PICATRIX
Problem of date and authorship--Law of Alfonso the Wise
concerning magic and astrology--Picatrix a confused
compilation--Its mentions of magic--Magic and science--Its
use of natural virtues--Magic compounds--Things required
of the magician--Magic procedure--Invocation of
spirits--Necromancy and astrology--Astronomical images--Aims
and results of magic--Appendix I. Manuscripts of _Picatrix_.
_“Scientia ... semper acquirit et numquam diminuit; semper
elevat et numquam degenerat; semper apparet et numquam se
abscondit.”_
[Sidenote: Problem of date and authorship.]
Another celebrated medieval book of magic is that which usually goes by
the name of _Picatrix_, who is, however, cited in the work itself[2593]
and would seem to have been only one of its authors, translators,
compilers, or sources. Nevertheless he is mentioned as author in the
title, _Incipit_, and _Explicit_ of the manuscripts,[2594] and is
called “very wise,” “a philosopher,” “most skilled in mathematics,” and
“very learned in the arts of necromancy.” The treatise is also said to
have been compiled by Norbar the Arab in the twelfth century.[2595] The
Latin manuscripts state that in 1256 it was translated from Arabic into
Spanish by order of Alfonso the Wise; but when it was translated into
Latin is not stated. There seem to be no Latin manuscripts older than
the fifteenth century, and none of our thirteenth century Latin writers
seems to have been acquainted with the work. Peter of Abano, it is
true, is charged by Symphorien Champier, writing in 1514,[2596] with
having borrowed from _Picatrix_, but Champier does not substantiate
his charge and I have found no unmistakable evidence of it in Peter’s
works. Evidently, however, _Picatrix_ was well-known in Latin by 1514.
Rabelais, who lived from 1495 to 1553, speaks of “le reuerend pere en
Diable Picatris, recteur de la faculté diabolologique” at Toledo.[2597]
A Cambridge doctor about 1477 cites “Picatrix in his third book of
magic.”[2598] The work seems never to have been printed and J. Wood
Brown expresses the hope that it may never be translated into any
modern language.[2599]
Law of Alfonso the Wise concerning magic and astrology.
It was fitting that such a work should have been translated from the
Arabic under the patronage of Alfonso X, the Wise or Learned, who is
noted for his astronomical tables, and whose favorable attitude toward
astrology and magic may be seen from the law on those subjects in his
code of the Seven Parts.[2600] Divination of the future by the stars
is sanctioned in the case of persons properly trained in astronomy,
although other varieties of divination are forbidden. And while those
who conjure evil spirits or who make waxen, metallic, or other images
with the aim to harm their fellows are to be punished by death; those
who employ incantations with good intentions and good results are
pronounced deserving of reward rather than penalty. Thus no objection
is made to magic procedure but only to evil intentions and results.
[Sidenote: _Picatrix_ a confused compilation.]
_Picatrix_ divides into four books and is accompanied in the
manuscripts by tables of contents which, however, are not as helpful
as might be expected, since the work really has no plan and the
division into books and chapters is quite arbitrary.[2601] In short,
the work is a confused compilation of extracts from occult writings
and a hodgepodge of innumerable magical and astrological recipes. The
author states that he “has compiled this book,” that he intends to set
forth “in simple language” what past sages have concealed in cryptic
words, and that he has spent some six years in reading two hundred and
twenty-four books by “ancient sages.”[2602] Whenever modern compilers
of the notions of folk-lore and the magical customs of aborigines shall
have exhausted their resources, a rich mine will still await them in
this book of magic. We can give but a few specimens of its contents
here.
[Sidenote: Mentions of magic.]
