At that point i only really needed more, so i redirected my focus on the , instead of continuing to ask for the amount of So the lesson here is, its coming. Even if its a close call. Sometimes the whole amount cant be dumped off all at once. Give it chance. This works! By Amazon Customer I purchased this book about a month and a half ago and took some time contemplating before actually digging in, making the book, and performing the short but sweet ritual.
At first my concern was whether this was safe. My only experience with spiritual beings have been dealing with angels or nasty unwelcomed entities that I would have to drive away. I can tell you that Nitika is not to be feared.
Just treat him with respect and he will reciprocate. Also I like Damon's Facebook page and contacted him a few times with any concerns I had. He was very patient and helpful with me, as I am a newbie to evocational magick. Now let me get to my results. The first try did not work.
This is because the amount I asked for was too much for me to believe I can really have! So I tried it again with a lower amount and did the ritual for 13 days straight and nothing happened. I just gave up, put my book away, and thought that this isn't for me. I didn't practice any magick at all since then. Lo and behold, 3 weeks later the money I asked for appeared in a very unexpected way and was even a little bit more than I asked for! I don't normally write reviews but I feel compelled to out of gratitude to Damon and Nitika.
Pay careful attention to what Damon writes about 'Lust for result'. So give this book a try! I will be on the lookout for more books from Damon. Wishing prosperity and blessings to all :. Posting Komentar. Senin, 20 Juni [W Most helpful customer reviews of people found the following review helpful. Wishing prosperity and blessings to all : See all customer reviews Label: Ebooks. It is likewise a vital skill necessary for exploring the powerful psychic centers or chakras within your body.
With self- hypnosis and Raja Yoga training you can master even advanced tech- niques such as this in months instead of years. It is said that a picture is worth a thousand words. I hope that the mental imagery evoked by the above passage will serve to convince you of the importance of hypnosis and yoga as basic foundation skills for this Art.
Do not neglect your mental training. This statement may disturb some of my senior G. This is not to say that the creative visualizations in the Pentagram and Middle Pillar rituals are not very valuable and even essential in their own right -but they are project- ed onto the astral, not received from it. The G. Those who have popularized our evocation technique have stated that solo operations are quite difficult, possibly dangerous, and should be avoided.
This demonstrates their lack of understanding of the impor- tance of self-hypnotic training in Solomonic magick. A solo operation for an entity of the same sex as the operator is usually less difficult due to the reduction of the personal variables involved. Jinn wfiicft migfitg Solomon Didconjure in the. Jfe of. In this case the teacher came in the form of a book. My first introduction to Western Magick still stands as the best survey work written on the practical aspects of the subject: The Black Arts by Richard Cavendish, published in The Goetia pro- nounced, Go-ey--sha catalogued and described 72 rebellious spirits that, according to a Talmudic legend, old King Solomon had impris- oned in an enchanted Brass Vessel submerged in a lake in Babylon.
This read like a fabulous tale from the Arabian Nights but in my irra- tional state I was convinced that there was a hidden truth behind the fantastic story. Like Aladdin's wonderful lamp or Ali Baba's "Open Sesame" there was a Secret Key to calling up those mighty Princes of the Jinn that Solomon had imprisoned so long ago - and I was deter- mined to find it.
Years later, when I was doing graduate studies in cultural anthropology I realized that back in I had crossed over into a realm of divine madness that few Anglo-Americans had ever experi- enced. I had gone through the true shamanic initiation, that mortal ill- ness and vision quest that brings the shaman in touch with his gods and gives him the power to practice his craft It was during that season of my madness, when agony alternat- ed with ecstasy, that I had discovered, or more properly, re-discov- ered, the lost secret of the Magical Art and I wrote The Book ofAstarte from which the key passage that heads this chapter is drawn.
I had studied the writings of the ancient and modem magicians. They had filled their books with the most detailed instructions on how to build, inscribe and decorate all the necessary equipment, all the sig- natures of the spirits and even the hours during which to summon them - but the most important element, that method by which one could make the spirit physically appear, was always missing in the old gri- moires and not explained in the recent texts.
This turned out to be true. The ancient writers had hidden the secrets in plain sight - as you will see when we examine the old texts - but the Victorian age magicians of the Golden Dawn school, with their phobia against hypnosis and their commendable distrust of pas- sive spiritualist mediumship, had de-emphasized the actual methods of Renaissance evocation and invocation in favor of a Westernized Tantra in which images were carefully built up in the imagination and then allowed to provide psychic feed-back.
