Ars Notoria Magical Context

{"result":["[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=21\nPages: 21\neffectively to find that same information. But in the Middle Ages, the\nability to memorise, absorb and organise material was paramount. It is\nprecisely for that purpose the Ars Notoria was devised. Its methods\npromised the student that, with the \u2018inspection\u2019 of certain elaborate\ndiagrams (notae) accompanied by the correct prayers and orations\nconsisting of verba ignota, whole subjects could be rapidly absorbed.\nThe word notoria can refer to notes, or to the art of knowing, but in this\ncontext, it refers specifically to the 'notes' or magical images used to\nstimulate memory and speed up apprehension of these subjects.\nAlthough Turner translates notae as 'notes' this is very misleading (given\nthe many modern meanings of that word - musical notes, student's\nnotes, jottings, shopping lists, etc.). So we have chosen to retain the Latin\nterms nota (singular) and notae (plural) in our commentary. As these\nmanuscripts belong in the world of the clerical Middle Ages, they are all,]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=2\nPages: 2\nunlike the sigils of any other grimoire, and were\ndrawn with exquisite attention to detail.\nThe oldest manuscript of the Ars Notoria\ndates from 1225, and is printed here in full.\nDespite the passage of almost 800 years, the Ars\nNotoria has never been published before with\nboth its text and all its notae (plural of nota)\ncomplete. This edition has four other\nfull-colour complete sets of notae from the three\nfollowing centuries. The commentary explains\nwhere the Ars Notoria fits into the history of\nmagic (it was not part of the Lemegetori), charts\nthe development of the notae, and the lives of\nthe magicians who were associated with it.\nThe Ars Notoria is a mediaeval grimoire, or\nmagician's manual, which was widely\ndistributed and very popular in the 13th-16th\ncenturies. Although virtually unknown today,\nit is still very relevant because it consists of\ntechniques still usable and useful today.\nSolomon reputedly received the book from\nthe hand of the angel Pamphilius, and it was]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=59\nPages: 59,61\ncontains no illustrations of the notae. It does however have some\ninteresting additional comments in English.\nThe other manuscript is Bodleian Library Jones 1. This manuscript is\nalmost identical in composition and appearance to Yah. Var. 34 and\ncontains the notae also stunningly adorned with gold leaf.\n1 In this context an alternative name for the Ars Notoria.\n2 As quoted in Rowse (1974), pp. 296-297. Rowse however transcribed the book title\nas Stenographia rather than Trithemius' Steganographia. Forman was interested in\nmagic, not shorthand.\n53\nArs Notoria\nFigure 14: Liber de Arte Memoratiua siue Notoria, f. 93, Trinity 0.9.7, one of\nForman's three copies of the Ars Notoria showing the section on Ars Arithmetical\n1 Courtesy of The Master and Fellows of Trinity College, Cambridge.\n54\nArs Notoria\nSimon Forman & later Aristocratic Scandals\nIt was towards the end of Forman's life, and somewhat thereafter, that\nrumours of his more covert magical and pharmacological activities came]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=22\nPages: 22\nThe basic distinction between Astral magic and Solomonic magic needs\nto be understood and preserved. However categorising the Ars Notoria\nas one or the other is quite difficult for a number of reasons.\nThe Ars Notoria is often lumped in with Solomonic magic because of its\npseudepigraphical attribution to Solomon, and more recently the\nhappenstance that it was often considered the fifth part of a collection of\ngrimoires called the Lemegeton, with which its text was sometimes\nbound. However, it does not have a Register of spirits nor does it have a\nprotective floor circle, nor a set of pre-consecrated tools, all of which are\nkey ingredients of Solomonic magic. On the other hand, apart from\nMoon phase observation it does not have any of the astrological\ncalculations so characteristic of Astral or Image magic.\nArs Notoria and the Lemegeton\nThe usual rationale for the Ars Notoria being counted as 'Solomonic'\ncomes from the introduction to the Lemegeton which is found in several]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=20\nPages: 20\nAs Robert Turner explains:1\nThe Ars Notoria, the magical art of memory, flourished during the\nMiddle Ages, although its origins are attributed to Solomon and\nApollonius of Tyana. It is a process by which the magician could\ninstantly gain knowledge or memory of all the arts and sciences.\nEach branch of knowledge or subject area was assigned a set of\nmagical seals and characters, known as notae. To set the process\ninto operation, the appropriate notae were contemplated whilst\nreciting angelic names and magical orisons. However, it was\nregarded as a diabolical form of magic, since the knowledge was\nquickly acquired from 'demons' without honest study.\nThere were some questions about the morality of using angels rather\nthan the labour of honest study, but in practice most students would use\nthis art as an aid rather than an end in itself. If you like, it was the more\ntechnically advanced equivalent of a prayer to help you pass exams.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=2\nPages: 2\nSourceworks of Ceremonial Magic\nVolume 11\n\"In its influence, dissemination, length,\nand complexity, the Ars Notoria is the most\nimportant surviving treatise of ritual magic.\"\n- Sophie Page.\nThe Ars Notoria, or 'Notary Art,' is a\nMediaeval grimoire designed to assist monks\n(or anyone) to learn whole subjects in as short a\ntime as a month, through the intervention of\nangels. It has procedures for vastly improving\nmemory and understanding, such that a single\nreading of a complex text will enable the\naspirant to absorb and understood it. The\nprocedure consisted of short prayers (to set the\nscene) followed by orations or invocations\nmade up of lists of the secret names of angels\n(some say demons) who will assist the aspirant\nin these feats of memory. These are read or\nchanted whilst the aspirant looks at a \"nota,\u201d a\ncomplex design which encapsulates the\nessence of the desired subject. These nota are\nunlike the sigils of any other grimoire, and were\ndrawn with exquisite attention to detail.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=25\nPages: 25\nFinding any roots for this text amongst Solomonic grimoires is highly\nunlikely as its notae do not resemble any typical Solomonic talismans,\nsigils or seals, in any way. They are totally unique. Their design was\ntaken very seriously, as evidenced by the amount of effort and\npainstaking design and draughtsmanship put into their construction\n(much more than most talismanic drawings in Solomonic manuscripts).\nIf Ars Notoria is not Solomonic evocatory magic, then what is it? Despite\nbasic requirements concerning moon phases, there is no elaborate system\nof 'elections' either, so it cannot be categorised as Astral or Image magic\neither. Beyond that all we can say is that it is in a class of its own. We are\nleft with a totally unique style of magic.\nExamination of the verba ignota suggest a mixture of Greek and Hebrew\norigin. If we look at the names invoked, we see a few ending in '...iel' (a\ntypical Hebrew angelic name ending) but also many that end in '...mai' a]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=37\nPages: 37,38\n31\nArs Notoria\nold unchanged 1551 title page. Sadly, it has not been possible to identify\nthe precise manuscript used by the Beringos brothers when they edited\nthe Ars Notoria in Agrippa's Opera Omnia.\nTurner's English Translation\nThe first and only (to date) translation into English of the Ars Notoria\nwas done by Robert Turner in 1657. Robert Turner's edition of the Ars\nNotoria is his translation of the Latin version which was printed in\nAgrippa's Opera Omnia. Unfortunately, both the Latin original and\nTurner's translation omit the key notae or magical drawings which are\nthe main part of this art, without which it cannot be practiced, thereby\nadding greatly to the difficulty of reading the text.\nHENRI CI CORNELII AGRIPPAE AB\nNETTESHEYM A* CONS1LJIS ET\nArchiuis Inditurn Ger; CAESAREAB\nMateftans:\nDe Occuitatyhtojopbia Libritrer.\nNihil efl operturn,quod non reurletuv,w ocadtum\nquod nonjciatur.\nNatthat X.\nCunt Grtiit ej Priuilrgio Ctfartt MAieflitis td tritmwnM D L I.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=434\nPages: 434\nMontpellier, March 1999. Montpellier, 2000, pp. 173-191.\nBoudet, Jean-Patrice. Entre science et nigromance: Astrologie, divination et\nmagie dans TOccident medieval (Xlle-XVe siede). Paris: Sorbonne,\n2006.\nCamille, Michael. 'Visual Art in two Manuscripts of the Ars Notoria' in\nClaire F\u00e4nger, Conjuring Spirits, Pennsylvania: Pennsylvania\nState UP, 1998, pp. 110-139.\nCarruthers, Mary & Ziolkowski, Jan. The Medieval Craft of Memory,\nPennsylvania: Pennsylvania State UP, 2002.\nDupebe, Jean. 'L'Ars notoria et la polemique sur la divination et la magie'\nin Divination et controverse religieuse en Trance au XVIe szecle,\nParis: L'E.N.S de Jeunes Filles, 1987, pp. 122-134.\nF\u00e4nger, Claire. Conjuring Spirits. Texts and Traditions of Medieval Ritual\nMagic, Pennsylvania: Pennsylvania State UP, 1998.\nF\u00e4nger, Claire. Invoking Angels: Theurgic Ideas and Practices, Thirteenth to\nSixteenth Centuries, Pennsylvania: Pennsylvania State UP, 2012.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=436\nPages: 436\nMedieval Libraries of Central Europe [Magic in History Series].\nPennsylvania: Pennsylvania State UP, 2008.\nL\u00e4ng, Benedek. 'The Art of memory and magic (the Ars Memorativa and\nthe Ars Notoria)' in Culture of Memory in East Central Europe in the\nLate Middle Ages and the Early Modern Period, ed. Rafa\u0142 W\u00f3jcik, 8793. Poznan: Bibioteka Uniwersytecka, 2008.\nMurner, Thomas. Logica Memorativa: Chartiludium logice, sive totius dialectice\nmemoria, Cracow, 1507.\nPage, Sophie. 'Image-Magic Texts and a Platonic Cosmology at St.\nAugustine's, Canterbury, in the Late Middle Ages' in Magic in\nthe Classical Tradition, Ed. Charles Burnett and W.F. Ryan,\nLondon: Warburg, 2006, pp. 69-98.\nPage, Sophie. Magic in the Cloister: Pious Motives, Illicit Interests, and\nOccult Approaches to the Medieval Universe, Pennsylvania:\nPennsylvania State UP, 2013.\nPage, Sophie. Magic in Medieval Manuscripts, London, 2004.\nPeterson, Joseph (Ed.). The Sworn Book of Honorius: Liber luratus Honorii]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=172\nPages: 172,174\n2\nFigure 63: The title page of Robert Turner's 1657 Ars Notoria translation.\n166\nArs Notoria:\nTHE\nNOTORY ART\nOF\nSOLOMON,\nShewing the\nCABALISTICAL KEY\nOf\n{ Magical Operations,\n{ The liberal Sciences,\n{ Divine Revelation, and\n{ The Art of Memory...1\nWritten originally in Latine, and now\nEnglished by ROBERT TURNER (piAoplC[0f]g2\nLondon, Printed by F. Cottrel, and are to be sold\nby Martha Harison, at the Lamb at the\nEast-end of [St.] Pauls. 1657.\n1 \"Whereunto is added An Astrological Catechism, fully demonstrating the Art\nof JUDICIAL ASTROLOGY. Together with a rare Natural secret, necessary to be\nlearn'd by all persons; especially Sea-men, Merchants, and Travellers. An\nexcellent Invention, done by the Magnetick Vertue of the Load-stone.\" This\nsection of the book added by Turner after the Ars Notoria, has been omitted as\nbeing unrelated to magic or the Ars Notoria.\n2 A lover of learning or philosophy.\n167\nArs Notoria\n[The Epistle Dedicatory]]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=436\nPages: 436,437\n430\nArs Notoria\nVIII. New York: Columbia University Press, 1923-1958.\nTurner, Robert (trans.). Ars Notoria: the Notory Art of Solomon, London:\nCottrel, 1657.\nTurner, Robert. Elizabethan Magic: the Art and the Magus, Shaftesbury:\nElement, 1989.\nVeronese, Julien. L'Ars notoria au Moyen Age: Introduction et edition\ncritique. Firenze: Sismel, 2007. (Micrologus' library; 21)\nVeronese, Julien. 'God's Names and their Uses in the Books of Magic\nattributed to King Solomon' in Magic, Ritual, and Witchcraft, Vol.\n5, No. 1, Summer 2010.\nVeronese, Julien. 'La transmission groupee des textes de magie\n\"salomonienne\" de 1'antiquite au Moyen Age. Bilan historiographique, inconnues et pistes de recherche/ in L'antiquite tardive\ndans les collections medievales: textes et representations, VIe XIVe siede, S. Gioanni et B. Grevin. Rome: EFR, 2008, pp. 193-223.\nVeronese, Julien. 'Les Anges dans Ears Notoria: Revelation, processus\nvisionnaire et Angelologie,' in Melanges de I'Ecole Fran\u0119aise de]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=433\nPages: 433\nThis translation has been republished in a number offormats:\nBanner, James. Ars Notoria: The Notary Art of Solomon; Shewing the\nCabalistical Key of Magical Operations, The Liberal Sciences,\nDivine Revelation, and the Art of Memory... etc. Seattle:\nTrident, 1997.\nKunz, Darcy. Ars Notoria: the Magical Art of Solomon; shewing the\nCabalistical Key... Edmonds: Holmes, 1998.\nPeterson, Joseph. 'The Fifth & last part of Clavicula Salomonis\nRegis Ars Notoria' in The Lesser Key of Solomon: Lemegeton\nClavicula Salomonis, York Beach: Weiser, 2001, pp. 155-219.\nTurner, Robert (transl.). Ars Notoria: The Notory Art of Solomon.\nCalligraphic copy by Frederick Hockley of the printed\nbook. York Beach: Teitan, 2015.\nReading: https://www.youtube.com/watch?v=YjXbMozfl2g\n(retrieved April 2019)\nManuscripts of the Ars Notoria written by Simon Forman\nNational Library of Israel, Yah. Var. 34 (Chapter 9)\nCambridge University Trinity 0.9.7 (without notae)\nBodleian Jones 1]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=78\nPages: 78\nillustrated. It has a few notae in common with the previous four\nmanuscripts, but provides a further 35 notae. It has also been the object of\nmost French academic discussion to date, having provided Julian\nVeronese with his base text which he identifies as Version B (effectively\nVersion A plus a commentary). At this point in the development of the\nArs Notoria, images of angels start to adorn the text. It is fairly obvious\nthat they don't add any extra significance to the notae which were\npreviously unadorned. It is therefore probable that the additional cross\u00ad\nbearing angels are a form of insurance added by monks who wished\ntheir labours to be seen as holy, rather than nigromantic.\nArriving at 1600 we find Simon Forman making three copies of the Ars\nNotoria, of which the most complete is Israel National Library Yah. Var.\n34. Because Forman copied from a 15th century exemplar, his content is\nalso 15th century but his script is 16th century and much easier to read.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=19\nPages: 19,20\nNigromancy (magic)\n1 Kieckhefer, in Forbidden Rites, 1997, pp. 193-196, analyses one experimentum\nwhich permits the mastery of the liberal arts in just thirty days.\n2 Probably General Arts, from the Greek yeovoyia. These included memory arts.\n3 New arts, from the Greek vEovoyia.\n4 Arts outside of the approved university curriculum such as magic and\ndivination. These were sometimes deliberately confused with the mechanical\narts to avoid ecclesiastical condemnation.\n13\nArs Notoria\nAlthough some of these subjects like logic, rhetoric and grammar are\nmainly ignored today, the skill of being able to argue a topic logically and\nboth speak about it persuasively and write about it, are in fact very useful\nskills in any period.\nThe Ars Notoria is not, as some people may think, The notorious art' but\nis named after the magical diagrams, or notae which are a key part of its\nmethod. The aim of the Ars Notoria was to use these notae to both]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=24\nPages: 24,25\n4 'Book of the Zodiac' or more broadly 'Book of the Cosmos.'\n5 Richard Kieckhefer, 'Did Magic have a Renaissance?' in Magic and the Classical\nTradition, (ed.) Charles Burnett & W. F. Ryan, London: Warburg, 2006, p. 210.\n18\nArs Notoria\nShelomoh, with which this particular Hebrew manuscript is bound, this will\nalmost certainly turn out to be a Hebrew copy of a Latin original.1\nThe Ars Notoria is 'Solomonic' only in the sense that he was a putative\nauthor, and in an academic sense, as it is often grouped with other\nSolomonic manuscripts such as the Lemegeton. But in a strictly magical\nsense, as delimited by the nature of the techniques involved, Ars Notoria\nis definitely not a text of Solomonic magic. Its techniques are more a\nfunction of contemplation and prayer, which are quite likely to have\nevolved in the cloister or the yeshivah, but not in the circle of evocation.\nFinding any roots for this text amongst Solomonic grimoires is highly]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=422\nPages: 422,423\nlearned countryman John\nSadler, Doctor in Physick; tr.,\nrevised, corrected and\naugmented by R. Turner.\nArs Notoria: The Notary Art of\nSolomon; shewing the Cabalistic\nkey of magical operations, the\nliberal sciences, divine revelation,\nand the art of memory. Whereunto\nis added an Astrological Catechism,\nfolly demonstrating the art of\njudicial Astrology. Written\noriginally in Latine by\nApollonius, and others, and\nnow Englished by R. Turner.\nThis book.\nNotes\nPrinted by J.C. for\nMartha Har[r]ison,\nLondon.\nCompleat Bone-Setter. 2nd\nedition, London, 1665.\nIncludes portrait which\nwas redrawn for the\n1687 reprint of the\nBotanologia.\nPrinted by J.C. for N.\nBrook and J. Har[r]ison,\nLondon.\nPublished as Paracelsus,\nThe Archidoxes ofMagic,\nedited by Stephen Skinner,\nNewburyport: Nicholas\nHays/Ibis, 2004.\nPrinted by J.C, London.\nPrinted by J[ames]\nCott[e]rel[l], London.\n1657\n416\nY\nArs Notoria\n1657\n1657\n1657\n417\nT r a n s la tio n\nPhilosophical and Chymical\nExperiments of that famous]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=32\nPages: 32,31\nand publicly practiced in Krakow a century earlier. - L\u00e4ng (2008), p. 230.\n25\nArs Notori a\nAlthough the Ars Notoria was probably originally conceived of in (or\ntransmitted via) Constantinople as we have seen, and was definitely a\npart of Greek magical culture, the earliest manuscript we have, Yale\nMellon 1, was written in northern Italy in Latin. Veronese is very certain\nthe origin of this particular manuscript was in Bologna.1 This university\ntown was also one of the key cities in the transmission and translation of\nother magical works such as the Greek Magical Treatise of Solomon which\nwas translated into the Latin as the Clavicula Salomonis (the Key of\nSolomon).2\nAt this time Bologna was a major centre of scholarly effort - and Bologna\nUniversity, by its own account, was the oldest university in Europe in\ncontinuous operation, having been founded in 1088. It was also the\nhome town of two very famous thirteenth-century Bolognese teachers of]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=30\nPages: 30\nburn 'philosophical' books of which they disapproved, in the New\nPalace Yard at Westminster, although this does not seem to have\nhappened to the Ars Notoria. However, on the day in January 1656-57 on\nwhich they considered the Ars Notoria:\nJudge-Advocate Whalley offered a book again to the Committee, which he\ncould not call less than diabolical. He read the title of it; it was called 'Ars\nNotoria,' Englished by one Turner, who had the impudence not only to\nput to it his name, but to dedicate it to one Mr. William Ryves, and say,\n\"Printed by J. Cottrel; to be sold by Martha Harison, at the Lamb at the\nEast-end of Pauls, 1657.\"\nHe was directed by the Committee to read such places of the book as he\nmisliked.\nHe read first the title, which was thus: \"Ars Notoria, or the Notory Art of\nSolomon, showing the Cabalistical key of magical operations, &c.,\nJudicial Astrology, Art of Memory, &c.\" He read other parts of the book,\nwhere a great efficacy was placed in repeating certain words at some]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=31\nPages: 31\nindeed was the case with suspicions about the Ars Notoria. Murner's\nbook was reported by a member of the college and found itself the object\nof an investigation by the academic body of Cracow University.4\nOne member of the University, Johannes de Glogovia, later confirmed\nthat the professors quickly concluded \"that the work reflected not so\nmuch magical, as divine talent, and enthusiastically recompensed the\nauthor.\" They could obviously see the benefits of such a method in the\nacademic environment.\nPossible Authors\nThe authorship of the Ars Notoria is traditionally credited to Solomon,\nwho received it from God via the hand of the angel Pamphilius. Several\nmanuscripts claimed that Solomon learned all his wisdom using this\ntext. Whether true or not a fairly large group of monks, priests and\nothers must have used the Ars Notoria to lighten the load of their studies.\nEven today the rapid acquisition of subjects is a beguiling prospect.]"]}

