John Anthony West was an American author and lecturer who specialized in ancient Egypt and alternative Egyptology. He was born on July 9, 1932, in New York City and passed away on February 6, 2018. West's contributions to the field of Egyptology are highly regarded and have sparked much debate and discussion among scholars and enthusiasts alike. His most famous work is the 1993 book "The Serpent in the Sky: The High Wisdom of Ancient Egypt," in which he presents his alternative theories about the origins of the Egyptian civilization and the meaning behind their myths and symbolism. West argued that the ancient Egyptians possessed advanced knowledge and wisdom that is often overlooked in mainstream Egyptology. One of the key aspects of West's work is his exploration of the concept of magical Egypt.
Though responsible for a small number of small paintings, Elsheimer remains one of the most important artists of the Baroque period, whose influence is felt in the works of (amongst many others) Rubens, Rembrandt and Claude. Trained in Germany, he moved to Venice in 1598 and Rome in 1600; he specialized in miniature paintings on copper with moody landscape elements, spectacular effects of light and unconventional story-telling. Elsheimer’s few works were eagerly sought after by collectors like the Earl of Arundel, who owned a significant group, including the St Christopher which he gave to Charles I (RCIN 400938). In addition to the three works associated with Elsheimer now in the Royal Collection (RCIN 400613, 400938 & 404717), his Mocking of Ceres (Agnes Etherington Art Centre, Kingston, Ontario) was given to Charles II and subsequently left the collection. This little copper originally featured in the 'newly erected cabbonett' in the King's Private Lodgings, where Charles installed 73 of his smaller pictures, sculptures and books. It is thought to have been acquired by Sir Arthur Hopton, British ambassador to Spain, on his travels through Europe (either 1629 or 1635), presumably when passing through Germany; one assumes the previous owner would have supplied the attribution and the information, which reads "said to be done by Elsheimer before hee went to Italie". The painting is a faithful copy (in oil) of Albrecht Dürer's engraving (c.1500) and Elsheimer's figures may well have been directly traced from an impression – with a couple of centimetres added on for the space Elsheimer added around the figures, the measurements are almost exactly the same as those in the British Museum's impression (11.6 x 7.2 cm). There is no doubt that the woman depicted is meant to be a witch, although the choice to show four cupids playing with different objects in the foreground is more difficult to explain and appears to have no literary precedent. However, in Dürer's famous Melencolia I engraving of 1514 a cupid accompanies the female personification, looking equally sullen in posture as it bows its head. Assuming a variety of unusual, contorted poses, the four cupids in the witch engraving look just as mischievous as the witch. Like in Melencolia I, perhaps they, too, act as an extension of the protagonist's mental state. Dürer scholars tells us that the putti carry an alchemist's pot and thorn-apple plant, also known as Devil's Weed. The poisonous thorn-apple plant comes under the nightshade family and has traditionally been associated with witches' flying ointment and incantations. An alchemist's pot was used to make spells and potions: similar to what we know as a witch's cauldron. The spindle and staff connote weaving; the typical womanly act of the witch, weaving is also used as a figure of speech for making mischief, weaving spells or magic. She sits backwards to emphasise that her doings are the reverse of humans, nature and all normal processes. The goat upon which she rides has long had Satanic associations. Elsheimer changed a number of aspects of Dürer's original, not least making it a nocturnal scene. Other alterations include Elsheimer removing the beginnings of a hail storm in the upper left of Dürer's print and adding in a few long flecks of grass in the foreground. It might also be argued that Elsheimer's witch wears a kinder to expression to that of Dürer's. In his 1977 catalogue entry on The Witch, Keith Andrews admits, after expressing initial doubt about an attribution to Elsheimer, that he was persuaded by the identification of a number of the artist's signature motifs: the "transparent modelling of the figures and the draperies", for instance, and also "the claw-like hand of the witch" and "physiognomical resemblance of the putto on the left to those who hover above the Holy Family in the Berlin painting" (Rest on the Flight to Egypt, 1599). Furthermore, a transformation from day into night appears very in keeping with Elsheimer's artistic development. To Andrews' identifications I would like to add the similarity of face the witch, in particular the stretched, sallow quality of the skin, to that of an old woman in his Mocking of Ceres (1608) and of Baucis in Jupiter and Mercury in the House of Philemon and Baucis (1609, Dresden). One piece of evidence for an attribution to Elsheimer comes from Giovanni Baglione's Le Vitte de' Pittori, Scultori, Architetti of 1642, where author writes of Elsheimer 'I once saw a paper (carta) depicting a night-piece with a Sorceress and with all kinds of spells which represented the horrors of the underworld, and the terrors of the magic arts – a work so beautiful as others of his have been found to be'. Clearly this doesn't refer to the Royal Collection's painting on copper, however it describes a (now lost) drawing or a print of a remarkably similar theme. It should be assumed that Abraham van der Doort's original supposition of 1639 is correct: this is indeed painted by Adam Elsheimer before he went to Italy after a print by Albrecht Dürer and presumably while still a pupil of Philipp Uffenbach. Therefore, it is likely this is the one of Elsheimer's first works on copper and certainly his first known painting.
