History of Astrology - Medieval and Renaissance Europe

Medieval and Renaissance Europe

Whilst astrology in the East flourished following the break up of the Roman world, with Indian, Persian and Islamic influences coming together and undergoing intellectual review through an active investment in translation projects, Western astrology in the same period had become “fragmented and unsophisticated … partly due to the loss of Greek scientific astronomy and partly due to condemnations by the Church.” Translations of Arabic works into Latin started to make their way to Spain by the late 10th century, and in the 12th century the transmission of astrological works from Arabia to Europe “acquired great impetus”.

By the 13th century astrology had became a part of everyday medical practice in Europe. Doctors combined Galenic medicine (inherited from the Greek physiologist Galen - AD 129-216) with studies of the stars. By the end of the 1500s, physicians across Europe were required by law to calculate the position of the Moon before carrying out complicated medical procedures, such as surgery or bleeding.

Influential works of the 13th century include those of the British monk Johannes de Sacrobosco (c. 1195–1256) and the Italian astrologer Guido Bonatti from Forlì (Italy). Bonatti served the communal governments of Florence, Siena and Forlì and acted as advisor to Frederick II, Holy Roman Emperor. His astrological text-book Liber Astronomiae ('Book of Astronomy'), written around 1277, was reputed to be "the most important astrological work produced in Latin in the 13th century". Dante Alighieri immortalised Bonatti in his Divine Comedy (early 14th cent.) by placing him in the eighth Circle of Hell, a place where those who would divine the future are forced to have their heads turned around (to look backwards instead of forwards).

In medieval Europe, a university education was divided into seven distinct areas, each represented by a particular planet and known as the seven liberal arts. Dante attributed these arts to the planets. As the arts were seen as operating in ascending order, so were the planets in decreasing order of planetary speed: grammar was assigned to the Moon, the quickest moving celestial body, dialectic was assigned to Mercury, rhetoric to Venus, music to the Sun, arithmetic to Mars, geometry to Jupiter and astrology/astronomy to the slowest moving body, Saturn.

Medieval writers used astrological symbolism in their literary themes. For example, Dante's Divine Comedy builds varied references to planetary associations within his described architecture of Hell, Purgatory and Paradise, (such as the seven layers of Purgatory's mountain purging the seven cardinal sins that correspond to astrology's seven classical planets). Similar astrological allegories and planetary themes are pursued through the works of Geoffrey Chaucer.

Chaucer's astrological passages are particularly frequent and knowledge of astrological basics is often assumed through his work. He knew enough of his period's astrology and astronomy to write a Treatise on the Astrolabe for his son. He pinpoints the early spring season of the Canterbury Tales in the opening verses of the prologue by noting that the Sun "hath in the Ram his halfe cours yronne". He makes the Wife of Bath refer to "sturdy hardiness" as an attribute of Mars, and associates Mercury with "clerkes". In the early modern period, astrological references are also to be found in the works of William Shakespeare and John Milton.

One of the earliest English astrologers to leave details of his practice was Richard Trewythian (b. 1393). His notebook demonstrates that he had a wide range of clients, from all walks of life, and indicates that engagement with astrology in 15th century England was not confined to those within learned, theological or political circles.

During the Renaissance, a form of "scientific astrology" evolved in which court astrologers would compliment their use of horoscopes with genuine discoveries about the nature of the universe. Many individuals now credited with having overturned the old astrological order, such as Tycho Brahe, Galileo Galilei and Johannes Kepler, were themselves practicing astrologers.

At the end of the Renaissance the view of astrology as a science collapsed with the breakdown of Aristotelian Physics and rejection of the distinction between the celestial and sublunar realms, which had historically acted as the foundation of astrological theory. Keith Thomas reports that although heliocentrism is consistent with astrology theory and poses no concern in itself, 16th and 17th century astronomical advances which had proven the regularity of comets, and Tycho Bhahe’s ‘new star’ demonstration that the higher heavens were subject to change and decay, meant that “the world could no longer be envisaged as a compact inter-locking organism; it was now a mechanism of infinite dimensions, from which the hierarchical subordination of earth to heaven had irrefutably disappeared”. Initially, amongst the astronomers of the time, “scarcely anyone attempted a serious refutation in the light of the new principles” and in fact astronomers “were reluctant to give up the emotional satisfaction provided by a coherent and interrelated universe”. In response, the mid-17th century astronomers made a determined effort to bring the subject of astrology up to date. However, the problem of astrology no longer having a tenable theoretical basis meant that by the 18th century the intellectual investment which had previously maintained astrology’s standing as a science was ultimately abandoned. Historian of science Ann Geneva reports:

Astrology in seventeenth cenury England was not a science. It was not a Religion. It was not magic. Nor was it astronomy, mathematics, puritanism, neo Platism, psychology, meterology, alchemy or witchcraft. It used some of these as tools; it held tenets in common with others; and some people were adept at several of these skills. But in the final analysis it was only itself: a unique divinatory and prognostic art embodying centuries of accreted methodology and tradition.