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Centuries before Neo instantly mastered Kung Fu in The Matrix, medieval scholars found a shortcut to years of difficult study: a magical manuscript that promised to fast-track advanced learning. Anne Lawrence-Mathers investigates the Ars notoria, its supposed powers, and the demonic influence it had upon some users. Two figures related to the art of astronomy from a manuscript of the Ars notoria (NLI Ms. Yah. Var. 34), ca. 1550–1600. Each contains subordinate figures to be contemplated — while reciting accompanying prayers (orations) — in a prescribed sequence over time and with respect to the cardinal directions — Source. Mastering the full range of subjects taught in medieval universities normally required many years of hard and expensive study. From the thirteenth century on, however, an anonymous work known as the Ars notoria promised, through diagrams, incantations, and arcane rituals, to rapidly transmit to scholars the total knowledge of anything they might need. Condemned by church authorities, the fifty-six extant manuscripts nevertheless testify to the seductiveness of that offer.1 Its complex diagrams were at the center of its appeal. Unlike diagrams in other magical texts, those in Ars notoria do not illustrate what the text is seeking to communicate. Nor do they act as models to be replicated in three-dimensional form as pieces of magical equipment.2 Instead, they supposedly work almost in the same way as religious icons. That is, faithful possession and use of them can offer direct contact with powerful and benign supernatural forces — and ultimately even with God. The diagrams themselves are the route to magic and consist of arrangements of symbolic and geometric forms, patterns, and symbols, interspersed with “words”, which are frequently unintelligible combinations of letters.3 Practitioners who opened their minds to receive and imprint these labyrinthine images, while reciting complex verbal formulae and strings of mysterious, almost unpronounceable words and names, are engaging in a significant act of trust. Several factors made the Ars notoria fundamentally different from other magical texts. First, this is not a text in conflict with the church. In fact, the rituals framing and shaping usage of the images are presented as extremely pious, and the texts to be recited are identified as prayers. The alien words, names, and characters are explained as coming from ancient languages such as Greek, Hebrew, and “Chaldean”, and are claimed to preserve both the names of angels and words used to communicate with them. Second, the advantages offered are relatively virtuous: contact with spiritual beings and full knowledge of the subjects taught in medieval universities. Such claims cut little ice with thirteenth-century theologians, however, who saw clear links to things condemned as superstitious and demonic by St Augustine, despite the text’s assertion that it contains wisdom revealed to King Solomon. Frontispiece to a manuscript of the Ars notoria (BnF Latin 7153), ca. 15th century. It depicts an angel delivering the Ars notoria to Solomon during his nightly prayer — Source. Prayer offered in the front matter of a manuscript of the Ars notoria (BnF Latin 7153), ca. 15th century. It asks for angelic protection from evil before the reader embarks on using the text — Source. St Thomas Aquinas was worried enough by the Ars notoria to name and condemn it specifically in his Summa theologiae — one of the most authoritative summaries of Christian teaching. He dealt with the very serious issue of superstition in Book Two, Part 2 — Question 96 is effectively devoted to the Ars notoria. Aquinas’ conclusion is wholly negative: the “art” is both “unlawful and futile”. It is futile because it cannot deliver what it promises. Still more seriously, its “signs” are neither understood by humans (like ordinary words and letters) nor sent by God (as sacraments are), and thus are precisely the type of thing that lures humans into contact and compact with demons.