For _Picatrix_ is openly and professedly a book of magic. At the close
of the first of its four books we are told that its contents are “the
roots of the magic art” and that “without them one cannot become
perfect in such arts.”[2603] Throughout all four books such phrases are
used as “magic works,” “magic effects,” “magical sciences,” and “the
operator of magic,” and books of magic are cited by Abrarem (Abraham?),
Geber, and Plato.[2604] It is true that the term necromancy is also
employed frequently and a chapter devoted to its definition,[2605] and
that astrological images and invocations of demons are the subjects
most discussed. So in a way the work is primarily a treatise of
astrological necromancy. But it is said on the supposed authority
of Aristotle that the first man to work with such images and to
whom spirits appeared was Caraphrebim, the inventor of the magic
art.[2606] It is also affirmed that the science of the stars is the
root of magic, that the forms of the planets or astronomical images
“have power and marvelous effects in magic operations;” while after
announcing his intention of listing “the secrets of ancient sages in
the magic art,” the first thing that our author divulges is that the
influence of Saturn exceeds the influence of the moon.[2607] Evidently
little distinction is made between astrology and magic. On the whole
then, although magic is not defined at length in _Picatrix_, it seems
justifiable to apply it as a general term covering the contents of the
book, and to regard astronomical images and invocations of demons as
two leading features of the magic art.
[Sidenote: Magic and science.]
Picatrix regards magic as a science, as a superior branch of learning,
to excel in which one must first master many other studies. He
believes that the greatest philosophers of antiquity, such as Plato
and Aristotle, have written books of magic. Hermes is also cited
frequently. Our author also has a high appreciation of science which
in his first chapter he declares to be God’s greatest gift to man.
“It always is making acquisitions and never diminishes; it ever
elevates and never degenerates; it is always clear and never conceals
itself.”[2608]
[Sidenote: Use of natural virtues.]
Much use of natural objects is made in the various recipes of
_Picatrix_. Here is one brief example: Adam the prophet says that if
you take fourteen grains of the fruit of the laurel tree, dry them
well and pulverize them and put the powder in a very clean dish in
vinegar, and beat it with a twig from a fig tree, you can make anyone
you wish possessed of demons by giving him this powder to drink.[2609]
One chapter is especially devoted to “the virtues of certain
substances produced from their own peculiar natures,” and the author
further explains that “in this section we shall state the marvelous
properties of simple things, as well of trees as of animals and of
minerals.”[2610] Hermes is quoted as saying that there are many marvels
for necromancy in the human body,[2611] and various parts thereof
are often employed by Picatrix. Thus in making a magic mirror a
suffumigation is employed of seven products of the human body, namely,
tears, blood, ear-wax, spittle, _sperma_, _stercus_, _urina_.[2612]
Indeed, vile and obscene substances are in great demand for purposes of
magic throughout the book. Picatrix, like the _De mirabilibus mundi_,
considers heat an important force in magic and mentions both elemental
and natural heat, the former referring to the use of the element fire
in sacrifice, suffumigation, and the preparation of magic compounds,
the latter designating the heat of digestion when simples or mixtures
must be eaten to take effect.[2613]
[Sidenote: Magic compounds.]
Although we have found one chapter devoted to the virtues of simples,
in actual magical procedure several things are generally combined, as
in a suffumigation with fourteen dead bats and twenty-four mice, to
give a comparatively simple example.[2614] On the supposed authority
of Aristotle in a book written to Alexander, detailed instructions
are given how to make four “stones” of great virtue and of elaborate
composition by procedure more or less alchemistic.[2615] Indeed, there
are listed all sorts of “confections,” compounds, and messes, either
to burn or to sacrifice or to eat or to drink or to smell of or to
anoint oneself with, in order to bring various wonders to pass. The
ingredients employed include different oils and drugs, butter, honey,
wine, sugar, incense, aloes, pepper, mandragora, twigs, branches,
adamant, lead, sulphur, gold, the brains of a hare, the blood of a
wolf, the urine of an ass, the filth of a leopard, and various portions
of such further animals as apes, cats, bears, and pigs. Besides the
actual ingredients all sorts of receptacles and material paraphernalia
are called into requisition: vessels, jars, vases, braziers, crosses,
candles, crowns, and so on.
[Sidenote: Things required of the magician.]
