Those who would form a conception of the extent of the belief in those relations to the demons which could be openly avowed in spite of the penalties attaching to witchcraft, may be referred to the much-read work of Agrippa of Nettesheim 'On secret Philosophy.' He seems originally to have written it before he was in Italy, but in the dedication to Trithemius he mentions Italian authorities among others, if only by way of disparagement.In the case of equivocal persons like Agrippa, or of the knaves and fools into whom the majority of the rest may be divided, there is little that is interesting in the system they profess, with its formula, fumigations, ointments, and the rest of it.
But this system was filled with quotations from the superstitions of antiquity, the influence of which on the life and the passions of Italians is at times most remarkable and fruitful.We might think that a great mind must be thoroughly ruined, before it surrendered itself to such influences; but the violence of hope and desire led even vigorous and original men of all classes to have recourse to the magician, and the belief that the thing was feasible at all weakened to some extent the faith, even of those who kept at a distance, in the moral order of the world.At the cost of a little money and danger it seemed possible to defy with impunity the universal reason and morality of mankind, and to spare oneself the intermediate steps which otherwise lie between a man and his lawful or unlawful ends.
Let us here glance for a moment at an older and now decaying form of superstition.From the darkest period of the Middle Ages, or even from the days of antiquity, many cities of Italy had kept the remembrance of the connection of their fate with certain buildings, statues, or other material objects.The ancients had left records of consecrating priests or Telestae, who were present at the solemn foundation of cities, and magically guaranteed their prosperity by erecting certain monuments or by burying certain objects (Telesmata).Traditions of this sort were more likely than anything else to live on in the form of popular, unwritten legend; but in the course of centuries the priest naturally became transformed into the magician, since the religious side of his function was no longer understood.In some of the Virgilian miracles at Naples, the ancient remembrance of one of these Telestae is clearly preserved, his name being in course of time supplanted by that of Virgil.The enclosing of the mysterious picture of the city in a vessel is neither more nor less than a genuine ancient Telesma; and Virgil, as founder of Naples, is but the officiating priest who took part in the ceremony, presented in another dress.The popular imagination went on working at these themes, till Virgil became also responsible for the brazen horse, for the heads at the Nolan gate, for the brazen fly over another gate, and even for the Grotto of Posilippo--all of them things which in one respect or other served to put a magical constraint upon fate, and the first two of which seemed to determine the whole fortune of the city.Medieval Rome also preserved confused recollections of the same kind.At the church of Sant' Ambrogio at Milan, there was an ancient marble Hercules; so long, it was said, as this stood in its place, so long would the Empire last.That of the Germans is probably meant, as the coronation of their emperors at Milan took place in this church.The Florentines were convinced that the temple of Mars, afterwards transformed into the Baptistery, would stand to the end of time, according to the constellation under which it had been built;they had, as Christians, removed from it the marble equestrian statue;but since the destruction of the latter would have brought some great calamity on the city--also according to a constellation--they set it upon a tower by the Arno.When Totila conquered Florence, the statue fell into the river, and was not fished out again till Charlemagne refounded the city.It was then placed on a pillar at the entrance to the Ponte Vecchio, and on this spot Buondelmonti was slain in 1215.The origin of the great feud between Guelph and Ghibelline was thus associated with the dreaded idol.During the inundation of 1333 the statue vanished for ever.
But the same Telesma reappears elsewhere.Guido Bonatto, already mentioned, was not satisfied, at the refounding of the walls of Forli, with requiring certain symbolic acts of reconciliation from the two parties.By burying a bronze or stone equestrian statue, which he had produced by astrological or magical arts, he believed that he had defended the city from ruin, and even from capture and plunder.When Cardinal Albornoz was governor of Romagna some sixty years later, the statue was accidentally dug up and then shown to the people, probably by the order of the Cardinal, that it might be known by what means the cruel Montefeltro had defended himself against the Roman Church.And again, half a century later, when an attempt to surprise Forli had failed, men began to talk afresh of the virtue of the statue, which had perhaps been saved and reburied.It was the last time that they could do so; for a year later Forli was really taken.The foundation of buildings all through the fifteenth century was associated not only with astrology but also with magic.The large number of gold and silver medals which Paul II buried in the foundation of his buildings was noticed, and Platina was by no means displeased to recognize an old pagan Telesma in the fact.Neither Paul nor his biographer were in any way conscious of the mediaeval religious significance of such an offering.
But this official magic, which in many cases only rests on hearsay, was comparatively unimportant by the side of the secret arts practiced for personal ends.
