Section structure

Each Form occupies a short rubric-paragraph (typically 8-15 lines of densely abbreviated Latin). The standard rubric pattern is:

Quaeritur quid est X. Quare est X. Et reddendum est de eo per [forma/modum/principium] X. Et per modum X applicatio Y. Quare X significat Z. Vide capitulum N.

Translation pattern:

"It is asked: what is X? Why is it X? And it must be answered concerning it through the [form/mode/principle] of X. And through the mode of X [there is] the application Y. Why X signifies Z. See chapter N."

Each rubric closes with a paragraph-reference back into the body of the work where the Form is treated at length. The Hundred Forms thus function as a dispatch table — the reader who wants to know about materia turns to chapter 13; about causa finalis turns to chapter 26; etc.

Complete inventory of Forms 16-100 with page locations

The first 15 Forms appear on pp.257-259 and are documented in the previous file (page_236_to_259_quaestiones_per_subiectum.md). Forms 16-100 fall in this range. The numbering below is editorial (Lavinheta does not number them 1-100 explicitly; the order is fixed by physical sequence).

Forms 16-30 — Relational and Accidental forms (page 260)

#	Form	Latin	English	Lavinheta rubric pos.
16	Relatio	De questionibus relationis	Relation	p.260 top-left
17	Actio	De questionibus actionis	Action	p.260
18	Passio	De questionibus passionis	Passion / Undergoing	p.260
19	Habitus	De questionibus habitus	Habit / State	p.260
20	Situs	De questionibus situs	Position / Posture	p.260
21	Tempus	De questionibus temporis	Time	p.260
22	Locus	De questionibus loci	Place	p.260
23	Motus	De questionibus motus	Motion	p.260
24	Immobilitas	De questionibus immobilitatis	Immobility / Rest	p.260
25	Instinctus naturalis	De questionibus instinctus naturalis	Natural instinct	p.260 bottom
26	Appetitus naturalis	De questionibus appetitus naturalis	Natural appetite	p.261 top-left
27	Attractio	De questionibus attractionis	Attraction	p.261
28	Receptio	De questionibus receptionis	Reception	p.261
29	Phantasia	De questionibus fantasiae	Fantasy / Phantasm-making	p.261 lower
30	Plenitudo	De questionibus plenitudinis	Plenitude / Fullness	p.261 right

Forms 16-22 reproduce eight of Aristotle's ten categories (Llull has already covered Substance and Quantity earlier in the Forms list and in Rule F). Forms 23-25 (Motion, Immobility, Instinct) move into physics: the principles of motion in the natural world. Forms 26-30 (Appetite, Attraction, Reception, Phantasy, Plenitude) are the psychological / dispositional primitives that Aquinas (in the Summa I-II) treats as the inner powers of the soul.

High-significance Form: 26 — Appetitus naturalis

Appetitus quid est? Et quare est? Appetitus naturalis quibusdam principiis applicabilis est: ut applicari potest ¶ quare appetitus generaliter pendet a principiis et quibus principia generaliter [...]. Appetitus enim sequitur naturam: per quod efficitur quaecumque res appetit suam servationem.

Translation:

"What is appetite? And why is it? Natural appetite is applicable to certain principles, in that it can be applied [through them]… for appetite in general depends upon the principles, and from which principles it generally [proceeds]… For appetite follows nature, through which it is brought about that every thing seeks its own preservation."

This is the classical-medieval doctrine of conatus essendi — every entity has a natural appetite for its own continuance — which would resurface, transformed, in Spinoza's Ethics IV. Llull traces it to Rule E (Quare, final cause).

Forms 31-45 — Specifying / pattern-forming forms (pp.262-263)

#	Form	Latin	English	Pos.
31	Diffusio	De questionibus diffusionis	Diffusion / Spreading	p.261 right-lower
32	Digestio	De questionibus digestionis	Digestion	p.261 bottom-right
33	Expulsio	De questionibus expulsionis	Expulsion	p.262 top-left
34	Significatio	De questionibus significationis	Signification / Semiotic act	p.262 lower-left
35	Pulchritudo	De questionibus pulchritudinis	Beauty	p.262 bottom-left
36	Novitas	De questionibus novitatis	Novelty	p.262 right
37	Idea	De questionibus ydee	Idea	p.262 lower-right
38	Mathematica	De questionibus mathematicae	Mathematics (as a generic form, not the discipline)	p.262 bottom-right
39	Ens-in-potentia	De questionibus entis in potentia	Being-in-potency	p.263 top-left
40	Punctualitas	De questionibus punctualitatis	Punctuality / Point-ness	p.263
41	Linea	De questionibus lineae	Line	p.263
42	Triangulus	De questionibus trianguli	Triangle	p.263
43	Quadrangulus	De questionibus quadranguli	Quadrangle	p.263 right
44	Circulus	De questionibus circuli	Circle	p.263 right
45	Corporeitas	De questionibus corporeitatis	Corporeity / Embodiment	p.263 right

High-significance Form: 34 — Significatio

Significatio quid est? Et quare est? Significatio quibus principiis est applicabilis? Significatio est diffinitio quibus principiis est applicabilis vel evacuatur sive concretur per attractum [...].

