Opulent jeweled objects ranked among the most highly valued works of art in the European Middle Ages. At the same time, precious stones prompted sophisticated reflections on the power of nature and the experience of mineralized beings. Beyond a visual regime that put a premium on brilliant materiality, how can we account for the ubiquity of gems in medieval thought? In The Mineral and the Visual, art historian Brigitte Buettner examines the social roles, cultural meanings, and active agency of precious stones in secular medieval art. Exploring the layered roles played by gems in aesthetic, ideological, intellectual, and economic practices, Buettner focuses on three significant categories of art: the jeweled crown, the pictorialized lapidary, and the illustrated travel account. The global gem trade brought coveted jewels from the Indies to goldsmiths' workshops in Paris, fashionable bodies in London, and the crowns of kings across Europe, and Buettner shows that Europe's literal and metaphorical enrichment was predicated on the importation of gems and ideas from Byzantium, the Islamic world, Persia, and India. Original, transhistorical, and cross-disciplinary, The Mineral and the Visual engages important methodological questions about the work of culture in its material dimension. It will be especially useful to scholars and students interested in medieval art history, material culture, and medieval history.

Magic was a fundamental part of the Greco-Roman world. Curses, erotic spells, healing charms, divination, and other supernatural methods of trying to change the universe were everyday methods of coping with the difficulties of life in antiquity. While ancient magic is most often studied through texts like surviving Greco-Egyptian spellbooks and artifacts like lead curse tablets, for a Greek or Roman magician a ritual was a rich sensual experience full of unusual tastes, smells, textures, and sounds, bright colors, and sensations like fasting and sleeplessness. Greco-Roman magical rituals were particularly dominated by the sense of smell, both fragrant smells and foul odors. Ritual practitioners surrounded themselves with clouds of fragrant incense and perfume to create a sweet and inviting atmosphere for contact with the divine and to alter their own perceptions; they also used odors as an instrumental weapon to attack enemies and command the gods. Elsewhere, odiferous herbs were used equally as medical cures and magical ingredients. In literature, scent and magic became intertwined as metaphors, with fragrant spells representing the dangers of sensual perfumes and conversely, smells acting as a visceral way of envisioning the mysterious action of magic. The Scent of Ancient Magic explores the complex interconnection of scent and magic in the Greco-Roman world between 800 BCE and CE 600, drawing on ancient literature and the modern study of the senses to examine the sensory depth and richness of ancient magic. Author Britta K. Ager looks at how ancient magicians used scents as part of their spells, to put themselves in the right mindset for an encounter with a god or to attack their enemies through scent. Ager also examines the magicians who appear in ancient fiction, like Medea and Circe, and the more metaphorical ways in which their spells are confused with perfumes and herbs. This book brings together recent scholarship on ancient magic from classical studies and on scent from the interdisciplinary field of sensory studies in order to examine how practicing ancient magicians used scents for ritual purposes, how scent and magic were conceptually related in ancient literature and culture, and how the assumption that strong scents convey powerful effects of various sorts was also found in related areas like ancient medical practices and normative religious ritual.

This is the first book to explore the importance of alchemy and its links to the occult in the period between 1320 and 1400. Alchemists did more than try to transmute base metals into gold: they studied planetary influences on metals and people, refined plants and minerals in the search for medicines and advocated the regeneration of matter and spirit. This book illustrates how this new branch of thought became increasingly popular as the practical and theoretical knowledge of alchemists spread throughout England. Adopted by those in court and the circles of nobility for their own physical and spiritual needs, it was adapted for the diagnosis and therapeutic treatment of the illnesses of the body politic and its head, the king. This is the first work to synthesize all aspects of alchemy and show its contribution to intellectual, social and political life in the fourteenth century. Hughes explores a rich body of manuscripts to reveal the daily routines of the alchemist and his imaginative mindscape, and considers the contribution of alchemy to the vernacular culture and political debate, leading to a reassessment of the intellectual life of the middle ages.

