noise-vs-signal:

The Canon:

  1. AHA! The Sevenfold Mystery of the Ineffable Love (1909)
  2. 777 and Other Qabalistic Writings of Aleister Crowley (1909)
  3. The Book of Lies (1912)
  4. The Blue Equinox, Vol. III No. I (1919)
  5. The Law is for All – Commentaries on The Book of the Law (1919 – 1922)
  6. The Equinox (1909 – 1944)
  7. Magick (Book 4) Part I and II (1912 – 1913)
  8. Magick in Theory and Practice: Book 4 Part III (1913)
  9. The Book of Thoth (1944)

See also:

For the mystified, an excellent guide to this system is “The Mystical and Magical Tradition of the A:A:“ by James A. Eshelman (2000).

The motto of “The Equinox” journal was “The method of science; the aim of religion”. Having read a lot of theory and experimented with some practical work, I can attest that “this system works”.

noise-vs-signal:

A Gathering of Masks” by Robert Fitzgerald, with art by Barry William-Hale (2010), intercut with “Liber 231″ by Aleister Crowley.

Note how the section with the numbers 0 – 21 describes the 22 Major Arcana shown below them, as a visual description of the journey of initiation.

The final image (from “The Book of Thoth” by Crowley) shows the attribution of the letters of the Hebrew alphabet to the Tarot Trumps. These letters appear in the tables of sigils for the Mercurial genii (LHS) and the Qliphothic genii (RHS).

noise-vs-signal:

Frontispiece to “The Heart of the Master” by Aleister Crowley (1938).

In the left-hand column we can see four women holding the symbols of the “Four Heavenly Creatures” (Aquarius, Taurus, Scorpio and Leo), with their corresponding triangular elemental symbols below (Air, Earth, Water and Fire).

These triangular symbols are further expanded in other sections. On the top of the right-hand column we see an image of the “Anima Mundi” (“World Soul”).

In the bottom section the four letters (elements) of the Tetragrammaton are shown, which are read right to left: Yod, He, Vav, He.

The letters are above the lamen (symbol/sigil) of the O.T.O. (“Ordo Templi Orientis”). Set in a Vesica Piscis it shows the Eye of Horus above the Holy Spirit, which in turn is above the Rosy Cross and Holy Grail.

The letters O.T.O. are said to stand for ‘Order of the Temple of the East’ or ‘Order of Oriental Templars’.

The latter indicates an association with the Templars, who in turn were said to have been initiated into the mysteries of the Sufis and esoteric Islam (c.f. Hassan-I Sabbah and the Hashshashin).

theeyeofzoro:

“My
interest in the occult started when I was 15. I do not worship the devil but
Magick does intrigue me. Magick of all kinds. I read “Magick in Theory and
Practice”
when I was about 11 years old but it wasn’t for some years that
I understood what it was all about.“

~Jimmy Page Sept. 1974 – Melody Maker Interview with Michael Watts

theeyeofzoro:

“Light & Shade” – Musical Dynamics or The Equinoxes of The Gods?

As I meditate on yesterdays event of the Vernol Equinox, it reminds me of when Jimmy Page briefly touched on what the term ‘light and shade’ meant to him, in the 2009 music documentary “It Might Get Loud”…

“Dynamics…whisper to thunder; sounds that invite you in and intoxicate. The thing that fascinates me about the guitar is that no one ever approaches it the same way.  Everyone plays differently and their personality always comes through.”

40 years earlier, Cameron Crowes reminded us of a time when Jimmy Page used this phrase in his essay titled “Light & Shade” that was reprinted in the 30 page booklet of the 1990 “The Complete Collection” Boxset (not to be confused with the later 1993 release The Complete Studio Recordings Boxset).

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[circa 1968] “…At Page’s home, they explored each other’s tastes by playing favorite records—everything from Buddy Guy to the Incredible String Band to Muddy Waters and Elvis. Then Page broke out an odd choice. It was Joan Baez’s dramatic version of the ballad, “Babe I’m Gonna Leave You.” Page outlined a plan for a band that could play a song like that. “I’d like to play it heavy,” he said, “but with a lot of light and shade.”

It appears that Page has come to refer to the above performance idea  “…with a lot of Light and Shade”, continuously over his career.  He also appears to be describing something greater than what composers, musicians and instrumentalists mean when they discuss musical dynamics.   Page describes musical dynamics in terms that evoke magick and will… “…sounds that invite you in and intoxicate” and also “ones unique approach”.  His descriptions seem more akin to what Igor Skravinsky described in his six lessons titled “The Poetics of Music”, written in 1947.    In his book, Stravinski describes something beyond dynamics when he writes about the phenomenon, typography, composition, avatars and performance of music. [Download It Here]

However, does the phrase “Light & Shade” really denote ideas around the approach taken with musical composition or performance?   Google searches of the term “Light & Shade” result in an over abundance of references to Jimmy Page or Brad Tolinksi’s book of that title.   This then poses the question, “is this really a unique phrase to Jimmy Page referencing musical dynamics or could this phrase have derived from the world of his esoteric occult interests?”  If so, could this phrase have a deeper spiritual meaning to him?

If you alter the phrase slightly to “Light & Shadow”, something interesting happens in your search results, links to more esoteric content are returned.    It appears that in many cultures throughout the world, prehistoric builders have been constructing monuments to create dramatic lighting effects from both the light of the sun and the moon.   When do these dramatic effects of “Light & Shadow” often happen?  …on the Vernal or Autumn Equinoxes.    

One such structure that forms a unique Shadow on the Vernal Equinox is Temple of K’uk’ulkan at Chichen Itza, also known as “El Castillo”.   El Castillo, is a stepped pyramid on the Yucatan Peninsula in Mexico, that has four staircases running from the top to the bottom of the pyramid’s faces.  The temple of K’uk’ulkan is notorious for the bloody human sacrifices that used to take place down its stairs.   The staircases are built at a carefully calculated angle which makes it look like an enormous snake of sunlight slithers down the stairs at the precise moment of the Vernal (March) Equinox.