Instead of the traditional crys- tals and dark mirrors for visionary work, they prefered to use abstract colored symbols to stimulate the imagination. These methods are dif- ferent in conception and technique from the shamanic calling down or summoning up of spontaneous visions from that great storehouse of images Renaissance magicians knew as the "World Soul" and we now refer to as "The Collective Unconscious. I would have agreed with critics like Professor Eliza Butler that those who had practiced out of the old gri- moires were credulous and self-deluded.
However Arthur Edward Waite, who was also a ruthless critic of the Art Magical, had conceded that they achieved results. In the introduction to his Book of Black Magic and of Pacts he wrote: - "It would, however, be unsafe to affirm that all persons making use of the ceremonies in the rituals would fail to obtain results. Perhaps in the majority of cases most of such experiments made in the past were attended with results of a kind. To this extent some of the processes are practical, and to this extent they are dangerous.
It should be noted that I had first read all of the available 16th and 17th century material before I got into Regardie and the Golden Dawn. Therefore my original per- spective was, and still remains, that of a Renaissance magician rather than a Victorian occultist even though I will be the first to concede our tremendous debt to the Golden Dawn. I think it is important to men- tion this because there is a natural tendency for people to be heavily influenced by their first impressions in any field of endeavor.
This was especially true in my case given my near-terminal ill- ness and altered state of consciousness. I literally devoured the books listed above with the obsession of a religious fanatic.
But, even in the grip of a toxic psychosis, I hadn't lost my intellect. Madness is known to stimulate genius. I was on the verge of discovering, or re-discover- ing, an extraordinary secret hidden in these quaint, and apparently whimsical, books of forgotten lore.
I knew there had to be a way to make Solomon's traditional operations actually work without resorting to drugs, fasting or endless conjurations to produce hallucinations through hysteria and exhaus- tion.
A century ago Aleister Crowley had tried to conjure one of the Lemegeton's Goetia demons out of incense smoke. He had very little success after a great deal of effort. Trying to form an image, or commanding a spirit to produce an image, out of curling, twisting smoke was more of an experiment in telekinesis than a skrying process. Crowley obviously did not know the technique but he certainly understood the philosophy. He stated it clearly in his edition of the Goetia: - "B ut can any of the effects described in this our book Goetia be obtained, and if so, can you give a rational explanation of the circumstances?
Say you so? I can, and will. The spirits of the Goetia are portions of the human brain. Their seals therefore represent Mr. Spencer's projected cube methods of stimulating or regulating those particular spots through the eye. The names of God are vibrations calculated to establish: a General control of the brain. Establish- ment of functions relative to the subtle world.
Rank or type of the Spirit. Name of the Spirit. The perfumes aid this through smell. Usually the perfume will only tend to control a large area; but there is an attribution of perfumes to letters of the alphabet enabling one, by a Qabalistic formula, to spell out the Spirit's name.
I need not enter into more particular discussion of these points; the intelligent reader can easily fill in what is lacking. If, then, I say, with Solomon: "The Spirit Cimieries teaches logic," what I mean is:" Those portions of my brain which subserve the logical facul- ty may be stimulated and developed by following out the processes called "The Invocation of Cimieries.
It is certainly not romantic or artistic; in fact it is downright analytical - like wiring a ballet dancer with electronic sensors so we can get a scientific read-out on Swan Lake - but it serves an absolutely necessary purpose.
Crowley's statement places Solomon's Magick squarely within the parameters of a psychological system. A modem hacker- magus would say we run our Solomonic Magick program on an oper- ating system designed by Carl lung using a language called "Agrippa Crowley knew that magical manifestations involved altered states of conscious- ness and could produce psychosomatic effects but he may not have been aware that entire pantheons of ancient Gods and Goddesses, choirs of Angels and hordes of demons might exist in the deepest reaches of everyone's mind.
Actually this theory was not very modem. Around A. Hermes Trismegistus, the mysterious founder of Hermetic Philosophy, had written in his Asclepius that: "The Gods of the Zodiac are eternal but man himself creates his own lesser gods.
If we create gods, then we control them! And if we can control them, are we not Gods ourselves? Nay, it were impious to think them lies: only there is anoth- er meaning than what is writ with the bare letters. We must not look for the principle of these grand operations without ourselves; it is that internal spirit within us which can very well perform whatsoever the monstrous Mathematicians, the prodigious Magicians, the wonderful Alchymists and the bewitching Necromancers can effect.