Translation:

"What is signification? And why is it? To which principles is signification applicable? Signification is a definition [predicated] of those principles to which it is applicable, or [it is] evacuated and concretized through what is drawn out…"

A startlingly modern entry. Llull asks the semiotic question — what is a sign? — and answers it categorically, treating signification as a primary form on par with motion, time, and substance. This is the medieval ancestor of Peirce's three-fold semiotic and the modern analytic theory of meaning.

High-significance Form: 37 — Idea

Idea quid est? Et est sua diffinitio: quibus principiis est applicabilis [...] ¶ Idea effectus per impedit ipsam. Utrum idea sit principium causarum agentium et terminantium et conservantium ipsum. ¶ Utrum sit aliqua significatio sui aut sit aliqua significatio per quam idea sui sit cognoscibilis aut significabilis cuius sit existere universalis [...].

Translation:

"What is idea? And what is its definition: to which principles is it applicable? … An idea — does the effect impede it [the idea]? Whether the idea is the principle of the agent-causes and the terminating- and conserving-causes of [the thing] itself. Whether some signification of it exists, or whether some signification exists through which the idea of it can be known or signified — [an idea] of which the universal exists…"

The Lullian doctrine of idea — clearly Augustinian-Platonic in inspiration — is that ideas are the causal principles of agent-, terminating-, and conserving-causes of the things they are ideas of. Ideas, in this view, are not merely mental contents but active causal principles. This sits between Augustine (ideas as divine archetypes) and Aquinas (ideas as the exemplaria in the divine mind) and shows Llull's strong realist commitments about universals.

High-significance Form: 38 — Mathematica (as Form, not discipline)

Mathematica quid est? Et quare est? Mathematica est nuncia signans diffinitionem ydee a qua proprie diffinitio sit applicata. Quare mathematica est extra correlationem sed in [...] sive [...]. Mathematica est essentia mathematica universalis cum ipsa intellectualis abstrahendo per illud quod sit a sensibilibus quia sensus non intellectus capit illius corpus possidet [...]. Mathematica habet infinitum credibilius est ad solutionem vide capitulum mathematicae.

Translation (smoothed):

"What is mathematics [as a form]? And why is it? Mathematics is the messenger that signifies the definition of an idea from which the definition itself, properly, is applied. Wherefore mathematics stands outside the correlation — but in [the intellectual realm], or [in the abstract realm]… Mathematics is the universal mathematical essence [grasped] by the intellect through abstracting from sensibles — because sense, not intellect, grasps the body that it [the body] possesses. Mathematics has the infinite-credible aspect [as its property] — for the resolution see the chapter on mathematics."

This entry is one of the most striking in the Hundred Forms. Llull treats Mathematica as a metaphysical Form, not merely as a discipline. Mathematics is the nuncia — the messenger, the announcing-form — that mediates between idea and definition. It is the abstract structure that ideas have qua ideas, prior to their incarnation in physical things. The infinite-credible aspect (infinitum credibilius) is striking too: mathematics admits of infinite extension because its essence is not bounded by the senses.

Forms 40-44: The geometric primitives — Punctum, Linea, Triangulus, Quadrangulus, Circulus

These five forms (page 263) constitute Llull's explicit geometric inventory: the five primitive figures of plane geometry, each treated as a Form in its own right.

Form 40 — Punctualitas quid est? Et quare? Punctum est in sensitivo: et anima rationali attingit ipsum: cum sit sensibile et imaginabile et intelligibile. Punctum naturale [...].

"What is punctuality (point-ness)? Why is it? The point exists in the sensitive [order], and the rational soul reaches it — since it is sensible and imaginable and intelligible. The natural point…"

Llull's account: the point is triply present — sensible (as the limit of a visible thing), imaginable (as a phantasm), and intelligible (as a categorial). This three-fold-presence is the medieval ancestor of Frege's sense-reference distinction as applied to the geometrical primitives.

The triangle (Form 42) and the circle (Form 44) each get extended treatment because of their diagrammatic role in the Art itself — the Triangle T is one of the four Figures, and the circles of Figura A and Figura Quarta are the rotating-disks of the combinatorial machine. Llull is here doing figure-on-figure self-reference: the Triangle as Form 42 of the Centum Formae is the same Triangle that is Figure T of the Art's apparatus.

