Aristide Torchia's _Delomelanicon_ (was: The Ninth Gate)
Donovan K. Loucks
What was the title of the book that the three copies of The Nine Doors
to the World of Shadows where supposedly taken from. It was so close to
necronomicon. Necrosomething or somethingicon.
It was the _Delomelanicon, or Invocation of Darkness_. The name
_Delomelanicon_ comes from the Greek _delo_ (to summon) and _melas_
(black, dark, or shadow). Tradition holds that this book was written by
Lucifer himself after his expulsion from heaven. He created the book as a
manual for his followers. With the aid of the text and the appropriate
knowledge, the engravings can be used to summon the prince of darkness.
The _Delomelanicon_ was mentioned by the prophet Daniel, Hippocrates,
Flavius Josephus, Albertus Magnus, and Leon III and is reputed to have
been written nearly 20,000 years ago. The first direct mention of it is
in the Turis papyrus, written 3300 years ago. It is quoted several times
in the _Corpus Hermeticum_, mentioned in the _Asclemandres_, and a copy
was purported to have been in the library at Alexandria. Roger Bacon
claimed to own a copy that had belonged to King Solomon. The book was
burned in 1350 by personal order of Pope Innocent VI who declared, "It
contains a method to summon devils."
In Venice in 1666, Aristide Torchia reproduced nine engravings from the
_Delomelanicon_ in his _De Umbrarum Regni Novem Portis_ (_Book of the Nine
Doors of the Kingdom of Shadows_). Crozet's _Encyclopedia of Printers and
Rare and Curious Books_ gives a brief outline of Torchia and his works:
TORCHIA, Aristide (1620-1667). Venetian printer, engraver, and
bookbinder. Printer's mark: a snake and a tree split by lightning.
Trained as an apprentice in Leyden (Holland), at the workshop of the
Elzevirs. On his return to Venice he completed a series of works on
philosophical and esoteric themes in small formats (12mo, 16mo), which
were highly esteemed. Notable among these are _The Secrets of Wisdom_
by Nicholas Tamisso (3 vols, 12 mo, Venice 1650), _Key to Captive
Thoughts_ (1 vol, 132x75mm, Venice 1653), _The Three Books of the Art_
by Paolo d'Este (6 vols, 8vo, Venice 1658), _Curious Explanation of
Mysteries and Hieroglyphs_ (1 vol, 8vo, Venice 1659), a reprint of _The
Lost Word_ by Bernardo Trevisano (1 vol, 8vo, Venice 1661), and _Book
of The Nine Doors of the Kingdom of Shadows_ (1 vol, folio, Venice
1666). Because of the printing of the latter, he fell into the hands
of the Inquisition. His workshop was destroyed together with all the
printed and yet to be printed texts it contained. Torchia was put to
death. Condemned for magic and witchcraft, he was burned at the stake
on 17 February 1667.
The Torchias were a Venetian family of well-to-do merchants who imported
vat paper from Spain and France. As a young man, Aristide traveled to
Holland and was an apprentice of the Elzevirs, who had corresponded with
his father. He stayed there for a time and then went to Prague. Prague
was Europe's capital of magic and the occult, just as Toledo had been four
centuries earlier. Torchia first chose to live in Saint Mary of the Snows
(the "district of magic"), near Jungmannove Square. Later, he moved into
a house in the Jewish quarter nearby, next to the synagogue -- a district
where the windows are lit up every night and the cabbalists are searching
for the magic formula of the Golem. After a while he moves again, this
time to the district of Mala Strana. It was in Prague that Torchia
discovered the _Delomelanicon_.
Once Torchia had completed his apprenticeship, he returned to Venice.
There he published the afore-mentioned series of books that led to his
being burned at the stake. Torchia was arrested in Venice, tortured in
Rome, and burned at Campo dei Fiori in February 1667. The records of
Torchia's trial indicate that during his torture he claimed that only one
copy of the _Book of the Nine Doors of the Kingdom of Shadows_ remained,
although he refused to admit where it was hidden. In the intervening
centuries, three copies -- not one -- have surfaced. Mateu's _Universal
Bibliography_ (1929) briefly describes them:
Torchia (Aristide). De Umbrarum Regni Novem Portis. Venetiae, apud
Aristidem Torchiam. MDCLXVI. Folio. 160 pages incl. title page. 9
full-page woodcuts. Of exceptional rarity. Only 3 known copies.
