Works
Alsted is now remembered as an encyclopedist, and for his millennarian views. His approach to the encyclopedia took two decades of preliminaries, and was an effort of integration of tools and theories to hand.
In 1609 Alsted published Clavis artis Lullianae. He published the Artificium perorandi of Giordano Bruno in 1610; and in the same year the Panacea philosophica, an attempt to find the common ground in the work of Aristotle, Raymond Lull, and Petrus Ramus. In 1612 Alsted edited the Explanatio of Bernard de Lavinheta, a Lullist work. In 1613 he published an edition of the Systema systematum of Bartholomäus Keckermann. Theologia naturalis (1615) was an apologetical work of natural theology.
- Clavis artis lullianae (1609).
- Panacea philosophica (1610).
- Metaphysica, tribus libris tractata (1613).
- Methodus admirandorum mathematicorum completens novem libris matheseos universae (1613).
- Theologia naturalis (1615).
- Encyclopaedia septem tomis distincta: 1. Praecognita disciplinarum; 2. Philologia; 3. Philosophia theoretica; 4. Philosophia practica; 5. Tres superiores facultates; 6. Artes mechanicae; 7. Farragines disciplinarum (1630).
Read more about this topic: Johann Heinrich Alsted
Famous quotes containing the word works:
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We sew, sew, prick our fingers, dull our sight,
Producing what? A pair of slippers, sir,
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Or else at best, a cushion, where you lean
And sleep, and dream of something we are not,
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This hurts most, this ... that, after all, we are paid
The worth of our work, perhaps.”
—Elizabeth Barrett Browning (1806–1861)
“A creative writer must study carefully the works of his rivals, including the Almighty. He must possess the inborn capacity not only of recombining but of re-creating the given world. In order to do this adequately, avoiding duplication of labor, the artist should know the given world.”
—Vladimir Nabokov (1899–1977)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)