In his 1977 catalogue entry on The Witch , Keith Andrews admits, after expressing initial doubt about an attribution to Elsheimer, that he was persuaded by the identification of a number of the artist s signature motifs the transparent modelling of the figures and the draperies , for instance, and also the claw-like hand of the witch and physiognomical resemblance of the putto on the left to those who hover above the Holy Family in the Berlin painting Rest on the Flight to Egypt , 1599. In addition to the three works associated with Elsheimer now in the Royal Collection RCIN 400613, 400938 one assumes the previous owner would have supplied the attribution and the information, which reads said to be done by Elsheimer before hee went to Italie.
One of the key aspects of West's work is his exploration of the concept of magical Egypt. He believed that the ancient Egyptians had a deep understanding of the natural world and utilized this knowledge to create a society that was highly attuned to the rhythms and cycles of the universe. West argued that the Egyptians viewed the world as a living, interconnected entity, and that they used rituals, symbolism, and architecture to tap into the hidden energies and powers of the universe.
Witches Are Obsessed With Horses
In 1726, an elderly woman known to history as Janet Horne was paraded through the Scottish town of Dornoch, covered in tar, and burned for being a witch. Janet Horne was a generic placeholder name in Scotland for witches during the period, and this Janet Horne holds the distinction of being the last person executed for witchcraft in the British Isles. One of the curious things about the case was the nature of the accusations against Horne involved her daughter, who had deformed hands and feet. The townspeople accused Horne of having turned her daughter into a pony and ridden her to the Devil to have her shod. Though the daughter escaped the mob, Horne (who by most accounts was elderly and showing signs of senility) was caught and killed.
Verbrennung auf dem Scheiterhaufen. Accessed via Wikimedia Commons.
While casting about for an appropriately Halloween-themed blog post, I found a bevy of information about the connections between witches and horses. Accusations that purveyors of the dark arts were connected to horses abound — even into the 21st Century. A story reported in Blockula, Sweden in 1699 asserted that an army of witches had been accosting men in their sleep, putting an enchanted halter over their heads to turn them into horses. And in another case from Scotland, a woman named Margaret Grant claimed to have been turned into a pony by “evil-disposed persons” and forced to ride great distances.
Two witches smoking their pipes by the fire with a toad at their feet. From The History of Witches and Wizards (1720), Wellcome Library. Accessed via Wikimedia Commons.
In addition to these stories is a recurring, mixed account of the ghostly Nightmare, also called the Night Hag. As far back as the Renaissance, horse owners have reported visits of the Nightmare to their horses. Signs in the morning include the horse covered in sweat, exhausted, and a tangled mane, sometimes described as plaited by supernatural means. The phenomenon has been attributed to witches and pixies (who, being obsessed with mortal horses, steal them to ride at night), and in recent years, to Bigfoot or occult-obsessed horse thieves. So pervasive was the concern over the nightmare that Thomas Blundeville, in his 1564 book The Fower Chiefest Offices Belonging to Horsemanship, included an incantation (and directions for hanging naturally-perforated stones in the stable) to ward against the Nightmare. The incantation was touted by Blundeville as a practical way for horse owners to avoid having to pay a “false Fryer” to produce the warding spell.
The primary sign of the Nightmare is the fairy plaits in the mane. Although skeptics claim that a horse’s mane can easily become tangled on its own under correct atmospheric conditions, elaborate tales of unauthorized braiding have been reported.
