Giordano Bruno and the Hermetic Tradition

263 Pages·1964·10.23 MB·English

by  Frances A. Yates

This book emphasises the primary
importance of Hermetism in Renaissance
thought. The Hermetic treatises were
believed to be by an ancient Egyptian,
prophet of Christianity; these associations
strengthened their enormous impact on
Ficino and the Neoplatonic movement.
Pico della Mirandola yoked Hermetism
with Cabalism and the Hermetic-
Cabalist tradition continued as an "occult
philosophy" both magical and mystical.
Giordano Bruno is here for the first
time placed within the context of this
tradition of which he represents an
original variation. He emerges as a
Hermetic philosopher and magician with
an unorthodox religious message. Even
his support of Copernican heliocentricity
is associated with Ficino's solar magic.
This revolutionary reinterpretation pro
foundly affects our understanding of
Bruno and of his death at the stake.
The Hermetic tradition is followed
beyond the death of Bruno into the
seventeenth century, particularly in
Campanella. The correct dating in 1614
of the Hermetic treatises marked the end
of the dominance of Hermetism though
it continued to exert a hidden influence.
The controversies of Fludd with
Mersenne and Kepler arc seen as a
conflict between a late revival of the
Hermetic-Cabalist tradition and the
seventeenth-century scientific movement.
Renaissance Hermetism stimulated new
attitudes towards the cosmos and towards
operating with cosmic forces. It affected
the religious issues, making towards
toleration; Bruno's message on its
religious side was a variant of the
religious Hermetism widespread in the
sixteenth century. His use of magically-
significant imagery and language raises
the question of his influence on the poets
of the English Renaissance.
55s. net
GIORDANO BRUNO
AND THE HERMETIC TRADITION
Hermes Trismegistus, pavement, Siena Cathedral.
GIORDANO BRUNO
AND THE
HERMETIC TRADITION
by
FRANCES A. YATES
Routledge and Kegan Paul
LONDON
First published 1964
by Routledge and Kegan Paul Ltd
Broadway House, 68-74 Carter Lane
London, E.C.4 CONTENTS
Made and printed in Great Britain by
William Clowes and Sons, Limited Preface page ix
London and Beccles Abbreviations xiii
© Frances A. Yates 1964 I. Hermes Trismegistus 1
II, Ficino's Pimander and the Asclepius 20
No part of this book may be reproduced
in any form without permission from III. Hermes Trismegistus and Magic 44
the publisher, except for the quotation IV. Ficino's Natural Magic 62
of brief passages in criticism V. Pico della Mirandola and Cabalist Magic 84
VI. Pseudo-Dionysius and the Theology of a
Christian Magus 117
VII. Cornelius Agrippa's Survey of Renaissance
Magic 130
VIII. Renaissance Magic and Science 144
IX. Against Magic: (1) Theological Objections;
{2) The Humanist Tradition 157
X. Religious Hermetism in the Sixteenth Century 169
XL Giordano Bruno: First Visit to Paris 190
XII. Giordano Bruno in England: The Hermetic
Reform 205
XIII. Giordano Bruno in England: The Hermetic
Philosophy 235
XIV. Giordano Bruno and the Cabala 257
XV. Giordano Bruno: Heroic Enthusiast and
Elizabethan 275
XVI. Giordano Bruno: Second Visit to Paris 291
XVII. Giordano Bruno in Germany 306
XVIII. Giordano Bruno: Last Published Work 325
XIX. Giordano Bruno: Return to Italy 338
XX. Giordano Bruno and Tommaso Campanella 360
XXI. After Hermes Trismegistus was Dated 398
XXII. Hermes Trismegistus and the Fludd
Controversies 432
Index 457
ILLUSTRATIONS
Hermes Trismegistus, pavement, Siena Cathedral
(photo: Anderson) frontispiece
1. (a) The Zodiacal Sign Aries with its three Decans
(b) The first Decan of Aries
Francesco del Cossa, Palazzo Schifanoja, Ferrara (photos:
Villani) at page 82
2. Botticelli, "Primavera", Uffizi Gallery, Florence (photo:
Alinari) 83
3. Pinturicchio, Hermes Trismegistus with the Zodiac, Room
of the Sibyls, Appartamento Borgia, Vatican (photo:
Anderson) 114
4. Pinturicchio, Mercury killing Argus, Room of the Saints,
Appartamento Borgia, Vatican (photo: Anderson) 114
5. Pinturicchio, Isis with Hermes Trismegistus and Moses,
Room of the Saints, Appartamento Borgia, Vatican (photo:
Anderson) 115
6. (a) Pinturicchio, Egyptian Worship of Apis, Room of the
Saints, Appartamento Borgia, Vatican (photo: Anderson)
