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Displayed below are some selected recent viaLibri matches for books published in 1520

        Svenskt silversmide 1520-1850.

      Del I. Renässans och barock. 1520-1700. Del II. Senbarock, Fredrik I:s stil och rokoko 1700-1780. Del III. Gustaviansk stil, empire och romantik. 1780-1850. Äldre guldsmedsteknik av Bengt Bengtsson. Nordisk Rotogravyr 1941-45. 4:o. Rikt illustrerad. 248,(146); 250,(248); 315,(3),(216) s. Original falsade pergamentband med övre guldsnitt. Röda och blå titeletiketter. (Nordiska Bokhandelns bokbinderi). 30 x 22 cm. I ett specialtillverkat skåp med intarsia i rutmönster på sidor och ovandelen. Höjd 66,5 cm. Bredd 39 cm. Djup 27 cm

      [Bookseller: Antiquaria]
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        ON APLAS VON ROM kan man wol selig werden durch anzaigung der götlichen hailigen geschryfft.

      No printer, place, nor date (Melchior Ramminger, Augsburg c. 1520). 4to. With a large and extremely interesting woodcut on titlepage + 10 pages, ie. 6 leaves in all. Bound in a modern half vellum binding with nice sidepaper with floral pattern. Thorough antiquarian bookseller description inserted on the inner cover.. Kuczynski 1306, Schottenloher 34296.** Anonymous protestant pamphlet written against indulgences from Rome. The book consists of quotations from the Bible, especially the New Testament, and is noteworthy for being not Latin but in translation. Of special note is the great initial woodcut showing the inside of a church. A preacher is on his pulpit reading out an indulgence, a seemingly unwilling 'customer' is dragged to a table in the center where indulgences are being sold. At the center is a cross, but no Jesus, who has left. The woodcut, which is in style of Hans Holbein, is attributed to Heinrich Vogtherr (1490-1556)

      [Bookseller: Vangsgaards Antikvariat]
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        Das büech der gemeinen land-pot. Landsordnüng. Satzüng. und Gebreüch. des Fürstennthumbs in Obern- und Nidern Bairn. Im fünftzehnhündert und Sechtzehendem Jar aüfgericht.

      Mit Titelholzschnitt, Titel gedruckt in Rot. 12 nn., LXVII (recte 69) num. Bll. Ldr. d. Zt. mit blindgepr. Wappensupralibros auf den Deckeln, Folio. VD 16 B 966; Schottenloher (Schobser) 167. - In dieser dritten Ausgabe ist die "Vischerey" nicht mehr enthalten. Der Index endet auf Bl. 11r: "Hye enndet sich das Register". - Der Titelholzschnitt zeigt die beiden Herzöge Wilhelm und Ludwig als Wappenhalter. Der Text ist durchweg in Rot und Schwarz gedruckt. - Etwas beschabt und bestoßen, Rücken, Kanten und Vorsätze erneuert. Gering gebräunt, tls. leicht fleckig, in der zweiten Hälfte im unteren Innensteg mit restauriertem Wurmloch. Bis auf den Titel breitrandig.

      [Bookseller: Antiquariat Turszynski]
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        Paulo orosio tradotto di latino in volgare per giovanni guerini da lanciza novamente stampato. (toscolano), alex. paganino, s.a. 1520 (ca).

      Cm. 15, cc. (172). Legatura settecentesca in piena pergamena rigida con nervi passanti. Tagli rossi a spruzzo. Il primo capolettera è ornato a fondo criblè; spazi guida per i capilettera; al verso dell' ultima carta è presente il colophon entro doppio filetto da cui si evince il nome dello stampatore. Esemplare genuino, piuttosto marginoso e ben conservato. Alcune annotazioni ms. coeve. Prima traduzione italiana delle Historie adversus paganos, abbraccianti il periodo compreso fra la narrazione della creazione contenuta nella Genesi ed il 417 a.C., e commissionata dallo stesso Sant'Agostino come conferma storica dell'imponente elaborazione teologica contenuta nel ""De civitate Dei"" (Dante scrisse che del suo ""latino Augustin si provide""). La presente prima versione italiana era stata preceduta soltanto da una traduzione francese del 1491. Il volgarizzatore, Giovanni Guerini, nativo di Lanciza, fiorì nella prima metà del XVI secolo. Cfr. Baroncelli ed Adams, O-311.