Much is said of the magician himself as well as of the materials which
he employs. He should have faith in his procedure, put himself into an
expectant and receptive mood, be diligent and solicitous.[2616] Often
chastity is requisite, sometimes fasting or dieting, sometimes the
wearing of certain garments.[2617] He must have studied a long list
of other sciences before he can attempt necromancy, but then he must
drop all other studies and devote himself to it exclusively. A little
knowledge of necromancy is a dangerous thing, and the ignorant meddler
therein is liable to be violently slain by indignant demons.[2618]
Much depends also upon the magician’s personality and natural fitness.
No one can succeed in the science of images unless his own nature is
inclined thereto by the stars. Some men are more subtle and spiritual,
less gross and corporeal than others, and hence more successful in
magic.[2619] The ancients, when they wished to employ a boy in magic,
used to test his fitness by fire as well as make sure that he was
physically sound.[2620]
[Sidenote: Magic procedure.]
It has already been implied that great stress is laid upon procedure
in _Picatrix_. Extensive use is made of images of the person or thing
concerned. Thus an image of a fish is employed to catch fish, and to
bewitch a girl a waxen image of her is made and dressed in clothes
like hers. In both cases, however, there is additional ceremony to be
observed. In the image of the fish the head should first be fashioned;
furthermore the image of the fish is to be poised on a slender rod of
silver and this is to be stood erect in a vessel filled with water.
This vessel is then to be hermetically sealed with wax and dropped to
the bottom of the stream in which it is proposed to fish.[2621] In the
bewitching of the girl, which is recounted as an actual occurrence,
the object was to make her come to a certain man. Hence another image
was made of him out of a pulverized stone mixed with gum, and the two
images of man and girl were placed facing each other in a vase where
seven twigs of specified trees had been arranged crosswise. The vase
was then buried under the hearth where there was a moderate fire and
a piece of ice. When the ice had melted, the vase was unearthed and
the girl was immediately seen approaching the house. In the reverse
process to free her from the spell a candle was lit on the hearth, the
two images were taken out and rudely torn apart and an incantation
uttered.[2622] To make a spring that is going dry flow more freely a
small and comely virgin should walk up and down beating a drum for
three hours, and then another small and good-looking girl should join
in with a tambourine for six hours more. To ward off hail storms a
company of people should go out in the fields, half of them tossing
handfuls of silk or cotton (_bombix_) toward the sky and the other
half clapping their hands and shouting as rustics do to frighten away
birds.[2623] Tying seven knots and saying an incantation over each is
another specimen of the ceremonial in _Picatrix_.
[Sidenote: Invocation of spirits.]
Ritual also plays an important part in the invocation of spirits. If
one wishes to invoke the spirit called “Complete Nature” he must enter
a spick and span room while the moon is in the first degree of Aries.
Various receptacles filled with different foods and combustibles must
be arranged in a certain way on a table. Then he must stand facing
the east and invoke the spirit by its four names seven times and
repeat a prescribed form of prayer for increase of knowledge and of
moral strength.[2624] To draw down the virtue and power of the moon
one crowns oneself in the favorable astrological hour and goes to a
green spot beside a stream. There he beheads with a bone--under no
circumstances employing iron--a cock with a divided crest. He stands
between two braziers filled with live coals on which he casts grains of
incense gradually until smoke arises; then, looking toward the moon,
he should say, “O moon, luminous and honored and beautiful, thou who
shatterest darkness by thy light, rising in the east and filling the
whole horizon with thy light and beauty, I come to thee humbly asking a
boon.” Having stated his wish, he withdraws ten paces, facing the moon
the while and repeating the above formula. Then more incense is burned
and a sacrifice performed and characters inscribed on a leaf with the
ashes of the sacrifice and a bit of saffron. This leaf is then burned,
and as its smoke rises the form of a well-dressed man will appear, who
will answer the petition.[2625]
[Sidenote: Necromancy and astrology.]
