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Petroff 2017 Armonia Rerum in John Scottus PDF
Petroff 2017 Armonia Rerum in John Scottus PDF
XXV
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SISM EL
E D I Z IO N I D E L G A L L U Z Z O 2017
M icrologus
J o u rn a l o f th e SISM E L
( S o c i e t à I n t e r n a z io n a le p e r lo S t u d io d e l M e d i o e v o L a tin o )
A D V IS O R Y B O A R D
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M ic r o lo g u s is a p e e r - r e v ie w e d j o u r n a l
Micrologus
N a tu re , Sciences an d M e d ie v a l S ocieties
FIRENZE
SISMEL · E D IZ IO N I DEL G ALLUZZO
A ll m a n u sc r ip ts , b o o k s an d o f f-p r in t s s h o u ld b e m a ile d to th e
S IS M E L , V ia M o n t e b e llo 7 - 1-50123 F ir e n z e
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E d i to r : A g o s t in o P a r a v ic in i B a g lia n i (F i r e n z e )
ID E A S O F H A R M O N Y
IN M E D IE V A L C U L T U R E A N D S O C IE T Y
VII O l e g V o s k o b o y n ik o v , L e M o y e n A g e en qu ê te de l ’h a rm o n ie
3 C e c i l i a P a n t i, B o e th iu s a n d P t o l e m y on H a r m o n y , H a r m o n ic s a n d
H u m a n M usic
37 V arvara Z h a r k a y a , T h e c hallenged H a r m o n y B y z a n t i n e D i s p u t e ov er
the Form o f the U n iv e rse
47 V a le r y V. P e t r o f f , « A r m o n ia r e r u m » in J o h n S c o t t u s ’ A u la e s id e r e a e
87 A n n a L it v in a - F j o d o r U s p e n s k i j , D y n a s t i e P o w e r a n d N a m e - g i v i n g
Principles in K i e v a n a n d M u s c o v i t e R u s ’ ( 1 0 ^ - 1 6 th C e n t u r ie s )
V
CONTENTS
321 M ik h a il K h o r k o v , H a r m o n y o f In tellect a n d D i s h a r m o n y o f S o u l in
G e r m a n M y s t i c a l T e x t s o f the L a t e M i d d l e A g e s
373 M ik h a il S h u m i l in , « A t u id e te q u a m concinne». C h a n g i n g A t t i t u d e s to
M e tr ic a l H a r m o n y in G i o v a n n i P o n t a n o ’s A c t iu s
In d e x e s
VI
V a le ry V . P e tr o ff
« A R M O N I A R E R U M » IN J O H N S C O T T U S ’ A U L A E S I D E R E A E
events o f the sacred history: the c o n c e p tio n and birth o f Jesus C hrist
and John the Precursor o ccu r under these zodiac signs. T h e cosm ic
harm ony is m anifest w h e n the order o f things sings along (concinit)
to w h at is told by Scripture ( mundus gestans sym bola C h risti). T h e
d ivin e deeds are h arm on ized by m eans o f the octaves (octonus numerus
divinos sym fonat a c tu s).T h e term octava to o has m ultiple m ean in g and
im p ortance in the A u la e sidereae (astronom ical, calendar, liturgical,
m usical, arithm ological): the universal co n cord sym b olized by the
harp o f K in g D avid ( nabla sonorum) to o is arranged by the octaves.
48
«A R M O N IA RERU M » IN JO H N SC O T T U S’ A U L A E SID E R E A E
49
VALERY V. PETR O FF
A u la e sid e r ea e p a r a lelo s u n d iq u e c ir c o s
C r in ib u s auratis n e c t it T ita n ia lam p as.
U m b r a m b is lu c i p a r ile m b is la n c e s ta te r a n s
S e se b is t r o p i c o s 11 a m b a r u m v e r tit in a u c tu s,
A c sic d is tin g e n s b in is b is m o tib u s a n n u m
R e g n a t t e t r a g o n u m p u lc r o d is c r im in e m u n d u m
S ig n is a m b itu m b is se n is lim ite c u r v o ,
Q u a e t o t id e m m e n s e s te r r e n is u sib u s ap tan t.