      [Bookseller: Studio Bibliografico Benacense]
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        Platinae Hystoria De Vitis Potificum Periucundae: Diligenter Recognita

      Paris: Regnault & Idus, 1520. Leather Bound. Very Good. 2 Vols in 1. [1512]. 12o. CCCLXVII, [i], Index [4], [134] Fully bound in contemporary calf-skin leather. 5 raised bands. 6 compartments. Gilt title plate and decorative flourishes within compartments. Tight binding and solid boards. Minor shelf wear. Professionally repaired and treated with weather-resistant lacquer. Edges slightly worn. joints split. Rubbing to boards. Terminal page: Impressum ludini per Gilbertu de villiers: Impensis honestissimi viri domini Vincentii de pthonariis & costantini fradin. Anno domini Millesimo quingentesimo duodecimo. Die vero x. mensis Martii.) Woodcut on title page, as well as numerous woodcut letter blocks throughout. Seminary library bookplate inside front board. Small ink note in lower margin of title page. Early ink marginalia. Light toning. Minor damp stains, mostly in later portions. Scattered ink notes. Very good condition.<br><br>Bartolomeo Platina, born at Piadena, near Cremona, was a Greek/Roman scholar, known for an array of published historical and philosophical works. He first enlisted as a soldier, and was then appointed tutor to the sons of the Marquis Ludovico II Gonzaga. In 1457, he went to Florence, and studied under the Greek scholar Argyropulos. In 1462 he proceeded to Rome, probably in the suite of Cardinal Francesco Gonzaga. After Pius II had reorganized the College of Abbreviators (1463), and increased the number to seventy, Platina, in May 1464, was elected a member. The two volume VitÃ&#131;¦ Pontificum constitutes a comprehensive history of the lives of Romes Popes. A significant historical volume in excellent condition, this book would make a fine addition to the collection of any religious scholar. Please feel free to view our photographs of this beautiful volume. Ships daily.

      [Bookseller: SequiturBooks]
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        in. C.IVLII Solini [Polyhistora] Enarrationes. - MELA, Pomponius - Joachim Vadianus. Libri De Situ Orbis Tres,

      Vienna: Johannes Singrenius for Lucas Alantse, 1520. THE FIRST AVAILABLE PRINTED MAP TO BEAR THE NAME AMERICA Two works in one volume. Folio (11 6/8 x 8 2/8 inches). Cordiform woodcut world map, woodcut title-page borders, historiated initials, printer&#39;s mark, both works include the final blank leaf. Contemporary limp vellum (sewn on three pairs of pink tawed thongs, early manuscript liners, early ink title and traces of early manuscript paper label on spine, evidence of two fore-edge ties (some minor restoration to covers); modern cloth clamshell box. This volume, actually comprises two works within a single binding, in an instance of a common sixteenth-century book-collecting practice. Both are rare works of signal importance, with the present examples in extraordinary condition. The first is Joannes Camers&#39;s edition of the Polyhistor, an ancient treatise on natural history by Caius Julius Solinus (flourished ca. 250 AD). After Ptolemy, Solinus was the classical authority whose writings most strongly informed Renaissance geographical thought. Camers&#39;s version of the Polyhistor is quite desirable to collectors, for it contains the earliest obtainable map to name America: Peter Apian&#39;s splendid double-page map of the world, at the left of which the new continent appears prominently labeled. Apian, a professor of mathematics at Vienna and Ingolstadt, based his map on Martin Waldseemüller&#39;s 1507 rendering, the only surviving example of which is in the Library of Congress. Waldseemüller&#39;s map supported Amerigo Vespucci&#39;s revolutionary concept that the New World was a separate continent, previously unknown to the Europeans, and his was the first map to show a separate Western Hemisphere with the Pacific as a separate ocean. Although Waldseemüller himself had realized, after 1507, that Vespucci was not the discoverer of the New World, Apian&#39;s duplication of his predecessor&#39;s nomenclature etched the name America into popular consciousness. The second book is an equally marvelous example of a key work published by the same Viennese press: Joachim Vadianus&#39;s edition with commentary of the first-century AD treatise by Roman geographer Poponius Mela. This 1518 edition also contains Vadianus&#39;s letter to his colleague, the Swiss humanist Rudolf Agricola, in which he outlines the geographical problems posed by the recent discovery of the New World and upholds Waldseemüller&#39;s decision to name the continent in honor of Vespucci. This treatise, therefore, was also highly influential in directing popular opinion and in bestowing upon the New World the name that it bears to this day. References: Lloyd Arnold Brown, The World Encompassed, exh. cat. (Baltimore, 1952), n. 61; Rodney W. Shirley, The Mapping of the World (London, 1983), n. 45; Philip D. Burden, The Mapping of North America: A List of Printed Maps 1511-1670 (Rickmansworth, 1996), xxiv-v..

