Spiritual and Demonic Magic: From Ficino to Campanella

Magic in History

by D.P. Walker

First published by the Warburg Institute in 1958, this book is considered a landmark in Renaissance studies. Whereas most scholars had tended to view magic as a marginal subject, Walker showed that magic was one of the most typical creations of the late fifteenth and sixteenth centuries. Walker takes readers through the magical concerns of some of the greatest thinkers of the Renaissance, from Marsilio Ficino, Giovanni Pico della Mirandola, and Jacques Lefevre d'Etaples to Jean Bodin, Francis Bacon, and Tommaso Campanella. Ultimately he demonstrates that magic was interconnected with religion, music, and medicine, all of which were central to the Renaissance notion of spiritus. Remarkable for its clarity of writing, this book is still considered essential reading for students seeking to understand the assumptions, beliefs, and convictions that informed the thinking of the Renaissance. This edition features a new introduction by Brian Copenhaver, one of our leading experts on the place of magic in intellectual history.

Genres: History, Occult, Magic, Religion, Mysticism, Nonfiction, Philosophy

256 pages, Paperback

First published January 1, 1958

Reviews

[Kevin · Rating 4 out of 5]

As a big fan of Dame Frances Yates I found it highly important to read this work as Walker is a mentor of hers and as they both reviewed and relied heavily upon one an-others works.

I wish that I had approached this work with a stronger understanding of Neoplatonic and other early classical sciences and philosophies. I am currently working to remedy this lack of knowledge and will tackle Walkers work fresh when this is accomplished.

The above being said, this work has been indispensable in helping me to understand the relationships of the elements of Spirit, Soul and World, and how these three principles permeate and inform all aspects of the manifested world, as medieval and classical authors understood them. This alone has been an incalculable asset to my studies.

[Timothy · Rating 4 out of 5]

Like his colleague Frances Yates, Walker writes about Renaissance magic with great clarity, making the esoteric topic accessible to non-specialist readers. I had to pay close attention, but I enjoyed the read immensely.

[Pete · Rating 5 out of 5]

Essential reading for the history of Neoplatonic Renaissance magic. Compelling argued and clearly articulated.

[Telarak Amuna · Rating 4 out of 5]

Walker decide di ripercorrere il dibattito e l’evoluzione del pensiero magico, da colui che lo rilanciò, traducendo, diffondendo e intrecciando ermetismo e neoplatonismo, a uno dei suoi ultimi convinti fautori, Campanella; ma lo fa con un’ottica particolare ed estremamente utile, ossia la distinzione tra due tipi di magia, una ritenuta benefica e l’altra malefica. L’interesse risiede nel fatto che tale distinzione, soprattutto sostenuta e rimarcata da chi operava la magia, nella pratica era tutt’altro che chiara. Si prenda ad esempio Ficino, con il suo culto solare e la sua pietà estremamente religiosa: è difficile essere certi che quelli che lui chiama spiriti celesti, intermediari tra l’uomo e Dio, siano di natura radicalmente diversa dai demoni. E infatti non lo sono, ma divergono solo per il polo, positivi e favorevoli all’uomo i primi, negativi e perfidamente ingannevoli i secondi, ma proprio per questo difficili da distinguere: in sostanza, come fa il mago ad essere certo che a rispondergli non sia un demone travestito da angelo? Oltre a ciò Ficino ricorre anche a talismani, suffumigazioni e altri aspetti rituali che non sono così immediatamente e nettamente classificabili come spirituali (soprattutto i talismani). Partendo quindi da questa posizione in sostanza ambigua, Walker risale poi tutto il dibattitto fino a Campanella, riportando varie le varie posizioni, le sfumature di credenza, le confutazioni scettiche e tutte le sfumature su questa tematica così fondamentale nel Rinascimento. Pur nel contrasto delle posizioni, emerge un generale movimento di allargamento dell’ambito magico, ma con la sempre più insistita esclusione di elementi visti come demonici o idolatri; movimento parallelo a quello vicino all’inquisizione, che confuta con veemenza le posizioni scettiche, stabilendo come certa l’esistenza di demoni e quindi come pericolosa e tendenzialmente tutta da rigettare la magia, proprio per la difficoltà di evitare qualsiasi esca offerta dai demoni al mago.
Ad aggiungere valore a questa panoramica molto completa e ricca, dato che considera i maggiori esponenti del dibattito di tutta Europa, si ha anche un grande attenzione al lato pratico e documentario, poiché Walker cita ampi brani dei testi considerati, illuminando così tramite una loro analisi le idee dell’autore e dandoci un’idea anche a noi di come le loro opinioni fossero costruite ed espresse e inoltre cerca anche di costruire, per quanto possibile, gli aspetti rituali delle azioni che questi “maghi” eseguivano, come ad esempio i riti inscenati da Ficino per attirare il sole e mitigare così l’influsso di saturno, basati su musica, suffumigazioni, cibi, preghiere, vestiti e condotta del mago. Grazie ai due versanti si ha quindi davvero un’idea molto più precisa e documentata del fenomeno, una volta conclusa l’opera, e del suo sviluppo del corso del Rinascimento.