This mysterious psychic ocean was not the exclusive property of any individual human being. It was a dimension shared by us all! Here one might discover the great Archetypes of mythology: the heroes, the beautiful courtesans, the martyred saints and monstrous villains of our past.
Here were the mysterious man-created gods which Hermes Trismegistus had written about so long ago. Here was the World Soul of the Renaissance magicians. Here were the demons of Solomon's Brass Vessel. When lung discussed his theory with his famous colleague, Sigmund Freud, Freud was horrified. Theories by themselves do not pro- duce results. For results the magician still depends today as he did thousands of years ago on methods and techniques.
Since time immemorial magicians have placed themselves and others into states of trance during which visions and oracles were received. We now know that this process was hypnotic and that all the phenomena we have come to associate with modern hypnosis were in fact known and practiced by ancient sorcerers under the guise of 'fas- cination', 'spell-casting' and 'enchantment' This was and still is a hyp- notic process.
However the final secret of how to use these magi- cal aides was always missing. With all the philosophy, the atmosphere, the paraphernalia, the powerful conjurations and the hypnotic tech- niques, such spontaneous visions in a crystal or in a dark mirror, still depended upon some special psychic talent.
To make it really work one had to be a natural medium - so, with all my hypnotic experi- ments and my toxic fever dreams, I had certainly become a mystic This is a very important point. Mediums, psychics and clairvoy- ants have dominated the mystic arts for centuries because most of us have assumed that they are the only ones gifted with the abilities to see and hear the spirits.
This situation was so pervasive that even great magicians like Abramelin the Mage, Dr. John Dee,2. Count Cagliostro and the later Frederick Hockley thought they had to employ specially talented skryers or gifted children to do the actual receiving for them.
If I had been in a fully rational state at the time I probably would have accepted this historically established handicap - but obsessed genius knows no bounds. I was convinced there had to be a way, a method by which any- one with the desire and the determination could summon spirits to vis- ible appearance and converse with them. This was what Solomon had promised and - like the indefatigable amateur archaeologist, Heinrich Schlieman who had actually discovered ancient Troy right where Homer said it was - I was sure that the medieval 'Solomon' was telling the truth.
Obviously the speculum: the Dark Mirror. And what better entrance into that realm the mystic poet Coleridge had called, "Caverns measureless to man. How to make it actually work, I asked myself - then something I had read the year before jogged my memory - something I had read somewhere about the use of dark mirrors in the Far East?
That final all-important clue had been sitting right there on my book shelf! In this book the author explained an ancient Oriental method for conjuring up images of previous incarna- tions from the reflection of one s own face.
As I re-read this passage in Garrison's book I felt a shiver of excitement. I was experiencing the same tingling exhilaration that an archaeologist must feel when he brushes the sand away and looks down at the unbroken seal of an ancient royal tomb!
I tried Garrison's experiment and found that it worked with remarkable effectiveness. If a person in a darkened room stares for several minutes into a mirror flanked by candles, a strange phenomenon will almost always happen: The familiar reflection will fade out and disappear. The mirror will go black and, when the image returns, it will be the face of someone or something else!
This experience is usually accompanied by a profound sense ofan other-worldly presence. It was obvious that this phenomenon must have been discovered a long time before any concept of reincarnation.
It probably went back as far as the paleolithic when stone-age people stared fascinated at their reflections in dark, still pools of water, seeing the strange transformation occur - and being convinced they were in the presence of their Gods! I suspected that in a ritual setting, using traditional conjurations and symbols, specific spirits and even ancient Gods and Goddesses might be summoned from the 'Other Side' Our 17th Century Lemegeton manuscript, Sloane clearly shows a large black-filled circle in the center of Solomon's Triangle.
See figure 1. Figure 1. Note that the instructions written around the triangle say: "Two foot off from the Circle and three foot over. The triangle was intended to be raised up to eye-level.
Thomas Rudd", which depicts a mirror on a stand with Solomon's Secret Seal from the Goetia of the Lemegeton clearly rendered on the reverse side See figure 2. Figure 2. We know that polished obsidian mirrors were used in the neolithic Middle-Eastern city of Katal Hyuck as far back as nine thousand years ago - before The Great Flood.