Fargas Library, Sintra, Port. (see illustration). Coy Library, Madrid,
Sp. (engraving 9 missing). Morel Library, Paris, Fr.
The copy in the Fargas library was purchased around the turn of the last
century by Victor Fargas' grandfather. The Coy Library later became the
Terral-Coy Library when Gualterio Terral inherited the collection from his
father-in-law, Don Lisardo Coy. This copy was purchased by Coy from
Domenico Chiaro whose family had owned it since 1817. It was later
purchased by Varo Borja, Spain's leading book dealer and a specialist in
demonology. The copy from the Morel Library was purchased by Baron Ungern
in 1949 and is now in the Ungern Foundation in Paris.
The book was printed on Jativa linen from Valencia and bound in black
moroccan leather with a pentacle embossed on the cover. The nine
engravings look similar to those on traditional tarot cards. Here are
brief descriptions of each of them along with the motto beneath each and
its translation:
I. A horseman rides toward a walled city. He has a finger to his
lips, advising caution or silence. "Nem. perv.t qui n.n leg.
cert.rit" (Nemo pervenit qui non legitime certaverit -- Only he
who has fought according to the rules will succeed)
II. A hermit in front of a locked door, holding 2 keys. A lantern
on the ground. He is accompanied by a dog. At his side a sign
resembling the Hebrew letter Teth. "Claus. pat.t" (Clausae
patent -- They open that which is closed)
III. A vagabond, or pilgrim, heads toward a bridge over a river.
At both ends of the bridge, gate towers with closed doors bar
the way. An archer on a cloud aims at the path leading to the
bridge. "Verb. d.sum c.s.t arcan." (Verbum dimissum custodiat
arcanum -- The lost word keeps the secret)
IIII. A jester stands in front of a stone labyrinth. The entrance is
also closed. Three dice on the ground, showing the numbers 1,
2, and 3. "For. n.n omn. a.que" (Fortuna non omnibus aeque --
Fate is not the same for all)
V. A miser, or merchant, is counting out a sack of gold pieces.
Behind him, Death holds an hourglass in one hand and a
pitchfork in the other. "Fr.st.a" (Frustra -- In vain)
VI. A hangman, like the one in the tarot, hands tied behind his
back, is hanging by his foot from the battlements of a castle,
next to a closed postern. A hand in a gauntlet sticks out of a
slot window holding a flaming sword. "Dit.sco m.r." (Ditesco
mori -- I am enriched by death)
VII. A king and a beggar are playing chess on a board with only
white squares. The moon can be seen through the window.
Beneath a window next to a closed door, two dogs are fighting.
"Dis.s p.ti.r m." (Discipulus potior magistro -- The disciple
surpasses the master)
VIII. Next to the wall of a city a woman kneels on the ground,
offering up her bare neck to the executioner. In the
background there is a wheel of fortune with three human
figures: one at the top, one going up, and one going down.
"Vic. i.t vir." (Victa iacet virtus -- Virtue lies defeated)
VIIII. A naked woman riding a seven-headed dragon. She holds an open
book, and a half-moon hides her sex. On a hill in the
background there is a castle in flames. The door is closed, as
in the other engravings. "N.nc sc.o ten.br. lux" (Nunc scio
tenebris lux -- Now I know that from darkness comes light)
Although Mateu's _Universal Bibliography_ states that the Terral-Coy copy
is missing the ninth engraving, it is not. Corso (sources differ on
whether Corso's first name was Dean or Lucas) discovered that the
engravings in these copies differed slightly. In each copy, the
engravings are marked as being either by AT (Aristide Torchia) or by LF
(Lucifer)? This chart shows the variations between each of the books:
Engraving I II III IIII V VI VII VIII VIIII
--------- ----- ----- ----- ----- ----- ----- ----- ----- -----
Borja AT LF AT AT LF AT AT AT AT
Fargas AT AT AT LF AT AT LF LF AT
Ungern LF AT LF AT AT LF AT AT AT
As can be seen, the Fargas and Ungern copies each have three engravings
listed as being by LF, while the Borja copy only has two. Here is a
summary of the differences:
No. AT (Aristide Torchia) LF (Lucifer?)
