Natural Magic, the Science of Wonders

At the heart of the Renaissance, a unique esoteric tradition flourished under the name of magia naturalis, or natural magic. This magic was presented as real, coherent, and experimental knowledge, based on the study of nature's hidden forces. Renaissance thinkers - humanists, scholars, and sometimes members of the clergy - claimed natural magic as the heir to an ancient wisdom passed down from Antiquity and considered it “the practical part of natural science,” legitimate and non-heretical, to use the words of Pico della Mirandola (a famous Italian thinker and avant-garde intellectual). Driven by firm conviction, these “natural magicians” explored the world with wonder and method: nature was alive, filled with hidden forces and correspondences that could be understood and used to act upon reality. This esoteric knowledge sought to pay tribute to Creation itself, a way of honoring God or Nature by uncovering its mysteries in order to improve the human condition. Discover it.

Ancient Origins and Medieval Resurgence

The notion of natural magic has its roots in Greco-Roman and Eastern Antiquity. The sages of Antiquity - whether the mythical Hermes Trismegistus of the Hermetic tradition, the Pythagorean philosopher, the Chaldean magus, or the Egyptian priest - were considered the custodians of a prisca theologia, a primordial wisdom predating religions that taught the unity of the cosmos and the means of entering into harmony with it. The writings attributed to Hermes Trismegistus, rediscovered later during the Renaissance, describe a living universe saturated with spiritual forces and symbols, in which man (as microcosm) reflects the cosmos (macrocosm) and can, through magic, act upon nature by virtue of universal correspondences. In the Greco-Roman world, authors such as Plato and the Neoplatonists developed the idea of a hierarchy of beings and a world soul that connects all things, while encyclopedists such as Pliny the Elder compiled the marvelous properties of plants, stones, and animals in works that would become authoritative in the Middle Ages. Although magic was condemned by official philosophy (Aristotle viewed it with suspicion, and Plato discouraged it among legislators), certain practices associated with “natural magic” were transmitted: the use of medicinal herbs with unexplained virtues, the attraction of magnets, astonishing ointments, planetary talismans,... Late Neoplatonic writings (such as Iamblichus's Theurgy) and the Cyranides (a Hermetic compendium of the occult properties of animals and minerals) testify to a persistent belief in nature's hidden forces and the possibility of employing them through rites or recipes.

Depiction of Hermes Trismegistus

With the advent of Christianity, magic was relegated to the realm of paganism and diabolical works. In the 5th century, Saint Augustine unequivocally condemned all non-miraculous magical practices, asserting that “all the wonders of magicians are performed through the cooperation of demons.” Nevertheless, within medieval monasteries, the thirst to understand the mirabilia (wonders of creation) persisted. In the 13th century, two Christian scholars paved the way for the partial rehabilitation of natural magic: Albert the Great (Albertus Magnus) and Roger Bacon. Albert the Great, an erudite Dominican, explored the occult properties of plants and stones in his treatises, seeking to distinguish what belonged to God's natural work from what might be demonic illusion. As for Roger Bacon (c. 1214-1294), an English Franciscan later nicknamed Doctor Mirabilis, he was a bold precursor who embraced mathematics, optics, alchemy, and mechanics in order to uncover nature's secrets. Bacon openly championed magia naturalis: he defended it as a legitimate science and railed against the “infinite stupidity” of his colleagues who refused to see its usefulness. Aware of the suspicions of heresy he risked, he took care to distinguish natural magic - based on occult physical causes - from maleficent magic founded on demons. In a famous letter (Epistola de secretis operibus artis et naturae, et de nullitate magiae), Bacon asserted that the feats attributed to magicians were in reality merely the fruit of art and nature, not supernatural spells. In other words, he sought to “naturalize” magic: to explain rationally marvelous effects that seemed magical, by showing that they imitated natural processes without diabolical intervention. Astrology (astral influences on the sublunary world) and alchemy could, according to Bacon, be interpreted through hidden natural causes - his theory of the multiplication of species (the emission of invisible forces by objects) provided an explanatory framework for these actions at a distance. Thanks to thinkers such as these, magia naturalis gradually freed itself from the suspicion of witchcraft. On the eve of the Renaissance, it appeared as a field of knowledge in its own right, embracing the study of nature in its most mysterious aspects and foreshadowing the empirical spirit of modern times.