And later, in the time of Solomon, the Egyptians and the Canaanites made mirrors of polished copper and of silver, metals attributed to the planet Venus and the Moon Let your mind travel back to those ancient times and imagine what might have happened when a Priestess sitting before her mirror, putting on her make-up in the dim light, saw her face change and become The Goddess! Perhaps she would call the High Priest to wit- ness the transformation.
They would both be familiar with possessions and trance states and would be quick to see the possibilities If those worthies didn't know the reflection secret, then who had known? My answer is that the medieval Arabian magicians probably knew it as these quotes from C. Thompson indicate: "According to Arab tradition, magic or 'sihr', which means 'to produce illusion before the eyes' was revealed by two angels in Babel, named Harut and Marut, who instructed mankind in this art. When a miracle was deemed a , sihr' it was regarded as an optical illusion or due to an illicit dealing with demons The use of the magic mirror - which was made of metal or glass with a polished surface -for seeing spirits, was known to the Arabs at an early period.
The image was said to appear in a cloud or vapor floating between the medium used and the gazer ,s eye. Thomas Rudd and others may very well have known but kept it secret. The method was so simple that there was no need to write it down. It could have been passed from mouth-to-ear and yet the hints in the Sloane Goetia are almost too obvious. We should recall that the Goetia was not a system magicians felt com- fortable writing about back in the days of the Inquisition.
And they did not need Carl Jung's subjective psychological the- ories to justify using their own reflection as a focal point. There was a haunting Orphic myth about Dyonisus being entranced by his reflec- tion in a mirror, caught by the Titians and tom to pieces, his parts res- cued by Zeus and given to Apollo to plant in the earth - from which he rose reconstituted and revived. Here we have the modem psychological concepts of fragmenta- tion, reintegration and individuation of the personality, we also have our seventy-two all-encompassing spirits let out and then put back into The Brass Vessel.
The ancients did not create such fables for idle amusement. Along with playing hopscotch on The Tree of Life, children have a game called "Bloody Mary" Clive Barker's "Candyman" which they have been scaring each other with as long as there have been mirrors to look into. Any modem magician who thinks his predecessors didn't discover this same phenomenon ages ago and make use of it doesn't hold them in very high regard - but to those who still insist that this method of magical evocation is modem, I will be most happy to accept credit for it.
In the week following my remarkable discovery or re-discov- ery my illness overcame me to such a degree that my doctor was com- pelled to conduct a more thorough examination. At that point he dis- covered the truth and advised me that only an operation could save my life - but that I was too debilitated and inflamed to undergo the surgery.
I asked the Archangel Raphael to heal me and Prince Ba'al to give me strength - then because the Gods help those who help them- selves I went out and found another doctor.
When I recovered from my surgical operation, health and sanity quickly returned - but I remembered what I had learned during my sabbatical in Tartarus and, to my surprise, I discovered that Solomon S Magick was still as effec- tive - and even more so when contrasted with my otherwise rational state of mind.
To my even greater surprise, I found that this ancient system would work for any sincere person who could concentrate on a fixed point long enough to achieve a light hypnotic trance. I extended my experiments to include others and I soon discov- ered that the process was just as effective if I - as the magician - stood behind a passive 'receiver' who would only need to hold the can- dlesticks and concentrate on the mirror.
At that time I was a bachelor in my thirties, living in a beachside Southern California apartment and riding a motorcycle. These experiments, harmless as they were, made me notorious. According to a published account one of my Astartes disap- peared off the face of the Earth - and yet I saw her socially in the week following the operation.
It did appear that women made the best, or perhaps the most enthusiastic, receivers but for the most part my female volunteers were not clairvoyant. Those few who were natural psychics would receive their vision "off-face" after the mirror blacked out. Non-psychic receivers most of us will see a different face replace our familiar reflection.
However, it is important to note that this transformation process for non-psychics is, if anything, a more intense and con- sciousness altering experience than the more familiar visioning process the psychic undergoes. So I had the secret. Like Dr. Frankenstein, I had learned how to do it - but, even though I may have been just as obsessed as the fic- tional Victor Frankenstein, I didn't want to make his mistake.
Before I opened the Brass Vessel and released these spirits into the world again, I wanted to understand the philosophy and the spiritual significance behind a process that been kept such a closely guarded secret for thou- sands of years. I had to ask myself, was it possible there were slum- bering demons from our past that - as the late Howard Phillips Lovecraft had suggested - might better be left unawakened? How and why had the beautiful Goddess Astarte and her handsome consort, Prince Ba'al, the Thunder God, become demons in the forbidden books of medieval black magick?