{"result":["[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=20\nPages: 20\nAs Robert Turner explains:1\nThe Ars Notoria, the magical art of memory, flourished during the\nMiddle Ages, although its origins are attributed to Solomon and\nApollonius of Tyana. It is a process by which the magician could\ninstantly gain knowledge or memory of all the arts and sciences.\nEach branch of knowledge or subject area was assigned a set of\nmagical seals and characters, known as notae. To set the process\ninto operation, the appropriate notae were contemplated whilst\nreciting angelic names and magical orisons. However, it was\nregarded as a diabolical form of magic, since the knowledge was\nquickly acquired from 'demons' without honest study.\nThere were some questions about the morality of using angels rather\nthan the labour of honest study, but in practice most students would use\nthis art as an aid rather than an end in itself. If you like, it was the more\ntechnically advanced equivalent of a prayer to help you pass exams.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=21\nPages: 21\neffectively to find that same information. But in the Middle Ages, the\nability to memorise, absorb and organise material was paramount. It is\nprecisely for that purpose the Ars Notoria was devised. Its methods\npromised the student that, with the \u2018inspection\u2019 of certain elaborate\ndiagrams (notae) accompanied by the correct prayers and orations\nconsisting of verba ignota, whole subjects could be rapidly absorbed.\nThe word notoria can refer to notes, or to the art of knowing, but in this\ncontext, it refers specifically to the 'notes' or magical images used to\nstimulate memory and speed up apprehension of these subjects.\nAlthough Turner translates notae as 'notes' this is very misleading (given\nthe many modern meanings of that word - musical notes, student's\nnotes, jottings, shopping lists, etc.). So we have chosen to retain the Latin\nterms nota (singular) and notae (plural) in our commentary. As these\nmanuscripts belong in the world of the clerical Middle Ages, they are all,]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=178\nPages: 178\nvery {7} few words; nevertheless, in the expression of the\nMystery, they do not lose their Vertue: That may be\ncalled their Vertue, which doth happen and proceed\nfrom their pronunciation, which ought to be greatly\nadmired at.\n[7] [Chapter 1] The first Precept\n[Here begins the first Oration, the first chapter of 3 chapters.]4\nHely Scemath, Amazaz, Hemel; Sathusteon, hheli [hemel] Tamazam, &c.5\n1 The General notae are for mastering the general skills applicable to all subjects,\nsuch as improving the memory and understanding. The Special notae are each\nconcerned with one of the Mediaeval university subjects, like Grammar,\nRhetoric, Geometry, Arithmetic, etc.\n2 Threefold division refers to the Trivium, fourfold division to the Quadrivium.\n3 The first Note maybe nota 1, the circular image that comes first in most\nmanuscripts of the Ars Notoria, but in this there is no trace of Hebrew characters.\n4 The whole line omitted by Turner.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=2\nPages: 2\nunlike the sigils of any other grimoire, and were\ndrawn with exquisite attention to detail.\nThe oldest manuscript of the Ars Notoria\ndates from 1225, and is printed here in full.\nDespite the passage of almost 800 years, the Ars\nNotoria has never been published before with\nboth its text and all its notae (plural of nota)\ncomplete. This edition has four other\nfull-colour complete sets of notae from the three\nfollowing centuries. The commentary explains\nwhere the Ars Notoria fits into the history of\nmagic (it was not part of the Lemegetori), charts\nthe development of the notae, and the lives of\nthe magicians who were associated with it.\nThe Ars Notoria is a mediaeval grimoire, or\nmagician's manual, which was widely\ndistributed and very popular in the 13th-16th\ncenturies. Although virtually unknown today,\nit is still very relevant because it consists of\ntechniques still usable and useful today.\nSolomon reputedly received the book from\nthe hand of the angel Pamphilius, and it was]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=20\nPages: 20\nmethod. The aim of the Ars Notoria was to use these notae to both\nimprove memory and to provide a scheme that would induce a rapid\nunderstanding in the operator of a particular art or science. It is easy to\nimagine eager students using this art as an aid to cramming or rapidly\nabsorbing the essence of a subject. In a time of few books, the ability to\nunderstand the ground plan of a subject or memorise whole chunks of\nmaterial was highly prized and indeed a necessary skill of the scholar.\nKnowledge was literally defined as how much you knew or could\nremember.\nWho in the modem world would not like their memory improved, or to\nhave the facility to understand and remember material just read once, or be\nable to absorb complex subjects with rapidity and ease? These aims of the\nArs Notoria are as fresh and as relevant now as they were 800 years ago.\nAs Robert Turner explains:1\nThe Ars Notoria, the magical art of memory, flourished during the]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=94\nPages: 94,95\ncount including all variants as shown in Figure 23 is:\nGeneral\n10 notae variants\nPhilosophy\n14\nGrammar\n5\nDialectic (Logic)\n7\nRhetoric\n6\n11\nTheology\n2\nMusic\nSelf-mastery & Silence 2\nExceptives (magic, etc) 1\nWonders & Marvels\n1\n2\nJustice, Peace and Awe\nGeometry\n5\nArithmetic\n5\nPhysic (Medicine)\n3\nAstronomy\n8\nChastity\n1\n88\nArs Notoria\nAnalysis of the Notae\nThe unique keys to the procedure of the Ars Notoria are the beautiful\nnotae. Sadly, all printed editions, and many manuscript versions of\nthe Ars Notoria are missing these essential ingredients. Many of the\nnotae are abstract, but others are like summary sheets for the subject.\nFor example, one nota of Grammar shows the 8 parts of speech in\ncircles, another nota of Dialectic shows 9 boxes containing parts of\nspeech,1 and one nota of Geometry shows the line, triangle, square,\npentagram, six-pointed star, and circle figures in order.2\nIn some of the later manuscripts there is a scattering of angel figures, but]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=92\nPages: 92,93\ndetermining if a sick man will live or not. Although references to\nPetosiris occur in the Middle Ages, this has its origin back in Graeco\u00ad\nEgyptian magic. 2\n1 Review by Clara Silvia Roero in II Teatro di Tutte le Scienze e le Arti, p. 86.\n2 Petosiris, called Ankhefenkhons, was the high priest of Thoth at Hermopolis.\nHe lived in the second half of the 4th century BCE.\n86\n4.\nThe Notae\nQuantity of Notae\nAmong the early manuscripts, the total number of notae ranges from 35\n(Mellon 1) to 41 (BL Sloane 1712) and does not range any higher. The\nsubject range of the notae is also fairly consistent from one manuscript to\nthe next.\nFor example, Mellon 1, f. 10 lists its notae as:\nQuinque sunt generates figure. Septum sunt philosophie. Tres gramatice.\nDue dialectice. Quattuor rethorice. Quinque theologie. Vna musice. Vna\nreprehensionis et taciturnitatis.1 Vna ad exceptivas. Vna de mirabilibus.\nVna iustitie pads et [f. lOv] timoris.2 Vna inexplicabilis hominibus,3 et\nita sunt in summa .xxx.ij.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=248\nPages: 248,243\n1 KJV Psalm 91.\n237\n9.\nComplete sets of Notae from four other Manuscripts\nNote: if there is more than one nota on a page, the letters a, b, c, etc. are\nused to identify the particular nota in the caption. These are lettered\nstrictly, column by column, downwards commencing in the top left\ncorner. However the manuscript scribes have not always been as\nconsistent in the order the notae were laid out on the page. Sometimes\nthis results in captions that seem out of order: e.g. First Philosophy,\nThird Philosophy, Second Philosophy, etc., but this is correct in terms of\nkeeping to the above top to bottom layout rule.\n239\nThe Notae - BL Sloane 1712\nArs Notoria Salomonis\n(Version A)1\nc. 1250\nFigures 65-81\n1 This manuscript also contains a copy of Opus Operum on ff. 22v-37r, which has three of its notae\nalso reproduced here.\n240\nArs Notoria\nFirst Nota of Grammar - f. 14v.\n241\nArs Notoria\n^ty^tnm\u00f6T\u2019\n& Gt^^'\n^Wttu\u0142,\n^titi^CratefeAa ^otmtnc fi^tm\u00dffti. ^aw\u00df\u00aba .wCmiamw. .-mvxits.\n-\n\u00a7\n\u0118*\n^nc <n mr]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=282\nPages: 282,290\n276\nArs Notoria\na. First General Nota; b. Second General Nota; c. Third General Nota;\nd. Fourth General Nota - f. 17.\n277\nArs Notoria\na. Heaven Stars (Planets) - Astronomy Nota; b. Music Nota; c. Exceptives Nota;\nd. Self-mastery & Silence Nota; e. Wonders & Marvels Nota - f. 17v.\n278\nArs Notoria\na. First Nota of Physic [Medicine]; b. First Nota of Theology - f. 18.\n279\nArs Notoria\na. Second Nota of Theology; b. Third Nota of Theology; c. Fourth Nota of Theology - f. 18v.\n280\nArs Notoria\nFifth Nota of Theology - f. 19. (Full colour)\n281\nThe Notae - BnF Lat. 9336\nSacratissima Ars Notoria\nVersion B\n1360-1375\nFigures 104-125\n283\nArs Notoria\n)fin oreno wlw popftrn mire iftri fignvmii erflnre onicfl .thnd figwff\nifinid .nr-;\u2019*\nnvywt-ttrw mtn I nifl.j ntet . nn teT\u00bbr5ia-forntua>.-paaciiaa- <S\nftruit ft iuu4 \u00abw \u25a0 er mifcrcre met ftmen7 (hl <nb fctff ister pi-onjVuw ftnti port- mitcccWre Fhov pno ihkiHo.\nfimw Tmuni enter eqpttndctn^amS innnf\n\u00abm fiir]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=79\nPages: 79\nwhich are unique for one reason or another. BL Or. 14759 is a Hebrew\nmanuscript which has six notae and a few lines of Hebrew, but as\nalready mentioned, this is most likely to have been a translation out of\nLatin, rather than being any indication of Hebrew origins.\nThe Torino Bibliotheca Nazionale EV. 13 is a late 14th century\nmanuscript, probably also north Italian in origin, or transalpine. Its notae\ndiverge from the usual style and are beautifully executed, featuring\nsnakes and figures with extended arms drawn with an almost 3-D effect,\nsuggesting a later 15th century dating. It has attracted scholarly\ncomment by Claire Fanger and Michael Camille, and has been used to\nillustrate her volume in the excellent 'Magic in History' series, and so it\nhas not been again reproduced here. The relevant notae are: First nota of\nGrammar - f. 1; Nota of the 'whole faculty of Grammar'- f. 6; Nota of\nArithmetic - f. 21; Nota of Geometry - f. 16v.2]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=93\nPages: 93,94\noriginal sense of 'awe/ rather than the modern use of the word in 'awesome.'\n3 Inexplicebilis hominibus, literally 'unspeakable by man,' but actually indicating a\nnote of 'ineffable Theology' as one that cannot be spoken about.\n87\nArs Notoria\nGeneral\n5 notae\nPhilosophy\n7\nGrammar\n3\nDialectic (Logic)\n2\nRhetoric\n4\nTheology\n5\nMusic\n1\nSelf-mastery & Silence 1\nExceptives (magic, etc.) 1\nWonders & Marvels\n1\nJustice, Peace & Awe 1\nPhysic (Medicine)\n1\nArithmetic\n2\nGeometry\n1\nIn total 35 notae\nIn other manuscripts a few more categories arise, such as a nota to help\nmonks with their problems with chastity. When counting across all\nmanuscripts here examined, a total of 83 variant designs are found (see\nFigure 23, the Compendium and Distribution of Notae). It is obvious that\nvariant forms were generated as the text evolved and was copied and\nrecopied over centuries from the early 13th century onwards. The total\ncount including all variants as shown in Figure 23 is:\nGeneral\n10 notae variants]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=93\nPages: 93\nita sunt in summa .xxx.ij.\nIn summary the translation of this list is:\nGeneral\nPhilosophy\n7\nGrammar\n3\nDialectic (Logic)\n2\nRhetoric\n4\nTheology\n5\nMusic\n1\nSelf-Mastery & Silence11\nExceptives (magic, etc.) 1\nWonders & Marvels\n1\nJustice, Peace & Awe 1\nIneffable Theology\n1\n5notae\nIn total 32 notae\nIn actuality the count of notae in Mellon 1 is slightly different from its\nown tally, with the omission of the last item, and the addition of 1\nMedicine, 2 Arithmetic and 1 Geometry notae, the actual count becomes:\n1 Figure reprehensionis et taciturnitatis meaning 'reprehension and taciturnity.'\n2 Figure justice et peds et timoris (Justice, peace and awe). Some commentators have\ntranslated timoris as 'fear' but this actually refers to the 'fear of God,' considered a\nvirtue by Christians. But 'awe of God' more correctly conveys the meaning, in the\noriginal sense of 'awe/ rather than the modern use of the word in 'awesome.']","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=274\nPages: 274,263\nVmriwati\u00bb iVir^^^Julj.icn^C^AggtrXlb- ttc%r;\u00bb\u2019\n' >t4>\u00bb^y^n\u00bbn* G^mtMx1.\n. Ci-nhtt\u00bbn/\n\\\u00aek*\u00bbVv>A^nr74\u201922tr<l^t+>c:li^>i<*n.. fhc^v'Tv7\n4*^n-0b44xr-labrm->5MarV'\u00abvirJ7\nkZ\nhAvstn-\u2019&H \u00bbXxa.tewvuPA tncfevf\niV^rB/\n(\n/'T1 \"lertnri lir\u2019nliA-iuvatiA \u2022'^\u2019\u2022^1 x '\n.\n------ -><\nl\u2019/z\n\u00ab%U.t feprutn a h fl .^,7\n1\nr\u2018c\u2018u\"\u201c \u2022\n\\\nKa\nutul\n[num. 1\nV\n'\na. Second Note of Geometry; b. Noto Circulus of Astronomy - f. 37. Opus Operum.\n257\nThe Notae - BSB CLM 276, ff. lr-47v\nFlores Aurei...Incipit opus operum et scientia scientiarum\n(Opus Operum)\nc. 1350\nFigures 82-103\n259\nArs Notoria\nFirst Nota of Grammar - f. 8.\n260\nArs Notoria\nSecond Nota of Grammar - f. 8v.\n261\nArs Notoria\nThird Nota of Grammar - f. 9.\n262\nArs Notoria\nFirst Nota of Dialectic - f. 9v.\n263\nArs Notoria\nSecond Nota of Dialectic - f. 10.\n264\nArs Notoria\nFirst Nota of Rhetoric - f. 10v.\n265\nArs Notoria\n11\nSecond Nota of Rhetoric - f. 11. [See page 92.]\n266\nArs Notoria\nThird Nota of Rhetoric - f. llv. [See page 92.]\n267\nArs Notoria]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=2\nPages: 2\nSourceworks of Ceremonial Magic\nVolume 11\n\"In its influence, dissemination, length,\nand complexity, the Ars Notoria is the most\nimportant surviving treatise of ritual magic.\"\n- Sophie Page.\nThe Ars Notoria, or 'Notary Art,' is a\nMediaeval grimoire designed to assist monks\n(or anyone) to learn whole subjects in as short a\ntime as a month, through the intervention of\nangels. It has procedures for vastly improving\nmemory and understanding, such that a single\nreading of a complex text will enable the\naspirant to absorb and understood it. The\nprocedure consisted of short prayers (to set the\nscene) followed by orations or invocations\nmade up of lists of the secret names of angels\n(some say demons) who will assist the aspirant\nin these feats of memory. These are read or\nchanted whilst the aspirant looks at a \"nota,\u201d a\ncomplex design which encapsulates the\nessence of the desired subject. These nota are\nunlike the sigils of any other grimoire, and were\ndrawn with exquisite attention to detail.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=107\nPages: 107,108\nf. 19 -b\nf. 19 - a\nB od ley 951\nf. lOOv\nf.9 9 v\nf. 98v\nf. 97v\nB n F Lat\n7154\nB n F Lat\n7153\nTabular Analysis of the Notae\nFigure 25: Historical development of the notae in key manuscripts. In order to appreciate\nthe various forms taken by the notae we have inserted thumbnails of notae from various\nmanuscripts, so their development over time, from one manuscript to another, can be\nseen. In Chapters 6 and 8 the notae of five of these manuscripts are shown in full. Blank\nspaces indicate that a manuscript does not have that particular nota.\nId\n3\nS\nN\n1\nSubject\nYale Mellon 1\nBnF Lat 7152\nBL Sloane 1712\nCLM 276\nBnF Lat. 9336\nDate ->\n1225\n1239\nc. 1250\nc. 1350\n1300-1400\nYar Vah 34\n1400-1500->\n1600\n\u00c4\nGrammar\n\u00abf\nw\nBQ\u00a9\n\u25a0 IHMBn\nT.iZT'\nf. 10v\n4\n2\nf.8\nf 12\nGrammar\n\u00bbfc:\nj\nfetes w\nfete\u00bb\nA\n1\nf. 12v\nf. 11\n7\n3\n: f/VI\n'\u25a0\n.\u2019i|l\nlg\nch\nf.8v\nf. 15\n1\nZ; F\n-g\n- ' \u2022' - - -r-.J\u2019.- - ' ' \u25a0 j\nM\n. \u25a0.. .\nfcOi\nf. 8v\nf. 18v\nI\n1\nGrammar\nt\n?\n10\n1\nf15v\nf. 13\nf. llv\n\u2019\nLogic/\n\u00e4r\nf. 16v\n\u00ae \\\n\\'w\nW\u2019 W\nzLM/\nf. 9v\n>\nzfliiik]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=97\nPages: 97\nThis phenomenon can be seen in many cases.1 This suggests that\nsomething occurred at this point in time. On the basis of the variant\ndesigns of the notae, the manuscripts can be divided into two clear groups\n(on either side of an approximately 1360 divide):\nGroup 1: Mellon 1\nBnFLat7152\nGroup 2: BnF Lat. 9336 Yah. Var. 34\nBL Sloane 1712\nCLM 276\nBnF Lat 7154\nBnF Lat 7153\nThis change appears to correspond with the development from Version A\nand to Version B and Opus Operum.