Words and Wonder: Mysterious Synchronicities and Covert Solomonic Consecrations by Easter Mass

By Frater S.C.F.V.

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A. An Unexpected Trinity: Trifecta of Mysterious Synchronicities

Yesterday was Easter Sunday, the Holy Day on which Christians celebrate the Resurrection of Christ, which enabled him to complete his mission of establishing the New Covenant, liberating humanity through faith from their ancient legacy of erroneous action that missed the mark (hamartia, sin) of the Good Willed by God, and to send the Holy Spirit to dwell within us as a sanctifying, guiding, and empowering Force. My upcoming article Charismata Magica: Gifts of the Holy Spirit in the Solomonic Grimoires will go into into some depth of how the latter event impacted the grimoire authors and how the Fruits, Graces, and Gifts of the Holy Spirit play fascinating roles within the European grimoire tradition.

As I was fading off to sleep, I was contemplating some passages of Scripture that I had recently read and the idea occurred to me that perhaps it would be ceremonially and spiritually fitting for me to commemorate my return to Christianity through a water Baptism. I had already been Baptized by water once within the Catholic Church and completed all of the sacramental initiations up to and including Confirmation, but after my long time away from the faith studying other traditions, a new Baptism might be appropriate. Still, I had never heard the Pastor of my Church speak about water Baptisms for adults in the entire year I had been attending this particular Church and I was not sure how they handled such things.

In the morning, I began to celebrate Easter by reading from the New Testament. My attention was called to 1 Corinthians 15 in the Amplified Bible, which reads:

1 Now brothers and sisters, let me remind you [once again] of the good news [of salvation] which I preached to you, which you welcomed and accepted and on which you stand [by faith].

2 By this faith you are saved [reborn from above—spiritually transformed, renewed, and set apart for His purpose], if you hold firmly to the word which I preached to you, unless you believed in vain [just superficially and without complete commitment].

3 For I passed on to you as of first importance what I also received, that Christ died for our sins according to [that which] the Scriptures [foretold],

4 and that He was buried, and that He was raised [and Reaurrected] on the third day according to [that which] the Scriptures [foretold],

5 and that He appeared to Cephas (Peter), then to the Twelve.

6 After that He appeared to more than five hundred brothers and sisters at one time, the majority of whom are still alive, but some have fallen asleep [in death].

7 Then He was seen by James, then by all the Apostles,

8 and last of all, as to one [b]untimely (prematurely, traumatically) born, He appeared to me also.

9 For I am the least [worthy] of the Apostles, and not worthy to be called Apostle, because I [at one time] fiercely oppressed, [killed Christians,] and violently persecuted the Church of God.

10 But by the [remarkable] grace of God I am what I am, and His grace toward me was not without effect. In fact, I worked harder than all of the Apostles, though it was not I, but the grace of God [His unmerited favor and blessing which was] with me.

11 So whether it was I or they, this is what we preach, and this is what you believed and trusted in and relied on with confidence.”

Humbled by this reading, I took a ritual bath to prepare for Church, worshiping the Most High through worship songs and Psalm passages as I do every morning.  Then, I walked to Church with Soror R.A. Along the way, she expressed some doubts about how we could possibly know whether Christ had really been Resurrected and what ancient textual evidence there was that Christ even existed. I told her about the extra-biblical evidence for Jesus we have from Tacitus and Josephus and about how, until recently, many archaeologists had doubted whether Pontius Pilate had even existed until 1961, when the Pilate Stone was unearthed, which bore the inscription, as translated from Latin into English:

To the Divine Augusti [this] Tiberieum
… Pontius Pilate
… prefect of Judea
… has dedicated [this]

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Further evidence was revealed in 2018 when a ring that had been discovered in Herodium near Jerusalem and which bore the inscription “of Pilates” was deciphered using advanced photographic technology.  To quote the Jerusalem Post,

It reads “of Pilates,” in Greek letters set around a picture of a wine vessel known as a krater, and is said by archaeologists to be only the second artifact from his time ever found with his name. Kraters are a common image in artifacts of that time and place.”

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We arrived at Church and joined in the worship. When the Pastor began to deliver his Easter Message, however, I was blown away by not one, not two, but three synchronicities, a veritable trifecta:

(1) For the first time ever, the Pastor described the procedure for Water Baptisms for Adults and explained that an opportunity for Water Baptism would be happening within the next two weeks. He also explained that they were accepting sign-ups for anyone interested. I was amazed given the reflections that had come to me the night before. I wondered if the Holy Spirit had given me a Word of Knowledge through that.

(2) The Pastor described the archaeological and textual evidence for Christ and Pilate, including the very Pilate Stone I had discussed with Soror R.A. Her mouth fell open in awe when he started to discuss this.

(3) The Pastor then went on to analyze 1 Corinthians 15, the very passage I had been nudged to read that very morning! I bowed my head, humbled at this, giving thanks and honouring the mysterious ways of the Holy Spirit, who abides in all of the faithful and guides, teaches and sanctifies them from within as they learn to walk in the Spirit in whom they “live, move and have [their] being” (Acts 17:28).

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B. Phylactery, Cauldron, and Daggers: Covert Solomonic Consecrations by Easter Mass

On this auspicious Easter Sunday, Day of the Sun, I performed Cryptoconsecratio by Mass–covert consecration of magical items performed in Church–of the gold disc phylactery depicted above, which features the names and sigils of the 7 Heptameron Archangels and the 7 Olympic Spirits of the Arbatel De Magia Veterum traced over with a consecrated Solomonic Burin of Art.  Since gold is a soft metal, it is fairly easy to engrave; a compass and ruler facilitated the tracing of the circle and straight lines respectively.

By way of context, I have already established relationships with all 7 of these Archangels and with the Olympic Spirits Bethor and Aratron, the latter two relationships of which I began back in 2010 when I first conjured those two spirits to assist with making Pentacles of Jupiter and Saturn respectively. In the coming year, however, I plan to begin work with all 7 of the Arbatel Olympics and wear this phylactery in work with them. I also plan to wear the seal under my shirt in daily life for general protection and to faciliate maintaining my connection with the spirits represented within it.

Out of respect for traditionalism, however, I have to point out here that this seal combining Heptameron and Arbatel spirit names and sigils does not occur in either the Heptameron or the Arbatel, although the sigils of the Archangels and Olympics contained here are exactly rendered as depicted in those two grimoires. As I learned through the kind sharing of knowledge from my friends BJ Swayne, Billy Ashford-Webb, Chijioke Onyeogubalu, and Andy Foster, I was able to learn that this combined seal was designed by the talented Frater Asterion. Through additional research, I traced it back to a 2011 post he made on Solomonic Magic, which is accessible here and in which Asterion refers to it as his Planetary Lamen. 