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The March equinox celebration at the Temple of K’uk’ulkan connects the Maya astronomical knowledge and agricultural practices with mythology.  K’uk’ulkan is one of the Maya creator gods who is usually pictured as part snake and part bird.  

See Jimmy Page’s On this Day in Mexico Post Here:   

See where Jimmy May have gotten the image from here:

Other Solar and Lunar Light & Shadow events can be witnessed at Stonehenge on the Vernal and Autumn Equinoxes.   Whatever the religious, mystical or spiritual elements were central to Stonehenge, it’s design includes a celestial observatory function, which might have allowed the prediction of an eclipse, solstice, equinox and/or other celestial events important to a contemporary religion.

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A Giant “Egg Shaped Stone” ;-), floats above Stonehenge at Led Zeppelin’s last American performance in Oakland CA, on July 23/24, 1977.

So how does the term Equinox relate to Jimmy Page?   Well for starters “The Equinox” (Booksellers & Publishers) was the name of the bookshop and publishing house that he opened in 1975.   The bookshop sold hard to find Occult books and the Publishing house released two occult classics:
 the highly respected Astrology: A Cosmic Science by Spiritual Astrology Pioneer Isabel Hickey and Aleister Crowley and S.L. MacGregor Mathers’s translation of The Book of Goetia of Solomon the King.  

Jimmy Page most likely chose this name due to the fact that The Equinox (subtitle: “The Review of Scientific Illuminism”) was also the title to a series of publications in book form that served as the official organ of the A∴A∴, the magical order founded by Aleister Crowley.   Begun in 1909, it mainly features articles about occultism and magick, while several issues also contain poetry, fiction, plays, artwork, and biographies.  It is no secret that Jimmy Page was a serious collector of Crowley’s works, including the Equinox Series. So considering that the cover logo of Crowley’s series and the Bookshop match perfectly, the coincidence seems to prove the influence.

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But what exactly is an Equinox and what does it have to do with “Light & Shade”?

An equinox occurs twice a year (around 20 March and 22 September), when the plane of Earth’s equator passes the center of the Sun.  At this time the tilt of the Earth’s axis is inclined neither away from nor towards the Sun.  The term equinox can also be used in a broader sense, meaning the date when such a passage happens. The name “equinox” is derived from the Latin aequus (equal) and nox (night), because around the equinox, night and day are about equal length.

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It also turns out that in the religion of Thelema, the “Thelemic year” starts on the northern-hemisphere Vernal Equinox.   This earth orbital event coincides with the Thelemic holiday called “The Feast for the Equinox of the Gods”.    This is often observed on March 20th of the common calendar but truly occurs at the exact time of the Equinox.   So in other words, Jimmy Page might say,  “…Happy Thelemic New Year!”

The Thelemic calendar counts years from 1904 EV (the year Liber AL was received).   Rather than simply giving the year count from 1904, the Thelemic calendar uses a two-tiered system. The “upper” level gives a count of twenty-two year periods since 1904; the “lower” level gives the years since the start of the current twenty-two year period. Both are zero-based, with nonzero numbers being represented as upper and lower case Roman numerals, respectively.   So, for example, the civil year 2014 is (after March 20) Thelemic year V:0 because 1904 + (5x 22) + 0 equals 2014.

Some Thelemites assign the twenty-two years of each cycle to the twenty-two Trumps of the Tarot.  The 22-year period numbers themselves are also assigned in this way.  Hence, 2014, the year V:0 may be seen as the year of the Fool (Card 0) in the cycle of the Hierophant (Card V)

See a complete list of Thelemic Holidays here:

Equinox of the Gods (March 20) aka Vernal Equinox is:

The anniversary of the beginning of the Aeon of Horus in 1904 e.v.. & the date that also marks the beginning of the Thelemic New Year.

So what Jimmy Page and or Led Zeppelin events coincided with a Vernal or Autumn Equinox?

It appears that the first two attempts to release music on an Equinox, may have commenced in 1973 with Houses of The Holy.   Released on March 28th 1973, just 1 week and 1 day after the Vernal Equinox of 1973.  The album’s second single D’yer Mak’er”/”The Crunge“
 was subsequently released on September 17th 1973, just 6 days prior to the Autumn Equinox of 1973.  

The second attempt to release an album on an Equinox appears to have been with Presence,which was released on March 31st 1976.  This release missed the Vernal Equinox by only 11 days.   Given the fact that the music industry had an industry wide rule of releasing albums on Tuesday’s and production schedules were constantly getting bumped due to manufacturing or shipping delay’s, coordinating an album’s release date was very hard to control from the artist’s position.

However the first major release by Led Zeppelin, post the Bands break up and post the bands last album, Coda, saw a release coinciding perfectly with a years Autumn Equinox.   This occurred In 1990 when Jimmy Page released a collection of releases that would comprise the bands first comprehensive Boxed Set.  

The Autumn Equinox of 1990 fell on September 21st.    This day marked the first time a Led Zeppelin release since Coda would come out and coincidentally land on an Equinox.   The album titled “Profiled”,  was an interview album released by Atlantic Records precisely on 21 September 1990 in advance of the bands highly anticipated first ever Boxset remastered for the CD format, titled “The Complete Collection” (not to be confused with the later 1993 release The Complete Studio Recordings).

Profiled was a promo-only interview CD made specifically to accompany Led Zeppelin’s first ever box set [aka The Crop Circle box set], but oddly was not released on the same day.   Instead it appears it was deliberately released ahead of the box set, so it could come out on the Autumn Equinox.  