\nInspection of the Notae\nThe term 'inspection' is applied to the process of looking at the notae.\nThe Latin phrase is inspectionis notarum. The Latin word inspecto (which\nhas a Harry Potter ring to it) is the intensive of inspicio which in turn\nrelates to the word speculum. This suggests that the process of inspecting\nthe notae may be likened to gazing intently at a crystal ball or black\nmirror, whilst murmuring the prayers and verba ignota.\nHere we can see a parallel with the procedure of using a skrying stone or]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=16\nPages: 16,15\n63\n19: Portrait of Sir Hans Sloane\n64\n20: Milk Chocolate: Sir Hans Sloane teams up with Cadburys\n66\n21: Montagu House, sold to the British Museum in 1759\n68\n22: A variant form of the Second nota of Rhetoric\n90\n23: Compendium and manuscript Distribution of the Notae\n94\n24: Compendium of Notae arranged by subject\n98\n25: Historical development of the Notae in key manuscripts\n102\n26: Correct dates on which to inspect the Notae\n125\n9\nArs Notoria\n27-62: MS Yale Mellon 1\n128-163\n63: Title page of Robert Turner's 1657 Ars Notoria translation 166\n64: The Figure of Memory (in Turner)\n223\n65-81: MS BL Sloane 1712\n241-257\n82-103: MS BSB CLM 276\n260-281\n104-125: MS BnF Lat. 9336\n284-305\n126-155: MS NLI Yah. Var. 34\n308-337\n156: Figure of Memory (Latin)\n384\n157: The Notae in numeric ID order\n393\n158: List of the Subjects\n395\n159: Table of the Sections, Prayers, Orations & Notae\n398\n160: Prayers borrowed by Liber Juratus from Ars Notoria\n406\n161: Books written and translated by Robert Turner\n418]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=318\nPages: 318,311\nnsnarii1 e-t refilyiiflqniit rtwiw ww mhw\u00bb eine mfuumew qnAmttjpnm W.\n(me ijti.ttuerftjptw wiv\u00ab-? enftimft Runaifl qnc figri ftribnnir- .intept'tnumifi\njitrnin \u25a0omlena-\nMcttaia fair wja atWfli\u00bbc\u00bba-Q-fi \u2019hqiin <\"*\u25a0\n\u25a0aagjsssaKaxcsss^a\nDatitr obi \u00bbme Uhro <r AlWgno\n\u00ab ft1\nCTnA-w.necttphm A mew ttw- litem Wt\u00abY\"\"\na. Nota of Justice, Peace & Awe; b. Nota of Self-mastery & Silence - f. 28v.\n305\nmi?\n\nSW b* m&arat \u25a0 c-t om^ fi*** \u2019.\u2018\u00ab*5\ntamtam tstenr ra fiotr ffa* mVrtct pap*\"- \u25a0 \u00bb m>\u201cAu 1\ntenia fa^otcta faut \u25a0edii eft-\nThe Notae - National Library of Israel Yar. Vah. 34\nLiber de Arte Memorativa sive Ars Notoria\n(Version B)\n1600\nFigures 126-155\n307\nArs Notoria\nSecunda figura Artis grammaticae (Second Nota of Grammar) - f. 8v.\n308\nArs Notoria\nPrima figura Artis grammaticae (First Nota of Grammar) - f. 9.\n309\nArs Notoria\nTertiafigura Artis grammaticae (Third Nota of Grammar) - f. 10.\n310\nArs Notoria\nPrimafigura Artis Dialecticae (First Nota of Dialectic) - f. lOv.\n311\nArs Notoria]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=364\nPages: 364\ndiebus qui dicuntur. Notae autem quatuor Rhetoricae in illis diebus proferantur\nquibus constitutum est, id est, omnibus, praeter tres dies mensis, scilicet Luna 11. &\n17. & 19. Et propter hoc diebus illis eas proferri vetitum est cum orationibus, quia\nillis diebus, ipso testante Salomone, omnium artium notae praeter ipsius artis\noblatae sunt. Ista praecepta sunt liberaliter obseruanda.\n[80] Qualiter notae Dialecticae inspiciantur, & orationes earum proferantur.\nSciendum est, quod notae Dialecticae quater inspiciuntur, & orationes ipsarum ipsa\ndie vigesies recitandae sunt interuallis factis, & libris eiusdem artis ante oculos\npositis. Libri autem Rhetoricae artis similiter ante oculos ponendi sunt, quando\nnotae eiusdem artis inspiciuntur, vt definitum est. Ista sunt sufficientia ad\ncognitionem istarum trium artium.\n[81] Qualiter cauendum est a peccatis.\nIncipit prima nota Grammaticae artis, ad quam antequam perueniatur, aliquid]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=91\nPages: 91\nwithout doubt, an Italian model.\nLanguage: Latin.\nScribe:\nDimensions: 37 ff, 210 x 160 mm.\nFoliation: ff. l-31v. Preserved in a codex consisting of thirty-two folios\non parchment 206/215 x 170 mm.1\nFormat: conventionally arranged in two columns of 31 lines.\nBinding:\nProvenance/References: Great Gallery Sources: Machet 1713, column 31,\nn. 108; Pasini, 1749, lat. 1070; Sorbel-li, Cosentini, 1922, n. 753; Segre\nMontel 1980, sheet 151, p. 130.\nDescription:\nThe notae contained within the Torino MS of Ars Notoria at first glance\nappear unique: they are certainly more interesting than some of the\nother manuscripts. It employs angelic characters paired with classical\nbeasts of Christian mythology and gargoyle-like figures, rings and\nsnakes. It may even be a little more 'demonic' in nature than other\nexamples. Most of the animals are drawn from the well-known symbolic\nanimals of the four evangelists: Matthew (man), Mark (lion), Luke (ox)]"]}

{"result":["[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=248\nPages: 248,243\n1 KJV Psalm 91.\n237\n9.\nComplete sets of Notae from four other Manuscripts\nNote: if there is more than one nota on a page, the letters a, b, c, etc. are\nused to identify the particular nota in the caption. These are lettered\nstrictly, column by column, downwards commencing in the top left\ncorner. However the manuscript scribes have not always been as\nconsistent in the order the notae were laid out on the page. Sometimes\nthis results in captions that seem out of order: e.g. First Philosophy,\nThird Philosophy, Second Philosophy, etc., but this is correct in terms of\nkeeping to the above top to bottom layout rule.\n239\nThe Notae - BL Sloane 1712\nArs Notoria Salomonis\n(Version A)1\nc. 1250\nFigures 65-81\n1 This manuscript also contains a copy of Opus Operum on ff. 22v-37r, which has three of its notae\nalso reproduced here.\n240\nArs Notoria\nFirst Nota of Grammar - f. 14v.\n241\nArs Notoria\n^ty^tnm\u00f6T\u2019\n& Gt^^'\n^Wttu\u0142,\n^titi^CratefeAa ^otmtnc fi^tm\u00dffti. ^aw\u00df\u00aba .wCmiamw. .-mvxits.\n-\n\u00a7\n\u0118*\n^nc <n mr]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=14\nPages: 14,15\nOn the Figure of Memory\nSections S177-S180\n170\n172\n194\n201\n206\n215\n222\n233\n9. Complete sets of notae from four manuscripts of different periods 239\nMS BL Sloane 1712\nMS BSB CLM 276\nMS BnF Lat. 9336\nMS NLI Yar. Var. 34\nc. 1250\nc. 1350\n14th century\n1600\n240\n259\n283\n307\nLatin text of the Ars Notoria in339\nAgrippa's Opera\n10.\nAppendix 0 - The Notae in Numerical ID Order\n387\nAppendix 1 - Table of Subjects\n395\nAppendix 2 - Structure of the Prayers, Orations & Notae\n396\nAppendix 3 - Prayers 'borrowed' by Liber Juratus from Ars Notoria 405\nAppendix 4 - Text of the verba ignota Orations\n407\nAppendix 5 - Known works by Robert Turner of Holshott\n415\nAppendix 6 - The Ecclesiastical Hours\n419\nBibliography\n420\nIndex\n432\n8\nList of Figures\n01: King Solomon receiving a book of Wisdom from an angel\n4\n02: Notae in the form of a column resting on an inverted head\n20\n03: Byzantine column supported by the inverted head of Medusa 20\n04: Title page of Agrippa 's De Occulta Philosophia, 1551\n32]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=16\nPages: 16,17\n406\n161: Books written and translated by Robert Turner\n418\n162: List of the main Ars Notoria Manuscripts\n426\n10\nAcknowledgements\nFor reproduction of Mellon 1, Apollonius, Ars Notoria Sive Flores Aurei,\nwe are grateful to the Beinecke Rare Book and Manuscript Library, Yale\nUniversity. For permission to reproduce the notae folios from Sloane\n1712 we are indebted to the British Library Board. The complete set of\nnotae from BnF Lat. 9336 are reproduced with the permission of the\nBibliotheque nationale de France. Our thanks to the Bayerische\nStaatsbibliothek, Munich for their permission to reproduce the Ars\nNotoria notae in CLM 276. We especially thank the National Library of\nIsrael, Jerusalem, for supplying us with a digital copy and allowing us to\nreproduce the notae in Yar. Var. 34.\nThe Frontispiece is from BnF, Lat. 7153 - Liber cujus is est titulus\nSacratissima Ars Notoria, courtesy of the Bibliotheque nationale de France.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=2\nPages: 2\nunlike the sigils of any other grimoire, and were\ndrawn with exquisite attention to detail.\nThe oldest manuscript of the Ars Notoria\ndates from 1225, and is printed here in full.\nDespite the passage of almost 800 years, the Ars\nNotoria has never been published before with\nboth its text and all its notae (plural of nota)\ncomplete. This edition has four other\nfull-colour complete sets of notae from the three\nfollowing centuries. The commentary explains\nwhere the Ars Notoria fits into the history of\nmagic (it was not part of the Lemegetori), charts\nthe development of the notae, and the lives of\nthe magicians who were associated with it.\nThe Ars Notoria is a mediaeval grimoire, or\nmagician's manual, which was widely\ndistributed and very popular in the 13th-16th\ncenturies. Although virtually unknown today,\nit is still very relevant because it consists of\ntechniques still usable and useful today.\nSolomon reputedly received the book from\nthe hand of the angel Pamphilius, and it was]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=123\nPages: 123,124\nThis edition brings the Ars Notaria out of the monastic shadows of the\nMiddle Ages, providing access to never before seen notae. No less than\nfive complete sets of notae have been provided from five early\n1 Section 57.\n117\nArs Notoria\nmanuscripts. From a practical point of view one simply needs to choose\none set and stick with it. There is enough material here to make a\nworkable system, and early experiments have produced some promising\nresults. In this volume, however the reader will not be hand-held every\nstep of the way, but by examining the examples and pairing the correct\nprayer and oration sequence with the correct notae, with the correct\ntiming, specific operations can be easily assembled and performed.1\nBefore you begin you should have an actual subject in mind that you really\nwish to master, before trying it out: don't frivolously stir up the angels\nwithout a real purpose in mind. Achieving eloquence or the ability to argue]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=78\nPages: 78\nillustrated. It has a few notae in common with the previous four\nmanuscripts, but provides a further 35 notae. It has also been the object of\nmost French academic discussion to date, having provided Julian\nVeronese with his base text which he identifies as Version B (effectively\nVersion A plus a commentary). At this point in the development of the\nArs Notoria, images of angels start to adorn the text. It is fairly obvious\nthat they don't add any extra significance to the notae which were\npreviously unadorned. It is therefore probable that the additional cross\u00ad\nbearing angels are a form of insurance added by monks who wished\ntheir labours to be seen as holy, rather than nigromantic.\nArriving at 1600 we find Simon Forman making three copies of the Ars\nNotoria, of which the most complete is Israel National Library Yah. Var.\n34. Because Forman copied from a 15th century exemplar, his content is\nalso 15th century but his script is 16th century and much easier to read.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=59\nPages: 59,61\ncontains no illustrations of the notae. It does however have some\ninteresting additional comments in English.\nThe other manuscript is Bodleian Library Jones 1. This manuscript is\nalmost identical in composition and appearance to Yah. Var. 34 and\ncontains the notae also stunningly adorned with gold leaf.\n1 In this context an alternative name for the Ars Notoria.\n2 As quoted in Rowse (1974), pp. 296-297. Rowse however transcribed the book title\nas Stenographia rather than Trithemius' Steganographia. Forman was interested in\nmagic, not shorthand.\n53\nArs Notoria\nFigure 14: Liber de Arte Memoratiua siue Notoria, f. 93, Trinity 0.9.7, one of\nForman's three copies of the Ars Notoria showing the section on Ars Arithmetical\n1 Courtesy of The Master and Fellows of Trinity College, Cambridge.\n54\nArs Notoria\nSimon Forman & later Aristocratic Scandals\nIt was towards the end of Forman's life, and somewhat thereafter, that\nrumours of his more covert magical and pharmacological activities came]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=318\nPages: 318,311\nnsnarii1 e-t refilyiiflqniit rtwiw ww mhw\u00bb eine mfuumew qnAmttjpnm W.\n(me ijti.ttuerftjptw wiv\u00ab-? enftimft Runaifl qnc figri ftribnnir- .intept'tnumifi\njitrnin \u25a0omlena-\nMcttaia fair wja atWfli\u00bbc\u00bba-Q-fi \u2019hqiin <\"*\u25a0\n\u25a0aagjsssaKaxcsss^a\nDatitr obi \u00bbme Uhro <r AlWgno\n\u00ab ft1\nCTnA-w.necttphm A mew ttw- litem Wt\u00abY\"\"\na. Nota of Justice, Peace & Awe; b. Nota of Self-mastery & Silence - f. 28v.\n305\nmi?\n\nSW b* m&arat \u25a0 c-t om^ fi*** \u2019.\u2018\u00ab*5\ntamtam tstenr ra fiotr ffa* mVrtct pap*\"- \u25a0 \u00bb m>\u201cAu 1\ntenia fa^otcta faut \u25a0edii eft-\nThe Notae - National Library of Israel Yar. Vah. 34\nLiber de Arte Memorativa sive Ars Notoria\n(Version B)\n1600\nFigures 126-155\n307\nArs Notoria\nSecunda figura Artis grammaticae (Second Nota of Grammar) - f. 8v.\n308\nArs Notoria\nPrima figura Artis grammaticae (First Nota of Grammar) - f. 9.\n309\nArs Notoria\nTertiafigura Artis grammaticae (Third Nota of Grammar) - f. 10.\n310\nArs Notoria\nPrimafigura Artis Dialecticae (First Nota of Dialectic) - f. lOv.\n311\nArs Notoria]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=107\nPages: 107,108\nf. 19 -b\nf. 19 - a\nB od ley 951\nf. lOOv\nf.9 9 v\nf. 98v\nf. 97v\nB n F Lat\n7154\nB n F Lat\n7153\nTabular Analysis of the Notae\nFigure 25: Historical development of the notae in key manuscripts. In order to appreciate\nthe various forms taken by the notae we have inserted thumbnails of notae from various\nmanuscripts, so their development over time, from one manuscript to another, can be\nseen. In Chapters 6 and 8 the notae of five of these manuscripts are shown in full. Blank\nspaces indicate that a manuscript does not have that particular nota.\nId\n3\nS\nN\n1\nSubject\nYale Mellon 1\nBnF Lat 7152\nBL Sloane 1712\nCLM 276\nBnF Lat. 9336\nDate ->\n1225\n1239\nc. 1250\nc. 1350\n1300-1400\nYar Vah 34\n1400-1500->\n1600\n\u00c4\nGrammar\n\u00abf\nw\nBQ\u00a9\n\u25a0 IHMBn\nT.iZT'\nf. 10v\n4\n2\nf.8\nf 12\nGrammar\n\u00bbfc:\nj\nfetes w\nfete\u00bb\nA\n1\nf. 12v\nf. 11\n7\n3\n: f/VI\n'\u25a0\n.\u2019i|l\nlg\nch\nf.8v\nf. 15\n1\nZ; F\n-g\n- ' \u2022' - - -r-.J\u2019.- - ' ' \u25a0 j\nM\n. \u25a0.. .\nfcOi\nf. 8v\nf. 18v\nI\n1\nGrammar\nt\n?\n10\n1\nf15v\nf. 13\nf. llv\n\u2019\nLogic/\n\u00e4r\nf. 16v\n\u00ae \\\n\\'w\nW\u2019 W\nzLM/\nf. 9v\n>\nzfliiik]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=243\nPages: 243,245\never, Amen.\nNote, that if you desire to know any thing that you are ignorant of,\nespecially of any Science, read this Oration: \"I confess my self to thee this\nday, O God the Father of Heaven and Earth,\" {135} three times; and in the\nend express for what you desire to be heard; afterwards, in the Evening\nwhen you go to Bed, say the Oration Theos throughout, and the Psalm\nQui Habitat,1 with this versicle, Emitte Spiritum; and go to sleep, and take\nthe Figure [of Memory] for this purpose, and put it under the right Ear:\nand about the second or third hour of the night, thou shalt see thy\ndesires, and know without doubt that which thou desirest to find out:\nand write in thy right hand Alpha and Omega, with the sign of the\nCross, and put that hand under thy right Ear, and fast the day before;\nonly once eating such meat as is used on fasting dayes.\n1 KJV Psalm 91.\n237\n9.\nComplete sets of Notae from four other Manuscripts]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=77\nPages: 77\nplain text of the English translation in Chapter 8. It is a key text, the\noldest extant, and contains what Veronese refers to as Version A.\nThe next oldest, Bibliotheque nationale de France Lat. 7152, bears the\nclear date 1239. Both these manuscripts have a similar set of notae with\nthe latter having acquired a further seven notae not present in the Mellon\nmanuscript, demonstrating that the text had already begun to evolve.\nThe notae in both manuscripts are very clearly drawn in the same style\nwith the illustrator trying to show the detail very precisely, like a\ntechnical drawing, rather than simply rendering them as mere\ndecorative illustrations. The illustrators were probably not the same\nperson, but the order and selection of the notae is very similar (see Figure\n23).\nBritish Library Sloane 1712 (circa 1250) adds a further three notae not\nseen in the previous two manuscripts. It is remarkable that to date the\nlargest number of Ars Notoria manuscripts have been found in British]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=282\nPages: 282,290\n276\nArs Notoria\na. First General Nota; b. Second General Nota; c. Third General Nota;\nd. Fourth General Nota - f. 17.\n277\nArs Notoria\na. Heaven Stars (Planets) - Astronomy Nota; b. Music Nota; c. Exceptives Nota;\nd. Self-mastery & Silence Nota; e. Wonders & Marvels Nota - f. 17v.\n278\nArs Notoria\na. First Nota of Physic [Medicine]; b. First Nota of Theology - f. 18.\n279\nArs Notoria\na. Second Nota of Theology; b. Third Nota of Theology; c. Fourth Nota of Theology - f. 18v.\n280\nArs Notoria\nFifth Nota of Theology - f. 19. (Full colour)\n281\nThe Notae - BnF Lat. 9336\nSacratissima Ars Notoria\nVersion B\n1360-1375\nFigures 104-125\n283\nArs Notoria\n)fin oreno wlw popftrn mire iftri fignvmii erflnre onicfl .thnd figwff\nifinid .nr-;\u2019*\nnvywt-ttrw mtn I nifl.j ntet . nn teT\u00bbr5ia-forntua>.-paaciiaa- <S\nftruit ft iuu4 \u00abw \u25a0 er mifcrcre met ftmen7 (hl <nb fctff ister pi-onjVuw ftnti port- mitcccWre Fhov pno ihkiHo.\nfimw Tmuni enter eqpttndctn^amS innnf\n\u00abm fiir]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=94\nPages: 94,95\ncount including all variants as shown in Figure 23 is:\nGeneral\n10 notae variants\nPhilosophy\n14\nGrammar\n5\nDialectic (Logic)\n7\nRhetoric\n6\n11\nTheology\n2\nMusic\nSelf-mastery & Silence 2\nExceptives (magic, etc) 1\nWonders & Marvels\n1\n2\nJustice, Peace and Awe\nGeometry\n5\nArithmetic\n5\nPhysic (Medicine)\n3\nAstronomy\n8\nChastity\n1\n88\nArs Notoria\nAnalysis of the Notae\nThe unique keys to the procedure of the Ars Notoria are the beautiful\nnotae. Sadly, all printed editions, and many manuscript versions of\nthe Ars Notoria are missing these essential ingredients. Many of the\nnotae are abstract, but others are like summary sheets for the subject.