  Yet, their identification should be qualified, as becomes clear from the results, or should one say lack of results, of the ground-breaking study by Roland Hissette. He tried to identify the proximate background of the 219 condemned theses. As his point of departure, Hissette took known works by Siger and Boethius and three anonymous writings from the arts faculty that were available in a modern edition at the time that he wrote his study. From Hissette’s own summary of the results of his careful examination it appears that surprisingly few of the censured propositions could be identified with any degree of certainty in the known works of thirteenth-century artistae. Of the 219 propositions, only 79 can be identified, with various degrees of probability, in the works of Siger of Brabant, Boethius of Dacia, or the three anonymous writings. Of 72 propositions the attribution is uncertain, whereas 68 propositions could not be identified at all. Moreover, many censured propositions that seem to have been derived from the examined works that originated at the arts faculty in the thirteenth century do not really represent the author’s own view, but rather appear to be quotations or paraphrases from Aristotle, from Arabic philosophers, or from “the philosophers” as Hissette himself indicates.