Frater Asterion explains the structure of his design and the traditional inspiration for it in this way:

“This pentacle was inspired by a figure in the last book of Faust’s Magia Naturalis et Innaturalis, only he used Olympic Spirits alone and I used Archangels too. My blog banner is based on that, if you look closely. I wrote [the Names] in Latin characters for illustrative purposes, for my upcoming book to be published in Romania, Cartea Arhanghelilor (The book of Archangels), and also as a didactic chart for my personal students.”

Through his own diligent research, Billy Ashford-Webb was able to locate the original diagram in Magia Naturalis et Innaturalis from which Asterion derived his inspiration for this combined Arbatel and Heptameron phylactery:

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Frater Asterion’s sleek and efficient design, with its inclusion of the Arbatel and Heptameron Sigils of the Olympic Spirits and the Archangels suits my purposes well as defined above and was accepted under the guidance of the Angels and Olympics involved. Please note that although I have received commission requests from several people to craft a version of Asterion’s Planetary Lamen, I will not be doing any of these. Frater Asterion retains the copyright and all credit for his own design work. Anyone who would like their own version of this lamen to be crafted should message him directly. 

In this same Easter Sunday Mass, I also performed Cryptoconsecratio by Mass on my new White-Handled Knife, Black-Handled Knife, and also the Cauldron consecrated to Gabriel that I alluded to in a prior post. All of the above were covertly carried into Church in a backpack, which I prayed over during the Mass. Before the Mass, I exorcised these tools and the phylactery and consecrated them with Solomonic Holy Water and consecrated and exorcised Frankincense, both prepared according to the instructions of the Key of Solomon, before bringing them with me to Church. 

The experience was powerful and moving as always and the trifecta of mysterious synchronicities made it even more so. Glory to you, YHVH, El Eloah, Adonai Rapha, Glory to Yeshua Risen, Glory to the Holy Spirit who lives and works within us! In the name of Yeshua, we give thanks and praise. Amen.

 

Crafting a Solomonic Circle

By Frater S.C.F.V

Crafting a Solomonic Circle : Introduction

seal2After an astounding, and very enjoyable, three weeks of work, I have finally finished crafting my version of a Solomonic Circle based on a combination of the Consecration Circle from the Clavicula Salomonis (16th c.) and the Circle from the Goetia of the Lemegeton Clavicula Salomonis (17th c.). My source materials for this project included the critical editions of both texts from Joseph H. Peterson, Renaissance manuscripts of the texts (Sloane MSS. 3091, Sloane MSS. 3548, Kings MSS. 288, and Harley MSS. 3981) and ideas from my respected colleagues in Aaron Leitch’s Solomonic group.

In this article, I would like to share how I approached the process of crafting of this Circle, why I made the decisions I did in terms of its design, and the stages through which the project unfolded from its conception to its creation. My hope is that the information shared here will be helpful to those who are wondering how to get started with a project of this magnitude and are looking for some useful tips and assistance. For example, I will endeavour to offer some clear tables and ideas for faithfully rendering the Hebrew letters in the Mathers-Crowley edition of the Goetia Circle, which can be very hard to read in many of the manuscripts.

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“Icon of St. Cyprian and Justine” by Elen Kishkurno.

The Devotion of the Art: A Philosophical Approach

When I decided to take on this project, which I intended to use for practical work with the grimoires, it was clear to me that I had to do so in the right spirit and proper frame of mind. Anyone who has worked with the Solomonic grimoires knows that they are extremely devotional in nature. They make extensive use of prayers, glorification and devotional proclamations to the Divine, and, like the Sacred Magic of Abramelin the Mage, encourage the Magician or “Exorcist” to inflame themselves in prayer. Indeed, this devotional and ecstatic aspect is key to the Solomonic approach, as Aaron Leitch explains in his excellent Secrets of the Magickal Grimoires.

Therefore, I approached the creation of this Circle, as the Solomonic grimoires recommend, not as preparation for magical work, but as an act of magic in itself. Indeed, my approach to the work was that I would offer up my energy, my time, and the very best work I could possibly do for the greater glory of the Divine and as an offering to the Divine and to the Angelic spirits that the Circle itself calls upon for protection and empowerment. My entire approach, therefore, was one of devotion and of a spirit of offering. I believe this is very important, because if approached in this way, the Magician infuses that devotional spirit and fervent energy of prayer and the ecstatic “phrenzy of Love”–to quote Agrippa– into the Circle itself. This, in effect, adds an additional layer of power and consecration to the Circle as a greater tool for work.

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Bernini’s “Ecstasy of St. Teresa of Avila” (c. 1647–1652).

As a result, I incorporated a series of devotional and ceremonial aspects into the very creation of the Circle itself. First, I performed ritual bathing before every session of work on the Circle to ensure I was in a state of ritual purity. I recommend Key of Solomon, Book II,  Chapter IV for instructions on the bathing or using the Islamic ghusl method).

Second, on some of my work days on the Circle, I fasted (see Key of Solomon Book II, Chapter IV for guidance on fasting as well as Aaron’s Secrets of the Magickal Grimoires).

Third, I consecrated the markers I used for drawing the characters and figures on the Circle and used acrylic paint following the method for the exorcism and consecration of the Ink of the Art given in Book II, Chapter XIV of the Key of Solomon.

Fourth, I burned Frankincense during the painting sessions, which was consecrated according to Book II, Chapter X of the Key of Solomon in the appropriate Planetary Hours.

Fifth, during my work on the Circle, I listened to devotional hymns, songs, Gregorian  chanting, and Biblical Hebrew chanting of Psalms. I also chanted and prayed as constantly as I could.

In short, the entire process of creating the Circle, which took many hours over a three-week period, was a rite of devotion, prayer, purification, meditative absorption, and consecration. This is the state of mind and attitude in which I approach the creation of any magical tool, but particularly projects of the scale of a Circle of this kind.

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Circle and Triangle of Art from Sloane MSS. 3648 of the Lemegeton Clavicula Salomonis.

Approach to the Lettering and Symbolism Used

In order to craft a Circle of this type, it is very important for the Magician to first study the symbolism used in great detail in order to understand its function and the Forces that the ritual implements call upon for empowerment, exorcism, and consecration.

Therefore, I studied the symbols and rationales behind all aspects of the Circle in great detail through the secondary and primary sources and in consultation with other Solomonic practitioners. Dr. Stephen Skinner recommended that if I were to use the serpent motif, as present in the Crowley-Mathers take on the Goetia Circle, then I should place its tail in its mouth to complete the ouroboros symbolism which links it back to the Papyri Graecae Magicae (PGM) via the Hygromanteia. I took his advice and did exactly this.  Frater Ashen Chassan’s own amazing work on his Goetia Circle inspired me to push myself to produce the most beautiful Circle I could as an act of devotion to the Divine and Offering to the Spirits.

As I studied the Hebrew words–written in Latin characters in the original manuscripts–it soon became clear to me that the letters in the outer circle of the Goetia Circle had originated in Heinrich Cornelius Agrippa’s Three Books of Occult Philosophy (1531). As a side note, this very fact tells us that the Lemegeton text cannot, therefore, be older than 1531, and is probably considerably younger.