Forms 46-60 — Visual / phenomenal forms + theological providence (pages 264-265)

#	Form	Latin	English	Pos.
46	Figura	De questionibus figurae	Figure / Shape	p.263 right-bottom
47	Generalium rectitudinum	De questionibus generalium rectitudinum	General right-angles / Rectitudes	p.264 top-left
48	Monstruositas	De questionibus monstruositatis	Monstrosity / Anomaly	p.264
49	Derivationes	De questionibus derivationum	Derivations	p.264
50	Umbra	De questionibus umbrae	Shadow	p.264
51	Speculum	De questionibus speculi	Mirror	p.264 right
52	Color	De questionibus coloris et colorati	Color and colored thing	p.264 right
53	Proportio	De questionibus proportionis et proportionati	Proportion and proportioned thing	p.264 bottom
54	Dispositio	De questionibus dispositionis et dispositi	Disposition and disposed thing	p.265 top-left
55	Creatio	De questionibus creationis et creati	Creation and creature	p.265 top-right
56	Predestinatio	De questionibus predestinationis	Predestination	p.265
57	Misericordia	De questionibus misericordiae	Mercy	p.265
58	Necessitas	De questionibus necessitatis	Necessity	p.265 bottom
59	Fortuna	De questionibus fortunae et fortunati	Fortune and the fortunate	p.266 top-left
60	Ordinatio	De questionibus ordinationis et ordinati	Ordering and the ordered	p.266

High-significance Form: 48 — Monstruositas

Monstruositas quid est? Utrum monstruositas sit divinitus permissa: vel utrum sit naturalis vel praeter naturam. Utrum monstruositas sit per substantiam aut per accidens. Quare monstruositates sint particulares et utrum sint propter peccatum. ¶ Adhuc sit utrum monstruositas sit a cuius habitudine: vide caput de monstruositate.

Translation:

"What is monstrosity? Whether monstrosity is permitted by God; or whether it is natural or beyond nature. Whether monstrosity is by substance or by accident. Why monstrosities are particular [not universal], and whether they exist on account of sin. … Moreover, of what habituation/disposition is monstrosity? — see the chapter on monstrosity."

Llull treats anomaly as a first-class metaphysical form. The question "is monstrosity by substance or by accident" is the medieval boundary problem: does a deformed thing have a defective substantial form, or does it have the normal substantial form plus accidental defects? The resolution (in the cross-referenced chapter) is that some monstrosity is accidental (a defect of formation that does not change the species) and some is substantial (in which case the thing belongs to a different species or no species at all).

High-significance Form: 51 — Speculum

Speculum quid est? Et quare? Quibus principiis applicabilis? Forma per speculum recipit figuras. Et est simpliciter quae sensibilis figura. Quod est quia ad latera fluit per speculum medium. Quae figura corporalibus integra cernit quibus dignus appropinquans quaeritur per phisicas. Et eiusdem speciei et significat respondendum est de speculo. Per quae quibus sit continua sive divisua: vide capitulum capitis speculi.

Translation:

"What is the mirror? And why is it? To what principles is it applicable? The form receives figures through the mirror. And [the mirror] is simply that-which-is-a-sensible-figure. This is because [light] flows out to the sides through the middle of the mirror. The bodily figure is seen integrally by those who, dignified, approach near to it — and [the mechanism] is asked through physics. Whether [the image] is of the same species and what it signifies — the answer must be given concerning the mirror. By what means is it [the image] continuous or divided — see the chapter on the head [first principles] of the mirror."

A small but rich entry: Llull treats the mirror as the paradigm of perceptual mediation. The mirror receives forms and re-emits them by lateral flow through the medium. The question of image-species (whether the image in a mirror is of the same species as the original) is the medieval optical problem most relevant to Llull's larger theological claim that the imago Dei in the human soul is of the same species as God-as-Trinity.

High-significance Form: 53 — Proportio

Proportio quid est? Et quare? Proportio est diffinitio cui aliqua diffinitio est applicabilis. Quare proportio non est extra diffinitionem. Utrum proportionata sint ad aliquid in diffinitione. Et quomodo et per quem modum. Si vero sola proportio est applicabilis: cui imitabilis non est: et magnam habet entitatem.

Translation:

"What is proportion? And why is it? Proportion is a definition to which some [other] definition is applicable. Wherefore proportion is not outside definition. Whether the proportioned-things stand toward something in the definition. And how and in what mode. If indeed only proportion is applicable — to which [other things] are not imitable — and it has a great entity."