I found some of the answers to these questions in the long-lost Biblical Book of Enoch. Chapter 'Izuo NPtes onfo«Owing page. This passage may be familiar to some occult students outside of the a. The Book ofAstarte has been pirated and circu- lated in the occult underground since even though it was copyrighted under my pseudonym by a major university in In actual fact, since its rediscovery in , the method has become so popular that one of my former students privately claimed credit for it and started three mini-lodges of his own.
Another a. He and his publisher followed this up with a simplistic, mass-marketed pamphlet on the Goetia Dark Mirror method in It is a truly ancient Biblical book that belonged in the Pentateuch between Genesis and Exodus.
It disappeared, along with the Ark of the Covenant, sometime after Solomon's death. A copy was known to be in the possession of the Pagan star-magicians of Harran in Syria and another was rumored to be hidden in a remote, secret monastery in Ethiopia.
In the Scottish explorer, James Bruce, risked his life to smuggle two Ethiopian copies out of that ancient, legendary kingdom of "Prester John". Magicians have venerated these works ever since. In mythical, prehistoric times before The Great Flood, the Book ofEnoch tells of a War in Heaven in which God and his loyal host of angels, led by the Archangel Michael, were arrayed against a horde of rebellious angels who had lusted after the daughters of men and had descended to earth, where they were breeding a race of giants and were teaching humans the forbidden secrets of sorcery and magick.
The Arabian legend of the fallen angels Harut and Marut, quoted earlier, is only one of many mythological offshoots of this original theme. The Rabbis, Priests and Imams practiced a slight-of-hand trick and reclassified the homeless, but not forgotten, Pagan deities as those same "Fallen Angels" who were already chained in deep pits at the ends of the earth. The 17th century English Christian poet John Milton summa- rized this militant transformation process in his Paradise Lost: "First Moloch, horrid king besmeared with blood Of Human sacrifice and parent's tears Of Solomon he led by fraud to build His temple right against the temple of God.
To do him wanton rites, which cost them woe. Till good Josiah drove them thence to hell. With these came they, who from the bord' ring flood Of old Euphrates to the brook that parts Egypt from Syria ground, had general names Of Baalim and Ashtaroth, those male, These feminine. For Spirits when they please Can either sex assume Thus their greatest rival, the Canaanite thunder god, Prince Ba 'al became the demon Bael, first among the ranks of the fallen, who was said to appear as a cat, a toad or a man - or all three at once - and to grant the power of invisibility See figure 3.
Figure 3. As indeed She has! You may dare to contact Ose, the mysterious titular spirit of shape-shifters, werewolves and leopardmen. See The Evocation ofNithael. This myth of The Fallen Angels laid the foundation for a Middle Eastern legend recounted in the Talmud about the Biblical King Solomon, who was said to have been the greatest magician of ancient times.
According to our legend, Solomon, armed with the power of God's Holy Angels, bound and sealed those 72 rebellious spirits, or Genii, into the "Brass Vessel" - from which he called them forth to do his biding, even to assist him in building the Great and Holy Temple at Jerusalem. Whether or not you take these ancient myths and stories literal- ly or you consider them to be symbolic, the legend of "The Fallen Angels" - who became the horde of Genii in Solomon's brass bottle - forms the secret tradition and the wellspring of power behind the fabulous wizardry of the Arabian Nights and even the medieval sor- cery of Dr.
But can our fantastic legend have any truth behind it? Are we really seeing these ancient Gods and Goddesses, who became "Fallen Angels", in the dark mirror on our magic triangle? Do the strange voices that speak through our lips during the magical channeling process actually come from these deities and demons of the dim past?
Have we have really opened "That lost Portal Between Worlds" - and, if so, can these powerful Genii now be commanded to reveal secret knowledge and accomplish wonderful things?
I invite you to follow in my foot- steps and find out for yourself! This ancient art is not a party game or a Halloween prank. There is no place for the dabbler or the thrill-seeker in the Magick Circle. All aspects of this system, from the spiritual to the psy- chological, must be thoroughly understood before any experimentation takes place.
Like the knights of olden times, the magician must be trained, armed and armored before he or she goes forth to do battle First you should understand that The Magick Circle is the philosophical fortress that protects you when you open the gate between the worlds see Appendix 3. It represents the perfect circle of the vast universe and the unbroken boundary and spiritual integrity of your own being - which are one-in-the-same when you practice Solomon's Art.
