Lull based his Art on the importance which Christian, Moslem [Islam], and Jew each attached to the Divine Names or Attributes, or, as he called them, Dignities. Lull mentioned nine Dignities (or Dignitaries): Bonitas (Goodness), Magnitudo (Greatness), Eternitas (Eternity), Potestas (Power), Sapientia (Wisdom), Voluntas (Will), Virtus (Virtue), Veritas (Truth), and Gloria (Glory). These are shown in the follwing diagram. ... In addition we also find the incorporation of the four elements [earth, water, air and fire] and the qualities, the seven planets and twelves [astrological] signs, medicine, alchemy, geometry, a letter notation, and so on. There is an elaborate system of correspondences, in that the nine Dignitaries have their correspondences in the celestial sphere, the human level, and the animal, plant, and material creation. In all this we see the influence, not only of Kabbalah, but also of Aristotlean categories, Augustinian Platonism (nearly all the Lullian Dignities can be found listed as Augustine's Divine Attributes), and the celestial hierarchies of angels of the Christian Neoplatonist Dionysius. [Frances A. Yates, The Occult Philosophy in the Elizabethan Age, pp.9-12]. -- Renaissance Kabbalah: Renaissance Christian Kabbalah was derived from a number of sources. Firstly, the christological speculations of a number of Jewish converts from the late 13th to the late fifteenth centuries. Secondly, the philosophical Christian and Renaissance speculation concerning the Kabbalah that developed around the Platonic Acadamy founded by the Medici family in Florence. Pico della Mirandola The Florentines, headed by the renowned Renaissance hermeticist Giovanni Pico della Mirandola (1463-94) believed they had discovered in Kabbalah a lost divine revelation that could give the key to understanding both the teachings of Pythagoras, Plato, and the Orphics, and the inner secrets of Catholic Christianity. Pico himself had a considerable amount of Kabbalistic literature translated into Latin by the scholarly convert Samuel ben Nissim Abulfaraj. Among the 900 theses Pico presented for public debate in Rome was the claim that "no science can better convince us of the divinity of Jesus Christ than magic and the Kabbalah", and he believed he could prove the dogmas of the Trinity and the Incarnation through Kabbalistic axioms. All this caused a sensation in the intellectual Christian world, and the writings of Pico and his follower Johannes Reuchlin (1455-1522) led on the one hand to great interest in the doctrine of Divine Names and in practical (magical) Kabbalah (culminating in Cornelius Agrippa of Nettesheim's De Occult Philosophia (1531) and on the other to further attempts at a synthesis between Kabbalah and Christian theology. [Gershom Scholem, Kabbalah, pp.197-8] -- Rosicrucian Kabbalah: By the late 16th century Christian Kabbalah began to be permeated with alchemical symbolism; a trend that continued through the 17th and 18th century. Well known representatives are the Rosucrucian philosopher and alchemist Robert Fludd (1574-1637) and the alchemist Thomas Vaughan (1622-1666) among others. One of the works of Fludd presents an interpretation of the Sefirotic Tree which he illustrates as a Palm (left), whose ten spreading branches raying forth from the lowest world suggest that man on earth is a microcosm or reflection of the macrocosm or universe. In the second half of the 18th century this alchemical kabbalah was combined with Freemasonic numerology and occultism, from which was ultimately to develop the extraordinary occult/magickal revival of the late 19th century known as the Hermetic Order of the Golden Dawn illustration (left) from World Trees by Hazel Minot Kircher's Tree from Oedipus Aegyptiacus published in 1652 by Athanasius Kircher, a Jesuit priest and hermetic philosopher -- Occult Kabbalah: By the 19th century the occultists of the French magician revival, such as Eliphas Levi (Alphonse Louis Constant; 1810-1875) and Papus (Gerard Encausse; 1868-1916) had lost all understanding of the original Jewish meaning of Kabbalah, and brought in various extraneous elements such as Tarot. Levi was an influential figure both on the Theosophy of Blavatsky and even more so the Golden Dawn Order of Mathers and Westcott, with it's unique Kabbalistic (or Qabalistic, to use the prefered spelling) formulation of Sefirot and paths, through which Kabbalah established itself in the contemporary Western Occult Tradition.

