The Canon

Book: The Canon by Sir William Stirling Maxwell

A mystical book by William Stirling first published in London in 1897. The work described the esoteric laws which governed the arts, sciences, politics, music and astronomy in ancient cultures. The links between ancient gods and numerical values, and symbolic proportions of sacred temples are also evaluated. Stirling believed that in classical societies (Greece, Rome, Egypt) the priests regulated the lives of the people by interpreting the cosmic cycles and laws, and that this metaphysical vision of society has been lost.

The Canon - An Exposition of the Pagan Mystery Perpetuated in the Cabala as the Rule of all the Arts.

Although William Stirling was ridiculed by many of his contemporaries for writing this book, it has attracted much posthumous interest throughout the years since its original publication. It contains much information concerning the geometric and arithmetical properties and proportions of architecture, mythological symbols, ancient rituals, amd Divine Names. The thesis of the author consists in the proposition that sacred art, architecture, and literature is based upon a mathematical "canon law" that determines its proportions and manifestations according to traditional forms that have been passed down secretly through the ages. Stirling's Perspective limits the origin of these principles to the notion of a historical and horizontal continuity and transmission throughout various civilizations beginning with the Egyptian and continuing on to Greek, Hebrew, and Christian. This does not take into consideration the distinctive forms present in each tradition, each having Their Origin within the vertical transmission of the unique revelation that constitutes its eruption into the field of time. Nevertheless, it will be of much interest to students of ancient knowledge in general and Freemasons inquiring into the mysteries of Geometry in particular.

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A Treatis On The Great Art

Book: A Treatis On The Great Art by Dom Antoine Joseph Pernety

UNDER the auspices of the "Universite Libre des Hautes Etudes" of Paris, a Branch of which has recently been established in America, we publish the first volume of a series of classical works whose study constitutes the foundation of the teaching of the “Faculte des Sciences Hermetiques.” It is not without reason that we have chosen Pernety to inaugurate this series. Of the three thousand volumes composing the bibliography of ALCHEMY, those of Dom Antoine-Joseph Pernety are the only ones in which the theories of the Artificers are exposed with method: he is the first and only writer who has endeavored to present a short, concise and Complete System of the Magnum Opus.

The present work which we have entitled TREATISE ON THE GREAT ART is composed of the introductory remarks preceding the principal works on Alchemy of the savant dom Pernety, especially his “Fables Egyptiennes et Grecques devoilees et reduites au meme principe”, (a Paris, chez Bauche, 2 volumes in I2, I758). This work is almost the sole source from which modern expounders of Alchemy have derived their informations, forgetting, of course, to give due credit to this author, excluding his works from the bibliographical lists terminating their compilations and even going so far, in some instances, as to mutilate his name, when compelled to quote extensively from his works. The publication of this TREATISE constitutes as much a work of justice and restitution to the learned French monk, as an effort to contribute to the renaissance of a Science containing within itself the germs of the most important and unexpected discoveries and offering a sure guide in the maze of obscure symbols of this most obscure of all Occult Sciences.

The work which we present to the public is the result of a Comparative Study of the writings of the Spagyric Philosophers of all times, schools and nationalities, and not merely a summary of the
author's personal ideas on the subject; it is a monument of patient research, representing over a quarter of a century of investigation. The writer has carefully analyzed the classical compositions of
the Masters, preserving with religious care the dogmas upon which they all agree, and setting aside their contradictions, basing himself upon the axiom that Truth, when once discovered, is the same for
all, while error only offers opportunity for discussion.3 Pernety, following the example of Trevisan, has compared with an extreme attention the Greek, Alexandrian, Arab, French, German, Dutch,
English, Kabbalistic, Rosicrucian and Islamic schools of Hermetism, presenting the synthesis of their doctrines in the lucid manner so characteristic of the French savant, by nature the mortal enemy of all that which is obscure and incomprehensible.

The present work is divided into three parts: an Introductory Discourse, an Expose of Natural Philosophy according to Hermetists, without which all attempt to understand the Art of Transmutations is impossible, and the Theory and Practice of the Magisterium, or Royal Art, briefly, but completely presented.

The editor of this translation has preserved in the text the notes of Pernety himself, and has introduced, as foot-notes, annotations borrowed from other works of Pernety, from Albert Poisson, the Champollion of Alchemy, Dr. Papus, Jollivet-Castelot, de Guaita, etc., in the very few places where the text seemed to allow a complementary explanation. These annotations are always followed by the name of the author to whom the translator is indebted.

The work contains also a table of Alchemical Characters which are so frequently met with in spagyric works and a short Dictionary of Hermetic Symbols, compiled by the lamented Albert Poisson for his “Theories et Symboles des Alchimistes,” 4 which will afford great help in the reading of alchemic pentacles. E. B.

