The Construction of Certain Seals and Characters in the Work of Agrippa of Nettesheim Author(s): Karl Anton Nowotny Source:

Journal of the Warburg and Courtauld Institutes, Vol. 12 (1949), pp. 46-57 Published by: The Warburg Institute Stable URL: http://www.jstor.org/stable/750255 Accessed: 19/05/2010 17:20
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THE CONSTRUCTIONOF CERTAINSEALSAND CHARACTERS IN THE WORK OF AGRIPPAOF NETTESHEIM By Karl Anton Nowotny
In

AlbrechtDurer'setching'MelencoliaI' there appearsthis magic square: 6 5 9 4 3 2 13 10 11 8 6 7 12 15 14 1

The mathematicaland astronomical instruments depictedin this drawing symbolize the tendenciesof the melancholictemperament.1 The square is the magic square of Jupiter, placed here to counteract the melancholic temperament,which comes under Saturn. The artist did not himself construct the square, but chose of all the innumerablepossible formulae one showing the year date he wanted (I5I4). There can be no doubt that it was taken from a treatiseon magic squares,their relation to astrologyand their magic influencewhen on talismans. A versionof this treatiseis bound in with the fifteenth-century Cracow manuscriptof the Picatrix.2 By order of AlfonsoX, the Picatrix was translatedinto Latin from the Arabic in IX76. A later version, differingconsiderablyin text, appearsin the pseudo-Paracelsian Archidoxis magica3 printed in Bale in I572. It is obvious that these two versionsare closely related as the same magic squaresare to be found in each; they are considerablydistortedin the Archidoxis magica. In the period when Durer designed his 'Melencolia'he was greatly interestedin geometricalproblems;his artisticstyle was going througha phase of decidedchange. He was clearlyoccupiedat this time in the study of books on astrological magic. Magic squaresand subjectsof a similarnature,classed to-day under the heading "mathematical entertainments," were given a very diffierent significanceby prominentmen of intellect in Durer'sday. At that very time Agrippaof Nettesheimwas writing his Philosophia occulta sivemagia, which will be referredto in greater detail. Agrippa'sviews on the magic squarescoincidedwith those of the treatisementionedabove. He does not, however, put together a haphazardcollection of squaressuch as that from which Durertook his "Seal ofJupiter"in the 'Melencolia'etching,but shows ingeniouslyconstructed,imaginativefigures. A magic squareis a squaredivided into cells, the outstandingcharacter1 C:f. E. Panofsky and F. Saxl, D2erer'sein arabisches Handbuch Hellenistischer Magie, 'Melencolia I.' Einequellenundtypengeschicht(Vortrage der Bibl. Warburg I92I-22), liche Untersuchung (Studien der Bibliothek Leipzig, I 923. Warburg,II), Berlin, I923. A revised and 3 Theophrastvon Hohenheim known as enlarged English version of this book is in Paracelsus,Collected Works, publishedby K. preparation. Sudhoff, I4 vols., Munich, I933. 2 Codex 793. Cf. H. Ritter, Picatrix
6

