Galenism, a rational, coherent medical system embracing all health and disease related matters, was the dominant medical doctrine in the Latin West during the Middle Ages and the Renaissance. Deriving from the medical and philosophical views of Galen (129-c.210/6) as well as from his clinical practice, Latin Galenism had its origins in 12th-century Salerno and was constructed from the cultural exchanges between the Arabic and Christian worlds. It flourished all over Europe, following the patterns of expansion of the university system during the subsequent centuries and was a major factor in shaping the healing systems of the Christian, Jewish and Muslim communities - the subject of a previous volume by Professor García-Ballester. The present collection deals with a wide array of issues regarding the historical Galen and late medieval and Renaissance Galenism, but focuses in particular on the relationship between theory and practice. It includes first English versions of two major studies originally published in Spanish.

Twenty-seven authors approach the diverse areas of the cultural, religious, and social life of the twelfth century. These essays form a basic resource for all interested in this pivotal century. A reprint of the first edition first published in 1982.

Gives accurate and reliable summaries of the current state of research. It includes entries on philosophers, problems, terms, historical periods, subjects and the cultural context of Renaissance Philosophy. Furthermore, it covers Latin, Arabic, Jewish, Byzantine and vernacular philosophy, and includes entries on the cross-fertilization of these philosophical traditions. A unique feature of this encyclopedia is that it does not aim to define what Renaissance philosophy is, rather simply to cover the philosophy of the period between 1300 and 1650.

Authored by some of the most preeminent Renaissance scholars active today, the essays of this volume give fresh and illuminating analyses of important aspects of Renaissance humanism, such as the time and causes of its origin, its connection to the papal court and medieval traditions, its classical learning, its religious and literary dimensions, and its dramatis personae. Their interpretations are varied to the point of being contradictory. The essays bear the imprint of the work of the eminent scholars of the second half of the twentieth century, especially Kristeller’s, and demonstrate an awareness of the various modes of critical inquiry that have prevailed in recent years. As such they are an important exemplar of current scholarship on Renaissance humanism and are, therefore, indispensable to the scholar who wishes to explore this pivotal cultural movement. Contributors include: Robert Black, Alison Brown, Riccardo Fubini, Paul F. Grendler, James Hankins, Eckhard Kessler, Arthur F. Kinney, Angelo Mazzocco, Giuseppe Mazzotta, Massimo Miglio, John Monfasani, Charles G. Nauert, and Ronald G. Witt.

Even if specific pieces of research (on the sources or on individual authors, such as Pico, Agrippa, Erasmus, Montaigne, Sanches etc.) have given and are still producing significant results on Renaissance scepticism, an overall synthesis comprising the entire period has not been achieved yet. No predetermined idea of that complex historical subject that is Renaissance scepticism underlies this book, and we want to sacrifice the complexity of movements, personalities, tendencies and interpretations to any sort of a priori unity of theme even less. We acknowledge unhesitatingly that we had always thought of “scepticisms” in the plural, and believe that the different contexts (philosophical, religious, cultural) in which these forms grew up must also be taken into account. Furthermore, given the transversal nature and provocative character of the sceptical challenge, this book contains essays also on philosophers who, without being sceptics and sometimes engaged in fighting scepticism, nevertheless took up its challenge. The main authors considered in this book are: Vives, Castellio, Agrippa, Pedro de Valencia, Pico, Sanchez, Montaigne, Charron, Bruno, Bacon, and Campanella. The various essays in the book show the relevance of the philosophical thought of authors little known by the general public and put in new perspective important aspects of the thought of some of the great thinkers of the Renaissance.

Wounds were a potent signifier reaching across all aspects of life in Europe in the middle ages, and their representation, perception and treatment is the focus of this volume. Following a survey of the history of medical wound treatment in the middle ages, paired chapters explore key themes situating wounds within the context of religious belief, writing on medicine, status and identity, and surgical practice. The final chapter reviews the history of medieval wounding through the modern imagination. Adopting an innovative approach to the subject, this book will appeal to all those interested in how past societies regarded health, disease and healing and will improve knowledge of not only the practice of medicine in the past, but also of the ethical, religious and cultural dimensions structuring that practice.

Because of their spectacular, naturalistic pictures of plants and the human body, Leonhart Fuchs’s De historia stirpium and Andreas Vesalius’s De humani corporis fabrica are landmark publications in the history of the printed book. But as Picturing the Book of Nature makes clear, they do more than bear witness to the development of book publishing during the Renaissance and to the prominence attained by the fields of medical botany and anatomy in European medicine. Sachiko Kusukawa examines these texts, as well as Conrad Gessner’s unpublished Historia plantarum, and demonstrates how their illustrations were integral to the emergence of a new type of argument during this period—a visual argument for the scientific study of nature. To set the stage, Kusukawa begins with a survey of the technical, financial, artistic, and political conditions that governed the production of printed books during the Renaissance. It was during the first half of the sixteenth century that learned authors began using images in their research and writing, but because the technology was so new, there was a great deal of variety of thought—and often disagreement—about exactly what images could do: how they should be used, what degree of authority should be attributed to them, which graphic elements were bearers of that authority, and what sorts of truths images could and did encode. Kusukawa investigates the works of Fuchs, Gessner, and Vesalius in light of these debates, scrutinizing the scientists’ treatment of illustrations and tracing their motivation for including them in their works. What results is a fascinating and original study of the visual dimension of scientific knowledge in the sixteenth century.