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{{Short description|Medieval book on magic and astrology}}
{{italic title}}
[[File:17th_century_Picatrix_title_Istanbul,_Hagia_Sophia_2443_crop.png|thumb|Title of a 1612 Ghayat al-Hakim manuscript (Istanbul, ''Hagia Sophia 2443'').]]
'''''Picatrix''''' ({{langx|ar|غاية الحكيم|'''''Ghāyat al-Ḥakīm'''''  or '''''Ghayat al-hakim wa-ahaqq al-natijatayn bi-altaqdim''''' {{lit|The Aim of the Sage|The Goal of The Wise}}{{efn|The Arabic word (''ghaya'', pl. ''ghayat'') translates to "goal", while also suggests the sense of "utmost limit" or "boundary".}} }})<ref>{{cite book |author1=Maslamah ibn Ahmad al-Majriti |translator1=Dan Atrell |translator2=David Porreca |title=Picatrix: A medieval treatise on astral magic: based on Latin Edition by David Pingree |publisher=The Pennsylvania University Press |year=2019 |isbn=9780271082127 |page=preface |url=https://www.amazon.com/Picatrix-Medieval-Treatise-Astral-History/dp/0271082127 |access-date=10 August 2024 |language=En}}</ref> is a 400-page Arabic book of magic and astrology, which most scholars assume was originally written in the middle of the 11th century,<ref>e.g Dozy, Holmyard, Samsó, and Pingree; [[David Pingree]], 'Some of the Sources of the Ghāyat al-hakīm', in'' Journal of the Warburg and Courtauld Institutes'', Vol. 43, (1980), p. 2; Willy Hartner, 'Notes On Picatrix', in ''Isis'', Vol. 56, No. 4, (Winter, 1965), pp. 438</ref> though an argument for composition in the first half of the 10th century has been made.<ref>[[Maribel Fierro]], "Bāṭinism in Al-Andalus. Maslama b. Qāsim al-Qurṭubī (died 353/964), Author of the 'Rutbat al- Ḥakīm' and the 'Ghāyat al-Ḥakīm (Picatrix)'" in: ''Studia Islamica'', No. 84, (1996), pp. 87–112.</ref> The work was translated into Spanish and then into Latin during the 13th century, at which time it got the Latin title ''Picatrix''. The title ''Picatrix'' is also sometimes used to refer to the book's author.

''Picatrix'' is a composite work that synthesizes older works on [[Magic (paranormal)|magic]] and [[astrology]]. One of the most influential interpretations suggests it is to be regarded as a "handbook of talismanic magic".<ref>Frances Yates, ''Giordano Bruno and the Hermetic Tradition'', Chicago, 1964; Frances Yates, ''The Art of Memory'', Chicago, 1966</ref> Another researcher summarizes it as "the most thorough exposition of celestial magic in Arabic", indicating the sources for the work as "Arabic texts on [[Hermeticism]], [[Sabianism]], [[Ismailism]], [[Islamic astrology|astrology]], [[Alchemy and chemistry in Islam|alchemy]] and [[Magic (paranormal)|magic]] produced in the [[Near East]] in the ninth and tenth centuries A.D."<ref>David Pingree, 'Some of the Sources of the Ghāyat al-hakīm', in'' Journal of the Warburg and Courtauld Institutes'', Vol. 43, (1980), pp. 1–15</ref> [[Eugenio Garin]] declares, "In reality the Latin version of the ''Picatrix'' is as indispensable as the [[Hermetica|''Corpus Hermeticum'']] or the writings of [[Albumasar]] for understanding a conspicuous part of the production of the Renaissance, including the figurative arts."<ref>Eugenio Garin, ''Astrology in the Renaissance: The Zodiac of Life'', Routledge, 1983, p. 47</ref> It has significantly influenced West European [[Western esotericism|esotericism]] from [[Marsilio Ficino]] in the 15th century, to [[Tommaso Campanella|Thomas Campanella]] in the 17th century. The manuscript in the [[British Library]] passed through several hands: [[Simon Forman]], [[Richard Napier]], [[Elias Ashmole]] and [[William Lilly]].