A startling entry — Llull treats proportion as a categorial form, on par with substance and motion. This is the medieval ancestor of the mathematical-aesthetic doctrine that proportion is a foundational principle of being, picked up by the Renaissance (Alberti, Pacioli) and the early modern (Kepler, Newton-on-celestial-mechanics). The φ-relevant claim here is that proportion has a unique standing: it is the only categorial form to which other things are inapplicable as imitations — proportion is irreducible.

Forms 55-58: The Theological Providence quartet — Creatio, Predestinatio, Misericordia, Necessitas

These four forms (page 265) constitute Llull's dogmatic theological core. Each treats a doctrine that the apologetic Llull (who designed the Ars magna in part as a missionary tool against Islam and Judaism) had to be able to demonstrate combinatorially, not merely assert.

Form 55 — Creatio —

Creatio quid est? Quare est? Creatio est creatione: et creaturae creatura. Et quare. Quomodo creatio in creatione: et eo modo: vide ad 57 capitulum quod est de creatione et creato.

"What is creation? Why is it? Creation is in the creation [the act], and the creature is in the creature [the thing made]. And why. How [is] creation in the creation, and in that mode — see chapter 57 which is on creation and the created."

The Lullian solution to the creation-question is that creatio names the relation between creator-act and creature-thing, both of which are real (the act is divine, the creature is contingent). This protects against pantheism (creator and creature are not identical) and emanationism (the creature is not a mere outflow but a distinct produced-being).

Form 56 — Predestinatio — A long entry. Llull's combinatorial resolution: predestination involves the divine foreknowledge (idea-side, in the divine intellect) and the divine will (decree-side, in the divine will), and is consistent with human liberum arbitrium because foreknowledge of free choices does not necessitate those choices. The question "Utrum predestinatio constituat causalitatem cum libero arbitrio?" (Whether predestination constitutes causality with free will) is resolved affirmatively, giving Llull a clean Augustinian-Anselmian compatibilism.

Form 57 — Misericordia — Mercy is treated as the first of the divine relational acts toward creatures: God's mercy precedes (in the order of divine willing) God's justice, because mercy is the condition of the possibility of any creature's existing at all. (Utrum misericordia sit prior iustitia in Deo? — "Whether mercy is prior to justice in God?" — resolution: yes, in the order of motivation; no, in the order of execution.)

Form 58 — Necessitas — The question of whether divine actions are necessary (in the Aristotelian sense). Resolution: God's internal acts (the divine Trinity's procession) are necessary; God's external acts (creation, providence) are free. This protects the contingency of creation against Avicenna.

Forms 61-75 — Theological-relational forms + transsubstantiatio (pages 266-267)

#	Form	Latin	English	Pos.
61	Consilium	De questionibus consilii et consulti	Counsel and the counseled	p.266
62	Gratia	De questionibus gratiae et gratiati	Grace and the graced	p.266
63	Perfectio	De questionibus perfectionis et perfecti	Perfection and the perfected	p.266 right
64	Declaratio	De questionibus declarationis et declarati	Declaration and the declared	p.266
65	TRANSSUBSTANTIATIO	De questionibus transsubstantiationis et transsubstantiati	TRANSSUBSTANTIATION and the transsubstantiated	p.266 lower-right
66	Alteratio	De questionibus alterationis et alterati	Alteration and the altered	p.266 bottom-right
67	Infinitas	De questionibus infinitatis et infinitati	Infinity and the infinitized	p.266 bottom; cont. p.267
68	Deceptio	De questionibus deceptionis et decepti	Deception and the deceived	p.267 top-left
69	Honor / Honorati	De questionibus honoris et honorati	Honor and the honored	p.267
70	Capacitas	De questionibus capacitatis et capacitati	Capacity and the made-capable	p.267 right
71	Existentia / Agentia	De questionibus existentiae et agentiae	Existence and Agency	p.267 lower-right
72	Comprehensio / Apprehensio	De questionibus comprehensionis et apprehensionis	Comprehension and Apprehension	p.267 bottom-right
73	Inventio / Inventi	De questionibus inventionis et inventi	Invention/Discovery and the invented	p.268 top-left
74	Similitudo / Similati	De questionibus similitudinis et similati	Likeness and the likened	p.268
75	Antecedentis / Consequentis	De questionibus antecedentis et consequentis	Antecedent and Consequent	p.268

High-significance Form: 65 — TRANSSUBSTANTIATIO

Transsubstantiatio quid est? Et quare? Transsubstantiatio est quod quibus principiis sit applicabilis. Quomodo transsubstantiatio significat. Quare transsubstantiatio est in eternitate et in tempore. Vide ad 67 capitulum quod est de transsubstantiatione.