----- --------------------------- ----------------------------
I City has four towers City has three towers
II Keys are in right hand Keys are in left hand
III Archer has empty quiver Archer has arrow in quiver
IIII Maze has walled exit Maze has open exit
V Hourglass has sand at top Hourglass has sand at bottom
VI Man is hanging by left foot Man is hanging by right foot
VII Chessboard is white Chessboard is black
VIII Executionar has no halo "Executioner" has halo
VIIII No differences No differences
This led Corso to the conclusion that only the LF engravings were the
proper ones, with the others being fakes by Torchia. Thus, the one book
that, during his torture, Torchia claimed existed was actually spread
across three copies. The key to deciphering the engravings _may_ be in
this quote on pages 158 and 159:
It is the animal with the tail in its mouth that encircles the
labyrinth
where you will go through eight doors before the dragon
which comes to the enigma of the word.
Each door has two keys:
one is air and the other matter,
but both are the same thing.
You will place matter on the serpent's skin
in the direction of the rising sun,
and on its belly the seal of Saturn.
You will break the seal nine times,
and when the reflection in the mirror shows the way,
you will find the lost word
which brings light from the darkness.
The "seal of Saturn" refers to a 3x3 magic square, although no successful
means of using this square to decipher the engravings has yet come to
light. However, it was discovered by Corso that Mateu's _Universal
Bibliography_ was correct when it said that the Terral-Coy copy was
missing the ninth engraving. The ninth engraving that it contained was
_forged_ by Pedro and Pablo Ceniza, based on the illustration in Mateu's
_Universal Bibliography_ of the ninth engraving from the copy in the
Fargas Library.
-------------------
Donovan K. Loucks <webm...@hplovecraft.com>
The H.P. Lovecraft Archive: http://www.hplovecraft.com
The alt.horror.cthulhu FAQ: ftp://ftp.primenet.com/users/d/dloucks/ahc
NOTE: This information comes directly from Sonia Soto's translation of
Arturo Perez-Reverte's _El Club Dumas_ and includes substantial quotes
from that text.
moderan
"Donovan K. Loucks" <webm...@hplovecraft.com> wrote:
> Michael Bell <M-B...@webtv.net> wrote,
>
> What was the title of the book that the three copies of The Nine Doors
> to the World of Shadows where supposedly taken from. It was so close
to
> necronomicon. Necrosomething or somethingicon.
>
> It was the _Delomelanicon, or Invocation of Darkness_. The name
> _Delomelanicon_ comes from the Greek _delo_ (to summon) and _melas_
> (black, dark, or shadow). Tradition holds that this book was written
by
> Lucifer himself after his expulsion from heaven. He created the book
as a
> manual for his followers. With the aid of the text and the appropriate
> knowledge, the engravings can be used to summon the prince of
darkness.
>
space>
> -------------------
> Donovan K. Loucks <webm...@hplovecraft.com>
> The H.P. Lovecraft Archive: http://www.hplovecraft.com
> The alt.horror.cthulhu FAQ: ftp://ftp.primenet.com/users/d/dloucks/ahc
>
> NOTE: This information comes directly from Sonia Soto's translation of
> Arturo Perez-Reverte's _El Club Dumas_ and includes substantial quotes
> from that text.
>
Thanks much for the article, Donovan. Enjoyed the brain food.
--
moderan
intolerable, improbable, implausible, and probably impossible
idiosyncratic typographical juxtapositions
http://www.planetmoderan.com
Sent via Deja.com http://www.deja.com/
Before you buy.
