_Retractat. de Magia_, cap. _de Prestigiis_, qui sanguine perscripsisse
dicitur, quae collibuisset, in speculo et eo ad Lunam obverso,
commonstrasse res exaratas stanti a tergo in disco Lunae. Hoc si verum
est, utique non naturaliter contingit sed ope Daemonis.”
In the same work, par. i., p. 438-440, is a discussion of the
proposition: “Utrum in lunari disco aliquid legendum exhiberi potest
arte catoptrographica.” He says that Baptista Porta maintained this
in his Natural Magic (cap. xvii., lib. 17). He also quotes from the
_Philosophia Occulta_ of Cornelius Agrippa (lib. i., cap. 6) as follows:
“Si litteras parabolico speculo inscripseris idque tempori plenilunii
Lunae exposueris eae litterae ceu in vasto quodam speculo impressae
reflexaeque ubilibet locorum legi poterunt. Ita Pythagoram aiunt, dum
Hydrunti moraretur, litteras Lunae inscriptas Constantinopoli amicis
legendas dedisse.”
There is also a passage in Dr. Thomas Browne’s _Pseudodoxia Epidemica_
(Vulgar Errours), p. 60 (Edition of 1650), in reference to this myth:
“Which is a way of intelligence very strange; and would requite the Art
of Pythagoras; who could read a reverse in the Moon.”
Other references in occult literature to the alleged mirror of
Pythagoras are as follows:
ATHANASIUS KIRCHER. _Ars Magna Lucis et Umbrae_ (Cryptologia, cap.
i.) (Romae, 1646, fol.), p. 908. (Quotes from Cornelius Agrippa and
Porta, and denounces the account as absurd, and against natural
possibility.)
BUBALUS. _Commentationem de Angelis_ (Lugduni, 1622, fol.), 9-50,
art. 1, quaesito 2, difficult. 2, § 3, pp. 64-66. (Combats views of
Paracelsus.)
PARACELSUS. _Magia_, lib. 5, de Speculi constitutione. (Distinguishes
five kinds of alleged magic mirrors; none of them, however, having
any optical significance.)
BOISSARDUS. _Tractatus de Divinatione_ (Oppenheim, 1616, folio), p.
297.
(_ii._) AULUS GELLIUS. Carus Sterne (_Gartenlaube_, 1877) and Ayrton
(_Journal Royal Institution_, 1879) refer to Aulus Gellius as having
written of mirrors which “sometimes reflected their backs and sometimes
did not.” The reference appears to be a mistaken one; for all I have
been able to find in Aulus Gellius is the following passage in the
_Noctes Atticæ_, bk. xvi., ch. xviii. (which is upon that branch of
Geometry called [Greek: optikê]):
[Greek: Optikê] facit multa demiranda id genus; (1) ut in speculo uno
imagines unius rei plures appareant; (2) _item, ut speculum, in loco
certo positum, nihil imaginet, aliorsum translatum, faciat imagines_;
(3) item, si rectus speculum spectes, imago fiat tua hujusmodi, ut
caput deorsum videatur pedes sursum.
The passage which I have put into italics appears to have been mistaken
in meaning. In Beloe’s translation, vol. iii., p. 249, this clause
is rendered as follows: “A glass placed in a certain position shows
nothing. Turn it, and it shows many things.” This is hardly adequate.
More accurately it should run: “A mirror set in a certain place shows
no image, but when transferred to another position produces images.”
There is nothing in this at all suggestive of the mirror reflecting
from its face the pattern on its back.
(_iii._) MURATORI. Sterne (_op. cit._) and Ayrton (_op. cit._) refer
vaguely to the Italian historian Muratori as the authority for accounts
of a “magic mirror found under the pillow of the Bishop of Verona, who
was afterwards condemned to death by Martin (_sic_) della Scala, as
well as of the one discovered in the house of Colla da Rienzi (_sic_)
on the back of which was the word ‘Fiorone.’” The bishop in question
was Bartolomeo dalla Scala, who was put to death in 1338 by Mastino
della Scala, as narrated by Muratori (_Annali d’Italia_, vol. viii., p.
212, of the folio edition of 1744-49). Cola di Rienzo (or Rienzi) is
mentioned many times in the same volume viii. I have not, however, been
able to find in this work the mention of the mirror in either case.