More specifically, the Hebrew words around the ring of the Circle come from Chapter 13 of Agrippa’s Second Book of Occult Philosophy, a Chapter which is entitled “Of the Number Ten and the Scale Thereof.” In this Scale, Agrippa provides a Table with 10 Columns devoted to the 10 Sephirot of the Qabalistic Tree of Life. These Columns supply the Hebrew Names of God, the Sephirot, the Angelic Choirs, the Archangels, and the names of the “Spheres of the Celestial World” which were transliterated into English characters in the ring of Names around the Goetia Circle.

Realizing that these were originally Hebrew names, Mathers and Crowley restored them to their original Hebrew. I agree with this decision and decided to go along with it in my own Circle. In the Goetia Circle, however, only 9 out of the 10 columns were included; the Malkut column was omitted. Some Magicians have argued that the reason for this was that the Circle itself represented the Sphere of Malkuth, and therefore the names were not needed. This is a fair argument, although one with which I humbly and respectfully disagree.

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Image of the “Scale of the Number Ten” from Agrippa’s Three Books of Occult Philosophy.

It seems to me that the Malkuth column contains key Names of God, Sephirot, Angelic Choir Names, and Archangelic Names, which if omitted, deprive the Circle of additional protection and talismanic power; conversely, if added, they add an additional layer of talismanic and protective power to the Circle as well as a greater sense of holistic and unified completeness.

Through this addition, the physical Circle then becomes a potent and complete mandala of all of the Powers in the Four Qabalistic Worlds mapped around the Magician; in effect, it becomes a completed microcosmic mandalaic representation of the macrocosmic forces that Agrippa lays out in his Ten Scale. Therefore, I transliterated the Names from the Malkut column in Agrippa back into Hebrew and followed the same symbolic conventions as Mathers-Crowley edition (e.g. using the astrological sigil of the associated Planet, in this case Earth).

An additional issue that anyone who wishes to construct a version of the Lemegeton’s Goetia Circle must face is the issue of the Hebrew.  Unfortunately, there are many errors in the Hebrew both in the original manuscripts in the Mathers-Crowley Hebrew as well. Mr. Gilberto Strapazon has done some excellent work in meticulously correcting these errors in his own take on the Goetic Circle. When you add together my work with Mr. Strapazon’s, the result is the following list of Names for the 10 Columns of Agrippa’s Ten Scale, all in their original Hebrew, which are to be written in the outer Circle.

Here are the corrected Names for the original 9 columns used in the original Lemegeton’s Goetia Circle as transliterated back into Hebrew by Mathers-Crowley, with credit to Mr. Strapazon:

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In addition to the above, my restored version of the 10th column Earth/Malkut Names, which are to be written after the Luna Names, is as follows:

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To write the Names around the Circle, if you use the serpent motif from the Crowley-Mathers Circle–as I did–I suggest to begin with the Names in the S.P.M. (Sphere of Primum Mobile) row starting from the snake’s head, and working your way to the left along the serpent’s body.  Recall that Hebrew is written from right to left, so you would not start with the letters S.P.M., but rather with the Aleph on the right-most side of the column that starts the name Eheieh in Hebrew (אהיה). Then you would work from right to left until you reach “S.P.M.,” start at the rightmost letter in the row under that (the S.S.F. row), and work your way to the left towards the letters “S.S.F.” and so on through the rest of the Names.

In my own version of the Circle, I decided to make some additional augmentations because I wanted this Circle to double as a Pentacle consecration Circle for Key of Solomon work. As a result, I opted to add the Four Names from the Key‘s Pentacle Consecration Circle into their respective cardinal quarters, as shown in the original diagram from the text:

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As shall be seen in the images below, I placed these four Names above the Hexagrams in the central circle in each Quarter. In this way, a single Circle can be used both to consecrate Pentacles and to do evocations and invocation work.

In addition, as I explained in a previous post, in Book 2, Chapter 9 of Mathers’ Key of Solomon, Mathers’ diagram of the Circle shows the Hebrew text of “Who is like unto thee, oh YHVH?” from Exodus 15:11 added in the second band of the Circle.  However, in almost every source I’ve seen, there are many mistakes in the Hebrew given for this verse, including both Mathers’ original presentation and Mr. Donald Tyson’s presentation thereof in Serpent of Wisdom, where it is erroneously transliterated as “MI KMIK BALIM IHVH.”

After consulting the passage in the original Hebrew Tanakh to verify it, here is the correct Hebrew as it should be written, shown in the context of the full verse from the Tanakh:

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In my Circle, these words were included towards the end of the Serpent’s body where it weaves back towards its head to complete the ouroboros as per Dr. Stephen Skinner’s instructions.

Moreover, attentive readers will also notice that I followed Frater Ashen Chassan’s example of using Medieval and Renaissance calligraphy in the English or Latin characters used in the circle (e.g. “ALPHA,” “OMEGA,” and “TETRAGRAMMATON”).  This is not required by the original manuscripts or even by the Crowley-Mathers edition, but it adds a great deal of beauty to the final result.  The practical magical benefit of aiming to maximally beautify our magical tools is that, as Neoplatonic Theurgy explains, the more beautiful our magical tools, the more they participate in the ‘nature of the Beautiful,’ which sympathetically helps them to resonate more strongly with the Divine forces we use them to invoke.

Finally, it will be noted that I made some subtle changes to the Hexagrams and the Pentagrams used in the Circle. For the large central Hexagrams in the inner circle, I used the general structure of “Solomon’s Hexagonal figure” from the Goetia to add additional power to the Circle as shown in the following image. I also added smaller forms of the Pentagram and Hexagram of Solomon near the Consecration Circle Names in each quarter for aesthetic balance and additional empowerment.

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“Hexagonal Figure of Solomon” or Hexagram of Solomon from the Lemegeton’s Goetia.

It is worth noting, as I was surprised to recently discover, that at the time of crafting this Circle, I had not encountered the idea of including smaller Pentagonal Figures of Solomon in the four Quarters of the Circle in any existing manuscript of the Clavicula Salomonis.  I had been nudged to do it by the Spirits overseeing my work in crafting the Circle.  Over a year later, I discovered BNF or Bibliothèque Nationale de France Italien 1524, which happens to be our earliest published manuscript of the Key of Solomon proper and dates to 1456.  Amazingly, the version of the Circle in BNF Italien 1524 includes Pentagonal figures of Solomon, albeit with different lettering, in each quarter of the Circle just as I had intuitively been nudged by the Spirits to do in my own Circle! Note the four Pentagonal Figures in each Quarter of the diagram of the Circle in BNF Ital 1524:

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As for the four Pentagrams, which surround the Circle, I kept the “TETRAGRAMMATON” text, but added crosses at the vertices and Alpha and Omega signs to align them with the symbolism in the Hexagram of Solomon.  I also felt an intuitive nudge from the Spirits overseeing my Circle work to include the name “EL” (Aleph-Lamed or God in Hebrew) twice and the Name “YAH” (Yod-Heh) once, with the following final design for each Pentagram:

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When I investigated the resulting Gematria, I was struck by the esoteric implications of these additions. In Gematria, each Hebrew letter is assigned a numerical value. Therefore, each word also has a numerical value, which is equal to the sum of the values of its letters. Words with the same numerical value are taken to share occult or hidden connections with one another. For example, the word “El” (God) in Hebrew (Aleph-Lamed) has a value of 31, the same value as the Hebrew words for “Love of Yah,” “Seer,” “Holds” (as in an embrace of love or protection), and “Brother of Union.” Similarly, the word “Yah” (Yod-Heh) has a value of 15, the same value as the Hebrew words for “He is,” “To utter, to confess, to praise,” “to speak, to breathe” (recall that ‘spirit’ comes from the word for breath in Latin), “to be hidden,” “projection,” “flow, flux,” “splendor,” “exaltation,” “majesty,” and “to love excessively” (“God is love” – 1 John 4:8).