Translation:

"What is transsubstantiation? And why is it? Transsubstantiation is [the act] by which it is applicable to which principles. How transsubstantiation signifies. Why transsubstantiation is in eternity and in time. See chapter 67 which is on transsubstantiation."

THE keystone form for alchemical theology. Llull places transsubstantiatio — strictly the change-of-substance-while-preserving-accidents-of-the-Eucharist — as a categorial form alongside motion and time. Its dual location in eternity and in time is the marker: transsubstantiation in the Mass is enacted by a temporal priest but receives its efficacy from an eternal act. The form is "applicable to which principles" — meaning the Lullian apparatus can be used to demonstrate the doctrine combinatorially.

For the pseudo-Lullian alchemical tradition (which grew enormously in the 14th-15th centuries), this is the anchor passage: if Llull treats transsubstantiation as a categorial Form that operates via the Lullian apparatus, then by analogy alchemical transmutation (which is natural transsubstantiation) is treatable by the same apparatus. The pseudo-Lullian Testamentum, Codicillus, De secretis naturae, and Liber lapidis philosophici all key off this form.

High-significance Form: 66 — Alteratio

Alteratio quid est? Alteratio non plus per quam modum naturalem fit. Quare alteratio constituatur. Utrum alteratio valeat cum aliis principiis: et utrum talis alteratio per quem modum potentiae imatae perficiat. Vide ad 68 capitulum quod est de alteratione.

Translation:

"What is alteration? Alteration occurs no otherwise than through the natural mode. Why is alteration constituted? Whether alteration is operative together with the other principles, and whether such alteration through which mode of the imagined potency it perfects [the thing]. See chapter 68 which is on alteration."

Where transsubstantiation is supernatural substance-change, alteration is natural substance-change — the everyday becoming-different of things in the world. The natural-mode qualifier is critical: alteration is naturalistic; transsubstantiation is supernatural. The Aristotelian-Thomistic boundary is preserved.

Forms 76-90 — Privation, Generation, Disciplinary Forms (pages 268-270)

#	Form	Latin	English	Pos.
76	Potentia / Objecti et Actus	De questionibus potentiae, objecti et actus	Potency, Object, and Act	p.268 right
77	Generatio / Corruptio / Privatio	De questionibus generationis, corruptionis et privationis	Generation, Corruption, and Privation	p.268
78	Theologia	De questionibus theologiae	Theology	p.268 bottom-right
79	Philosophia	De questionibus philosophiae	Philosophy	p.269 top-left
80	Geometria	De questionibus geometriae	Geometry	p.269
81	Astronomia	De questionibus astronomiae	Astronomy	p.269 top-right
82	Arithmetica	De questionibus arithmeticae	Arithmetic	p.269
83	Musica	De questionibus musicae	Music	p.269 lower-right
84	Rhetorica	De questionibus rhetoricae	Rhetoric	p.270 top-left
85	Logica	De questionibus logicae	Logic	p.270 mid-left
86	Grammatica	De questionibus grammaticae	Grammar	p.270 top-right
87	Moralitas	De questionibus moralitatis	Morality / Ethics	p.270 mid-right
88	Politica	De questionibus politicae	Politics	p.270 lower-right
89	Ius	De questionibus iuris	Jurisprudence	p.271 top-left
90	Medicina	De questionibus medicinae	Medicine	p.271 right

High-significance Form: 77 — Generatio / Corruptio / Privatio

Generatio quid est? Corruptio quid est? Privatio quid est? Et est quibus principiis [applicabilis] sit ipsa simul in subiecto. Utrum generatio sit corruptio sive non sit. Utrum quod a quoad generatio est generabile a non generabilibus. Utrum generatio sit a generatione sive non. Utrum quod aliquid sit corruptibile. Vide ad 76 capitulum.

Translation:

"What is generation? What is corruption? What is privation? And which principles is [this triad] applicable to in the same subject simultaneously. Whether generation is corruption or is not. Whether what is generated qua generation is generable from the non-generable. Whether generation is from generation or not. Whether something is corruptible. See chapter 76."

The classical Aristotelian generation-corruption-privation triad as treated by Llull. The questions are technical: can generation come from the non-generable? (Resolution: only by divine intervention; in nature, generation always proceeds from a generable precursor.) The triad is the logic of substantial change in the natural order, and is the principal theoretical apparatus of natural philosophy throughout the medieval period.

High-significance Form: 78 — Theologia

Theologia quid est? Utrum theologia sit scibilis sive non sit. Et utrum sit scibilis a se vel ab alio. Utrum theologia sit habitualis sive negocialis sive contemplativa. Et utrum scientia theologiae sit propter se: vel propter aliud. Vide ad 81 capitulum.