      [Bookseller: Arader Galleries]
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      1520. Five Leaves from the Doheny Master, Showing "Virtuosity of Technique Without Parallel" 114 x 64 mm (4 1/2 x 2 1/2"). Single column, 21 lines of text, written in a very fine tiny upright humanistic hand. Attractively matted. Rubrics in red, one paragraph mark in black on a gold ground, one two-line initial in gold on a black ground, both sides of the text within a knotted ropework border in gold and red with convoluted tassels at the bottom. One side of the leaf WITH A BEAUTIFUL, ANIMATED, AND BRIGHTLY COLORED SMALL MINIATURE SHOWING MICHAEL AND SATAN; the lively diagonal composition depicting an intent golden-haired archangel (dressed in a gold tunic trimmed in pink, and with white, pink, and green wings) brandishing his sword, as he pushes the devil down into the lower left corner with a gold-encrusted blue shield, Satan (painted a lavender color with gold highlights and covered with bristling hairs) pleading for mercy; the scene with a rich black background, and the whole within a plain gold frame (the miniature measuring 21 x 20 mm.). The fore edge slightly oblique (apparently as always, because of a lack of squareness in the vellum piece used here), very small blacked-out place at middle of top margin (presumably to cover up old foliation), but IN ABSOLUTELY SPLENDID CONDITION, the bright paint and the glitter of the gold entirely intact. This splendid item and the following four leaves (as well as item #437, below) were produced by the celebrated atelier known as the 1520s Hours Workshop. These leaves represent the finest illumination being done during the final and glorious period of French manuscript production, and, frankly, some of the finest illumination ever done. Given its name by Myra Orth as a reflection of the studio's principal type of output and period of operation (though work continued into the 1530s), the 1520s Hours Workshop created, in Wieck's words, "illuminations of the most refined delicacy" ("Painted Prayers," p. 73). In Lilian M. C. Randall's catalogue of French manuscripts in the Walters Art Gallery, a book from the 1520s Hours Workshop (Walters MS 449) is described as "a fine example of the superb level of craftsmanship attained in French manuscript production during the last quarter century of its full-fledged existence" (II, 532). Kay Sutton, describing a manuscript from the workshop (sold as lot 23 at Christie's on 29 November 2000), says that the atelier's manuscripts "are among the highest achievements of French Renaissance painting." And Christopher de Hamel, in discussing what is probably the studio's chef d'oeuvre (sold at Sotheby's as lot 39 on 21 April 1998), says that the painting done by the 1520s artists manifested the "utmost professionalism. It was executed with a microscopic detail and virtuosity of technique probably without parallel even in the long tradition of illumination." Orth in her seminal dissertation on the workshop identifies four closely related painters as being responsible for the devotional manuscripts known to have been produced by the atelier, almost all of them tiny Books of Hours of jewel-like quality done for wealthy patrons. The four artists are all eponymous: the Master of the Rosenwald Hours, the Master of Jean de Mauléon, the Master of the Getty Epistles, and the Doheny Master, who is responsible for our leaves and who, says de Hamel, "may have been the master of the whole enterprise." Although unmistakably French, the workshop's production represented a synthesis of great moment. "The 1520s Books of Hours are the ultimate statements of the reception of Italianate and classical culture into the French court and into books as inherently gothic and northern as Books of Hours, and they illustrate graphically the rediscoveries of antiquity and the natural world which define the Renaissance." (de Hamel) The workshop has traditionally been located in Tours (which had the status at the time of being France's second capital city), but recent scholarship, particularly by Orth, suggests that its home may have been in Paris. Four leaves from our Doheny Master manuscript were first described (as being from a lost Book of Hours) by Orth in "An Exhibition of European Drawings and Manuscripts, 1480-1880," and then cited by her in "The J. Paul Getty Museum Journal," Volume 16, both published in 1988. Shortly afterward, the manuscript, described as an imperfect Hours, appeared as item #39 in Sam Fogg's Catalogue 14. Despite its small size, the present miniature of Michael the Archangel is memorable, partly because the artist has focused on the heart of the conflict (the upper frame cuts off all but the pommel of the raised sword, but that is everything we need to see), and partly because the plain richly black background sets off the very bright colors used for the two adversarial figures.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        De Aequinoctiorum Solsticiorumque Inventione Ad R. in Christo patrem, D. Franciscum Molinium Abbatem. S. Maximini, a secretis & consilio. R. Francorum Christianiss. & pijs largitionibus eiusdem praepostium primarium. Eiusdem De Ratione Paschalis celebrationis, Deque Resitutione ecclesiastici Kalendarij. Ad Beatissimum Patrem Leonem. X. Pontificem Maximum

