IV. Isagoge ... Of the Nature of Spirits — Georg Pictorius

Villinganus (c 1500-1569)

The fourth treatise is an introductory discourse on the
nature of such spirits as occur in the sublunary sphere; their
origin, names, offices, illusions, powers, prophecies, miracles,
and how they may be expelled.

Pictorius began his career as a schoolmaster at Freiburg-im-
Breisgau where he became an MD and prof essor of medicine,
before taking the position of physician at the archducal court
at Ensisheim in Alsace. His first publications (1530) were
medical works, commentaries, scholia, collections and tabula-
tions of mediaeval authors such as Macer on herbs and Marbod
on gems, or classical writers such as Hippocrates, Pliny,
Aristotle, Galen and Oppian. In 1563 Pictorius published the
work here translated.

Much of Pictorius ' writing is a summary of earlier writers,
often unimaginative, but quite faithful to the originals and
conscientiously acknowledged. As such Pictorius' writings
are valuable in accurately indicating the longevity and survival
of the ideas on magic which he puts forth.

In the Isagoge Pictorius cites Apuleius, Augustina, Iam-
blichus, Pliny, Saxo Grammaticus, Psellus (whom he calls
a necromancer) Peter Lombard, Trithemius and Marcus
Cherrhonesus (whom he refers to as a 'distinguished devotee
of demons').

The Isagoge is set out as a conversation between the

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classical Greek twins Castor and Pollux. The argument
attempts to prove that the word daemon "is not an horrible
or odius name, but the name of one that doth administer,
help or succor unto another, and whom Pliny calleth a god"
This book is an important essay for the time because it seeks
to differentiate between the evil spirits of Christian theology
and Greek daemons, who were of three degrees, ranging from
spirits of the air up to what Homer called gods. It was certainly
important then, and of interest to practical magicians now, to
distinguish the difference between these types of spirit. This
book forms a bridge between the magical theory of Iamblicus
of Chalcis and the grimoires such as Peter de Abano's
Heptameron. Using the form of dialogue Pictorius is able to
set forth the objections of the church and counter each one
by referring to various authorities including scripture, Peter of
Lombard, Sappho and Diocletian concerning the position of
spirits in the world, and the form and nature of their bodies.

The doctrine that spirits are guardians of the treasures of
the earth, gems and precious metals as well as buried treasure,
is examined in detail, for the discovery of buried treasure by
the use of spirits was an all absorbing pastime. In days before
banks the burial of treasure was quite a common occurrence
and its discovery by accident or magic almost as common.
Various acts of the devil and his ministers on earth together
with accounts of apparitions and the occurrence of spirits
naturally are then invoked with long anecdotes from Pliny.

In many ways this book is an excellent summary of all of
the diverse influences both Christian and pagan which came
together during the late middle ages and early renaissance to
form the magical tradition of the west. It in fact is almost a
bibliography of source books on magic and stories about
demons, as well as being an insight into the attitude of the
period towards magic.

Pictorius dwells at some length upon the different types of
divination, all of which he attributes to the agency of the
devil, and goes into detail about the different demons, distin-
guishing between northern and southern sublunar demons,
criminatores and exploratores, and tentatores and insidiatores
(who accompany each man as his evil genius). Pictorius'
armory against spirits is very traditional and includes, the

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name of Jesus, fire, the sword, contumelies, suf fumigations,
the bell and even the shaking of keys and clash of arms!

Unfortunately Pictorius took a very strong line against
witches and would have them all put to death, not so much
for their non-Christian or malefic activities, but for having
carnal intercourse with spirits, which Pictorius thought were
both fertile and potent!

Johannes Weir, Agrippa's pupil already mentioned above,
spoke rather slightingly of Pictorius' 'jejune writing ... con-
cerning sublunar matters'. It may be that the publication of
this work by Pictorius with the alleged Fourth Book by his
master prompted Weir to deny the authenticity of the latter.