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Medieval Grimoires - Picatrix Krakau Manuscript In Latin (118.8 MB)
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Picatrix is the name used today, and historically in Christian Europe, for a grimoire originally written in Arabic entitled Gayat al-Hakim, which most scholars assume was written in the middle of the 11th century, though a supported argument for composition in the first half of the 10th century has been made. The Arabic title has been translated as "The Aim of the Sage" or "The Goal of The Wise". The original Arabic work was translated into Spanish and then into Latin during the 13th century. The name "Picatrix" is also som... More >>>Book can be downloaded, and can be ordered on CD.Note that, unfortunately, not all my books can be downloaded or ordered on CD due to the restrictions of copyright. However, most of the books on this site do not have copyright restrictions. If you find any copyright violation, please contact me at email@example.com. I am very attentive to the issue of copyright and try to avoid any violations, but on the other hand to help all fans of magic to get access to information.
Picatrix is the name used today, and historically in Christian Europe, for a grimoire originally written in Arabic entitled Gayat al-Hakim, which most scholars assume was written in the middle of the 11th century, though a supported argument for composition in the first half of the 10th century has been made. The Arabic title has been translated as "The Aim of the Sage" or "The Goal of The Wise". The original Arabic work was translated into Spanish and then into Latin during the 13th century. The name "Picatrix" is also sometimes used to refer to the author.
Picatrix is a composite work that synthesizes older works on magic and astrology. One of the most influential interpretations suggests it is to be regarded as a "handbook of talismanic magic". Another researcher summarizes it as "the most thorough exposition of celestial magic in Arabic", indicating the sources for the work as "Arabic texts on Hermeticism, Sabianism, Ismailism, astrology, alchemy and magic produced in the Near East in the ninth and tenth centuries A.D." According to Eugenio Garin "In reality the Latin version of the Picatrix is as indispensable as the Corpus Hermeticum or the writings of Albumasar for understanding a conspicuous part of the production of the Renaissance, including the figurative arts." It has significantly influenced West European magical thinking from Marsilio Ficino in the 15th century, to Thomas Campanella in the 17th century. The manuscript in the British Library passed through several hands: Simon Forman, Richard Napier, Elias Ashmole and William Lilly.
According to the prologue of the Latin translation, Picatrix was translated into Spanish from the Arabic by order of Alphonso X of Castile at some time between 1256 and 1258. The Latin version was produced sometime later, based on translation of the Spanish manuscripts. It has been attributed to Maslama ibn Ahmad al-Majriti (an Andalusian mathematician), but many have called this attribution into question. Consequently, the author is sometimes indicated as "Pseudo-Majriti".
The Spanish and Latin versions were the only ones known to western scholars until Wilhelm Printz discovered an Arabic version in or around 1920.
Detailed books of magic rituals and spells, often invoking spirit entities. The term derives from grammarye or grammar, as magic was in times past intimately connected to the correct usage of language. Several of the more important grimoires were attributed the wise biblical king Solomon, while others were said to be the work of other ancient notables.
Grimoires began to appear during medieval times, when Western society was controlled by the Roman Catholic church, and the early grimoires reflect the conflict with Catholicism's supernaturalism. The grimoires called upon spirits generally thought to be evil by the church and were thus often branded as instruments of black magic. Some grimoires directly challenged church authority. One book of black magic was attributed to a pope. In the last century, a new form of ceremonial magic that operates outside the Christian sphere has arisen. Grimoires have thus taken on the trappings of an alternative religious worldview that assumes a neutral position with regard to Christianity.
Throughout the nineteenth and twentieth centuries, students of magic have tracked down many grimoires, some rare copies of which survived in the British Museum and the Bibliotheque de l'Arsenal in Paris, and made them available to the public. The Magus, published by Francis Barrett in London in 1801, stands as the fountainhead of these efforts. Barrett had access to a number of magic documents from which he took bits and pieces to construct a section of his book, which he titled The Cabala or The Secret Mysteries of Ceremonial Magic Illustrated. It includes not only instructions for working magic but also imaginative drawings of the various evil spirits he discusses. The Magus is important in being the first modern publication with sufficient instruction to actually attempt magic rituals.
The next major step in preserving grimoires came in the mid-nineteenth century with the writings of Eliphas Levi. His 1856 book, The Ritual of Transcendent Magic, enlarges upon Barrett's presentation and discusses several grimoires. In The History of Magic (1971) he includes a lengthy discussion of The Grimoire of Honorius (1629). Levi's books did much to create a revival of magic which then took embodiment in the Hermetic Order of the Golden Dawn, the first modern group to create a whole system of ritual magic. As a result of the order's activities, several of its members took important steps in publishing grimoires.