In the rush to complete the mastering of the box set,  Jimmy Page not only missed the Autumn September 21st date, as the Box Set was released in late October.   This release created mass confuision with consumers due the sets incompleteness and varying configurations (Vinyl, CD Cassette, etc).   Also, an additional version of the set added to this confusion with the added “The Remasters” to the title, along with a different photo angle of initial Crop circle image.   Eventually “Profiled” was commercially released as part of the special edition Led Zeppelin Remasters boxed set in 1992 and the entire set discontinued with the release of the The Complete Studio Recordings set.

In effort to finally release a truly complete box set, Jimmy Page completed all the Mastering in 1993 and released two box Sets surrounding the 1993 Autumn Equinox.    On September 21th 1993, two days before “93” Autumn Equinox,  (9/23/1993) the Led Zeppelin Box Set 2 was released.  This box set provided all the tracks that were missing from the previous Box set.   This was so that those who invest in the prior set didn’t have to pay again for an entirely new set and simply supplement what they had at a lower cost.

Then only 1 days after the Autumn Equinox of “93” (Sept. 23rd),  Led Zeppelin The Complete Studio Recordings was released on September 24th 1993. This box set, with the steel framing of the inside of a Zeppelin covering the outer box, really was the definitive shining moment for Jimmy Page as a producer.   So it seems fitting that not only was it released 1 day after the Autumn Equinox, (a Holy Day for Thelemites) but in a year ending in 93, a number that holds great significance in Thelema.  

Have you ever wondered why only 418 numbered copies and 93 signed copies of “Lucifer Rising…”,  were released for only 48 hours exactly on the Vernal Equinox of 2012?   As with most things found in the mystical works of Aleister Crowley, the word “ABRAHADABRA” when examined using the qabalistic method of gematria, = 418.

When reading the chapter Adolescence : Beginnings of Magick in the Equinox of The Gods,  Crowley interestingly discusses traveling to Mexico and developing his Magick there via journal entries of his ritual work.

Equinox is a phenomenon that can occur on any planet with a significant tilt to its rotational axis. Most dramatic of these is Saturn, where the equinox places its normally majestic ring system edge-on facing the Sun. As a result, they are visible only as a thin line when seen from Earth. When seen from above – a view seen by humans during an equinox for the first time from the Cassini space probe in 2009 – they receive very little sunshine, indeed more planetshine than light from the Sun.

This lack of sunshine occurs once every 14.7 years. It can last a few weeks before and after the exact equinox. The most recent exact equinox for Saturn was on 11 August 2009.  Saturn’s next equinox will take place on 30 April 2024.

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Follow TheEyeOfZoro for more on the Magickal Life of Jimmy Page

Magical circles and protection

crossing-sun:

The tradition that perhaps codified the image of the magical circle in the Western magical stratum is the Solomonic tradition, and in its context the more obvious use for it is protection. The theology the tradition emerges from dictates a need for insulating ourselves from the evoked in the same stroke that it sets the terms for the adversarial format of the operations. While recent developments should by now have enriched our world view sufficiently to dispel the belief that this is strictly necessary, there are, as usual, valuable insights to be garnered in the study of traditional ritual mechanics.

From what the texts say regarding outcomes, we can extrapolate a proposition that spirit manifestations are consciously visible to the naked eye, and that they present a real and immediate danger to the operator. That peril can be reasonably attributed to various specific aspects of any given system, less often recognised among those is the case of early formulae whose goal was obtaining a number of unknown spirits to manifest, all of which with unpredictable agendas. Or quite simply that in compelling a certain class of hostile spirits to appear, care will indeed be required.

This element of compelling is commonly done away with in modern systems, and the consequently subtler outcomes led its proponents to put in ink a conclusion that the sole purpose of the circle is to situate the magician at the centre of the magical universe. While that’s most definitely not the whole truth if taking into account recognitions aplenty of it acting as a protective device, there’s corroboration of its making entailing elaborate considerations such as the names of lower hierarchy, correct timing and more, and therefore it playing a more than passive role in ritual.

Andrew D. Chumbley in his Opuscula Magica Vol. I excellently ascertains the origins of names given to sorcerers translating to “the encircling ones”, alluding to the binding nature of the practice, and in subsequent paragraphs cites the observance of the cycles of the Moon and seasons providing the motif for the recognition of the geometrical symbol as meaning universe. Although he speaks primarily from the point of view of a distinct tradition, this is worth considering seeing as we can find the symbolism taken to length in the influential Peter de Abano’s Heptameron as well as the table of practice in Francis Barrett’s The Art of Drawing Spirits Into Crystals.

Circles in Solomonic systems

The essentials of the designs seen in various Key of Solomon manuscripts and its predecessors remain more or less the same, with variations mainly around the magical names used on the boundaries. A distinct detail of these is that unlike late Latin formulae, they frequently feature an entryway into the circle that is to be sealed off once all participants step in.

Their exact diameter is the topic of heated forum debates, likely because most expect to be able to conduct the ritual at home and laying a nine foot circle indoors can be difficult for urban dwellers. Heeding the wording in early instructions, they almost never fail to account for the presence of other participants needing to fit in the space, which is certainly a factor of that suggestion. Though rather than looking at the measure as having a numeric significance paramount for the success of the operation, considering it has been more often not specified, I submit that the more interesting factor is the metaphysical implications behind these operations being experienced in groups apparently as a matter of course. I would also caution against assuming them needing to be conducted indoors, as several of the instructions we will see further ahead plainly advise otherwise.

Designs found in three of the manuscripts of the Hygromanteia feature a double circle with magical names written inset. The previously mentioned entrance is laid southside and shows the black handled knife pointing outwards, indicating it’s to be used for closing it. The use of the black handled knife is of summary importance. The blade is consecrated to Mars and it’s by its virtues that spirits are kept at bay. This knowledge is missing from ignorant analysis deriding the idea as if what it proposes is that a mere figure on the ground should be capable of so.