      Title within woodcut border. One woodcut diagram in first section. Criblé initials. xxiii leaves, [2] pp.; xxx leaves. Small folio, attractive antique panelled calf, gilt fleurons in corners. Paris: [C. Resch & P. Vidoue], ca. 1520. First edition of a rare astronomical book. Pighius (1490-1542), theologian, mathematician, and astronomer, "studied philosophy and began the study of theology at Louvain, where Adrian of Utrecht, later Pope Adrian VI, was one of his teachers...He followed his teacher Adrian to Spain, and, when the latter became pope, to Rome, where he also remained during the reigns of Clement VII and Paul III, and was repeatedly employed in ecclesiastico-political embassies. He had taught mathematics to Cardinal Alessandro Farnese, afterwards Paul III; in 1535 Paul III appointed him provost of St. John&#39;s at Utrecht, where he had held a canonry since 1524."-Catholic Encyclopedia. This is Pighius&#39;s treatise on the "equinoxes and solstices and celebration of Easter and the restitution of the ecclesiastical calendar. He admits that Johann Essler of Mainz back in 1508 had written a tract in which he held that the vernal equinox preceded the beginning of Aries in the astronomical tables by four and a half degrees. Pigghe will show that it does so by more than five degrees, which he does with a great deal of bluster and overemphasis. All that his criticism seems to amount to is that the tables refer the movements of the stars to the ecliptic of the primum mobile instead of to the true (as he holds) ecliptic of the eighth sphere and that thereby all astrological predictions are thrown out of gear. It seems probable that anyone who knew how to use the Alfonsine Tables would be perfectly well aware of what they referred the positions of the planets to. This is the treatise by Pigghe which aroused the ire of Marcus Beneventanus, as has been noted in our chapter on the conjunction of 1524. Nunes, the Portuguese mathematician, in his treatise on the art of navigation pointed out a mistake of Pighius in geometry and another concerning the declination of the fixed ecliptic. Indeed, he excoriated Pigghe for some nine pages which he opened with the statement that the writings of Marcus Beneventanus had not come to his hands but that he had read the book of Pigghe on equinoxes and solstices and his Apology and that he was not so often right as he thought he was."-Thorndike, V, pp. 281-82. Fine copy. &#10087; Harrisse, Bibliotheca Americana Vetustissima, 107. Lalande, p. 41. Moreau 2452. .

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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      In fine: Impressa in Venetia per Miser Bernardino Stagnino da Trino de Monferra, del M.D.CCCCC.XX (1520) A di XXVIII Marzo. In 8vo; pp. 440 erroneamente numerate 441. Pergamana coeva. Lievi restauri al frontespizio ed alle ultime carte con perdita di qualche lettera di testo. De Batines I, pp. 78/79; Mambelli 27; Sander n.2325; Essling 529. 5 immagini allegate.

      [Bookseller: Studio Bibliografico Casella]
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        Examen vanitatis doctrinae gentium, et veritatis christianae disciplinae, distinctum in libros sex, quorum tres omnem philosophorum sectam universim, reliqui aristoteleam et aristotelis armis particulatim impugnant. Ubicunque autem Christiania et asseritur et celebratur disciplina.