As it turns out, the two Els and one Yah give the Names around a single Pentagram, as shown above, a value of 77 (31+31+15 = 77). This is the same value of the Hebrew words for being “bound together,” “vault,” “bubbling or welling up,” “longing for,” “to pray,” Gichon (the name of a River in Eden), “Yah Builds,” “Yah is Bountiful,” “a strong, raised place, castle or fortress” (fitting for a protective Circle), “Planet” (fitting for Planetary Names used in the Circle and Planetary Talismans consecrated therein), “Fullness, bounty,” “to wrap up, cover” (appropriate for the ‘cover’ provided by the Circle and Pentagrams), and “strong, mighty, fierce, firmness, stability,” which all resonate with the Circle’s function and symbolism.

Moreover, if we add the values of the Names around all four Pentagrams, we get a value of 308 (77 x 4 = 308). 308 is the same value as the Hebrew words for “God is Helper,” “God’s Help,” “Shepherd” (a name for Christ), “To turn white” (which resonates with the phrase “cleanse me with hyssop, and I will be clean; wash me, and I will be whiter than snow” in Psalm 51, which is used in Key of Solomon rituals and evokes the use of hyssop in the ritual cleansing bath), “innermost, deepest part” (Resh-Qoph-Chet), and “an enclosure, a Home” (Resh-Yod-Tzaddi-Chet), which are also fitting for a Circle.

The Stages of Making the Circle

The actual crafting of the Circle proceeded through a series of stages. Each time I worked on the Circle, as mentioned above, I proceeded with great devotion and purified myself with ritual bathing, burned consecrated incense, prayed, and listened to chanting, devotional songs, hymns, and Psalms. Indeed, there were times, after multiple hours of praising and painting simultaneously, when I would enter states of ecstatic love, and offer up all of the energy to the Divine and the Angelic beings invoked in the Circle. I also learned to draw each letter one at a time, focusing on one line at a time, and making each line as perfect as I could make it, offering it up as an offering unto itself within the larger mandala of the Circle.

I began with laying down newspapers on the ground of my workspace to protect my carpet from the paint going through the white sheet on which I would be painting:

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I then lay down my white sheet and used weight plates to stretch it out as tautly as possible:

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I then placed a standing fan in the center of the sheet and attached a rope to it. To that rope, I attached a consecrated marker, and then traced first a larger Circle (for the outer circle) by walking around the circle pulling the marker attached to the base of the fan with me to form a circle. I then reeled in some of the rope by winding it around the fan to make it shorter and traced a smaller circle (for the inner circle) within the larger one. I traced over each circle multiple times to make them bolder. The result was the following:

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With the base circles complete, I drew the central diamond and the four central Hexagrams and the crosses at the vertex of each around it in free-hand. If you have a large ruler, I would recommend using that instead more equally-sized figures than my rather idiosyncratic ones:

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Once this was done, I proceeded with filling in the letters and Tau crosses within the central figures using my consecrated permanent marker. I also added the four Key of Solomon Consecration Circle Names along with smaller versions of the Pentagram and Hexagram of Solomon above each larger Hexagram and around the Consecration Circle Names. After I drew the three coils of the Serpent and placed his tail in his mouth to complete the ouroboros as per Dr. Stephen Skinner’s recommendation, the result was the following:

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I then began to write the Hebrew Names around the serpent, starting from his head–in which I placed an ‘eye’ composed of an equal-armed cross–and winding towards the left around the Circle, writing the names as given in the lists above. I also painted in the Eastern Hexagram just to test my golden acrylic paint and began to paint the area around the serpent in the outer circle as well, with the following result:

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Notice that I first painted in the full points of each Hexagram in gold, allowed it to dry, and only then added the letters of “ADONAI” over the painted points, as will be seen in the picture below.  I followed the same approach with the Pentagrams in the corners, painting them in gold first, allowing it to dry, and then drawing the calligraphic “TETRAGRAMMATON” over them with consecrated markers.

As a useful Tip for fellow Circle-crafters, I discovered that the easiest way to write the Hebrew words is to first outline them and then fill them in, as shown in this image. I recommend practicing drawing the outlines of the letters on some scrap paper first until you feel more comfortable to write them on the Circle as they can’t be erased, only painted over! I took the same approach with the calligraphy, of first outlining the letters, and then filling them in:

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I staggered painting in the gold parts of the hexagrams and area around the Circles with working on the Hebrew letters. I found that the easiest way to draw the Hebrew letters was to lie on my stomach on the ground and rotate my body around so that I was always facing the letters, which made them easier to write. As the letters neared their completion, the Circle looked like this:

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I then painted in the central diamond or square in red and finished the letters, with the following result:

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The next step was to paint the insides of the Hexagrams, or rather the central hexagons with the Greek letter Tau’s within them. I did this in blue, as shown below:

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With this done, I was able to focus on painting the gold around the serpent in the rest of the outer Circle. Once complete, and after writing “MAGISTER,” Latin for “Master,” in Renaissance calligraphy as well as the Hebrew letters Yod-Heh-Vav-Heh in the central red diamond, the result was the following:

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All that remained at this point was to draw the four Pentagrams in the corners surrounding the Circle. This posed a challenge since I was working in a very small space. What I decided to do was to bunch up the circle part of the sheet and use weights to stretch out the corners of the sheet in which I would draw the Pentagrams. It is key for the surface on which we are writing or painting to be taut to make the process of inscribing the symbols as easy as possible. This bunching up technique gave the following result once I had drawn the Pentagrams and crosses at their vertices free-hand and painted in the central pentagons in red:

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I then filled in the points of the Pentagrams in gold to match the Hexagrams:

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Once dry, I painted the “TETRAGRAMMATON” text in calligraphy in each Star using this image I crafted on the computer as a guide:

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I drew the letters into the corners of the Pentagrams using the original manuscripts as a guide for which letters to put in which. Having added the calligraphy, all that remained was to paint the outer crosses blue as per my own design. It should be noticed that no such crosses are present in the original manuscripts or in the Crowley-Mathers edition, but I believe they add to the overall aesthetic impact as well as additional talismanic and protective power through the cross emblems themselves.