According to the prologue of the Latin translation, ''Picatrix'' was translated into [[Spanish language|Spanish]] from the Arabic by order of [[Alphonso X of Castile]] at some time between 1256 and 1258.<ref>David Pingree, 'Between the Ghāya and Picatrix. I: The Spanish Version', in ''Journal of the Warburg and Courtauld Institutes'', Vol. 44, (1981), p. 27</ref> The Latin version was produced sometime later, based on translation of the Spanish manuscripts. It has been attributed to Maslama ibn Ahmad [[al-Majriti]] (an Andalusian [[Islamic mathematics|mathematician]]), but many have called this attribution into question. Consequently, the author is sometimes indicated as "Pseudo-Majriti".

The Spanish and Latin versions were the only ones known to Western scholars until Wilhelm Printz discovered an Arabic version in or around 1920.<ref>Willy Hartner, 'Notes On Picatrix', in ''Isis'', Vol. 56, No. 4, (Winter, 1965), pp. 438–440; the Arabic text was published for the first time by the Warburg Library in 1927.</ref>

==Content and sources==
[[File:17th_century_Picatrix_man_Istanbul,_Hagia_Sophia_2443_fol_84r.jpg|thumb|227x227px|Instructions for a [[talisman]] against flies, a love-talisman, and an enmity-talisman. (Istanbul, ''Hagia Sophia 2443'').]]
The work is divided into four books, which exhibit a marked absence of systematic exposition. [[Jean Seznec]] observed, "''Picatrix'' prescribes propitious times and places and the attitude and gestures of the suppliant; he also indicates what terms must be used in petitioning the stars." As an example, Seznec then reproduces a prayer to Saturn from the work, noting that [[Fritz Saxl]] has pointed out that this invocation exhibits "the accent and even the very terms of a Greek astrological prayer to Kronos. This is one indication that the sources of ''Picatrix'' are in large part Hellenistic.":

{{quote|O Master of sublime name and great power, supreme Master; O Master Saturn: Thou, the Cold, the Sterile, the Mournful, the Pernicious; Thou, whose life is sincere and whose word sure; Thou, the Sage and Solitary, the Impenetrable; Thou, whose promises are kept; Thou who art weak and weary; Thou who hast cares greater than any other, who knowest neither pleasure nor joy; Thou, the old and cunning, master of all artifice, deceitful, wise, and judicious; Thou who bringest prosperity or ruin, and makest men to be happy or unhappy! I conjure thee, O Supreme Father, by Thy great benevolence and Thy generous bounty, to do for me what I ask [...]<ref>Jean Seznec (Trans. Barbara F. Sessions), ''The Survival of the Pagan Gods: The Mythological Tradition and its Place in Renaissance Humanism and Art'', Princeton University Press, 1995 (reprint), p. 53</ref>}}

According to Garin:
{{quote|The work's point of departure is the unity of reality divided into symmetrical and corresponding degrees, planes or worlds: a reality stretched between two poles: the original One, God the source of all existence, and man, the microcosm, who, with his science (''scientia'') brings the dispersion back to its origin, identifying and using their correspondences.<ref>Eugenio Garin, ''Astrology in the Renaissance: The Zodiac of Life'', Routledge, 1983, p. 49</ref>}}[[File:18th_century_Ghayat_al-hakim_man._Riyadh,_MS_5751_fol_40r.jpg|thumb|Same section in a different 18th century manuscript (Riyadh, [[King Saud University|KSU]] ''MS 5751'').|left|251x251px]]According to the Prologue, the author researched over two hundred works in the creation of ''Picatrix''. <ref>Later in the text, the author specifies two hundred fifty works. Bakhouche, ''Picatrix'', p 37, 200</ref> However, there are three significant Near/Middle Eastern influences: [[Jabir ibn Hayyan]], the [[Brethren of Purity]], and [[ibn Wahshiyya]]'s ''[[The Nabataean Agriculture|Nabataean Agriculture]]''. The influence of Jabir ibn Hayyan comes in the form of a cosmological background that removes magical practices from the context of diabolical influences and reasserts these practices as having a divine origin. The author of ''Picatrix'' utilizes [[Neoplatonism|Neoplatonic theories]] of [[hypostasis (philosophy and religion)|hypostasis]] that mirror the work of Jabir ibn Hayyan.<ref>{{cite book|last1=Pingree|first1=David|author-link1=David Pingree|last2=al-Majriti|first2=Maslama|author-link2=Maslama al-Majriti|title=Picatrix: The Latin Version of the Ghayat Al-Hakim : Text, Introduction, Appendices, Indices|url=https://books.google.com/books?id=acnXjgEACAAJ|year=1986|publisher=Warburg Institute University of London|page=3|isbn=978-0-85481-069-7 }}</ref><ref>See also Bakhouche, ''Picatrix'', pp. 32–33</ref>