The Renaissance Apogee and Its Emblematic Figures

It was during the Renaissance (15th-16th centuries) that natural magic experienced its golden age, benefiting from the rediscovery of ancient texts and the rise of humanism. In an intellectually vibrant context - Medici Florence, Rome under learned popes, European courts fascinated by the occult - magia naturalis acquired philosophical legitimacy and found prestigious champions. Marsilio Ficino, Pico della Mirandola, and Giambattista della Porta were among the most illustrious representatives of this tradition, alongside other notable authors such as Cornelius Agrippa, Paracelsus, John Dee, Jerome Cardan, and Robert Fludd. They all shared the conviction that natural magic, properly understood, was nothing other than the profound science of nature's secrets - “the highest power of the natural sciences,” as Agrippa called it. They therefore sought to establish its theoretical foundations and codify its practices, while proclaiming its harmony with the Christian faith.

Marsilio Ficino (1433-1499): Magical Neoplatonism

A Florentine philosopher and translator of Plato and the Hermetic texts, Marsilio Ficino is considered the father of Renaissance natural magic. Protected by Cosimo de' Medici, he led a Platonic Academy in Florence and sought to reconcile the pagan wisdom of the “ancient theologians” (Hermes Trismegistus, Orpheus, Zoroaster,…) with Christianity. Ficino saw natural magic as a form of piety toward God: by studying the secret links joining man, nature, and the stars, the magus discovered the laws by which the Creator governed the world and could thus attune himself to the cosmos. His principal work on the subject, Three Books on Life (De vita libri tres, 1489), devoted its third book to a genuine theory of natural magic, which would become “the quintessential Renaissance treatment of the subject.” Ficino explained how the world soul diffused influences from the stars into plants, stones, and metals. Drawing on Neoplatonism, he described a hierarchical universe in which the degrees of being were linked by sympathetic correlations. Magic, according to him, consisted of drawing beneficial astral influences toward oneself by using appropriate correspondences in the earthly realm.

Marsilio Ficino. Source: Oraedes

Ficino relied on Hermetic-Neoplatonic doctrine: everything that exists proceeds from a divine Emanation and remains connected through a network of sympathies. “That which is above is like that which is below” - the famous Hermetic adage - meant that an analogical relationship existed between celestial realities (ideas, stars, angels) and lower realities (minerals, plants, organs of the body). By knowing these analogies, the magus could create talismans or remedies that absorbed the corresponding celestial virtues. A talisman fashioned under a favorable astrological configuration, or a potion prepared with herbs ruled by the same planet, served as a receptacle for benevolent cosmic influences. Ficino went so far as to recommend, to strengthen the soul and body, the use of objects or practices imbued with celestial harmony: listening to Orphic hymns dedicated to the planets, wearing solar jewelry and carrying solar plants to invigorate oneself with the Sun's energy,... This “medicinal astrology” belonged to what he called magia naturalis - which he described as operative knowledge enabling one to draw “from above” (coelitus) the vital influences of heaven down to earth. While remaining a Christian priest, Ficino took care to exclude any invocation of spirits or demons: his magic was intended to be natural, not goetic. He emphasized the magus's moral preparation (who had to be wise and virtuous) and contemplation as a means of raising his soul toward divine light. Thus, in Ficino, natural magic took on a philosophical and mystical character as much as a practical one - it was a way of healing body and soul by aligning oneself with the harmony of the world. His fundamental contribution was to demonstrate that magic, purified of crude superstition, could be integrated into the natural philosophy and theology of his time as a respectable form of knowledge. Marsilio Ficino thus laid the foundations of a learned celestial magic that would inspire the next generation of Renaissance esotericists.

Giovanni Pico della Mirandola (1463-1494): The Union of All Wisdoms

Ficino's admiring disciple, the young Count Pico della Mirandola, pushed the bold rehabilitation of magic even further. A precocious genius, in 1486 he wished to defend publicly 900 theses covering all knowledge - theology, philosophy, natural sciences, and magic. In these Conclusiones (1486), as well as in his famous Oration on the Dignity of Man, Pico exalted the human capacity to rise toward the divine through knowledge of all the arts, including magic and the Kabbalah. A noble and Christian magic: Pico stated unambiguously that magia naturalis was the practical part of natural philosophy and that, as such, it was not only lawful but honorable - “the noblest part of natural philosophy,” he wrote, because it applied its principles in practice. He founded Christian Kabbalah, integrating Jewish mysticism (combinations of Hebrew letters, angels, and sephirotic spheres) into Neoplatonic magic, believing that these two esoteric traditions corroborated Christian revelation. For Pico, natural magic enabled man to become, in the words of his Oration, “the master and lord of nature” once more, by deciphering the secret language through which God had connected all things. He nevertheless distinguished between two forms of magic: one purely natural (acting through occult physical causes, symbols, and astral influences), and the other, higher form, which he called divine magic or theurgy, calling upon celestial intelligences (angels). The first belonged to human science of the created world, while the second was a spiritual operation approaching miracles - and Pico was interested in both, while firmly condemning maleficent goetia.