With the Pentagrams done,  the Circle was complete. The end result had taken me countless hours over the span of a full three weeks. But once I saw the finished product, I was filled with awe and it all felt worthwhile. Here are some detailed pictures of the final result to show some of the lettering more closely as well as the final appearance with the completed Hexagrams:

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Finished Circle:

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Close-up on the central Hexagrams, calligraphy, and diamond/square:

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Close-up on the “OMEGA” calligraphy:

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Close-up on the “PHA” part of “ALPHA” in the calligraphy:

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Close-up on the Eastern Quarter of the inner circle (“AGYEL – Agiel – Intelligence of Saturn, Tau cross, symbol from the Pentagram of Solomon, and miniature Pentagrams and Hexagrams of Solomon). Please note that my friend Andy Foster would want me to point out here that there is a great deal of debate in the Solomonic community over whether this name was meant to be “Agiel,” “Aniel,” “Anael” or some other variant since the original manuscripts are unclear. I stuck with the most commonly agreed-upon use–Agiel, the beneficent Intelligence of Saturn–with the rationale that his name is used to protect from malefic Saturnian influences, facilitate the ‘binding’ or ‘constriction’ of Planetary energies into the Planetary Pentacles:

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Close-up on the Southern Quarter of the inner circle (“TzBAVT” – Tzabaoth, with miniature Hexagrams and Pentagrams of Solomon):

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Close-up on the Western Quarter of the inner circle (“YHVH” and miniature Pentagrams and Hexagrams of Solomon):

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Close-up on the Northern Quarter of the Circle (“ADNI” – Adonai and miniature Hexagrams and Pentagrams of Solomon):

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Lessons Learned from Creating the Circle

I learned a great deal by working on this Circle. For those considering this work, here are some of my take-home lessons from completing this massive project:

  • The process of crafting a magical tool is not an act of preparing for magic, but an act of magic in itself. As such, it is best approached with ritual purity, consecrated incense, a devotional attitude, and a great deal of care, patience, and focus. The love, devotion, and energy poured into the work during the crafting of the tool–or in this case, Circle–strengthens our personal and spiritual connection to it. It also classically conditions us to feel a sense of that love, devotion, and power each time we use the tool, or step into the Circle.
  • If you don’t feel very comfortable writing Hebrew letters by the time you start writing the Names in the Goetia Circle, you certainly will by the end! This project forces you to write very, very carefully–since mistakes cannot be erased–and to put a great deal of loving and concentrated attention into each line of every letter. This process is very conducive to improving our Hebrew writing ability.
  • As mentioned before, the easiest way to write the Hebrew letters and calligraphy on this scale is to first outline them and then fill each outline in. I learned this trick from my friend Curtis Estes who draws his Hebrew letters by outlining them first as well (thank you, Curtis!).
  • The Circle is a microcosmic image of the macrocosmic universe; in this sense, it is exactly like a Tibetan Buddhist Mandala. When the Master stands in the center of the Circle, s/he places him/herself at the symbolic center of the universe, surrounded by all of the Angelic Choirs, Archangels, Sephirotic Names, and Divine Names. The result is both a powerful sense of protection and as if one were standing in a giant talisman that draws power to itself. When I stand in the middle of the completed Circle, I can almost feel it humming with power and feel completely safe.
  • Time spent checking original manuscripts can allow us to catch mistakes so that we don’t replicate them and provide a much deeper understanding of the structure of the tool and the magical formulae by which it works. All of this research pays tremendous dividends in our practice and magical growth. I learned a great deal about Hebrew, calligraphy, Agrippa, the roots and structure of the Grimoires, painting and drawing techniques, how to use various artistic materials, and many other topics while working on this project. For instance, keeping a sheet unwrinkled and taut is no easy task! A canvas would be a much easier drawing surface.
  • Although a large project like this can seem intimidating when considered as a whole, in reality, all it ever involves is drawing a single line or doing a single brush stroke at a time. And if approached in that way, with the mindfulness of a Zen monk sweeping a path in a monastery, what seems impossible quickly becomes possible. Although it seems hard at the outset, since all you are ever doing is one brush stroke or drawing one line, in practice, it becomes amazingly easy.
  • Because I ended up spending so many hours in prayer and worship while working on this, my heart ended up feeling like it ‘cracked open’ at one point and the sense of Divine Love and Presence grew incredibly stronger. That feeling lingers to this day and ended up moving me to do more prayers and add more worship into my daily practices.
  • An optimal time to consecrate a Circle of this nature is during a waxing Moon on the Day and Hour of Mercury when the Moon is in Cancer. Thank you to my friend Frater YShY for this fine pearl of occult wisdom.
  • When I work with Angels and Archangels, I have found it appropriate to invoke them into a consecrated Crystal placed on an Altar at the center of a consecrated Circle. I would not, however, use that method for Jinn, Elementals or chthonic spirits more generally. Those, I would evoke into a spiritus loci placed outside the Circle. As I see it, the Circle is at once a protective barrier, a set-apart sacred space (much like the Garden of Eden symbolically, a walled sacred space, also analogous to the Tent of Meeting), a beacon to attract the spirits, a liminal space that offers a kind of nexus/interface for interaction between us and our distinct ‘worlds’ so-to-speak, and a kind of giant talisman in which the Magician stands to concentrate the forces with which we work.This is particularly true for the Circle from the Lemegeton’s Goetia described in this article. Although it is usually used to evoke chthonic entities outside of the Circle, its outer ring of Names is entirely composed of Divine, Angelic, and Archangelic Names. As a result, I have found that it works just as well for invoking Angelic and Archangelic entities into the Circle. This makes sense given some careful reflection. If such a Circle can protect the Magician through ensconcing us in a concentrated ‘bubble’ of Angelic, Archangelic and Divine energy, then it also stands to reason that it provides a highly consecrated and purified Divine/Angelic environment in which these celestial entities can manifest. This can be justified under Agrippan grounds since such a space is in sympathetic harmony with the natures or ‘occult vertues’ of the Angels themselves.

    This fertile space in sympathetic harmony with the nature of the Angels can be further augmented through other ceremonial means: through the invocations and conjurations themselves, through ringing a consecrated Bell of Art within the Circle (as I explained in my Solomonic Bells Article), through tracing over the Circle with a consecrated Sword or Knife to demarcate the sacred space as Dr. Skinner recommends, through using incenses appropriate to their nature, through using candles offered to them in appropriate colours, through playing music in harmony with their nature or Psalm recitations in the background, and many other means.

  • Finally, this project can be a great deal of fun and if you feel called to it, you can do it! Simply deciding to go forward with it, and give it your absolute best effort, however long it ends up taking, makes the whole process easier. Pray for guidance and you will receive it. Numerous times along the way, I was nudged forward by insight and guidance from beyond myself. If you open yourself to inspiration, it will come. Believe in yourself and go for it. You are way more powerful and capable than you know!