The circle for one of the evocation approaches in MS Atheniensis 1265[1]:

The following, from a French Key of Solomon manuscript, MS Wellcome 4670[2]:

Instructions in Harleianus 5596, another manuscript of the Hygromanteia, direct the magician to first burn incense and only then trace the circle, showing the process to be a form of ritual in itself.

In Atheniensis 1265 we find the following directions for procuring a location of the ritual[3]:

Go find a proper place to trace a circle. Let the place be at the peak of a mountain, in the woods, on a plain, in a cave, near the sea, in a garden, at a place where somebody was killed in old times and where neither the crow, nor a rooster, nor the voices of men can be heard, at a pure and trackless place, near a river, or near a meeting of three roads. It has to be far from people, where nobody can hear or see, and where the human voice cannot be heard, in order not to be obstructed by anybody.

The text emphasised above, conspicuously omitted from the same sentence in the later Atheniensis 115, carries huge practical implications best addressed in detail on a separate occasion, so I will only briefly note here that I believe these necromantic overtones are no accident, and in this communion lies a key to the practice of ceremonial magic. The dead will witness the ritual and their help is a possibility if honours and relief are offered.

In the later Key of Solomon, the instructions principally emphasise the need for isolation[4]:

The places best fitted for exercising and accomplishing magical arts and operations are those which are concealed, removed, and separated from the habitations of men. Wherefore desolate and uninhabited regions are most appropriate, such as the borders of lakes, forests, dark and obscure places, old and deserted houses, whither rarely and scarce ever men do come, mountains, caves, caverns, grottos, gardens, orchards; but best of all are cross-roads, and where four roads meet, during the depth and silence of night

Though in the subsequent paragraph offers recognition of the previous point[5]:

These arts or operations should he carried out at the prescribed time, but if there be no time specially appointed it will be always better to perform them at night, which is the most fit and proper time for the operations of necromancy

As stated earlier, at times we see the use of names or sigils of spirits found in the lower hierarchy in a bid for representing their authority, for in turn compelling the evoked to manifest, but on the circle itself. In a manuscript omitted in Mathers’ version of the Key of Solomon, MS Aubrey 24, the names of four demon kings are seen written around the circle at their respective cardinal directions. This exact same idea is seen in late Latin manuscript of remark, MS Wellcome 2000. It shows on its frontispiece an ourobouros circle with sigils of its four cardinal kings displayed on the outside[6]:

Peter de Abano’s Heptameron offers extremely elaborate instructions for tracing the circle. I will quote it in full for an accurate impression[7]:

The form of Circles is not alwaies one and the same; but useth to be changed, according to the order of the Spirits that are to be called, their places, times, daies and hours. For in making a Circle, it ought to be considered in what time of the year, what day, and what hour, that you make the Circle; what Spirits you would call, to what Star and Region they do belong, and what functions they have. Therefore let there be made three Circles of the latitude of nine foot, and let them be distant one from another a hands breadth

  1. and in the middle [i.e. inner] Circle, first, write the name of the hour wherein you do the work.
  2. In the second place, Write the name of the Angel of the hour.
  3. In the third place, The Sigil of the Angel of the hour.
  4. Fourthly, The name of the Angel that ruleth that day wherein you do the work, and the names of his ministers.
  5. In the fifth place, The name of the present time [i.e. season such as Spring].
  6. Sixthly, The name of the Spirits ruling in that part of time, and their Presidents.
  7. Seventhly, The name of the head of the Signe ruling in that part of time [season] wherein you work.
  8. Eighthly, The name of the earth, according to that part of time [season] wherein you work.
  9. Ninthly, and for the compleating of the middle Circle, Write the name of the Sun and of the Moon, according to the said rule of time [season]; for as the time is changed, so the names are to be altered.

And in the outermost Circle, let there be drawn in the four Angles, the names of the presidential Angels of the Air, that day wherein you would do this work; to wit, the name of the King and his three Ministers

(cont.)

Notable among these cares is the laying of names and sigils of horary angels, an appeal to horary hierarchy imprinted in the circle itself. The Heptameron circle is likely the better example of a talismanic representation of the universe being fundamental for getting the attention of the evoked.

The following is Heptameron circle for the first hour of Sunday in the Spring[8]:

Similar instances of the observance of timing (and its conjoined hierarchy) can be found in the Sworn Book of Honorius, where the circles vary extensively with the class of spirit being evoked[9]:

Another application of this concept is found in The Art of Drawing Spirits Into Crystals, albeit much more simplified, where the pedestal holding the scrying lapidary stands on a circle, around which the names of the planets, their ruling angels, and the names of four cardinal kings are depicted. In addition, the formula features a second protective circle design for the magician to stand on with usual names of God written on[10]:

A rather simple operation from Bononiensis 3632 (Hygromanteia) also makes use of a table of evocation. Interestingly, the protective circle is traced on the table itself and the spirit bound with a thrust of the knife at the centre of it. It’s unclear, however, where exactly the manifestation is to take place. It goes as follows[11]:

Lay a new tablecloth on a new table, and place an empty bowl upon it, together with two lit candles on candlesticks, one at each side. At the other sides of the table place another earthen bowl, a censer with lit charcoals and incense, and various peeled fruits. Then, take a knife with a black handle with your right hand, trace the circle three times around the table, and each time recite the following conjuration.

“I conjure you, Mortze, or human ghost, or haunting of this place, come to me now that I invoked you at this table that I prepared for you. Eat and drink from the food I prepared for you”

And when you see that he ate, conjure him this way:

“I conjure you, Mortze, do not defecate, do not urinate, until you tell me the whole truth in whatever I will ask you.”