      Mirandulae, Ioannes Maciochius Bundenius, 1520 (on colophon). [Mirandola, Mazzocchi]. Small folio. Contemporary full vellum binding with handwritten title to spine. Author written in contemporary hand to lower edge. Binding professionally restored, at lower part of spine, edges of boards, and corners of back board. Free end-papers renewed. First leaf restored, with lower blank part supplied in later paper - no loss of text! This lower part was blank on both recto and verso. A bit of soiling to upper part of this leaf, as well as two old owner's inscriptions. First few leaves a bit browned, not heavily. Otherwise only light scattered browning. Some small marginal worm-holes to inner and lower blank margins, far from affecting text. All in all very fine, nice, and clean. Woodcut device to final leaf. (6), 208 ff.. The seminal first edition of Gianfrancesco Pico's main work, the work which publicly introduces Greek scepticism to the modern world (i.e. the Reniassance) for the first time and thus comes to play a seminal role in the development of modern thought. With this work, Pico becomes the first modern thinker to specifically use the theories of Sextus Empiricus, foreshadowing the great Sceptical Revolution of the later Renaissance as well as the ideas of later modern thinkers such as Montesquieu. The Examen furthermore introduces other important critiques of Aristotle that were not generally known at the time (and works that had not yet been published) as well as a completely new sort of attack upon the theories of Aristotle that come to play an important role in later Renaissance Aristotle scholarship. But his Examen Vanitatis Doctrinae Gentium et Veritatis Disciplinae Christianae is not only a criticism of human knowledge which can, as has been done, be compared with Montaigne. It is also a wholesale destruction of the whole world of human values, of that regnum hominis so dear to the Renaissance. And as such, it inclines one to think that it anticipated Pascal. [...]. (Garin, p. 135)The Examen is considered foundational in anti-pagan historiography of thought, a work that deserves special attention here as the earliest example of an anti-pagan reaction in the Renaissance historiography of thought, and as the first in a line of publications preparing the way for the anti-apologists of the seventeenth century. ... (Hanegraaff, Esotericism and the Academy: Rejected Knowledge in Western Culture, p. 81). It is due to this work that Gianfr. Pico is now remembered as the first modern sceptic. Joining the sceptical arguments of Sextus, which he quoted and used liberally, to Savonarola's negative view of natural knowledge, he presented the first text since antiquity utilizing Pyrrhonism, using it to illuminate knowledge by faith! (Popkin, p. 24). Gianfr. Pico, a learned scholar and apt reader of classical texts, was the first Renaissance thinker that we know to have seriously studied and used the works of Sextus Empiricus, which were not printed until the 1560'ies, causing a revolution in Renaissance thinking. No discovery of the Renaissance remains livelier in modern philosophy than scepticism. (Copenhaver & Schmitt, p. 338). The revived skepticism of Sextus Empiricus was the strongest single agent of disbelief. (ibid., p. 346).The printing of Sextus in the 1560s opened a new era in the history of scepticism, which had begun in the late fourth century BCE with the teachings of Pyrrho of Elis. [...] Before the Estienne and Hervet editions, Sextus seems to have had only two serious students, Gianfrancesco Pico at the turn of the century and Francesco Robortello about fifty years later. (Copenhaver & Schmitt, pp. 240-41).No significant use of Pyrrhonian ideas prior to the printing of Sextus' ''Hypotyposes [in the 1560'ies] has turned up, except for that of Gianfrancesco Pico della Mirandola. (Popkin, p. 19). Giovanni Francesco [Gianfranceso] Pico della Mirandola (1470-1533), not to be confused with his uncle Giovanni Pico della Mirandola (1463-1494) was a highly important Renaissance thinker and philosopher, who was strongly influenced by the Neoplatonic tradition, but even more so by the preaching of Girolamo Savonarola, whose thought he defended throughout his life. Just like his uncle, Gianfr. Pico devoted his life to philosophy, but being a follower of Savonarola and having a Christian mission, he made it subject to the Bible. He even depreciated the authority of the philosophers, above all of Aristotle.It is in the Examen, Gianfr. Pico's main work, that his sceptical arguments are developed to their fullest extent, and it is here that he not only discusses at length Pyrrhonism, based on Sextus' Hypotyposes( which