Consecration Ritual for a Solomonic Lighter of the Art

By Frater S.C.F.V.

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One idea I had on this past waxing-Mooned Day of Mercury was to make a Solomonic Lighter of the Art.

To go about it, I painted a barbecue lighter white during the Hour of Mercury on the Day of Mercury when the Moon was waxing.


HELPFUL TIP: Should  you choose to craft your own Lighter of the Art, I recommend leaving a little space unpainted around the switches that activate the fire in the lighter. If you paint too closely to the switches, paint can slip into the grooves and render the switches unmovable and the lighter, unusable. I learned this lesson the hard way; paint got into the grooves, the switches ceased to function, and I had to start over with a second lighter. How often our magical wisdom grows from foolish mistakes…


For this method, having painted the handle of a barbecue lighter white or eggshell white acrylic paint, you will need:

Having prepared all of these things on a prior date, place all of your tools in the Circle and begin the operation in the Hour of Mercury on the Day of Mercury (Wednesday) when the Moon is waxing.

HELPFUL TIP: To determine the current Moon phase, see this site. To determine the Planetary Hours for a given day, calculate them yourself or use this site.

EXORCISM AND CONSECRATION OF THE SOLOMONIC LIGHTER OF THE ART

Sprinkle the Lighter with Holy Water, suffumigate with consecrated Incense, and anoint it with consecrated Holy Oil and say:

I exorcise thee, O Creature of Fire, by Him through Whom all things have been made, so that every kind of Phantasm may retire from thee, and be unable to harm or deceive in any way, through the Invocation of the Most High Creator of all. Amen.

After this thou shalt add:–

I exorcise thee, O Creature of the Lighter, by Him Who alone hath created all things by His Word, and by the virtue of Him Who is pure truth, that thou cast out from thee every Phantasm, Perversion, and Deceit of the Enemy, and may the Virtue and Power of God enter into thee, so that thou mayest give us light, and chase far from us all fear or terror. Amen.

Draw these characters with the Pen of the Art:

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Bless the Lighter of the Art:

Bless, O Lord All Powerful, and All Merciful, this Creature of Fire, so that being blessed by Thee, it may be for the honour and glory of Thy Most Holy Name, so that it may work no hindrance or evil unto those who use it. Through Thee, O Eternal and Almighty Lord, and through Thy Most Holy Name. Amen.

This being done, suffumigate the Lighter of the Art with the Spices of the Art once more, sprinkle it with the Holy Water, and anoint with the Holy Oil.

After this thou shalt repeat over the Lighter of Art, the following Psalms:

Psalm 150

Hallelujah!

Praise El in his holy place.
Praise him in his mighty heavens.
Praise him for his mighty acts. Praise him for his immense greatness.
Praise him with sounds from horns. Praise him with harps and lyres.
Praise him with tambourines and dancing.Praise him with stringed instruments and flutes.
Praise him with loud cymbals. Praise him with crashing cymbals.

Let everything that breathes praise Yah!

Hallelujah!

Psalm 117

Praise YHVH, all you nations! Praise him, all you people of the world!
His mercy toward us is powerful.
YHVH’s faithfulness endures forever.

Then pray over the Lighter of the Art:

O Lord God, Who governest all things by Thine Almighty Power, give unto me, a poor sinner, understanding and knowledge to do only that which is agreeable unto Thee; grant unto me to fear, adore, love, praise, and give thanks unto Thee with true and sincere faith and perfect charity. Grant, O Lord, before I die, and descend into the realms beneath, and before the fiery flame shall devour me, that Thy Grace may not leave me, O Lord of my Soul. Amen.

After this thou shalt sprinkle it with the Water of the Art, and incense them with the usual perfumes, and anoint with the Oil a final time. Then wrap the Lighter of the Art in a consecrated Silk or Linen of the Art.

***

And each time thou shalt wish to kindle this Lighter of the Art thou shalt say:–

I exorcise thee, O Creature of Fire, in the Name of the Sovereign and Eternal Lord, by His Ineffable Name, which is YOD, HE, VAU, HE; by the Name IAH; and by the Name of Power EL; that thou mayest enlighten the heart of all the Spirits which we shall call unto this Circle, so that they may appear before us without fraud and deceit through Him Who hath created all things.

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A Final Note on the Sigils Used in the Method

As a final note, when I shared this method with my esteemed Solomonic colleagues, it was very well-received by all but the most hyper-traditionalists who preferred to fumble over flint rather than to benefit from a more efficient way to spark the same “Creature of Fire” used to light the Candles and Incense of the Art.

Personally, having tested both the traditional flint and the consecrated Lighter of the Art, I haven’t found any magical difference in efficacy or potency from using the former rather than the latter. On the contrary, since the Lighter of the Art has an added layer of consecrations and Sigil-based empowerment to it, it seems to have proven even more effective than the flint in my experience.

For a sampling of some of the interesting feedback I received, the learned Mr. Christopher Hartleigh Low said the rationale of method made sense to him as he had already turned a Zippo into a Solar talisman. The equally learned Mr. Aaron Leitch asked if the Sigils used were the Sigils on the Candle in the Key of Solomon were of Wax Angels or Fire Angels. My response was that although I had consulted multiple manuscripts and secondary sources, I was unable to find a definitive answer as to the derivational origins of these sigils in my research. In terms of reputable secondary sources, Joseph H. Peterson’s edition sadly didn’t have any footnotes clarifying the sigils given here.

It’s worth noting that the Sigils used in this method are identical to those used on the Solomonic Candle of the Art in the Key of Solomon Book II, Chapter 12, which is what prompted Mr. Leitch’s very fair question. Although I’m open to evidence to the contrary, it seems to me that these sigils are a mixture of sigils for Angels governing both Wax and Fire since they appear in the Grimoire in a context that provides exorcisms and blessings of both “Creatures of Wax” and “Creatures of Fire.”

If so, then the Fire Angels can watch over the lighting of the Candles and Incense and the Wax Angels can add their power and influence to the lighting of the Candles by virtue of the Wax that melts during the lighting. If, as it turns out, the sigils entirely pertain to Wax Spirits, then they can still exercise the latter virtue. In any case, following the grimoire, I re-exorcise the Fire each time I light a candle or incense anyway.

 

Consecration of Solomonic Bottles and Burins

seal2.jpgDate: April 13, 2018
Time:  3:58 – 4:28 P.M.
Sun Phase: Setting
Moon Phase: Moon in 25 degrees Pisces in the Lunar Mansion of Batn al-Hut, appropriately enough, the Fish
Planetary Day: Day of Venus
Planetary Hour: Hour of Mercury
Activities: Solomonic Exorcisms and Consecrations of Bottles for Holy Water and Holy Oil and Solomonic Burins of Art

For my Burin consecration approach, I drew on both the Key of Solomon and British Library, Lansdowne Manuscript 1203. 74 folios. 4 of the Veritable Clavicles of Solomon.