As above, so below; as within, so without. Let me share my personal Magick Circle formula with you. This was derived from an Archangelic invocation of Gabriel. They are four of the Mighty and Eternal Seven". Using this visualization as a cir- cle-casting formula provides complete protection because you are pro- jecting an impregnable sphere all around you linked to and empower- ing a Heavenly force within you. This is why we invoke draw down Angels and higher spirits into the Magick Circle and evoke call up lesser spirits into a locus spiritus outside the Circle.
You should know that even back in ancient times the Triangle represented the philosophical first plane of manifestation. It acts as a cage, containing and restraining the spirits you evoke. First we will create just one point. Next we or God will establish a second point and connect it to the first so that we have a line - then, when we plot our third point we have our triangle; the first, flat surface Now, when we create Point Four, we have the first solid.
We have created a thing. We will keep our spirit within the Triangle. You should understand this symbolic geometry thoroughly before you open Solomon s Brass Vessel and release the genii. Visualize the process several times in your mind until you have made it yours. Traditionally the Name of the Archangel Michael, the Angel of Power, was separated into three syllables; Mi- Cha - el and written in the comers of the Triangle to add a visual emphases to the symbolic geometry that bound the spirit see Appendix 3.
So how do we invoke these great Archangels? There is no corollary between the Fallen Angels listed in Biblical Enoch and the entities that Dee and Kelley had converse with. We should also mention that Kelley employed a dark mirror for his skrying -- but he was a natural clairvoyant and did not use his own facial reflection as a focal point.
This selection from Milton's epic has been edited and condensed to get the point across without interrupting the flow of our chapter. I apologize to students of English literature and I encourage readers to read the original. Later you may wish to visualize these Phoenician letters of creation in their Atziluthic King Scale colors - see Phoenician Alphabet Appendix.
Frater Sabazius Xc. In tfie [ustg embrace oftfie Cherubim. Fire anaWater -. They represent the positive forces that drive the engine of the universe and the love that holds it all together.
From a practical point of view, they are The Tetragrammaton. They represent the Four Philosophical Elements of Creation. In the Order of the Temple ofAstarte we conceive and visu- alize them as complimentary male and female beings, in keeping with the nature of their functions - for Angels can appear in any form they wish, or any suitable form that your imagination can provide for them.
You are free to enlarge and use the icons I have created for the D. Casting your circle with a traditional Pentagram Ritual before each operation is certainly important but that alone is not enough. The Great Archangels must live in your mind and in your heart - You must have them inside as well as outside. Therefore we must first master the art of Angelic Invocation before we proceed to its darker counterpart: the evocation of Solomon's 72 spirits.
Along with the secret of the mirror-in-the-triangle, the other cru- cially important element missing from the Goetia is the fact that the 72 spirits of the Brass Vessel have 72 direct counterparts in the Holy Angels ofthe Shemhamephorash. These derived, or "suffix" angels are not as personified as the Four Archangels of the Quarters or the Seven Archangels of the Planetary Spheres, but they do act as specific and very effective channels of power through which those Great Archangels control each and every rebellious spirit.
If this concept is not fully understood and integrated into your Goetic evocation operations, you are on spiritually dangerous ground. The careful operator should use both Goetia and Shemhamephorasb sigils and conjurations in evocational operations.
Like the Goetia spirits these Shemhamephorash angels have their own special signatures and there is a short traditional invocation for each one of them. We credit these invocations to the 17th century magus, Dr Thomas Rudd. Even if this story was a veil of glamour to enhance their creation, they were certainly mas- ter magicians and their sigils are effective.
Now that you understand the general theory, let's get down to practical methods. How do we go about this Angelic invocation process? There is another book in the Lemegeton compendium that prob- ably should have been published with the Goetia. See Figure 4. Figure 4. The original Almadel was a table-top device made entirely of wax.
This was an ingenious design. As with the Goetia, the secrets of the Almadel were not clearly explained in the Lemegeton. I had to use equal measures of scholar- ship and inspiration to reconstruct and [me-tune the system I know that statement may be surprising to some magical schol- ars who never look beyond to quote Cornelius Agrippa again "what is writ in the bare letters. Realizing this we can simply disregard the late 17th century hodgepodge of garbled angelic names the Lemegeton's scribe 3.