Translation:

"What is theology? Whether theology is knowable or is not knowable. And whether it is knowable from itself or from another. Whether theology is habitual or practical or contemplative. And whether the science of theology is for its own sake, or for the sake of another. See chapter 81."

The medieval quaestio de theologia — the meta-theological question, is theology a science? Llull's resolution affirms theology's scientific status (it has a determinate subject — God — and proceeds by demonstration), while distinguishing its three modes: habitual (the dispositional knowing), practical (theology applied to action), and contemplative (theology as direct intellectual vision of God). The three modes are not exclusive but hierarchical: habitual prepares for practical, practical prepares for contemplative.

Forms 79-83 — The Quadrivium as Forms

The four mathematical sciences of the medieval quadrivium (Geometry, Astronomy, Arithmetic, Music) are each treated as Forms. They are sandwiched between Philosophy (Form 79) and the Trivium-disciplines (Rhetoric, Logic, Grammar — Forms 84-86) in a way that recapitulates the medieval university curriculum:

Trivium (lower) = Grammar + Logic + Rhetoric
Quadrivium (higher) = Arithmetic + Geometry + Music + Astronomy

Llull's order reverses this: he gives the Quadrivium first (after Philosophy and Theology — the highest sciences), then the Trivium. The reasoning: in Llull's hierarchy, the mathematical sciences come closer to the divine than the language sciences, because mathematics deals with eternal abstract entities while language deals with the conventional and contingent.

Form 81 — Astronomia

A long entry. Llull treats astronomy not as merely the science of celestial motions but as the science of the relation between celestial and sublunary. Key questions:

Utrum astronomia sit scientia practica? — Whether astronomy is a practical science (yes, in the sense of being applicable to prediction and judgment).
Utrum astrologica iudicia sint vera? — Whether astrological judgments are true? (Resolution: the natural effects of the heavens on the sublunary are real and predictable; the fortune-telling aspect of astrology, which would compromise human free will, is false and condemned.)
Utrum lapides et plantae habeant proprietates ex caelo? — Whether stones and plants have properties from the heavens? (Resolution: yes — this is the standard medieval doctrine of correspondentia between celestial and terrestrial, and provides Llull's metaphysical license for medical astrology and alchemy.)

Forms 91-100 — Practical sciences + reflexive forms (pages 271-273)

#	Form	Latin	English	Pos.
91	Regimen	De questionibus regiminis	Governance / Regimen	p.271 bottom
92	Militia	De questionibus militiae	Military / Warfare	p.272 top-left
93	Mercatura	De questionibus mercaturae	Commerce / Trade	p.272 mid-left
94	Navigatio	De questionibus navigationis	Navigation	p.272 top-right
95	Conscientia	De questionibus conscientiae	Conscience	p.272 lower-right
96	Predicatio	De questionibus predicationis	Preaching	p.273 left-mid
97	Memoria	De questionibus memoriae	Memory	p.273 right
98	Orationis	De questionibus orationis	Prayer (or: structured speech-act)	p.273 bottom-left
99	(— next form, off-page —)			p.274 (closes Part XI)
100	(— closing form, off-page —)			p.274

High-significance Form: 94 — Navigatio

Navigatio quid est? A quibus artibus est? Navigatio quod sit subiectum ad navigandum. Quod navigatio fit per longitudinem et altitudinem. Quare in navigando per artem stellarum. Et utrum non eo modo navigatio fit per cognitionem. Quare et utrum navigatio sit ex pluribus subiectis quae respiciunt et habent virtutem habendo locum sive cognitionem itineris. Et quare navigatio quoventos significat: et favorabiles vel adversos affluatur. Et vide ad 96 capitulum.

Translation:

"What is navigation? From which arts is it? Navigation in that it is a subject [of inquiry] for [the practice of] navigating. That navigation occurs through longitude and altitude [latitude]. Wherefore in navigating by the art of the stars. And whether navigation does not occur in that way [also] through cognition. Wherefore and whether navigation is from several subjects which look at [each other] and have the virtue [power] of having place or cognition of the journey. And wherefore navigation signifies [the question]: what winds? — and whether they flow favorable or adverse. And see chapter 96."

Llull was a Mallorcan — born on an island, raised by sailors, advisor to the Crown of Aragon on Mediterranean commerce. His treatment of navigatio as a categorial Form (alongside theology and metaphysics!) is uniquely his — no other medieval scholastic gives navigation this rank. The questions are practical: longitude and latitude (Llull was familiar with both), stellar navigation, wind-prediction. The form is a Llullian fingerprint: it could only have been written by someone for whom the sea was a daily concern.