In the Hour of Mercury, I set up the Altar in the Solomonic Consecration Circle with candles, consecrated Myrrh incense, a container of Salt and Quartz, two Burins, consecrated candles, Solomonic Holy Water, and a consecrated Marker of Art.

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For my Bottle consecration methodology, I drew on both the Key of Solomon and British Library, Lansdowne Manuscript 1203. 74 folios. 4 of the Veritable Clavicles of Solomon.  Accordingly, I exorcised and blessed the Bottles for Holy Oil and Holy Water with suffumigations and sprinklings, saying:

I exorcise thee, O Spirit impure and unclean, thou who art a hostile Phantom, in the Name of God, that thou quit these Bottles, thou and all thy deceits, that they may be consecrated and sanctified in the name of God Almighty.

May the Holy Spirit of God grant protection and virtue unto those who use these Bottles; and may the hostile and evil Spirit and Phantom never be able to enter therein, through the Ineffable Name of God Almighty.

Instead, may the Holy Spirit of Adonai use these Creatures of Bottles to add Divine Potency and Holiness to all that all Creatures of Oil, Water, or other Holy Substances Placed Therein. Amen.

I then blessed and sprinkled with Water, Oil, and Suffumigated with Holy Incense saying:

Hamiel, hel, miel, ciel, joviel, Nasnia, magde Tetragrammaton.

O powerful God, grant the prayers of those who invoke you, and bless these small vials prepared in your honor, through all your works. Amen.

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Then I crafted the Solomonic Burins, for use in engraving Pentacles as per the Key of Solomon. Different manuscripts differ in when the symbols on the Solomonic Burin are to be inscribed. As Joseph H. Peterson points out, Key of Solomon Manuscripts Ad. 10862, but Aub24, Mich276, L1202, K288, and Ad. 36674 all say to do it in the Day and Hour of Venus. Key of Solomon Manuscript Sl3091 says to do it in the Hour of Mercury. To integrate the two, I did it in the Hour of Mercury on the Day of Venus.

As the Key of Solomon text says, “the Burin is useful for engraving or incising characters.” In the Day and Hour either of Mars or of Venus thou shalt engrave thereon the characters shown,

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and having sprinkled [with Holy Water] and censed it [with consecrated Incense] thou shalt repeat over it the following Prayer three times:–

PRAYER.

ASOPHIEL, ASOPHIEL, ASOPHIEL, PENTAGRAMMATON, ATHANATOS, EHEIEH ASHER EHEIEH, QADOSCH, QADOSCH, QADOSCH; O God Eternal, and my Father, bless this Instrument prepared in Thine honour, so that it may only serve for a good use and end, for Thy Glory. Amen.

Then pray:

I conjure thee, O Creature of Burin, by God the Father almighty, by the virtue of the heavens, of the stars, and of the angels who preside over them; by the virtue of stones, herbs, and animals; by the virtue of hail, snow, and wind; that thou receivest such virtue that thou mayest obtain without deceit the end which I desire in all things where I shall use thee; through God the creator of the ages, and emperor of the angels. Amen.

Having again perfumed with consecrated incense, oil, and Holy Water, thou shalt wrap it in cloth, and pray:

DANI, LUMECH, AGALMATUROD, GEDIEL, PANI, CANELOAS, MEROD, LAMIDOC, BALDOC, ANERETON, METRATON, TUANCIA, COMPENDON, LAMEDON, CEDRION, ON, MYTRION, ANTON, SYON, SPISSON, LUPRATON, GION, GIMON, GERSON, AGLA, AGLAY, AGLAOD, AGLADIAMERON, Angels most holy, be present for a guard unto this instrument. Amen.

Having completed these Rites, I wrapped the consecrated implements in white Silk and closed the Temple. I felt very peaceful and light by the end of the work. It is beautiful to see all of these preparations slowly coming together for my more involved Solomonic work to come. The Solomonic approach is very attentive, thorough, and prolonged. Every step is to be taken in a spirit of faith and sincerity. Done in this way, each of these Rites becomes its own meditation and the result is a very contemplative and fulfilling experience.

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Solomonic Consecration of the Tin for a Key of Solomon Jupiter Pentacle

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On the Day of the Moon in the Hour of Jupiter, with the Moon in 10 degrees Aquarius in the Lunar Mansion of Sa’ad al Ahbiyah (Mansion 25), I lit the odoriferous incense of Frankincense and said over the Tin, to be used later in the creation of a Key of Solomon 2nd Pentacle of Jupiter:

I exorcise thee, O Creatures of Metal, by ANAIRETON, by SIMULATOR, and by the Name ADONAI, and by the Name of Him through Whom all things were made, that thou shalt both be unto me an aid and succor in all things which I wish to perform by thine aid.

Then I prayed:

ADRAI, HAHLII, TAMAII, TILONAS, ATHAMAS, ZIANOR, ADONAI, banish from this Creature of Metal all deceit and error, so that it may be of virtue and efficacy to attain all that I desire to attain thereby. Amen.

I then suffumigated the metal in Frankincense, and began to inscribe the Consecratory Characters within the metal.

I continued until the end of the Hour of Jupiter, with more to do in another Hour of Jupiter. As the Hour of Mars began, I turned to the prayers. Holding the metal over the Frankincense, I began to pray:

Be ye present to aid me, and may my operation be accomplished through you: ZAZAH, ZALMAII, DALMAII, ADONAI, ANAPHAXETON, CEDRION, CRIPON, PRION, ANAIRETON, ELION, OCTINOMON, ZEVANON, ALAZAION, ZIDEON, AGLA, ON, YOD HE VAU HE, ARTOR, DINOTOR, Holy Angels of God; be present and infuse virtue into this Metal, so that it may obtain such power through you that all Names or Characters thereron written may receive due power, and that all deceit and hindrance may depart therefrom, through God the Lord merciful and gracious, Who liveth and reigneth through all the Ages. Amen.

Then, while repeatedly swirling the metals through the Frankincense smoke repeatedly, in a kind of hypnotic series of circular movements, I began to pray in an increasing state of ecstatic absoruption:

Psalm 72

By Solomon.

Elohim, give the king your justice
and the king’s son[a] your righteousness
        so that he may judge your people with righteousness
and your oppressed people with justice.

May the mountains bring peace to the people
and the hills bring righteousness.
May he grant justice to the people who are oppressed.
May he save the children of needy people
and crush their oppressor.
May they fear you as long as the sun and moon shine—
throughout every generation.
May he be like rain that falls on freshly cut grass,
like showers that water the land.
May righteous people blossom in his day.
May there be unlimited peace until the moon no longer shines.

May he rule from sea to sea,
from the Euphrates River to the ends of the earth.
May the people of the desert kneel in front of him.
May his enemies lick the dust.
10 May the kings from Tarshish and the islands bring presents.
May the kings from Sheba and Seba bring gifts.
11 May all kings worship him.
May all nations serve him.

