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John Dee’s obsidian mirror in the British Museum

6th Aug 2021

John Dee’s obsidian mirror in the British Museum

John Dee performing an experiment before Queen Elizabeth I - painting by Henry Gillard Glindoni

We’re delighted to present here, with the author’s kind permission, an abridged version of a chapter titled ‘Mirror Man: John Dee’s Obsidian Mirror in London’s British Museum’, originally published (in Spanish) in Tetzáhuitl: los presagios de la conquista de México edited by Guilhem Olivier (Museo del Templo Mayor/INAH, Mexico City, 2019), written by - and our thanks to - Dr. Rachel King, Curator: European Renaissance and Waddesdon Bequest, Department of Britain, Europe and Prehistory, British Museum. (Abridged by Ian Mursell/Mexicolore)

Few figures of the English Renaissance have captured the 20th-century imagination as frequently as the English polymath John Dee (1527-1608/9). Dee is, and has been, studied by historians of astrology, alchemy and the occult, of mathematics, science and exploration, and of philosophy, literature, and religion. That John Dee is capable of attracting such multifaceted attention reflects the interdisciplinary range of his own broad interests across his long life time. He took an active interest in what Europeans called the ‘New World’ but also dedicated years to attempts at the divination of God’s word.

John Dee was born on 13 July 1527 in London, England, and educated at Cambridge University (1542-48). He travelled to Continental Europe on many occasions. There he met a number of important thinkers. Although Dee himself never left Europe’s shores, he read about those who did. He owned and, as his extensive annotations show, read the Italian edition of Ferdinand Columbus’ History […] of the Life & Deeds of the Admiral Christopher Columbus (1571). This book fed Dee’s appetite for information about Spain’s voyages of exploration, which Dee felt England had the capacity to surpass. In practical terms, Columbus’ reports were models of good practice for English mariners. Dee was also, however, more widely and critically aware of the nature of contact. In the margin alongside Ferdinand’s remark that Christopher had prevented the Spanish sailors he commanded from taking anything from the people they encountered lest they be accused of theft, Dee witticised: “well done if you had kept that rule allwayes [sic]”. Dee is sure to have known of the riches captured by Francis Drake from the Spanish during Drake’s 1577-80 circumnavigation.

Objects were just as key to Dee’s knowledge of the world. On his trips abroad, he bought scientific instruments and laboratory vessels. In his home-library at Mortlake, southwest of London, there were a variety of compasses, a ‘watch-clock’, two Mercator globes which Dee, who had met and corresponded with their maker, had worked over and updated, a lodestone (magnet), a cross staff, and a ring dial. Tutoring those around him in their use and recommending their purchase, or even lending them, Dee promoted their take-up among English explorer-mariners. But for Dee these tools were more than just aids to navigation. Dee also studied the stars as good news portents and bringers of omens.

Dee, however, is less well known for his star-gazing, than for his glass-gazing. From at least the late 1570s, and then more intensively throughout the 1580s and onwards, Dee engaged in what he called ‘angelic conversations’. His accomplice Edward Kelley contacted celestial beings by gazing at and into objects made of polished shiny materials in sessions that today sit uneasily between magic and religion. Clear crystal balls were thought especially suitable for calling up visions of angels and spirits. Dark reflective obsidian was especially suitable for visions of the future. Skilled seers like Kelley could enter a trance-like state, transcend barriers between the physical and spirit worlds, and concentrate occult rays. Kelley looked, saw and recounted mysterious images and messages; Dee listened, scribed and interpreted. Dee appears to have seen himself as akin a prophet. God had chosen him to receive such messages, and he recorded them in ‘angelic diaries’.

Dee certainly already owned some form of “glass” in March 1575, when Queen Elizabeth I passed Mortlake and he demonstrated an object capable of projecting images into thin air (main picture). However, the precise nature of the Dee-Kelley toolkit is not recorded. Dee and Kelley are likely to have prepared themselves appropriately by fasting, washing, dressing appropriately, and praying. When at Mortlake, the set up seems to have included candles, ‘holy furniture’, and a desk in the room Dee called his ‘oratorie’. Elsewhere this ceremonial space was replicated using fabric, candles and furniture. The angelic diaries record that the men used a “great chrystalline [sic] globe” – perhaps the same as or different to an also-mentioned crystal ball in wooden frame – and a stone that the angels themselves had delivered to Dee in their engagements with the spirit world.

The British Museum in London is home to a crystal ball which has been linked to Dee since at least the mid-19th-century (SLCups 232). And since the mid-20th-century, the Museum also has been custodian of an obsidian mirror with a matching case (reg. no. 19611,1001.1) to which Dee’s name is also attached. Measuring 22 cm by 18.4 cm this was purchased from the Reverend Robert William Stannard for the sum of £750 in 1966. A number of previous owners are known. The most prominent is the author, antiquarian and politician Horace Walpole (1717-97). Walpole recorded that this was “the Black stone into which Dr Dee used to call his spirits” on a small handwritten label and pasted this into its leather case.

Walpole also had information, as yet still un-confirmed, that the ‘stone’ had originated in the collection of Henry Mordaunt, the Earl of Peterborough (1621-75). Despite many attempts to find a link between Mordaunt and Dee, a connection still waits to be found. It is certainly very possible Dee would and could have owned such an object of mystery and exotic origin, especially given his later links to Rudolf II. We now know it to be an obsidian mirror. These were novelties and curiosities in Europe at the time, and a number could be found in the Kunst- and Wunderkammer collections of European courts.

Certainly made before 1521, the British Museum mirror is one of several surviving. In pre-hispanic Mesoamerica such mirrors were symbols of royal power and tools for divination and destiny revelation. It is very unlikely that Dee, had he owned or seen such an object, would have appreciated its complex function, although he may have recognised it as hailing from the ‘new world’. Nonetheless, it is certainly highly interesting that other early owners such as Walpole still linked the curious gleaming object – which Walpole believed to be polished coal – to divination, despite the then apparently complete erasure of its original cultural significance and context.

Picture sources:-
• Main: John Dee performing an experiment before Queen Elizabeth I, painting by Henry Gillard Glindoni, Wellcome Trust/Wikipedia
• Pix 1, 4, 6, 7 & 8: photos by Ian Mursell/Mexicolore
• Pic 2: image found on the internet (details not retained)
• Pic 3: photo by Vassil, Wikipedia (John Dee golden disc)
• Pic 5: photo ©Trustees of the British Museum.

Cuauhtli

An ‘Aztec obsidian mirror’ has been found in the collections of the National Palace Museum, Taipei (Taiwan) (follow the link ‘See and Be Seen’). Is this a mirrorcle...?

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John Dee’s obsidian mirror in the British Museum

John Dee performing an experiment before Queen Elizabeth I - painting by Henry Gillard Glindoni

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