5°
«A R M O N IA RE RU M » IN JO H N SC O T T U S’ A U L A E SID E R E A E
H e a r k e n , k in g o f n o e r ic fire, T ita n h o ld in g th e g o ld e n b r id le ,
h e a r k e n , d isp e n se r o f lig h t, y o u , о lo r d , w h o h o ld y o u r s e lf
th e k e y to th e lif e - s u p p o r t in g so u r c e an d c h a n n e l o f f fr o m a b o v e
a r ic h stream o f h a r m o n y in t o th e m a te r ia l w o r l d s 13.
51
VALERY V. PETR O FF
52
«A R M O N IA R E R U M » IN JO H N S C O T T U S’ A U L A E SID E R E A E
its history. A similar phrase Phoebea lampas was used o n ce by S en eca 18.
A n d the adjective T itan ia as such is also n o t rare in Latin poetry,
having b eco m e w idespread w ith the w orks o f V ergil19. It is w orth
m en tion in g, that Titaneus arotus occurs several tim es in the Hisperica
fam in a, w h ich has the insular o r ig in 20. I f titania or lampas occur rather
frequently, the set expression titania lampas is extrem ely rare. T h e only
titania lampas I found, exists in the A enigm ata o f A ldhelm o f M elm es-
bury (c. 639-709): «saecula dum lustrat lampas titania phoebi», «w hen
th eT ita n ia n lamp o f P hoebus brightens the w orld »21. T hus, it is quite
plausible that the set expression titania lampas m igh t have b een bor
row ed by Joh n Scottus directly from A ld helm .
18. S en eca , Phoenissae, 86: « [ ...] n o c te m afferet / P h o e b e a lam pas, H esp eru s
fa ciet diem ».
19. J o h n S co ttu s h im s e lf q u o tes V erg il’s A e n e i d V l , 7 2 4 -6 in th e Periphyseon I,
47 6 C D : «H in c Poeta: P r in c ip io caelu m ac terram c a m p o sq u e liq u e n te s, /
L u c e n te m q u e g lo b u m L u n a e,T ita n ia q u e a stra,/ Sp iritus in tu s alit».
20. S e e Hesperica Famina, A —Text. E d. by M . W. H erren , T oron to 1974. For
in stan ce, cf. v. 11: « ti< ta > n e u s sidereis a m p lio ri r u tilo p r e ce llit arotus tedis»,
«the T ita n ia n fire e x ce ls th e torch es o f th e stars w ith fu ller g o ld e n red glow »; v.
303: »T itaneus o c c id u u m rutilat arotus p o n t u m ,/ roseos im a m curuat radios sub
speram», «the T ita n ia n fire red dens th e W estern Sea, / it b en d s its rosy rays
tow ard th e b o tto m o f th e sphere»; v. 364: «T itaneus diurnas rutilat o r io n m etas»,
«the T ita n ia n star illu m in a tes th e diu rn al bou nd aries».
21. A ld h elm , Aenigmata 97, 7.
22. M artianus, D e nuptiis V I, 585 W illis: «hinc n itid u s ru tilu m T ita n su c c e n
derat orbem ».
23. Ibid. I, 12-13: «in c a elo orbes [ ...] c o n c e n tu s ed ere [ ...] A p o llin is silva ita
rata m o d ific a tio n e c o n g r u e re t, c u m caeli q u o q u e orbes id e m D e liu s m o d u le tu r
in S o le , h in cq u e esse q u o d illic P h o e b u s et h ic v o c ite tu r A u rico m u s; n am Solis
augu stu m caput radiis p erfu su m circu m a ctu m q u e flam m antibus v e lu t auratam
caesariem ru tili v erticis im itatur».
24. Ibid. I, 184-97.
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VALERY V. PETR O FF
obeys the Sun (cui circulus aethrae paret) w h ile he governs the celestial
b od ies great circuits ( imm ensis moderaris raptibus orbis), drives and
restrains the sacred constellation s o f the gods by im p o sin g laws u p on
the circuits (compellens atque coercens sidera sacra deum , cum legem
cursibus addis). T h e num ber 4, perfect in nature, m ay be approved as
b e lo n g in g to the Sun ( tibi perfecta numerus ratione probetur), and by
m eans o f this num ber the Sun bestow s u p o n the tw o tw in tetra-
chords a b e g in n in g (a principio gem inum tu das tetrachordon).