12 He will rescue the needy person who cries for help
and the oppressed person who has no one’s help.
13 He will have pity on the poor and needy
and will save the lives of the needy.
14 He will rescue them from oppression and violence.
Their blood will be precious in his sight.

15 May he live long.
May the gold from Sheba be given to him.
May the people pray for him continually.
May they praise him all day long.
16 May there be plenty of grain in the land.
May it wave in the breeze on the mountaintops,
its fruit like the treetops of Lebanon.
May those from the city flourish like the grass on the ground.
17 May his name endure forever.
May his name continue as long as the sun shines.
May all nations be blessed through him and call him blessed.

18 Thank YHVH Elohim, the Elohim of Israel,
who alone does miracles.
19 Thanks be to his glorious name forever.
May the whole earth be filled with his glory.
Amen and amen!

20 The prayers by David, son of Jesse, end here.

Psalm 118

Give thanks to YHVH because he is good,
because his mercy endures forever.
        Israel should say,
“His mercy endures forever.”
        The descendants of Aaron should say,
“His mercy endures forever.”
        Those who fear YHVH should say,
“His mercy endures forever.”

During times of trouble I called on Yah.
Yah answered me and set me free from all of them.
YHVH is on my side.
I am not afraid.
What can mortals do to me?
YHVH is on my side as my helper.
I will see the defeat of those who hate me.
It is better to depend on YHVH
than to trust mortals.
It is better to depend on YHVH
than to trust influential people.

10 All the nations surrounded me,
but armed with the name of YHVH, I defeated them.
11 They surrounded me. Yes, they surrounded me,
but armed with the name of YHVH, I defeated them.
12 They swarmed around me like bees,
but they were extinguished like burning thornbushes.
So armed with the name of YHVH, I defeated them.
13 They pushed hard to make me fall,
but YHVH helped me.
14 Yah is my strength and my song.
He is my savior.

15 The sound of joyful singing and victory is heard
in the tents of righteous people.
The right hand of YHVH displays strength.
16 The right hand of YHVH is held high.
The right hand of YHVH displays strength.
17 I will not die,
but I will live and tell what Yah has done.
18 Yah disciplined me severely,
but he did not allow me to be killed.

19 Open the gates of righteousness for me.
I will go through them and give thanks to Yah.
20 This is the gate of YHVH
through which righteous people will enter.

21 I give thanks to you,
because you have answered me.
You are my savior.
22 The stone that the builders rejected
has become the cornerstone.
23 YHVH is responsible for this,
and it is amazing for us to see.
24 This is the day YHVH has made.
Let’s rejoice and be glad today!
25 We beg you, O YHVH, save us!
We beg you, O YHVH, give us success!
26 Blessed is the one who comes in the name of YHVH.
We bless you from YHVH’s house.
27 YHVH is El, and he has given us light.
March in a festival procession
with branches to the horns of the altar.
28 You are my El, and I give thanks to you.
My Elohim, I honor you highly.

29 Give thanks to YHVH because he is good,
because his mercy endures forever.

 

Psalm 124

A song by David for going up to worship.

“If YHVH had not been on our side . . .”
(Israel should repeat this.)
“If YHVH had not been on our side when people attacked us,
then they would have swallowed us alive
when their anger exploded against us.
Then the floodwaters would have swept us away.
An overflowing stream would have washed us away.
Then raging water would have washed us away.”

Thank YHVH, who did not let them sink their teeth into us.
We escaped like a bird caught in a hunter’s trap.
The trap was broken, and we escaped.
Our help is in the name of YHVH, the maker of heaven and earth.

I then began to recite the Benedicite Omnia Opera, feeling lightheaded and ecstatic, still swirling the metals through the Frankincense smoke repeatedly, as I prayed in a rhytmic, trance-like pace:

O all ye Works of the Lord, bless ye the Lord : praise him, and magnify him for ever.

O ye Angels of the Lord, bless ye the Lord : praise him, and magnify him for ever. O ye Heavens, bless ye the Lord : praise him, and magnify him for ever.

O ye Waters that be above the Firmament, bless ye the Lord : praise him, and magnify him for ever.

O all ye Powers of the Lord, bless ye the Lord : praise him, and magnify him for ever.

O ye Sun and Moon, bless ye the Lord : praise him, and magnify him for ever.

O ye Stars of Heaven, bless ye the Lord : praise him, and magnify him for ever.

O ye Showers and Dew, bless ye the Lord : praise him, and magnify him for ever. O ye Winds of God, bless ye the Lord : praise him, and magnify him for ever.

O ye Fire and Heat, bless ye the Lord : praise him, and magnify him for ever.

O ye Winter and Summer, bless ye the Lord : praise him, and magnify him for ever.

O ye Dews and Frosts, bless ye the Lord : praise him, and magnify him for ever.

O ye Frost and Cold, bless ye the Lord : praise him, and magnify him for ever.

O ye Ice and Snow, bless ye the Lord : praise him, and magnify him for ever.

O ye Nights and Days, bless ye the Lord : praise him, and magnify him for ever.

O ye Light and Darkness, bless ye the Lord : praise him, and magnify him for ever. O ye Lightnings and Clouds, bless ye the Lord : praise him, and magnify him for ever.

O let the Earth bless the Lord : yea, let it praise him, and magnify him for ever.

O ye Mountains and Hills, bless ye the Lord : praise him, and magnify him for ever.

O all ye Green Things upon the Earth, bless ye the Lord : praise him, and magnify him for ever.

O ye Wells, bless ye the Lord : praise him, and magnify him for ever.

O ye Seas and Floods, bless ye the Lord : praise him, and magnify him for ever.

 O ye Whales, and all that move in the Waters, bless ye the Lord : praise him, and magnify him for ever.

O all ye Fowls of the Air, bless ye the Lord : praise him, and magnify him for ever. O all ye Beasts and Cattle, bless ye the Lord : praise him, and magnify him for ever.

O ye Children of Men, bless ye the Lord : praise him, and magnify him for ever.

O let Israel bless the Lord : praise him, and magnify him for ever.

O ye Priests of the Lord, bless ye the Lord : praise him, and magnify him for ever. O ye Servants of the Lord, bless ye the Lord : praise him, and magnify him for ever.

O ye Spirits and Souls of the Righteous, bless ye the Lord : praise him, and magnify him for ever.

O ye holy and humble Men of heart, bless ye the Lord : praise him, and magnify him for ever.

O Ananias, Azarias and Misael, bless ye the Lord : praise him, and magnify him for ever.

I then conjured the metal, saying:

 I conjure thee, O Creature of Metal, by all the Holy Names, YHVH, ADONAI, AGLA, EHEIEH that thou obtainest efficacy and strength, and becomest exorcised and consecrated, so that none of the things which may be written upon thee shall be effaced from the Book of Truth. Amen.

So ends the first round of exorcisms, consecrations, and carving in the metal. Until the next appropriate Hour of Jupiter… I retire into sleep, lightheaded, exhausted, with a full and grateful heart…

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