In his Kabbalistic theses, the young count proposed, for example, numerical explanations for biblical mysteries, seeking to prove the divinity of Christ through the Kabbalah. In his magical theses, he maintained that the magus, through enlightened will and faith, could draw celestial forces toward himself and even compel the demons themselves - a position that would earn him accusations of impiety. His overly innovative ideas were condemned by the Church in 1487, and Pico had to renounce part of his theses to escape the fate of a heretic. Nevertheless, his influence was profound: he legitimized the study of occultism within Christian Neoplatonism. He proclaimed that “there is no science that gives us greater certainty of Christ's divinity than magic and the Kabbalah,” a provocative declaration that testified to his conviction that the hidden truths of nature and those of faith converged in a single wisdom. Pico della Mirandola died too young to develop his system further, but his intellectual legacy is immense: he showed that natural magic could be allied with a broad syncretism (ranging from Zoroaster to Moses, from Plato to the Kabbalah) and serve a humanist project exalting the infinite dignity of man, capable of understanding everything. For the thinkers who followed in his footsteps, magic no longer appeared as superstitious fantasy, but as an esoteric key opening the way to total knowledge.

Giambattista della Porta (1535-1615): The Scholar of Natural Wonders

A century after Ficino and Pico, the Italian Giambattista della Porta embodied the practical culmination of magia naturalis and the transition toward modern science. A Neapolitan nobleman passionate about every field of knowledge, Della Porta founded the Academy of the Secrets of Nature (Academia Secretorum Naturae) in Naples around 1560, where he invited scholars who had discovered a secret of nature to come and share it. His major work, Magia naturalis, initially published in 1558 (4 books) and then expanded in 1589 (20 books), was a vast compendium of the wonders of the natural world, combining recipes, observations, and theoretical speculation.

Della Porta was interested in everything: geology, botany, optics, mineralogy, medicine, cooking, metallurgy, magnetism, pyrotechnics… His Magia naturalis described the manufacture of a burning mirror or sympathetic ink just as readily as methods for producing a cosmetic elixir, improving a camera obscura, or making a respectable woman undress by burning a certain lamp fueled with hare fat. This eclecticism earned him immense success throughout Europe (translations into Italian, French, Dutch,...) and secured his reputation as a learned magus. Yet Della Porta denied practicing any form of sorcery: he entirely naturalized magic, banishing every incantation or prayer from his book. He carefully avoided the slightest suspicion of ceremonial magic - no spiritual ritual was required, only knowledge of things and the artisan's skill. For him, magic was “the noblest part of philosophy” (as he proclaimed in Book I), and the magician was an artifex, a man of art who manipulated nature ingeniously.

Giambattista della Porta. Source: The Famous People

Della Porta adopted Ficino's Neoplatonism: he described a strict order of Creation in which universal forms emanated from God to the angels, then to souls, and finally into the occult qualities of material things. These hidden qualities (occultae) were real but subtle properties, inexplicable through matter alone - the small magnet stone attracted heavy iron, or a tiny blade of grass healed an organ: for him, the cause had to be a form, an immaterial virtue transmitted by the stars. Natural magic was therefore the applied science that studied these occult properties and learned how to make use of them. Della Porta defined it figuratively: just as a farmer prepared the soil so that nature could produce its crops, the natural magus “prepared matter in a special way to allow its occult (though natural) properties to appear.” The magician was thus “the servant of nature”: he did not violate natural laws; he assisted them by creating the conditions conducive to marvelous effects. As a good humanist, Della Porta sought confirmation of his recipes in ancient authors, drawing on Pliny or Theophrastus, but he also added his own observations and even experiments he had conducted. For example, he improved the lens of the camera obscura, studied refraction in order to design a prototype telescope, described the anesthetic effects of a soporific ointment, and much more.

