In Magic in Medieval Manuscripts, Sophie Page highlights two
fifteenth century images that offer, to me, evidence of the ways in which
gendered ideas have pervaded cultural representations of magic. The first
image, located on page thirteen, is an illuminated depiction described as “Nectanebus
bearing an astrological tablet” (Page). The second image, shown below, is
described as “Erichtho conjures a dead soldier for Pompey” (Page). Although Page does not directly compare the
two images, her explanation of the gendered conceptions of magic serve to found
a comparison- “male practitioners of magic tended to be associated with complex
rituals...and knowledge of the workings of celestial bodies, whilst women were
believed to work more closely with natural objects... [known] for their
subversion of the natural” (Page 16). Thus, the medieval images provide commentary
on gender, as well as magic.
In his image, Nectanebus is shown holding an astrological tablet,
wearing dignified white clothing, and approaching a stately crowd of courtiers.
Even if the stealthy location of the tablet indicates a need for Nectanebus to
go cautiously forward to potential patrons, he still appears as a calm, wise
figure, one who is educated and possibly accepted. On the other hand, the
reader is given Erichtho, a witch who bears her teeth and is inextricably linked
to the devil-like figures around her. The fictional character emphasizes the
connection to nature associated with women who practiced magic. She wears
earthy tones, yet brings hell with her through the back door into the serene, pastoral
landscape, “subverting nature” as Page indicated. In the distance, one can view
some tower-like architecture, possibly a church or village. All in all, the
image perpetuates a sense of the alarming proximity of magic, portrayed by the
disruption a witch supposedly wreaks in a peaceful land, one that could be the
viewer’s own. Although neither necessarily exalts magical practice, the images
demonstrate the engendered sensibility of magic: a composed, knowledgeable
Nectanebus versus a wild, devil-influenced Erichtho. Such ideas can help us
understand how women became primary targets in the “Great Hunt” the following
century.
What did you make of the differences in the way magic was depicted in relation to men and women?
Page, Sophie. Magic
in Medieval Manuscripts. Toronto: University of Toronto Press, 2004. Print.
Sadie--interesting point. The thing that struck me about that same image was the blue gown. I know from viewing so many Virgin Mary/ies in Rome that blue was the iconic color assigned to her. Very expensive paint. There is something "secret" and therefore appealing about this "men's magic"!
ReplyDeleteSadie, I liked how you discussed the proximity of magic in your post. So far in our class, it seems that magic, and the possible threat that witchcraft had on Europe, was a real concept that bothered many men and women. No doubt this fear, whether it was real or imagined, played a great role in the events that pervaded Europe during the witch hunts... Great blog!
ReplyDeleteI had noticed as well that men seemed to be associated more with the higher magics than women and vice versa. At least from the readings that i have read so far. Perhaps this had an effect on the witch hunts throughout Europe in terms of their targets and distribution?
ReplyDeleteSadie, I like how you included a picture. The picture is very interesting to me because the magician talking to the lady is dressed in blue, yet the devil behind her is also the color blue. Do they have something in common? Since they both have powers do they wear blue because of some special meaning? It is interesting but confused why they are both wearing blue.
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