De Furtivis Literarum notis, vulgo de Ziferis libri IIII PDF download book for $ (free for members). Author: Giambattista Della Porta and Scotto. Language: LA. Results 1 - 6 of 6 De Furtivis Literarum notis, vulgo de Ziferis libri IIII [Reprint] () by Giambattista Della Porta and a great selection of related books, art and. Giambattista Della Porta, De furtivis literarum notis vulgo. The Renaissance, the first great age of mass communication, was also when the art of secret writing.
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De Furtivis Literarum notis, vulgo de Ziferis libri IIII. by: Giambattista Della Porta. Publication date: Usage: Public Domain Mark Google-id: m9E7AAAAcAAJ. Identifier: bub_gb_m9E7AAAAcAAJ. Identifier-ark: ark://t1rf91d Ocr: ABBYY FineReader Pages: Manuscript written by Giovan Battista della Porta in the s. In it, it describes the use of a deck of card to encode secret information by writing.
Volvelles of knowledge. Origin and development of an instrument of scientific imagination 13thth centuries Gianfranco Crupi Abstract This contribution reconstructs the history of volvelle in movable books; books created for a wide range of different purposes teaching, mnemonics, play, divining, etc. The investigation runs from hand-written books, considering some specific editorial genres, including calendars, books of fate, anatomical flap books, navigation handbooks etc. Cosmographicus liber a Petro Apiano mathematico studiose collectus. Joannis Weyssenburgers impensis Petri Apiani , mense janu]. Apianus, Petrus. Astronomicum Caesareum.
Due to severe difficulties with ecclesiastical censorship the Roman Holy Office had begun legal proceedings against Porta in the early s , he remained under life-long surveillance by the inquisition Valente Early in his life, Porta apparently founded an academy of secrets dedicated to the study of natural phenomena.
The Magia Naturalis is, unsurprisingly, dedicated to this important patron. Porta presented Philip II with another book on ciphers De furtivis litterarum notis vulgo de ziferis libri IV , followed by L'arte del ricordare , a treatise on the art of memory a Latin version appeared in under the title Ars reminsicendi.
In and during the following years, Porta was repeatedly invited to Rome by Cardinal Luigi D'Este — , ostensibly to pursue his research into the secrets of nature, but perhaps more importantly to enjoy some protection in his household during his trial before the inquisition. In the following two years he published two treaties on agriculture Pomarium , Olivetum and his richly illustrated Humana physiognomia In Porta was probably again summoned before the Neapolitan Inquisition, perhaps together with Luigi Tansillo — , an influential poet and a close acquaintance of Giordano Bruno — Porta was instructed to abstain from publishing on divinatory and magical arts and write comedies instead.
That same year Porta returned to Rome under the protection of Cardinal D'Este, who died a couple of years later. In , Porta met Tommaso Campanella — ; in the next year he published the tragicommedia Penelope, followed in by the comedy Fantesca as well as Villae, an extensive account of his travels through Europe.
The Venetian Inquisition prohibited the publication of the Italian version of the Human Physiognomony. The ban was reinforced in , when De refractione, a treatise on optics, came out. In Trappolaria—another comedy—was printed. For the following three years Porta seems to have kept a deliberately low profile; his tragicomedies Fratelli rivali and Cintia came out only in Porta then had the Latin version of his treatise on the art of memory printed, as well as Penumaticorum libri tres on the vacuum and how to lift up liquids and Curvilinearum elementorum libri duo on optics , two treatises that reappeared in enlarged versions as I tre libri spiritali and Elementorum curvilineorum libri tres In Porta outlined a naturalized form of divinatory astrology and physiognomics in the Coelestis physiognomonia.
Federico Cesi — , a young Roman nobleman with a passion for natural philosophy who founded the famous Academia dei Lincei, visited Porta in Sorella was published in the same year. Between and the comedies Astrologo, Turca, Carnbonaria and Moro were published. De munitione, a treatise on military fortifications and on firearms, came out in ; in the following year two comedies Furiosa and Chiappinaria were published.
In Porta opened the academy of the Otiosi, an institution dedicated to letters and to science; some of his plays may have been staged there. These endeavours resulted in the draft for his last and largely unfinished work on more or less natural magic, the Criptologia and the Thaumatologia, which was to be dedicated to Rudolf II.
Needless to say, it was never to obtain an imprimatur by the ecclesiastical authorities. The tragedy Gregorio and, in the following year, the comedy Tabernaria were published; in Porta was honored by the Lincei with a medal cast by Francesco Stelluti — Another comedy, Fratelli simili, and the tragedy Ulisse were published in Porta developed this secular approach to magic in the face of ecclesiastical prosecution, for it seems that he was condemned for exercising ceremonial magic Zambelli The magus must be talented, rich, educated, and hard-working; magic is the most noble part of philosophy for Porta Magia bk.
Here, the attractive power a magnet exercises on iron is taken as a paradigm: the speculation is that all bodies have an inherent property to attract certain other bodies Copenhaver , According to Porta, these qualities are occult because their workings cannot be grasped by our intellect.
Yet he infers that occult properties derive from formal, not material causes—partly because a very small quantity of matter often may have an enormous effect Magia bk.
This erosion of boundaries easily leads to the assumption that the seemingly erratic movements of objects in the sublunar sphere are actually less random than they might appear, because they are governed by secret, divine principles. Centrally related are the doctrine of universal animation and the belief that the superior celestial influx is mirrored in material objects; these forces may be channeled at will into inferior creatures on earth.
Knowledge of such procedures allows the magician to exercise considerable power in ordering and disposing bodies to reveal new and amazing features. All things in the universal hierarchy of being are moved by the irrational forces of attraction and repulsion they feel for one another. Porta provides an impressive description of the macrocosmic animal, the male and female aspects of which mingle in a harmonious and well-coordinated way, which he expeditiously plagiarized Magia bk. At a deep level—and in a characteristic form of circular reasoning—the cosmology of natural magic thus depends on the workings of a decidedly erotic cosmology itself modeled on human forms of sexuality Kodera The principle of universal affective correlations formed the backbone of Renaissance natural magic in general.
Porta credits this doctrine to Empedocles Magia bk. The postulation of an affective structure permeating the whole of creation from top to bottom was vital to account for the phenomenon of action at a distance actio in distans , which Aristotle had expressly ruled out in his Physics 7.
A side effect of this universal connectedness of all things is that the world as a whole becomes animated Hankins A central topic for Porta is various technologies for attaining vision of the miraculous. He supplies numerous recipes for drugs and magical lamps designed to distort our perceptions, Magia bk. Works on Physiognomonics Physiognomonics, a proto- or pseudo-science on the rise in the sixteenth century, sought to identify the visible affinities between all physical things.
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