Throughout _Picatrix_ planets and spirits are closely associated.
Many instructions are given how to pray to each of the planets and
to work magic by their aid, just as if they were demons. It is hard
to say whether the spirits are more thought of as forces in nature
or the stars as gods. A necromancer who does not know astronomy is
helpless, and each planet has a list of personal names associated not
only with itself but with its every part and position.[2626] Lists are
also given of the boons which one may ask from each planet, and of
the stones, metals, animals, trees, colors, tinctures, odors, places,
suffumigations, and sacrifices appropriate to each planet and sign of
the zodiac, in order that one may use the proper materials, eat the
right food, and wear the right clothes when petitioning any one of
them.[2627] Let us remember, too, that the natural qualifications of
the magician depend upon his horoscope.
[Sidenote: Astronomical images.]
Finally _Picatrix_ devotes much space to astronomical images,[2628]
which, engraved preferably upon gems in accordance with the aspect
of the sky at some instant when the constellations are especially
favorable, are supposed to receive the celestial influences at their
maximum and store them up for future use. That they receive “the force
of the planets” and produce marvelous works, such as the invocation
of demons, is in our author’s opinion “proved by nature and by
experiment.” He lists images for forty-eight figures made from the
fixed stars, for the twenty-eight mansions of the moon, for the signs
of the zodiac and for the planets. One of the images for Saturn will
suffice as an example: “A man erect on a dragon, holding a sickle
in his right hand and a spear in his left hand, and clad in black
clothing and a panther skin.” This image “has power and marvelous
effects in magic works.”[2629] Characters composed of lines and
geometrical figures are also derived from the constellations and are
supposed to possess marvelous efficacy.
[Sidenote: Aims and results of magic.]
Some of the results attributed to images and characters are to
drive away mice, free captives, throw an army into a town, either
render buildings safe and stable or impede the erection of them, the
acquisition of wealth, making two persons fall in love, making men
loyal to their lord, making the king angry with someone, curing a
scorpion’s sting, walking on water, assuming any animal form, causing
rain in dry weather and preventing it in rainy weather, making the
stars fall or sun and moon appear divided into many parts. The
possessor of such images can further ascend into the air and take on
the form of a falling star, or speak with the dead, or destroy an enemy
or city, or traverse great distances in the twinkling of an eye. The
aims of incantations, invocations, and recipes are similar, as has
already been indicated in several cases. Ten “confections” are listed
that stop evil tongues; eight, that generate discord and enmity; six,
that cure impotency, if taken in food; seven, that induce a sleep like
unto death; ten, that induce a sleep from which one never wakes.[2630]
Others prevent dogs from barking at you, produce green tarantulas or
red snakes, remove bothersome frogs from pools, cause water to burn
and appear red, enable you to see small objects a long way off, make
the winds and tempests obey you, deprive others of memory or sense or
speech or sight or hearing, and so on through a long list. The aims are
infinitely varied, and are sometimes good, sometimes evil.
FOOTNOTES:
[2593] II, 10, “Haec autem figurae planetarum quemadmodum translatas
invenimus in lapidario mercurii et in libro beelum (probably meant for
Beleni) et in libro spirituum et in ymaginibus quas transtulit sapiens
picatrix.” Magliabech. XX, 20, fol. 32v; Magliabech. XX, 21, fol. 14v.
[2594] For a list of MSS see Appendix I at the close of this chapter.
[2595] J. Wood Brown (1897), p. 183; Arpenius, _De prodigiosis
naturae_, Hamburg, 1717, p. 106.
[2596] In a criticism of Abano’s “errors” printed at the close of the
1526 edition of the Conciliator, fol. 248.
[2597] _Pantagruel_, III, 23.
[2598] Steinschneider (1905), p. 61, and Ashmole 1437; see Appendix I.
[2599] Brown (1897), p. 183, note 1.
