‎Robert Harris‎
‎Enigma‎

‎Opus circa speculare enigma universi‎

‎, Brepols, 2024 Hardback, liii + 89 pages, Size:155 x 245 mm, Illustrations:6 col., 1 tables b/w., Language(s):Latin, Spanish. ISBN 9782503610535.‎

‎Summary Although he has not yet been widely studied, Heymericus de Campo - Heymeric van den Velde - (1395-1460) played a role of some importance among the philosophers of the 15th century. He worked as a Master of Arts at the University of Cologne, where he was the main representative of the followers of Albertus Magnus (Scola Albertistarum), as member of the Bursa Laurentiana. He subsequently became a professor of theology and rector of the University of Louvain in 1435. The Opus circa speculare enigma universi corresponds to this final period of his career. In this treatise, Heymericus presents a diagram that represents the principles of universal knowledge. The so-called enigma universi constitutes, according to Heymericus, a certain ?exemplar, paradigm or visible mirror image of the archetypal world.? Although it does not contain any illustration, the entire work is concerned with a detailed description and interpretation of the enigma. It is a geometric image composed of four circles and four concentric triangles, colored in blue, green, red and black on a white background, through which the human intellect is able to reflect its intellectual knowledge on sense and imagination. Aunque su obra a n no ha sido ampliamente estudiada, Heymerico de Campo -Heymeric van den Velde- (1395-1460) tuvo un papel relevante entre los fil sofos del siglo XV. Trabaj como Maestro en Artes en la Universidad de Colonia, donde fue el principal representante de la Scola Albertistarum, la llamada Bursa Laurentiana. Despu s de lo cual se convirti en profesor de teolog a y rector de la Universidad de Lovaina en 1435. El Opus circa especulare enigma uniuersi corresponde a este ltimo per odo de su carrera. En esta obra Heymerico describe un diagrama que representa los principios del conocimiento universal. De hecho, el llamado enigma uniuersi, del que trata la obra, constituye, seg n Heymerico, cierto ?ejemplo, paradigma o imagen especular visible del mundo arquet pico?. Aunque no contiene ninguna ilustraci n, toda la obra se ocupa de una interpretaci n detallada del enigma. Se trata de una imagen geom trica compuesta por cuatro c rculos y cuatro tri ngulos conc ntricos, coloreados en azul, verde, rojo y negro sobre un fondo blanco, a trav s de la cual el intelecto humano debe poder reflejar su conocimiento intelectual en los sentidos y la imaginaci n. TABLE OF CONTENTS Introducci n Bibliograf a Heymericus de Campo ? Opus circa speculare enigma uniuersi ? ed. M.C. Rusconi Indices Index locorum S. Scripturae Index fontium‎

‎Series: Enigma 3 books. In Russian /Seriya: Enigma 3 knigi.‎

‎Series: Enigma 3 books. In Russian /Seriya: Enigma 3 knigi. Miracles, Mysteries, Phenomenons, Magic. M. The World of Books 2007-2008. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalb2d65e5eef48f6866.‎

‎Churchhouse Robert. Codes and ciphers. Julius Caesar, Enigma and the Internet.‎

‎Churchhouse Robert. Codes and ciphers. Julius Caesar, Enigma and the Internet. In Russian /Cherchkhaus Robert. Kody i shifry. Yuliy Tsezar, Enigma i Internet. M. Worldwide. 2005. 320s. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalba2194bb7bc15a215.‎

‎Karel van Wolferen. The Enigma of Japanese Power: People and Politics in a Stat‎

‎Karel van Wolferen. The Enigma of Japanese Power: People and Politics in a Stateless Nation. In English /Karel van Wolferen. The Enigma of Japanese Power: People and Politics in a Stateless Nation. Vintage 1990. 504s. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalb47c8755156d0154c.‎

‎Renaissance Venice, Islam and Mahmud the Kurd a metalworking enigma‎

‎Auld, Sylvia: Renaissance Venice, Islam and Mahmud the Kurd a metalworking enigma. London: Altajir World of Islam Trust, 2004. 350pp with 210 monochrome illustrations. Cloth. 26.8x20.7cms. The name of Mahmud the Kurd (probably an itinerant master craftsman working in the second half of the 15th century) has been found on ten small, domestic objects of brass. All are exquisitely worked with intricate arabesques. On one, his signature appears in two forms in Arabic (or Persian), and in transliterated Roman script. Why? For whom was he working, and where? These are the questions which this book tries to answer. The widespread links between Renaissance Europe and Islam, which emerge as part of the trail, may come as a surprise to some readers. The objects listed in this book are not only fascinating in themselves but can be seen as a microcosm of the international exchanges and excursions of the period. Later, in 19th-century Europe, it was even assumed that Mahmud (and others working in the same style) were employed in Venice . This seems improbable following research in the archives, but so far no satisfactory explanation has been offered for Mahmud's double-language signature. Close examination of the objects shows that there are in fact three distinct styles. In the 15th century, against a backdrop of diplomatic intrigue in the face of Ottoman victories, Venice promoted links with their rivals, the Turcoman 'White Sheep' dynasty, whose capital then was at Tabriz . This explains a Persian element in the decorative detail of the first stylistic group. Some of the objects of a second group include a European shield as part of their decoration. Despite renewed papal bans, European trade with Islam continued unabated in the Eastern Mediterranean; Venice was the prime port for this commercial activity, and this accounts for the appearance of this second, Mamluk, group. The admiration in Europe and more particularly in Italy for the high quality of Islamic inlaid work explains the details of a third, western, group. Men like Benvenuto Cellini not only set out to emulate this technique, which they called 'azzimina, but to prove that they could do better.‎

‎The name of Mahmud the Kurd (probably an itinerant master craftsman working in the second half of the 15th century) has been found on ten small, domestic objects of brass. All are exquisitely worked with intricate arabesques. On one, his signature appears in two forms in Arabic (or Persian), and in transliterated Roman script. Why? For whom was he working, and where? These are the questions which this book tries to answer. The widespread links between Renaissance Europe and Islam, which emerge as part of the trail, may come as a surprise to some readers. The objects listed in this book are not only fascinating in themselves but can be seen as a microcosm of the international exchanges and excursions of the period. Later, in 19th-century Europe, it was even assumed that Mahmud (and others working in the same style) were employed in Venice . This seems improbable following research in the archives, but so far no satisfactory explanation has been offered for Mahmudâs double-language signature. Close examination of the objects shows that there are in fact three distinct styles. In the 15th century, against a backdrop of diplomatic intrigue in the face of Ottoman victories, Venice promoted links with their rivals, the Turcoman âWhite Sheepâ dynasty, whose capital then was at Tabriz . This explains a Persian element in the decorative detail of the first stylistic group. Some of the objects of a second group include a European shield as part of their decoration. Despite renewed papal bans, European trade with Islam continued unabated in the Eastern Mediterranean; Venice was the prime port for this commercial activity, and this accounts for the appearance of this second, Mamluk, group. The admiration in Europe and more particularly in Italy for the high quality of Islamic inlaid work explains the details of a third, western, group. Men like Benvenuto Cellini not only set out to emulate this technique, which they called âazzimina, but to prove that they could do better. Text in English‎