
£1,495.00
Theobald, Zacharias.Salomonis Kirchenbraut / Das ist: Gründtliche Erklärung des Hohenlieds Salomonis / analytice und paraphrastice verfaßt; Auch die alte Teutsche Biblische version mit deß Herrn Lutheri Seligen conjungirt, und in Druck verfertigt. Nürnberg: Gedruckt und verlegt durch Simon Halbmayer, 1622.
A substantial and visually attractive early seventeenth-century German theological work devoted to the Song of Solomon, presenting a detailed analytical and paraphrastic interpretation of one of the Bible’s most poetic and enigmatic books.
The handsome title page is enclosed within an elaborate typographical and ornamental border and identifies the author in Latinised form as M. Zachariam Theobaldum. Of particular interest, the title explicitly refers to the German biblical version of Martin Luther, placing the work firmly within the intellectual and devotional tradition of post-Reformation Lutheran Germany.
Printed in Nuremberg in 1622, during the opening phase of the Thirty Years’ War, the book belongs to a period when theological interpretation remained inseparable from the wider religious conflicts transforming Central Europe.
The text is printed predominantly in German blackletter, with ornamental headpieces and decorative initials. The opening illustrated page shows an elaborate floral ornament above a dedicatory address to Georg Volckamer, member of the distinguished Nuremberg patrician Volckamer family.
Now preserved in a restrained later speckled binding, allowing the remarkably characterful seventeenth-century typography to remain the visual focus.
Author: Zacharias Theobald (Theobaldus) Title:Salomonis Kirchenbraut / Das ist: Gründtliche Erklärung des Hohenlieds Salomonis Year:1622 Edition: Early 17th-century edition Publisher: Simon Halbmayer Place: Nuremberg (Nürnberg) Language: German, printed largely in Fraktur Subject: Biblical commentary; Song of Solomon; Lutheran theology
Very good antiquarian condition internally for a book of this age. Some expected age-toning, scattered spotting and occasional marks to the paper. Strong, dark printing with attractive decorative typography and initials. Housed in a later speckled paper-covered binding, clean and sound, with only minor shelf wear visible.
The later binding should be clearly disclosed, but visually it is quite sympathetic and the interior appears considerably more important than the modest exterior might initially suggest.
The Song of Solomon has challenged theologians for nearly two thousand years.
On its surface it is a sequence of intensely poetic dialogues between lovers. Yet within Christian tradition it was frequently understood allegorically: the bridegroom represented Christ, while the bride represented either the individual Christian soul or the Church itself.
Theobald’s title makes that interpretation explicit.
Published in Nuremberg in 1622, this work attempts a systematic explanation of Solomon’s ancient text through the theological world of the German Reformation.
Most significantly, the title page specifically invokes Martin Luther’s German Bible, stating that the older German biblical version has been brought together with that of Luther. The book therefore belongs directly to the extraordinary transformation of German religious culture initiated by Luther’s translation of Scripture a century earlier.
Its date gives the volume additional historical resonance.
When this book left Simon Halbmayer’s Nuremberg press in 1622, the Thirty Years’ War was already consuming the Holy Roman Empire. The Battle of White Mountain had taken place only two years earlier, and confessional divisions between Protestant and Catholic Europe were hardening into one of the most destructive conflicts in European history.
Against that background, Theobald was writing about the relationship between Christ and his Church.
The opening dedication adds another distinctly Nuremberg dimension. It addresses Georg Volckamer, connecting the volume with one of the city’s old patrician families. Nuremberg was not merely an important printing centre: it had been one of the great urban centres of the German Reformation.
This is therefore more than an early biblical commentary. It is a surviving artefact of the religious culture created by the Reformation, printed in one of Germany’s great Protestant cities while the confessional struggle of seventeenth-century Europe was unfolding around it.
The combination of date, subject and place of printing gives this volume considerable appeal.
Printed in 1622, it is now more than four centuries old. Its explicit relationship with Luther’s German Bible makes it particularly relevant to collections concerned with the Reformation, Lutheranism and the history of biblical translation.
The Song of Solomon also gives the work a broader intellectual attraction. Few biblical texts generated such a long tradition of allegorical interpretation, and Theobald’s conception of Solomon’s bride as the Church-Bride is an excellent example of early modern Christian exegesis.
The Nuremberg imprint is another strength. The city occupied an important position in both the history of European printing and the German Reformation, while the dedication to Georg Volckamer provides a direct connection with Nuremberg’s patrician society.
The ornate title page, blackletter typography, decorative initials and headpieces also make this a particularly attractive example of early seventeenth-century German printing.