[2600] _Los Códigos Españoles concordados y anotados: Código de
las siete partidas_, second edition, Madrid, 1872, vol. IV. _La
setena partida: Titulo_ XXIII, _Ley_ 1-3. There is an article on the
astronomical works of Alfonso X by A. Wegener in _Bibl. Math._ (1905),
129-85.
[2601] J. Wood Brown (1897), p. 183, gives a wrong impression that the
work is systematically arranged.
[2602] Magliabech. XX, 20, fols. 1v and 53r. Future citations in this
chapter, unless otherwise noted, will be from this MS.
[2603] Fol. 15v.
[2604] Fols. 7v, 44r, 44v, 22v, 23r, 28r, 40r, 50r, 51r, 99r.
Magliabech. XX, 21, fols. 78r and 79v.
[2605] Liber I, cap. 2, which is much briefer in Magliabech. XX, 21
than in XX, 20.
[2606] Fol. 55v.
[2607] Fols. 32v and 28r.
[2608] “Semper acquirit et numquam diminuit; semper elevat et numquam
degenerat; semper apparet et numquam se abscondit.”
[2609] Magliabech. XX, 21, fol. 79v.
[2610] IV, 8, fol. 108v; Magliabech. XX, 21, fol. 86r.
[2611] Magliabech. XX, 21, fol. 60v.
[2612] Magliabech. XX, 21, fol. 22v.
[2613] I, 2.
[2614] Fol. 70r.
[2615] III, 10, fol. 73v; Magliabech. XX, 21, fol. 53r.
[2616] I, 4.
[2617] II, 12; III, 5 and 7 and 12.
[2618] IV, 5.
[2619] III, 6 and IV, 1.
[2620] Magliabech. XX, 21, fol. 47v.
[2621] Fol. 10.
[2622] Fol. 52.
[2623] Fol. 103v; Magliabech. XX, 21, fols. 81v, 82r.
[2624] III, 6. Fols. 54-55; Magliabech. XX, 21, fols. 32-34.
[2625] IV, 2. MS. XX, 21, fol. 68v.
[2626] III, 9. MS. XX, 20, fol. 71r. MS. XX, 21, fol. 50r.
[2627] II, 5 and 10; III, 1 and 2.
[2628] Liber II, _passim_: also I, 4-5 and IV, 9.
[2629] II, 10; fol. 32v; Magliabech. XX, 21, fol. 14v.
[2630] III, 11; fol. 78v; Magliabech. XX, 21, fol. 58v.
APPENDIX I
MANUSCRIPTS OF PICATRIX
I have chiefly used Magliabech. XX, 20 and XX, 21, two MSS now
preserved at the National Library at Florence and originally written at
Rome in 1536, as an identical colophon in either MS states. Otherwise,
however, their contents are often not identical although roughly
corresponding. I have also examined Sloane 1305 and found it in general
similar to the other two.
Vienna 3317, 15th century, 114 fols., Picatrix, De magia,
“Ad laudem et gloriam altissimi ... / ... fel leonis est.”
Magliabech. XX, 20, 1536 A. D., fols. 1-117v, “Liber
Piccatrix sapientissimi Philosophi in necromanticis
artibus excellentissimi de Arabico in Hispanicum primum
traductus postea in Latinum conversus. Alphonsus
Rex Hispaniae totiusque Andalutiae precepit primam
traductionem summa diligentia. Hoc autem opus perfectum
fuit Anno MCCCLVI” (probably should be 1256, referring to
the Spanish rather than Latin translation). The foregoing
occurs two leaves before the book proper begins and is
in a larger print-like hand than the text itself, which
opens: “Alibi incipit liber excellentissimi viri picatrix
picatrici Hispanensis.” The Proemium then opens, as also
in Sloane 1305 and 3679, “Ad laudem et gloriam altissimi
dispotentis (disponentis) Dei cuius est in vellariis
suis praedestinans feliciter secreta scientiarum ad
illustrationem et doctrinam latinorum quibus est inopia
librorum ab antiquis philosophis editorum Alfonsus Dei
gratia prosperrimus rex Hispaniae totiusque Andalitiae
igitur (ego) precepit hunc librum summo studio summaque
diligentia de Arabico in hispanicum transferri cuius
nominem (nomen) est piccatrix. Hoc autem opus perfectum
fuit anno Domini 1356 (1256) Caesaris 2285 (1295)
Alexandri 1569 (2568).” The parentheses inclose variant
readings from other MSS. The work closes, “Et sic finitur
liber sapientissimi piccatricis in Math. die vigesimo
primo mensis maii hora vigesima prima brasichelle in domo
que est in platea a duobus faciebus et iuxta pallacium
communis currentibus annis a salutifera nativitate
millesimo quingentesimo trigesimo sexto inditione nona
anno secundo pontificatus Pauli tertii ad dei laudem et
gloriam in infinita.