Do this three times with the knife, around the table. And when you finish the three circles, thrust the knife into the table and recite the following: I nail you here, Mortze, or haunting of this place.

Though this is phrased as if the binding is based on keeping the spirit constrained in bowel discomfort, the element of feeding spirits is common enough both in the genre to warrant suggesting there’s likely a system of evocation in this formula. An illustration of the table described above[12]:

In my own approach I utilise a design quite similar to the one in MS Wellcome 2000. The sigils of the four cardinal kings are traced and honoured with incense along with a conjuration recited, so to interest them in facilitating access to their deputies. Rituals take place at an isolated grove at night. A replica of it is kept in my home temple for the occasional rite undertaken indoors. The complete formula may be published sometime in the near future:

Alternative means of protection

In traditions in and out of the Western current, examples can be found of protection provided via implements such as lamens worn by the operator or allegiances formed with superior or intermediary spirits. While this is assessed by some as a head-on approach, technically, protection is not being foregone altogether, but simply obtained through a different avenue.

In one of the more complete evocation systems found in the Greek Magical Papyri, PGM IV 154-285, the operator is directed to wear a philactery inscribed with various magical names during the course of contacting the gods the operation aims to put the magician in contact with. This formula interestingly begins with an initiation ritual for obtaining an alliance with Helios (Sun), it then providing the power for conducting the ritual[13]:

In Quimbanda[14], the role of the Exú rei (king Exú) is to both protect the Quimbandeiro and mediate contact with “hotter” types of Exús. Through his agency the Quimbandeiro is equipped to act without the need for protective regalia when working directly with these spirits. Tempting as it is to draw a line between it and Scirlin from the Grimorium Verum, note that the Verum nevertheless advises the use of a circle and does not forego with the usual precautions. There seems to be less distance between it and the Paredros from the Greek Magical Papyri, or the spirit animal in some forms of shamanism, when looking strictly at roles fulfilled.

In certain lineages of European witchcraft, it’s the alliance obtained during initiation, or the “taking” of the witch by a spirit that provides both the power and safety for working other spirits reliably. This in turn can be understood as something similar to what is seen in Palo Mayombe, where the pact with the nganga is what ensures that the palero remains protected in the course of the work[15]. My personal approach relies on devotional work conducted with a charged statue of Lucifer, who commands the pantheon and is considered a gatekeeper to the mysteries kept by it. From this work an artefact is confectioned which carries his authority and imparts protection.

In conclusion, how necessary a circle is varies with relationships, alternative methods of protection, or the depth to which the procedure takes the matter of spirit manifestation to. It’s a lot less problematic not using it once certain pacts are in place, at which point it has presumably been employed a few times.

Credits

With gratitude to Tomas Beaujean for reviews and various helpful pointers.


  1. Ioannis Marathakis. The Magical Treatise of Solomon, or Hygromanteia. (Golden Hoard, 2012). p. 278.

  2. Stephen Skinner. Techniques of Solomonic Magic. (Golden Hoard, 2015). p. 161.

  3. Ioannis Marathakis. The Magical Treatise of Solomon, or Hygromanteia. (Golden Hoard, 2012). p. 277.

  4. S. Liddell MacGregor Mathers. The Key of Solomon. (http://www.esotericarchives.com/solomon/ksol2.htm)

  5. Ibid.

  6. Stephen Skinner. Techniques of Solomonic Magic. (Golden Hoard, 2015). p. 153.

  7. Peter de Abano. Heptameron, or Magical Elements. (http://www.esotericarchives.com/solomon/heptamer.htm#part1).

  8. Stephen Skinner. Techniques of Solomonic Magic. (Golden Hoard, 2015). p. xxx.

  9. Joseph Peterson. The Sworn Book of Honorius. (Ibis Press, 2016).

  10. Outstanding craftwork by Ruth Hutchinson.

  11. Ioannis Marathakis. The Magical Treatise of Solomon, or Hygromanteia. (Golden Hoard, 2012). p. 119.

  12. Ibid. p. 277.

  13. Leonardo Drakon. PGV IV 154-265: Phylactery of 100 Letters. (http://voces-magicae.com/2015/01/27/pgm-iv-154-285-phylactery-of-100-letters/). The gorgeous philactery is his own artwork.

  14. Personal correspondence with Jesse Hathaway Diaz, from Wolf & Goat.

  15. Personal correspondence with Christopher Bradford.

laveyinthehouse:

The image of Baphomet was originally created in 1854 by occultist Eliphas Levi for his book Dogme et Rituel de la Haute Magie (“Dogmas and Rituals of High Magic”). It reflects a number of principles considered fundamental to occultists, and was influenced by Hermeticism, Kabbalah, and alchemy, among other sources.

“The goat on the frontispiece carries the sign of the pentagram on the forehead, with one point at the top, a symbol of light, his two hands forming the sign of hermetism, the one pointing up to the white moon of Chesed, the other pointing down to the black one of Geburah. This sign expresses the perfect harmony of mercy with justice. His one arm is female, the other male like the ones of the androgyn of Khunrath, the attributes of which we had to unite with those of our goat because he is one and the same symbol. The flame of intelligence shining between his horns is the magic light of the universal balance, the image of the soul elevated above matter, as the flame, whilst being tied to matter, shines above it. The beast’s head expresses the horror of the sinner, whose materially acting, solely responsible part has to bear the punishment exclusively; because the soul is insensitive according to its nature and can only suffer when it materializes. The rod standing instead of genitals symbolizes eternal life, the body covered with scales the water, the semi-circle above it the atmosphere, the feathers following above the volatile. Humanity is represented by the two breasts and the androgyn arms of this sphinx of the occult sciences.

