 Buridan is quite right to accept these additional 14 moods. They are valid. But his result is not as dramatic as it seems since the middle terms are either in the subject or predicate position. In the second and third figure an indirect conclusion becomes equivalent to transposing the premises. Hence Buridan’s Tifesno, Robaco, Carbodo, Lapfeton, and Rifeson reduce to Festino, Baroco, Bocardo, Felapton, and Ferison, respectively. This is also obvious if we look at the names of these syllogisms, which suggest that Buridan has only reshuffled the letters of the names of the standard Aristotelian syllogisms. After having done all this over just a few pages — as mentioned above, Buridan is rather uninterested in assertoric syllogistic — he turns to the temporal, oblique, and modal syllogistic. Of these, it is modal syllogistic to which he devotes the most time.