\nFor example, one nota of Grammar shows the 8 parts of speech in\ncircles, another nota of Dialectic shows 9 boxes containing parts of\nspeech,1 and one nota of Geometry shows the line, triangle, square,\npentagram, six-pointed star, and circle figures in order.2\nIn some of the later manuscripts there is a scattering of angel figures, but]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=79\nPages: 79\nwhich are unique for one reason or another. BL Or. 14759 is a Hebrew\nmanuscript which has six notae and a few lines of Hebrew, but as\nalready mentioned, this is most likely to have been a translation out of\nLatin, rather than being any indication of Hebrew origins.\nThe Torino Bibliotheca Nazionale EV. 13 is a late 14th century\nmanuscript, probably also north Italian in origin, or transalpine. Its notae\ndiverge from the usual style and are beautifully executed, featuring\nsnakes and figures with extended arms drawn with an almost 3-D effect,\nsuggesting a later 15th century dating. It has attracted scholarly\ncomment by Claire Fanger and Michael Camille, and has been used to\nillustrate her volume in the excellent 'Magic in History' series, and so it\nhas not been again reproduced here. The relevant notae are: First nota of\nGrammar - f. 1; Nota of the 'whole faculty of Grammar'- f. 6; Nota of\nArithmetic - f. 21; Nota of Geometry - f. 16v.2]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=27\nPages: 27\ncentury by the Emperor Justinian. The Emperor 'harvested' 336 marble\ncolumns from various pagan temples to support the roof of his huge\ncistern. It was so massive that it has been compared in size to a Basilica,\nand was capable of holding at least 100,000 tons of water. Just two of\nthese columns utilised massive inverted Medusa heads as their bases, in\na clear demonstration of architectural disrespect for their pagan origin.\nIn the illustration of the two notae (Figure 02) you can clearly see these\ntwo columns resting on their respective inverted heads. Even the curved\nlines on either side of the notae drawings seem to reflect the architectural\nribs of the cistern roof appearing to spring out from the sides of the\ncolumn (Figure 03). These columns in the cistern of Constantinople are\nso unique that it is very likely that the person using this image to design\ntwo of the notae was a native of Constantinople, and familiar with this]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=80\nPages: 80,79\nArithmetic - f. 21; Nota of Geometry - f. 16v.2\nOther notae are reproduced in black and white in the same book, for\nexample from BnF Lat. 9336, but these are all more easily and better\nreproduced in full colour in Chapter 8 of the present volume.\nLet us look at some of the manuscripts in detail, taking advantage of the\nrelevant library catalogue descriptions.\n1 Klaassen (2013), p. 231, fn. 13.\n2 Fanger, Conjuring Spirits, Pennsylvania: Pennsylvania State UP, 1998, pp. 114,\n116,120,122.\n73\nArs Notoria\nYale Beinecke, Mellon 1\nThe structure of this manuscript is as follows:\nFlores Aurei\nf. 1 - 7v\nArs Nova\nf. 7v - 9v\nNovem termini\nf. 9v -10\nThe Notae\nf. lOv - 17v\nThe method of use\nf. 18 - 18v\nThe Yale Library entry for Mellon 1 is as follows:\nAPOLLONIUS (Tyanensis?)\nArs notoria, sive Flores Aurei\nFrance (or North Italy?), about 1225.\nArs Notoria Version A.\nParchment codex in Latin, 259 x 165, ff. 18 of 20 originally, the last two\n(probably blank) cut away; no signatures, no catchwords.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=21\nPages: 21\neffectively to find that same information. But in the Middle Ages, the\nability to memorise, absorb and organise material was paramount. It is\nprecisely for that purpose the Ars Notoria was devised. Its methods\npromised the student that, with the \u2018inspection\u2019 of certain elaborate\ndiagrams (notae) accompanied by the correct prayers and orations\nconsisting of verba ignota, whole subjects could be rapidly absorbed.\nThe word notoria can refer to notes, or to the art of knowing, but in this\ncontext, it refers specifically to the 'notes' or magical images used to\nstimulate memory and speed up apprehension of these subjects.\nAlthough Turner translates notae as 'notes' this is very misleading (given\nthe many modern meanings of that word - musical notes, student's\nnotes, jottings, shopping lists, etc.). So we have chosen to retain the Latin\nterms nota (singular) and notae (plural) in our commentary. As these\nmanuscripts belong in the world of the clerical Middle Ages, they are all,]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=91\nPages: 91\nwithout doubt, an Italian model.\nLanguage: Latin.\nScribe:\nDimensions: 37 ff, 210 x 160 mm.\nFoliation: ff. l-31v. Preserved in a codex consisting of thirty-two folios\non parchment 206/215 x 170 mm.1\nFormat: conventionally arranged in two columns of 31 lines.\nBinding:\nProvenance/References: Great Gallery Sources: Machet 1713, column 31,\nn. 108; Pasini, 1749, lat. 1070; Sorbel-li, Cosentini, 1922, n. 753; Segre\nMontel 1980, sheet 151, p. 130.\nDescription:\nThe notae contained within the Torino MS of Ars Notoria at first glance\nappear unique: they are certainly more interesting than some of the\nother manuscripts. It employs angelic characters paired with classical\nbeasts of Christian mythology and gargoyle-like figures, rings and\nsnakes. It may even be a little more 'demonic' in nature than other\nexamples. Most of the animals are drawn from the well-known symbolic\nanimals of the four evangelists: Matthew (man), Mark (lion), Luke (ox)]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=92\nPages: 92,93\ndetermining if a sick man will live or not. Although references to\nPetosiris occur in the Middle Ages, this has its origin back in Graeco\u00ad\nEgyptian magic. 2\n1 Review by Clara Silvia Roero in II Teatro di Tutte le Scienze e le Arti, p. 86.\n2 Petosiris, called Ankhefenkhons, was the high priest of Thoth at Hermopolis.\nHe lived in the second half of the 4th century BCE.\n86\n4.\nThe Notae\nQuantity of Notae\nAmong the early manuscripts, the total number of notae ranges from 35\n(Mellon 1) to 41 (BL Sloane 1712) and does not range any higher. The\nsubject range of the notae is also fairly consistent from one manuscript to\nthe next.\nFor example, Mellon 1, f. 10 lists its notae as:\nQuinque sunt generates figure. Septum sunt philosophie. Tres gramatice.\nDue dialectice. Quattuor rethorice. Quinque theologie. Vna musice. Vna\nreprehensionis et taciturnitatis.1 Vna ad exceptivas. Vna de mirabilibus.\nVna iustitie pads et [f. lOv] timoris.2 Vna inexplicabilis hominibus,3 et\nita sunt in summa .xxx.ij.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=84\nPages: 84\nartium magister merito nuncupatur,\u2019 and ends, 'lunationibus et diebus et horis\ndeterminatis.'\nff. 22v-37r: The Opus Operum, with the rubric, 'Ars notoria quae nova ars\nappellatur;' a derivative text of the Ars Notoria, ascribed to John of\nMorigny (?), including 6 diagrams or notae, on subjects including\ndialectic, arithmetic and geometry. It begins, 'Incipit opus operum, scientia,\nscientiarum,' and ends, 'et per virorum omnium gratissina et potentissima\nsuffragia. Amen.'\nDecoration: Full-page diagrams in red and brown, some in green, with\nfigures, symbols, including crosses, and text in circular, rectangular and\ngeometric shapes (ff. 14v, 15r, 15v, 16v, 17v-22r, 36r-37r). Spaces for\ninitials and rubrics in red throughout. Spaces left for initials, some with\nguide letters.\nDescription of the diagrams or notae.\nff. 14v-15v: Prima nota, secunda nota et tertia nota artis gramatice\nff. 16v, 17v: Prima nota et secunda nota artis dialectice]"]}

{"result":["[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=318\nPages: 318,311\nnsnarii1 e-t refilyiiflqniit rtwiw ww mhw\u00bb eine mfuumew qnAmttjpnm W.\n(me ijti.ttuerftjptw wiv\u00ab-? enftimft Runaifl qnc figri ftribnnir- .intept'tnumifi\njitrnin \u25a0omlena-\nMcttaia fair wja atWfli\u00bbc\u00bba-Q-fi \u2019hqiin <\"*\u25a0\n\u25a0aagjsssaKaxcsss^a\nDatitr obi \u00bbme Uhro <r AlWgno\n\u00ab ft1\nCTnA-w.necttphm A mew ttw- litem Wt\u00abY\"\"\na. Nota of Justice, Peace & Awe; b. Nota of Self-mastery & Silence - f. 28v.\n305\nmi?\n\nSW b* m&arat \u25a0 c-t om^ fi*** \u2019.\u2018\u00ab*5\ntamtam tstenr ra fiotr ffa* mVrtct pap*\"- \u25a0 \u00bb m>\u201cAu 1\ntenia fa^otcta faut \u25a0edii eft-\nThe Notae - National Library of Israel Yar. Vah. 34\nLiber de Arte Memorativa sive Ars Notoria\n(Version B)\n1600\nFigures 126-155\n307\nArs Notoria\nSecunda figura Artis grammaticae (Second Nota of Grammar) - f. 8v.\n308\nArs Notoria\nPrima figura Artis grammaticae (First Nota of Grammar) - f. 9.\n309\nArs Notoria\nTertiafigura Artis grammaticae (Third Nota of Grammar) - f. 10.\n310\nArs Notoria\nPrimafigura Artis Dialecticae (First Nota of Dialectic) - f. lOv.\n311\nArs Notoria]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=21\nPages: 21\neffectively to find that same information. But in the Middle Ages, the\nability to memorise, absorb and organise material was paramount. It is\nprecisely for that purpose the Ars Notoria was devised. Its methods\npromised the student that, with the \u2018inspection\u2019 of certain elaborate\ndiagrams (notae) accompanied by the correct prayers and orations\nconsisting of verba ignota, whole subjects could be rapidly absorbed.\nThe word notoria can refer to notes, or to the art of knowing, but in this\ncontext, it refers specifically to the 'notes' or magical images used to\nstimulate memory and speed up apprehension of these subjects.\nAlthough Turner translates notae as 'notes' this is very misleading (given\nthe many modern meanings of that word - musical notes, student's\nnotes, jottings, shopping lists, etc.). So we have chosen to retain the Latin\nterms nota (singular) and notae (plural) in our commentary. As these\nmanuscripts belong in the world of the clerical Middle Ages, they are all,]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=20\nPages: 20\nAs Robert Turner explains:1\nThe Ars Notoria, the magical art of memory, flourished during the\nMiddle Ages, although its origins are attributed to Solomon and\nApollonius of Tyana. It is a process by which the magician could\ninstantly gain knowledge or memory of all the arts and sciences.\nEach branch of knowledge or subject area was assigned a set of\nmagical seals and characters, known as notae. To set the process\ninto operation, the appropriate notae were contemplated whilst\nreciting angelic names and magical orisons. However, it was\nregarded as a diabolical form of magic, since the knowledge was\nquickly acquired from 'demons' without honest study.\nThere were some questions about the morality of using angels rather\nthan the labour of honest study, but in practice most students would use\nthis art as an aid rather than an end in itself. If you like, it was the more\ntechnically advanced equivalent of a prayer to help you pass exams.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=59\nPages: 59,61\ncontains no illustrations of the notae. It does however have some\ninteresting additional comments in English.\nThe other manuscript is Bodleian Library Jones 1. This manuscript is\nalmost identical in composition and appearance to Yah. Var. 34 and\ncontains the notae also stunningly adorned with gold leaf.\n1 In this context an alternative name for the Ars Notoria.\n2 As quoted in Rowse (1974), pp. 296-297. Rowse however transcribed the book title\nas Stenographia rather than Trithemius' Steganographia. Forman was interested in\nmagic, not shorthand.\n53\nArs Notoria\nFigure 14: Liber de Arte Memoratiua siue Notoria, f. 93, Trinity 0.9.7, one of\nForman's three copies of the Ars Notoria showing the section on Ars Arithmetical\n1 Courtesy of The Master and Fellows of Trinity College, Cambridge.\n54\nArs Notoria\nSimon Forman & later Aristocratic Scandals\nIt was towards the end of Forman's life, and somewhat thereafter, that\nrumours of his more covert magical and pharmacological activities came]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=94\nPages: 94,95\ncount including all variants as shown in Figure 23 is:\nGeneral\n10 notae variants\nPhilosophy\n14\nGrammar\n5\nDialectic (Logic)\n7\nRhetoric\n6\n11\nTheology\n2\nMusic\nSelf-mastery & Silence 2\nExceptives (magic, etc) 1\nWonders & Marvels\n1\n2\nJustice, Peace and Awe\nGeometry\n5\nArithmetic\n5\nPhysic (Medicine)\n3\nAstronomy\n8\nChastity\n1\n88\nArs Notoria\nAnalysis of the Notae\nThe unique keys to the procedure of the Ars Notoria are the beautiful\nnotae. Sadly, all printed editions, and many manuscript versions of\nthe Ars Notoria are missing these essential ingredients. Many of the\nnotae are abstract, but others are like summary sheets for the subject.\nFor example, one nota of Grammar shows the 8 parts of speech in\ncircles, another nota of Dialectic shows 9 boxes containing parts of\nspeech,1 and one nota of Geometry shows the line, triangle, square,\npentagram, six-pointed star, and circle figures in order.2\nIn some of the later manuscripts there is a scattering of angel figures, but]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=121\nPages: 121,123\nChastity\n|\n/f\n\u00abJK\nF\nOk\nJustice,\nPeace &\nAwe\n'Fa?\n\u00ab\nJs\u2019S''.- i\nw\nt\n1 W?\nt i\n1 t\nf. 28v - a\nr\n\u25a0L\ni\nWj\nf. 98v\nJ\nf. 19v, 28v\nf. 19v - a\n115\np. 39\n1\nffl\n1.11\nJ\np. 38\nif\niMc\ni\u25a0 -4i\ns\nI\nff'l\nf. 19 -b\nf. 20, 29v\n1\n1\n9\nI\nf. 97v\nf. 19 - a\nrtj nl\\\n)lw\nf. 28 - b\n67\ns\nP. 27\nf. 87\nb^^^j\ntw;i\ni\n1\nhl\n51\nSdLF\n\u25a0\nf. 86v\n-\n36\nia\nz zs\ny.\n\u25a0\nHh\np. 25\nf. 86\n-1\no.\nf. 99v\np. 40\nArs Notoria\nId\n78\nNo\nSubject\nSelfMastery &\nSilence\nBnF Lat. 9336\nYar Vah 34\na\no\n3\nf. 28v -b\nBodley 951\nBnF Lat 7154\nBnF Lat 7153\n4^181\n1 n /n\nwsg\nth\u00ae\nfetes\nf. 21, 29\nf. 19v - b\n3\nf. lOOv\np. 41\nFigure 25: Historical development of the Notae from key manuscripts. ('Id' = unique notae\nnumber. SN = Subject number.)\n116\n6.\nMethod of Use and Practical Considerations\nThe story of John of Morigny's terrifying dreams are not the only\nindication of the power and dangers of using the Ars Notoria without\nadequate preparation. In fact, one such example is quoted in the book\nitself.\nFor this Oration is such a mystery, as King Solomon himself]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=2\nPages: 2\nunlike the sigils of any other grimoire, and were\ndrawn with exquisite attention to detail.\nThe oldest manuscript of the Ars Notoria\ndates from 1225, and is printed here in full.\nDespite the passage of almost 800 years, the Ars\nNotoria has never been published before with\nboth its text and all its notae (plural of nota)\ncomplete. This edition has four other\nfull-colour complete sets of notae from the three\nfollowing centuries. The commentary explains\nwhere the Ars Notoria fits into the history of\nmagic (it was not part of the Lemegetori), charts\nthe development of the notae, and the lives of\nthe magicians who were associated with it.\nThe Ars Notoria is a mediaeval grimoire, or\nmagician's manual, which was widely\ndistributed and very popular in the 13th-16th\ncenturies. Although virtually unknown today,\nit is still very relevant because it consists of\ntechniques still usable and useful today.\nSolomon reputedly received the book from\nthe hand of the angel Pamphilius, and it was]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=13\nPages: 13,14\nPrinted Editions\nTurner's English Translation\nReorganisation of the Text\nVersions of the text of Ars Notoria\nDerivative Works\nThe Figure of Memory\n13\n15\n16\n18\n21\n22\n25\nTJ\n29\n30\n31\n32\n33\n34\n35\n36\n2. Magicians, Physicians, Scribes, Collectors, and a Translator\nApollonius of Tyana (c. 15 - c. 100)\nEuclid of Thebes, father of Honorius\nHartmann Schedel (1440 - 1514)\nAlbert V, Duke of Bavaria (1528-1579)\nSimon Forman (1552 - 1611)\nGeorge Wrighte (1677 - 1724)\nRobert Turner (1626 - c. 1666)\nSir Hans Sloane (1660 - 1724)\n39\n44\n45\n46\n49\n59\n61\n64\n3. The Main Manuscripts\n71\n4. The Notae\n87\n5. Compendium and Distribution of the Notae\n93\n6. Method of Use and Practical Considerations\n117\n7\nArs Notoria\nArs Notoria\n7. Full Manuscript of the earliest Ars Notoria 1225\n127\n8. English Translation of the Ars Notoria\n165\n4.\n5.\nSupplementary Gloss & Prayers Sections S147-S176\nOn the Figure of Memory\nSections S177-S180\n170\n172\n194\n201\n206\n215\n222\n233]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=107\nPages: 107,108\nf. 19 -b\nf. 19 - a\nB od ley 951\nf. lOOv\nf.9 9 v\nf. 98v\nf. 97v\nB n F Lat\n7154\nB n F Lat\n7153\nTabular Analysis of the Notae\nFigure 25: Historical development of the notae in key manuscripts. In order to appreciate\nthe various forms taken by the notae we have inserted thumbnails of notae from various\nmanuscripts, so their development over time, from one manuscript to another, can be\nseen. In Chapters 6 and 8 the notae of five of these manuscripts are shown in full. Blank\nspaces indicate that a manuscript does not have that particular nota.\nId\n3\nS\nN\n1\nSubject\nYale Mellon 1\nBnF Lat 7152\nBL Sloane 1712\nCLM 276\nBnF Lat. 9336\nDate ->\n1225\n1239\nc. 1250\nc. 1350\n1300-1400\nYar Vah 34\n1400-1500->\n1600\n\u00c4\nGrammar\n\u00abf\nw\nBQ\u00a9\n\u25a0 IHMBn\nT.iZT'\nf. 10v\n4\n2\nf.8\nf 12\nGrammar\n\u00bbfc:\nj\nfetes w\nfete\u00bb\nA\n1\nf. 12v\nf. 11\n7\n3\n: f/VI\n'\u25a0\n.\u2019i|l\nlg\nch\nf.8v\nf. 15\n1\nZ; F\n-g\n- ' \u2022' - - -r-.J\u2019.- - ' ' \u25a0 j\nM\n. \u25a0.. .\nfcOi\nf. 8v\nf. 18v\nI\n1\nGrammar\nt\n?\n10\n1\nf15v\nf. 13\nf. llv\n\u2019\nLogic/\n\u00e4r\nf. 16v\n\u00ae \\\n\\'w\nW\u2019 W\nzLM/\nf. 9v\n>\nzfliiik]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=19\nPages: 19,20\nNigromancy (magic)\n1 Kieckhefer, in Forbidden Rites, 1997, pp. 193-196, analyses one experimentum\nwhich permits the mastery of the liberal arts in just thirty days.\n2 Probably General Arts, from the Greek yeovoyia. These included memory arts.\n3 New arts, from the Greek vEovoyia.\n4 Arts outside of the approved university curriculum such as magic and\ndivination. These were sometimes deliberately confused with the mechanical\narts to avoid ecclesiastical condemnation.\n13\nArs Notoria\nAlthough some of these subjects like logic, rhetoric and grammar are\nmainly ignored today, the skill of being able to argue a topic logically and\nboth speak about it persuasively and write about it, are in fact very useful\nskills in any period.\nThe Ars Notoria is not, as some people may think, The notorious art' but\nis named after the magical diagrams, or notae which are a key part of its\nmethod. The aim of the Ars Notoria was to use these notae to both]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=14\nPages: 14,15\nOn the Figure of Memory\nSections S177-S180\n170\n172\n194\n201\n206\n215\n222\n233\n9. Complete sets of notae from four manuscripts of different periods 239\nMS BL Sloane 1712\nMS BSB CLM 276\nMS BnF Lat. 9336\nMS NLI Yar. Var. 34\nc. 1250\nc. 1350\n14th century\n1600\n240\n259\n283\n307\nLatin text of the Ars Notoria in339\nAgrippa's Opera\n10.