the book of ceremonial magic contents - Yankeeclassic.com
the book of ceremonial magic contents - Yankeeclassic.com
the book of ceremonial magic contents - Yankeeclassic.com
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87:2 This manifestation seems to have been seated on a throne, with a raven in his breast<br />
and a globe under his feet.<br />
87:3 O<strong>the</strong>r forms were a woman with <strong>the</strong> head <strong>of</strong> a bird and <strong>the</strong> feet <strong>of</strong> an eagle, who held<br />
a dart in her hand; also a little maid in long white garments, with a <strong>com</strong>b in her left hand<br />
and flowers in her right.<br />
88:1 There is ano<strong>the</strong>r riding on a peacock, with eagle's feet and crested head.<br />
§ 6. The Heptameron<br />
The Fourth Book <strong>of</strong> Cornelius Agrippa was much too informal, and left too much to <strong>the</strong><br />
discretion <strong>of</strong> <strong>the</strong> operator, to be satisfactory for a science so exact as that <strong>of</strong> Ceremonial<br />
Magic. A form <strong>of</strong> procedure which bequea<strong>the</strong>d nothing to <strong>the</strong> imagination and asked no<br />
o<strong>the</strong>r skill than <strong>the</strong> patient exactitude <strong>of</strong> <strong>the</strong> rule <strong>of</strong> thumb was necessary to <strong>the</strong> weakness<br />
<strong>of</strong> <strong>the</strong> ordinary sorcerer. The Heptameron, or Magical Elements ascribed to Peter de<br />
Abano is an attempt to supply <strong>the</strong> want and to <strong>of</strong>fer to <strong>the</strong> neophyte a <strong>com</strong>plete wizard's<br />
cabinet. Cornelius Agrippa, says <strong>the</strong> introduction, which might, ex hypo<strong>the</strong>si, be that <strong>of</strong> a<br />
later hand, seems to have written for <strong>the</strong> learned, for <strong>the</strong> well-experienced in this art; he<br />
does not treat specially <strong>of</strong> <strong>the</strong> ceremonies, but mentions <strong>the</strong>m in a general way. Those<br />
who have not "tasted <strong>magic</strong>al superstitions" may here find <strong>the</strong>m ready to <strong>the</strong>ir hand. "In<br />
brief, in this <strong>book</strong> are kept <strong>the</strong> principles <strong>of</strong> <strong>magic</strong>al conveyances." It may be conceded at<br />
once that <strong>the</strong> undertaking is scrupulously fulfilled; what <strong>the</strong> operator must do and how he<br />
should perform it, so as to "draw spirits into discourse," are matters set forth so plainly<br />
that <strong>the</strong> wayfaring man need not err <strong>the</strong>rein. Assuming <strong>the</strong> sacerdotal <strong>of</strong>fice <strong>of</strong> <strong>the</strong><br />
operator, or a priest for an ac<strong>com</strong>plice, it is all so simple that failure could not well be<br />
ascribed to a blunder on his part.<br />
It would be invidious to suppose that <strong>the</strong> Heptameron is more au<strong>the</strong>ntic as regards its<br />
attribution than <strong>the</strong> work to which it is pr<strong>of</strong>essedly a sequel; its real authorship is<br />
involved in much <strong>the</strong> same kind <strong>of</strong> obscurity as that <strong>of</strong> pseudo-Agrippa. There are several<br />
grave reasons why <strong>the</strong> pupil <strong>of</strong> Tri<strong>the</strong>mius should not have written <strong>the</strong> spurious Fourth<br />
Book, but Peter <strong>of</strong> Abano is not an unlikely personage to connect with <strong>the</strong> Magical<br />
p. 90<br />
Elements, if it were not for a trifling chronological disparity <strong>of</strong> about three hundred years.<br />
It is true that Agrippa pr<strong>of</strong>essedly wrote upon Magic, and <strong>the</strong> o<strong>the</strong>r upon Astrology and<br />
Geomancy, unless his imputed works in <strong>the</strong>se departments <strong>of</strong> occult science are also<br />
forgeries; but <strong>the</strong> Heptameron was never heard <strong>of</strong> for <strong>the</strong> space which I have mentioned<br />
after <strong>the</strong> death <strong>of</strong> its reputed author, which occurred in 1316, and it is too obviously later<br />
in its tone, too obviously a sequel 1 to a much more recent work, for it to have been<br />
possibly a memorial <strong>of</strong> <strong>the</strong> fourteenth century.<br />
Peter <strong>of</strong> Abano, a town in <strong>the</strong> vicinity <strong>of</strong> Padua, was born in 1250 and was a learned<br />
physician <strong>of</strong> his period, who attempted to conciliate <strong>the</strong> different medical systems and is<br />
supposed to have been <strong>the</strong> first European who quoted Averroes. He established himself at