Alec Falle Hamilton recently shared this drawing which was inspired by the spirit(s) of the magic mushroom. “I asked the mushrooms how I could honor their spirit with a single drawing. Their answer came back immediately… ‘It’s all One line’. Here’s Leonardo Da Vinci and the Hermit, drawn without lifting my pen from the paper, made up entirely of mushrooms.”
This resonates so deeply with my own mushroom experiences, which often hurtle me back and forth between the past and future, with icons like Leonardo and other Renaissance figures giving my inspiration through their work. Leonardo has always represented to me the greatest mind humanity has ever offered: one whose inquisitive nature lead him to define new art forms, mechanisms and ideas that were centuries ahead of his time.
The Hermit is of equal importance in his quest for interior silence. Becoming a spiritually minded person often means separating oneself from society in order to deepen the relationship of the individual with nature and his own self.
These are all values upheld by the mushroom spirit.
Through all of history, witchcraft has been (and still remains) one of the means by which women, the poor, outsiders and all who were otherwise disenfranchised have empowered themselves against systems of control and corruption. See this new report by VICE on the Romanian witches who are cursing European politicians. I don’t know anything about Romanian magic, but the themes they are talking about resonate with those of the magical resistance in these U.S.A.
Yes I watch and read VICE! They are returning to their original standards of actual journalism (sometimes).
While the Inquisition had been prosecuting and executing witches for centuries, the witch craze never really took off in England until the reign of James I. If anything, magic had an everyday place in English lives during the Tudor dynasty. This is not to say that witchcraft (then differentiated from magic) was free from scrutiny. But from the court-sanctioned experimentations of Dr. John Dee and other Christological magicians, the coastal witches who warded off the Spanish Armada with the help of Sir Francis Drake, to the rustic cures and spells offered by the cunning men and women, as well as the fantasy magical elements featured in popular culture such as Marlowe’s Faustus or Shakespeare’s Midsummer Night’s Dream or The Tempest—magic was everywhere!
During the height of witch persecution on the Continent, there were no large-scale witch trials in England for a number of reasons. The ecclesial separation from other areas of Christian Europe meant that the English church had its own priorities, e.g. the persecution and removal of the treacherous papists! There was also a lack of any desire from authorities to conduct a witch hunt in the first place. The final decline of witch trials came at the latter half of the 17th century as a result of the rise of new scientific thought and the works of natural philosophers like Isaac Newton who were now able to explain the universe in mechanical ways, causing a decline in the belief in the possibility of magic to influence the world. In English witchcraft trials, it is odd to see any reference to making a pact with the Devil. There are no witches’ sabbats, no sex with devils, nor did English witches fly. They did however have imps and familiars. Ursula Kemp was alleged to have four familiars: two cats, a toad called Piggen, and a lamb named Tiffin. Witches were usually only condemned for maleficium. These trials were rarely issued from above. English court records feature a lot of individual prosecutions from below by the alleged victims of witchcraft seeking redress in the courts. Trials against witchcraft were generally few and far between, except in the counties surrounding London.
Cases of witchcraft were coming predominantly from Essex. During the reign of Elizabeth I, for example, Hertfordshire only produced 24 cases, Sussex only 14, yet Essex produced 172 cases! Between 1560 and 1580, 270 individuals were prosecuted for witchcraft in Essex alone. Most of these trials took place in the last quarter of the 16th century, and became very rare everywhere after 1620. This decline can be explained by the fact that by the 1580’s judges were becoming very worried about the difficulties of proving witchcraft. This doesn’t mean necessarily that they were skeptical—many likely still believed that witchcraft was possible. But how could you prove witchcraft unless they confessed? In English law, torture was not used except in state trials when authorized by the Privy Council. It was routinely used in Scotland and the Continent. How could prosecutors root out natural causes of these alleged injuries? And if it were actually witchcraft, who did it? In cases of witchcraft, the normal rules of evidence could not apply.