T h e Sun, called P h oeb u s, holds back the shadow s, reveals celestial
ligh t ( tenebras prohibens retegis quod caerula lucet), and annuls the
actions o f the n igh t ( dissolvis nocturna adm issa). M artianus says that
the num ber o f the Sun is 8 and 600 ( octo et sescentis numeris), w h ich
resem bles E riu gen a’s discussions c o n c e r n in g the m ean in g o f the
octaves in th e w orld.
T h ere are even lexical parallels b e tw e e n the tw o p oem s. For
instance, w h e n M artianus passes from the e u lo g y on num ber 4 to
praises o f num ber 6, th e corresp on d in g lines o f D e nuptiis find close
lexical parallel in E riu gen a’s p o e m (w h ich at this p o in t makes the
sam e transition from 4 to 6 ). T hus, M artianus says that the Su n ’s
«sacred head bears tw ice s i x beam s o f g o ld en light, because he makes
th e sa m e n um ber o f m on th s and the sam e num ber o f hours» ( radiisque
sacratum bis sen is perhibent caput aurea lu m in a ferre, qu od totidem
m enses, totidem quod conficis horas), and John Scottus says that the
w orld is «encom passed w ith tw ic e -s ix signs, distributed along curved
zodiacal path, w h ic h furnish th e sa m e n um ber o f m on th s for earthly
use» (v. 7-8: signis am bitum bis sen is lim ite curvo, qu ae to tid em m enses
terrenis usibus aptant).
T here are m in or parallels too:
54
«A R M O N IA R E R U M » IN JO H N SC O T T U S’ A U L A E SID E R E A E
55
VALERY V. PETR O FF
since w e have tw o solstices and tw o equ inoxes (v. 5 ).T hus, four z o d i
acal signs stand out: C apricorn (D ecem b er), C ancer (June), A ries
(M arch), and Libra (Septem ber). T h e Sun rules the w orld, w h ic h is
«four-fold in this ex cellen t division» (v. 6: «regnat te tr a g o n u m p ul
chro discrim ine m un du m »); and the seasons change in the above-
m en tio n ed articulations (v. 9: «talibus articulis, quos circum tem pora
currunt»). T h e form ula tetragonus m undus is o f special im portance
here. It goes back to the form ula mundus quadratus, w h ic h was an
ancient R o m a n set expression (R om a quadrata), later accepted by
C hristian authors w h o speculated about the form o f the earth29.
M u ndu s quadratus was un d erstood either as a four-sided (four-angled)
w orld or as a fo u r-fo ld (four-square) o n e, w h ich consist o f four
smaller squares as i f divided by a cross 3°. T here was also a m ystical
m ean in g to this, w h ich B ed e discussed in his D e tem plo, the text E ri-
ugena k n ew w ell. W h e n B ed e exam ines the m ystical m ean in g o f the
exact dim ensions o f the S o lo m o n ’s Tem ple, he associates the square
ness o f the w orld and the C hurch (w h ich was to be assem bled from
the four cardinal directions o f the w orld) w ith the eternal life:
«quadratus vero est m undus in quo pro adquirenda eadem uita cer
tamus. U n d e et psalmista: “ a solis ortu et occasu, ab aquilone et
m ari” (Ps 106: 2 -3 )» 3I. A co m p le te ly allegorical m ean in g can be
fou n d in B e d e ’s In E zra m et N eem iam in a description o f the m ind o f
the elite w h ic h stays im m utable, unaffected by the tu rm oil o f the
w orld, as i f sh o w in g its innate «square figure o f in vin cib le virtu e»32.
