" A Prejudate eye much lessens the noblenesse of the Subject. Bacons name may bring at the first an inconvenience to the Book, but Bacons ingenuity will recompence it ere he be solidly read. is as an Apology is the usher to his other Workes, which may happily breath a more free Air hereaer, when once the World sees how clear he was, from loving Negromacy. 'Twas the Popes smoak which made the eyes of that Age so sore, as they could not discern any open hearted and clear headed soul from an heretical Phantasme. e silly Fryers envying his too prying head, by their cra had almost got it off his shoulders. It's dangerous to be wiser than the multitude, for that unruly Beast will have every over- topping head to be lopped shorter, lest it plot, ruine, or stop the light, or shadow its extravagancies. How famous this Frier is in the judgment of both godly and wise men, I referre you to the Probatums of such men, whose single Authorities were of sufficiency to equallize a Jury of others; and as for the Book, I refer it to thy reading. As for myself, I refer me to him, whom I serve, and hope thou wilt adore...."

First published in 1987. John Dee was Renaissance England's first Hermetic magus, a philosopher magician. He was also a respected practical scientist, an immensely learned man who investigated all areas of knowledge. In this fine biography, Peter French shows that not only magic and science, but geography, antiquarianism, theology and the fine arts were fields in which Dee was deeply involved. Through his teaching, writing and friendships with many of the most important figures of the age, Dee was at the centre of great affairs and had a profound influence on major developments in sixteenth-century England. Peter French places this extraordinary individual within his proper historical context, describing the whole world of Renaissance science, Platonism and Hermetic magic.

What does it mean to describe cinematic effects as “movie magic,” to compare filmmakers to magicians, or to say that the cinema is all a “trick”? The heyday of stage illusionism was over a century ago, so why do such performances still serve as a key reference point for understanding filmmaking, especially now that so much of the cinema rests on the use of computers? To answer these questions, Colin Williamson situates film within a long tradition of magical practices that combine art and science, involve deception and discovery, and evoke two forms of wonder—both awe at the illusion displayed and curiosity about how it was performed. He thus considers how, even as they mystify audiences, cinematic illusions also inspire them to learn more about the technologies and techniques behind moving images. Tracing the overlaps between the worlds of magic and filmmaking, Hidden in Plain Sight examines how professional illusionists and their tricks have been represented onscreen, while also considering stage magicians who have stepped behind the camera, from Georges Méliès to Ricky Jay. Williamson offers an insightful, wide-ranging investigation of how the cinema has functioned as a “device of wonder” for more than a century, while also exploring how several key filmmakers, from Orson Welles to Christopher Nolan and Martin Scorsese, employ the rhetoric of magic. Examining pre-cinematic visual culture, animation, nonfiction film, and the digital trickery of today’s CGI spectacles, Hidden in Plain Sight provides an eye-opening look at the powerful ways that magic has shaped our modes of perception and our experiences of the cinema.

Two Columes in a Slipcase! HPB's first major work, originally published in 1877. The most astounding compendium of occult facts and theories in Theosophical literature. It proclaims the existence of mystery schools under the guardianship of men who are servants for truth. It outlines a movement by the Guardians of the Ancient Wisdom to preserve and protect the ageless truths, until in later times they would again become known for the spiritual benefit of all.

Roger Bacon can be placed on the boundary between magic and science. This essay starts with a strong dissenting opinion on the existence of magic; but finishes by discussing how to create a 'Philosophers Egg'. In between, Bacon writes about the use of optics, gunpowder, and petroleum in warfare.