were only published more than 40 years later), and deals in detail with Sextus' Adversus Mathematicos (also only published more than 40 years later), propounding his own ideas and attacking Aristotle, he also provides lengthy summaries of Sextus' texts, which seem more like actual translations than interpretations or paraphrases.As Charles Schmitt also shows, the younger Pico must have read Sextus in a Greek manuscript, as the texts of Sextus were not printed before the 1560'ies, when the Hervet- and the Estienne-editions appear, causing what we would call ´The Sceptical Revolution of the Renaissance, a turning point in the history of modern thought. Apparently, Gianfr. Pico used a codex that belonged to Giorgio Antonio Vespucci. It was during an enforced exile around 1510 that Gianfr. Pico set to work on his Examen Vanitatis Doctrinae Gentium, which was published for the first time in 1520 and dedicated to Pope Leo X. The work was printed in a small edition by an obscure press in his own little principality at Mirandola, which explains its scarcity. In the Examen Pico introduced the actual sceptical arguments of Sextus Empiricus, plus some newer additions, in order to demolish all philosophical views, especially those of Aristotle, and to show that only Christian knowledge, as stated in the Scriptures, is true and certain. (Popkin, pp. 20-21). But although he here carefully set forth the ancient sceptical criticisms of sensory knowledge claims and of the rational criteria that let us judge what is true and false, it is important to remember that he did not as such advocate scepticism, rather, he used it for his own means. Using the ancient sceptical arguments as ammunition to undermine the confidence in natural knowledge, his aim was to lead people to see that the only real and reliable knowledge is revealed knowledge. He denounces all pagan philosophical claims, attacks Aristotle's theory of knowledge with the arguments of Sextus, all the time regarding Christianity as immune to sceptical infection, because it does not depend upon the dogmatic philosophies that Sextus had refuted. In his use of Sceptical arguments, Gianfr. Pico was not only doing something completely new in a Renaissance setting (i.e. reviving and using sceptical arguments at all), he was doing something completely new as such. The original Pyrrhonian formulations were primarily directed against Stoic and Epicurean theories of knowledge, and traditionally they were not directed towards the all-overshadowing dominating theories of Aristotle. As such, Gianfr. Pico makes Aristotelianism more of an empirical theory than it was traditionally viewed, and also in this did the Examen come to have groundbreaking influence. He furthermore introduces several critiques of Aristotelianism that were not generally known at the time, such as that of Hasdai Crecas (15th century Jewish Spanish thinker), whose work had not yet been published and which only existed in Jewish manuscript, as well as that of the late Hellenistic commentator John Philoponous, who later came to play an important role in Renaissance readings of Aristotle. As early as 1496 [originally printed 1497], in one of his first works, On the Study of Divine and Human Philosophy, he distinguished divine philosophy, rooted in scripture, from human philosophy based on reason; he denied that Christians need human wisdom, which is as likely to hinder as to help the quest for salvation. By 1514 he had completed a longer and sterner work, The Weighing of Empty Pagan Learning against True Christian Doctrine, Divided into Six Books, of Which Three Oppose the whole Sect of Philosophers in General, while the Others Attack the Aristotelian Sect Particularly, and with Aristotelian Weapons, but Christian Teaching is Asserted and Celebrated throughout the Whole. As its title suggests, the Examen, published in 1520, hardened Pico's hostility to pagan philosophy. Just when Luther was making the Bible the sole rule of faith, Pico discredited every source of knowledge except scripture and condemned all attempts to find truth elsewhere as vanitas, emptiness; profane knowledge is at best a distraction from the work of salvation, as some of the greatest Fathers had taught. Pico's purpose was sincerely religious and only incidentally philosophical; much of Renaissance scepticism remained true to his pious motives, though they were not fully appreciated for forty years after he wrote. By demolishing secular thought, Pico hoped to empty the human mind of reason and make a clear channel for God's grace; man's only intellectual security lay in church authority. Convinced of Christianity's unique value, he turned his