THE ART OF FORETELLING.
The early theory of the art of foretelling by means of the stars, and
casting horoscopes, was as follows: The seven planets then known,
including the Sun, with the twelve figures of the Zodiac, comprised
the astrological system. Each unit or body or nation was supposed to
be governed or influenced by a certain star or constellation, and this
power extended to all things connected with the person or nation.
Thus, Saturn was supposed to influence life, sciences, and buildings;
Jupiter—honour, wishes, and wealth; Mars—wars, persons, marriages,
and quarrels; the Sun—hope, gain, and happiness; Venus—love
and friendship; Mercury—fear, disease, debts, and commerce; the
Moon—robberies, wounds, and dreams. The intrinsic quality was denoted
by the planet. The Sun was regarded as favourable; Saturn, cold;
Jupiter, temperate; Mars, ardent; Venus, fruitful; Mercury, inconstant;
the Moon, melancholy. The days, colours, and metals also came under
the same influences.
In casting a horoscope, the astronomer had first to observe if the time
was propitious, and what planet was dominant in the heavens. Then, by
means of calculations and diagrams, he would deduce the consequences
from the position and bearing of the stars. The day was divided into
four equal parts—the ascendant of the sun, the middle of the sky,
the descending of the sun, and the lower part of the sky. These four
parts of the day were subdivided into twelve distinct parts, which
were called the twelve houses of the sun. It was of the greatest
importance in drawing a horoscope to tell exactly in which “house” the
star appeared. One can easily trace the connection of the influence
attributed to the planets with the old Egyptian and Greek mythologies,
and it can hardly be wondered at that the same system should have been
brought to bear on medicine.
A favourite method of divination, especially with the sorcerers, was
that of gazing into a beryl or crystal. For the proper performance of
this ceremony a pure virgin or equally pure youth should be the gazer.
The sorcerer, having repeated the necessary charms and adjurations,
with the invocation suitable to the spirits he wished to consult,
looked into a large beryl or crystal, wherein he saw the answer
represented either by types or by figures, and sometimes it is said he
might hear the spirit speak to him.
Vallancey states that in the Highlands of Scotland large crystals of
somewhat oval shape were kept by the priests to work charms with,
and that water poured on them was given to cattle as a preventive of
disease. Dr. Dee was a famous conjurer with the crystal in the time of
Queen Elizabeth.
Lilly describes these crystals as being the size of an orange, set in
silver, surmounted with a cross, and engraved all round with the names
of the angels—Raphael, Gabriel, and Uriel.
Among other charms practised was Dactylomancy, which was performed by
means of a ring suspended by a thread in the centre of an earthenware
or metal pitcher. The ring, which was supposed to have been made under
the influence of a certain constellation, was swung from side to
side of the vessel, and the sounds it made on touching were taken as
predictions and oracles.
The art of divination by fire was called Pyromancy, and was performed
by allowing a certain body to burn, the smoke from which, by its
density and colour, forecast the future. A favourite medium for
consulting this oracle was a donkey’s head roasted on hot coals.
Popular belief in mediæval times attributed anything unusual or
beyond its understanding, to magic; so most of the early alchemists
were believed to be magicians. Both Albertus Magnus and Roger Bacon
were accused of dealing in the black arts, one having to resign his
bishopric of Cologne and retire to a monastery, and the other to the
Franciscan cells in Paris, to free themselves from the charges of their
accusers.