“It was very generally accepted as an indisputable fact at that time that not only witches, but also certain malignant sprites who lived in the woodland gardens, occasionally assumed the forms of women clad in white raiment, who in this guise would haunt the stables when night fell. They carried with them tapers of lighted wax, and they used the drippings from these to tangle the horses’ manes into inextricable knots, to the great annoyance both of the steeds and of their grooms.”
—The Horse in Magic and Myth, M. Oldfield Howley, National Sporting Library & Museum
The tying of knots as a spell is an ancient theory of witchcraft. It’s not a huge leap from fairy plaits to the Witch’s Ladder, a layered cord of knots, each with a separate intention of spell. Theories of various malevolent hexes were floated in the late 19th Century, a common one being that the Witch’s Ladder contained a death spell that could only be undone by finding and untying the cord.
Witch’s Ladder, from The Folk-Lore Journal Volume 5 (1888). University of Toronto. Accessed via Wikimedia Commons.
How do we interpret these reports of Nightmare and tangled manes? It could be that in an era where many more people were adept at handling horses, the propensity to “borrow” a turned-out horse for a nighttime ride was a more common practice. A sweaty, exhausted horse from such an exercise might have a tangled mane where an unauthorized rider held on to the steed. Or maybe there’s more to it: pixies, witches, or Bigfoot.
John Connolly has served as the George L. Ohrstrom, Jr. Head Librarian at the National Sporting Library & Museum (NSLM) since early 2014. He is responsible for the care of the Library collections, including books, magazines, photographs, diaries, letters, and much more. The NSLM collections span over 350 years of the history of equestrian sport, as well as fly fishing, wing shooting, and other field sports. Have a question? Contact John by e-mail
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According to West, the Egyptians' magical practices were not just superstitions or mythologies, but practical applications of their advanced knowledge. He argued that their architecture, such as the pyramids and temples, was designed to mimic the movements of the celestial bodies and harness their energy. West contended that the Egyptians were masters of sound and vibration, using these elements to create resonance and harmonize with the universe. Although West's ideas have been met with skepticism by mainstream Egyptologists, his work has gained a significant following among those interested in alternative interpretations of ancient Egypt. His lectures and writings continue to inspire and challenge conventional views of this ancient civilization. West's legacy in the field of Egyptology will undoubtedly endure, as his ideas continue to provoke thought and discussion regarding the true nature of magical Egypt..
Reviews for "John Anthony West's Magical Egypt: A Guide to Ancient Egyptian Architecture"
1. Sarah - 1 star
"John Anthony West's Magical Egypt was a complete disappointment. The show had the potential to explore the rich history and culture of Egypt, but instead, it focused on wild conspiracy theories and pseudoscience. West seemed more interested in pushing his own agenda rather than presenting accurate information. As someone who values historical accuracy and scholarly research, I found Magical Egypt to be nothing more than a sensationalized and misleading representation of Egyptology."
2. Michael - 2 stars
"I had high hopes for John Anthony West's Magical Egypt, but I was left underwhelmed. The show offered little in terms of substantial information and relied heavily on ambiguous symbolism and vague explanations. I appreciate the attempt to delve into the mystical aspects of ancient Egypt, but the lack of evidence-based discussions made it difficult to take the content seriously. It felt more like a New Age presentation rather than a serious exploration of Egyptian history. I would not recommend this series to anyone seeking a comprehensive understanding of Egyptology."
3. Emily - 1.5 stars
"I found John Anthony West's Magical Egypt to be a convoluted mess. The show attempted to blend ancient history, mysticism, and symbolism, but ended up confusing viewers more than enlightening them. The lack of clarity and coherence in the episodes made it hard to follow the narrative. Additionally, the constant references to esoteric knowledge and hidden truths felt more like a cheap attempt to mystify the subject matter rather than provide meaningful insights. Overall, Magical Egypt left me questioning the legitimacy of the claims being made and disappointed in its overall execution."
4. Alex - 2.5 stars
"While John Anthony West's Magical Egypt had some interesting moments, it ultimately fell short of my expectations. The show seemed more interested in pushing alternative theories and fringe ideas rather than presenting a balanced and objective view of Egyptian history. The lack of critical analysis and reliance on anecdotal evidence made it difficult to distinguish fact from fiction. I would have preferred a more scholarly approach to the subject matter, rather than the sensationalized and speculative content that was presented. As a result, I cannot fully endorse Magical Egypt as a reputable source of information on ancient Egypt."