AGRIPPA OF NETTESHEIM'S SEALS AND CHARACTERS

47

istic of which is that numbersare insertedin such a way that if every row, column and diagonalis added up they all show the same total. Besidesthis, many other rules of a geometricalor arithmeticalnature may be discerned.l As a rule, magic squaresare made up from a series of consecutivenumbers commencingfrom one; this, however,is just one possibilityamongstmany.2 It is the mathematicalaspect of magic squareswhich, to judge by the literatureon the subject, has so far received the greatest attention.3 Their historicalsignificance,however, is far greater although of course they offer occasionfor the study of many problemson permutationsand combinations, and in the theory of numbers. They came in with that wave of civilizationfrom the East which, besides introducing Hellenistic cultural benefits in Arabian garb, brought with it chess and playing cards. To this day magic squares (wafk) are in use in Islamiccountries.4These are usuallysquaresof nine or sixteencells, but also frequentlythe so-calledLatin squares. The top line of such a squareis filled with the letters of a divine name or with the first letters of a verse from the Koran, the remaininglines containingpermutationsof these letters. As the letters have a numerical value the result is a more or less perfect magic square. Agrippa'smethod of constructingcharactersfrom magic squaresin which the starting-point is arithmetical,lettersbeing fitted to the numerals - is simply the inversionof this principle. Clues to the historyof magic squaresare to be found in Arabiansources. These go back to about goo A.D. and appear in the Encyclopaediaof the "FaithfulBrethren"of Basrain the latter half of the tenth century. According to Ruska, recordsgo back to the Sabiansof Harran, a pagan sect whose priestsused the Syrianlanguageand who practisedstar worship;they can be traced as late as the eleventhcentury. Mathematicians and those cultivating the secret sciencesin the thirteenthcenturywere especiallyinterestedin this subject. The only knownparticulars are derivedfrom the writingsof Al-Buni, who died in I225. So, too, the application of the squaresof the numbers 3 to 9 to the seven planetscan only be tracedto this period. This application occurredin a double form: upward, a system introducedinto the West by Agrippa, and downward(the squareof the number 3 assignedto the Moon, etc.) as practisedin the West accordingto Cardan.5 Apartfrom the difficulties causedby the scarcityof historicalrecords,there are many interestingproblemsstill unsolved. Agrippa apparentlyobtained his informationfrom translations fromArabic. Numbers,letters,and incomprehensiblecharactersused for purposesof magic appeareven in the Hellenistic magicalpapyri. Little is yet knownof the changesthat tookplace in these mattersduringthe long interveningperiod. Agrippadid indeed endeavourto compilean encyclopaedia and synthesis.His friendAbbotTrithemiusof Spon1 B. Lehmann, gahlenfiguren auf Amuletten 4J. Ruska,article Wafkin Enzyklopadie des undPlanetensiegeln, Strelitz-Alt,I925. Islam,I933; E. Doutte, Magieet religion dans nB. Kletler, Magische tahlenquadrate, I'Afrique du Aord,Algiers, I909; Ahrensand Vienna, I 930. Bergstrasser in Istam,VII, I 9 I 6; XII, I 922; 3 S. Gunther, Vermischte Untersuchungen zur XIII, I923. Geschichte der mathematischen Wissenschaften, 5Practica arithmetica, I539. Leipzig, I876.

48

KARL ANTON NOWOTNY

'

1
I9

CEL_
-o
o 9

/
3o

'

,o

8
o/

3I

32

22

33

N Z

23 34

35

36

37

24

38

39

lY

W
I
11 t<'
4I

4o

Fig.

The "Signacula" and "C:haracteres" in Agrippa'sOcculta Philosophia, Lyons, I533

Ehcnumbering corresponds withthatoffigs. I925 and27-42 onPlate2I

AGRIPPA OF NETTESHEIM'S SEALS AND CHARACTERS

49

heim,l who was one of Paracelsus' teachers,devotedhimselfto cryptography. He used, for this purpose, elaborate magic formulae which earned him a reputation as arch-magician. Agrippa distinguishedbetween seals derived fromthe geometricalpatternof the distribution of numbersin the squares, and charactersfrom cryptographicnames of the planet angels.2 Whether, in followingthis method, he was relying on ancient traditionor was influenced by Trithemiushas not, so far, been established. The names given by Agrippa to the angels present another interesting problem. The fact that he chose Hebrew names may be accountedfor by his adopting the cabbalisticphilosophy,and also by the belief that Hebrew was the originallanguageof antiquity. Angels and demonswould, naturally, be assumed to make use of this language. An examination of the words employed with their fragmentsof Greek might give rise to interestingconclusions. Agrippa'smagic squaresare constructedboth fromArabicnumbers and from Hebrew letter numerals.3 Subsequent developmentsare also of great interest. Mathematicians,4 astrologers,and cabbalistssuch as Robert Fludd, all concerned themselves with magic squares. Astrologicalamulets made of the metals of the seven planets attained special importance during the seventeenthand eighteenth centuries.
* * *