Reveals how the largest Sun Temple in the world, built according to Hermetic principles, is located at one of Christianity's holiest sites: the Vatican
- Shows how famous Renaissance philosophers and scientists called for a Hermetic reformation of Christianity by building a magical Temple of the Sun in Rome
- Explains how the Vatican architect Bernini designed St. Peter's Square to reflect heliocentric and Hermetic principles
- Reveals how the design was masterminded by Bernini, Jesuit scholars, the mystical Queen Christine of Sweden, and several popes
In 16th century Italy, in the midst of the Renaissance, two powerful movements took hold. The first, the Hermetic Movement, was inspired by an ancient set of books housed in the library of Cosimo de' Medici and written by the Egyptian sage Hermes Trismegistus. The movement expounded the return of the "true religion of the world" based on a form of natural magic that could draw down the powers of the heavens and incorporate them into statues and physical structures. The other movement, the Heliocentric Movement launched by Copernicus, was a direct challenge to the Vatican's biblical interpretation of a geocentric world system. Declared a heresy by the Pope, those who promoted it risked the full force of the Inquisition.
Exploring the meeting point of these two movements, authors Robert Bauval and Chiara Hohenzollern reveal how the most outspoken and famous philosophers, alchemists, and scientists of the Renaissance, such as Giordano Bruno and Marsilio Ficino, called for a Hermetic reformation of the Christian religion by building a magical utopic city, an architectural version of the heliocentric system. Using contemporary documents and the latest cutting-edge theses, the authors show that this Temple of the Sun was built in Rome, directly in front of the Vatican's Basilica of St. Peter. They explain how the Vatican architect Bernini designed St. Peter's Square to reflect the esoteric principles of the Hermetica and how the square is a detailed representation of the heliocentric system.
Revealing the magical architectural plan masterminded by the Renaissance's greatest minds, including Bernini, Jesuit scholars, Queen Christine of Sweden, and several popes, the authors expose the ultimate heresy of all time blessed by the Vatican itself.

A presentation of seven essential texts, central to the Hermetic Tradition, never before published together * Includes Theogony, The Homeric Hymn to Hermes, The Poem of Parmenides, The Poimandres, The Chaldean Oracles, Hymn to Isis, and On Divine Virtue, each translated from the original Greek or Latin * Presents interpretive commentary for each text to progressively weave them together historically, poetically, hermeneutically, and magically Linked to both the Greek god Hermes and the Egyptian god Thoth, Hermes Trismegistus is credited, through legend, with thousands of mystical and philosophical writings of high standing, each reputed to be of immense antiquity. During the Renaissance, a collection of such writings known as the Corpus Hermeticum greatly inspired the thought of philosophers, alchemists, artists, poets, and even theologians. Offering new translations of seven essential Hermetic texts from their earliest source languages, Charles Stein presents them alongside introductions and interpretive commentary, revealing their hidden gems of insight, suggesting directions for practice, and progressively weaving the texts together historically, poetically, hermeneutically, and magically. The book includes translations of Hesiod's Theogony, the Homeric Hymn to Hermes, the "Poem of Parmenides," the Poimandres from the Corpus Hermeticum, the Chaldean Oracles, "The Vision of Isis" from Apuleius's Metamorphoses, and "On Divine Virtue" by Zosimos of Panopolis. Through his introductions and commentaries, Stein explains how the many traditions that use Hermes's name harbor a coherent spirit whose relevance and efficacy promise to carry Hermes forward into the future. Revealing Hermes as the very principle of Mind in all its possibilities, from intellectual brilliance to the workings of the cognitive life of everyone, the author shows how these seven texts are central to a still-evolving Western tradition in which the principle of spiritual awakening is allied with the creative. Never before published together, these texts present a new vehicle for transmission of the Hermetic Genius in modern times.

This collection of essays considers the place of magic in the modern world, first by exploring the ways in which modernity has been defined in explicit opposition to magic and superstition, and then by illuminating how modern proponents of magic have worked to legitimize their practices through an overt embrace of evolving forms such as esotericism and supernaturalism. Taking a two-track approach, this book explores the complex dynamics of the construction of the modern self and its relation to the modern preoccupation with magic. Essays examine how modern "rational" consciousness is generated and maintained and how proponents of both magical and scientific traditions rationalize evidence to fit accepted orthodoxy. This book also describes how people unsatisfied with the norms of modern subjectivity embrace various forms of magic-and the methods these modern practitioners use to legitimate magic in the modern world. A compelling assessment of magic from the early modern period to today, Magic in the Modern World shows how, despite the dominant culture's emphatic denial of their validity, older forms of magic persist and develop while new forms of magic continue to emerge. In addition to the editors, contributors include Egil Asprem, Erik Davis, Megan Goodwin, Dan Harms, Adam Jortner, and Benedek Lang.