\nAppendix 0 - The Notae in Numerical ID Order\n387\nAppendix 1 - Table of Subjects\n395\nAppendix 2 - Structure of the Prayers, Orations & Notae\n396\nAppendix 3 - Prayers 'borrowed' by Liber Juratus from Ars Notoria 405\nAppendix 4 - Text of the verba ignota Orations\n407\nAppendix 5 - Known works by Robert Turner of Holshott\n415\nAppendix 6 - The Ecclesiastical Hours\n419\nBibliography\n420\nIndex\n432\n8\nList of Figures\n01: King Solomon receiving a book of Wisdom from an angel\n4\n02: Notae in the form of a column resting on an inverted head\n20\n03: Byzantine column supported by the inverted head of Medusa 20\n04: Title page of Agrippa 's De Occulta Philosophia, 1551\n32]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=248\nPages: 248,243\n1 KJV Psalm 91.\n237\n9.\nComplete sets of Notae from four other Manuscripts\nNote: if there is more than one nota on a page, the letters a, b, c, etc. are\nused to identify the particular nota in the caption. These are lettered\nstrictly, column by column, downwards commencing in the top left\ncorner. However the manuscript scribes have not always been as\nconsistent in the order the notae were laid out on the page. Sometimes\nthis results in captions that seem out of order: e.g. First Philosophy,\nThird Philosophy, Second Philosophy, etc., but this is correct in terms of\nkeeping to the above top to bottom layout rule.\n239\nThe Notae - BL Sloane 1712\nArs Notoria Salomonis\n(Version A)1\nc. 1250\nFigures 65-81\n1 This manuscript also contains a copy of Opus Operum on ff. 22v-37r, which has three of its notae\nalso reproduced here.\n240\nArs Notoria\nFirst Nota of Grammar - f. 14v.\n241\nArs Notoria\n^ty^tnm\u00f6T\u2019\n& Gt^^'\n^Wttu\u0142,\n^titi^CratefeAa ^otmtnc fi^tm\u00dffti. ^aw\u00df\u00aba .wCmiamw. .-mvxits.\n-\n\u00a7\n\u0118*\n^nc <n mr]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=39\nPages: 39\nit would have been logical to use that as his source. We have reproduced\nthat Latin text in the present volume, with its Section numbers also\nmapped onto Turner's translation. This mapping shows the exact\ncloseness of these two versions, but the clincher is that Turner's 'Figure\nof Memory' could not have come from either Bodley 951 or Ashmole\n1515, as neither of these have it, but the Opera Omnia text does,\nconfirming it to definitely be Turner's direct source.\nReorganisation of the Text\nVeronese\u2019s numbering of the Latin sections runs as follows:3\nSections 1-66: Flores Aurei: general orisons to reinforce memory,\neloquence, and intelligence.\nSections 67-109: Special orisons concerned with specific subjects like\nGrammar, Theology and Philosophy.\nSections 110-125: Ars Nova.\nSections 126-127: Novem Termini.4\nSections 128-147: Instructions concerned with inspection of the notae.5\n1 Klaassen (2013), p. 231, fn. 13.\n2 In Turner, Elizabethan Magic (1989), p. 140.\n3 Veronese (2007), p. 18.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=79\nPages: 79\nwhich are unique for one reason or another. BL Or. 14759 is a Hebrew\nmanuscript which has six notae and a few lines of Hebrew, but as\nalready mentioned, this is most likely to have been a translation out of\nLatin, rather than being any indication of Hebrew origins.\nThe Torino Bibliotheca Nazionale EV. 13 is a late 14th century\nmanuscript, probably also north Italian in origin, or transalpine. Its notae\ndiverge from the usual style and are beautifully executed, featuring\nsnakes and figures with extended arms drawn with an almost 3-D effect,\nsuggesting a later 15th century dating. It has attracted scholarly\ncomment by Claire Fanger and Michael Camille, and has been used to\nillustrate her volume in the excellent 'Magic in History' series, and so it\nhas not been again reproduced here. The relevant notae are: First nota of\nGrammar - f. 1; Nota of the 'whole faculty of Grammar'- f. 6; Nota of\nArithmetic - f. 21; Nota of Geometry - f. 16v.2]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=93\nPages: 93,94\noriginal sense of 'awe/ rather than the modern use of the word in 'awesome.'\n3 Inexplicebilis hominibus, literally 'unspeakable by man,' but actually indicating a\nnote of 'ineffable Theology' as one that cannot be spoken about.\n87\nArs Notoria\nGeneral\n5 notae\nPhilosophy\n7\nGrammar\n3\nDialectic (Logic)\n2\nRhetoric\n4\nTheology\n5\nMusic\n1\nSelf-mastery & Silence 1\nExceptives (magic, etc.) 1\nWonders & Marvels\n1\nJustice, Peace & Awe 1\nPhysic (Medicine)\n1\nArithmetic\n2\nGeometry\n1\nIn total 35 notae\nIn other manuscripts a few more categories arise, such as a nota to help\nmonks with their problems with chastity. When counting across all\nmanuscripts here examined, a total of 83 variant designs are found (see\nFigure 23, the Compendium and Distribution of Notae). It is obvious that\nvariant forms were generated as the text evolved and was copied and\nrecopied over centuries from the early 13th century onwards. The total\ncount including all variants as shown in Figure 23 is:\nGeneral\n10 notae variants]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=25\nPages: 25\nFinding any roots for this text amongst Solomonic grimoires is highly\nunlikely as its notae do not resemble any typical Solomonic talismans,\nsigils or seals, in any way. They are totally unique. Their design was\ntaken very seriously, as evidenced by the amount of effort and\npainstaking design and draughtsmanship put into their construction\n(much more than most talismanic drawings in Solomonic manuscripts).\nIf Ars Notoria is not Solomonic evocatory magic, then what is it? Despite\nbasic requirements concerning moon phases, there is no elaborate system\nof 'elections' either, so it cannot be categorised as Astral or Image magic\neither. Beyond that all we can say is that it is in a class of its own. We are\nleft with a totally unique style of magic.\nExamination of the verba ignota suggest a mixture of Greek and Hebrew\norigin. If we look at the names invoked, we see a few ending in '...iel' (a\ntypical Hebrew angelic name ending) but also many that end in '...mai' a]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=169\nPages: 169,172\nliwpuf\nSections 145-146, f. 18v.\n163\n8.\nThe English Translation of the Ars Notoria\nWith thumbnails of the notae inserted at the appropriate points, and with\nadditional notes and formatting to separate out the prayers and orations\nArs Notoria\nNOTORY ARTt\nI SOLOMON I\nShewing the\nX\nf CABALISTIC AL KEYS\n2A of<C\nX\nZ\n1 j\n\u2666\nC, The ArcRevelation, and\n\u2666\n$\nJ\nMagical Operations,\nThe liberal Sciences,\nDivine\nof Memory.\n<\nWhereunto is added\n\u2666\nX An Aftrological Catechifm, X\n$\nfully demonftrating rhe Art of\nJudicial astrology.\nX\n?\nTogether with a rare Natural fecret, necefiary\n\u00abfifr to be learn\u2019d by all perlons 5 cfpecialiy\n*\n2\nSea-men,Merchants,and Travellers.\nW\nAn excellent Invention, done by the Magne\u00a3\nrick Venue of the Load-ftone.\nX\n99 Written\nglifhed\noriginally in Latine, and nowEnby Robert Turner\nLiwda\u00bb, Printed by f>Ca\u00bbre/,and are to be Ibid\nMartha Harifa , at the Lamb at the\n\u2666\nEaft-end of Pauls\u00bb 16 yy.\n2\nFigure 63: The title page of Robert Turner's 1657 Ars Notoria translation.\n166]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=80\nPages: 80,79\nArithmetic - f. 21; Nota of Geometry - f. 16v.2\nOther notae are reproduced in black and white in the same book, for\nexample from BnF Lat. 9336, but these are all more easily and better\nreproduced in full colour in Chapter 8 of the present volume.\nLet us look at some of the manuscripts in detail, taking advantage of the\nrelevant library catalogue descriptions.\n1 Klaassen (2013), p. 231, fn. 13.\n2 Fanger, Conjuring Spirits, Pennsylvania: Pennsylvania State UP, 1998, pp. 114,\n116,120,122.\n73\nArs Notoria\nYale Beinecke, Mellon 1\nThe structure of this manuscript is as follows:\nFlores Aurei\nf. 1 - 7v\nArs Nova\nf. 7v - 9v\nNovem termini\nf. 9v -10\nThe Notae\nf. lOv - 17v\nThe method of use\nf. 18 - 18v\nThe Yale Library entry for Mellon 1 is as follows:\nAPOLLONIUS (Tyanensis?)\nArs notoria, sive Flores Aurei\nFrance (or North Italy?), about 1225.\nArs Notoria Version A.\nParchment codex in Latin, 259 x 165, ff. 18 of 20 originally, the last two\n(probably blank) cut away; no signatures, no catchwords.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=401\nPages: 401,402\nS163-S166\n134,142-143\n117\n75, 79, 80,133,135-137\n22-23, 59, 61-63, 66, 76, 95,116-117,121-122, S148\n69-70, 87, 97\n134,146\n74, 78a, 81,128-130\n24-25, 36, 47-48, 66,120-122,128, S151-S153, S161S162\n91-96, 99-105,134\n28-31\n76,138-142\n34, 89, 90,115,146\nFigure 158: List of Subjects treated by the notae.\nIt can be seen that general abilities like eloquence and memory are better\ncatered for than specific subjects like astronomy, which is understandable\nas improvement of those abilities make learning and presenting specific\nsubjects much easier. More subject detail will be found in Version B.\n395\nAppendix 2 - Structure of the Sections, Prayers, Orations\n& Notae\nThe arrangement of the text of Ars Notoria is not very clear or consistent.\nThis Appendix is designed to show the overall structure of the Ars\nNotoria at a glance, rather than forcing the reader to wade through the\ntext to understand how it is structured. The text is analysed Section by\nSection in Figure 159.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=95\nPages: 95\nIn some of the later manuscripts there is a scattering of angel figures, but\nit becomes obvious that these figures of angels are mostly decorative,\nand that they are more a function of design than usage. It might even be\nargued that they are included as a kind of insurance against\necclesiastical authorities misinterpreting the nature of the manuscript as\ndemonic rather than holy, and subsequently condemning it.3\nNotae Numbering\nThe Notae are not uniquely numbered in any manuscript.4 We have\ntherefore instituted a numbering system so that notae can be compared\nbetween manuscripts (see Appendix 0). This system of numbering began\nwith a basic breakdown by subject, and then progressed forward as\nsuccessive later manuscripts were examined and each new or variant\nnotae found. Accordingly we can simply speak, for example, of nota 52\nwhich appears on the cover, rather than \"the Fifth Theology nota in\nMellon 1\" and then further appending the folio numbers of all of the]"]}

{"result":["[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=318\nPages: 318,311\nnsnarii1 e-t refilyiiflqniit rtwiw ww mhw\u00bb eine mfuumew qnAmttjpnm W.\n(me ijti.ttuerftjptw wiv\u00ab-? enftimft Runaifl qnc figri ftribnnir- .intept'tnumifi\njitrnin \u25a0omlena-\nMcttaia fair wja atWfli\u00bbc\u00bba-Q-fi \u2019hqiin <\"*\u25a0\n\u25a0aagjsssaKaxcsss^a\nDatitr obi \u00bbme Uhro <r AlWgno\n\u00ab ft1\nCTnA-w.necttphm A mew ttw- litem Wt\u00abY\"\"\na. Nota of Justice, Peace & Awe; b. Nota of Self-mastery & Silence - f. 28v.\n305\nmi?\n\nSW b* m&arat \u25a0 c-t om^ fi*** \u2019.\u2018\u00ab*5\ntamtam tstenr ra fiotr ffa* mVrtct pap*\"- \u25a0 \u00bb m>\u201cAu 1\ntenia fa^otcta faut \u25a0edii eft-\nThe Notae - National Library of Israel Yar. Vah. 34\nLiber de Arte Memorativa sive Ars Notoria\n(Version B)\n1600\nFigures 126-155\n307\nArs Notoria\nSecunda figura Artis grammaticae (Second Nota of Grammar) - f. 8v.\n308\nArs Notoria\nPrima figura Artis grammaticae (First Nota of Grammar) - f. 9.\n309\nArs Notoria\nTertiafigura Artis grammaticae (Third Nota of Grammar) - f. 10.\n310\nArs Notoria\nPrimafigura Artis Dialecticae (First Nota of Dialectic) - f. lOv.\n311\nArs Notoria]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=316\nPages: 316,324\n310\nArs Notoria\nPrimafigura Artis Dialecticae (First Nota of Dialectic) - f. lOv.\n311\nArs Notoria\nSecunda figura Artis Dialecticae (Second Nota of Dialectic) - f. 12.\n312\nArs Notoria\nSecunda figura Artis Rhetoricae (Second Nota of Rhetoric) - f. 12v. [See page 92.]\n313\nArs Notoria\nPrima figura Arts Rhetoricae (First Nota of Rhetoric) - f. 13.\n314\nArs Notoria\nQuarta figura Artis Rhetoricae (Fourth Nota of Rhetoric) - f. 13v.\n315\nArs Notoria\nTertia figura Artis Rhetoricae (Third Nota of Rhetoric) - f. 14.\n316\nArs Notoria\nIsta est figura Artis Musicae (Nota of Music) - f. 14v.\n317\nArs Notoria\ni----- k\u00f6\u00e4 \u00abV&u A--bf Fl,i|,'\u00ab 1\u00bb\u00ab ys>'.N0 wJP.o\u00ab\nTto\\\u00ab UwLoniS \u00abAicw\u00ab M\u00abn\u00dfr ijiun-jnief in\n, Jftuni OinHonim rnrn^-lia.Jyni?li\n\u2019\nman\u00ab (ctml \u00abjun kdr\u00bba\u00bb>i jemd CAra\nfiwet- Qna nonawt (cmcl ^rtvrAVtfe.\nyrGfcrmdwKJ!\u00bb\u00ab <*Mh'\u00f6t\u00bbW\nKm Wen\u00dfj, oX*mKcn\u00abni Minf\nPh\u00bbpV VidwK\n\u00bb-\u00bb rfb- yb\u00dfa. ejnt mV>y\u00bbl\n|&veSc >d,y\u00bb\u00bb4 J'-7\n'M fahrtta^ftewnreipoUbrKtfajnrnef ojy\u00fcifnf \u00f6ytfofcfaptei aS&f,\n|#n.^Vrt hafae\nJbffa]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=368\nPages: 368\nante primam figuram artis Rhetoricae, & quamuis diuidantur per duas partes\norationis, vna & eadem oratio est: sed propter hoc diuiduntur, vt in proferendo eas\nfiat aliquod modicum interuallum, & debet proferri priusquam orationes scripte in\nfigura proferantur.\nHanazay, Sazhaon hubi, sene, hay, ginbar Ronail, Selmora, hyramay, lohal\nysazamael Amathomatois, yaboageyors, Sozomcrat, Ampho Deldenos, geroch,\nAgalos, Meihatagiel Secamai, Saheleton Mechogrisces, Lerirencrhon.\n[139] [Oratio] 8. Ista oratio proferatur ante secundam notam artis Rhetorice.\nVnus magnus & mirabilis eterne Deus, eterni consilii angele dispositor omnium\nvirtutum & ordinator bonorum omnium; adorna hodie intelligentiam meam &\nmultiplica in me rationem discendi & cognoscendi, qua in proferendis nominib.\nOmnium coelestium angelorum contulisti & candem scientiam secundum\npromissionem mihi concede, & huius artis discretionem Amen.\n[140] (Ista oratio cum reliquis duab. Sequentibus orationibus, videlicet Vision, &c.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=339\nPages: 339,334\nCi nCC-^^n^\n\\ vtWH^iawtf\n\u00bb\u00bbibavcf Q>\u00bba>?h hynrani fi ft>\n/5C>'^\neCovaocs \u25a0\u00bbhd9^t\\ fic\u00bb>t -nifiia\n'A x?rcccpfm\u00bbJ c4 \u25a0 C\u00abf$a4it fl f< o-nnn-i >\u00bbtal\ni\u00bbo(et ficnrc -pefaa w i<k> -I\nFigura Castitalis (Nota of Chastity) - f. 20 [see also duplicate on f. 29v].\n328\nArs Notoria\nFigura Reputationis & Taciturnitatis et Reprehensionis (Nota of Reputation & Silence and\nSelf-criticism aka Self-mastery & Silence). - f. 21 [see also duplicate on f. 29].\n329\nArs Notoria\na. Secunda figura philosophiae (Second Nota of Philosophy);\nb. Tertia figura philosophiae (Third Nota of Philosophy) - f. 23.\n330\nArs Notoria\na. Quarta figura philosophiae (Fourth Nota of Philosophy); b. Quinta figura philosophiae\n(Fifth Nota of Philosophy); c. Sexta figura philosophiae (Sixth Nota of Philosophy) - f. 23v.\n331\nArs Notoria\na. Septima figura philosophiae (Seventh Nota of Philosophy);\nb. Prima figura Geometriae (First Nota of Geometry) - f. 24.\n332\nArs Notoria\nSB&tfitlv&i\u2019\n_______--------- -------\n_____\nti Qiafrta. fug]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=329\nPages: 329,326\nthc-dia^liftonioi\nK V,f\n''Kititnai hd>l*tfia\u201eiai jimnua\u00a3\\ 'y .J\nWoS yMfltf\u00c4CSkrarrcMy.jimnAK^\n,cf h*\u00a3i*t.Voncgeiflcrfi wXn\u00bb\na. Prima figura Artis Arithmetics (First Nota of Arithmetic); b. Figuram semis Arithmetice (Semi-Nota\nof Arithmetic; c. Secunda figura Artis Arithmetice (Second Nota of Arithmetic) - f. 16.\n320\nArs Notoria\na. Prima figura generalium (First General Nota); b. Secunda figura generalium\n(Second General Nota); c. Pertia figura generalium (Third General Nota) - f. 16v.\n321\nArs Notona\ntcih\u2019n\n//jftwgwf\n\u00ab\u00ab(\u00abij\u0142/* \u0119\u015brt.\u00bbio -<\u2022\u2022>>\nOlTlIiO li$ ?iefintbvr <ni(c tfilinw\n\u00df\u00bbpn-#rn\u00bb J\u0142ftronowt-\nif\u00ab?\nrifcrj?o>x^i\ng \u00ae cnrinwm q>K ccledia fcAchl fiusivif o/kndM>\nIvffmzHili^noTM <\u00a3\nd^enjafci-\nJ\na. Tertia figura Astronomiae (Third Nota of Astronomy); b. Quarta figura Astronomiae\n(Fourth Nota of Astronomy); c. Quinta figura Astronomiae (Fifth Nota of Astronomy);\nd. Sexta figura Astronomiae (Sixth Nota of Astronomy). - f. 17.\n322\n____\nArs Notoria]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=84\nPages: 84,85\nff. 16v, 17v: Prima nota et secunda nota artis dialectice\nff. 18r-19r (left column): Prima, nota secunda nota, tertia nota, et iiii nota\nartis rethorice.\nf. 19r (right column): Nota geometric.\nff. 19v-21v: Geometric diagrams and symbols, including faces of hybrid\ncreatures (f. 20r). [Actually the inverted Medusa heads].\nf. 22r: Nota in ineffabilis et est V theologie, or the fifth figure of theology,\nwith symbols including swords, birds and serpents, used to\nattain theological knowledge.\nf. 36r: Nota gramatice\nf. 36v: Notae dilectice, rethorice and aritmetice\nf. 37r: Nota geometrie and signifier circulus.\"\n78\nArs Notoria\nMunich, Bayerische Staatsbibliothek, CLM 276\nTitle: Apollonii Flores AureL.Incipit opus operum et scientia scientiarum eo\nquod in opera. Ars Notoria Version A and Opus Operum.\nDate: c. 1350. Includes multiple items ranging in date 14th-15th century.\nOrigin: Germany\nAuthors: Apollonius; John of Morigny; [of other items:] Galen; Augustine\nof Trent; Nicolaus Cusanus.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=345\nPages: 345,338\n332\nArs Notoria\nSB&tfitlv&i\u2019\n_______--------- -------\n_____\nti Qiafrta. fug\nft*\nSecunda figura Geometriae (Second Nota of Geometry) - f. 24v.\n333\nArs Notoria\nPrima figura Thelogiae (First Nota of Theology) - f. 25.\n334\nArs Notoria\nQuartafigura Theologiae (Fourth Nota of Theology) - f. 25v.\n335\nArs Notoria\nQuinta figura Theologiae (Fifth Nota of Theology) - f. 26.\n336\n___\n\u201e\n.\nArs Notoria\na. Secunda figura Theologiae (Second Nota of Theology);\nb. Tertia figura Theologiae (Third Nota of Theology) - f. 26v.1\n1 Folios 22, 28v, 29, 29v contain almost identical duplicates and therefore have not been included.\n337\n10. The Latin text of the Ars Notoria1\nThe Latin text was not printed in order of its Section numbers. We have\nreorganised the text of the English translation to logically follow the subject\nmatter and the Section numbers, but we have not changed the Latin text.\nAccordingly it is important, if reading the Latin text to know how it is\narranged:\n1.\n2.\n3.\n4.\n5.\nPrologus\nFlores Aurei]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=363\nPages: 363\nsiue a partibus relatio, & congrua, & ordinata diuisio. Haec est ratio quare in\nGrammatica tres notae appositae sunt, & sic placuit diuinae potentiae, vt per vnam\ndeclinandi plena cognitio: per alteram omnium partium conueniens ordinatio\nhaberetur: per tertiam omnium partium simpliciter & composite conueniens &\ncontinua diuisio habeatur.