France on Trial

The Case of Marshal Pétain

Julian Jackson

For three weeks in July 1945 all eyes were fixed on a humid Paris, where France’s disgraced former head of state was on trial, accused of masterminding a plot to overthrow democracy. Would Philippe Pétain, hero of Verdun, be condemned as the traitor of Vichy?

In the terrible month of October 1940, few things were more shocking than the sight of Marshal Philippe Pétain—supremely decorated hero of the First World War, now head of the French government—shaking hands with Hitler. Pausing to look at the cameras, Pétain announced that France would henceforth collaborate with Germany. “This is my policy,” he intoned. “My ministers are responsible to me. It is I alone who will be judged by History.”

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Five years later, in July 1945, after a wave of violent reprisals following the liberation of Paris, Pétain was put on trial for his conduct during the war. He stood accused of treason, charged with heading a conspiracy to destroy France’s democratic government and collaborating with Nazi Germany. The defense claimed he had sacrificed his personal honor to save France and insisted he had shielded the French people from the full scope of Nazi repression. Former resisters called for the death penalty, but many identified with this conservative military hero who had promised peace with dignity.

The

Magus

Art of Magic from Faustus to Agrippa

Anthony Grafton

A revelatory new account of the magus—the learned magician—and his place in the intellectual, social, and cultural world of Renaissance Europe.

In literary legend, Faustus is the quintessential occult personality of early modern Europe. The historical Faustus, however, was something quite different: a magus—a learned magician fully embedded in the scholarly currents and public life of the Renaissance. And he was hardly the only one. Anthony Grafton argues that the magus in sixteenth-century Europe was a distinctive intellectual type, both different from and indebted to medieval counterparts as well as contemporaries like the engineer, the artist, the Christian humanist, and the religious reformer. Alongside these better-known figures, the magus had a transformative impact on his social world.

Magus details the arts and experiences of learned magicians including Marsilio Ficino, Pico della Mirandola, Johannes Trithemius, and Heinrich Cornelius Agrippa. Grafton explores their methods, the knowledge they produced, the services they provided, and the overlapping political and social milieus to which they aspired—often, the circles of kings and princes. During the late fifteenth and early sixteenth centuries, these erudite men anchored debates about licit and illicit magic, the divine and the diabolical, and the nature of “good” and “bad” magicians. Over time, they turned magic into a complex art, which drew on contemporary engineering as well as classical astrology, probed the limits of what was acceptable in a changing society, and promised new ways to explore the self and exploit the cosmos.

Resituating the magus in the social, cultural, and intellectual order of Renaissance Europe, Grafton sheds new light on both the recesses of the learned magician’s mind and the many worlds he inhabited.

Anthony Grafton is the author of The Footnote, Defenders of the Text, Forgers and Critics, and Inky Fingers, among other books. The Henry Putnam University Professor of History and the Humanities at Princeton University, he writes regularly for the New York Review of Books.