Each of the four Great Archangels of the Quarters empower three sets of six Shemhamephorash Angels, who in tum control three sets of six counterpart Goetia Spirits - which are distributed, two to each of the 36 dekans, or ten degree divisions of an astrological Sign. This occurs in similar order all around the zodiac see the Master Mandala.
Once again I had encountered the phenomenon ofa missing key. Even during the excitement of my Dark Mirror discovery, I still realized that these Great Beings of Light had to be invoked first to sta- bilize the evocation process - otherwise the legendary symbolism of the Brass Vessel would be lost. I was convinced the Almadel was the proper Invocation System simply because it, like the Goetia, was one of the five books that made up the Lemegeton.
I constructed several different versions of the Almadel device, using the crystal, the candles and the incense burner, until I finally dis- covered the way to maximize the effect - and share it with others.
The skryers sit, totally isolated, on low stools in semi-darkness looking up at the crystal, placed on a high table and surrounded by shielded candles an excellent theatrical lighting effect while spec- trally illuminated smoke curls upward.
With this set-up the practition- ers are more than halfway into dreamtime before the invocation starts. When I first developed this technique we found the effect was so powerful and the experience so profound, we soon realized - even before my research confrrmed it - that we had opened the Gates of Heaven. We had called down those glorious Beings of Light whose sweet voices then whispered in our minds as we sat in reverent awe about The Holy Table of Art. But, wait a minute!
Have I said anything about anybody actu- ally seeing anything in the crystal ball? No, I have not - and for a very good reason. Unless you are clairvoyant you will probably not see anything specific. However, if you have mastered self-hypnosis and the yoga of tratakam see Chapter 1 , you will witness an electric blue astral aura shot through with rays of golden light, the crystal will radiate with power and you will sense a profound change in the space- time-continuum.
You will know that you are "On Holy Ground" and that the Angel has arrived. This is very similar to "The Burning Bush" experience described in the Bible. Is this a modern, subjective approach? For the answer to that question let us go back three hundred and fifty years and consult the venerable Dr Thomas Rudd on the subject: "If good Angels or Elemental powers of light or otherwise dig- nified Spirits of benevolent or symbolizing nature with celestial pow- ers, and allied to the welfare and preservation of mankind, are moved and called forth to visible appearance in a Crystal Stone or Glass Receiver, as one usual way or customary form is among the learned Magicians, then the sign of their appearance most seemeth like a veil or curtain or some beautiful color hanging in and about the stone or glass as a bright cloud or other pretty kind of Hierogylphical show, both strange and very delightful to behold.
Unlike the dark mirror, it is not necessary to see anything spe- cific in the shewstone. You can have a tremendously powerful contact and even become a channel through which the Angel may deliver an oracle. Further on in your magical development you might undergo a life-transforming experience with this method- such as "Knowledge and Conversation with your Holy Guardian Angel" - and never at any time 'see' anything like a face or a recognizable symbol in the crystal.
If you are wondering why Angels are less visible than Spirits and Pagan God-Goddess forms, the answer is not far to seek; Angels are agents and messengers of the Supreme Power whereas Spirits and Godforms are personifications of Nature.
Like the secret of your reflection in the Dark Mirror for evoca- tion, this knowledge frees you from dependence on psychics and clair- voyants in your Angelic invocations. You are in direct communication while they could only act as scribes. Our modem O. Alamadel is combined with the traditional double-cube altar see Equipment Appendix. We have shielded can- dles at the four 'homed' comers and an incense chamber below, with slots cut around the central compass rose to allow the rising smoke to surround our crystal shewstone - which is placed on our Master Mandala that unifies the Goetia and Almadel systems in one all- encompassing design.
This modem innovation of mine turned out to be just as effec- tive, in its own way, as the ancient Almadel, with the important advan- tage of being ideal for group workings.
We place low stools around the foot of the altar so that four or more people may sit and gaze up at the smoke-shrouded crystal, haloed in spectral light, with nothing else in their field of vision.
The operator sits in the East and serves incense through a hinged round door which replicates the Alchemical Spirit symbol. The other participants gaze at the illuminated, smoke-shrouded crystal from a low angle that automatically induces a hypnotic alpha state. Beginning in the East and passing deosil, these invocations to be found in prac- tical section of this book are articulated by each person in tum while the rest continue to softly chant the Archangel's name in unison. This 'round-robin' continues until all have invoked.
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