Elsewhere: A Review about Magic in Modernity

Portrait of Robert Boyle, Father of Modern Chemistry. A scientist distinguished by his open-minded and empirical attitude towards paranormal, supernatural, and magical phenomena. (Source)

I am pleased and proud to announce that I have a book review up at the Genealogies of Modernity Blog. I examine a compelling recent work by historian of science, Michael Hunter. The Decline of Magic: Britain in the Enlightenment (Yale UP, 2020) is well worth your time. I think it provokes really intriguing questions about the process of disenchantment – a transition that Hunter effectively describes as the methodological eclipse of Francis Bacon and Robert Boyle by Isaac Newton. You’ll understand what I mean when you read the review (and the book), so please head on over and give it a read-through!

Thank you to the GoM Blog for hosting my writing, and especially to Mr. Terence Sweeney for kindly asking me to contribute. It was an honor and a pleasure to write for a platform with such intriguing content.

The Saint, the Centaur, and the Satyr

On this feast of St. Anthony the Abbot, I am reminded of a peculiar episode in the life of the saint that St. Jerome records. In full, it reads:

Francesco Guarino, St. Anthony Abbot and Centaur, 1642 (Source)

But to return to the point at which I digressed. The blessed Paul had already lived on earth the life of heaven for a hundred and thirteen years, and Antony at the age of ninety was dwelling in another place of solitude (as he himself was wont to declare), when the thought occurred to the latter, that no monk more perfect than himself had settled in the desert. However, in the stillness of the night it was revealed to him that there was farther in the desert a much better man than he, and that he ought to go and visit him. So then at break of day the venerable old man, supporting and guiding his weak limbs with a staff, started to go: but what direction to choose he knew not. Scorching noontide came, with a broiling sun overhead, but still he did not allow himself to be turned from the journey he had begun. Said he, I believe in my God: some time or other He will show me the fellow-servant whom He promised me. He said no more. All at once he beholds a creature of mingled shape, half horse half man, called by the poets Hippocentaur. At the sight of this he arms himself by making on his forehead the sign of salvation, and then exclaims, Holloa! Where in these parts is a servant of God living? The monster after gnashing out some kind of outlandish utterance, in words broken rather than spoken through his bristling lips, at length finds a friendly mode of communication, and extending his right hand points out the way desired. Then with swift flight he crosses the spreading plain and vanishes from the sight of his wondering companion. But whether the devil took this shape to terrify him, or whether it be that the desert which is known to abound in monstrous animals engenders that kind of creature also, we cannot decide.

Antony was amazed, and thinking over what he had seen went on his way. Before long in a small rocky valley shut in on all sides he sees a mannikin with hooked snout, horned forehead, and extremities like goats’ feet. When he saw this, Antony like a good soldier seized the shield of faith and the helmet of hope: the creature none the less began to offer to him the fruit of the palm-trees to support him on his journey and as it were pledges of peace. Antony perceiving this stopped and asked who he was. The answer he received from him was this: I am a mortal being and one of those inhabitants of the desert whom the Gentiles deluded by various forms of error worship under the names of Fauns, Satyrs, and Incubi. I am sent to represent my tribe. We pray you in our behalf to entreat the favour of your Lord and ours, who, we have learned, came once to save the world, and ‘whose sound has gone forth into all the earth.’ As he uttered such words as these, the aged traveller’s cheeks streamed with tears, the marks of his deep feeling, which he shed in the fullness of his joy. He rejoiced over the Glory of Christ and the destruction of Satan, and marvelling all the while that he could understand the Satyr’s language, and striking the ground with his staff, he said, Woe to you, Alexandria, who instead of God worships monsters! Woe to you, harlot city, into which have flowed together the demons of the whole world! What will you say now? Beasts speak of Christ, and you instead of God worship monsters. He had not finished speaking when, as if on wings, the wild creature fled away. Let no one scruple to believe this incident; its truth is supported by what took place when Constantine was on the throne, a matter of which the whole world was witness. For a man of that kind was brought alive to Alexandria and shown as a wonderful sight to the people. Afterwards his lifeless body, to prevent its decay through the summer heat, was preserved in salt and brought to Antioch that the Emperor might see it.

St. Jerome, The Life of Paul the First Hermit, 7-8.

Let it never be said that the lives of the saints are boring. Artists, like Demonologists, have throughout the centuries returned to these scenes again and again. The Centaur shows up a lot, probably because it’s a subject that permits the artist to show off his own talents at depicting both human and equine anatomy. Yet we can also detect here a certain visual sensibility that can only be described as picturesque delight and fascination.

Jacopo Palma il Giovane, Saint Anthony Abbot asking the Centaur the way (Source)
Osservanza Master, The Meeting of Saint Anthony and Saint Paul, 1430-35, detail (Source)
Benedetto di Montagna, St. Anthony and the Centaur. The depiction of the Centaur as a monk is particularly unusual. (Source)
A less common depiction, St. Anthony and the Satyr (Source)
A medieval depiction of St. Anthony with both the Centaur and the Satyr, by Robert Testard. (Source)
John Mandeville’s take on the scene, with color highlighting the hybridity of the Centaur’s nature. (Source)
St. Anthony meets the Centaur in an illumination by Jean de Limbourg (Source)