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De harmonia mundi totius cantica tria. Cum indice eorum, quae inter legendum adnotatu digna visa fuere, nunc recens addito.
Paris, Andreas Berthelin, 1545.. Folio. (68), 467 leaves (without last blank). First 4 leaves frayed in outer margin, wormhole in lower blank margin of first 80 leaves. Light waterstaining to upper margins of a number of quires. Contemporary French calf with eight small fleurons and gilt ornamental centrepiece. The binding rubbed, loss of leather to corners, upper joint weak and splitting. - Adams G-468; Caillet 4472 ; Risse, Bibliographia philosophica vetus VI, 74. "Giorgi, Francesco, c. 1460/6; d. 1540. Italian philosopher. Joined Franciscans before 1482. Perhaps studied at Padua in early years. Critical of Aristotelian-Averroistic doctrines. His De harmonia mundi combines Hermetic, Platonic and cabalistic ideas on astrology, musical theory, psychology and cosmology; depicts universe as a musical harmony governed by numerical laws. Familiar with the works of Ficino and Pico, although carefully avoided Ficino's magical interests ..." (Cambridge Hist. of Renaissance Philosophy, p. 821)."... the main theme of the De Harmonia ... is the generative process that from the unchanging 'lone' Monad leads to the multiplicity of things, and the reverse process which takes these things back to their unique eternal 'root'... F. Giorgio exalts divine creation that has moulded the world according to the 'Vitruvian' norms of the most perfect architecture and the sublimest music but he cannot and doesn't want to ignore the fact that evil has always crept into the world ... The worst of all evils, the greatest suffering that can afflict man is 'impiety' - i. e. an irremediable break in the divine bond between the soul and the Word, renouncing the celestial destiny which is the gift for those who free themselves from the perfidious toils of matter ... These are the premises on which Zorzi begins to develop his own 'wisdom' theology, which does not hesitate to tackle the most crucial religious controversies of his time ... Zorzi's theological development is quite independent and is even, at times, at odds with the scholastic teaching-tradition and its leading auctoritates. The themes are worked out with 'spiritualist' inspiration in ways and forms that were considered completely unacceptable by the censors, well aware of the risks for Counterreformation orthodoxy from such an esoteric interpretation of the fundamental themes of the scientia de divinis. Both Zorzi's great works were placed on the Index. This condemnation signalled that the Roman auctoritas would no longer tolerate this vein of hermetic, neoplatonic, kabbalistic religiousness, which in fact had become rather widespread beyond confessional demarcations ..." (C. Vasoli, Hermetism in Venice. From Francesco Giorgio Veneto to Agostino Steuco, in: Gilly/Heertum, Magic, alchemy and science 15th - 18th centuries. The influence of Hermes Trismegistus. Venice 2002, p. 50-67)."Giorgi's De harmonia mundi was not the work of a fantastic eccentric. It belonged to the centre of Renaissance thought at its most productive ... De harmonia mundi was a dominant philosophy in the Elizabethan age, and so likely to have been passed on, perhaps by subterranean routes, to Robert Fludd and the Jacobean age." (F. A. Yates, The occult philosophy in the Elizabethan age, London 1979, p. 29ff.).
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