Ethica naturalis seu Documenta moralia e variis rerum naturalium proprietatibus virtutum vitiorumque symbolicis imaginibus collecta

4to (218x173 mm). Engraved title page and C numbered leaves printed on recto only with emblem illustration and Latin text in verse. The printed leaves are interfoliated with blank leaves presumably to allow annotations. 19^th-century marbled boards (rebacked, slighlty worn and rubbed). Ownership entry on the title page “T.B. De Wassenaer, 1762”. A good, clean copy.

Rare first edition, first issue (a second issues was printed much later in Nuremberg in 1766), of this series of 100 educational emblematic illustrations by Christoph Weigel, engraved by Jan Luiken (1649-1712) (41) and Casper Luiken (1672-1708) (59). The engravings, which are accompanied by a 10-line Latin verse in letterpress and were meant for the instruction of the yougth, illustrates natural phenomena and situations in human life, including: the sun, moon, and stars; the elements; the weather; geological formations; agriculture and horticulture; shipping and harbors; mining; times of day and seasons; various mammals, birds, and fish (including scenes of fishing and whaling); stages of life; health and illness; wealth and poverty; war and natural disasters.

Christoph Weigel the Elder was a prolific and influential copperplate engraver, art publisher, cartographer, and art dealer. Operating at the intersection of visual art, craft technology, and early Enlightenment encyclopedism, Weigel transformed the traditional print workshop into an expansive publishing empire centered in the Imperial Free City of Nuremberg. His monumental visual documentation of early modern society - most notably his seminal 1698 publication Abbildung der Gemein-Nützlichen Haupt-Stände (commonly known as the Ständebuch) - represents an important stage in the historical cataloging of human labor, mechanical arts, and social hierarchy. Beyond his contribution to the representation of trades, Weigel produced massive illustrative cycles for sacred Scripture, heraldic compendia, architectural treatises, and cartographic atlases. In doing so, he synthesized the refined craftsmanship of the Augsburg printmaking school, the opulent courtly aesthetic of Imperial Vienna, and the sophisticated commercial distribution networks of Nuremberg and Frankfurt am Main. His career embodies the transition of the early modern printmaker from an anonymous artisan to an authoritative intellectual entrepreneur whose visual inventories shaped the empirical worldview of early eighteenth-century Europe.

Born in Redwitz (now Marktredwitz in Upper Franconia), Weigel was raised in an environment shaped by Lutheran piety and regional craft traditions. Recognizing his innate talent for precise draughtsmanship and mechanical arts, his family arranged for his early apprenticeship in goldsmithing and copperplate engraving. To refine his technical mastery, the young Weigel traveled to Augsburg, which was then the premier capital of German line engraving, print manufacture, and goldsmithing. In Augsburg, Weigel immersed himself in the rigorous techniques of burin engraving, etching, and the newly developing medium of mezzotint (Schabkunst), learning to manipulate tonal values, light, and texture with exceptional delicacy. Seeking further professional advancement, Weigel traveled to Vienna, where he gained direct exposure to imperial court art, worked alongside prestigious court goldsmiths and engravers, and absorbed the dramatic visual rhetoric of the Counter-Reformation and Habsburg triumph. Subsequent residences in Frankfurt am Main and Regensburg expanded his contact with foreign diplomats, scholars, humanists, and publishing houses. This period of itinerant training not only perfected his skills as an engraver (sculptor) and draftsman (delineator) but also embedded him within an extraordinary network of European intellectuals, political patrons, and book-trade agents.

The pivotal epoch of Weigel’s artistic maturity began in 1698 when he gained citizenship (Bürgerrecht) in the Free Imperial City of Nuremberg, establishing his independent workshop, print shop, and art commerce store (Kunst- und Buchhandlung). That same year witnessed the publication of his masterpiece, the Abbildung der Gemein-Nützlichen Haupt-Stände. What set Weigel’s work apart from earlier predecessors like Jost Amman was his obsessive technological accuracy: each plate depicted the exact tools, machinery, spatial layouts, and physical gestures intrinsic to the craft. His depiction of the printing arts, in particular, remains one of the primary historical visual sources for early modern typographic mechanics, press construction, and ink application. In addition to this socio-technical survey, Weigel achieved international renown for his devotional and biblical works, such as the Biblia Ectypa (1695) and the Passio Domini Nostri Jesu Christi (1693), which utilized intricate copper engravings to render biblical narratives with theatrical Baroque chiaroscuro, serving both as private devotional aids and artistic exemplar books.

The operational scale of Weigel’s establishment in Nuremberg reflected the highest sophistication of early eighteenth-century print enterprise. Functioning simultaneously as engraver, editor, printer, and international distributor, Weigel constructed an integrated publishing house capable of handling large-scale visual production. He invested heavily in rolling presses (Kupferdruckpressen), imported high-grade paper from European mills, and employed a team of journeymen engravers, colorists (Illuministen), and letterpress typographers. His firm pioneered the commercialization of pocket atlases and cartographic collections, most notably the Atlas Portatilis (published in collaboration with his brother Johann Christoph Weigel and cartographers such as Johann David Köhler), which democratized geographical knowledge for the merchant class and grand tourists. Weigel actively competed and collaborated with Nuremberg’s cartographic publisher, Johann Baptist Homann, securing imperial printing privileges (Privilegia Impressoria) from the Holy Roman Emperor to protect his copperplates from unauthorized pirating across imperial territories. His publishing catalog expanded to encompass architectural treatises by scholars like Leonhard Christoph Sturm and Paul Decker, heraldic compendia (Weigelsches Wappenbuch), and vast historical line-engraving series illustrating European wars, coronation ceremonies, and city views. Through his sophisticated commercial agents at the Frankfurt and Leipzig book fairs, Weigel’s engraved plates circulated throughout the Holy Roman Empire, the Dutch Republic, France, Britain, and the Italian peninsula.

Upon his death on 5 February 1726 in Nuremberg, his widow, Elisabeth Cecilia Weigel, along with his heirs and descendants, continued the operations of the Weigel publishing house for decades, republishing his famous copperplates and expanding his cartographic catalog under the family name. In the history of art and typography, Weigel is recognized as a master strategist who elevated copperplate engraving from a decorative secondary art into a primary engine of scientific, technical, and religious communication. His visual encyclopedism laid the conceptual groundwork for the mid-eighteenth-century projects of Diderot and D’Alembert, while his extraordinary technical precision provided an invaluable visual archive for modern historians of technology, material culture, and social history (cf. J.E. Wessely, Weigel, Christoph, in: “Allgemeine Deutsche Biographie”, vol. 41, Leipzig, 1896, pp. 464-465; see also M. Bauer, Christoph Weigel (1654-1726), Kupferstecher und Kunsthändler in Nürnberg: Leben und Werk eines barocken Verlegers, in: “Archiv für Geschichte des Buchwesens”, 24, 1983, pp. 1-116; and K. Stopp, Die Graphikwerkstatt Weigel in Nürnberg: Bibliographie der durch Christoph Weigel und seine Erben verlegten Kupferstichwerke und Atlanten, Stuttgart, 2007, pp. 15-210).