Neither have I found any as yet in Lessmann’s life of Mastino della
Scala (Berlin, 1829); nor in Du Cerceau’s _Life and Times of Rienzi_
(Lond. 1836). Muratori was, however, a prolific writer. Amongst his
works were: _Delle forze dell’ Intendimento Umano_; _Riflessioni sopra
il Buon Gusto nelle Scienze e nelle Arte_; _La Filosofia Morale_. It is
possible that the reference may be to some passage in these. Muratori
also refers to a _Vita di Cola di Rienzo_, the authorship of which is
unknown to me.
(_iv._) VON HUMBOLDT. In 1830 Von Humboldt brought a supposed magic
mirror from Berlin to Paris to exhibit it to members of the _Académie
des Sciences_. It was indeed shown to some of them at the apartments
of M. Arago at the Observatoire. No reference to the occurrence is to
be found in the journals of the Académie, published or private, or in
any contemporary journal. Perhaps the reason is that, as is known, the
experiments proved a total failure. My information on the subject is
derived from Bertin (_Ann. Chim. Phys._, xxii., 1881, p. 478).
(_v._) BABINET. The name of Babinet is sometimes given along with that
of Arago in connection with this subject; but I am unable to find that
he did anything.
(_vi._) HARTING (PIETER). In their 1878 paper Ayrton and Perry refer
to a short paper by Professor Harting in the _Album der Natuur_ some
years before. It appears that this was a short-lived periodical, edited
by Harting and Logeman, which was issued at Haarlem (A. C. Kruseman,
publisher) in 1872. There is a single part (No. 3 of vol. i.) in the
British Museum. No copy containing the article in question is known in
England.
(_vii._) TENNANT, PROF. JAMES. The well-known mineralogist Tennant is
believed to have issued, about the year 1869, a small pamphlet of about
four pages on the subject of Japanese mirrors. No copy has yet been
found.
[Illustration: (_From a Drawing in the British Museum by_ Tachibana no
Bink[=o], 1784.)]
[Illustration: MASK OF UZUME (O-KAME).
From a netzuké in the possession of Charles Holme, Esq. (_Pilgrim_).]
[Illustration: UZUME’S MIRROR]
APPENDIX II.
THE MYTH OF THE SUN-GODDESS AND THE INVENTION OF THE MIRROR.
(_Abstracted from the account given by Mr. E. Satow in vol. ii. of the
“Transactions of the Asiatic Society of Japan,” 1874._)
Of all the gods of old Japan, there were two whom the father of the
gods, Izanagi no mikoto, loved most. These were Amaterasu oho-mi-kami,
who shone beautifully and illuminated the heavens and the earth,
and her brother, Susanowo no mikoto, who was ruler of the blue sea.
Amaterasu was made ruler of heaven, which she reached by climbing up
the pillar on which the sky rested. Susanowo no mikoto, who was ever a
_mauvais sujet_, neglected his kingdom, so much so that the rivers and
seas all dried up. Amongst other evil deeds, he offended his sister
Amaterasu by throwing into the room where she was weaving the body of
a piebald horse which he had flayed, so terrifying her that she hurt
herself with her shuttle, and retired in wrath to a cave, which she
closed with a rock door. Heaven and earth were long plunged into utter
darkness, during which time the more turbulent of the gods made a noise
like the buzzing of flies, and the general disaster was great.
Then the gods held a council in the bed of one of the dry rivers as
to how they might appease the anger of the great goddess, and at
the suggestion of Taka-mi-musu-bi no kami the plan of campaign was
entrusted to the wisest of the gods, Ame-no-koya-ne no mikoto, who
suggested that Amaterasu should be enticed out by artifice to look
at her own image. Accordingly two gods, Amatsu-mara no mikoto, the
Japanese Vulcan, and Ishi-kori-dome no mikoto, were set to work to
make a mirror of the shape of the sun, and of metal taken from the
mines in heaven. Their bellows were made from the whole skin of a deer.
The first two mirrors were voted too small, but the third was large
and beautiful. Five gods were then ordered to prepare striped cloth
and fine cloth from bark and hemp fibre, and two other gods erected
posts and built a palace near the cave. Then Taka-mi-musu-bi no kami
commanded another god, Ame-no-kushi-akaru-tama no mikoto, to make a
string of _magatama_, or curiously curved charms, such as were worn
in those days as ornaments, whilst two other gods made wands from the
sakaki tree. Having by strange divinations satisfied themselves that
their preparations were likely to come to a successful issue, the gods
began their campaign.