While tracing the correlates for the [[Kabbalistic]] notion of the [[astral body]] ([[Hebrew]]: ''tselem''),<ref>{{cite book|last1=Scholem|first1=Gershom|author-link=Gershom Scholem|year=1991|title=On the Mystical Shape of the Godhead: Basic Concepts in the Kabbalah|location=New York|publisher=Schocken Books}} pp. 255–260. Related terms throughout the associated traditions include pure [[self]], personal [[Daimon|daemon]], perfected nature (''ha-teva ha-mushlam''), and fathomless father of nature. Cf. [[guardian angel]].</ref> [[Gershom Scholem]] cited its occurrence in the ''Picatrix'', and pointed out the background of this concept in [[Greek_Magical_Papyri|Greek papyri]] and philosophical texts,<ref>For example, the Greek philosopher, [[Iamblichus]], [https://books.googleusercontent.com/books/content?req=AKW5Qaeh3A5IGCIZazpV96UTnU-pOGLH3I0HJ7_Sr4vcN3y_3oxFgddldfQAppi5vR073_N5AVhe1lsFh8hTBNuFFt03Llh2uBv9kmymSb1fMisc7CWgYDIb6JCEMRJ8sKn8jVf8aMqVH8c6Gq8QiHGXMlLBDGWNWbXsN6yGRI_VbnhtbXBJNQC9ZQL9Z6w9hei1Ynu1ltLYL407PhIzhP5KoqHw5HM0hrCbVPGXPbZikZTBeO6PoWBV2k1ZpSCgyHldjG6A7ZpXtO2sSSbVMYAqRxsShcG0DzMaMBMoeGlYnw5hSwSsW48 The Mysteries of the Egyptians, Chaldean, and Assyrians], IX, 1-9.</ref> in [[Gnostic]] texts,<ref>[http://gnosis.org/library/hymnpearl.htm The Hymn of the Pearl] in the apocryphal [[Acts of Thomas]].</ref> in [[Frashokereti|Iranian eschatology]], and in [[Platonism in Islamic Philosophy|
Islamic]] and [[Hermeticism|Renaissance Neoplatonism]]. Scholem also specifically noted [[Henry Corbin]]'s work in documenting the concept of the perfected nature in Iranian and Islamic religion.<ref>{{harvnb|Scholem|1991|p=257}}.</ref>

According to Scholem, the following passage from the ''Picatrix'' (itself similar to a passage in an earlier [[Hermeticism|Hermetic]] text called the ''[[Sirr al-khaliqa|Secret of Creation]]'') tracks very closely with the Kabbalistic concept of ''tselem'':<ref>{{harvnb|Scholem|1991|p=255}}. For the passage in the ''Secret of Creation'', see {{cite book|last1=Rosenthal|first1=Franz|author-link=Franz Rosenthal|year=1975|title=The Classical Heritage in Islam|location=London|publisher=Routledge}} pp. 246–247.</ref>
<blockquote>When I wished to find knowledge of the secrets of Creation, I came upon a dark vault within the depths of the earth, filled with blowing winds. ... Then there appeared to me in my sleep a shape of most wondrous beauty [giving me instructions how to conduct myself in order to attain knowledge of the highest things]. I then said to him: "Who are you?" And he answered: "I am your perfected nature."</blockquote>