A brief survey of Solomonic demonic hierarchies, rulerships and their application

crossing-sun:

Since the earliest texts of the Solomonic tradition, there has been little agreement on both the structure and participants of its hierarchies. Here perhaps is where an important distinction between religion and systems of magic is made obvious, with the latter being the result of individual experimentation and/or purely theoretical interpretations and transcriptions, and therefore less authoritative.

A common aspect in its recipes for spiritworking is the idea of spirits ruling a specific cardinal direction, be they angels and/or demons. The chain of custody of an operation is held by them and at times by other spirits ruling the day and hour in which it takes place. Though this model hasn’t remained a constant, it reemerges in spells even in volumes that don’t employ the formula directly for evocation.

Hierarchies provide the skeleton for all systems of the corpus, which makes understanding them the most crucial (and most difficult) part of the endeavour since everything else hangs off of how the spirits are organised and what their roles are. They explain, even if at times obscurely, the purpose behind much of the regalia that is to be found. Another excellent reason for modern practitioners to be acquainted with the topic is it’s essential for constructing informed variations, whenever necessary.

Kings, servants, and geography

Demonic cardinal rulerships are fundamental to nearly all Solomonic systems, and comprehending their role is essential both for grasping the world view the rituals are built upon and for adequately informing less dualistic practices, lest our heresies be misinformed.

The basic method which the cardinal kings are operated is by invoking them to compel subordinate spirits to obey. The schema dictates that a king in the East will be able to compel spirits originated from the same direction, and so on. Typically, in traditional texts an address to the kings is given in the name of either angels deemed capable of binding them, and/or names of God, so essentially a top to bottom ritual progression. Uses of hierarchy also manifest in the form of inscriptions on magical regalia, the instruments then imbued with the authority the names represent and thus rendered capable of controlling other inferior spirits in a specific way. Names of superior spirits inscribed around magical circles follow a similar principle in that the evoked cannot transgress their boundaries for the same reason.

This is likely to be old news, but demons were seen as beings capable of manifesting material changes, or enablers. What is less discussed is the extensive corroboration that can be found. One such instance is the mythical address of King Solomon to his son Rehoboam, as replicated in the Hygromanteia, made evident in the following:

The Sun rules on the first hour. Invoke its angels in order to subdue and submit the demons of this hour to you.

And soon after (emphasis mine):

When you want to do something that is related to the Sun, invoke the names of the angels, in order to subdue the aforementioned demons to you. Do the same for the rest of the planets; that is to say, name their angels and demons.

The phrasing in both instances imply that the agency of demons is a necessity for affecting change, their existence in the system then justified by the specific role they play, a product of the tradition’s cosmology and incidentally revealing of the contemporary naïveté that is dismissing their role on moralistic grounds. Regardless of later philosophic and religious developments, their role as begetter of changes, although not exclusive, is a constant. To put it another way: there has been ample opportunity for the genre to do away with demons entirely (as some systems do), and yet, I believe the simplest explanation for why that hasn’t happened is likely founded on this understanding rather than a heresy.

The list that follows is by no means, as the title implies, exhaustive. It aims instead to provide examples of influential works that address the points here made.

Hygromanteia

The Magical Treatise of Solomon, known as the Hygromanteia[1], outlines the need for invoking the ruling angels of the day so that these can constrain the corresponding demons. This is an interesting aspect that disappeared in subsequent manuscripts of the tradition, one that likely finds its roots in the Greek Magical Papyri in the form of ruling gods of the day, their custody deemed essential for the success of the operation.

There is not one but two methods outlined in the various manuscripts of the collection, and the magician is told to choose that which they prefer. The information we’re looking for is then scattered. What is seen in one form or another is an address to the kings of the four quarters, Loutzipher (Lucifer), Astaroth, Beelzeboul, and Asmedai, all compelled under various name of God, and in the second method the kings names are given along with a string of other names starting with the king of the respective direction, which in turn indicates that the complete rulership of a quarter was done by a collective rather than a single entity.

The operation succeeding, a regiment of demons presents itself to the magician, who is then to ask who their king is, and from here proceeds the formulae proper for obtaining love or riches, all consisting of conjurations to be recited at the spirits currently manifest outside the circle for the specific end.

In an example of regalia as a hierarchical imprint, the third and most potent conjuration in one of the treatise’s manuscripts (MS Harleianus 5596) directs the magician to touch a lamen inscribed with several holy names while pointing the finger at the locus where the spirits are to appear, as various magical names are recited.

Key of Solomon

It’s important to clarify that whenever referring to a Key of Solomon, that there isn’t a single canonical text recognised as such. The more popular synthesis-abridgement is the one done by S. L. Mathers, who despite breaking important ground, had an agenda that led him to omit certain texts and excerpts deemed by him to be black magic. For brevity, I’ll address his Key and mention other manuscripts that are relevant separately.

Similarly to its predecessor, the Hygromanteia, the KoS gives a list of horary rulerships by angels, but treats this a lot more simplistically, not connected to a need for binding horary demons. Another similarity is the idea that upon the call to the spirits being issued, the expectation is that several spirits are to appear. This is unlike the way this sort of operation is described in later texts where it’s usually aimed at a specific entity at a time.

For the operation of evocation, the KoS provides a prayer for the protection of the magician followed by a very simple conjuration consisting of bringing attention to the regalia (another example of what was mentioned earlier) inscribed with names of God. Conspicuously, this conjuration is to be recited once at each cardinal direction:

Behold the symbols and names of the creator, which give unto ye forever terror and fear. Obey then, by the virtue of these holy names, and by these Mysteries of Mysteries.

