  Hissette’s examination was based on the assumption that Tempier’s censure envisioned only teachings from the faculty of arts. The introductory letter, however, seems to contradict this assumption. There, Tempier draws an important distinction, which has not been duly recognized in the scholarly literature, between propagators and views. He accuses the members of the arts faculty of disseminating (tractare et disputare) manifest and damned errors (manifesti et exsecrabiles errores). The errors are specified in the roll or leaves connected to the introductory letter (in rotulo seu cedulis, praesentibus hiis annexo seu annexis). They are the 219 censured propositions. Tempier does not state, however, that the members of the arts faculty are the authors of these errors. In his introductory letter Tempier separates the 219 censured errors from their propagators. Only the propagators have to be sought in the arts faculty in Paris: on pain of excommunication, they are prohibited to dogmatize, disseminate, or sustain in any way (dogmatizare, aut defendere seu sustinere quoquo modo) the propositions collected by Tempier. The origin of these propositions, however, is not stated in the introductory letter. In other words, Tempier indicates that those artistae who were castigated for disseminating false teachings were not necessarily disseminating their own views. When drawing up the syllabus, Tempier and his advisers relied on more sources, written or oral, than those that were used by Hissette. Possibly, Tempier’s list even included earlier lists of suspect views.