==Authorship and significance of title==
[[File:Late_Arabic_Picatrix_manuscript_Hamidiye_Library,_MS_852_fol_45v.jpg|thumb|202x202px|Same section in an undated Ghayat al-Hakim manuscript (Istanbul, ''Hamidiye 852'').]]
The Arab historian, [[Ibn Khaldun]], in his [[Muqaddimah]], ascribed authorship of ''Picatrix'' (referring to the original Arabic version, under the title ''Ġāyat al-Ḥakīm'' غاية الحكيم ) to the astronomer and mathematician [[Maslama al-Majriti|Maslama Al-Majriti]], who died between 1005 CE and 1008 CE (398 AH).<ref>Eugenio Garin, ''Astrology in the Renaissance: The Zodiac of Life'', Routledge, 1983, p. 47</ref> This attribution is problematic: the author of the Arabic original states<ref>{{Cite web|url=https://archive.org/details/majritighayat/page/n20|title=غاية الحكيم و أحق النتيجتين بالتقديم|website=Internet Archive}}</ref> in its introduction that he completed the book on 348 AH, which is ~ 959 CE. Moreover, the author states that he started writing the ''Picatrix'' after he completed his previous book, ''Rutbat al-Ḥakīm'' رتبة الحكيم in 343 AH (~ 954 CE).<ref>{{Cite web|url=https://archive.org/details/majritighayat/page/n20|title=غاية الحكيم و احق النتيجتين بالتقديم}}</ref> This makes the authoring more than five decades before Al-Majriti's death, and if his estimated birth year is to be accepted, he would have only been around 5 years old when he started writing it. As well, according to Holmyard, the earliest manuscript attribution of the work to Maslama al-Majriti was made by the alchemist [[al-Jildaki]], who died shortly after 1360, while Ibn Khaldun died some 20 years later. However, no biography of al-Majriti mentions him as the author of this work.<ref>Maribel Fierro, Bāṭinism in Al-Andalus. Maslama b. Qāsim al-Qurṭubī (died 353/964), Author of the ''Rutbat al- Ḥakīm'' and the ''Ghāyat al-Ḥakīm (Picatrix)'', in ''Studia Islamica'', No. 84, (1996), p. 93, 95</ref>

More recent attributions of authorship range from "the Arabic version is anonymous" to reiterations of the old claim that the author is "the celebrated astronomer and mathematician Abu l-Qasim Maslama b. Ahmad Al-Majriti".<ref>H. Kahane et al. 'Picatrix and the talismans', in ''Romance Philology'', xix, 1966, p 575; E.J. Holmyard, 'Maslama al-Majriti and the Rutba 'l-Hakim', in ''Isis'', vi, 1924, p 294.</ref> One recent study in ''Studia Islamica'' suggests that the authorship of this work should be attributed to Maslama b. Qasim al-Qurtubi, who died 964 CE (353 AH) and, according to Ibn al-Faradi, was "a man of charms and talismans".<ref>Maribel Fierro, 'Bāṭinism in Al-Andalus. Maslama b. Qāsim al-Qurṭubī (died 353/964), Author of the "Rutbat al- Ḥakīm" and the "Ghāyat al-Ḥakīm (Picatrix)"', in ''Studia Islamica'', No. 84, (1996), pp. 87–112</ref> If this suggestion is correct it would place the work in the context of [[Andalusia]]n [[sufism]] and [[Batin (Islam)|batinism]].<ref>Maribel Fierro, 'Bāṭinism in Al-Andalus. Maslama b. Qāsim al-Qurṭubī (died 353/964), Author of the "Rutbat al- Ḥakīm" and the "Ghāyat al-Ḥakīm (Picatrix)"', in ''Studia Islamica'', No. 84, (1996), pp. 105–107</ref>[[File:15_th_Latin_Picatrix_Kraków,_Jagiellonian_Library_MS_793_fol_189r.png|thumb|Same section in a Latin manuscript of the Picatrix (man. Kraków, Jagiellonian Library ''MS 793'').]]The odd Latin title is sometimes explained as a sloppy transliteration of one "Buqratis", mentioned several times in the second of the four books of the work.<ref>Willy Hartner, 'Notes On Picatrix', in ''Isis'', Vol. 56, No. 4, (Winter, 1965), pp. 438</ref> Others have suggested that the title (or the name of the author) is a way of attributing the work to Hippocrates (via a transcription of the name ''Burqratis'' or ''Biqratis'' in the Arabic text).<ref>Bakhouche, Beatrice, Frederic Fauquier, and Brigitte Perez-Jean (Translators), ''Picatrix: Un traite de magie medieval'', Turnhout: Brepols, p. 22 and 141</ref> Where it appears in the Arabic original, the Latin text does translate the name Burqratis as ''Picatrix'', but this still does not establish the identity of Burqratis. Ultimately, linking the name, Picatrix, with [[Hippocrates]],<ref>Ritter, Hellmut and Martin Plessner (translators), ''"Picatrix:" Das Ziel des Weisen von Pseudo-Magriti.'' London: Warburg Institute, 1962. p.XXII.</ref><ref>See also: Willy Hartner, 'Notes On Picatrix', in ''Isis'', Vol. 56, No. 4, (Winter, 1965), pp. 438</ref> has fallen into disfavor because the text separately cites Hippocrates under the name ''Ypocras''.<ref>Bakhouche, ''Picatrix'', p. 22, 193, 332.</ref>

