Green Days for Electronic Cigarettes Intl Group Ltd (OTCMKTS:ECIG)

Image from page 240 of “Science and literature in the Middle Ages and the Renaissance” (1878)
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Identifier: sciliteratur00jaco
Title: Science and literature in the Middle Ages and the Renaissance
Year: 1878 (1870s)
Authors: Jacob, P. L., 1806-1884
Subjects: Middle Ages Renaissance Science, Medieval Literature, Medieval
Publisher: London : Bickers and Son
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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Text Appearing Before Image:
The Vision of Charlemagne.—After a Miniature in the Chroniques de Saint-Denis.Mimuscript of the Fourteenth Century.—In the National Library, Paris. categories corresponding with the seasons, the months, and the hours duringwhich they occurred. But the common people, little doubting that he wasunconsciously reproducing the simpler but more logical system of Pliny inhis Natural History, merely explained the dreams by taking them in theiropposite sense, and this was the foundation of a small popular work, whichhas been frequently revised and renewed since the sixteenth century, TheKey to Dreams. Oneirocricy might have been to a certain extent harmless, in spite of itssuperstitious absurdities; but such was not the case with necromancy (derivedfrom the two Greek words v^K-pog, death, and it.avTua., divination, or the THE OCCULT SCIENCES. 209 art of foretelling the future by evoking the dead), a terrible and imao-inaryscience which had earned for its adepts the name of ma-omam:cn. This

Text Appearing After Image:
■cig. 154—The Image of Dame Astrology, with the Three Fates.—After a Miniature in the Yr.M:de la Cabale Chrclienne, in Prose, by Jean Thenaud, a Cordelier of Angnnlcmo, a Wurkdedicated to Franr;oiB I.—llanusciipt of the Sixteenth Century. —In the Arsenal Library, Paris. science was all tlie more believed in during the Middle Ages because itappeared, in the eyes of a supeiticial observer, to be based upon the authority E li THE OCCULT SCIENCES. of Scripture, through the Witch of Endor whom Saul asked to evoke thespirit of Samuel. The practices of this art were not in all cases of a solemnand striking character; for the evocation of the dead consisted sometimes inmerely pronouncing certain phrases, half grotesque and unintelligible, atnight, either in a cemetery or a cellar, by the light of a black taper. In othercases, it is true, this evocation was surrounded by the most horrible mysteries,and the necromancer accompanied them by the effusion of blood. A childwas put to death

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