First published by the Warburg Institute in 1958, this book is considered a landmark in Renaissance studies. Whereas most scholars had tended to view magic as a marginal subject, Walker showed that magic was one of the most typical creations of the late fifteenth and sixteenth centuries. Walker takes readers through the magical concerns of some of the greatest thinkers of the Renaissance, from Marsilio Ficino, Giovanni Pico della Mirandola, and Jacques Lefevre d&’Etaples to Jean Bodin, Francis Bacon, and Tommaso Campanella. Ultimately he demonstrates that magic was interconnected with religion, music, and medicine, all of which were central to the Renaissance notion of spiritus. Remarkable for its clarity of writing, this book is still considered essential reading for students seeking to understand the assumptions, beliefs, and convictions that informed the thinking of the Renaissance. This edition features a new introduction by Brian Copenhaver, one of our leading experts on the place of magic in intellectual history.

The Spirit Flyer, a rusty old bicycle found in the city dump, surprises its new owner, John Kramar, when it magically lives up to its name, introducing John to an unknown world and changing his life for good.

"A collection of essays examining medieval and early modern texts aimed at performing magic or receiving illumination via the mediation of angels. Includes discussion of Jewish, Christian and Muslim texts"--Provided by publisher.

Corona may have been saved from the horrible power of the demon dactyl, but not all is safe... Pony and Elbryan face continued peril from the corrupt church as well as the remnants of demonic servants that roam the land. Are they still empowered by the destroyed dactyl, or are they drawing strength from an even more sinister source? Collecting all three issues of R.A. Salvatore's The DemonWars Volume II into one book.

For all their pride in seeing this world clearly, the thinkers and artists of the English Renaissance were also fascinated by magic and the occult. The three greatest playwrights of the period devoted major plays (The Tempest, Doctor Faustus, The Alchemist) to magic, Francis Bacon often referred to it, and it was ever-present in the visual arts. In Renaissance Magic and the Return of the Golden Age John S. Mebane reevaluates the significance of occult philosophy in Renaissance thought and literature, constructing the most detailed historical context for his subject yet attempted.

"Explores two principal genres of illicit learned magic in late Medieval manuscripts: image magic, which could be interpreted and justified in scholastic terms, and ritual magic, which could not"--Provided by publisher.