Contrary to this, an argument has been made that the name ''Picatrix'' is a translation of the author's individual or personal name "Maslama" due to the parallel derivation of masculine and feminine versions of both names.<ref>{{Cite journal |last=Thomann |first=J. |date=1990 |title=The Name Picatrix: Transcription or Translation? |url=https://www.jstor.org/stable/751354 |journal=Journal of the Warburg and Courtauld Institutes |volume=53 |pages=289–296 |doi=10.2307/751354 |jstor=751354 |issn=0075-4390|url-access=subscription }}</ref> It is alleged that the word ''picatrix'' would be the feminine of ''picator'' which is then derived from ''picare'', meaning "to prick." This is linked with the observation that ''Maslama'' has the Arabic feminine termination "''-a''" and whose root word (s-l-m) has the meaning ''ladagha'' or "to sting."<ref>{{Cite book |last=Ullmann |first=Manfred |url=https://books.google.com/books?id=osoQBVoozhsC |title=Wörterbuch der klassischen arabischen Sprache |date=2009 |publisher=Otto Harrassowitz Verlag |isbn=978-3-447-05939-8 |language=de}}</ref> 

==Anticipation of experimental method==
Martin Plessner suggests that a translator of the ''Picatrix'' established a [[Middle Ages|medieval]] definition of [[Experiment|scientific experiment]] by changing a passage in the [[Hebrew language|Hebrew]] translation of the Arabic original, establishing a theoretical basis for the experimental method: 
<blockquote>"the invention of an hypothesis in order to explain a certain natural process, then the arranging of conditions under which that process may intentionally be brought about in accordance with the hypothesis, and finally, the justification or refutation of the hypothesis, depending on the outcome of the experiment".</blockquote>

Plessner notes that it is generally agreed that awareness of "the specific nature of the experimental method—as distinct from the practical use of it—is an achievement of the 16th and 17th centuries." However, as the passage by the translator of the Hebrew version makes clear, the fundamental theoretical basis for the experimental method was here established prior to the middle of the 13th century.

The original passage in Arabic describes how a man who witnessed a treatment for a scorpion's sting (drinking a potion of [[frankincense]] that had received [[Seal (emblem)|seal imprints]]) had gone on to experiment with different types of frankincense, assuming that this was the cause for the cure, but later found that the seal images were the cause for the cure, regardless of the substance upon which they were impressed. The author of the ''Picatrix'' goes on to explain how the explanation of the effectiveness of cures passed on to him by authorities was then proved to him by his own experience.

The Hebrew translator changed the passage in question to include the following:

<blockquote>
And that was the reason which incited me [to devote myself to astrological magic]. Moreover, these secrets were already made known by Nature, and the experience approved them. The man dealing with nature has nothing to do but producing a reason of what the experience has brought out.
</blockquote>

Plessner also notes that "neither the Arabic psychology of study nor the Hebrew definition of the experiment is rendered in the Latin ''Picatrix''. The Latin translator omits many theoretical passages throughout the work."<ref>Martin Plessner, "A Medieval Definition of Scientific Experiment in The Hebrew ''Picatrix''" in: ''Journal of the Warburg and Courtauld Institutes'', Vol. 36, (1973), pp. 358–359</ref>

In exploring the cross-cultural circulation of the text [[Avner Ben-Zaken]] enlisted to the Picatrix's scholarship the “Yates thesis,” and argued that the text played a latent, though central, role in shaping the philosophy of Renaissance natural magic and in giving the stimulus needed to transform occultist notions into experimental science. For Renaissance thinkers unfriendly to the establishment, natural magic offered an alternative program for natural philosophy, and some turned it against Aristotelian philosophy, which they viewed as [[Hegemony|hegemonic]]. Moreover, these rebels presented natural magic as a scientific practice, a culture deeply grounded in non-European contexts. For Ficino and Pico, natural magic originated in the ancient Near East, brought to Renaissance Europe through cross-cultural exchanges that involved Kabalistic texts and Arabic works on magic. For Agrippa, natural magic carried a new program for science, as well as new practices and new personas. For him, the magus—the new experimental naturalist—was a figure that first came to life in the ancient East. For Campanella, natural magic offered a bottom-up construction of natural philosophy that also entailed a new organization of society, in which reason and firsthand experience order both nature and society. All perceived ''Picatrix'' as a text that embodied both: a strong alternative program for the study of nature, and a strong cultural program for challenging European culture from outside. In imagining this alternative, they eventually returned their science to its historical point of origin, the East. Ficino, Agrippa, and in a sense Campanella pushed the argument further, laying a foundation for a heliocentric worldview, initiating the search for the hidden forces of nature, and casting the magician virtuoso as the godfather of natural philosophy.