Porta's Magia naturalis was emblematic of the meeting between ancient magical wisdom and emerging scientific curiosity. On the one hand, it contained the classic themes of Renaissance occultism - sympathetic magic (acting at a distance through similarity), astrological talismans, correspondences between Heaven and Earth. On the other hand, the author offered decidedly naturalistic explanations: far from attributing wonders to spirits, he sought their hidden material or astral cause. In particular, he explained the “charm” that made a bull tied to a barren tree docile through an unknown botanical property, or the power of a witch's ointment to induce sleep through a plant-based narcotic, which he detailed (including henbane). His pragmatic approach attracted the Inquisition's concerned attention (he was briefly arrested and monitored throughout his life), but it also corresponded to the spirit of his time, which was shifting toward observation and experimentation. Giambattista della Porta would bridge natural magic and science: his studies of magnets, herbs, and lenses paved the way for the invention of the microscope and telescope, while his observations on plant reproduction foreshadowed botany. In his work, natural magic was only one step away from becoming experimental science - freed from every supernatural element and focused on the search for causes and the technical mastery of reality. Della Porta can be seen as the last of the great Renaissance magi and the first of the modern scholars curious about everything, magnificently illustrating the transition from occultism to science.

Philosophical Foundations

Renaissance magia naturalis rested on a syncretic philosophical foundation, drawn primarily from Neoplatonism and Hermeticism and enriched by Aristotelian concepts and mystical traditions such as the Kabbalah.

Inherited from Plotinus and his later successors (Porphyry, Iamblichus, Proclus), Neoplatonic thought postulated a hierarchical reality emanating from a supreme principle (the One or God). Between God and the material world unfolded intermediaries: celestial intelligences (angels or demons in the neutral sense), the World Soul, stars, and finally the earthly elements. Each level reflected the one above it and influenced the one below it in a continuous chain of causes. This cosmic vision was Christianized during the Renaissance by Ficino and Pico, who saw in it the plan of divine Creation. Within this framework, natural magic was legitimized as the study of the mechanisms by which influences descended from heaven to earth.

The writings attributed to Hermes Trismegistus (Corpus Hermeticum, translated by Ficino in 1463) permeated Renaissance magic. They contained the idea that man was a microcosm in the image of the macrocosm (the universe), and above all the famous maxim: “That which is below is like that which is above” (Emerald Tablet). This law of universal analogy lay at the heart of the magic of correspondences. Hermeticism taught that the sage, through knowledge of nature's arcana, could become a magus - that is, a “priest of Creation,” cooperating with the divine. The Hermetic world was filled with signs and symbols that the magician had to decipher. It emphasized the power of words, numbers, and images - a legacy taken up in natural magic through talismans covered with figures, magical squares of numbers, or planetary names inscribed on rings.

One of the key principles of magia naturalis was that secret bonds united the different things in nature. The stars and metals, plants and organs of the human body, colors, sounds, and planets - everything could correspond. This network of correspondences formed the basis of the laws of universal sympathy and antipathy. Sympathy was the mysterious attraction between two things linked by an occult affinity. Antipathy, by contrast, was the repulsion between things of opposite natures (cabbage hated the vine so much that it supposedly made it wither, or the rooster drove away the lion - examples often cited). These ideas came partly from Aristotelian natural philosophy (the concept of occult qualities in substances) and ancient medicine (the theory of humors and temperaments). In the Middle Ages, they were rationalized by Thomas Aquinas and the scholastics, who accepted that God might have placed hidden virtues in nature for certain uses - as long as their effects did not exceed the natural order, they could be studied without impiety. Thus, the philosophical foundation of natural magic lay in the belief that the world was a coherent whole, willed by a supreme Intelligence, and that by decoding its symbols the scholar could discover the sequence of invisible causes. Neoplatonism provided the overall vision (a hierarchical and interconnected cosmos), Hermeticism the analogical key (symbols and correspondences), and Aristotelianism the idea of hidden causes acting by virtue of nature. To this was added, in certain authors such as Pico, the contribution of the Kabbalah, which enriched the system with new correspondences (Hebrew letters associated with planets, angels, and parts of the body, forming another network of sympathies). The philosophy of magia naturalis was a syncretism intended to explain nature's marvels without invoking demons: every strange effect had a hidden natural cause, which the magus identified through analogies in Creation.