High-significance Form: 95 — Conscientia

Conscientia quid est? Quid in quibus modis est? Conscientia est dispositio elementorum: cum disposito elemento. Quod est dictum quae conscientia sit dispositio cum nostro corpore et cum sensibilibus aliquibus. Et est ipsam ad quare est ipsa: cum disposito principio cognoscit. Conscientia est in vegetativa: cum sit subiecta sensitive. Conscientia est in sensitiva: cum sit subiecta imaginativae [...]. Sicut anima cognoscit ipsa per intellectum [...].

Translation:

"What is conscience? What in what modes is it? Conscience is the disposition of the elements together with the disposed element. As it is said, conscience is the disposition together with our body and with certain sensible [things]. And it is itself directed at the reason-why of itself, when it knows together with the disposed principle. Conscience is in the vegetative, when it is subjected to the sensitive. Conscience is in the sensitive, when it is subjected to the imaginative … just as the soul knows itself through the intellect…"

Llull's account of conscience is one of the most striking in the Hundred Forms. He treats it as a layered faculty: it operates at the vegetative level (as a kind of bodily self-monitoring), at the sensitive level (as appetitive self-awareness), at the imaginative level (as deliberative phantasm-formation), and at the intellectual level (as the reflexive self-knowledge of the rational soul). The layered structure is the medieval ancestor of the modern philosophical doctrine of graded self-awareness (e.g., higher-order thought theories of consciousness).

Form 96 — Predicatio (the form that may have been most cited by Lavinheta's audience)

Predicatio quid est? Quid sit subiecti predicationis et magna materia praedicationis. Utrum predicatio sit in continendis et per artes pro laudabiliter quaedam practica praedicationis [...]. Quae predicatio per artem fit secundum modum praedicare: et fructifero ad pus piscalum [piscatorum] grex: per quae predicator debent praedicare sicut accipere praedicatio in animum [...]. Utrum praedicator debet adscire eunti pace per artem. Per quem modum prelati hostificus et legati hostificus debent prelatorum esse simul: per quem modum reprehendi possunt et possunt nutriri.

Translation (smoothed):

"What is preaching? What is the subject of preaching, and the great matter of preaching? Whether preaching consists in the continences, and through the arts is laudable, as a kind of practice of preaching… Which preaching by art occurs according to the mode of preaching: and is fruitful for the piscatorum grex (the flock of fishermen, i.e. the apostolic ministry) — through which preachers ought to preach, just as receiving preaching into the soul… Whether the preacher ought to know walking-in-peace through the art. Through what mode the prelates of the host (hostificus = of the army? of the eucharistic host?) and the legates of the host ought to be together with the prelates: through what mode they can be reproved and can be nourished."

Highly relevant to Lavinheta's audience: Lavinheta was a Franciscan teacher of Llull's Art at Paris c.1515, and one of his core constituencies was the preaching orders. The doctrine here: preaching is itself one of the Centum Formae, treatable by the Art, and the Lullian apparatus can be used to generate sermons combinatorially. This is the medieval Christian ancestor of Bruno's Sigillus sigillorum (mnemonic composition for preachers) and the broader rhetorical-combinatorial tradition that ran through the Renaissance.

Form 97 — Memoria

Memoria quid est? Et est ad eius modum: ipsa sub eo quare et causa ipsa fit immortalis. Utrum memoria habeat in se ipsa: aut quae memoria sit ipsam quae continet memoria simul accidentaliter ut conditionata ad praeteritum [...] Quomodo memoria est conditionata ut respectus ad memoria sic est de memoria et conditionata. Quomodo memoria est intelectu et voluntate diuiditur cum hoc sit ad cuius. Et per quem modum memoria offertur sive intellectus et voluntas et iura per quae nullus ueritatis modus. Continet auctoritatem memoria. Memoria continet ipsam quod habituatur et habituat...

Translation (smoothed):

"What is memory? And it is [knowable] by its mode: under [which] mode it is, and for the cause itself by which it is made immortal. Whether memory has [its content] in itself, or [whether] what memory is — is it itself which contains memory simultaneously as accidental, when conditioned to the past… How memory is conditioned by the relation to memory — so it is with memory both [self-relating] and conditioned. How memory is divided into intellect and will — when this exists in [a single subject]. And through what mode memory is offered, or [how] intellect and will and laws [iura] — through which no mode of truth — contains authority [of] memory. Memory contains [itself] in that it is habituated and habituates…"

This entry is also the bridge from Part XI to Part XII (Habituatio): memory is the categorial Form that makes the habituation of the Art possible. The reader who has been studying the Art for some time has been memorizing the structure of the Centum Formae — and that memorization is itself one of the Forms. Llull is here being playfully reflexive: the very act of reading the Hundred Forms causes a memory to form, and that memory is the 97th Form.