In the stronger and more potent conjuration, it is given as so:

Here be the symbols of secret things, the standards, the ensigns, and the banners, of God the conqueror; and the arms of the almighty One, to compel the aerial potencies. I command ye absolutely by their power and virtue that ye come near unto us, into our presence, from whatsoever part of the world ye may be in […]

A mention of four cardinal kings is made in an experiment of image making for obtaining love, which was omitted by Mathers in his translation but restored by Joseph Peterson[2]:

O Oriens, distinguished king who reigns and rules in the East, whose rule and kingdom had its beginning in the century, and will last until the end of the century.
O Paymon, mighty king who rules in the western part of the sky.
O Egym, strong king, whose kingdom and rule extends to the icy North.
O Amaymon, most noble king whose domain is in the South.
I powerfully invoke and arduously implore you, through him who spoke, and it was done, and who with a word alone created all […]

This particular conjuration is considered by Jake Stratton-Kent to be highly adaptable in his Testament of Cyprian the Mage Vol. 2, and is a crucial part of my own process.

Two manuscripts in Italian not taken into consideration by Mathers in his translation are Aubrey 24, and Sloane 1307. The former features the names of four demon kings in one its circles (in the outermost ring): Asmodel in the East, Amaymon in the South, Paymon in the West, and Aegym in the North, of which all except Asmodel (Asmodai) are consistent with many other volumes. The latter employs a conjuration addressed to these same four kings, though with slightly different spellings, in addition to a conjuration for preparing the magician for the operation.

The Sworn Book of Honorius (Liber Juratus Honorii)

Juratus stands as a complex religious work of magic split in four books, starting from the top of the hierarchy (God) and the angels closest to him, then planetary angels and demons, spirits of the air, and finally, spirits of the earth. The book is eminently Christian and the operations are intended to be performed by a priest, and therefore largely a work of angel magic. To be clear, in the case of Juratus at least, this doesn’t mean an exclusive predisposition of the entities to do good, and the description of the angels of Mars alludes to that fact[3]:

Others are of Mars and are these: Samuel, Satchel, Yturahihel, Amabiel and their nature is to provoke wars, murder, destruction, and mortality of people, and all earthly things[…]

Rather than offering a single system and a pantheon to be worked through it, it designates different operations in each of its treatises. The planetary angels are three to four for each planet, who in turn rule over a group of three to five demons, one king and the remaining ministers, servants to this king. The rulership over these same demons is also attributed to spirits of the four winds (cardinal directions), each direction having four or five spirits. These seem to be offered as alternatives to binding the angels directly.

Of the better known demon names, Bileth appears as a servant demon of the West, Maymon as a king of spirits of the air in the North. The last section describes the spirits of the earth as animalistic and evil, which fits with the many description of demons. Among the host the names of Mulcifer (noted by Peterson that in a separate manuscript the name is Lucifer) appears, as well as Asmodeus as an assistant of a prince.

The Book of Abramelin

The Abramelin is a peculiar text in that it eschews all the usual procedures favouring exclusively what is obtained through the Holy Guardian Angel. It’s rather fanatic in that the cautions it issues are related to the perils of damnation and deceit by demons, purportedly hidden in symbols and ritual procedures commonly found in other magical texts. To whoever this comes as a shock, I recommend a sobering read through[4].

Operationally, the book is of no use without first contact being attained, as the bringing forth of spirits is, per the book’s own words, to done through the agency of the HGA who will instruct the operator to call forth the superior spirits and offer their subordination (and by extent the service of their own subordinates). If nothing else, this should make one skeptic towards those making spurious claims of having successfully completed this operation, yet they either know nothing about the demonic kings and/or are strangely still pursuing other systems of magic for the purpose of evoking spirits of this same pantheon/group.

The hierarchy cites Lucifer, Leviathan, Satan, and Belial as sovereign rulers of Hell (its equivalent to the four kings), ruling over eight sub princes: Astaroth, Magoth, Asmodai, Beelzebub, Oriens, Paymon, Ariton, Amaymon. These names are all quite common and are seen in different roles in other grimoires, notably the last four ones which later occupy the role of kings, with Egyn replacing Ariton on occasion, in a number of them. Various other names are cited as being servient to the princes, though none of them is presented in the usual emphatic manner with offices and such, and by the system’s own logic could well have been omitted. This is qualified in the nineteenth chapter immediately after the names of the ruled spirits are given:

Infinite be the spirits which I could have here set down, but in order not to make any confusion, I have thought fit to put only those whom I have myself employed

Grimoire of Honorius

This late grimoire features conjurations to four kings: Magoa (East), Egym (South), Baymon (West), Amaymon (North), although the weekday demon experiments that follow it don’t address the kings as part of the rites, choosing instead names of God for compelling the spirits.

The address to the kings is the more open-ended part of the book, where each conjuration compels a king to send forth one of a choice of spirits or to appear themselves and perform any office whatsoever:

I conjure and invoke thee, 0 powerful King of the East Magoa, by my holy labour, by all the names of Divinity, by the name of the All-Powerful: I command thee to obey, and to come to me, or that failing, forthwith and immediately to send unto me Massayel, Ariel, Satiel, Arduel, Acorib, to respond concerning all that I would know and to fulfil all that I shall command

Grimorium Verum

The illustrious Verum is worth a mention for various reasons. It presents three ruling chiefs: Lucifer, Belzebuth and Astaroth. These in turn rule over two deputies each, who in turn rule over a larger group of dukes.