A n d o f course, m edieval reader in evitably linked quadratus w ith
the sign o f the cross. For instance, w h e n B ed e paraphrases Sedulius,
he depicts an im age o f a giant cross w h ic h o n c e bore the Lord and
n o w gathers all four corners o f the world: the m o rn in g star (Venus
56
«A R M O N IA RERU M » IN JO H N SC O T T U S’ A U L A E SID E R E A E
or L u cifer)33 shines in the forehead o f the M aker; his feet reach the
H esperian constellation s, his right hand tou ch es the A rctic sky, his
left hand erects the central axis o f the w orld, and all nature «lives»
from his lim bs. C hrist rules the w orld w h ic h is b o u n d from every
quarter by the cross34. E riugena repeated this im age in his o w n
p o e m w ritten in 859: «Ecce crucis lign u m quadratum co n tin et
orbem / In quo pendebat sponte sua d o m in u s»35.
T h is resem bles the im age o f the m undum gestantem sym bola C h risti
(v. 21) discussed by E riugena in the first part o f the A u la e sidereae.
T h e exact w ord used by E riugena, nam ely the rare tetragonus, is also
n o t co n fin ed to g eo m etry only. In A m brose, for exam ple, it possesses
e th ic a l36 and a r ith m o lo g ic a l37 co n n o ta tio n s. It has m ystical sense in
the C o d e x A ureus o f St. E m m eram , m ade under E riu gen a’s in flu
e n c e 38. In astronom y it referred to the four zodiacal sig n s39.
33. Jean S c o t, Commentaire sur l ’évangile de Jean, ed. E . Jeau n eau , Paris 1972,
p. 144, 20 -2 2 (305B ).
34. B e d e , In Lucae euangelium expositio 6, 23, 1533: «n eu e quis ig n o r et sp e c ie m
c r u c is esse c o le n d a m qu ae d o m in u m p ortavit ouan s ration e p o te n ti q u attuor
in d e plagas q u a d r a ti c o llig it o r b is sp len d id u s au ctoris de u e r tic e fu lg e t eo u s
o c c id u o sacrae lam b u m tu r sidere plantae a r c to n dextra te n e t m e d iu m laeua
e r ig it axem cu n cta q u e de m em b ris u iu it natura creantis et cru ce c o m p le x u m
christus r e g it u n d iq u e m u n d u m » .
35. J o h n S co ttu s, Carmina I, 19-20. C f. ibid., 2, 1-12: «A spice praeclaru m
radiis solarib us o r b e m , / Q u o s c ru x salviflua spargit ab arce sua. / Terram N e p -
tu n u m q u e te n e t flatusq ue p o lo sq u e / E t siq u id supra creditur esse procul».
36. A m b rose, D e Abraham 2, 9, 65: «qui n u n c psalm u m canit u e lu t aptis n u
m eris u itam istius m u n d i transigit quasi tetragon u s et stabilis atque perfectus».
37. Ibid. 2, i i , 80: « id eo q u e n o n cy b o s g e o m e tr ia e n e c tetra g o n u m n u m er u m
p h ilo so p h ia e n e c c o n fe ssio n e m ut aiun t P y th a g o r ic a m [ ...] sed vera aperim u s
m ysteria, u n am salu tem esse C h risti resu rrection em ».
38. C f. th e tituli o f th e C odex aureus (E vang. o f St. E m m eram o f R a tisb o n n e ,
M ü n ic h , B ayerisch e S taatsb ib lioth ek , C lm 14000), ed. M G H , Poetae latini aevi
Carolini, III, p. 253, III, 1-4: «C hristus, vita h o m in u m , c a elo ru m gloria sum m a,
/ Librat tetra g o n u m m iro d isc r im in e m u n d u m . / O rd in e quadrato variis
d ep icta figuris / A g m in a san ctoru m gaudia m agna vident»; «C h rist, th e life o f
m e n , th e greatest g lo r y o f th e h eaven s, / W eigh s o u t th e fo u r -fo ld w o r ld w ith
its e x c e lle n t intervals. / T h e ranks o f th e saints arranged in quadrate p attern , as
sh o w n in th e variou s draw ings, b e h o ld great joys».