\n[75] Ratio quare ars Dialecticae duas figuras habet tantummodo.\nDialectica vero, que est forma artium, & doctrinalis sermo dicitur, duo habet\nnecessaria, scilicet facundia, argumentandi, & prudenter respondendi. Duas ergo\nnotas altitudo prouidentiae diuinae & pietatis apposuit, vt per primam facunde\nargumentandi, & per secundam industriam respondendi habeamus absque\nambiguitare. Propterea ergo Grammaticae tres, Dialecticae duas notas ascripsimus.\n[76] Ratio quare ars Rhetoricae quatuor figuras habet.\nQuare ergo Rhetorica quatuor notas habet, videamus. Quatuor enim in ea, vt ait]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=328\nPages: 328,334\nd. Sexta figura Astronomiae (Sixth Nota of Astronomy). - f. 17.\n322\n____\nArs Notoria\nPrimafigura philosophiae (First Nota of Philosophy) - f. 17v.\n323\nArs Notoria\nQuarta figura et ultima generalium (Fourth and last General Nota). - f. 18.\n324\nArs Notoria\n1 The foliation of this manuscript is erratic from here onwards.\n325\nArs Notoria\nPrima figura generalium (First General Nota) - f. 19. [see also duplicate on f. 16v].\n326\nArs Notoria\nFigura Justitia et pads et timoris (Nota of Justice, Peace & Awe). - f. 19v\n[see also duplicate on f. 28v].\n327\nArs Notoria\nj^yrra odifafiy\nly\nE\ngr^lOfrtffoinnleA>u_\n\"i' HQ\\ \u25a0 Ictlnhif) fy</i(mai lf)0)u^ir rtdytjicpVijq\n1/-behehfU JtinyniiiiC mryutio {inntyjyrn- W\u00a3flla)ef- fjaya\nitfatya^ifjcl jiryvxon fefe /\u00bbnv/ol cfarfa&tf -CUcf-famJviiia'ir \\r > ?\u2019\n^(,t cdtf. fefailM . tntn-iov Jeua fc^ cht:\n:^ao f,n^cr^\\f\nadf .^icfatntC(tAc^C^n^.\n6^f*l-\n\u2018 ^-a)*nr \u2018fofXa^rnf\n'\u201c/\u2019.'\"\u2018k j-aQt \u2666mys^^hwSStSSSy?\n\u25a0tf>C\u00bb\u00abicr^<rt\u2019*'C'<\nWjxnafo,\nHn c r ,\u2018]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=274\nPages: 274,263\nVmriwati\u00bb iVir^^^Julj.icn^C^AggtrXlb- ttc%r;\u00bb\u2019\n' >t4>\u00bb^y^n\u00bbn* G^mtMx1.\n. Ci-nhtt\u00bbn/\n\\\u00aek*\u00bbVv>A^nr74\u201922tr<l^t+>c:li^>i<*n.. fhc^v'Tv7\n4*^n-0b44xr-labrm->5MarV'\u00abvirJ7\nkZ\nhAvstn-\u2019&H \u00bbXxa.tewvuPA tncfevf\niV^rB/\n(\n/'T1 \"lertnri lir\u2019nliA-iuvatiA \u2022'^\u2019\u2022^1 x '\n.\n------ -><\nl\u2019/z\n\u00ab%U.t feprutn a h fl .^,7\n1\nr\u2018c\u2018u\"\u201c \u2022\n\\\nKa\nutul\n[num. 1\nV\n'\na. Second Note of Geometry; b. Noto Circulus of Astronomy - f. 37. Opus Operum.\n257\nThe Notae - BSB CLM 276, ff. lr-47v\nFlores Aurei...Incipit opus operum et scientia scientiarum\n(Opus Operum)\nc. 1350\nFigures 82-103\n259\nArs Notoria\nFirst Nota of Grammar - f. 8.\n260\nArs Notoria\nSecond Nota of Grammar - f. 8v.\n261\nArs Notoria\nThird Nota of Grammar - f. 9.\n262\nArs Notoria\nFirst Nota of Dialectic - f. 9v.\n263\nArs Notoria\nSecond Nota of Dialectic - f. 10.\n264\nArs Notoria\nFirst Nota of Rhetoric - f. 10v.\n265\nArs Notoria\n11\nSecond Nota of Rhetoric - f. 11. [See page 92.]\n266\nArs Notoria\nThird Nota of Rhetoric - f. llv. [See page 92.]\n267\nArs Notoria]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=94\nPages: 94,95\ncount including all variants as shown in Figure 23 is:\nGeneral\n10 notae variants\nPhilosophy\n14\nGrammar\n5\nDialectic (Logic)\n7\nRhetoric\n6\n11\nTheology\n2\nMusic\nSelf-mastery & Silence 2\nExceptives (magic, etc) 1\nWonders & Marvels\n1\n2\nJustice, Peace and Awe\nGeometry\n5\nArithmetic\n5\nPhysic (Medicine)\n3\nAstronomy\n8\nChastity\n1\n88\nArs Notoria\nAnalysis of the Notae\nThe unique keys to the procedure of the Ars Notoria are the beautiful\nnotae. Sadly, all printed editions, and many manuscript versions of\nthe Ars Notoria are missing these essential ingredients. Many of the\nnotae are abstract, but others are like summary sheets for the subject.\nFor example, one nota of Grammar shows the 8 parts of speech in\ncircles, another nota of Dialectic shows 9 boxes containing parts of\nspeech,1 and one nota of Geometry shows the line, triangle, square,\npentagram, six-pointed star, and circle figures in order.2\nIn some of the later manuscripts there is a scattering of angel figures, but]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=39\nPages: 39\nit would have been logical to use that as his source. We have reproduced\nthat Latin text in the present volume, with its Section numbers also\nmapped onto Turner's translation. This mapping shows the exact\ncloseness of these two versions, but the clincher is that Turner's 'Figure\nof Memory' could not have come from either Bodley 951 or Ashmole\n1515, as neither of these have it, but the Opera Omnia text does,\nconfirming it to definitely be Turner's direct source.\nReorganisation of the Text\nVeronese\u2019s numbering of the Latin sections runs as follows:3\nSections 1-66: Flores Aurei: general orisons to reinforce memory,\neloquence, and intelligence.\nSections 67-109: Special orisons concerned with specific subjects like\nGrammar, Theology and Philosophy.\nSections 110-125: Ars Nova.\nSections 126-127: Novem Termini.4\nSections 128-147: Instructions concerned with inspection of the notae.5\n1 Klaassen (2013), p. 231, fn. 13.\n2 In Turner, Elizabethan Magic (1989), p. 140.\n3 Veronese (2007), p. 18.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=367\nPages: 367\nCreator istam orationem proferas in principio inspectionis tertiae figurae artis\nGrammaticae: & post istam orationem facto aliquo paruo interuallo.\n[135] [Oratio] 5. Ista oration debet dici ante primam notam artis Dialecticae.\nSancte Deus pater & pie indissolubilis augmentator, qui coelum et terram, mare &\nabyssos & omnia quae in eis sunt sicut stabiliri voluisti. In cuius conspectu omnis\nratio & sermo subsistit. Per hec sacramenta pretiosa Angelorum tuorum da mihi\nque desidero & credo artis huius absque malignitatis intentione scientiam. Amen.\n[136] (Istam orationem latinam profer in principio inspectionis prime figurae artis\nDialectice, et post istam orationem proferas in continenti cum aliquo interuallo\nillas orationes quae scribuntur inter primam figuram)\n[137] [Oratio] 6. Ista oration debet dici ante secundam notam Dialectice.\nHeloy, Clementissime creatir, inspirator, reformator omnium diuinarum\nvoluntatum approbator, ordinatorque malorum, deprecationem gloriosus intende]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=84\nPages: 84\nartium magister merito nuncupatur,\u2019 and ends, 'lunationibus et diebus et horis\ndeterminatis.'\nff. 22v-37r: The Opus Operum, with the rubric, 'Ars notoria quae nova ars\nappellatur;' a derivative text of the Ars Notoria, ascribed to John of\nMorigny (?), including 6 diagrams or notae, on subjects including\ndialectic, arithmetic and geometry. It begins, 'Incipit opus operum, scientia,\nscientiarum,' and ends, 'et per virorum omnium gratissina et potentissima\nsuffragia. Amen.'\nDecoration: Full-page diagrams in red and brown, some in green, with\nfigures, symbols, including crosses, and text in circular, rectangular and\ngeometric shapes (ff. 14v, 15r, 15v, 16v, 17v-22r, 36r-37r). Spaces for\ninitials and rubrics in red throughout. Spaces left for initials, some with\nguide letters.\nDescription of the diagrams or notae.\nff. 14v-15v: Prima nota, secunda nota et tertia nota artis gramatice\nff. 16v, 17v: Prima nota et secunda nota artis dialectice]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=364\nPages: 364,365\nIncipit prima nota Grammaticae artis, ad quam antequam perueniatur, aliquid\npraelibandum est, vt haberi possit primae & secundae & tertiae notae cognitio. Et\nscire debes quod in principio, in quo notae Grammaticae, siue Dialecticae, siue\nRhetoricae artis inspiciuntur. Necessarium est quidem cum summa intentione ab\nomnibus criminalibus custodias.\nQualiter certa tempore debeant prouideri in inspectione notarum.\nIsta est cognitio specialis & manifesta, qua notae artis Grammaticae dignoscuntur,\n358\nArs Notoria\nquomodo proferri debeant, & quibus temporibus, & quali distinctione merito &\ncompetenter manifestatur. Dictum est superius de prolatione & inspectione\nnotarum & orationum. Nunc vero aliquatenus est diuertendum, quia licet de\ntemporibus in parte actum sit, tarnen magis plene arbitror esse agendum.\n[147] Qualiter diuersi menses quaeruntur in inspectione notarum.\nDiximus superius de terminis istius artis, quibus orationes sunt legendae & notae]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=212\nPages: 212\nunderstand {74} the excellent Mysteries of this Art, Amen.\n[143] 15[th Oration]. Say this before the second Figure of Arithmetick:\nOh God the perfect Judge of all good works, who makest\nknown thy saving goodness amongst all Nations; open\nmy Eyes and my Heart, with the beams of thy mercy, that\nI may understand and persevere in these thy Heavenly\nMysteries, Amen.\n[144-145 Missing].\n[Nota of Geometry]\nDefinitions of several Arts, and the Notes thereof.\n[134]1 We will give also Definitions of several Arts, as it is in\nthe Book of Solomon; Geometry hath one Note [left],\nArithmetick a Note and a half;\n[146] 16[th Oration]. This Oration [to be said] before the second\nNote of Geometry: 2\nOh God the giver of all wisdome and knowledge to them that are\nwithout sin, Instructor and Master of all Spiritual learning, by\nthy Angels and Arch-Angels, by Thrones, Potestates,\nPrincipa[li]tes and Powers,3 by Cherubim and Seraphim, and by]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=88\nPages: 88,87\nDecoration: 35 illustrations in 3A of page. 3-6-line red initials, rubrics.\n1 Not to be confused with Ars Memorativa by Gulielmi Leporei Avallonensis\n(William the Hare of Avalon?) printed in 1520 & 1523.\n2 This would seem to have been a common occurrence at one point as there are\nnumerous examples of manuscripts in other libraries relating to magic with\nbinding that partly or fully contains what appear to be discarded leaves from an\nunrelated musical manuscript.\n81\nArs Notoria\nProvenance: Yah. Var. 34 once belonged to Simon Forman, and indeed it\nwas written and signed by him with a clear signature on ft. 10, 29, being\none of three copies of the Ars Notoria he created in the same year.\nNo information can be traced as to the journey the manuscript\nunderwent after its initial creation, but it no doubt passed through many\nhands before it found its way into the library of George Wrighte of\nGothurst centuries later (see Chapter 2).]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=363\nPages: 363,364\n[78a] Qualiter in Luna prima nota Grammatices inspiciantur.\nSic enim notae Grammatices inspiciendae sunt & orationes earum proferendae sunt.\nDiebus igitur qua Luna fuerit prima, prima nota duodecies inspicienda est, & eius\n357\nArs Notoria\norationes vigesies & quater recitandae sunt, cum summae sanctitatis veneratione &\nmodico interuallo facto. Et singula inspectione notae orationes bis recitandae sunt,\n& a peccatis summopere obseruandum. Sic agendum est a prima die Lunae vsque\nad quartam decimam: a decima quarta vsque ad decimam septimam. Prima nota &\nsecunda singulae vigesies inspiciendae, & orationes tricesies recitandae sunt\ninteruallo facto a decimo septimo die & quinto. Omnes tres notae singulis diebus\nduodecies inspiciendae, & orationes vigesies recitandae sunt.\n[78b] Ecce de notis Grammatice artis dictum est. Verum si aliquantulum legisti\nlibros eiusdem artis, & eius desideras habere perfectionem, ita facias sicut]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=12\nPages: 12,13\nany form or by any means, electronic or mechanical, including printing,\nphotocopying, uploading to the web, recording, or by any information storage\nand retrieval system, or used in another book, without specific written\npermission from the publisher, except for short fully credited extracts or quotes\nused for scholastic or review purposes.\nISBN: 978-0-73876452-8 - Llewellyn edition\nISBN: 978-1-91221203-3 - cloth edition\nISBN: 978-1-91221204-0 - hand bound leather edition\nlimited to 150 copies, of which this is number ....................\nPrinted in Malaysia\n6\nContents\nList of Figures\n9\nAcknowledgements\n11\n1. Background\nTrivium and Quadrivium\nMain Schools of Western Magic\nArs Notoria and the Lemegeton\nOrigin of the Ars Notoria\nGreek Origins\nCritics and Famous Owners\nPossible Authors\nJohn of Morigny and the Liber Visionum\nArs Notoria and the Liber Juratus\nDistribution of the Manuscripts of the Ars Notoria\nPrinted Editions\nTurner's English Translation\nReorganisation of the Text]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=18\nPages: 18\nCicero (106 BCE-43 CE), who carries one of his books. Then comes\nDialectics, who carries an olive branch (a symbol of accord) and a\nscorpion, whose pincers represent the opposing positions of dialectical\nargument. He is accompanied by the philosopher Aristotle (384-322\nBCE). At the left end is Grammar, with its sub-disciplines (the two\nchildren) accompanied by Aelius Donatus (4th century CE) who wrote\nthe classic Mediaeval Grammar textbook Ars Grammatica.\nThe front cover features the Fifth Nota of Theology (the 'Ineffable') from\nBL, Sloane 1712, f. 22, \u00a9 The British Library Board. The 5th nota of\nTheology is known as the 'Ineffable/ or unknowable, in other words a\nnota that can never be understood. It displays four sets of symbols, each\nset containing 4 elements: four plants bearing 4 birds; (two sets) of 4\nswords; 4 candles; and 4 serpents.1 This image supposedly reflects a\npassage from the Vulgate Book of Kings.]"]}

{"result":["[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=316\nPages: 316,324\n310\nArs Notoria\nPrimafigura Artis Dialecticae (First Nota of Dialectic) - f. lOv.\n311\nArs Notoria\nSecunda figura Artis Dialecticae (Second Nota of Dialectic) - f. 12.\n312\nArs Notoria\nSecunda figura Artis Rhetoricae (Second Nota of Rhetoric) - f. 12v. [See page 92.]\n313\nArs Notoria\nPrima figura Arts Rhetoricae (First Nota of Rhetoric) - f. 13.\n314\nArs Notoria\nQuarta figura Artis Rhetoricae (Fourth Nota of Rhetoric) - f. 13v.\n315\nArs Notoria\nTertia figura Artis Rhetoricae (Third Nota of Rhetoric) - f. 14.\n316\nArs Notoria\nIsta est figura Artis Musicae (Nota of Music) - f. 14v.\n317\nArs Notoria\ni----- k\u00f6\u00e4 \u00abV&u A--bf Fl,i|,'\u00ab 1\u00bb\u00ab ys>'.N0 wJP.o\u00ab\nTto\\\u00ab UwLoniS \u00abAicw\u00ab M\u00abn\u00dfr ijiun-jnief in\n, Jftuni OinHonim rnrn^-lia.Jyni?li\n\u2019\nman\u00ab (ctml \u00abjun kdr\u00bba\u00bb>i jemd CAra\nfiwet- Qna nonawt (cmcl ^rtvrAVtfe.\nyrGfcrmdwKJ!\u00bb\u00ab <*Mh'\u00f6t\u00bbW\nKm Wen\u00dfj, oX*mKcn\u00abni Minf\nPh\u00bbpV VidwK\n\u00bb-\u00bb rfb- yb\u00dfa. ejnt mV>y\u00bbl\n|&veSc >d,y\u00bb\u00bb4 J'-7\n'M fahrtta^ftewnreipoUbrKtfajnrnef ojy\u00fcifnf \u00f6ytfofcfaptei aS&f,\n|#n.^Vrt hafae\nJbffa]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=318\nPages: 318,311\nnsnarii1 e-t refilyiiflqniit rtwiw ww mhw\u00bb eine mfuumew qnAmttjpnm W.\n(me ijti.ttuerftjptw wiv\u00ab-? enftimft Runaifl qnc figri ftribnnir- .intept'tnumifi\njitrnin \u25a0omlena-\nMcttaia fair wja atWfli\u00bbc\u00bba-Q-fi \u2019hqiin <\"*\u25a0\n\u25a0aagjsssaKaxcsss^a\nDatitr obi \u00bbme Uhro <r AlWgno\n\u00ab ft1\nCTnA-w.necttphm A mew ttw- litem Wt\u00abY\"\"\na. Nota of Justice, Peace & Awe; b. Nota of Self-mastery & Silence - f. 28v.\n305\nmi?\n\nSW b* m&arat \u25a0 c-t om^ fi* \u2019.\u2018\u00ab*5\ntamtam tstenr ra fiotr ffa* mVrtct pap*\"- \u25a0 \u00bb m>\u201cAu 1\ntenia fa^otcta faut \u25a0edii eft-\nThe Notae - National Library of Israel Yar. Vah. 34\nLiber de Arte Memorativa sive Ars Notoria\n(Version B)\n1600\nFigures 126-155\n307\nArs Notoria\nSecunda figura Artis grammaticae (Second Nota of Grammar) - f. 8v.\n308\nArs Notoria\nPrima figura Artis grammaticae (First Nota of Grammar) - f. 9.\n309\nArs Notoria\nTertiafigura Artis grammaticae (Third Nota of Grammar) - f. 10.\n310\nArs Notoria\nPrimafigura Artis Dialecticae (First Nota of Dialectic) - f. lOv.\n311\nArs Notoria]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=329\nPages: 329,326\nthc-dia^liftonioi\nK V,f\n''Kititnai hd>l*tfia\u201eiai jimnua\u00a3\\ 'y .J\nWoS yMfltf\u00c4CSkrarrcMy.jimnAK^\n,cf h*\u00a3i*t.Voncgeiflcrfi wXn\u00bb\na. Prima figura Artis Arithmetics (First Nota of Arithmetic); b. Figuram semis Arithmetice (Semi-Nota\nof Arithmetic; c. Secunda figura Artis Arithmetice (Second Nota of Arithmetic) - f. 16.\n320\nArs Notoria\na. Prima figura generalium (First General Nota); b. Secunda figura generalium\n(Second General Nota); c. Pertia figura generalium (Third General Nota) - f. 16v.\n321\nArs Notona\ntcih\u2019n\n//jftwgwf\n\u00ab\u00ab(\u00abij\u0142/* \u0119\u015brt.\u00bbio -<\u2022\u2022>>\nOlTlIiO li$ ?iefintbvr <ni(c tfilinw\n\u00df\u00bbpn-#rn\u00bb J\u0142ftronowt-\nif\u00ab?\nrifcrj?o>x^i\ng \u00ae cnrinwm q>K ccledia fcAchl fiusivif o/kndM>\nIvffmzHili^noTM <\u00a3\nd^enjafci-\nJ\na. Tertia figura Astronomiae (Third Nota of Astronomy); b. Quarta figura Astronomiae\n(Fourth Nota of Astronomy); c. Quinta figura Astronomiae (Fifth Nota of Astronomy);\nd. Sexta figura Astronomiae (Sixth Nota of Astronomy). - f. 17.\n322\n____\nArs Notoria]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=368\nPages: 368\nante primam figuram artis Rhetoricae, & quamuis diuidantur per duas partes\norationis, vna & eadem oratio est: sed propter hoc diuiduntur, vt in proferendo eas\nfiat aliquod modicum interuallum, & debet proferri priusquam orationes scripte in\nfigura proferantur.\nHanazay, Sazhaon hubi, sene, hay, ginbar Ronail, Selmora, hyramay, lohal\nysazamael Amathomatois, yaboageyors, Sozomcrat, Ampho Deldenos, geroch,\nAgalos, Meihatagiel Secamai, Saheleton Mechogrisces, Lerirencrhon.\n[139] [Oratio] 8. Ista oratio proferatur ante secundam notam artis Rhetorice.\nVnus magnus & mirabilis eterne Deus, eterni consilii angele dispositor omnium\nvirtutum & ordinator bonorum omnium; adorna hodie intelligentiam meam &\nmultiplica in me rationem discendi & cognoscendi, qua in proferendis nominib.\nOmnium coelestium angelorum contulisti & candem scientiam secundum\npromissionem mihi concede, & huius artis discretionem Amen.\n[140] (Ista oratio cum reliquis duab. Sequentibus orationibus, videlicet Vision, &c.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=363\nPages: 363\nsiue a partibus relatio, & congrua, & ordinata diuisio. Haec est ratio quare in\nGrammatica tres notae appositae sunt, & sic placuit diuinae potentiae, vt per vnam\ndeclinandi plena cognitio: per alteram omnium partium conueniens ordinatio\nhaberetur: per tertiam omnium partium simpliciter & composite conueniens &\ncontinua diuisio habeatur.\n[75] Ratio quare ars Dialecticae duas figuras habet tantummodo.