(b) Apis bulls worshipping the Cross, Detail of frieze, Room
of the Saints, Appartamento Borgia, Vatican 115
7. (a) Sephiroth, Angelic Hierarchies, and Spheres. From
Robert Fludd, Meteorologica cosmica, Frankfort, 1626, p. 8
(b) The Copernican System. From N. Copernicus,
De revolutionibus orbium coelestium, Nuremburg, 1543
(c) The Ptolemaic and Copernican Systems. From Giordano
Bruno, La cena de le ceneri, 1584 146
8. Angelic Hierarchies, Spheres, and Hebrew Alphabet. From
Robert Fludd, Utriusque cosmi, maioris scilicet et minoris,
metaphysial, physica atque technica historia, Oppenheim,
1617, 1619, II (I), p. 219 147
9. Title-page of Athanasius Kircher, Ars Magna Lucis et
Umbrae, Rome, 1646 274
10. Nature and Art. From Robert Fludd, Utriusque cosmi...
historia, I, p. 3 275
11. (a) "Figura Mentis"
(b) "Figura Inrellectus"
(c) "Figura Amoris"
(d) "Zoemetra"
ILLUSTRATIONS
Figures from Giordano Bruno, Ariiculi centum et sexaginta
adversus huius tempestatis mathematical atque philosophos,
Prague, 1588 (photos: Bibl. Nat. Paris) at page 306
12. (a) Figure from G. Bruno, Articuli adversus mathematical, PREFACE
Prague, 1588 (photo: Bibl. Nat. Paris)
(b) This figure as reproduced in G. Bruno, Opere latine, I MANY years ago I planned to make an English translation of
(iii), 1889, p. 84 306 Giordano Bruno's La cena de le ceneri with an introduction em
13. (a) "Theuti Radius" phasising the boldness with which this advanced philosopher of
(b) Unnamed Figures the Renaissance accepted the Copernican theory. But as I followed
(c) "Speculum Magorum" Bruno along the Strand to the house in Whitehall where he was to
(d) "Expansor" expound the Copernican theory to knights and doctors, doubts
Figures from Giordano Bruno, Articuli adversus mathemati arose. Was that journey imaginary and was the Supper really held
14. c(as), , P(bra)g, uFeig, u1r5e8s8 f ro(pmh oGtoios:r dBainbol. BNrautn. oP, aDreis t)r iplici minima et 307 at the French embassy ? And was the Copernican theory really the
mensura, Frankfort, 1591 subject of the debate or was there something else implied in it ?
(c), (d), Figures from Giordano Bruno, De monade numero et The Bruno problem remained with me thereafter as the real centre
figura, Frankfort, 1591 307 of all my studies; masses of notes and manuscript accumulated but
15. (a) The "Monas Hieroglyphica". From the title-page of John full understanding eluded me. Some major clue was missing.
Dee, Monas Hieroglyphica, Antwerp, 1564 During the last twenty-five years certain scholars have been
(b) Kircher's version of the "Monas Hieroglyphica". From drawing attention to the significance of the influence of Hermetism
Athanasius Kircher, Obeliscus Pamphilius, Rome, 1650, p.371 338 in the Italian Renaissance. The fundamental bibliographical
16. (a) The Mystical Compass. From Robert Fludd, Utriusque studies of P. 0. Kristeller have shown the importance and
cosmi... historia, II (I), p. 28 diffusion of Ficino's translation of the Corpus Hermeticum. E. Garin
(Obb) e"liOscbuesl isPcaums pHhielliiuosp, oRliotamneu,s "1. 6F50ro, mp . A37th1a n(pashioutso sK: iWrcahrebr,. has subtly indicated Hermetic strands in Renaissance thought,
Inst.) 339 particularly in his Medioevo e Rinascimento and in essays now
republished in the book La cultura ftlosofica del Rinascimento
italiano. He also inspired a group of students to undertake detailed
investigations of Hermetic influence on individual writers, pub
lished as Testi umanistici su Vermetismo. Several French scholars are
aware of Renaissance Hermetism. In England, D. P. Walker has
examined the prisca theologia in an important article, and has ana
lysed Ficino's use of the Hermetic Asclepius in his book Spiritual
and Demonic Magic from Ficino to Campanella. This book brings
out for the first time shades of difference in Renaissance attitudes
to magic and indicates the bearing of the subject on religious issues.