39. G em in u s, Introd. to the Phenomena II, 1 6 , 1-18, 2: «Κατά τετρ ά γω νον δέ έστι
Κ ριός Κ αρκίνος Ζ υ γός Αίγόκερω ς», «A ries, C an cer, Libra, and C a p ric o rn m ake
up th e quadrate». C f. M artianus C a p ella ’s o p in io n a c co r d in g to w h ic h th e
n u m b er fo u r is p e r fec t and is called quadratus, w ith w h ic h are associated th e
fo u r seasons o f th e year, th e r eg io n s o f h eaven , th e e le m en ts o f earth. It is its e lf
th e square o f tw o (bis binum), w ith in w h ic h th e m u sical h a rm o n ies (symphoniae)
are p ro d u ce d (D e nuptiis II, 106-107, Ρ· 4 4 > τ7~4 5 * З)·
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VALERY V. PETR O FF
In s u c h a r tic u la tio n s, in w h ic h th e se a so n s c h a n g e ,
T h a t is, in o c ta v e s, th o s e o f L ibra a n d A r ie s
A n d C a p r ic o r n an d C a n c e r , is v ic t o r y o r d a in e d .
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VALERY V. PETR O FF
L u c is p r a e c u r so r n a sc e n s in v e r tic e c a n c r i,
L ibra c o n c e p t u s , c e r n is p raefata t r o p e a .
Y o u , о R a m , m a y c e le b r a te th e tr iu m p h o f C h r is t ’s c o n c e p t io n ,
L e t C a p r ic o r n c la im th e jo y s o f th e b ir th o f th e W o r d .
T h e p r e c u r so r o f th e L ig h t w a s b o r n at C a n c e r ’s z e n ith ,
C o n c e iv e d u n d e r Libra: n o w y o u s e e th e tr iu m p h s th a t w e r e fo r e to ld .
T h is o c t a v e 53 p r e se n ts to y o u , in a c c o r d a n c e w it h a r ite , p r o to ty p ic a l
k a le n d s
o f th e t w o - f a c e d g o d [Janus], as it c o n q u e r s th e d ark n ess w it h lig h t.
60
«A R M O N IA RE RU M » IN JO H N SC O T T U S’ A U L A E SID E R E A E
O c t o n u s n u m e r u s d iv in o s sy m fo n a t actus;
N a m d o m in u s n o ste r , q u e m te m p u s fo r m u lâ t o m n e ,
O c ta v is n a tu s, c o n c e p tu s , m o r te reversu s,
O c ta v is v e te r is su b iit sig n a c u la le g is ,
M u n d u s in o c ta v a fin e m d a b it o m n ib u s u n u m .
T h e n u m b e r e ig h t h a r m o n ise s th e d iv in e d eed s:
F or o u r L ord , w h o m e v e r y tim e fo r m u la te s,
In o c ta v e s w as b o r n , c o n c e iv e d , r e tu r n e d fr o m d e a th ,
In o c ta v e s h e s u b m itte d h im s e lf to th e seals o f th e a n c ie n t law,
O n th e o c ta v e th e w o r ld w ill b r in g o n e e n d to all.
H a e c su n t, q u a e ta c ite n o s tr is in c o r d ib u s in tu s
O c t o n i n u m e r i m o d u la tu r n ab la s o n o r u m ,
S p ir itu s in te r io r c la m a t n e c d e s in it u n q u a m
S e m p e r c o n c r e p ita n s , q u ic q u id s e m e l in to n a t ann us;
H a e c sc r ip tu r a d o c e t , c u i r e r u m c o n c in it o r d o .
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VALERY V. PETR O FF
T h is is w h a t th e harp o f th e to n e s o f th e n u m b e r e ig h t
M o d u la te s in s ile n c e in sid e o u r so u ls.
T h e in n e r sp ir it p r o c la im s n o r e v e r c ea ses,
A lw a y s s o u n d in g w h a t o n c e th e y ea r in to n e s .
A ll th is th e S c r ip tu r e te a c h e s, an d w it h it th e o r d e r o f th in g s sin g s a lo n g .
W ith these words the p o em com es full circle: from astronom y (v.
10), calendar (v. 31), and arithm ology (v. 33), through C hristology (w .