Magic, witches, and demons have drawn interest and fear throughout human history. In this comprehensive primary source reader, Martha Rampton traces the history of our fascination with magic and witchcraft from the first through to the seventeenth century. In over 80 readings presented chronologically, Rampton demonstrates how understandings of and reactions toward magic changed and developed over time, and how these ideas were influenced by various factors such as religion, science, and law. The wide-ranging texts emphasize social history and include early Merovingian law codes, the Picatrix, Lombard's Sentences, The Golden Legend, and A Midsummer Night's Dream. By presenting a full spectrum of source types including hagiography, law codes, literature, and handbooks, this collection provides readers with a broad view of how magic was understood through the medieval and early modern eras. Rampton's introduction to the volume is a passionate appeal to students to use tolerance, imagination, and empathy when travelling back in time. The introductions to individual readings are deliberately minimal, providing just enough context so that students can hear medieval voices for themselves.

In The Chain of Things, Eric Downing shows how the connection between divinatory magic and reading shaped the experience of reading and aesthetics among nineteenth-century realists and modernist thinkers. He explores how writers, artists, and critics such as Gottfried Keller, Theodor Fontane, and Walter Benjamin drew on the ancient practice of divination, connecting the Greek idea of sympathetic magic to the German aesthetic concept of the attunement of mood and atmosphere. Downing deftly traces the genealogical connection between reading and art in classical antiquity, nineteenth-century realism, and modernism, attending to the ways in which the modern re-enchantment of the world-both in nature and human society-consciously engaged ancient practices that aimed at preternatural prediction. Of particular significance to the argument presented in The Chain of Things is how the future figured into the reading of texts during this period, a time when the future as a narrative determinant or article of historical faith was losing its force. Elaborating a new theory of magic as a critical tool, Downing secures crucial links between the governing notions of time, world, the "real," and art.

In The Chain of Things, Eric Downing shows how the connection between divinatory magic and reading shaped the experience of reading and aesthetics among nineteenth-century realists and modernist thinkers. He explores how writers, artists, and critics such as Gottfried Keller, Theodor Fontane, and Walter Benjamin drew on the ancient practice of divination, connecting the Greek idea of sympathetic magic to the German aesthetic concept of the attunement of mood and atmosphere. Downing deftly traces the genealogical connection between reading and art in classical antiquity, nineteenth-century realism, and modernism, attending to the ways in which the modern re-enchantment of the world-both in nature and human society-consciously engaged ancient practices that aimed at preternatural prediction. Of particular significance to the argument presented in The Chain of Things is how the future figured into the reading of texts during this period, a time when the future as a narrative determinant or article of historical faith was losing its force. Elaborating a new theory of magic as a critical tool, Downing secures crucial links between the governing notions of time, world, the "real," and art.

Alchemy is best known as the age-old science of turning base metal into gold. But it is much more: essentially, it is a path of self-knowledge, unique in the Western tradition, with vital relevance for the modern world. The symbols of Alchemy lie deep in the collective unconscious, in the world of dreams and imagery: the practices of alchemy are rooted in an understanding of the oneness of spirit and matter through which we celebrate our sexuality and spirituality. Jay Ramsay takes us step by step through the stages of the alche-mical process using a wide range of original exercises to create a memorable journey that challenges, inspitres and transforms us at every stage. We too can be kings and queens: we too, once we leave our dross behind, are gold. It's full of fi ne things... --Ted Hughes, Poet Laureate 1984-1998, playwright and author. So much good work... --Robert Bly, award winning poet, essayist, activist and author. Jay Ramsay has written a luminous and wise guide to the mysteries of soul, and to the images and texts of alchemy, which explores these mysteries... --Anne Baring, philosopher, visionary and author of several books including: The Dream of the Cosmos: a Quest for the Soul and The Myth of the Goddess. Ramsay is among those who have been working most assiduously to share this archetypal language of the soul... --Lindsay Clarke, review in Caduceus. The clearest account of the alchemical process I've read... --Peter Redgrove, poet, novelist and playwright. Extremely wonderful and important... --Robert Sardello, author and co-founder of The School of Spiritual Psychology.