The symbols of a cabbalistic nature, which occur very frequently on astrologicalmedallions,seem in many cases to have originatedwith Agrippa of Nettesheim(fig. I ) .5 The mannerin which such symbolscan be takenfrom magicsquaresis shownby Agrippain an elaboratechiasmus:"Qualiterautem eliciantur signacula et characteres cum stellarum tum spirituumex istis mensulis, sagax scrutator, et qui harum mensularumverificationemintellexerit, facile invenire poterit." Thus, the signacula are related to the constructionof the tables; the characters, on the other hand, are to be discovered by calculation. The construction,however, is not easy to discern. Hardly any of the readers of Agrippa's skilful Latin have comprehendedcorrectly its hidden meaning. In followingAgrippa'sdirectionsone must firstof all obtain a clear understanding of the constructionof the squareshown by him. This is in no sense a question of mathematics,of the many possiblevariationsor similar problems. Agrippa uses very simple magic squareswhich are obtained by
1 Steganographia, Lyon, I53I; Darmstadt, Mainz, I676; Nurnberg, I72I. 2 F. Maak (Die astrologische Bedeutung des magischen Quadrates, Vienna, I925) sought to explain these symbols by means of complicated mathematical expositions. The accuracy of the explanationgiven below is proved by the fact that the symbolscan be dividedinto as many partsas thereare words in the names in question,that they have as many ends and cornersas there are lettersin the words, and that words having the same firstand last letters correspond to characters
I606;

in a reversedirection. 3W. Ahrens, HebraischeAmulette mit magischen gahlenquadraten, Berlin, I9I6. 4 P. Tannery, Le Traite manuel de Moschoj7oulos sur les carresmagiques, Paris, I 886; Michael Stifel, Arithmetica integra, I544. 5 Henricus C::ornelius Agrippa ab Nettesheym, De Occulta Philosophia Libri Eres, I533, Lib. II. De Planetarum mensulis, earum uirtutibus & formulis, & quae illis praeficiantur,diuina nomina, intelligentiae & daemonia. Caput XXII. (Cf. fig. I.)

5o

KARL ANTON NOWOTNY

fromsquaresmade up of numbers meansof simple changesand permutations in their natural consecutiveorder. The squares are assigned to the seven planets in the order of their velocity. Three kinds of magic squarescan be accordingto the numberof units in a side: those containingan distinguished uneven number; those with an even number whose halves are uneven; and those containingan even numberwhose halves are even. The lowest number of units used to form one side of a magic squareis three. The magic squareof the numeral3, the table of Saturn(fig. 2),1 is derived from the natural square (fig. 3) numberedfrom left to right, as in the constructionof all unevensquares,by a turn of 45 to the right and the insertion of the numeralsthus left on the opposite sides (fig. 4). The seal of Saturn it simplyshowsthe numerals (fig. I9) does not coincidewith this construction, of the square in their consecutiveorder (I-2-3, 4-5-6, 7-8-9). Small rings to the have been introducedat the ends of the lines. This seal corresponds by the "Faithful as interpreted numeral 3 of the of the square construction in termsof the movesof chess-men. Brethren"
11

492 357 816

Fig. 2

12 3 456 789
Fig. 3

:t

41- 2 *lsl 81- 6

19
Fia. 4

The magic squareof the numeral4, the table ofJupiter (fig. 5), is formed by leaving in positionone half of the numeralsof the naturalsquare (fig. 6as in the case of all even squares,the sequenceis from right to left) and turning the other half by I80, as shown in the diagram of fig. 7. The seal of Jupiter (fig. 20) joins together the numeralsleft in position by means of a St. Andrew'scrosswith rings at the end, and the numeralsturned round by meansof a circle. 4 14 15 1 9 7 6 12 5 11 10 8 6 2 3 13
Fig. 5

4 3 2 1 8 7 6 5 12 11 10 9 16 15 14 13
Fig. 6

* *

1* * 1* Fig. 7

r 2 5

The square of the numeral 5, the table of Mars (fig. 8), is formed in the same manner as the square of the numeral 3 from its natural square (fig. g), as shownin the diagramof fig. I 0. The seal of Mars (fig. 2 I ) iS more difficultto explain. The plan of constructionof the uneven squaresshows a chequeredfield like that of a chess board. The cells of the diagonalsare joined by a St. Andrew's cross with rings on the ends and another in the centre as there is a numeralthere also. The hook on the right connectsthe
of the use of heavier 1For explanation and figs.5, 8, II, I5, type in this diagram
I6, I8

below,see p. 55.

\
21

F.
1g. IG

Fig.

20 Fig. 2I Fig. 22

Fig. 25

Fig. 24

Fig. 23

Figs. I9-25

Sealsof the Seven Planets(p. 50 f.)

Fig. 27

Fig. 28

CP<HAI
Fig. 29

Fig- 30

Fig- 3I

Fig. 32

07X
Fig- 33

Fig- 34

\d
Fig- 35

X
Fig. 36

<
Fig- 37

X
Fig. 38

<
Fig- 39

Sff
. Flg.
40

Figs. 27-42-Characters

Fig.