Richard D Magrath
>This led Corso to the conclusion that only the LF engravings were the
>proper ones, with the others being fakes by Torchia. Thus, the one book
>that, during his torture, Torchia claimed existed was actually spread
>across three copies.
But according to your list none of the copies had a picture 9 (which I always
thought was IX, not VIII... but each man to his own, I suppose) drawn by
Lucifer!
Richard D. Magrath (nice post though)
LtRi...@aol.com
"I don't advise a haircut, man. All hairdressers are in the employment of the
government. Hairs are your aerials. They pick up signals from the cosmos, and
transmit them directly into the brain. This is the reason bald-headed men are
uptight" -Danny, WITHNAIL & I
JJM1954
>But according to your list none of the copies had a picture 9
An important plot point, as it turns out.
John Miller
Jordi Espunya
"Donovan K. Loucks" <webm...@hplovecraft.com> wrote:
>NOTE: This information comes directly from Sonia Soto's translation of
>Arturo Perez-Reverte's _El Club Dumas_ and includes substantial quotes
>from that text.
When I grow up, I wanna be like Donovan 8)
So, it looks like you've read El Club Dumas... something I can read
untranslated... is it recommendable, Don?
---
/The fate that came to Useneth: Jordi Espunya >> jordi AT earthdome.com\
Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn. No, it's not ROT13!!
\Use our special Hounds-of-Tindalos beta software to deal with spammers /
Karl Kluge
> Greetings, mere mortals C8E
>
> "Donovan K. Loucks" <webm...@hplovecraft.com> wrote:
>
> >NOTE: This information comes directly from Sonia Soto's translation of
> >Arturo Perez-Reverte's _El Club Dumas_ and includes substantial quotes
> >from that text.
>
> When I grow up, I wanna be like Donovan 8)
>
> So, it looks like you've read El Club Dumas... something I can read
> untranslated... is it recommendable, Don?
I'm not Donovan, but I'd say a definite recommend.
But don't pay full price to see Roman Polanski's film adaptation,
_The Ninth Gate_ (which could also have been titled _The Eighth Buck
and Two Hours of Your Life You'll Never Get Back_). The only redeeming
virtue of the film is that it gives a faint foreshadowing of just how
bad a film version of _Foucault's Pendulum_ would likely turn out to be.
Karl
jim boyle
belched forth in a stream of ichor...
> But don't pay full price to see Roman Polanski's film adaptation,
> _The Ninth Gate_ (which could also have been titled _The Eighth Buck
> and Two Hours of Your Life You'll Never Get Back_). The only redeeming
> virtue of the film is that it gives a faint foreshadowing of just how
> bad a film version of _Foucault's Pendulum_ would likely turn out to be.
>
> Karl
>
hey, hey, hey... wait a minute.. how dare you go forth speaking all sorts of
inaccuratcies.... It was two and a half hours, thank you very much...
Regardless, I liked the notion of a "wimpy" hero, a la "Sleepy
Hollow".. but IMO not enough happened in the movie... I would suspect the book
would be much better
As for its Lovecraftian element, I think the big let down was the fact
that the pictures were what had the supernatural power, not actually what was
contained in the book(s). The Lovecraft, it is the pseudo-insane ramblings
that are the powerful element in the tomes of arcane lore...
just my one-fiftieth of a dollar,
jim
Donovan K. Loucks
That was damn near as entertaining as reading a Mythos Story! Thanks
much for the article, Donovan. Enjoyed the brain food.
You're very welcome, Duane. But, I must say that your comment goes a long
way to pointing out exactly why I no longer like "Mythos Stories." To me,
a fictional history of a fictional book (or monster or town...) is not
sufficient material for a good story. While plot twists may be a lot of
fun, I'd also like some important themes and ideas, as well as some well-
crafted writing. "Stories" are a dime a dozen -- I want "works."
Donovan K. Loucks
When I grow up, I wanna be like Donovan 8)
That's a road I wouldn't recommend going down.
So, it looks like you've read El Club Dumas... something I can read
untranslated... is it recommendable, Don?
