Giovanni Pico della Mirandola has been a beacon of progress in modern times, and the Oration on the Dignity of Man has been the engine of his fame. But he never wrote a speech about the dignity of man. The prince's speech announced quite different projects: persuading Christians to become Kabbalists in order to annihilate themselves in God; and convincing philosophers that their path to saving wisdom was concord rather than disputation. Pico della Mirandola On Trial: Heresy, Freedom, and Philosophy shows that Pico's work was in no way progressive - or 'humanist' - and that his main authorities were medieval clerics and theologians, not secular Renaissance intellectuals. The evidence is Pico's Apology, his self-defence against heresy charges: this public polemic reveals more about him than the famous speech that he never gave and that deliberately kept its message secret. The orator's method in the Oration was esoteric, but the defendant in the Apology made his case openly in a voice that was academic and belligerent, not prophetic or poetic. Since the middle of the last century, textbooks written for college students have promoted only one Pico, a hero of progressive humanism. But his Conclusions and Apology, products of late medieval culture, were in no way progressive. The grim scene of the Apology, his report on a battle for life and honor, was the proximate medieval past where human history was despised as the annals of sin. To understand Pico's universe of dismal expectations, our best guide is his Apology, based on lessons learned from medieval teachers.

"This volume contains Gianfrancesco Pico's Life of his uncle Giovanni Pico and also Giovanni's Oration. Gianfrancesco's Life opens a collection that omits Giovanni's Conclusions but includes the speech that we - unlike Pico - know as an Oration on the Dignity of Man. He wrote the Oration to introduce the Conclusions, but his nephew's editorial decision cut the theses off from the speech that their author had connected with them. Several times in the Oration, the orator mentioned "theorems" to be proposed in the Conclusions: he clearly saw the book and the speech as tools for the same task. Either Gianfrancesco missed his uncle's intentions, which seems unlikely, or he meant to seal off his other writings - including the Oration - from a book that he found embarrassing for himself and his relative and too risky to make public. This is the fact of the matter: Gianfrancesco left the Conclusions unpublished while publishing the Oration in a collection introduced by his Life. Both the speech and the biography are presented here, in this edition, in the same way - apart from the Conclusions: this reflects the situation in 1496 and respects Gianfrancesco's choice, even though his decision blocked understanding of the speech for many years. Today, with access to all the relevant texts in many versions, readers can move from one work to another as needed"--

Anthony Grafton explores the art and influence of an opaque historical figure: the magus, or learned magician. A distinctive intellectual type in Renaissance Europe, magi contributed to the humanistic currents of the time and had a transformative impact on public life, influencing advances in sculpture, painting, engineering, and other fields.

Pico della Mirandola On Trial uses Pico's Apology, his self-defence against heresy charges, to show that his work was in no way progressive - or 'humanist' - and that his main authorities were medieval clerics and theologians, not secular Renaissance intellectuals.

This groundbreaking book, the first to examine Milton's thinking about matter and substance throughout his entire poetic career, seeks to alter the prevailing critical view that Milton was a monist-materialist--one who believes that all things are composed of material and all phenomena (including consciousness) are the result of material interactions. Based on her close study of the philosophical movements of Milton's mind, Sugimura discovers the "fluid intermediaries" in his poetry that are neither strictly material nor immaterial. In doing so, Sugimura uses Paradise Lost as a fascinating window into the intersection of literature and philosophy, and of literary studies and intellectual history. Sugimura finds that Milton displays a tense and ambiguous relationship with the idealistic dualism of Plato and the materialism of Aristotle and she argues for a more nuanced interpretation of Milton's metaphysics.

An ardent treatise for the Dignity of Man, which elevates Humanism to a truly Christian level. This translation of Pico della Mirandola's famed "Oration," hitherto hidden away in anthologies, was prepared especially for Gateway Editions, making it available for the first time in a stand-alone volume. The youngest son of the Prince of Mirandola, Pico lived during the Renaissance, an era of change and philosophical ferment. The tenacity with which he clung to fundamental Christian teachings while crying out against his brilliant though half-pagan contemporaries made him exceptional in a time of exceptional men. While Pico, as Russell Kirk observes in his introduction, was an ardent spokesman for the "dignity of man," his devout nature elevated humanism to a truly Christian level, which makes his writing as pertinent today as it was in the fifteenth century.

This collection of essays explores the role of gardens in early modern academies and, conversely, the place of what might be called 'academic culture' in early modern gardens. While studies of botanical gardens have often focused on their association with a research institution, the intention of this book is deliberately broader, seeking to explore the interconnections between the built environment of the early modern garden and the more or less organised social and intellectual life it supported. As such, the book contributes to the intersection of several fields of research: garden history, literary history, architectural history and socio-political history, and considers the garden as a site of performance that requires an intermedial approach.

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The book is an analysis of the cultural and social functions of law, legal processes and legal rituals in late medieval Northern France. It is centered around a time and a place in which European law underwent some major transformations, from a plethora of local oral customs to a fairly coherent system of national, written customary law. In this process, law and legal procedures came to reflect a great variety of cultural traditions, ranging from popular perceptions of animals and the human body to learned ideas of Roman jurisprudence. Drawing upon wide-ranging sources: judicial, legal, literary and historical, Cohen analyzes the various influences upon the shaping of law as a cultural manifestation and its application as an actual system of justice.