4I

Fig. 42

of the Intelligences and Demonsof the Planets(p. 53 f.)

Fig. 44a

Fig. 43a

Fig. 43b

Fig. 44b

Figs. 43a, b-Sun Talisman(p. 56) Figs. 44a, b Moon Talisman(p. 56) Munzkabinett, Vienna

13

21

1112131415

117

13

51

1131

AGRIPPA OF NETTESHEIM'S SEALS AND GHARAGTERS

5I

two widely separatednumbersI 5 and I 6. The significanceof these numbers is at once made clear if one takes the trouble to join up all the numeralsin this magic square.l The three half circlesconnect cells of the same colour in the chessboard patternreferred to above.
W

12 7
W

24 7 20 3 4 12 25 8 16

1 2 6 7

3 8

1l* 116 * 12*

37 4

1ll

1 1121
t i

1 1

1 116

9 10

8 *

1O 18 1 14 22 23 6 19 2 15

1617181920 2122232425

]22 * 18 * 14 * lo 23 * 19 * 15 124 201

1
\

11411 t 1lS

Fig.8

Fig. g

- 1M Fig. Io

Fig. IOA

The magic squareof the numeral6, table of the Sun (fig. I I), iS difficult to make. The numbersofthe diagonalsin the naturalsquare(fig. I2) remain; the cells filled irs with black in the diagram (fig. I3) are turned by I80. The cells markedwith a vertical line are mirroredin AB and those with a horizontal line are mirroredin CD. The constructionof the larger even squareswith uneven halves is still more complicated(cf. fig. I4 even wider variantsof the square of the numeral IO are possible). The lines of the seal of the Sun (fig. 22) join up the numbers of the diagonals. The mirrored numbers are connected by means of the characteristichooks, as are the numberswhich were only turned.
6 32 3 34 35 7 11272&830 191416152324 18 20 22 21 17 25 29 10 9 26 36 5 33 4 2
Fig.
II

13 12 31

6 5 4 3 2 1211109 8 181716151413 24 23 22 21 20 30 29 28 27 26 363534333231

Fig. Iz

1 7 19 25
C

1-1 *1 11-l

11 1 t lI
1 1 1l

1|1 1!|1
Fig. I3

* * l

l l

The constructionof the square of the numeral 7, the table of Venus (fig. I5) follows the same principle as that of the uneven squaresmentioned above. The seal of Venus (fig. 23) again showsthe diagonalsconnectedas in the squareof the numeral5, as well as the hooksjoining the widely separated numbers28 and 29. The circle at the bottom and the half-circleat the lefthand corner form links between cells of the same colour in the chess-board pattern of the diagram. In the top cornersthese cells are connected by a cross and a triangle. The figuresresultingfrom this arrangementmay have symbolicsignificance.
l When one starts the construction of the magic square by writing the diagonal in its natural order, the only problematic step is from I5 to I6 (see fig. IOA) and this must be repeated at 20, 25, 5, IO. Cf. W. W. Rowse Ball, Mathematical Recreations andEssays,Ioth ed., London, I93I, chapter VII, p. I39.

52

RL

MTON NOWOT

1g1 1g111 *1 1g1 I I 1g1 1g1 1g1-1Al 1l ->-; ll

E\ t

*1 1ll * "

1 1

22 47 16 41 10 35 4 5 23 48 17 42 1l 29 13 31 7 25 43 19 37

1ll -1-

*1 All *1|1 Fig. I 4

1-l

11 1

21 39 8 33 2 27 45 46 15 40 9 34 3 28 Fig. I 5

The squareof the numeral8, table of Mercury (fig. I6), iS formedin the same manneras that for the numeral4. There are threevariantsof analogous diagrams. The example given (fig. I7) shows, after the interchangeof the stationaryand turned cells, the formulaa b b a on a half turn. The variants a a b b and a b a b are also possible. The seal of Mercury (fig. 24) shows the stationarynumbersin the diagramfig. I7 joined togetherby a St. Andrew's cross with rings on the ends and by four straight lines cutting through the arms of the cross. The turned numbersare joined by four circles and eight short lines.
a b b a
8 49 41 32 40 7 9 64 58 15 23 34 26 47 55 2 59 14 22 35 27 46 54 3 5 52 44 29 37 20 12 61 4 53 45 28 36 21 13 60 62 1l 19 38 30 43 51 6 63 1 1O 56 18 48 39 25 31 33 42 24 50 16 7 57 1* * * * *
o