Salomonis Kirchenbraut — Gründtliche Erklärung des Hohenlieds Salomonis, 1622
£1,495.00
Theobald, Zacharias. Salomonis Kirchenbraut / Das ist: Gründtliche Erklärung des Hohenlieds Salomonis / analytice und paraphrastice verfaßt; Auch die alte Teutsche Biblische version mit deß Herrn Lutheri Seligen conjungirt, und in Druck verfertigt. Nürnberg: Gedruckt und verlegt durch Simon Halbmayer, 1622.
A substantial and visually attractive early seventeenth-century German theological work devoted to the Song of Solomon, presenting a detailed analytical and paraphrastic interpretation of one of the Bible’s most poetic and enigmatic books.
The handsome title page is enclosed within an elaborate typographical and ornamental border and identifies the author in Latinised form as M. Zachariam Theobaldum. Of particular interest, the title explicitly refers to the German biblical version of Martin Luther, placing the work firmly within the intellectual and devotional tradition of post-Reformation Lutheran Germany.
Printed in Nuremberg in 1622, during the opening phase of the Thirty Years’ War, the book belongs to a period when theological interpretation remained inseparable from the wider religious conflicts transforming Central Europe.
The text is printed predominantly in German blackletter, with ornamental headpieces and decorative initials. The opening illustrated page shows an elaborate floral ornament above a dedicatory address to Georg Volckamer, member of the distinguished Nuremberg patrician Volckamer family.
Now preserved in a restrained later speckled binding, allowing the remarkably characterful seventeenth-century typography to remain the visual focus.
Author: Zacharias Theobald (Theobaldus)
Title: Salomonis Kirchenbraut / Das ist: Gründtliche Erklärung des Hohenlieds Salomonis
Year: 1622
Edition: Early 17th-century edition
Publisher: Simon Halbmayer
Place: Nuremberg (Nürnberg)
Language: German, printed largely in Fraktur
Subject: Biblical commentary; Song of Solomon; Lutheran theology
Very good antiquarian condition internally for a book of this age. Some expected age-toning, scattered spotting and occasional marks to the paper. Strong, dark printing with attractive decorative typography and initials. Housed in a later speckled paper-covered binding, clean and sound, with only minor shelf wear visible.
The later binding should be clearly disclosed, but visually it is quite sympathetic and the interior appears considerably more important than the modest exterior might initially suggest.
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The Song of Solomon has challenged theologians for nearly two thousand years.
On its surface it is a sequence of intensely poetic dialogues between lovers. Yet within Christian tradition it was frequently understood allegorically: the bridegroom represented Christ, while the bride represented either the individual Christian soul or the Church itself.
Theobald’s title makes that interpretation explicit.
“Salomonis Kirchenbraut” — Solomon’s Church-Bride.
Published in Nuremberg in 1622, this work attempts a systematic explanation of Solomon’s ancient text through the theological world of the German Reformation.
Most significantly, the title page specifically invokes Martin Luther’s German Bible, stating that the older German biblical version has been brought together with that of Luther. The book therefore belongs directly to the extraordinary transformation of German religious culture initiated by Luther’s translation of Scripture a century earlier.
Its date gives the volume additional historical resonance.
When this book left Simon Halbmayer’s Nuremberg press in 1622, the Thirty Years’ War was already consuming the Holy Roman Empire. The Battle of White Mountain had taken place only two years earlier, and confessional divisions between Protestant and Catholic Europe were hardening into one of the most destructive conflicts in European history.
Against that background, Theobald was writing about the relationship between Christ and his Church.
The opening dedication adds another distinctly Nuremberg dimension. It addresses Georg Volckamer, connecting the volume with one of the city’s old patrician families. Nuremberg was not merely an important printing centre: it had been one of the great urban centres of the German Reformation.
This is therefore more than an early biblical commentary. It is a surviving artefact of the religious culture created by the Reformation, printed in one of Germany’s great Protestant cities while the confessional struggle of seventeenth-century Europe was unfolding around it.
The combination of date, subject and place of printing gives this volume considerable appeal.
Printed in 1622, it is now more than four centuries old. Its explicit relationship with Luther’s German Bible makes it particularly relevant to collections concerned with the Reformation, Lutheranism and the history of biblical translation.
The Song of Solomon also gives the work a broader intellectual attraction. Few biblical texts generated such a long tradition of allegorical interpretation, and Theobald’s conception of Solomon’s bride as the Church-Bride is an excellent example of early modern Christian exegesis.
The Nuremberg imprint is another strength. The city occupied an important position in both the history of European printing and the German Reformation, while the dedication to Georg Volckamer provides a direct connection with Nuremberg’s patrician society.
The ornate title page, blackletter typography, decorative initials and headpieces also make this a particularly attractive example of early seventeenth-century German printing.
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