Guido Del Giudice

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.

La Cappella Carafa di Santa Severina, nella chiesa di San Domenico Maggiore a Napoli, era uno dei luoghi preferiti della giovinezza di Giordano Bruno. La sua struttura, che ricorda il teatro di Giulio Camillo, e la presenza di trenta simboli astrologici scolpiti sugli archi, la rendono la “stanza della memoria” ideale per l’applicazione dell’innovativa arte della memoria sviluppata dal filosofo Nolano. The ‘memory place’ of Giordano Bruno. The Carafa of Santa Severina Chapel in the church of San Domenico Maggiore, Naples, was one of the favourite places of Giordano Bruno’s youth. Its structure, similar to that of Giulio Camillo’s theatre, and the presence of thirty astrological symbols carved on the arches, make it the ideal ‘memory place’ for the application of the innovative ‘art of memory’ developed by the philosopher.

L’articolo si propone di chiarire uno dei punti oscuri della biografia di Giordano Bruno. Nel 1571 il Capitolo generale dei Domenicani di Roma lo assegnò come studente formale allo Studio di Andria. Secondo i suoi più importanti biografi, il Nolano non ci sarebbe mai andato. Attraverso l’accurata analisi dei documenti relativi al corso di studi, e il riscontro delle citazioni contenute in alcune opere, l’ipotesi che Bruno abbia soggiornato ad Andria per circa un anno appare, invece, estremamente probabile. The article tries to clarify one of the obscure points of Giordano Bruno’s biography. In 1571 the General Chapter of the Dominicans in Rome assigned him, as a formal student, to the Study of Andria. According to his most important biographers, the Nolan never went there. However, through the careful analysis of the documents relating to his course of studies, and the comparison of the quotations contained in some of his works, the hypothesis that Bruno stayed in Andria for about a year appears extremely probable.

Quando la biblioteca diventa un confessionale. Nel 1585, Giordano Bruno ritorna a Parigi dopo il soggiorno londinese, e comincia a frequentare l’abbazia di Saint Victor, famosa per la sua ” libraria “, immortalata da Rabelais. Il bibliotecario, Guillaume Cotin, trasforma lo “scriptorium” in un confessionale, dove il filosofo dà libero sfogo ai suoi ricordi e al suo impetuoso carattere. When the library becomes a confessional. In 1585, Giordano Bruno, returns to Paris after his stay in London, and begins to attend the abbey of Saint Victor, famous for his library, immortalized by Rabelais. The librarian, Guillaume Cotin, transforms the scriptorium into a confessional, where the philosopher gives free rein to his memories and his impetuous character.

In occasione del bimillenario della morte del poeta latino Ovidio, l’articolo analizza l’influenza del poema delle Metamorfosi come fonte primaria di Giordano Bruno. L’esposizione della dottrina pitagorica, esposta nel libro XV del poema, si adatta perfettamente all’ontologia del Nolano e alla sua fede nella metempsicosi. In particolare il mito di Diana e Atteone viene adottato dal filosofo, nel De gl’Heroici furori, come ideale rappresentazione della propria esperienza conoscitiva. La tormentosa vicenda del cacciatore Atteone, tramutato in cervo per aver sorpreso la Diana nuda, simboleggia in Bruno il passaggio dall’amore profano a quello divino. On the occasion of the two thousandth anniversary of the death of the Latin poet Ovid, the article analyzes the influence of the poem of the Metamorphoses as a primary source of Giordano Bruno. The exposition of the Pythagorean doctrine, contained in the XV book of the poem, fits perfectly with the ontology of the Nolan and his faith in metempsychosis. In particular, the myth of Diana and Actaeon is adopted by the philosopher, in De gl'Heroici furori, as an ideal representation of his own cognitive experience. The tormenting story of the hunter Atteone, turned into a deer for having surprised the “naked Diana”, symbolizes in Bruno the passage from the profane love to the divine one.

The article presents another of those ingenious mind, rebels to the yoke of religion, typical of the Italian Renaissance. Converted to Calvinism and therefore condemned to death by the Inquisition, Guglielmo Grataroli (1516-1568) became a defender of heterodox doctrine. His translation of a report of the Waldensian massacre in Calabria became part of the history of Protestant martyrs. He was the author of numerous treatises on various subjects, for which he widely used the works of Giovanni Michele Alberto da Carrara, Antoine Mizauld and Gerolamo Cardano. The perfect correspondence of the topics discussed makes it probable that Giordano Bruno knew his writings. In particular, the De mutatione temporum, eiusque signis perpetuis may have inspired the De’ segni de’ tempi, a Bruno’s lost opera. This allows us to conjecture the content of the work with greater reliability.

Regarding the influence of François Rabelais on the Giordano Bruno‟s works, up to now the criticism have only taken into consideration the lexical and thematic analogies. This article individualizes, in a passage of the Oratio Valedictoria, a literal quotation from the Gargantua et Pantagruel, showing that Rabelais was a direct source of inspiration for Bruno. The protagonist of the passage is the pythagorean Apollonius of Tyana, a character well known by the Nolan, who mentioned him in many occasions. He represents the ideal medium with the oriental wisdom, that had so much influence on the thought of Bruno. Besides, he embodies the model of the "natural magician" in which the philosopher repeatedly identified himself, both in his works and life.