Thus, the ''Picatrix'' was essential for turning natural magic into philosophy, for transforming the magus into an experimentalist, and for transforming the practice of natural magic into an institutional system of education. It inspired the proposal that scholars shift their focus from Scholasticism to the distant sources of natural magic.<ref> Avner Ben-Zaken,  "Traveling with the Picatrix: Cultural Liminalities of Culture and Science", In ''Religious Individualization in Historical Perspective'', (Berlin, 2019), pp. 1038-1068.[https://academia.edu/resource/work/41455691]</ref>

==Editions==
*[http://catalogue.ulrls.lon.ac.uk/record=b2205045~S12 غاية الحكيم ''Ghāyat al-Ḥakīm'': An edition of the text in Arabic], edited by Hellmut Ritter (from the Warburg Institute)
*''Picatrix: Das Ziel des Weisen von Pseudo-Magriti'', aus dem Arabischen ins Deutsche übersetzt von Hellmut Ritter und Martin Plessner [''Picatrix: The Goal of the Wise Man by Pseudo-Magriti'', translated from Arabic into German by Ritter and Plessner]. London: Warburg Institute, 1962 (=Studies of the Warburg Institute 27).
*David Pingree, [http://catalogue.ulrls.lon.ac.uk/record=b2205454~S12 ''The Latin Version of the Ghayat al-hakim''], Studies of the Warburg Institute, University of London (1986), {{ISBN|0-85481-069-2}}
*''Ouroboros Press'' has published the first English translation available in two volumes, Ouroborous Press (2002 Vol. 1 ASIN: B0006S6LAO) and (2008 Vol. 2) [http://www.bookarts.org/]
*[https://web.archive.org/web/20110718120202/http://recherche.univ-montp3.fr/cercam/article.php3?id_article=371 Béatrice Bakhouche], Frédéric Fauquier, Brigitte Pérez-Jean, ''Picatrix: Un Traite De Magie Medieval'', Brepols Pub (2003), 388 p., {{ISBN|978-2-503-51068-2}}.
*''The Complete Picatrix: The Occult Classic Of Astrological Magic '', Renaissance Astrology Press {2011}, 310 p., {{ISBN|1-257-76785-2}}, English translation from Pingree's Latin critical edition by [[John Michael Greer]] & Christopher Warnock.
*[https://www.psupress.org/books/titles/978-0-271-08213-4.html ''Picatrix: A Medieval Treatise on Astral Magic''], translated with an introduction by Dan Attrell and David Porreca, 384 p., Penn State University Press, 2019.

==See also==
*[[Grimoire]]s – i.e. books about magic
*[[Alchemy and chemistry in Islam]]
*[[Islamic astrology]]
*[[Simiyya|Ruhaniyya]]
*[[Necronomicon]]

==References==
'''Footnotes'''
{{notelist}}

'''Citations'''
{{Reflist}}

==External links==
*Picatrix complete text: [http://catalogue.ulrls.lon.ac.uk/record=b2205454~S12 David Pingree's edition of the Latin text] (from the Warburg Institute)
*Picatrix complete text: [http://catalogue.ulrls.lon.ac.uk/record=b2205458~S12 German Translation by Hellmut Ritter and Martin Plessner] (from the Warburg Institute)
*Picatrix complete text: [http://catalogue.ulrls.lon.ac.uk/record=b2205045~S12 An edition of the original Arabic text], edited by Hellmut Ritter (from the Warburg Institute)
*[http://www.renaissanceastrology.com/picatrix.html Christopher Warnock presents his astrological use and interpretation of the work]
*[http://digitaloccultmanuscripts.blogspot.com/2008/07/ghayetu-al-hakim-picatrix_7394.html Photos of some pages of an Arabic manuscript of the غاية الحكيم ''Ghāyat al-Ḥakīm'']

[[Category:Grimoires]]
[[Category:Arabic grimoires]]
[[Category:Astrological works of the medieval Islamic world]]
[[Category:Medieval Arabic literature]]
[[Category:Arabian mythology]]
[[Category:Literature of al-Andalus]]
[[Category:11th-century Arabic-language books]]