37 78 29 70 21 62 13 54 5 *
|

* * o * *

1 * *

* * . * * * * o *
o

* * 1o * 1

* 1o * 1

6 47 16 57 26 67 36 77

38 7 48 17 58 27 68 28

79 39 8 49 18 59 19 69

30 71 80 31 40 81 9 41 50 1 1O 51 60 1l 20 61 Fig. I 8

22 72 32 73 42 2 52 12

63 23 64 33 74 43 3 53

14 55 24 65 34 75 44 4

46 15 56 25 66 35 76 45

Fig. I 6

Fig. I 7

The squareof the numeral9, the table of the Moon (fig. I8), iS formedin the same way as the uneven squares already referredto. The seal of the Moon (fig. 25) again shows the St. Andrew's cross with rings at the ends and at the point of intersection. Cells of the same colour in the chessboard pattern are connectedby triple crescentswith rings on the ends. This form must certainlyhave been chosen with direct referenceto the Moon. Thus, the interpretationof the seals of the planets is to be sought, as Agrippasays, in the constructionof the tables. This is especiallyevident in the squareswith an even number of cells. In the squarescontaining sides with uneven numbers,besides the lines inherent in the diagram, symbolic figures are drawn over the chessboard pattern indicating the nature of the planet.
* * *

The characters(characteres) are formedvery differently. In the firstplace,

AGRIPPA OF NETTESHEIM'S SEALSAND CHARAGTERS

53

the names of angels are selected, the letters of which give the numbersof the magic squares.l The numbers contained in the magic squares assigned to the seven planets are as follows: JVo. of units
. . .

zn a szde

JVo. of cells
9 I6 25 36 49 64 8I

Sum along any line2

Total

Saturn Jupiter Mars Sun Venus Mercury Moon

3 4 5 6 7 8 9

I5 34 65
I I I I 75 260 369

45 I36 325 666 I 225 2080 332 I

The names of the angels or spiritsassignedto the planets are as follows:

Intelligentia Saturni Agiel 278818 (Cf. fig. 27) Daemonium Saturni Zazel 27TGT (Cf fig 28) Intelligentia Iovis Iophiel 7X8D,,18 (Cf. fig. 29) Daemonium Iovis Hismael 27812D, (Cf fig 30) Intelligentia Martis Graphiel 27X8DR:1 (Cf fig 3I)
x 30 + I + I0 +

3+

45

30 + 7 +

I +

45

30 +

I +

I0

80 + 5 +

I0

I36

30 +

I +

40 + 60 + 5 = I 36

30 +

I +

I0 +

80

I +

200

3 - 325

1 The numerical values of the Hebrew letters are as

2

follows: I00 p

q qof r res 200 n 20: k,kh sin 3 3 W s,s 30 27 1 t,th taw 4 4 n 4 12 m Final-kaf 5 5oo n 5 3 n 6 600 n Final-mem 60 O s cain zain z 7 7 7oo 7 Final-nun 7 57 c 8 n ch cheth pe 800 l Final-pe 80 D p,f teth sade v 9 1 90 2 s. goor Final-sade 2 The "sumalongany line" is knownas the Magic Constant of the square. It is An(I for a squareof n unitsin a side. The Total of all the numbersin the squareis in2 (I +
zalef beth b,bh g,gh gimel d,dh daleth he h waw w
IO " j

jod kaf lamed mem nun samekh

+ n2) n2) .

54

KARL ANTON NOWOTNY

30 + I + 2 (+ I) + 90 + 200 +
2

DaemoniumMartis Barzabel bR:g2n: (Cf fig. 32) IntelligentiaSolis Nachiel bR8D1 (Cf. fig 33) DaemoniumSolis Sorath nnno (Cf. fig- 34) IntelligentiaVeneris Hagiel 27881U (Cf. fig 35) DaemoniumVeneris Kedemel 27g7:Uj7 (Cf. fig 36) IntelligentiaeVeneris Bne Seraphim :8D:C (Cf. fig 37)

325 (+

I)

