A comprehensive attempt to list and identify the nearly 100 medieval Latin works falsely attributed to Aristotle. It includes all Latin writings which were at one time ascribed to Aristotle and which do not obviously derive from an extant or lost Greek original attributed to Aristotle.
John Case , the most important English Aristotelian of the Renaissance period, has not yet received the attention he deserves. In his Lapis philosophicus , an exposition of Aristotle's Physics, is found a discussion of the relation of nature to art which parallels in many ways that formulated a few years later in the writings of Francis Bacon. Case argues, in a way more reminiscent of the works of Giambattista della Porta than of those of Aristotle, that the natural philosopher (...) can legitimately apply the productive arts in helping nature to fulfill her function. Moreover, while rejecting the excessive claims of the Paracelsians, Case does accept the transmutational claims of the alchemists. In the final analysis, his ‘Aristotelianism’ has been tempered by the tradition of Renaissance natural magic. Like many other Peripatetic thinkers of the period, Case shows himself to be an eclectic, drawing materials from a wide variety of sources and open to many of the new scientific tendencies then developing. (shrink)
As originally planned this volume was meant to cover a somewhat wider scope than, in fact, it has turned out to do. When, in rg68, I initially conceived of preparing it, it was proposed to deal with several aspects of early modern scepticism, in addition to the fortuna of the Academica, and to publish various loosely related pieces under the title of 'Studies in the History of Early Modern Scepticism. ' Thereby, I foresaw that I would exhaust my knowledge of (...) the subject and would then be able to turn my attention to other matters. In initiating my research on this topic, however, I soon found that there remained a much greater bulk of material to study than could possibly be dealt with between the covers of the single modest volume which I envisioned. My proposed section on Cicero's Academica was to cover between 50 and 75 pages in the original plan. It soon became apparent, however, especially after Joannes Rosa's hitherto unstudied commentary on Cicero's work was uncovered, that this material would have to be treated at a much greater length than I had foreseen. The present volume is the result of this expanded investigation. The monograph which has come from this alteration in plans has, I think, the virtues of continuity and cohesive ness and one hopes that these advantages offset the benefits of a broader scope which were sacrificed. (shrink)
The origins of this book go back to I956 when it was suggested to me that a study on the philosophy of Gianfrancesco Pico della Mirandola would furnish an important addition to our knowledge of the philoso phy of the Italian Renaissance. It was not, however, until I960 that I could devote a significant portion of my time to a realization of this goal. My work was essentially completed in 1963, at which time it was presented in its original form (...) as a doctoral dissertation in the Phi losophy Department of Columbia University. Since then I have made many minor improvements and several chapters have been extensively reworked. This study represents the first attempt in fifty years to give a detailed account of even a portion of Gianfrancesco Pico's life and thought. The most comprehensive previous study, Gertrude Bramlette Richards, "Gianfrancesco Pico della lv1irandola" (Cornell University Dissertation, I 9 I 5), which I have found very useful in preparing my own book, is largely based on secondary literature and is mistaken in a number of details. Furthermore, Miss Richards' treatment of Gian francesco Pico as a thinker is very sketchy and is not an exhaustive study of his own writings. It is hoped that my present study, built in part on her extensive bibliographical indications, brings forth a certain amount of new information which will be of value for further research. (shrink)