Una riflessione, a 400 anni dalla morte di Giovan Battista Della Porta Napoletano, uno dei grandi geni del Rinascimento.

This special issue brings to the attention of the scholarly community some of the common features and some of the subtle, but important, differences between Francis Bacon's and Giovan Battista Della Porta's ways of dealing with the reading, selecting, enacting, and recording of recipes. Focusing on questions of genre, intellectual and material context, strategies of research, and strategies of performing recipes, the four papers of this special issue address two major issues. First, they shed new light (...) on the relationship between Della Porta's Magia naturalis and Francis Bacon's Sylva sylvarum. Second, they show that in the recording of their experimental practices, Bacon and Della Porta depart from the traditional “recipe format” and discover new avenues of experimental research. (shrink)

The relationship between Francis Bacon's Sylva sylvarum and Giovan Battista Della Porta's Magia naturalis has previously been discussed in terms of sources and borrowings in the literature. More recently, it has been suggested that one can read these two works as belonging to a common genre: as collections of recipes or books of secrets. Taking this as a framework, in this paper I address another type of similarity between these two works, one that can be detected (...) by looking at the methods of reading, research, and enacting and recording recipes one can find in Bacon and Della Porta. I show that essential to the two approaches was the complex interplay of practices associated with enacting recipes, and that these influenced the ways in which Della Porta and Bacon recorded their experiments. Creative manipulation of the recipes transformed them into something new. In the case of Della Porta's second edition of the Magia naturalis, this new format is something I call “technologies,” that is, ways of recording the enacting of recipes with the intention to ensure repeatability and predictability of results. In the case of Bacon, the enactment aims at something different: to display and “bring to light” the hidden motions and processes of nature. (shrink)

La fantasia popolare è stata sempre affascinata dalla possibilità che tra le pagine di antichi manoscritti si celassero arcani segreti, la cui rivelazione potesse conferire poteri occulti. Libri costati enormi sacrifici, che erano stati per i loro autori una ragione di vita e, al tempo stesso, la fonte di mille pericoli. La “Magia Naturalis” di Giovan Battista Della Porta fu uno dei testi più diffusi fra XVI e XVII secolo. Attorno ad esso ruotò per decenni un (...) ampio dibattito, che spaziava dalla magia alla scienza, dalla filosofia alla teologia. -/- Popular imagination has always been fascinated by the possibility that arcane secrets were hidden among the pages of ancient manuscripts, the revelation of which could confer occult powers. Books that required enormous sacrifices, which had been a reason for living for their authors and, at the same time, the source of a thousand dangers. Giovan Battista Della Porta's “Magia Naturalis” was one of the most widespread texts between the 16th and 17th centuries. A wide debate revolved around it for decades, ranging from magic to science, from philosophy to theology. (shrink)

This essay explores the history of the concept of _monstrum_ from Francis Bacon’s _Novum Organum_ to Athanasius Kircher’s _Mundus Subterraneaus_ (1664), as well as its relationship with the origins of science; as in the early modern age, the term _monstra_ is considered as a synonym for _mirabilia naturae_. The introductory part focuses on the difficult definition of “monster”, starting from Aristotle’s famous sentence in _De generatione animalium_: whoever does not looks like his parents, or whatever happens in a different way (...) from the “generality of cases”, is included within the category of the “monstrous”. Monster is a being, whose anomaly represents a warning; therefore, monsters may be considered as signs, susceptible of an allegorical, moral and even political interpretation. In another acceptation of the term, monsters may be considered as the privileged witnesses of the richness and fecundity of nature. In the second part, Bacon’s theory of monsters is exposed: they are classified as _instantiae deviantes_, within that interpretation of nature, through which the Lord Chancellor lays the epistemological foundations of the modern science. In the third, fourth and fifth parts, a taxonomy of monsters is given: at first, by means of the _cabinets des curiosités_, which flourished in sixteenth and seventeenth century Italy, from Naples to Rome, from Bologna to Milan, with famous collectors such as Ferrante Imperato, Ulisse Aldrovandi, Manfredo Settala, Athanasius Kircher; then, through the “books of secrets”, which are at the same time a new, successful literary genre and a way of thinking nature, an aspect of natural history. Among the “professors of secrets”, there are Giovan Battista Della Porta, Ambroise Paré, Leonardo Fioravanti, Jean Fernel, Pierre Borel, Kenelm Digby, and Athanasius Kircher, again, with some disciples of his, such as Kaspar Schott. Secrets of nature and _mirabilia naturae_ are finally compared: the classical list of _mirabilia_, from Pliny the Elder to Kircher, completes the taxonomy of monsters. The sixth and last part of this essay offers an explicative theory of monsters and prodigies: the marvels of nature are magnetic phenomena, which seem to imply a mysterious action at a distance. Such magnetic action can be accounted for on the basis of the Renaissance, Ficinian and Neoplatonic concept of spirit – conceived as the universal vehicle of occult sympathies and antipathies - and then through the seventeenth concepts of corpuscular effluvia, introduced by Pierre Gassendi in his _Physica_ (1658), and _sphaera activitatis_, produced by the effluvia which each body emits, and surrounding it. This sphere is the place when most of marvelous phenomena happen. (shrink)