The approach is done through an intermediary spirit named Scirlin, thus after the initial preparations the operation proper begins with the tracing of his sigil and his invocation. It’s slightly ambiguous how exactly this spirit is said to manifest, as the wording is “This invocation causes the intermediary Scirlin to come”, which could mean anything from an appearance to a more subtle presence:

It is Scirlin who bringeth all the others to your conversation, for from this sigil depend all the others and it can constrain them to appear in spite of themselves as he has the power of the Emperor and is ready to serve him who giveth a sacrifice […]

Note then how, despite employing names of God in both regalia and conjurations, as is characteristic of the genre, the formula is centred around approaching the emperor (by proxy). This is one of the elements that give the Verum and other titles of the Bibliotèque Bleue[5] a dark reputation. In addition, the grimoire offers three more conjurations composed seemingly of strings of names, dedicated to each chief. After listing the conjurations, the instructions describe them as a form of compelling:

After having said seven times the conjuration addressed to superior spirits, you will see the spirit at once appear, to do whatever you desire. When you have seen the Spirit, being satisfied, you can dismiss him by saying this […]

Cardinal rulerships are completely absent from it. The engraving of sigils of specific demons in regalia is another notable feature, though not completely unseen as in some earlier works, strings of divine magical names feature names of demonic kings among the cited.

Other relevant works

The are several other texts of import which mention cardinal rulerships in passing, though they don’t directly employ the spirits’ names in conjuration, such as Agrippa’s Three Books of Occult Philosophy, Francis Barrett’s Magus (derived from Agrippa), Reginald Scot’s Discoverie of Witchcraft, and the Ars Goetia, to name a few. Agrippa’s description of the kings[6] is clear regarding their role as relevant:

[…] And every one of them rules over many legions; and after the same manner amongst evil spirits, there are four which as most potent Kings are set over the rest, according to the four parts of the world, whose names are these, viz. Urieus, King of the East; Amaymon, King of the South; Paymon, King of the West; Egin, King of the North, which the Hebrew Doctors perhaps call more rightly thus[7], Samuel, Azazel, Azael, Mahazuel, under whom many other rule as princes of legions, and rulers;

This quartet is the one seen more often, with few substitutions, and thus given more credit by a few contemporaries.

Barrett’s instructions for constructing the scrying table involve inscribing the kings’ names onto it, in what is likely another example of hierarchy being featured in regalia (there’d be no other reason for the names to be there). The Discoverie goes as far as mentioning appropriate times for binding its four kings, but the Ars Goetia, a descendant text, makes a more direct reference as to their role:

[…] are under the power of Amaymon, Corson, Ziminiar, & Goap [Gaap] which are kings ruling in ye 4 quarters East, West, North, & South, and are not to be called forth except it be upon great occasions but Invoked & commanded to send such & such spirit as are is under their rule and power, as is shewed in ye following Invocations, or [rather] conjurations &c.

Although a contemporary book of magic, we find in Paul Huson’s Mastering Witchcraft an interesting reference to the use of decans in evocation. The decans were originally a calendrical system and they are a common topic in the study of astrology. Descriptions for their visible appearances similar to what is found in the Western grimoires is given in the Picatrix. I have suggested elsewhere[8] that a restoration of the decans to their intended format is more appropriate than Huson’s reliance on Crowley’s Liber 777 for correspondences between them and the 72 spirits of the Ars Goetia.

The Black Dragon borrows heavily from the Grimoire of Honorius, and it offers no differences relevant to the topic here. I have thus left it out of the list and enumerated it here simply as another volume that works those kings in a similar manner.

Jake Stratton-Kent in his True Grimoire proposes a theoretical structure where the Verum’s Three Chiefs (Lucifer, Belzebuth, Astaroth) rule other four cardinal kings[9] (Oriens, Amaymon, Paymon, Ariton), the kings then as rulers of the catalogue found in Weyer’s Pseudomonarchia Daemonum (with amendments), the same seen later in Scot’s Discoverie and the Ars Goetia. What’s interesting about it is what this system makes possible. As proposed in his Goetic Liturgy, the ruling chiefs can be used as a supreme ruling trinity, and with this the idea of operating systems in magic is introduced in the volume and a few possibilities are opened.

Conclusions

While it’s tempting to rationalise away the need for any order, facing the differences, my thinking is we can either take the atavistic route of seeing earlier texts as more correct and everything that came after them as less so, or understand the notion as prescriptive, fitting the systems and interpretations they propose rather than failures in relation to an authoritative source whose existence cannot (so far, at least) be confirmed. Praxis, in my experience, tends to make the latter evident and this shouldn’t be seen as a hindrance.

What lends credence to this is every one of these instances in which the early structures weren’t strictly followed and yet they still refer to the same spirits. From technical point of view, what different/related models seem to propose is that insofar as compelling servants goes, alternative arrangements can be effective as long as they retain key elements and players. We’re thus looking at different dialects, all bearing the same essence, with some more effective than others at making certain statements.

Credits

Many thanks to Eric Purdue for assistance in matters of Agrippa, and Tomas Beaujean for making the excellent point that I shouldn’t leave out Liber Juratus, as well as other valuable feedback.


  1. Both Skinner and Toriano place theoretical sources of the text to circa 6th century CE.

  2. http://www.esotericarchives.com/solomon/ksol.htm#chap11

  3. Joseph Peterson. The Sworn Book of Honorius. (Ibis Press, 2016). p. 203.

  4. http://www.esotericarchives.com/abramelin/abramelin.htm. An example: “And you must not think that this can be done otherwise, as certain accursed persons write; that is to say, by means of seals, and conjurations, and superstitious figures, and pentacles, and other abominations, written by diabolical enchanters; for this would be the coin wherewith the hideous Satan would buy you for his slave”.

  5. See this excerpt from Owen Davies’ Grimoires: A History of Magic Books.

  6. http://www.esotericarchives.com/agrippa/agripp3b.htm#chap24

  7. Interesting that what it says here is that Hebrew names are alternatives, not additions, though the Scale of Four makes a slightly different implication than that.

  8. See The Decans Table and the corresponding ritual.

  9. Jake Stratton-Kent. The True Grimoire (Bibliotèque Rouge edition). (Scarlet Imprint, 2010). p. 154.