\nDialectica vero, que est forma artium, & doctrinalis sermo dicitur, duo habet\nnecessaria, scilicet facundia, argumentandi, & prudenter respondendi. Duas ergo\nnotas altitudo prouidentiae diuinae & pietatis apposuit, vt per primam facunde\nargumentandi, & per secundam industriam respondendi habeamus absque\nambiguitare. Propterea ergo Grammaticae tres, Dialecticae duas notas ascripsimus.\n[76] Ratio quare ars Rhetoricae quatuor figuras habet.\nQuare ergo Rhetorica quatuor notas habet, videamus. Quatuor enim in ea, vt ait]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=363\nPages: 363\nQuare ergo Rhetorica quatuor notas habet, videamus. Quatuor enim in ea, vt ait\nSalomoni Angelus Domini, sunt necessaria, scilicet: Ornatus locutionis continuus\n& floridus: iudicium ordinatum competens & discretum: causarum siue officiorum\ntestimonium causantium & damnatorum, & emptorum & venditorum composita\ndispositio: Artis eiusdem negotiorum facundia cum intellectu demonstratiuo. Arti\nenim Rhetoricae id circo altitudo Dei notas quatuor cum orationibus suis sanctis &\ngloriosis tanquam per manum Domini missis reuerenter apposuit, vt notae singulae\nin arte praefata singulas habeant facultates, vt nota prima in arte eadem locutionem\ncontinuam, competentem & floridum ornatum adhibeat. Secunda iudicia iusta &\niniusta, ordinata & inordinatam vera & falsa discernat. Tertia vt officia & causas\ncompetenter discernat. Quarta vero, vt intellectum & facundiam, subtilitatem in\nipsius artis operibus omnibus, absque prolixitate distribuat.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=202\nPages: 202,203\nparts, simple and compound.\n[75] The Reason why the Dialectical Art hath two Figures onely.\nTwo notae of Dialectic\nDialectic], which is called the form of Arts, and a Doctrinal speech, hath\ntwo things necessary thereunto, to wit, Eloquence of Arguing, and\nPrudence to answer; Therefore the greatness of the Divine Providence\n196\nArs Notoria\nand Piety, hath appointed two Notes to it; that by the first, we may have\nEloquence to {56} Argue and Dispute; and by the second, industry to\nanswer without ambiguity: Wherefore there are ascribed to Grammar\nthree Notes, and to Dialect two Notes.\nLet us see wherefore Rhetorick hath four Notes. For there are four things\nnecessary therein; as the Angel of the Lord said unto Solomon; to wit, a\ncontinual and flourishing adornment of locution, an ordinate, competent\nand discreet judgement, a Testimony of Causes or Offices, of Chances &\nLosses, a composed disposition of buying and selling; An Eloquence of]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=365\nPages: 365,366\ntarnen quae Latina sunt ipsis diebus quibus notae non inspiciuntur, proferri\npossunt.\n[133] Notae autem artis Dialecticae duae sunt: sed quibus temporibus proferri\ndebeant, in parte dictum est, postea autem de ipsis certius dicetur. Ecce ad reliqua\ndiuertendum est. Sciendum vero arbitramur ea quae in notis artis Dialecticae\nscripta sunt, omnibus diebus proferri possunt, quibus notae ipsius artis\ninspiciuntur.\n[133a] Sciendum est etiam, psa scripta Latina secundum antiquitatem Hebraeorum\nposse proferri, nisi his diebus, quibus diximus. Sciendum est tarnen, ipsas nullo\n1 Missing from Opera Omnia.\n359\nArs Notoria\nmodo posse pronunciari, nisi confessione praecedente. Ista tarnen consideranda\nsunt absque occasione aliqua. Ista sicut dicta sunt, ita fiant omnia. Salomon enim\nait: Vide vt omnia ista praecepta, sicut data sunt, ita facias: sed de caeteris quae\nsequuntur, aliter agendum est. Cum enim videris Dialecticae {627} notam primam,]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=339\nPages: 339,334\nCi nCC-^^n^\n\\ vtWH^iawtf\n\u00bb\u00bbibavcf Q>\u00bba>?h hynrani fi ft>\n/5C>'^\neCovaocs \u25a0\u00bbhd9^t\\ fic\u00bb>t -nifiia\n'A x?rcccpfm\u00bbJ c4 \u25a0 C\u00abf$a4it fl f< o-nnn-i >\u00bbtal\ni\u00bbo(et ficnrc -pefaa w i<k> -I\nFigura Castitalis (Nota of Chastity) - f. 20 [see also duplicate on f. 29v].\n328\nArs Notoria\nFigura Reputationis & Taciturnitatis et Reprehensionis (Nota of Reputation & Silence and\nSelf-criticism aka Self-mastery & Silence). - f. 21 [see also duplicate on f. 29].\n329\nArs Notoria\na. Secunda figura philosophiae (Second Nota of Philosophy);\nb. Tertia figura philosophiae (Third Nota of Philosophy) - f. 23.\n330\nArs Notoria\na. Quarta figura philosophiae (Fourth Nota of Philosophy); b. Quinta figura philosophiae\n(Fifth Nota of Philosophy); c. Sexta figura philosophiae (Sixth Nota of Philosophy) - f. 23v.\n331\nArs Notoria\na. Septima figura philosophiae (Seventh Nota of Philosophy);\nb. Prima figura Geometriae (First Nota of Geometry) - f. 24.\n332\nArs Notoria\nSB&tfitlv&i\u2019\n_______--------- -------\n_____\nti Qiafrta. fug]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=364\nPages: 364\nlibros eiusdem artis, & eius desideras habere perfectionem, ita facias sicut\npraeceptum est. Verumtamen orationibus factis generalibus ad addendam\nmemoriam, facundiam, intelligentiam & earum perseuerantiam, cum his quae sunt\nsupra memoratis & recitatis suis temporibus & horis constitutis ne praetereundo\npraeceptum vergas in peccatum. Veruntamen dum hoc feceris, caue tibi vt\nsecretum sit, & Deum tantum habeas inspectorem. His praefatis perueniendum ad\nnotas.\n[79] Istis tractatibus finitis perueniendum est ad notitiam notarum.\nConsiderandum est vero, quo in principio inspectionis notarum omnium, prima\ndie ieiunandum est vsque ad vesperas, si potes, & si expectare non potes, assumat\nsibi aliam horam. {615} Hoc est praeceptum, quod ex arte Grammaticae damus.\nDe notis Dialecticae.\nDe notis Dialecticae omnibus diebus proferri possunt nisi tantummodo in illis\ndiebus qui dicuntur. Notae autem quatuor Rhetoricae in illis diebus proferantur]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=368\nPages: 368,367\nvoluntatum approbator, ordinatorque malorum, deprecationem gloriosus intende\n& mentem meam respice benignus, vt quid humilitate deprecor sicut ante\npromissionem {629} mihi de tuae Magisterie largitate concedas, Amen.\n(Ista oratio debet pronunciari ante secundam figuram artis Dialectice, &\npriusquam proferantur alie orationes quae scribuntur circa ipsam secundam\nfiguram.\n[138] [Oratio] 7. Ista oratio debet proferri ante primam notam Rhetorice.\nOmnipotens & misericors pater omnium creaturarum ordinator. Iudex eterne, Rex\nregum & Domine dominantium qui sanctis tuis eloquentiam scientiam conferre\ndignatus es mirabiliter: qui omnia djiudicas atque discernis, illumina hodie cor\nmeum fulgore claritatis tue, vt intelligam & cognoscam que in ista arte\nconsiderantur exopto. Amen.\n361\nArs Notoria\n(Ista enim oratio cum alia oratione subsequent! Hanazay &c. debet pronunciari\nante primam figuram artis Rhetoricae, & quamuis diuidantur per duas partes]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=367\nPages: 367\nCreator istam orationem proferas in principio inspectionis tertiae figurae artis\nGrammaticae: & post istam orationem facto aliquo paruo interuallo.\n[135] [Oratio] 5. Ista oration debet dici ante primam notam artis Dialecticae.\nSancte Deus pater & pie indissolubilis augmentator, qui coelum et terram, mare &\nabyssos & omnia quae in eis sunt sicut stabiliri voluisti. In cuius conspectu omnis\nratio & sermo subsistit. Per hec sacramenta pretiosa Angelorum tuorum da mihi\nque desidero & credo artis huius absque malignitatis intentione scientiam. Amen.\n[136] (Istam orationem latinam profer in principio inspectionis prime figurae artis\nDialectice, et post istam orationem proferas in continenti cum aliquo interuallo\nillas orationes quae scribuntur inter primam figuram)\n[137] [Oratio] 6. Ista oration debet dici ante secundam notam Dialectice.\nHeloy, Clementissime creatir, inspirator, reformator omnium diuinarum\nvoluntatum approbator, ordinatorque malorum, deprecationem gloriosus intende]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=364\nPages: 364\ndiebus qui dicuntur. Notae autem quatuor Rhetoricae in illis diebus proferantur\nquibus constitutum est, id est, omnibus, praeter tres dies mensis, scilicet Luna 11. &\n17. & 19. Et propter hoc diebus illis eas proferri vetitum est cum orationibus, quia\nillis diebus, ipso testante Salomone, omnium artium notae praeter ipsius artis\noblatae sunt. Ista praecepta sunt liberaliter obseruanda.\n[80] Qualiter notae Dialecticae inspiciantur, & orationes earum proferantur.\nSciendum est, quod notae Dialecticae quater inspiciuntur, & orationes ipsarum ipsa\ndie vigesies recitandae sunt interuallis factis, & libris eiusdem artis ante oculos\npositis. Libri autem Rhetoricae artis similiter ante oculos ponendi sunt, quando\nnotae eiusdem artis inspiciuntur, vt definitum est. Ista sunt sufficientia ad\ncognitionem istarum trium artium.\n[81] Qualiter cauendum est a peccatis.\nIncipit prima nota Grammaticae artis, ad quam antequam perueniatur, aliquid]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=364\nPages: 364,365\nIncipit prima nota Grammaticae artis, ad quam antequam perueniatur, aliquid\npraelibandum est, vt haberi possit primae & secundae & tertiae notae cognitio. Et\nscire debes quod in principio, in quo notae Grammaticae, siue Dialecticae, siue\nRhetoricae artis inspiciuntur. Necessarium est quidem cum summa intentione ab\nomnibus criminalibus custodias.\nQualiter certa tempore debeant prouideri in inspectione notarum.\nIsta est cognitio specialis & manifesta, qua notae artis Grammaticae dignoscuntur,\n358\nArs Notoria\nquomodo proferri debeant, & quibus temporibus, & quali distinctione merito &\ncompetenter manifestatur. Dictum est superius de prolatione & inspectione\nnotarum & orationum. Nunc vero aliquatenus est diuertendum, quia licet de\ntemporibus in parte actum sit, tarnen magis plene arbitror esse agendum.\n[147] Qualiter diuersi menses quaeruntur in inspectione notarum.\nDiximus superius de terminis istius artis, quibus orationes sunt legendae & notae]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=349\nPages: 349,350\nquibus Praefatum est, quae sicut diximus, ita proferenda sunt.\n[16] Ostendit qualiter ista oratio predicta sit principium & fundamentum totius\nartis.\nIpsa vero artis notoriae prima figura quae supra notam quadrangulam\nmanifestandam sita est. Ipsa vero in Astronomiae exceptionibus a paucis habitis\nangelica sapientia. In Astrologiae autem speculo philosophiae annulis nuncupatur.\n343\nArs Notoria\nIn notoria vero arte fundamentum totius scientiae esse scribitur Veruntamen in\nmatutino diei quarta proferenda, simul & continue, scilicet in mane semel, circa\ntertiam semel, circa nonam semel, circa vesper as semel proferatur.\nOratio praecedens debet proferri secrete & solus sit qui proferat earn, & ipse vix\naudiat se: & haec est conditio eius: quod si necessitas eum arguerit alicuius magni\noperis, poterit dici mane bis & circa nonam bis & confessus sit & ieiunet in prima\ndie, in quo profert earn, & viuat caste & deuote. Et hoc est quod dicit hie.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=369\nPages: 369\nfamulo tuo tibi displicentia vitare contagia & tua veritate pura, & intentione\nsancta, possim sociari vt tuam promissionem toto corde desiderans in omnibus\ntarn in legibus qua in decretalibus praecipue hec sancta mysteria videar &\ncognoscar adipisci, & bene in ista arte proficiam penitus laudandus & facundus.\nAmen.\n[142] [Oratio] 12. Ista oratio debet proferri ante quartam notam Rhetoricae.\nReuerende potens & Dominus superioribus angelis & Archangelis omnibusque\nccelestibus creaturis, tarn infernalibus quam coelestibus: de cuius magnificentia\nvenit plenitudo, quia {631} nobis digne familaturi, cuius a quatuor mundi partibus\nregna portas. Qui ossibus & anima & spiritu, hominem ad imaginem\n&similitudube tuamfecisti, Da mihi huius artis scientiam, corroborans me in ipsius\nfacultatis scientiae. Amen.\n[142a] [Oratio] 13. Ista oratio proferatur ante primam figuram Arithmeticee.\nDeus qui omnia pondere & numero & mensura fecisti: in cuius ordine omnium]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=384\nPages: 384\norationibus his, quia petenti firma fide, omnia possibilia apud DEVM, vt obtineat.\nItem operans procedat in opere, fide, spe, & desiderio, scilicet quod habeat firmam\nspem, rectam fidem, charitatem perfectam, & magnum desiderium firmiter\ncredendo, quia nihil habemus nisi per fidem. Ideo non est dubitandum in huius artis\noperatione. Et sunt tres species, per quas haec ars potest haberi.\n[S158] Prima species est Oration. & est piae mentis ratio, in vocem deprecationis\nnon tentando, sed legendo in sua interiora prorumpens. Secunda species est\nieiunium, & orantem exaudi DEUS hominem. Tertia species est castitas, qui vult\nhanc artem operari, videat quod sit ad minus mundus ad operis implementum per\nnouem dies. Ante artis inceptionem, cum in primis operari vis, necesse est vt\npossis cognoscere Lunam primam, quando videlicet Luna est in tactu primo, tunc\nin ista arte est. Vide ergo quando incipis operari duos ante mansionem, & ad]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=262\nPages: 262,263\niq'nmrt'wv\nJd-eugixvt- .-mien . \u25a0\u2014\u2014~j\nIbAtnnibv 41-.1\n/ Vina, tfivtiTI A. \u00abX\ny^wnvvta^ :\u2019y\\\nj\u2019c'fme'-vlrfcB ,c\n-frCifto w*'yA*ul\n/tTi raltfetvEA \u2022\u2022niuHf\u2019^Cs.\nZtuo^S\n'lrr UBtl-l At\nfmtT/n '-\u2019l^a rtb vftntrCiL..\nat vmaiitA \\\nIllvutI\niv\nA -\u00ab- V-up J- Cvrtt-A \"\nu. \u25a0\u25a0wA*. 1 tttapsv-t\u00abC\n*\u2018w \u25a0m-.tkrs\nA*ty \u2022\n^v.cWj\u00a3\\k n^5\n\u2019\u2022<? ftrf$\u00a3'54\u00ab'U\u00bbUt th? viC* C\nypAvyrur vaf.\u00ab\u2019 ur'-l^y\nW? \u2022 H > \u201cVuf uXL-xitftr yord\n\\ AUUt^ \u00bbitstv -gSt!\"Wctl/\nx OctTju-uf -;y!,viJ\nMTnpttvc\u2019\u2019\nnt/\nj- - \u2018cCtwu-vtvf- syiwttAviur. ^vcruAAAAtT- -v \u00a3!*\u25a0\u2022'- \u2019 \u201c\n-ci^rstuu\n-\u25a0r\u2019atittr '\u00bbwtKnmu\n->oO'\n\u25a0 \u00a3 \u2022\n- A\n1\nif \u00a3^tue> p^ rc^truvr&t^S\u00ab\u00bb- vt^U- <rtvrf ijjuv 'fu'xar 1 Vc <\u00a3\u00bb* resy^m^I're^F-r-mr- < 1 \u2022\nfcrtT?\u00bbp-^t i Wb xrvn4<- uVi^ m* ^tur; '\n4\n1\n/jH\nviww Vn\u00abTA\u00abrti\u2014'Vtirt-t. yT\u00bb a^it ~t>r- tn4U*ttS^\n-\u25a0^\na. First Nota of Dialectic; b. Third Nota of Rhetoric; c. First Nota of Arithmetic - f. 36v.\nOpus Operum.\n256\nArs Notoria\nh^rc notn tf^tncrr\nlii^uf?^\nt\nIj\n!\nAt* <Pn\u00bb^tt<>n- \u00abhmiiU ~Ttu-t7yn.4A\n*w\u00abv ftw3\\\n\u2018huKn,e^itH^n.\\]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=84\nPages: 84\nartium magister merito nuncupatur,\u2019 and ends, 'lunationibus et diebus et horis\ndeterminatis.'\nff. 22v-37r: The Opus Operum, with the rubric, 'Ars notoria quae nova ars\nappellatur;' a derivative text of the Ars Notoria, ascribed to John of\nMorigny (?), including 6 diagrams or notae, on subjects including\ndialectic, arithmetic and geometry. It begins, 'Incipit opus operum, scientia,\nscientiarum,' and ends, 'et per virorum omnium gratissina et potentissima\nsuffragia. Amen.'\nDecoration: Full-page diagrams in red and brown, some in green, with\nfigures, symbols, including crosses, and text in circular, rectangular and\ngeometric shapes (ff. 14v, 15r, 15v, 16v, 17v-22r, 36r-37r). Spaces for\ninitials and rubrics in red throughout. Spaces left for initials, some with\nguide letters.\nDescription of the diagrams or notae.\nff. 14v-15v: Prima nota, secunda nota et tertia nota artis gramatice\nff. 16v, 17v: Prima nota et secunda nota artis dialectice]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=366\nPages: 366\nsequuntur, aliter agendum est. Cum enim videris Dialecticae {627} notam primam,\nsignum quod in prima nota fuerit, in corde tuo repete, & sic in singulis notis\nsingularum artium, praeter illas artes, de quibus definitio dabitur.\nDefinitiones singularum artium, & earum notarum.\n[134] Dabimus enim definitiones de singulis artibus & notis earum, sicut est in\nlibro Salomonis. Geometria vnam notam habet, Arithmetica vnam & semis.\nPhilosophia tarnen cum artibus suis & scientiis sub se continentes, septem species\nhabet. Theologia vero & Astronomia cum omnibus scientiis sub se continentes\nseptem notas habet, sed illae tarnen magis periculosae & graues sunt, non id circo\ngraues, quod pronuncientur grauer, sed quia grauem habent efficaciam. Musica\nvero vnam notam habet. Physica vero vnam notam quoque, singula tantummodo\nin diebus determinatis proferenda sunt. Sciendum vero est in omnibus diebus,\nquibus notas Theologiae videris, vel Philosophiae & atrium sub ipsis contentarum,]"]}

