Fundamentals of Arithmetic; Fundamentals of Music

VI PREFACE.

however, if it could be read, the palimpsest codex of Verona 38—in which Blume 6). Explanations of the Writings of the Roman Land Surveyors, p. 65, note 114. thinks the true Boethius lies hidden—would immediately settle. The most illustrious patron of mathematical studies, Boncompagni, most kindly and generously arranged for that codex to be examined with the greatest diligence, but it was found to be so difficult to read that, apart from very few words, nothing could be transcribed from it. Therefore, until either sharper eyes (which I can hardly believe) or more advanced technology (which no one will deny could happen) bring into common use what Blume investigated, nothing remains but for the work that is circulated as the geometry of Boethius to be edited. The places which I cited on page 434 under the word ars art testify that the author named this the geometric art. Although this work is of almost no value in itself, it became of the greatest moment for arithmetical matters because of the ancient traces of those signs—which, as far as we know, exist in our literature—by which we now describe numbers. Therefore, I devoted every effort to using the Chartres codex myself, but it could not be done, as the laws did not allow that codex to be sent to me from France.

Regarding the manuscripts I used, I have added explanations of the notes to each individual work. I studied with the utmost care to edit not only the writings of the true Boethius but also the true form of his writing. Therefore, the titles of the chapters, which it is highly unlikely Boethius wrote, had to be omitted. Yet, since they provide an easier overview of the works, I decided they should be published in smaller letters.