Le blason des armoiries, auquel est monstrée la maniere de laquelle les anciens et modernes ont usé en icelles. Traicté, contenant plusieurs escus differens, par le moyen desquels on peut discerner les autres, et dresser ou blasonner les armoiries.... Revue, corrigé amplifié en ceste derniere Edition par B.R.D.E.L.R.

Paris: Chez Rolet Boutonné, 1628. First Edition. Hardcover. Very Good. Folio (315 x 215mm). [xii], 197pp. [iii]. Engraved printer’s device to title of two angels supporting the arms of Louis XIII, signed Picart. Very numerous woodcuts and copper-plate engraved arms (600+), nice fresh impressions remaining rich and dark. Text and captions in French, woodcut floriated initials and head and tail-pieces. Title printed in red and black. Period calf (title and first few leaves marginally wormed, some browning with age though richly contrasting the deep impressions, all uncolored, but not entirely uncommon). Front pastedown with Ex Libris Liechtensteinianis (engraved armorial bookplate of the Princes Liechtenstein, arms with Chain of Order of Golden Fleece). Possibly to be associated with Prince Franz Joseph II (1906-1989).

First Paris edition of Bara’s major work on armorial shields, both real and imaginary. First printed in Geneva in 1572, three editions appeared in Lyon (1579, 1581, 1604) and then this first Paris edition and last of Bara’s lifetime. An important French work on heraldry concerning the history and tradition starting with a general description of the forms in heraldry, the colors, form, and use, including the meaning and history of the various symbols. The second part includes descriptions of the arms of a whole host of historical and mythical individuals, including Prester John, Alexander the Great, Hercules, and the arms of the Knights of the Round Table, who were a significant element in medieval heraldry. Bara also includes the arms of figures from the Old Testament, Greek and Roman mythology. It is the origin of the modern graphics of coats of arms in the square shape. Very little is known about the author and artist whom for over ten years had printed several editions of his armorial masterpiece. But having joined the reformed religion, Bara apparently fled persecution in Paris to the Calvinist city of Geneva where he met many friends. He eventually settled in Lyon where he edited his heraldic work several times. In fact this Paris edition is dedicated to Monsieur de Langes, advisor to the king and steward of Lyon. Published during the Civil War and the monarchical crisis, this work is part of the critical current to the nobility to recognize the symbolic virtues embodied by the arms. Bara, perhaps regrettably, largely devotes this work to imaginary heraldry upholding the desire to make men according to their wishes. His artists were all given license, as seen today, to do what they wish in their arms. Bara disappeared from Geneva records as early as 1585. The Paris edition is not commonly found. Brunet I, 642