The fascinating Journey of the Renaissance Medicine.

Un viaggio nell'arte medica del Rinascimento.

Pietro Pomponazzi.--Simnoe Porzio.--Maria d'Aragona marchesa del Vasto.--Andrea Cesalpino.--Giovan Battista de la Porta.--Giordano Bruno.--Tommaso Campanella.--Giulio Cesare Vanini.--Trajano Boccalini.

While the normative debate on European integration has addressed the importance of the construction of truly democratic institutions as well as the establishment of social rights at EU level, the role of progressive social movements has not been much debated. Building upon theorization and research in social movement studies, I argue that progressive social movements are indeed already contributing to the construction of European public spheres. Not one liberal (or bourgeois), public sphere but the proliferation of subaltern counterpublics could allow (...) for the participation of the excluded, giving them the possibility to make their political voice heard. Through different paths of Europeanization (in particular, domestication, externalization and transnationalization), progressive social movements have played an important role in the creation of a critical public sphere as, by contesting European institutions, they have contributed to make them (more) accountable, but have also developed collective identities at EU level and, with them, European public spheres. A main challenge is now to connect an emancipatory critical public to public institutions. (shrink)

Children’s sociocultural experiences in their day-to-day lives markedly play a key role in learning about the world. This study investigated parent–child teaching during early childhood as it naturally occurs in the home setting. Thirty-nine families’ naturalistic interactions in the home setting were observed; 1033 teaching sequences were identified based on detailed transcriptions of verbal and non-verbal behavior. Within these sequences, three domains of learning (knowledge, skills, and dispositions) and subtopics were identified and analyzed in relation to gender, child birth order, (...) context, teaching strategies, and learner response. Findings show knowledge, skills, and dispositions were taught equally, marked by the most prominent subtopics taught within each domain, including cognitive (skill), game rule (knowledge), and social rule (disposition). Further, mothers and fathers were found to teach their children equally, however, fathers taught knowledge more than mothers, whereas mothers taught dispositions more than fathers. Differences between domains of learning and subtopics also existed between mother’s and father’s teaching based on child birth order and gender. This study also assessed the contrast between teaching knowledge, skills, and dispositions by context, parent teaching strategies, and child learner response. Results support the notion that family interactions in the home setting set a stage for children’s rich informal learning experiences. Vygotskian sociocultural conceptions underpin this research and findings are discussed using this central theoretical lens. (shrink)

Central sensitization refers to the increased responsiveness of nociceptive neurons in the central nervous system after repeated or sustained peripheral nociceptor activation. It is hypothesized to play a key role in the development of chronic pain. A hallmark of central sensitization is an increased sensitivity to noxious mechanical stimuli extending beyond the injured location, known as secondary hyperalgesia. For its ability to modulate the transmission and the processing of nociceptive inputs, attention could constitute a promising target to prevent central sensitization (...) and the development of chronic pain. It was recently shown that the experimental induction of central sensitization at both forearms of healthy volunteers using bilateral high-frequency electrocutaneous stimulation (HFS), can be modulated by encouraging participants to selectively focus their attention to one arm, to the detriment of the other arm, resulting in a greater secondary hyperalgesia on the attended arm as compared to the unattended one. Given the potential value of the question being addressed, we conducted a preregistered replication study in a well-powered independent sample to assess the robustness of the effect, i.e., the modulatory role of spatial attention on the induction of central sensitization. This hypothesis was tested using a double-blind, within-subject design. Sixty-seven healthy volunteers performed a task that required focusing attention toward one forearm to discriminate innocuous vibrotactile stimuli while HFS was applied on both forearms simultaneously. Our results showed a significant increase in mechanical sensitivity directly and 20 min after HFS. However, in contrast to the previous study, we did not find a significant difference in the development of secondary hyperalgesia between the attended vs. unattended arms. Our results question whether spatial selective attention affects the development of secondary hyperalgesia. Alternatively, the non-replication could be because the bottom-up capture of attention caused by the HFS-mediated sensation was too strong in comparison to the top-down modulation exerted by the attentional task. In other words, the task was not engaging enough and the HFS pulses, including those on the unattended arm, were too salient to allow a selective focus on one arm and modulate nociceptive processing. (shrink)