With an increasing level of methodical jurisprudence, why they was there also a rise in the concerns against witchcraft in the 17th century? The dominant explanations offered by Thomas and Macfarlane show that witches were frequently elderly women who were accused of bewitching neighbors, not strangers, and who were often poorer than their victims. This suggests that accusations were rising as a result of tensions between poorer women and their competitive neighbors. While it is possible that some of those accused did practice magic and believe they had the power to harm, or that they responded to these accusations by playing the part of the witch given to them by reputation, there must have been some incident serious enough to start an honest investigation into witchcraft. In Essex, there was an average of four witnesses per accused witch. Witchcraft accusations could arise as a result of personal rivalries in local politics, used to discredit others and so on.
Thomas suggests that this peak period of witchcraft anxiety came with the rising concern in the loss of belief in the power of ecclesial protection and counter-magic, and secondly because that period was one of unusual tensions within village societies. Economic distress caused a declining position for the poor and widows. Poor Laws had not yet been put into effect for this population. The decline in charity among neighbors meant that accusing one of witchcraft could become a means to severing responsibility for the poor, and transferring this guilt to an accused witch.
Why were the Witchcraft Acts passed in the first place, and why did so many cases arise in Essex? Why were other counties similar to Essex not so affected? It’s worth considering that these laws were passed when they were for two reasons. Both were passed at the beginning of two monarchical regimes (Elizabeth I, then James I). This suggests that elements of symbolism or propaganda were being set up to confirm the legitimacy and uprightness of the monarch, who would be seen opposing certain subversive (yet harmless) acts. Another element was the perceived threats against the monarch. In 1561, two years before the 1563 act passed, a plot was discovered where sorcery was being used against Elizabeth. William Cecil discovered then that there were no acts preventing these crimes. The 1604 Act followed the succession of James I to the throne. He was a man with profound interest in witchcraft, having written his treatise Daemonologie after a group of witches were uncovered attempting to kill him in a shipwreck. The witchcraft acts of England and Scotland were then overhauled and combined.
As a result of these acts, the political and ecclesiastical elite had a bigger role in managing cases of witchcraft. It is possible then that Essex was peculiarly conscious of threats of witchcraft. The use of criminal law against witches had terrible publicity there. Three group trials took place in 1566, 1582 and 1589. In each case, an initial accusation was vigorously pursued by justices who had a particular concern against witchcraft. These trials were then publicized in pamphlets, which may have had the effect of heightening the sense of threat people felt, or even a moral panic. This paved the way then in 1644 for Matthew Hopkins, the self-appointed Witchfinder General.
Between 1644 and 1647, Matthew Hopkins traveled throughout East Anglia and hired himself out as a consultant for the discovery of witches. He came to have gained his experience by accidentally encountering a meeting of witches in Manningtree, Essex. The witches met and offered sacrifices to the Devil, and gave commands to their familiars to do harm. English prosecutions until then had been sporadic, except in Anglia where they then came in great waves. With the Witchcraft Acts of Elizabeth and James now making witchcraft a felony, Hopkins was free to pursue witches as state criminals and so use extreme acts to gain his confessions. Though torture was still illegal, one method he employed was in keeping the accused witch awake for days at a time until they would confess. Another means of torture which he employed was the infamous trial by dunking in water. The aim of Hopkins was not to prove a witch guilty of committing maleficium, rather of having consorted with Satan, and thus being a heretic. During this time, Hopkins is suspected of executing 300 alleged witches, or 60% of all cases in a period of 300 years of English history. His 1647 account of witch-finding, The Discovery of Witches would later influence the witch craze in New England, including the madness that was the Salem witch hysteria of 1692-1693.
 Thomas, K. (1971). Religion and the decline of magic: Studies in popular beliefs in sixteenth-century England.  Macfarlane, A. (1970). Witchcraft in Tudor and Stuart England: A regional and comparative study.  Hopkins, M. (1647). The discovery of witches: in answer to severall queries, lately delivered to the judges of assize for the county of Norfolk. And now published by Matthew Hopkins Witch-finder, for the benefit of the whole kingdome.