35-6) and esch atology (v. 37), w e cam e to harm ony (v. 46) and the
B ib le (v. 49). A harp was an attribute o f the B iblical D avid, regis
psalm idici, genitoris origine C hristi (v. 53). H ow ever, for a C arolingian
reader there was another David: from about 794, this was a constant
pseud onym for Charlem agne. As Peter G odm an w rites, w h ile exam
in in g Carolingian poetry, «harps... m attered — symbolically, artistically,
and therefore p olitically»54. T h e nam e o f D avid was associated w ith
artistic inspiration and ideal kingship. E u lo g izin g the king as a w ise
m an, learned in arts, was a strong tradition under the C arolingians.
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«A R M O N IA R E R U M » IN JO H N S C O T T U S’ A U L A E SID E R E A E
A e n e a d u m g e n e t r ix , h o m in u m d iv u m q u e v o lu p ta s ,
alm a V e n u s, c a e li su b te r la b e n tia sig n a
q u a e m are n a v ig e r u m , q u a e terras fr u g ife r e n tis
c o n c e le b r a s , p e r te q u o n ia m g e n u s o m n e a n im a n tu m
c o n c ip itu r v is itq u e e x o r t u m lu m in a so lis
te, d e a , te f u g iu n t v e n t i, te n u b ila c a e li
a d v e n tu m q u e tu u m , tib i su avis d aed ala te llu s
s u m m ittit flo r e s, tib i r id e n t a e q u o r a p o n t i
p la c a tu m q u e n it e t d iffu s o lu m in e c a e lu m .
q u a e q u o n ia m r e r u m n a tu ra m so la g u b e r n a s
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VALERY V. PETR O FF
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«A R M O N IA RE RU M » IN JO H N SC O T T U S ’ A IJLAE SID E R E A E
A bstract
58. T h e titu li o f th e C odex aureus state that C harles th e B ald is alto g eth er
C h arlem agn e, D a v id , and S o lo m o n : «H ic n o m e n m a g n i K aroli de n o m in e
sum psit; / N u m e n et in d ic iu m sceptra te n e n d o sua. / H ic D a v id vario fu lg escit
ste m m a te regis / A tq u e S a lo m o n ic a iu ra d o c e n tis h a b et» . «T h e k in g y o u see
receiv ed his n am e from C harles th e Great: / th e p ow er, regalia, and sceptres he
h old s are his o w n . / T h is D a v id is radiant in his m a n ifo ld royal cro w n / and
claim s th e r ig h ts o f a S o lo m o n to teach» (M G H , P o eta e latin i aevi C arolin i,
t. I ll, p. 252, IV, i , 7 -8 ).
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VALERY V. PETR O FF
in a set expression titania lampas, which might have been borrowed from
Aldhelm o f Malmesbury. Close lexical parallels between A u l a e sidereae’s
astronomical prologue and Martianus Capella’s D e nuptiis are poined out. It
is suggested also that verses 82-92 o f the A u l a e Sidereae may allude to
Lucretius’ prologue to the D e R e ru m Na tura .
Am ong topics discussed is the cosmic harmony manifest in the order o f
things, which sings along (concinit ) to what is told by Scripture (m un dus g e s
tans sym bola Christi)·, as also the harmony o f the octaves (octonus numerus d ivi
nos sym fonat actus) which is symbolized by the harp o f King David (nabla
sonorum). It is argued that the tem plum (aedes, domus), dedicated to the
Mother o f God (dei genitrix) and consecrated on Christmas Day, becomes
in John Scottus’ poetical masterpiece a symbol and image o f harmonically
structured universe and emblematizes at once the starry temple o f the Sun
(aula sidera), the transcendent House o f the W isdom o f God (aula superna,
remota domus), the Bethleem ’s manger (sancta domus), and the Heavenly
Jerusalem as visio p a d s . The figure o f King Charles seated on his lofty
throne is loaded with symbolism too: he is presented as an ideal ruler and
a personification o f the visible Sun, Kings David and Solomon, Christ, and
Charlemagne.
Valery V. P etroff
Institute o f Philosophy o f the
Russian Academy o f Sciences
CAMPaS.IPh@gmail.com
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F inito di stampare nel dicem bre 2016
E d izion i G rafiche M anfredi
V ia G aetano M azzoni 3 9 /a — 00166 R o m a
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ISSN 1123-2560
IS B N 978-88-8450-734-1