Behind the playfulness and the self-irony, Ennod. carm. II 67 = 188 V. is a complex metaliterary epigram, in which the future bishop of Pavia represents himself as writing poems in the backyard of his villa during grape harvesting. A detailed commentary and an analysis of the ideological elements scattered in the five elegiac couplets show that the text is a self-portrait of Ennodius in the attitude of a heathen poet, and that it was perhaps intended as a closure poem for his own collection of secular poetry .
The geometry section (chapters 5-8) of the so-called Fragmentum Censorini (date of composition unknown) is a faithful translation of the definitions (ὅροι), of the postulates (αἰτήματα) and of the common notions (κοιναὶ ἔννοιαι) of Book I of the Elements written by the Greek mathematician Euclid (IV-III B.C.). Within the Latin tradition, numerous translations, spanning several centuries (from the 1st to the 6th ) and directly or indirectly connected to Euclid, do survive. This contribution is a critical edition of the Fragmentum; it also includes an essay where the connections which can be established with the tradition of Euclides Latinus are scrutinized and assessed.
The contribution examines some manuscripts and printed editions that transmit carmina of the neo-Latin poet Jerome Amalteo (s. XVI): these witnesses are independent of each other. Between them, the manuscript Marc. Lat. XII 250 (11878) has special significance: it transmits an autograph anthology of poems still unpublished. Jerome’s carmina are characterized by considerable variants that are the result of a revision of the text made by the author himself.