The Augsburger Wunderzeichenbuch (1552 ?) was a compendium of famous meteorological and astronomical phenomena as well as selected illustrations from the Bible. The more interesting part here is that the writer associates the various comet appearances with specific disasters (disaster literally meaning an ill-starred event) in world history. In this work, the author does not make the distinction between comets and meteors which we do today. The segment on miraculous signs appears between the Old and New Testament portions and depicts several freak weather incidents and celestial apparitions from antiquity up to the year 1552.
Fellow fans of Ghost will no doubt be glad when they wake up to a new Chapter of Ghost’s teaser series on YouTube. This series has been going slow and steady for a year and half already! Two new singles will be released tomorrow, Friday the 13th. This is the perfect thing to tide us over until The Director returns to the recording studio early next year. It is likely the next album has already been written out, and will probably be released next summer!
In Chapter 8, Papa Nihil reminisces about his own musical career back in the heydey of the 60’s, and a perhaps ill-fated performance of his hit song “Kiss the Go-Goat”. Take special note of a very pregnant Sister Imperator. While we obviously know who the father is, who will this child become?
Le Livre des échecs amoureux moralisés. Commissioned by Louise of Savoy. Transferred between 1515-1518 to the royal library of Blois. “The games of Love”, masterfully composed and filled with moral stories against foolish love, whose end (the book claims) is to show the error and deception that is fatuous love and its innumerable dangers.
Currently located at La Bibliothèque nationale de France. See it in full detail here.
This is a really interesting archaeological find, and right after I posted my own magical treasure trove. Recently in Pompeii, where excavations have been occurring in one form or another for the past three centuries, there was discovered a casket full of daily-use implements which also included a number of magical artifacts.
Amulets, gems and small objects re-emerge from the excavation of the Regio V. They were related to the female world, used for personal ornamentation or to protect from bad luck. They were found in one of the rooms of the House of the Garden.
Placed in a wooden box, it has been restored and has been brought to its former glory by the restorers of the Laboratory of the Archaeological Park of Pompeii. They were probably objects that the inhabitants of the house could not take away before they escaped.
The wood of the box has decomposed and only the bronze hinges remain, well preserved under the volcanic material.
Among the numerous objects found, two mirrors, pieces of necklace, decorative elements made of faïence, bronze, bone and amber, a glass unguentary, phallic amulets, a human figure and various gems (including an amethyst with a female figure and a carnelian with a craftsman figure). In a glass paste is engraved the head of Dionysus, on another a dancing satyr.
The high quality of the amber and glass pastes and the engraving of the figures confirm the importance of the domus owner.
Soon the jewels will be exhibited, with other Pompeian jewels, at the Palestra Grande, in an exhibition that will be a follow-up of “Vanity”, the exhibition dedicated to jewels from the Cyclades and Pompeii, as well as from other sites in Campania. The full article is at Pompeii Sites
This is a very illuminating “snapshot” of the life of one ancient Roman household on the day of October 24, 79 CE. Perhaps the casket was filled in the chaos of the disaster while the owner attempted in vain to take some of her belongings with her to escape, only to suffer the fate of Vesuvius. Just imagine what archaeological evidence you and I will leave behind for some future archaeologist to discover, 2000 years into the future.
In 1653, there was a fabulous spectacle which lasted seven nights. It was a series of ballets in Paris which totaled over 15 hours in length. The nobles, ambassadors, and even the bourgeoisie attended this opulent work, orchestrated by the Cardinal Mazarin, whose aim was to glorify the Sun King, Louis XIV, who at the age of 15 was only just beginning his long and magnificent reign as King of France.
Mazarin had employed the greatest artistic minds of France to participate in this event, from composers, dancing masters, and the poetic librettist Isaac de Benserade. This magnum opus consisted of four veilles, or night watches, all of which were oriented towards the culmination at the end–a grand ballet for the rising of the sun, played by the young king himself.