30 +

I +

I0 +

20 +

50

III

400 +

200

6 + 60

666

30 +

I +

I0 +

3+ 5

49

30 +

I +

40 + 4 +

I00

I75

"z:

600 + I 0 + 80 + 200 -I252(!) +2

+ 300; +
9 260

o + 50

IntelligentiaMercurij Tiriel 7g8nt: (Cf fig. 38)

30

I0 +

200

I0 +

DaemoniumMercurij nnnnnDn 400 + 200 Taphthartharath 2080 (Cf. fig. 39) DaemoniumLunae Hasmodai Rnnncn (Cf fig 40)
IO + I +

400 +

200 +

400 + 80 + 400

4 + 6 + 40 + 300 + 8

369

Lunae daemoniorum Daemonium nw ns>rnwn: 7nnnfi Schartathan Schedbarschemoth + 5 + 300 + + 40 + 70 + 400 700 + 400 + 400 + 200 + 300; 332I + 2 ; + 4 + 3 (Cf fig 4 I ) Lunae intelligentiarum Intelligentia schehakim hed beruach Malchabetharsitim
600 + I 0 + I 00 + 8 + I 0 + 400 + I 0 + 332I

200

nnn:nYnnrmn: erb1: nl7nw

(Cf fig. 42)

+ 300; + 8 + 300 + 200 +

6 + 200 + 2; + 400 + 2; + I +

4 + 70; + 600 20 + 30 + 40

AGRIPPA OF NETTESHEIM'S SEALS AND CHARACTERS

55

valuesof the letters are formedby joiningthe numerical The characters the namesof the angelsin the tablesof the planets;this can easily forming of the angels'namesgivenabovewithfigs.27 by a comparison be confirmed areprinted in thismanner employed in the construction to 42. The numbers (figs.2, 5, comparison in heavytypein the planettablesin orderto facilitate
8, I I, I5, I6, I8).

by ones, even where the The tens and hundredsare often expressed ten is alreadygiven. Ones, on the otherhand, may be shownas numeral cryptographic tens. The samemethodoccursin a fairlywidelydistributed thesamenumerical having (cf.fig.26). Letters by Agrippa mentioned writing, by the sameanglesignsand disare expressed valuebut varyingin position dots,if at all. onlyby diacritic tinguished
C51 I mO:

n 1 I 1 z n I n128 r I lDn 17 DT
Fig. 26

I 'P8e

m n r z [1 c z u L
The mainideawas, consistent. is by no means Thejoiningof the numbers to the eye. Small as possible as pleasing characters to produce apparently, ringsare usuallyplacedat the endsof the lines;wherethereis no roomfor strokes (figs.40, 4I, 42). If a wordterminates by cross ringsthesearereplaced is sometimes valuethe character with two lettershavingthe samenumerical completedby a doublehook (figs. 32, 34). Two lettershavingthe same by an indentarepresented in a wordaresometimes valueoccurring numerical not at all (figs.29, 3I); sometimes, tion (figs.27, 35, 38, 4I, 42), sometimes they is different, of the numbers in caseswherethe position-value however, arejoinedby lines (figs.33, 36, 4I, 42). In caseswherethe wordsbeginand quite logically,are turned with the same lettersthe characters, terminate in the old appear (figs.3I, 39). Two of the characters inwardon themselves (cf.figs.28 and32 withfig. I). One character positions in reversed woodcuts of fig. 37 twist(fig.32). The two wordsin the character showsa superfluous linesas they forma doubleword. In by ringsor slanting are not separated to Venus, as the the name of the angel is wronglyassigned this character value1S I e52 and not I ee5. numerical in thecharacters mistakes thereareobvious fromtheseirregularities, Apart nature for by theirverycomplicated of the Moon. This may be accounted of the Demon of the Moon, for instance,the symbolof In the character Mem (40) has been omitted;a ring is missing,also, fromone of the ends. Demonof the Moonone line is incorrectly of the Supreme In the character of for He (5) is missing. In the character the symbol through, and crossed is given insteadof a of the Moon a Final-Mem the SupremeIntelligence loop too manyhas been drawn. The simpleMem, and so one hairpin-like is in the wrongposition of the wordMalcha,in the old woodcuts, character that it was conin its relationto the othercharacter.It may be, however, of Mem (40), Lamech(30) and Final-Kaf(500). The extremely structed

