This design for an amulet comes from the Black Pullet grimoire. A grimoire ( also GRAM-er ) (also known as a "book of spells") is a textbook of magic, typically including instructions on how to create magical objects like talismans and amulets, how to perform magical spells, charms and divination, and how to summon or invoke supernatural entities such as angels, spirits, deities and demons.Davies (2009:1) In many cases, the books themselves are believed to be imbued with magical powers, although in many cultures, other sacred texts that are not grimoires (such as the Bible) have been believed to have supernatural properties intrinsically. The only contents found in a grimoire would be information on spells, rituals, the preparation of magical tools, and lists of ingredients and their magical URL In this manner, while all books on magic could be thought of as grimoires, not all magical books should be thought of as grimoires.Davies (2009:2–3)  continued in Christendom, as well as amongst Jews and the followers of the newly founded Islamic faith. As the historian Owen Davies noted, "while the [Christian] Church was ultimately successful in defeating pagan worship it never managed to demarcate clearly and maintain a linereligious devotion and magic."Davies (2009:21–22) The use of such 2009: 22 " > Davies (2009:22) </ref> The former was acceptable because it was viewed as merely taking note of the powers in nature that were created by God; for instance, the Anglo-Saxon leechbooks, which contained simple spells for medicinal purposes, were tolerated. Demonic magic was not acceptable, because it was believed that such magic did not come from God, but from the Devil and his demons. These grimoires dealt in such topics as necromancy, divination and demonology. Davies (2009:22) Despite this, "there is ample evidence that the mediaeval clergy were the main practitioners of magic and therefore the owners, transcribers, and circulators of grimoires,"Davies (2009:36) while several grimoires were attributed to Popes.Davies (2009:34–35) Early modern period  Alongside this, there was a rise in interest in the Jewish mysticism known as the Kabbalah, which was spread across the continent by Pico della Mirandola and Johannes Reuchlin.Davies (2009:46) The most important magician of the Renaissance was Heinrich Cornelius Agrippa (1486–1535), who widely studied occult topics and earlier grimoires and eventually published his own, the Three Books of Occult Philosophy, in 1533.Davies (2009:47–48) A similar figure was the Swiss magician known as Paracelsus  Mysteries of Nature, in which he emphasised the distinction between good and bad magic.Davies (2009:48) A third such individual was Johann Georg Faust, upon whom several pieces of later literature were written, such as Christopher Marlowe's Doctor Faustus, that portrayed him as consulting with demons.Davies (2009:49–50)
This design for an amulet comes from the Black Pullet grimoire. A grimoire ( ) (also known as a "book of spells") is a textbook of magic, typically including instructions on how to create magical objects like talismans and amulets, how to perform magical spells, charms and divination, and how to summon or invoke supernatural entities such as angels, spirits, deities and demons.Davies (2009:1) In many cases, the books themselves are believed to be imbued with magical powers, although in many cultures, other sacred texts that are not grimoires (such as the Bible) have been believed to have supernatural properties intrinsically. The only contents found in a grimoire would be information on spells, rituals, the preparation of magical tools, and lists of ingredients and their magical URL In this manner, while all books on magic could be thought of as grimoires, not all magical books should be thought of as grimoires.Davies (2009:2–3) Medieval period In the Medieval period, the production of grimoires continued in Christendom, as well as amongst Jews and the followers of the newly founded Islamic faith. As the historian Owen Davies noted, "while the [Christian] Church was ultimately successful in defeating pagan worship it never managed to demarcate clearly and maintain a line of practice between religious devotion and magic."Davies (2009:21–22) The use of such books on magic continued. In Christianised Europe, the Church divided books of magic into two kinds: those that dealt with " natural magic" and those that dealt in "demonic magic". Davies (2009:22) The former was acceptable because it was viewed as merely taking note of the powers in nature that were created by God; for instance, the Anglo-Saxon leechbooks, which contained simple spells for medicinal purposes, were tolerated. Demonic magic was not acceptable, because it was believed that such magic did not come from God, but from the Devil and his demons. These grimoires dealt in such topics as necromancy, divination and demonology. Despite this, "there is ample evidence that the mediaeval clergy were the main practitioners of magic and therefore the owners, transcribers, and circulators of grimoires,"Davies (2009:36) while several grimoires were attributed to Popes.Davies (2009:34–35) Early modern period As the early modern period commenced in the late 15th century, many changes began to shock Europe that would have an effect on the production of grimoires. Historian Owen Davies classed the most important of these as the Protestant Reformation and subsequent Catholic Counter-Reformation, the witch-hunts and the advent of printing. The Renaissance saw the continuation of interest in magic that had been found in the Mediaeval period, and in this period, there was an increased interest in Hermeticism among occultists and ceremonial magicians in Europe, largely fueled by the 1471 translation of the ancient Corpus hermeticum into Latin by Marsilio Ficino (1433–99). Alongside this, there was a rise in interest in the Jewish mysticism known as the Kabbalah, which was spread across the continent by Pico della Mirandola and Johannes Reuchlin.Davies (2009:46) The most important magician of the Renaissance was Heinrich Cornelius Agrippa (1486–1535), who widely studied occult topics and earlier grimoires and eventually published his own, the Three Books of Occult Philosophy, in 1533.Davies (2009:47–48) A similar figure was the Swiss magician known as Paracelsus (1493–1541), who published Of the Supreme Mysteries of Nature, in which he emphasised the distinction between good and bad magic.Davies (2009:48) A third such individual was Johann Georg Faust, upon whom several pieces of later literature were written, such as Christopher Marlowe's Doctor Faustus, that portrayed him as consulting with demons.Davies (2009:49–50)
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also GRAM-er
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Medieval period In the Medieval period, the production of grimoires
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line of practice between religious
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books on magic continued. In Christianised Europe, the Church divided books of magic into two kinds: those that dealt with
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natural magic" and those that dealt in "demonic magic".
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</ref>
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Davies (2009:22)
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As the early modern period commenced in the late 15th century, many changes began to shock Europe that would have an effect on the production of grimoires. Historian Owen Davies classed the most important of these as the Protestant Reformation and subsequent Catholic Counter-Reformation, the witch-hunts and the advent of printing. The Renaissance saw the continuation of interest in magic that had been found in the Mediaeval period, and in this period, there was an increased interest in Hermeticism among occultists and ceremonial magicians in Europe, largely fueled by the 1471 translation of the ancient Corpus hermeticum into Latin by Marsilio Ficino (1433–99).
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(1493–1541), who published Of the Supreme