First, Ame-no-koya-ne no mikoto pulled up a sakaki tree by the roots
and hung upon it the string of charms, the mirror, and the strips of
cloth. This trophy was held up by Ame-no-futo-damo no mikoto in front
of the cave whilst Ame-no-koya-ne no mikoto pronounced an oration in
honour of the goddess. They placed in concealment near the cavern
door the god Ta-jikara-wo no mikoto, the Japanese Hercules. Then they
set a number of cocks to crow in concert, and organized a dance to the
accompaniment of music. A lively goddess, Ame-no Uzume no mikoto (or
O-kame), she of the diminutive forehead and swollen cheeks, officiated
as mistress of the ceremonies. She blew a bamboo flute, whilst the
assembled deities kept time to the music by striking together two
pieces of wood. Two other gods performed upon a primitive harp with
six strings, which they bowed, violin-like, with grass. Uzume no
mikoto adjusted her head-dress and bound up her sleeves preparatory
to a dance, and flourished around a spear decorated with grass and
bells. Bonfires were lighted, and a large circular box was laid upon
the earth, upon which Uzume mounted to execute a _pas seul_ As she
flung herself about to the strains there descended upon her the spirit
of folly, which possessed her and inspired her to sing. She sang
a quatrain of six syllables to each line, which, though in modern
Japanese it reads merely “One, two, three, four, five,” and so on, may
also be rendered in old Japanese with the following meaning:
Gods, look now at the lid;
The Goddess no longer is hid.
Our longings she now satisfies:
Behold my bosom and thighs.
And as she pronounced these words she shook off her garments one by
one, whilst finally the air shook with a burst of Homeric laughter from
the assembled gods.
Hereupon Amaterasu oho-mi-kami, slightly opening the cavern door,
called out from within, “I fancied that in consequence of my retirement
both heaven and Japan were in darkness. Why has Ame-no Uzume danced,
and why do the gods laugh?” Thereupon Uzume answered, “I dance and
they laugh because there is here an honourable deity who surpasses
your glory” (alluding to the mirror). As she said these words
Ame-no-futo-dama no mikoto, who held the trophy, pushed the mirror
toward her, so astonishing her that she came forward to look. As they
were putting the mirror into the mouth of the cave it struck against
the door and received a flaw, which it bears to this day. As the
goddess came forward Ame-no tajikara-wo-no kami pulled open the door
and dragged her forth, whilst Ame-no-koya-ne no mikoto passed behind
with a straw rope to prevent her return.
So light was restored to the world; and in after days Amaterasu
oho-mi-kami gave the mirror to her adopted grandson Nini-gi no mikoto,
who in turn handed it down to his descendants, who, after various turns
of fortune, placed it, in the year 4 B.C., in the sacred shrine on the
bank of the Isuzu river, by the village of Uji in Isé, where it is
preserved to this day with religious care.
[Illustration: MIRROR OF AMATERASU]
[Illustration]
APPENDIX III.
ORIENTAL WRITINGS UPON THE MAGIC MIRROR.
M. Stanislas Julien, the erudite author of _Les Industries anciennes
et modernes de l’empire chinois_, has given the following extract
from the fifty-sixth volume of the Chinese encyclopædia called
_Ke-chi-king-yonen_.
“_Théou-kouang-kien_, or _Mirrors which let the light pass through_ (an
expression due to a vulgar error). If one receives the rays of the sun
upon the polished surface of one of these mirrors, the characters or
flowers which are in relief on the back are reproduced faithfully in
the (reflected) image of the disk. Chin-kouo (a writer who flourished
in the middle of the eleventh century) speaks with admiration of them
in his memoirs entitled _Mong-ki-pi-tân_, book xix., fol. 5. The
poet Kin-ma celebrated them in verse; but, down to the time of the
Mongolian emperors, no author had been able to explain this phenomenon.