According to the ancient commentaries, Iliad 21.195 was omitted by some sources, thereby making Acheloios, instead of Ocean, the origin of all waters, including the sea: the reasons for and the date of such a version of the text have been debated. In this paper 1 argue that the version without line 195 actually represents the earlier textual stage. This role of Acheloios is paralleled in the poem interpreted in the Derveni papyrus, and some features of Acheloios' cosmological function, as (...) well as his iconography, find interesting parallels in the Near East. As a 'cosmic' figure, Acheloios was in competition with Ocean, and is only rarely so represented in later preserved texts. His function as the origin of all fresh water and the source of all springs was more persistent, probably due also to his cultic role in Dodona: this, too, is probably reflected in another ancient variant for the text of Il. 16.234. (shrink)

The paper dealt with the control on political corruption in Italy, in particular with the reasons why most of the control mechanisms did not work for a long time, allowingfor the development of"tangentopoli". First of all, we briefly discussed the reasons why the controls ''from below"--that is, from citizens or electors--did not function in Italy: the pervasive occupation of the administration and the civil society by the political parties, as well as "secret" agreements between political parties in order to avoid (...) political scandals were discussed.The paper continued by analyzing two types of institutional control: the administrative controls and the judiciary controls. In the second part, we presented some main characteristics of the Italian public administration that hampered internal controls, the informal control of parties over the bureaucrats through clientelism and complicity in corruption being one among them. In the third part, we focused on the peculiar characteristics of a magistracy that enjoyed of a very high degree of format autonomy from the political power, but was "pushed" towards politics for reasons as different as complicity in corruption and the need to "substitute" for the weak policy making capacity of political parties. In the fourth part, we reviewed some reform bills to deal with the control of political corruption. (shrink)

This paper argues that Kepler considered his work in optics as part of natural philosophy and that, consequently, he aimed at change within natural philosophy. Back-to-back with John Schuster’s claim that Descartes’ optics should be considered as a natural philosophical appropriation of innovative results in the tradition of practical and mixed mathematics the central claim of my paper is that Kepler’s theory of optical imagery, developed in his Paralipomena ad Vitellionem (1604), was the result of a move similar to Descartes’ (...) by Kepler. My argument consists of three parts. First, Kepler borrowed a geometrical model and experiment of optical imagery from the mélange of mixed and practical mathematics provided in the works of the sixteenth-century mathematicians Ettore Ausonio and Giovanni Battista Della Porta. Second, Kepler criticized the Aristotelian theory of light and he developed his own alternative metaphysics. Third, Kepler used his natural philosophical assumptions about the nature of light to re-interpret the model of image formation taken from Della Porta’s work. Taken together, I portray Kepler’s theory of optical imagery as a natural philosophical appropriation of an innovative model of image formation developed in a sixteenth-century practical and mixed mathematical tradition which was not interested in questioning philosophical assumptions on the nature of light. (shrink)

Current attempts by historians of science to revise the narrative of the Scientific Revolution by using the concept of the Baroque have important implications for art history. Correspondences between baroque art and baroque science gain new complexity when the rational, epistemologically optimistic image of the New Science is put in doubt. Rather than a method of objective observation, early seventeenth‐century science and art share an acceptance of the constructed nature of reality, of human epistemological limitations and of the role of (...) passions in the observation of the world. While Caravaggio has revolutionised art precisely through his interest in questions of knowledge and sensorial perception and by his subversive transformation of Renaissance epistemological values and ideals, this article concentrates on the work of Jusepe de Ribera, who made the senses and their shortcomings a major theme of his pictorial research. Ribera's epistemology is examined in the context of contemporary Neapolitan philosophy and science. Through the confrontation of some of the Spagnoletto's paintings with the work of figures such as Giovanni Battista della Porta, Federico Cesi and particularly Colantonio Stigliola, it becomes clear that early modern Neapolitan faith in rational knowledge was more ambiguous than is sometimes assumed. (shrink)