Form 98 — Orationis (Prayer / Structured Speech-Act)

Oratio quid est? Quare est? Oratio est terminus secunda significatio essentiae [...] sed habere significare: et cernere ipsam: cernit per essentiam vel per accidens [...] aut ipsa essentia oratio est: vel orationis essentia est in ipsa essentia oratio [...].

Translation:

"What is prayer / oration? Why is it? Oration is the terminus of the second signification of essence … but to have a signification, and to discern it — it discerns through essence or through accident … or the essence itself is oration, or the essence of oration is in the essence-itself-oration…"

A subtle entry: prayer/structured speech is the terminus of the second signification of essence. The first signification of an essence is its bare being-there; the second signification is its expressed/announced being. Prayer is thus the speech-act that brings an essence to its second signification — making it manifest as expressed. This is a deep theological-rhetorical doctrine: prayer doesn't inform God of anything (God already knows the essences); prayer expresses the essences of created beings so that they may be heard as expressed. The form unites theology, rhetoric, and metaphysics.

Forms 99-100 — The Closing Forms

The last two Forms fall at the page-break (p.273 bottom → p.274 top). Based on the Lullian standard structure, the closing pair are typically Memoria reflexiva (Reflexive Memory — memory remembering its own memory) and Ars ipsa (the Art itself, as the 100th Form), but these may be configured differently in Lavinheta's specific recension. The next page (p.274) opens directly with Duodecima pars de habituatione — the Twelfth Part on Habituation — confirming that the Centum Formae close on p.273 with the 100th Form being the natural transition into the habituatio doctrine.

Notes — what the Hundred Forms reveal about Llull's combinatorial metaphysics

1. **The Centum Formae are the primary key of the Art.** Where the Alphabet gives the 9 letters that compose, the Forms give the target objects that the composition can compose about. The Art operates: take any Form, apply the 9 Principles + 9 Relations + 10 Rules + 4 Figures to it, and you get a complete combinatorial analysis. The Forms are the axis of inquiry; the rest of the Art is the operator.

2. **The selection of 100 is not arbitrary — it is categorial completeness.** Llull's Hundred Forms include:

- The 10 Aristotelian categories (substance, quantity, quality, relation, where, when, position, state, action, passion) — Forms 12-22.

- The geometric primitives (point, line, triangle, quadrangle, circle, figure, corporeity) — Forms 40-46.

- The phenomenal-perceptual primitives (shadow, mirror, color, proportion) — Forms 50-53.

- The theological primitives (creation, predestination, mercy, necessity, transsubstantiation, alteration, infinity) — Forms 55-67.

- The disciplinary forms (theology, philosophy, the quadrivium, the trivium, jurisprudence, medicine, regimen, military, commerce, navigation) — Forms 78-94.

- The reflexive / mental forms (conscience, preaching, memory, oration, idea, signification) — Forms 95-98 + 34 + 37.

3. **The Centum Formae anticipate the modern category-theoretic program.** Each Form is a type, and the Lullian apparatus is the function-collection that operates on those types. Reading the Hundred Forms with a modern eye, one sees: types (Forms) + operators (Principles/Rules) + composition (Figures) = a complete formal-categorial system. Leibniz's characteristica universalis is the direct descendant.

4. The pseudo-Lullian alchemical tradition keys precisely off Forms 64-66: Declaratio + Transsubstantiatio + Alteratio. The alchemists read these three Forms as the metaphysical license for transmutation: declaration (the alchemist's intentional speech-act over the matter) + transsubstantiation (the change-of-substance) + alteration (the change-of-accidents). All three are categorial Forms in Llull's inventory — and therefore (by the apologetic logic of the Art) demonstrable combinatorially. The historical irony is that Llull himself was almost certainly not an alchemist and may even have been anti-alchemical; but the Centum Formae provides the formal structure that the pseudo-Lullian corpus needed.

What follows on pp.274-285

Page 274 opens **Part XII De habituatione (On Habituation — how to internalize the Art so its application becomes second nature) and Part XIII De doctrina (On Doctrine / Teaching — pedagogical guidance for teaching the Art). Both parts are remarkably brief — together they occupy less than two columns of page 274 and the first half of page 275. Page 275 then carries the colophon ("Anno verbi incarnati. M.ccccc.vij quinto idus mayas" — May 11, 1517) and the Registrum (the printer's quire-index) plus a brief Latin end-poem. Page 276 carries the printer's woodcut device** (the Veronica image). Pages 277-285 are blank end-leaves with handwritten owner's marginalia and library stamps.

Ramon Llull — Ars Magna Generalis et Ultima