Ou-tseu-hing, who lived under this dynasty (between 1260 and 1341), has
the merit of having first done so. This is how he expresses himself on
this subject:
“‘When one places one of these mirrors facing the sun, and causes it
to reflect, upon a very near wall, the image of its disk, one sees
distinctly appear therein the ornaments or characters which exist in
relief upon the back. Now the cause of this phenomenon, which arises
from the distinct employment of fine copper and of crude copper. If on
the back of the mirror one has produced, by casting it in a mould, a
dragon arranged within a circle, one engraves deeply on the face of the
disk an exactly similar dragon. Next, one fills the deeply-chiselled
cuts with a somewhat baser copper; then one incorporates this metal
with the first, which ought to be of a finer quality, by submitting
the mirror to the action of fire; after which one flattens and
smoothens down the face of the mirror, and spreads over it a slight
layer of lead (tin?).
“‘When one turns toward the sun the polished disk of a mirror so
prepared, and reflects its image upon a wall, it distinctly presents
bright tints and dark tints, which come, these from the purest parts of
the copper, those from the baser parts.’
“Ou-tseu-hing, to whom we owe the preceding explanation, tells us that
he has seen a mirror of this sort broken into fragments, and that he
recognized for himself the accuracy of his description.”
Ayrton quotes from a Japanese work, the _Shim-pen-kamakura-shi_,
or New Collection of Writings about Kamakura, a description of a
temple-mirror, which when looked at obliquely shows the face of a
Buddhist priest, not resembling in the least the raised ornament on the
back (see p. 45, _supra_).
The same authority refers to the _Kokon-i-to_, or Genealogy of the Old
and New Physicians, for an alleged process of producing magic effects
on mirrors by treating the surface with a peculiar paste. The recipe
is as follows: “Take ten parts of _shio_ (gamboge), one of _funso_,
and one of _hosha_ (borax). Powder them thoroughly, and mix them to
the consistency of a paste with a little dilute glue. If any pattern
be drawn on the surface of a mirror with this paste, and then allowed
to dry, the pattern will be seen, even after polishing, if looked at
obliquely.”
It appears that this process fails in reality to give any result.
The process of inlaying described by Ou-tseu-hing is also an error.
The magic effect is certainly not produced in this way. Probably he
was misled by the circumstance that flaws in the bronze castings are
sometimes filled by the insertion of soft copper beads.
[Illustration]
[Illustration]
APPENDIX IV.
ANALYSES OF JAPANESE MIRRORS.
Mm. Champion and Pellet (_Industries de l’empire Chinois_, p. 64) give
the following composition for Chinese mirrors:
Copper 50·8
Tin 16·5
Zinc 30·5
Lead 2·2
------
100·0
------
Dr. Geerts gives (_Trans. Asiatic Soc. of Japan_, vol. iv., p. 40),
for the alloy used in one of the largest mirror-foundries in Kioto:
Copper 80
Tin 15
Lead 5
----
100
----
And for mirrors of inferior quality:
Copper 80
Lead 10
Shirome 10
----
100
----
Shirome is a natural sulphide of lead and antimony from Choshiu or Iyo.
Professors Ayrton and Perry (_Proc. Roy. Soc._, 1878) give:
For mirrors of first quality:
Copper 75·2
Tin 22·6
Iyo Shirome 2·2
------
100·0
------
For mirrors of second quality:
Copper 81·3
Tin 16·3
Iyo Shirome 2·4
------
100·0
------
For mirrors of third quality:
Copper 87·0
Tin 8·7
Iyo Shirome 4·3
------
100·0
------
For mirrors of fourth quality:
Copper 81·3
Tori Shirome 16·3
Iyo Shirome 2·4
------
100·0
------
For mirrors of fifth quality:
Copper 71·5
Tori Shirome 28·5
------
100·0
------
The mercurial amalgam used in polishing the mirrors consists, according
to Dr. Geerts (_op. cit._), of quicksilver, tin, and a little lead.
Ayrton gives it as one of tin to one of quicksilver. Champion and
Pellet (_op. cit._) give the composition as:
Tin 69·36
Mercury 30·0
Lead 0·64
------
100·00
------
[Illustration]
_On the occasion of the delivery of this discourse the Author exhibited
a collection of thirty-four Japanese mirrors, and by the aid of a
lime-light lantern displayed their magic properties upon a translucent
screen. He also exhibited sundry experiments with Laurent’s apparatus,
and showed the effect of heating mirrors._
[Illustration]
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