SummaryThe Istituto e Museo di Storia della Scienza, Florence, Italy, possesses an astrolabe with five latitude plates that is now attributed to the Duisburg workshop of Gerard Mercator. Although it is known that Mercator made instruments, this is the first surviving example to be identified. Another latitude plate is shown to come from the workshop of the Florentine, Giovan Battista Giusti. A seventh plate, possibly engraved by Rumold Mercator, provides the only known Mercatorian polar stereographic projection. The (...) role of Egnazio Danti, cosmographer to the Grand Duke of Tuscany, in the acquisition of the astrolabe in about 1570 is considered. (shrink)

In questo lavoro si esplora la possibilità che l’inserzione dello sfruttamento umano all’interno del processo lavorativo e la conseguente apparizione sociale dell’uomo-merce abbiano lasciato tracce nell’opera di Dante. Si rintracciano così in una selezione di passi i problemi che questo processo impone alla nascente concezione dell’identità individuale e all’assunzione in una cornice ideologica ancora sacralizzata della distinzione fra ambito pubblico e ambito privato, che caratterizzerà il capitalismo fino a poche decadi fa.

Paolo Beni da Gubbio (1553-1625) has been studied almost exclusively for his literary and rhetorical production. However, he finds an important place among the scholars of the Renaissance who developed a novel reading of Plato as an alternative to the predominant exegesis of Ficino and his followers. His writings represent a prime example of the interplay between exegetical discussions (both of literary and philosophical texts) and the emerging sciences. In the unpublished part of his commentary on Plato’s "Timaeus", Beni discusses (...) Platonic natural philosophy – cosmology in particular – in the light of the interpretations of other authors as well as the new scientific theories, mostly in relation to the Paduan scientific circles. From Galileo’s correspondence with Giovan Battista Manso, we know that Beni weas well-informed about Galileo’s astronomical observations and discoveries at the beginning of 1610, which were soon published thereafter in the "Sidereus Nuncius". Further, we have information concerning Beni’s active role in the circulation of these observations. We wish to cast new light on the reception of these novelties by an advocate of the classical tradition such as Beni. Beni’s praise of the new discoveries is testified by his unedited commentary to the Ciceronian "Dream of Scipio" (1610-15), in which he criticizes the Aristiotelian cosmological model, referring to the newly invented telescope and referring to Galileo’s astronomical observations. Echoes of new scientific and cosmological theories appear also in Beni’s commentaries on Tasso’s "Delivered Jerusalem". (shrink)

SUMMARYThis essay considers a book that Giovan Battista Manso intended as a public gift to Philip IV of Spain. The book is Manso's Erocallia, published in Venice in 1628 with a dedication written by the author and addressed to the Spanish king. While the book ostensibly contains twelve dialogues on love and beauty, these subjects are treated as universal principles encompassing encyclopaedic spectra of knowledge. I wish to argue that the two prefatory letters, alongside the structure or ‘arrangement’ (...) of the book, contribute to its value as a gift text in accordance with Early Modern codes of patronage exchange. The letters included a dedicatory letter from the author to the king, and an additional letter to Manso from the poet Marino. They respectively praise Philip IV's providence and Manso's foundation of the Accademia degli Oziosi, while alluding to Manso's dependence on the king's good government without which the academy would not have been able to prosper. The use of Ramist methods in the arrangement of Erocallia further added to its value as an instantly recognisable demonstration of the encyclopaedic scope of the book's content, and thus a means of showing the king the fruits of his providence in Naples. (shrink)

Although the desirability for Italian princes and those who emulated their social practices to construct rooms specifically dedicated to the performance of music was specified by Paolo Cortesi in his treatise De cardinalatu at the beginning of the sixteenth century, the identification of these dedicated spaces and in particular of the repertories performed within them is fraught with difficulty. Beginning with Isabella d'Este's various studioli, this chapter considers what can be reconstructed about the provision of such rooms within the ducal (...) palace in Mantua. In so doing, it draws upon inventories, archival documents and the iconography of a number of decorative schemes, finishing with the work of the architect Giovan Battista Bertani, to suggest what can be determined about the shape and internal disposition of the rooms themselves. (shrink)