[J · Rating 4 out of 5]

Obviously a classic study, but seriously, in the interests of readers who don’t master all of Latin, Greek, French and Italian, it really would have been acceptable to add a few translations in footnotes. Trust me.

[Beluosus · Rating 3 out of 5]

I'm no real fan of Ficino, so this book's focus left me cold. Honestly, I enjoyed the footnotes more than the text

[Ankh156 · Rating 3 out of 5]

Good background and overview to Renaissance spiritual beliefs and fads.

[Aaron Meyer · Rating 5 out of 5]

This book is an introductory study on Renaissance philosophy and magic focusing on Marsilio Ficino and his influence during the 15th through 17th centuries.
Ficino was a very interesting man who to me somewhat embodies the Renaissance scholar. He was a Neo-Platonist in philosophy, having translated many works in that vein, as well as influenced deeply by the Hermetic writers. He was also deeply interested in Astrology and talismatic magic, all of which along with music form the basis of his magical/philosophical system.
After getting the basis of his system described Walker then begins to show the influence Ficino's ideas had on other philosophers. Of those influenced, Cornelius Agrippa and his Three Books of Occult Philosophy are of the most interest. Many of Ficino's ideas are included even if not accredited and Agrippa expands on Ficino in directions he wouldn't do so openly for fear of being accused of working with demons. Agrippa obviously didn't have an issue with that. Walker then shows us some who are against Ficino's ideas, like Wier and Erastus. Most of his detractors focus on his Astrology and/or the possibility of working with demons while using his talismans saying that an outside entity causes the talisman to work, hence demonic assistance. Also, Ficino's "orphic singing/music" could be considered an invocation if words were used and not only music. Walker then gives a quick look at the Telesian philosophers. I believe the biggest deal on them was their idea, which was different from Ficino, that the stars were of fire rather than spirit which then had a big influence on Campanella. Campanella's ideas were fascinating in that in order to avert the possibility of, say an astrological disaster, he would create an entire universe in a sealed room with lights and open flames representing the planets and stars, as well as usiing appropriate incenses and flowers, etc., to maintain a perfect and safe microcosm while the adverse conditiion outside of the room went through its phase. Whereas Ficino would work with talismans to bring in planetary influences to empower and benefit a person, Campanella would literally create a living talismatic self-contained sphere. Pretty incredible, and worth investigating further. In fact the whole idea sort of reminds me of the basis of Aleister Crowley's Moonchild. Overall this book is an incredible resource and should be read by any interested in Renaissance thought and magic. It makes a great spring board for either delving into certain personalities deeper or investigating the neo-platonic and hermetic influences in greater depth.

[Lissa Notreallywolf · Rating 3 out of 5]