Although _The Club Dumas_ has received mostly very favorable reviews (it
was an international bestseller) I was a bit concerned by some of the more
lackluster reviews. Most people seemed to complain about the ending in
particular, just as they did with the film version. I decided to read the
book prior to seeing the movie and managed to blow through it in about
three days. Personally, I found the ending to be very satisfying.
It's not a great book, but it is very entertaining and very readable. I
honestly had a very difficult time putting it down. As can be guessed
from my earlier message on Aristide Torchia's _Book of the Nine Doors of
the Kingdom of Shadows_, I appreciated the efforts Perez-Reverte went to
in creating an authentic-sounding occult tome. There are quite a few
literary allusions throughout the book, but they're all explained fully so
you don't need a degree in English Literature as some would have you
believe. The average review on Amazon.com gives it 4 out of 5 stars, with
which I'd concur.
The film version removed the entire plot-line related to The Club Dumas,
as I suspected it would. A few other liberties were taken with the story-
line and characters, but that was perfectly understandable and didn't
bother me at all. My only real complaints with the film were the things
that were _added_ to it, such as the ritual scene and some gratuitous
elements at the end. The film has some excellent atmosphere and suitably
eerie music, but I'd only give it 3 out of 5 stars. If you must see it,
see it at a half-price matinee (like I _always_ do -- why would anyone do
otherwise?) or wait until it's on video.
JJM1954
>It's not a great book, but it is very entertaining and very readable. I
>honestly had a very difficult time putting it down.
I agree.
Two points (one kind of small): You said in one of your earlier messages that
there was some difference of opinion on Corso's first name. Was that in the
book (and I missed it) or did they just change the name for the movie?
Second, what was all that about "Irene Adler"? Although her character was a
fairly cool idea (trying to be non-specific here so not to spoil it too much
for those who haven't read it), wasn't her entire existence kind of gratuitous
to the rest of the story?
>The film version removed the entire plot-line related to The Club Dumas,
I thought they would, myself. I'm going to go see it tomorrow.
John Miller
Jordi Espunya
>It's not a great book, but it is very entertaining and very readable.
Well, that's enough to me, and I've ordered it through an online
bookshop [not Amazon ] so I can check both, the book and the seller...
;)
Arturo Pérez Reverte is known in France as the spanish Dumas because
he likes to set his novels in past centuries, and the way he writes. I
read once one of his books ["El maestro de esgrima"] and I was not
amazed at all. I'll give it a second chance! 8)
Thanks to all who have replied my post! 8)
James Russell
<webm...@hplovecraft.com> wrote:
>You're very welcome, Duane. But, I must say that your comment goes a long
>way to pointing out exactly why I no longer like "Mythos Stories." To me,
>a fictional history of a fictional book (or monster or town...) is not
>sufficient material for a good story. While plot twists may be a lot of
>fun, I'd also like some important themes and ideas, as well as some well-
>crafted writing. "Stories" are a dime a dozen -- I want "works."
So perhaps you'd care to explain the difference between the two? At
what point does the former become the latter? I'm interested…
--
In nomine Magni Innominandi,
James
Remove "spam-be-damned" to reply by email.
moderan
Not to plug, but a "story" would be, as an example, "Fear and Loathing
In Innsmouth", which doesn't exactly contain any new themes, material,
characters, etc, where a "work" in these terms would be "Blue Easter",
and the novel that it forms a piece of, advancing the mythos with new
themes, new approaches, etc.
I emailed Mr. Loucks with the url so that he can see for himself if he
has time.
If I'm wrong, or approaching this from the wrong angle, apologies for
the presumption.
I want "works" too. It's easy to dash off a story.
"Works" take time and thought.
Karl Kluge
> The film version removed the entire plot-line related to The Club Dumas,
> as I suspected it would.
It would be perhaps more correct to say that elements of it were merged into
the _Book of the Nine Gates_ plotline -- the suicide at the start (although
the motive is changed), the club and its annual meeting (except instead of
being people who own mss. chapters of _The Three Mucketeers_, they are now a
cult devoted to the BotNG)...
Karl