No one had as yet spoken of Bruno in connection with Hermet
ism, nor, in spite of my interest in all these studies, did the possi
bility of such a connection occur to me for some time. I had long
known that Bruno's works, particularly those on memory, are full
of magic (a fact which did not escape Lynn Thorndike in his
History of Magic and Experimental Science)) but I did not realise
viii i* ix
PREFACE PREFACE
that his magic belongs with his philosophy as part of a Hermetic and Aquilecchia's edition of the two newly discovered Latin works.
philosophy. It was not until a few years ago that it dawned upon The treatment of Campanella as a sequel to Bruno is new, though
me, quite suddenly, that Renaissance Hermetism provides the indebted to Walker's analysis of Campanella's magic and to the
long-sought-for major clue to Bruno. The right key was found at labours of L. Firpo. The last two chapters emphasise the weaken
last; my former Bruno studies fell into place; and this book was ing of Hermetic influence through the dating of the Hermetica and
written fairly quickly. its survival in esoteric writers and societies (both these points have
It is obvious that the book is not a monograph on Bruno; it sets been briefly indicated by Garin). The emergence of seventeenth-
out to do only what its title states, to place him in the Hermetic century thought in Mersenne, Kepler, and Descartes is seen
tradition. Before a final reassessment of Bruno is possible other against the background of the Hermetic tradition.
studies are necessary, particularly an elucidation of his place in the There has inevitably been over-simplification in this account of
history of the classical art of memory which he transformed into a an immensely complex theme, and my purpose of leading up to,
magico-religious technique. Some of the references to Bruno's and away from, Giordano Bruno may have influenced my choice of
mnemonics in the present book may seem rather obscure, but I material. The full history of Hermetism has yet to be written; it
hope to treat further of this subject in another book. There is a should include the Middle Ages and continue far later than the
great omission in this book, namely the influence on Bruno of date to which I have taken it. I am aware that I take risks as I
Ramon Lull which I have hardly mentioned, nor have I used his strike a course through ways of thinking so unfamiliar and obscure
many works on Lullism. Here again a study of Bruno and the as those of the Renaissance Hermetists, and I cannot hope to have
Lullian tradition is needed which one day I hope that I may be able made no mistakes. If this book draws more attention to a most
to produce. The three strands of the Hermetism, the mnemonics, important subject and stimulates others to labour in this field it
the Lullism are all interwoven in Bruno's complex personality, will have done its work.
mind, and mission. All three have a history running from the Since the book has been so long in the making, perhaps I may
Middle Ages through the Renaissance up to the dividing line of thank those who have helped me in chronological order. Through
Descartes and the seventeenth century. our common interest in Bruno I came to know Dorothea Waley
I am indebted throughout the present book to the Nock- Singer, whose kindness and encouragement marked a turning
Festugiere edition and French translation of the Corpus Hermeticum point in my life, for she introduced me to Edgar Wind, the late
and to A.-J. Festugiere's book La Revelation d'Hermes Trisme- Fritz Saxl, and Gertrud Bing, and I began to frequent the Warburg
giste. Though Renaissance Hermetism has not been set out before Institute, then in its first London home on Millbank. Eventually,
in the way in which I attempt to do it in the first ten chapters, these through the generosity and foresight of those in authority, the
chapters owe much to others, particularly in parts of. IV, VII, IX, Warburg Institute and its library became a part of the University
and X to Walker; the theme of VIII has been hinted at by Garin. of London. Towards the end of the war, Saxl invited me to join the
My knowledge of Cabala is derived almost entirely from the works staff, and so for many years I have had the advantage of using the
of G. G. Scholem; my persistence in spelling the word in this way library founded by Aby Warburg and now maintained by London
is part of the general plan of approaching the ancient wisdoms from University. This unique library influences all those who use it
the point of view of the Renaissance; this is how Pico and Bruno through the distinctive arrangement of the books which reflects the
spell it. The nine chapters on Bruno present him as a variation on mind of its founder. I have also had the inestimable advantage of
the Hermetic-Cabalist tradition. This is so revolutionary that I the friendship of members of the staff of the Institute. G. Bing has
have not been able to use much of the vast literature on Bruno, save known my Bruno studies over many years, constantly supporting
for biographical and documentary material and some other works me with understanding and encouragement. The present Director
which are acknowledged in the notes. I have used G. Aquilecchia's of the Institute, Ernst Gombrich, has stimulated, advised, and
revised edition of the Gentile edition of Bruno's Italian dialogues, helped about the book with his great forbearance and kindness.
x xi
PREFACE
Many have been the conversations on subjects of mutual interest
with Perkin Walker, now on the staff of the Institute. All these read
the book in manuscript, making valuable criticisms; G. Bing also
read it in proof. One hardly knows how much one owes to friend
ABBREVIATIONS
ship and to talk with friends, nor how to thank for it. Other old
friends now in the United States are Charles Mitchell (heated
arguments, often in stations and trains) and Rudolf Wittkower, Bibliografia V. Salvestrini, Bibliografia di Giordano Bruno (i 582-1950),
who gave valuable advice at an important juncture. G. Aquil- seconda edizione postuma a cura di Luigi Firpo,
ecchia, long a fellow-Brunian, kindly allowed me to see some un Florence, 1958.
published material. O. Kurz, J. Trapp, and all the librarians of the C.H. Corpus Hermeticum, Paris, 1945 and 1954. Vol. I, Corpus
Hermeticum, I-XII, texte ctabli par A. D. Nock et
Institute have given of their knowledge: the staff of the photo
traduit par A.-J. Festugiere. Vol. II, Corpus Hermeti
graphic collection has been unfailingly helpful.
cum, XIII-XVIII, Asclepius, texte etabli par A. D.