This book is an ongoing conversation about neoplatonism and magic which probably took place in the context of the Warburg Institute between Dame Yates and Walker, and many unacknowledged others. A review published Mar 27, 2012 by Ayinyhvh sums up much of what I might say. That review or another recommends the book be read under the guidance of a professor, which is not a luxury any book should afford. A librarian echoed this, and much to my amazement suggested that someone up at Berkeley might take the time to explain it to me. Instead I am pursuing another tangent of independent study-read other books on the topic, and read works by the same author.
The early chapters of the book pertain to music and the magical uses of music. They were independent articles gathered into the larger book, and if you are interested in the history of music and theories about why it effects us as it does, I would recommend them. I think it a struggle for moderns or post moderns to recognize how rhetoric was once a thriving part of curriculum and public thought. Certainly our consideration of how language and music has shifted to the visual. It's fascinating to think that this book was written after WWII. Much scholarship has focused on the role of the media in the rise of the Third Reich.
Placing this book in historical context is an exercise Walker does not perform for the many people he discusses in the book. Most of the names are unfamiliar, unless of course you have a background in Renaissance religious history. There is little attempt made to give dates, location or context beyond book publication dates. Frances Yates might be considered a background read for the book, and I have started another Walker book which may clarify the Neoplatonist context. I will have to do more background reading to comprehend and critically understand this book, because it is clearly not accessible to me at this time. As another review warns, many of the footnotes which back his statements are in Latin, Greek, Italian and French.
The soul-spirit distinction is interesting, and the varying forms of pantheism, panentheism and animism discussed within the text. Normally one would read the sources cited by the author, but the traditions of Yates' time and place lead me to suspect that this will not be a productive or easy strategy. Yates wasn't inclined to clearly site her influences, and contemporaries might be mentioned in the foreword, but not specifically within the text. It's one of the reasons she's been so disrespected. Walker might share this because I see very little direct reference to contemporary papers and people. However Walker is held in higher respect than Yates.

[Kevin · Rating 5 out of 5]

Wonderful book, probably the best introduction to the subject I've seen, although it was obviously written for those who are already familiar with the topic. I read this after reading Yate's "Giordano Bruno and the Hermetic Tradition", mainly because Yates cites this book throughout, and that was sufficient background for me to understand the arguments herein. This book confirmed my interest in Ficino and lead me to discover Campanella who will obviously merit more study.

Beyond the intrinsic interest for understanding Renaissance thought, is neoplatonic "magic" relevant from a philosophical or practical point if view?

Well, for us "scholars" who, according to Ficino, suffer from melacholy, Ficino "...gives detailed advice on diet and regime. For nourishing and purifying the spirit he concentrates on three types of things: wine and aromatic foods, odours and pure sunny air, and music." (Page 5) Magic: Wine, good food, sunshine, music- add your favorite romantic interest and you have a philosophy that I would happily adopt!!

Excellent book: five stars!

[Christopher Plaisance · Rating 5 out of 5]

In this landmark study, D.P. Walker of the Warburg Institute, single-handedly initiated the etic, academic study of Western esotericism, by exploring the relationships between the philosophies and magical practices of Renaissance thinkers such as Marsilio Ficino (1433-1499), Giovanni Pico della Mirandola(1463-1494), Cornelius Agrippa (1486-1535) and Tommaso Campanella (1568-1639). Of primary interest to me was Walker's extensive mapping out of the theoretical foundations upon which Ficino's (and all subsequent Hermetic magicians') practices rested. He manages to effectively chart the fluctuations between so-called natural and demonic magic during the Renaissance and demonstrates how the resulting tensions owed far more to external stressors (i.e. the Church) than to anything internal logic. As an exploration of Renaissance magical theory, Walker's study has aged exceedingly well and is just as relevant to the study of Western esotericism as it was in 1958.

[Karen · Rating 3 out of 5]

While the book is indeed a classic and fills in a vital gap in the field, I would not call it an introductory book, especially if you have a weak Renaissance background. Prior to picking up this volume, it would probably benefit the reader to consult an encyclopedia article on Medieval and Renaissance magic, how they thought it worked, and to do some light background reading on the major magicians, especially the ones he discusses. It is also a book best read under the guidance of a professor or specialist in the field as it raises a lot of enticing and deep questions - my head is still reeling. It is helpful if you read Latin, French, Greek, and Italian in order to get the full content of the book (without Latin, kiss your comprehension of the footnotes goodbye!)

[Gabriel Clarke · Rating 5 out of 5]

I thoroughly enjoyed this. Not a light read in terms of subject matter (though by no means obscurely written or difficult) but one can see why this has the status of a classic amongst Renaissance scholars. Shows its age in the assumption that the reader has at least a reading knowledge of Latin and French (!) but in little else. Delightful.

[Phil · Rating 4 out of 5]

First published 1958. Things have moved on since then, for example see Angela Voss' work on Ficino. Despite criticisms of Walker in Hanegraaff's edition of Lazzarelli, this still remains a brilliantly erudite work on a broad subject that encompasses magic, politics, philosophy and religion.