Qui servare libris preciosum nescit honorem
Illius a manibus sit procul iste liber.
Telos.”
Magliabech. XX, 21, 1536 A. D.
Sloane 1305, 17th century, fols. 1-153, (Johannis)
Picatricis, Philosophi, Liber de Coelo, in partes quatuor
distinctus, cum prooemio, tabula uniuscuiusque libri
capitulorum et auctorum e quibus compilatur opus nominibus
praemissis. Praefigitur prooemio, “Alphonsus (X) Dei
gratia illustrissimus Rex Hispaniae totiusque Handulatiae
praecepit hunc librum summo studio summaque diligentia
de A(rabico) in Hispanicum transferri, cuius nomen est
Piccatrix. Hoc autem opus perfectum fuit anno Domini 1256,
Alexandri 1568, Caesaris 1295, Arabum 55, ex 200 libris
philosophia(e) et pluribus compilavit qui suo proprio
nomine nominavit.” Incipit prooemium, “Incipit liber quem
sapientissimus Philosophus Piccatrix in Necromanticis
artibus ex quam pluribus libris composuit. Ut sapiens
ait, primum quod agere debemus in omnibus rebus mundi est
Deum orare.” Incipit partis primae cap. I, “De scientia
cognoscendi in quo gradu es. Scias, O homo, quod maius
donum.” Desinit pars ultima, “et dum comburitur, legas
supradicta nomina et ex hoc amor et amicitia movebitur.”
“Et sic finitur Liber totus sapientis Piccatricis in
Mathematicis peritissimi. Deo optimo maximo; gratias in
aeternum agamus.”
Sloane 3679, 17th century, fols. 1-73, in the usual four
parts and with a table of contents.
Sloane 1309, 17th century, 69 fols., in Italian, “Delli
Experimenti di Gio Peccatrix.”
BN 7340, 17th century, #1, Picatricis Hispani astrologia
tribus libris.
BN 10272, 15th century, and 10273, 17th century, Traité de
nécromancie ‘Picatris.’
BN 13016 and 13017, 17th century, Liber Picatricis hispani,
two copies.
BN 17871, early 16th century, Picatrix.
Arsenal 1033, 17th century.
Steinschneider (1905) p. 61, discusses Picatrix and calls attention
to Cod. Reg. Suec. 505 at the Vatican, but fails to note the Sloane
MSS or those at Florence and omits some of those at Paris--but adds a
Paris Supplem. 91--and incorrectly cites Ashmole 1179. He means Ashmole
1437, 15th century, a commonplace book of a Cambridge doctor, Johannis
Argentin, where there is a citation of “Picatricem (secundum) in tertio
libro sue magice.” “1179” is the number of the column in Black’s
Catalogue of the Ashmolean MSS, from which Steinschneider derived this
information, and I presume that he mistook it for the number of the MS
itself. Steinschneider notes that in Hanover 396, 17th century, a work
of magic in Italian, Picatrix is spoken of as a Hebrew philosopher, and
that in the aforesaid Ashmole MS are “Tabulae motionis octavae spherae
moventis ab occidente ad orientem octo gradus in 640 annos secundum
ordinem Picatricis.”