{"result":["[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=316\nPages: 316,324\n310\nArs Notoria\nPrimafigura Artis Dialecticae (First Nota of Dialectic) - f. lOv.\n311\nArs Notoria\nSecunda figura Artis Dialecticae (Second Nota of Dialectic) - f. 12.\n312\nArs Notoria\nSecunda figura Artis Rhetoricae (Second Nota of Rhetoric) - f. 12v. [See page 92.]\n313\nArs Notoria\nPrima figura Arts Rhetoricae (First Nota of Rhetoric) - f. 13.\n314\nArs Notoria\nQuarta figura Artis Rhetoricae (Fourth Nota of Rhetoric) - f. 13v.\n315\nArs Notoria\nTertia figura Artis Rhetoricae (Third Nota of Rhetoric) - f. 14.\n316\nArs Notoria\nIsta est figura Artis Musicae (Nota of Music) - f. 14v.\n317\nArs Notoria\ni----- k\u00f6\u00e4 \u00abV&u A--bf Fl,i|,'\u00ab 1\u00bb\u00ab ys>'.N0 wJP.o\u00ab\nTto\\\u00ab UwLoniS \u00abAicw\u00ab M\u00abn\u00dfr ijiun-jnief in\n, Jftuni OinHonim rnrn^-lia.Jyni?li\n\u2019\nman\u00ab (ctml \u00abjun kdr\u00bba\u00bb>i jemd CAra\nfiwet- Qna nonawt (cmcl ^rtvrAVtfe.\nyrGfcrmdwKJ!\u00bb\u00ab <*Mh'\u00f6t\u00bbW\nKm Wen\u00dfj, oX*mKcn\u00abni Minf\nPh\u00bbpV VidwK\n\u00bb-\u00bb rfb- yb\u00dfa. ejnt mV>y\u00bbl\n|&veSc >d,y\u00bb\u00bb4 J'-7\n'M fahrtta^ftewnreipoUbrKtfajnrnef ojy\u00fcifnf \u00f6ytfofcfaptei aS&f,\n|#n.^Vrt hafae\nJbffa]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=318\nPages: 318,311\nnsnarii1 e-t refilyiiflqniit rtwiw ww mhw\u00bb eine mfuumew qnAmttjpnm W.\n(me ijti.ttuerftjptw wiv\u00ab-? enftimft Runaifl qnc figri ftribnnir- .intept'tnumifi\njitrnin \u25a0omlena-\nMcttaia fair wja atWfli\u00bbc\u00bba-Q-fi \u2019hqiin <\"*\u25a0\n\u25a0aagjsssaKaxcsss^a\nDatitr obi \u00bbme Uhro <r AlWgno\n\u00ab ft1\nCTnA-w.necttphm A mew ttw- litem Wt\u00abY\"\"\na. Nota of Justice, Peace & Awe; b. Nota of Self-mastery & Silence - f. 28v.\n305\nmi?\n\nSW b* m&arat \u25a0 c-t om^ fi*** \u2019.\u2018\u00ab*5\ntamtam tstenr ra fiotr ffa* mVrtct pap*\"- \u25a0 \u00bb m>\u201cAu 1\ntenia fa^otcta faut \u25a0edii eft-\nThe Notae - National Library of Israel Yar. Vah. 34\nLiber de Arte Memorativa sive Ars Notoria\n(Version B)\n1600\nFigures 126-155\n307\nArs Notoria\nSecunda figura Artis grammaticae (Second Nota of Grammar) - f. 8v.\n308\nArs Notoria\nPrima figura Artis grammaticae (First Nota of Grammar) - f. 9.\n309\nArs Notoria\nTertiafigura Artis grammaticae (Third Nota of Grammar) - f. 10.\n310\nArs Notoria\nPrimafigura Artis Dialecticae (First Nota of Dialectic) - f. lOv.\n311\nArs Notoria]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=329\nPages: 329,326\nthc-dia^liftonioi\nK V,f\n''Kititnai hd>l*tfia\u201eiai jimnua\u00a3\\ 'y .J\nWoS yMfltf\u00c4CSkrarrcMy.jimnAK^\n,cf h*\u00a3i*t.Voncgeiflcrfi wXn\u00bb\na. Prima figura Artis Arithmetics (First Nota of Arithmetic); b. Figuram semis Arithmetice (Semi-Nota\nof Arithmetic; c. Secunda figura Artis Arithmetice (Second Nota of Arithmetic) - f. 16.\n320\nArs Notoria\na. Prima figura generalium (First General Nota); b. Secunda figura generalium\n(Second General Nota); c. Pertia figura generalium (Third General Nota) - f. 16v.\n321\nArs Notona\ntcih\u2019n\n//jftwgwf\n\u00ab\u00ab(\u00abij\u0142/* \u0119\u015brt.\u00bbio -<\u2022\u2022>>\nOlTlIiO li$ ?iefintbvr <ni(c tfilinw\n\u00df\u00bbpn-#rn\u00bb J\u0142ftronowt-\nif\u00ab?\nrifcrj?o>x^i\ng \u00ae cnrinwm q>K ccledia fcAchl fiusivif o/kndM>\nIvffmzHili^noTM <\u00a3\nd^enjafci-\nJ\na. Tertia figura Astronomiae (Third Nota of Astronomy); b. Quarta figura Astronomiae\n(Fourth Nota of Astronomy); c. Quinta figura Astronomiae (Fifth Nota of Astronomy);\nd. Sexta figura Astronomiae (Sixth Nota of Astronomy). - f. 17.\n322\n____\nArs Notoria]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=363\nPages: 363\nQuare ergo Rhetorica quatuor notas habet, videamus. Quatuor enim in ea, vt ait\nSalomoni Angelus Domini, sunt necessaria, scilicet: Ornatus locutionis continuus\n& floridus: iudicium ordinatum competens & discretum: causarum siue officiorum\ntestimonium causantium & damnatorum, & emptorum & venditorum composita\ndispositio: Artis eiusdem negotiorum facundia cum intellectu demonstratiuo. Arti\nenim Rhetoricae id circo altitudo Dei notas quatuor cum orationibus suis sanctis &\ngloriosis tanquam per manum Domini missis reuerenter apposuit, vt notae singulae\nin arte praefata singulas habeant facultates, vt nota prima in arte eadem locutionem\ncontinuam, competentem & floridum ornatum adhibeat. Secunda iudicia iusta &\niniusta, ordinata & inordinatam vera & falsa discernat. Tertia vt officia & causas\ncompetenter discernat. Quarta vero, vt intellectum & facundiam, subtilitatem in\nipsius artis operibus omnibus, absque prolixitate distribuat.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=339\nPages: 339,334\nCi nCC-^^n^\n\\ vtWH^iawtf\n\u00bb\u00bbibavcf Q>\u00bba>?h hynrani fi ft>\n/5C>'^\neCovaocs \u25a0\u00bbhd9^t\\ fic\u00bb>t -nifiia\n'A x?rcccpfm\u00bbJ c4 \u25a0 C\u00abf$a4it fl f< o-nnn-i >\u00bbtal\ni\u00bbo(et ficnrc -pefaa w i<k> -I\nFigura Castitalis (Nota of Chastity) - f. 20 [see also duplicate on f. 29v].\n328\nArs Notoria\nFigura Reputationis & Taciturnitatis et Reprehensionis (Nota of Reputation & Silence and\nSelf-criticism aka Self-mastery & Silence). - f. 21 [see also duplicate on f. 29].\n329\nArs Notoria\na. Secunda figura philosophiae (Second Nota of Philosophy);\nb. Tertia figura philosophiae (Third Nota of Philosophy) - f. 23.\n330\nArs Notoria\na. Quarta figura philosophiae (Fourth Nota of Philosophy); b. Quinta figura philosophiae\n(Fifth Nota of Philosophy); c. Sexta figura philosophiae (Sixth Nota of Philosophy) - f. 23v.\n331\nArs Notoria\na. Septima figura philosophiae (Seventh Nota of Philosophy);\nb. Prima figura Geometriae (First Nota of Geometry) - f. 24.\n332\nArs Notoria\nSB&tfitlv&i\u2019\n_______--------- -------\n_____\nti Qiafrta. fug]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=368\nPages: 368\nante primam figuram artis Rhetoricae, & quamuis diuidantur per duas partes\norationis, vna & eadem oratio est: sed propter hoc diuiduntur, vt in proferendo eas\nfiat aliquod modicum interuallum, & debet proferri priusquam orationes scripte in\nfigura proferantur.\nHanazay, Sazhaon hubi, sene, hay, ginbar Ronail, Selmora, hyramay, lohal\nysazamael Amathomatois, yaboageyors, Sozomcrat, Ampho Deldenos, geroch,\nAgalos, Meihatagiel Secamai, Saheleton Mechogrisces, Lerirencrhon.\n[139] [Oratio] 8. Ista oratio proferatur ante secundam notam artis Rhetorice.\nVnus magnus & mirabilis eterne Deus, eterni consilii angele dispositor omnium\nvirtutum & ordinator bonorum omnium; adorna hodie intelligentiam meam &\nmultiplica in me rationem discendi & cognoscendi, qua in proferendis nominib.\nOmnium coelestium angelorum contulisti & candem scientiam secundum\npromissionem mihi concede, & huius artis discretionem Amen.\n[140] (Ista oratio cum reliquis duab. Sequentibus orationibus, videlicet Vision, &c.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=363\nPages: 363\nsiue a partibus relatio, & congrua, & ordinata diuisio. Haec est ratio quare in\nGrammatica tres notae appositae sunt, & sic placuit diuinae potentiae, vt per vnam\ndeclinandi plena cognitio: per alteram omnium partium conueniens ordinatio\nhaberetur: per tertiam omnium partium simpliciter & composite conueniens &\ncontinua diuisio habeatur.\n[75] Ratio quare ars Dialecticae duas figuras habet tantummodo.\nDialectica vero, que est forma artium, & doctrinalis sermo dicitur, duo habet\nnecessaria, scilicet facundia, argumentandi, & prudenter respondendi. Duas ergo\nnotas altitudo prouidentiae diuinae & pietatis apposuit, vt per primam facunde\nargumentandi, & per secundam industriam respondendi habeamus absque\nambiguitare. Propterea ergo Grammaticae tres, Dialecticae duas notas ascripsimus.\n[76] Ratio quare ars Rhetoricae quatuor figuras habet.\nQuare ergo Rhetorica quatuor notas habet, videamus. Quatuor enim in ea, vt ait]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=368\nPages: 368,369\nintellectum meo habeam & cognoscam, & huius artis constanter officium habeam\nnominis tui sancti & gloriosi, praeualente consilio tuo, Amen.\n362\nArs Notoria\n[141c] Oratio 11. Ista oration proferatur ante tertiam notam Rhetoricae:\nScio enim quia delector me in facta tua magna mirabili & ineffabili, & dabis mihi\nscientiam, quam per hoc opus habentibus pollicitus es, secundum magnam &\nincomprehensibilem virtutem tuam. Theon, Haltanagon haramalon, zamoyma\nChamasal, leconamril, harionatar, lechomagol, gela magos, Kemolihot,\nKamanatar, hariomolatar, hanaces, Velonionathar, Azoroy lezabali. Per hae\nsacratissima Dei & gloriosissima, & profunda mysteria, & preciosissima officia, &\nvirtutem & scientiam, \u00e4uge in me & comple quod incepisti, & reforma quod\nincepisti in me. Zembar, henoranat, Grenatayl, Samzatam, lecornazay,\nfundamentum altissime omnium bonitatum & scientiarum atque virtutum, tribue\nfamulo tuo tibi displicentia vitare contagia & tua veritate pura, & intentione]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=364\nPages: 364\ndiebus qui dicuntur. Notae autem quatuor Rhetoricae in illis diebus proferantur\nquibus constitutum est, id est, omnibus, praeter tres dies mensis, scilicet Luna 11. &\n17. & 19. Et propter hoc diebus illis eas proferri vetitum est cum orationibus, quia\nillis diebus, ipso testante Salomone, omnium artium notae praeter ipsius artis\noblatae sunt. Ista praecepta sunt liberaliter obseruanda.\n[80] Qualiter notae Dialecticae inspiciantur, & orationes earum proferantur.\nSciendum est, quod notae Dialecticae quater inspiciuntur, & orationes ipsarum ipsa\ndie vigesies recitandae sunt interuallis factis, & libris eiusdem artis ante oculos\npositis. Libri autem Rhetoricae artis similiter ante oculos ponendi sunt, quando\nnotae eiusdem artis inspiciuntur, vt definitum est. Ista sunt sufficientia ad\ncognitionem istarum trium artium.\n[81] Qualiter cauendum est a peccatis.\nIncipit prima nota Grammaticae artis, ad quam antequam perueniatur, aliquid]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=364\nPages: 364\nlibros eiusdem artis, & eius desideras habere perfectionem, ita facias sicut\npraeceptum est. Verumtamen orationibus factis generalibus ad addendam\nmemoriam, facundiam, intelligentiam & earum perseuerantiam, cum his quae sunt\nsupra memoratis & recitatis suis temporibus & horis constitutis ne praetereundo\npraeceptum vergas in peccatum. Veruntamen dum hoc feceris, caue tibi vt\nsecretum sit, & Deum tantum habeas inspectorem. His praefatis perueniendum ad\nnotas.\n[79] Istis tractatibus finitis perueniendum est ad notitiam notarum.\nConsiderandum est vero, quo in principio inspectionis notarum omnium, prima\ndie ieiunandum est vsque ad vesperas, si potes, & si expectare non potes, assumat\nsibi aliam horam. {615} Hoc est praeceptum, quod ex arte Grammaticae damus.\nDe notis Dialecticae.\nDe notis Dialecticae omnibus diebus proferri possunt nisi tantummodo in illis\ndiebus qui dicuntur. Notae autem quatuor Rhetoricae in illis diebus proferantur]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=368\nPages: 368,367\nvoluntatum approbator, ordinatorque malorum, deprecationem gloriosus intende\n& mentem meam respice benignus, vt quid humilitate deprecor sicut ante\npromissionem {629} mihi de tuae Magisterie largitate concedas, Amen.\n(Ista oratio debet pronunciari ante secundam figuram artis Dialectice, &\npriusquam proferantur alie orationes quae scribuntur circa ipsam secundam\nfiguram.\n[138] [Oratio] 7. Ista oratio debet proferri ante primam notam Rhetorice.\nOmnipotens & misericors pater omnium creaturarum ordinator. Iudex eterne, Rex\nregum & Domine dominantium qui sanctis tuis eloquentiam scientiam conferre\ndignatus es mirabiliter: qui omnia djiudicas atque discernis, illumina hodie cor\nmeum fulgore claritatis tue, vt intelligam & cognoscam que in ista arte\nconsiderantur exopto. Amen.\n361\nArs Notoria\n(Ista enim oratio cum alia oratione subsequent! Hanazay &c. debet pronunciari\nante primam figuram artis Rhetoricae, & quamuis diuidantur per duas partes]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=349\nPages: 349,350\nquibus Praefatum est, quae sicut diximus, ita proferenda sunt.\n[16] Ostendit qualiter ista oratio predicta sit principium & fundamentum totius\nartis.\nIpsa vero artis notoriae prima figura quae supra notam quadrangulam\nmanifestandam sita est. Ipsa vero in Astronomiae exceptionibus a paucis habitis\nangelica sapientia. In Astrologiae autem speculo philosophiae annulis nuncupatur.\n343\nArs Notoria\nIn notoria vero arte fundamentum totius scientiae esse scribitur Veruntamen in\nmatutino diei quarta proferenda, simul & continue, scilicet in mane semel, circa\ntertiam semel, circa nonam semel, circa vesper as semel proferatur.\nOratio praecedens debet proferri secrete & solus sit qui proferat earn, & ipse vix\naudiat se: & haec est conditio eius: quod si necessitas eum arguerit alicuius magni\noperis, poterit dici mane bis & circa nonam bis & confessus sit & ieiunet in prima\ndie, in quo profert earn, & viuat caste & deuote. Et hoc est quod dicit hie.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=366\nPages: 366\nsequuntur, aliter agendum est. Cum enim videris Dialecticae {627} notam primam,\nsignum quod in prima nota fuerit, in corde tuo repete, & sic in singulis notis\nsingularum artium, praeter illas artes, de quibus definitio dabitur.\nDefinitiones singularum artium, & earum notarum.\n[134] Dabimus enim definitiones de singulis artibus & notis earum, sicut est in\nlibro Salomonis. Geometria vnam notam habet, Arithmetica vnam & semis.\nPhilosophia tarnen cum artibus suis & scientiis sub se continentes, septem species\nhabet. Theologia vero & Astronomia cum omnibus scientiis sub se continentes\nseptem notas habet, sed illae tarnen magis periculosae & graues sunt, non id circo\ngraues, quod pronuncientur grauer, sed quia grauem habent efficaciam. Musica\nvero vnam notam habet. Physica vero vnam notam quoque, singula tantummodo\nin diebus determinatis proferenda sunt. Sciendum vero est in omnibus diebus,\nquibus notas Theologiae videris, vel Philosophiae & atrium sub ipsis contentarum,]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=365\nPages: 365,366\ntarnen quae Latina sunt ipsis diebus quibus notae non inspiciuntur, proferri\npossunt.\n[133] Notae autem artis Dialecticae duae sunt: sed quibus temporibus proferri\ndebeant, in parte dictum est, postea autem de ipsis certius dicetur. Ecce ad reliqua\ndiuertendum est. Sciendum vero arbitramur ea quae in notis artis Dialecticae\nscripta sunt, omnibus diebus proferri possunt, quibus notae ipsius artis\ninspiciuntur.\n[133a] Sciendum est etiam, psa scripta Latina secundum antiquitatem Hebraeorum\nposse proferri, nisi his diebus, quibus diximus. Sciendum est tarnen, ipsas nullo\n1 Missing from Opera Omnia.\n359\nArs Notoria\nmodo posse pronunciari, nisi confessione praecedente. Ista tarnen consideranda\nsunt absque occasione aliqua. Ista sicut dicta sunt, ita fiant omnia. Salomon enim\nait: Vide vt omnia ista praecepta, sicut data sunt, ita facias: sed de caeteris quae\nsequuntur, aliter agendum est. Cum enim videris Dialecticae {627} notam primam,]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=98\nPages: 98\nTheology) in the analysis.\nAlso in CLM 276 the nota marked quarta nota theologie, which refers to its\nfourfold nature, is obviously the 5th nota o/Theology, not the 4th nota. BnF\nLat. 9336 attributes one figure (f. 27v - a) to 2nd Philosophy whilst all\nother sources attribute this same nota as 1st Philosophy.\nAnother dilemma presents itself in the form of the 2nd and 3rd notae of\nRhetoric (ID 14). In MSS Yale Mellon 1, f. 13v; BnF Lat. 9336, f. 23; and\nYah Vah 34, f. 12v the two notae are closely merged. In BnF Lat. 7152;\nSloane 1712; and CLM 276 the two notae appear separate, even\nappearing on different pages in CLM 276. So there is a case for\nidentifying this as two notae (2nd Rhetoric and 3rd Rhetoric). However\nBnF Lat. 9336, f. 23v also has a distinctly different 3rd Rhetoric nota (ID\n15), as does Yah Vah 34, f. 14; Bodley 951, f. 12v; BnF Lat 7154, f. 72; and\nBnF Lat 7153, p. 8. Therefore we have to identify ID 14 as 2nd Rhetoric]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=367\nPages: 367\nCreator istam orationem proferas in principio inspectionis tertiae figurae artis\nGrammaticae: & post istam orationem facto aliquo paruo interuallo.\n[135] [Oratio] 5. Ista oration debet dici ante primam notam artis Dialecticae.\nSancte Deus pater & pie indissolubilis augmentator, qui coelum et terram, mare &\nabyssos & omnia quae in eis sunt sicut stabiliri voluisti. In cuius conspectu omnis\nratio & sermo subsistit. Per hec sacramenta pretiosa Angelorum tuorum da mihi\nque desidero & credo artis huius absque malignitatis intentione scientiam. Amen.\n[136] (Istam orationem latinam profer in principio inspectionis prime figurae artis\nDialectice, et post istam orationem proferas in continenti cum aliquo interuallo\nillas orationes quae scribuntur inter primam figuram)\n[137] [Oratio] 6. Ista oration debet dici ante secundam notam Dialectice.\nHeloy, Clementissime creatir, inspirator, reformator omnium diuinarum\nvoluntatum approbator, ordinatorque malorum, deprecationem gloriosus intende]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=17\nPages: 17,18\nwhole world of the Ars Notoria.\nTop row: Astronomy is seated in the middle, carrying the Heavenly\nSphere, with Ptolemy (100-c. 170 CE), the most famous astronomer and\ngeographer of the ancient world, sitting at his feet.\nThe quadrivium is represented by this figure and all figures to the right.\nImmediately to the right, Geometry holds a set-square and a compass,\nwalking hand-in-hand with the most famous geometer Euclid (fl. 300\nBCE). He is followed by Arithmetic, who carries a counting tablet and\nwalks with Pythagoras (6th century BCE). At the far right end, Music\n1 Section 20b.\n11\nArs Notoria\ncarries a small organ, followed by Tubal-cain, the blacksmith credited\nwith inventing it, carrying hammers and a portable anvil strapped to his\nwaist.\nThe trivium is represented by the left hand side of the picture. To the left\nof Astronomy, Rhetoric carries a scroll and is accompanied by the orator\nCicero (106 BCE-43 CE), who carries one of his books. Then comes]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=203\nPages: 203,204\nplace and time, as we find them disposed in the book of the same\nSolomon.\n[77] At what times and hours the Notes of these three liberal Arts are\nto be looked into.\nNow we proceed to shew at what time, and how the Notes of these Arts are\nto be looked into, and the Orations to be said, to attain to these Arts. If thou\nart altogether ignorant of the Grammatical Art, and wouldst have {58} the\nknowledge thereof: if it be appointed thee of God to do this work of works,\nand have a firm understanding in this Art of Arts: Then know that thou\n1 The 2nd Rhetoric and 3rd Rhetoric notae are often joined together as one note.\n197\nArs Notoria\nmaist not presume to do otherwise then this book commandeth thee; for\nthis book of his shall be thy Master, And this Art of his thy Mistress.\n[For Grammar]\n[78a] How the Grammatical Notes are to be looked into in the first\nMoon.\nFor in this manner, the Grammatical! Notes are to be looked into, and\nthe Orations to be said.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=363\nPages: 363\nipsius artis operibus omnibus, absque prolixitate distribuat.\nEcce de Grammatica, Logica, Rhetorica, quare singulae notae singularibus artibus\nsic ponantur.\nDe caeteris autem artibus ipsarum notarum loco suo & tempore, sicut in libro\neiusdem Salomonis reperimus dispositionem.\n{624} [77] Quibus temporibus, quibus horis qualiter notae trium artium\nliberalium inspiciantur.\nEcce transeundum est, vt quibus temporibus, & quo statu: quomodo noae istarum\natrium inspiciendae sunt, & orationes earum proferendae, & artes ipsarum\nadipiscendae sunt disseramus. Si rudis prorsus in arte Grammatica fueris, &\nvolueris habere eius cognitionem, & si tibi a Deo collatum fuerit: vt hoc opus\noperum. In artem atrium possis habere firmum & subtilitatem: istud sciendum est,\n& aliter facere non praesumas, quam tibi liber iste praecipit. Ipse enim liber sui tibi\nmagister, & ipsa ars sui tibi magistra erit.\n[78a] Qualiter in Luna prima nota Grammatices inspiciantur.]","[url_for_citation: https://myaidrive.com/Xv9PUiEh5Qqv2fFEzBMJ37/DR-STEPHEN.-.pdf?pdfPage=258\nPages: 258,253\na. Second Nota of Rhetoric - f. 18v. [See page 92.]\n247\n;.\nnr^he^n .fa\nllMr. fte^-THSLi-ameVAveti\nw cttlccu: iw ,ti4f.1cs\u00bbnttui\u00abV ynrt^cuv&iwT \u25a0 xtiC-lauHi\nmimfrut. W*r ,(c5iu tnAAtMTmutii-tcuitn ttufd 5,1 F *rftt\nglwfl Fu4U'\u00abt ,iWwa7.fM.\nArs Notoria\na. Fourth Nota of Rhetoric; b. First Nota of Geometry - f. 19.\n248\nArs Notoria\na. First Nota of Arithmetic; b. Semi-No ta of Arithmetic; c. First Nota of Philosophy;\nd. Second Nota of Philosophy - f. 19v.\n249\nArs Notoria\na. Third Nota of Philosophy; b. Fourth Nota of Philosophy; c. Fifth Nota of Philosophy;\nd. Sixth Nota of Philosophy; e, f. Seventh Nota of Philosophy - f. 20.\n250\nArs Notoria\na. First General Nota; b. Second General Nota; c. Third General Nota; d. Fourth General Nota;\ne. Fifth General Nota; f. Nota of Music; g. Nota of Self-Mastery & Silence;\nh. First Nota of Physic [Medicine]; i. Exceptives Nota - f. 20v.\n251\nArs Notoria\na. Nota of Wonders and Marvels; b. Nota of Justice, Peace and Awe; c. First Nota of Theology;]"]}