uncle's eirenic learning to contrary purposes, working skillfully with Greek manuscripts to make his humanism a potent weapon against religious error. [...].Pico devoted most of his first three books to reproducing the arguments of Sextus Empiricus against the various schools of ancient philosophy; in Books IV and V he turned scepticism against Aristotle. His extensive borrowings from Sextus often come closer to translation than paraphrase or analysis, and his choices are therapeutic rather than theoretical. Aristotle had to go because he was the chief source of secular contagion among the faithful, and Sextus was the best medicine available. Pico regarded Christianity itself as immune to sceptical infection because it does not depend on the dogmatic philosophies that Sextus had refuted. [...]. (Copenhaver & Schmitt, pp. 245-46). The Examen marks a turning-point in the history of Renaissance thought and the development of modern philosophy. The importance of the revival of scepticism can hardly be over-estimated, and Gianfr. Pico's use of the sceptical arguments which he utilizes in the Examen would prove to be highly important and influential. But the revival that Gianfr. Pico is thus responsible for, not only comes to serve his own purpose, as history will prove, the sword is two-edged.Claiming in the Examen that the works assigned to Aristotle were doubtfully authentic; his sense-based epistemology could not produce reliable data; his doctrines, often presented with deliberate obscurity, had been disputed by opponents and followers alike and had been criticized by Christian theologians; even Aristotle himself was uncertain about some of them. Aristotelian philosophy, the pinnacle of human wisdom, was therefore shown to be constructed on the shakiest of foundations. Christian dogma, by contrast, was built on the bedrock of divine authority and therefore could not be undermined by the sceptical critique. Or so he believed, unaware that scepticism, which he had revived as an ally of Christianity, would eventually become a powerful weapon in the hands of its enemies. (Jill Kraye: Two Cultures: Scholasticism and Humanism in the Early Renaissance, in: The Philosophy of the Italian Renaissance). Defended by ancient philosophers such as Sextus Empiricus, refuted by Augustine (De civitate dei (11,26): Even if I am mistaken, I exist; a clear anticipation of Descartes' cogito), Scepticism was revived in the Middle Ages by Nicholas of Autrecourt (whose works were burned by papal order in 1347). By the Renaissance, this tendency came to be linked with fideism (Gianfrancesco Pico della Mirandola, Erasmus, Montaigne, Gassendi, Daniel Huet, and Pierre Bayle, to name but a few), leading, in one way or another, to its modern culmination in Hume. (Black Swans, the Brain, and Philosophy as a Way of Life : Pierre Hadot and Nassim Taleb on Ancient Scepticism).Gianfrancesco's most important philosophical work, probably written sometime after 1510 and published in 1520, was Examen vanitatis doctrinae gentium, which is especially important because it marks the first serious attempt to adapt the Pyrrhonist (radically skeptical) philosophical ideas of the Hellenistic philosopher Sextus Empiricus to contemporary intellectual discourse. (Charles G. Nauert: Historical Dictionary of Renaissance, 2004).See: Popkin: The History of Scepticism. From Savonarola to Bayle, 2003; Schmitt: Gianfrancesco Pico della Mirandola (1469-1533) and his critique of Aristotle, 1967; Copenhaver & Schmitt: Renaissance Philosophy, 1992; Garin: Italian Humanism, 1965.Adams P:1156

      [Bookseller: Lynge & Søn A/S]
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        Ioannis francisci camoeni miradoniae libri duo continentes aeglogas, epithalamium, elegias, epicoedia. venetiis, per guilielmum de fontaneto montisferrati 1520.

      Cm. 21, cc. xliiii. Con capolettera decorati. Esemplare privo di legatura e del frontespizio. Edizione originale di quest'opera dello scrittore cinquecentesco perugino Cameni, spesso trascurato dalle principali bibliografie letterarie. Si tratta di una raccolta di liriche latine dedicata al perugino Alfano Alfani e costituisce, nel complesso, un'offerta lirica giovanile pubblicata quando l'autore fu assunto per la prima volta presso il ginnasio cittadino Le poesie toccano quasi tutti i generi del grande genere umanistico: spunti bucolici e intenti celebrativi, meditazioni sulla morte, notizie autobiografiche, temi mitologici si alternano indiscriminatamente. Cfr. Vermiglioli (bibl. degli scrittori perugini): ""libro rarissimo"".

      [Bookseller: Studio Bibliografico Benacense]
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