So why am I talking about it here? Because during the third veille (midnight till 3 AM), there is a Sabbat! This ballet has everything from Satan riding in on a goat, a dance-off between Ptolemy and Zoroaster, a choir of witches, flaming demons, and werewolves!
Enjoy this abridged version by Ensemble Correspondances, from 2015. The Sabbat begins at 1:53. The astrologer’s dance is at 1:32.
Italian traditional witchcraft, la stregheria, is an amalgamation of centuries of influence from all corners of the Mediterranean. By the Middle Ages, it had been re-planted in the Christian tradition. But its roots are massively ancient–built upon the remnants of the old religio romana, and infused during the days of the empire with elements from Grecian and Egyptian magical systems. I recently came across this clandestine rite intended to transport the magical practitioner to the Italian city of Benevento, known since the 13th century as an infamous gathering place for witches sabbats.
As in other traditions, the crossroads is a typical place where the magician may encounter spirits with whom to do their working. Here he would place offerings to the dead and to the goddess Hecate. Mulled wine and grain, and the meat of a pig respectively. Once offered, the magician summons the goddess and asks that a portal be opened allowing passage between the worlds.
On the ground, he marks out a five-pointed star facing Westward. At each point placing a lit candle, and a skeleton key at the center. Gazing at the key unto the point of trance, gently he blows across each flame three times saying:
Sotto aero e sopra vento
Sotto acqua e sotto vento
Menami la noce Benevento
Then he immediately picks up the key in his left hand, closing his eyes and slowly exhaling. While exhaling, he imagines the star opening as a doorway, allowing himself to enter into and move through the portal. The magician finds himself surrounded by the stars of the night sky, moving through them and flying over the land, the sea and the mountains. He finds a clearing lit by torches, and, exhaling, descends himself to rest near the walnut tree at Benevento. This is the gathering place of the witches who have come to feast and revel with the gods.
The magician, visualizing, sees a banquet table filled with food. Others come to join him. He continues feasting, making merry and observing all the goings-on around him. As torches process away, he sees in the distance an ornate throne sitting at the base of the walnut tree. Upon the throne is seated the Great Sabbatic Goat, the Horned One. The crown of his head is lit with a torch, and this is flanked by two great horns. This is the Lord of Nature, Pan himself. The banqueters gather around the one enthroned to dance, their vigor inflamed by the wine and food. The magician moves himself about, all the while dancing and watching around him as the dancing turns into a Bacchic frenzy.
Suddenly the magician sees a person standing behind the Black Goat, offering a fig to eat. This fig is the symbol of these hidden mysteries. He takes it and eats it, the culmination of this strange communion.
When he has decided the time has come to leave, the magician summons his five-pointed star portal again, and pronounces his enchantment to return:
Sotto aero e sopra vento Sotto acqua e sotto vento Portami via da Benevento
Again he perceives the opening of the stellar portal, and, slowly inhaling and lifting his arms aloft, is surrounded by the stars of night, his soul flying swiftly through the air and over the world below. Finally exhaling, his arms slowly lowered to the ground, he opens his eyes to his return back the crossroads from whence he first departed.
“To journey to the walnut tree is to awaken the Primal Conscious, through which the ancient forms reconnect. It is a return to the Old Ones known to our ancestors before the world was reshaped by human minds. In ancient times, the serpent was venerated at the site of the tree. The serpent has always been the revealer of truth, the enlightener, and the guardian of the seed of light. The seed that lies under the protection of the serpent gives way to the grand harvest. Thus are the cakes and wine featured at the Sabbat banquet. For it is here that one comes to know that within, which is of the eternal Gods.” – From To Fly By Night, The Craft of the Hedgewitch
Details of Zuber’s engravings from the 1926 biographical work by Maurice Garçon, La Vie Execrable de Guillemette Babin, Sorciere. These scans are from the Division of Rare and Manuscript Collections at the Cornell University Library.