Lawrence's interpretation, however narrow and flawed, does highlight an indisputable element of Grazzini's tale of Dr. Manente: its cruelty and "monstrosity," traits that, I will argue, provide insight into the social structures of the mid-sixteenth century, particularly those that rely upon coersion and force. In Florence, how did one family--the Medici--secure their power after over a century of struggle, and how did they come to construct a myth of their own legitimacy? ... It is important to remember that, from 1494--when the friar himself gained widespread support and offered a major threat to the rule of the Medici family--until long after his execution in 1498, Savonarola bequeathed a powerful religious and political vision that was not dependent on his leadership for survival--a fact that fascinated the political theorist Niccolo Machiavelli. Savonarola's followers--called the Piagnoni first by their enemies and later, proudly, by themselves--remained politically active after his execution, through the Republic that lasted until 1513, when the first Medici pope, Leo X, used the considerable influence of this position to help his family and their allies to return to Florence, and again after the sack of Rome in 1527, which occurred during the pontificate of another Medici, Clement VII. The Piagnoni continued to be active even after the Medici, first Alessandro and then Cosimo I, openly turned Florence onto the path of absolutism [unlimited, centralized authority and absolute sovereignty] by accepting the [nobility] title of Duke. ... Lorenzo's manipulation of the Church comes into play in the next phase of the beffa. ... At this point, Grazzini emphasizes not only that many friars and priests were ignorant, but, more importantly, that the kind of people Lorenzo elevated to positions of power in the Florentine church hierarchy were either superstitious [occult] or corrupt, criticisms that Savonarola also often made of the Medici.

Kevin continues his discussion with former Wicca priestess, Sara Hillis. At the end of the interview, he references her music which can be found at http://www.artistopia.com/sarahillis.

Meet Sara Hillis, musician and English literature scholar who became a witch priestess before encountering Christ and finding the Orthodox Church!

Following Sushant Singh Rajput's suicide, Rhea Chakraborty was arrested on charges of procuring drugs for the actor

Richard Lutz takes his pew for a dance rendition of Shakespeare’s Macbeth.

Lucy Jane Wood’s debut book, Rewitched, is out, and we connected to talk all things cozy, witchcraft, all the different 90s witches in pop culture, and the big feelings around turning an age with a zero on the end. Ultimately, this is a book about a person who wants to keep her own power – a theme I could certainly celebrate! Lucy Jane is also a TikToker and YouTuber with a sizeable following, so we … Continue reading 640. Cozy Witchcraft with Lucy Jane Wood →

Manchester : Manchester University Press, [2018]

Manchester : Manchester University Press, [2018]

Manchester : Manchester University Press, [2018]

Manchester : Manchester University Press, [2018]

Historian Mikki Brock joins WIRED to answer the internet's bubbling cauldron of questions about witches, witchcraft, and witch hunting through the ages. Can men be witches or only women? Do witches really cast spells and create potions? Who came up with the concept of witches flying on brooms and why? Why do cartoon witches always have such a pointy nose? Why do we associate black cats with witches? Why did the Salem Witch trials start? Answers to these questions and an entire coven more await on Witchcraft Support. Correction: An edit in this episode makes out that Elizabeth I was the first queen of England. In fact, she was the first unmarried queen of England; the first queen was actually her half-sister, Mary I. Director: Anna O'Donohue Director of Photography: Ben Dewey Editor: Philip Anderson Expert: Mikki Brock Line Producer: Joseph Buscemi Associate Producer: Paul Gulyas; Brandon White Production Manager: Peter Brunette Production Coordinator: Rhyan Lark Casting Producer: Nicholas Sawyer Camera Operator: Constantine Economides Sound Mixer: Lily Van Leeuwen Production Assistant: Kalia Simms Post Production Supervisor: Christian Olguin Post Production Coordinator: Ian Bryant Supervising Editor: Doug Larsen Assistant Editor: Billy Ward

London : Elliot Stock, 1886.