Picatrix is the Latin name used today for a 400-page book of magic and astrology originally written in Arabic under the title Ghāyat al-Ḥakīm (), which most scholars assume was originally written in the middle of the 11th century, though an argument for composition in the first half of the 10th century has been made. The Arabic title translates as The Aim of the Sage or The Goal of The Wise. The Arabic work was translated into Spanish and then into Latin during the 13th century, at which time it got the Latin title Picatrix. The book's title Picatrix is also sometimes used to refer to the book's author.
Picatrix is a composite work that synthesizes older works on magic and astrology. One of the most influential interpretations suggests it is to be regarded as a "handbook of talismanic magic". Another researcher summarizes it as "the most thorough exposition of celestial magic in Arabic", indicating the sources for the work as "Arabic texts on Hermeticism, Sabianism, Ismailism, astrology, alchemy and magic produced in the Near East in the ninth and tenth centuries A.D." Eugenio Garin declares, "In reality the Latin version of the Picatrix is as indispensable as the Corpus Hermeticum or the writings of Albumasar for understanding a conspicuous part of the production of the Renaissance, including the figurative arts." It has significantly influenced West European esotericism from Marsilio Ficino in the 15th century, to Thomas Campanella in the 17th century. The manuscript in the British Library passed through several hands: Simon Forman, Richard Napier, Elias Ashmole and William Lilly.
According to the prologue of the Latin translation, Picatrix was translated into Spanish from the Arabic by order of Alphonso X of Castile at some time between 1256 and 1258. The Latin version was produced sometime later, based on translation of the Spanish manuscripts. It has been attributed to Maslama ibn Ahmad al-Majriti (an Andalusian mathematician), but many have called this attribution into question. Consequently, the author is sometimes indicated as "Pseudo-Majriti".
The Spanish and Latin versions were the only ones known to Western scholars until Wilhelm Printz discovered an Arabic version in or around 1920.
Content and sources
The work is divided into four books, which exhibit a marked absence of systematic exposition. Jean Seznec observed, "Picatrix prescribes propitious times and places and the attitude and gestures of the suppliant; he also indicates what terms must be used in petitioning the stars." As an example, Seznec then reproduces a prayer to Saturn from the work, noting that Fritz Saxl has pointed out that this invocation exhibits "the accent and even the very terms of a Greek astrological prayer to Kronos. This is one indication that the sources of Picatrix are in large part Hellenistic.":
According to Garin:
According to the Prologue, the author researched over two hundred works in the creation of Picatrix. However, there are three significant Near/Middle Eastern influences: Jabir ibn Hayyan, the Brethren of Purity, and ibn Wahshiyya's Nabataean Agriculture. The influence of Jabir ibn Hayyan comes in the form of a cosmological background that removes magical practices from the context of diabolical influences and reasserts these practices as having a divine origin. The author of Picatrix utilizes Neoplatonic theories of hypostasis that mirror the work of Jabir ibn Hayyan.
While tracing the correlates for the Kabbalistic notion of the astral body (Hebrew: tselem), Gershom Scholem cited its occurrence in the Picatrix, and pointed out the background of this concept in Greek papyri and philosophical texts, in Gnostic texts, in Iranian eschatology, and in Islamic and Renaissance Neoplatonism. Scholem also specifically noted Henry Corbin's work in documenting the concept of the perfected nature in Iranian and Islamic religion.
According to Scholem, the following passage from the Picatrix (itself similar to a passage in an earlier Hermetic text called the Secret of Creation) tracks very closely with the Kabbalistic concept of tselem: When I wished to find knowledge of the secrets of Creation, I came upon a dark vault within the depths of the earth, filled with blowing winds. ... Then there appeared to me in my sleep a shape of most wondrous beauty [giving me instructions how to conduct myself in order to attain knowledge of the highest things]. I then said to him: "Who are you?" And he answered: "I am your perfected nature."