Knowledge and Practices of Natural Magic

Renaissance natural magic encompassed a vast range of disciplines and practices, halfway between emerging science and traditional occult art. It was often described as “broad and malleable,” covering medicine, pharmacology, alchemy, astrology, mineralogy, mechanics, rhetoric, the study of languages, and many other fields. Here are some of its principal areas:

• Herbalism and occult medicine: Renaissance magicians were skilled botanists and physicians. They sought the virtues of plants - that is, their hidden properties - especially for therapeutic purposes. Paracelsus, for example, introduced the notion of plant signatures: the shape or color of a plant indicated which organ it could heal. Ficino recommended potions made from plants “under the influence of Venus” to treat lovesickness, or of Saturn for melancholy. Magical ointments such as witches' ointment (a mixture of henbane, opium, and other hallucinogenic plants) were prepared to induce dreams or journeys of the soul - Della Porta gave its recipe while stripping it of its demonic aura by scientifically explaining its narcotic effects. The herbalism of natural magic was combined with alchemy: extracting the “essence” of a plant through distillation, concocting elixirs of long life or panaceas. These practices prepared the way for the emergence of modern chemistry and pharmacology, although they were still steeped in astrological symbolism.

• Astrology and talismans: astrology was the cornerstone of most natural magic operations. The guiding idea was that the stars imbued earthly matter with their influences. The practitioner therefore had to know the celestial configurations favorable to each undertaking. Marsilio Ficino thus offered advice on capturing the influx of Saturn (the planet of thinkers) when one wished to stimulate contemplation, or of Venus (the planet of harmony) to treat ailments related to the balance of the humors. Astrological talismans were objects (medallions, rings, statuettes) made from symbolic materials and engraved with planetary symbols, which were exposed at a precise astrological moment so that they could “absorb” the influence of the star. Cornelius Agrippa explained how to forge a seal of Jupiter under a Jupiter horoscope to attract wealth and health. Once “charged,” these talismans were worn as concentrated forms of beneficial influences - a widespread practice intended to be natural (drawn from celestial qualities) rather than idolatrous. Similarly, medical astrology (or iatronomy) established correspondences between the signs of the zodiac and parts of the body, and between planets and organs: the magus-physician had to choose the right time to administer a remedy or make an incision, in accordance with the heavens. Astrology thus offered a unifying theoretical framework for natural magic, connecting all its branches through the same network of cosmic influences.

• Minerals, metals, and occult properties: besides plants, natural magi took an interest in stones, metals, and magnets. Each stone was attributed an occult virtue: the magnet (magnetite) attracted iron and, by analogy, love or friendship; amethyst protected against drunkenness, emerald strengthened sight,... by virtue of their color or luster (the visible signature of their power). Metals were associated with the planets (gold and the Sun, silver and the Moon, mercury and Mercury, copper and Venus, iron and Mars, tin and Jupiter, lead and Saturn), so that the use of metals in alchemy or medicine rested on these correspondences. Alchemy, precisely, was classified as magia naturalis when it focused on the transmutation of metals through natural means (furnaces, solvents), imitating the earth's slow work. Paracelsus expanded alchemy into spagyria (the separation and recombination of the active principles of natural substances) to produce remedies: this medical alchemical approach would be one of natural magic's lasting legacies in pharmaceutical chemistry.

• Sympathies, antipathies, and actions at a distance: one of the most fascinating aspects of natural magic was the idea that one could act upon an object or person from a distance by exploiting a secret link. This was the theory of sympathies. A well-known example was that a person could be healed by applying a balm not to their wound, but to the weapon that had injured them (sympathetic ointment), a practice reported by numerous authors. The subtle link between the blade and the wound (through dried blood, it was thought) meant that treating one would heal the other at a distance - an occult explanation that scholars would later attempt to elucidate in physical terms (some saw it as an early form of chemical action at a distance). Similarly, it was believed that nailing a person's portrait to a tree could make them waste away (negative sympathetic magic), or that carrying a fragment of mandrake would attract love (positive sympathy). Magic mirrors were another category: a properly prepared mirror could capture images at a distance (Della Porta thus designed parabolic mirrors for transmitting luminous messages - here we enter the realm of optics more than the occult). All these practices rested on the idea that nature formed a network in which everything communicated invisibly: the magus worked through these subtle connections. The laws of sympathy and antipathy, mentioned above, explained why certain plants did not coexist (botanical antipathy) or why a particular remedy drew a disease toward itself to extract it from the patient (sympathetic transfer). Although some of these practices seem esoteric to us, it must not be forgotten that their proponents approached them with a spirit of observation and experimentation. The resulting wonder - those astonishing effects that defied common understanding - was precisely what the emerging scientist would seek to naturalize through objective explanations. In this sense, natural magic served as a stimulus to scientific inquiry: faced with an inexplicable phenomenon, the magus's instinct was to explore it, reproduce it, and understand it, rather than dismiss it immediately as impossible.