I have constantly used the London Library to the staff of which
Nock et traduit par A.-J. Festugiere. Vol. Ill, Frag
my thanks are due. The debt to the library of the British Museum
ments extraits de Stobee, I-XXII, texte ctabli et
and its staff is, needless to say, impossible to reckon. traduit par A.-J. Festugiere, Vol. IV, Fragments ex-
My sister, R. W. Yates, has read the book in manuscript and in traits de Stobee, XXIII-XXIX, texte etabli et traduit
proof many times, with tireless care in helping with corrections and par A.-J. Festugiere; Fragments divers, texte etabli par
suggestions, also supporting my life in countless ways. Other A. D. Nock et traduit par A.-J. Festugiere.
members of my family were still alive when my Bruno studies Dial. ital. Giordano Bruno, Dialoghi italiani, con note da Giovanni
began, and I think of them now in conclusion. Gentile, terza edizione a cura di Giovanni Aquilecchia,
Florence, 1957 (one vol.).
FRANCES A. YATES
Documenti Documenti della vita di Giordano Bruno, a cura di Vincenzo
Reader in the History of the Renaissance
Spampanato, Florence, 1933.
University of London
Festugiere A.-J. Festugiere, La Revelation d'Hermes Trismegiste,
Warburg Institute,
Paris, 1950-4 (four vols.).
University of London
Ficino Marsilio Ficino, Opera omnia, Bale, 1576 (two vols., con
secutively paged).
Garin, Eugcnio Garin, La cultura filosofica del Rinascimento
Cultura italiano, Florence, 1961.
J.W.C.I. Journal of the Warburg and Courtauld Institutes.
Kristeller, Paul Oskar Kristeller, Studies in Renaissance Thought and
Studies Letters, Rome, 1956.
Kristeller, Paul Oskar Kristeller, Supplementum Ficinianum, Flor
Suppl. Fie ence, 1937 (two vols.).
Op. lot. Giordano Bruno, Opere latine, ed. F. Fiorentino, V.
Imbriani, C. M. Tallarigo, F. Tocco, H. Vitelli,
Naples and Florence, 1879-91 (three vols, in eight
parts). Facsimile reprint, 1962 (Friedrich Fromman
Verlag Gunther Holzboog, Stuttgart-Bad Cannstatt).
Pico Giovanni Pico della Mirandola, Opera omnia, Bale, 1572
(one vol.).
Scott Hermetica, ed. W. Scott, Oxford, 1924-36 (four vols.).
xii xiii
ABBREVIATIONS
Sommario Angclo Mercati, II sommario del processo di Giordano
Bruno, Citta del Vaticano, 1942.
Test. uman. Testi umanistici su I'ermetismo, testi di Ludovico Lazzarelli,
F. Giorgio Veneto, Cornclio Agrippa di Nettesheim, a
Chapter I
cura di E. Garin, M. Brini, C. Vasoli, P. Zambelli,
Rome, 1955.
Thorndike Lynn Thorndike, A History of Magic and Experimental
Science, Columbia University Press, 1923-41 (six vols.).
Walker D. P. Walker, Spiritual and Demonic Magic from Ficino
to Campanella, The Warburg Institute, University of
London, 1958.
HE great forward movements of the Renaissance all
derive their vigour, their emotional impulse, from look
ing backwards. The cyclic view of time as a perpetual
movement from pristine golden ages of purity and
truth through successive brazen and iron ages still held sway and
the search for truth was thus of necessity a search for the early,
the ancient, the original gold from which the baser metals of the
present and the immediate past were corrupt degenerations. Man's
history was not an evolution from primitive animal origins through
ever growing complexity and progress; the past was always better
than the present, and progress was revival, rebirth, renaissance of
antiquity. The classical humanist recovered the literature and the
monuments of classical antiquity with a sense of return to the pure
gold of a civilisation better and higher than his own. The religious
reformer returned to the study of the Scriptures and the early
Fathers with a sense of recovery of the pure gold of the Gospel,
buried under later degenerations.
These are truisms, and it is also obvious that both these great
returning movements were not mistaken as to the date of the
earlier, better period to which they turned. The humanist knew
the date of Cicero, knew the correct date of his golden age of
classical culture; the reformer, even if not clear as to the date of
the Gospels, knew that he was trying to return to the earliest
centuries of Christianity. But the returning movement of the
Renaissance with which this book will be concerned, the return to
a pure golden age of magic, was based on a radical error in dating.
xiv i