56

KARL ANTON NOWOTNY

complicated outlines of the Supreme Intelligence of the Moon necessitates the use of two charactersor of two juxtaposed magic squares. In the old woodcutsthe secondcharacteris correct,apartfroman incorrectcrossstroke. Agrippa'sseals and charactersfrequentlyoccur, with many other signs, on post-mediaevalmedallionsand seem usually to be taken from his works. The examplesreproduced(figs.43a, b and 44a, b) are fromthe Munzkabinett in Vienna. The medallionof the Sun shows (fig. 43a) the Sun in his astrological house, the lLion,as on the coat of arms of Persia. On the reverse (fig. 43b) there appearthe characterof the Intelligenceof the Sun (Nachielcf. fig. 33), the zodiacal sign of Leo, and the sign of the "heart of the lion" (Cor leonis), i.e., the bright fixed star Regulus. This sign appears also in Agrippa'sbook, and moreover,Durerdepictedit in the portraitof Kleeberger in Vienna;l for Kleebergerwas born in this significantconjunctionof the Sun and Regulus (Sol in Corde leonis). The medallion of the Moon (figs. 44a, b) is a good exampleof the interconnection of astrologyand astronomy. It shows the picture of the Moon as it might have been seen in a telescope, with a little figureof Luna within it (fig. 44a); the magic squareof the Moon (fig. 44b); and, divided between the two sides, a distortedversion of the characterof the SupremeIntelligenceof the Moon (Malcha betharsitimhed beruach schehakim cf. fig. 42). The other charactersand names of angels originate from the Heptameron of Petrus de Abano and from the Clavicula Salomonis. Agrippacreditshis planet tableswith the well-knowninfluences,both for good and evil, ascribedto the sevenplanets. Referringto the workingof these influencesat the opening of ChapterXXII of BookTwo, he gives expression to Neo-Platonicviewswhich are of the very essenceof his "occultaphilosophia, sive magia." Hence he laid great stresson their significance: Tradunturinsuper a magis quaedam numerorummensulae,planetis septem distributae,quas planetarum sacras tabulas vocant multis admodum magnisquecoelestiumvirtutibusinsignatas,quatenus repraesentant divinamillam coelestiumnumerorum rationema divinaementisideis per rationem animae mundi coelestibusimpressam,illorumque suavissimam coelestium radiorum harmoniam, secundum effigierumproportionem, intelligentias supramundanas consignificantium, quae aliter exprimi non possunt,quam per notas numerorumet characterum.nihil enim materialesnumeriet figuraepossuntin mysteriisrerumabditarum, nisi repraesentative per numeroset figurasformales,quatenusregunturet informanturab intelligentiis et numerationibusdivinis, quae nectunt extrema materiae atque spiritus ad voluntatem animae elevatae per magnum affectumoperantiscoelesti virtute potestatem accipiensa deo, per animam universi et coelestium constellationum observationesin materiamapplicatamad formamconvenientem,dispositismediis solertia et scientiamagicali.
1 A. Loehr, "Astrologie in der Numis- leonis," SNumismatische geitschrift, Vienna, matik," Berliner Mungblatter, 52, Nos. 349, I 947. 350, Berlin, I 932; idem, "Sol in Corde

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The magic squares must arouse great interest, whether regarded as a preparationof the human mind for later triumphsin the exact sciences, or consideredfrom an historicalstandpointas the transitionfrom magic thought to scientificthought. The theory of the magic squaresas maintained by Agrippa in the early sixteenthcenturyis a particularly illuminatingexampleof a bold compromise between the two points of view such as could only have existedin that period of transition. This blendingof ideas is here far more clearly discerniblethan, for example,in the theoryof the relationof the planetsto metals, colours,etc. These theoriesalso are the resultof compromise, but their development began at such an early period and continuedso graduallythat it is more difficultto perceivethem. Agrippa'sviews in regardto magic influenceare still quite in accordwith those of the ancient magicians,in that he connects it with an angel (Intelligence or Demon) who can be summonedby the use of his name. This philosophy,however, is combinedwith that ascribingall influences to the forces of Nature, which it seeks to probe. It assignsto the planets a series of squares involving mathematical problems and arranged in the order of their velocity. These numbersand lines seem to reveal the laws of the harmonyof the spheres. The construction of this harmonyis on rational lines. To a contemporary observerit would appearthat only the absenceof a key to the harmonyof these squaresconcealsfrom him a knowledgeof the final solution.