The Legacy of magia naturalis

Through an apparent paradox, it was by taking natural magic seriously that the Renaissance gave birth to modern science. Indeed, magia naturalis instilled several fundamental attitudes in curious minds: confidence in nature's rational order, the importance of concrete experience, the patient collection of strange facts, and the courage to formulate hypotheses to explain the invisible. Before Francis Bacon and Galileo, the great magi of the Renaissance were already experimenters.

The historian of science William Eamon puts it this way: Renaissance natural magic was “the science that attempted to provide rational and naturalistic explanations” for phenomena, with natural magicians asserting that “nature abounds in hidden forces and powers that can be imitated, improved, and exploited for human benefit.” In their eyes, magic was even the best way to put an end to the systematic attribution of mysteries to miracles or demons - to disenchant the world while preserving its sense of natural wonder. The boundary between the alchemist's laboratory and that of the 17th-century chemist was narrow: the same glassware, the same substances, but an analytical framework gradually detaching itself from astrology and turning toward quantitative measurement. The turning point came when followers of natural magic began abandoning esoteric jargon in favor of speaking in terms of physical properties. At the beginning of the 17th century, successors such as Francis Bacon (the English philosopher) drew inspiration from the ideal of the magus mastering nature while refining the concept: in his New Organon, Bacon dreamed of an active, experimental science delivering “power” over nature - a direct legacy of the magical aim (let us recall that science and power went hand in hand in the magical mindset, expressed by the formula scientia est potentia). Transitional figures embodied this osmosis: Johann Kepler, a major astronomer, was influenced by astrology and sought the secret music of the spheres; Isaac Newton himself practiced alchemy and left behind a large quantity of esoteric writings while establishing celestial mechanics. The Royal Society in the 17th century could not have emerged without the prior enthusiasm for the “secrets of nature” spread by the circles of magia naturalis (Porta's Academy was a prototype, as were the networks of alchemists and Paracelsians throughout Europe). Certainly, the rising science would gradually reject the unverifiable aspects of magic (the world soul, mystical sympathies), but it would preserve its essence: the idea that the world obeys hidden laws that must be discovered through observation and experience. In this sense, magia naturalis was a formidable school of wonder and emerging rigor. As the historian Paola Zambelli writes, Renaissance magicians were often rationalists unaware of being such, seeking to understand how “the marvelous” was possible rather than denying its existence. The process of demystifying nature had begun.

In the light of history, magia naturalis thus appears as far more than a compilation of strange practices or an obscure chapter of occultism. It was a genuine operative natural philosophy, an ancient wisdom revived, in which scholarship engaged in dialogue with emerging empiricism. From the mythical Antiquity of Egyptian priests to the cabinets of curiosities of Baroque scholars, passing through Renaissance courts fascinated by astrology, natural magic wove a connecting thread: active wonder before nature. Rejecting easy contempt for this knowledge of the ancients, we have here adopted an engaged position to give voice once again to these magus-philosophers. Their speculations on the world soul, their talismans engraved with symbols, their distillations in a bain-marie, and their astrological calculations were not mere superstition, but formed a coherent system aimed at deciphering creation. By paying tribute to this tradition, we can see that it constituted one of the foundations of the scientific revolution: by seeking to uncover nature's hidden secrets, the practitioners of magia naturalis prepared minds for the idea that nature obeys laws and that man can become its interpreter and master. As Pico della Mirandola asserted, man's dignity lies precisely in being able to embrace the whole of creation with his mind, from material realities to celestial truths. Natural magic was, in its time, the expression of this dignity and this thirst for total knowledge. Even today, when reading the works of Ficino, Agrippa, or Della Porta, one is struck by the modernity of their ambition: to understand the world in depth without excluding its wonders. This is why magia naturalis remains a captivating subject of study for historians of science and philosophers - reminding us that the boundary between magic and science was porous for a long time, and that the scientific laboratory was born from the old “magic laboratory.” Ultimately, natural magic appears as knowledge that was both poetic and pre-scientific, a tribute to the hidden powers of nature. It illustrates an era in which people believed that knowledge, far from dispelling the world's enchantment, could instead heighten it by revealing the universe's secret harmony - an era when studying nature was simultaneously an act of faith, art, and science.