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The Pictorial Symbols Of Alchemy

Book: The Pictorial Symbols Of Alchemy by Arthur Edward Waite

Waite, first in "The Key to the Tarot" (p.74), and again in "The Pictorial Key to the Tarot" (p. 61), writes "The spiritual side of Alchemy is set forth in the much stranger emblems of the Book of Lambspring, and of this I have already given a preliminary interpretation, to which the reader may be referred." Here is the article to which he refers.
From "The Occult Review", vol. 8, no. 5, November 1908.

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Three Books Of Occult Philosophy Book Ii

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Book: Three Books Of Occult Philosophy Book Ii by Henry Cornelius Agrippa

Book II of The Three Book of Occult Philosphy by Henry Cornelius Agrippa

The Three Book of Occult Philosphy purports to be the work of Henry Agrippa, the 16th century author of "Three Books of Occult Philosophy". But the 4th Book was obviously not written by Agrippa and bears no resemblance to his style of writing. Although it can be traced back to the 16th century as it is mentioned by Agrippa's student, Johann Weyer in his "De Praestigiis Daemonum", the work remains of uncertain provencance.

In part a partial summary of some of Agrippa's writings, this facsimile of the English translation by the 17th century Cambridge scholar Robert Turner, comprises spurious essays on Geomancy and Magick under the name of Agrippa, The Heptameron of Peter of Abano, and books on Astrology and Demonolgy, concluding with the Arbatel, a largely Judeo-Christian outlook on the dangers of magic.

It is a very quick and easy read, despite the portions dealing with Geomancy and Astrology that even those serious about such subjects would find largely frustrating and incomprehensible.

The work largely remains of pure historical interest with not much of serious substance to an undertanding of Magic and Occult Philiosphy.

This volume is a facsimile of Robert Turner's English translation (1654); the original volume first appeared (in Latin) in Marburg around 1554. The original volume included a large number of short texts of varying interest, but Robert Turner's (1654) (for unclear reasons) decided only to translate a few of them. This edition includes 6 short texts: Of Geomancy (H.C. Agrippa); Of Occult Philosophy the Three Book (pseudo-Agrippa); Heptameron or Magical Elements (pseudo-Peter de Abano); Isagoge: An Introductory Discourse on the Nature of... Spirits... (Georg Pictorius Villinganus); Of Astronomical Geomancy (Gerard of Cremona); and the anonymous Arbatel of Magic. Only the Geomancy is actually by Agrippa, and it doesn't fit well with the other texts. The Three Book is, as another reviewer noted, certainly spurious; it purports to be Agrippa's "secret key" to the Occult Philosophy, of which he spoke in a letter to a friend. The Heptameron and the Arbatel are grimoires of some interest for those interested in black magic, as indeed is the Three Book itself; the Isagoge is a rather dull dialogue about spirits; and the Astronomical Geomancy is more or less impenetrable but perhaps interesting in a peculiar way. There have been a number of reprints of this volume, some now surprisingly valuable despite their modernity; all, however, have trimmed out one or more of the already few texts. As such, this is probably the best edition available. It is, like all Kessinger products, a cheaply-bound xerox facsimile of the original 17th-century text, but it's readable and includes everything. If you collect grimoires or magical texts, this is a very famous one, and you ought to have it; copies of the various Latin printings turn up with some regularity, and those with access to Latin would do better with those, although they are of course quite expensive. If you're looking for works by Agrippa, the Geomancy is all you'll find here, but it's interesting in a number of respects. If you want to know about Agrippa's ceremonial magic, however, you need to read book 3 of the Occult Philosophy, available in a nice Llewellyn edition.

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Culture

CELTIC Civilization

Date: Tue, 6 Oct 1992

I stock noticed a bit of drivel about Celts recently: As it happens I attended an archaeolofical confer on the Celtic civilizations spell Saturday, and came out with a resanoably good perception of what a Celt actually is/was.

I thouhght it impose be of lead.

Celts is the name given to a culture somewhat than a start to grow. Celts mixed from curly hair threatening hair not later than red hair etc. They subject essential and Northern Europe as well as the Briotish Isles in the Pre-roman division, little by little get-up-and-go pushed develop north and westwards by the Mediterranean peoples (in particular the Romans)
and the Nordic and Saxon peoples (unconventional).

They were a non-urban chase - they lived on stumpy holdings, and diffident plants, grew crops and sought after. A informal Celtic domicile it would seem looked equal a thatched log lodge encircled by a bulwark. They didn't vend significantly, but metals - in particular effigy and iron - were rare and precious, and were it would seem traded.

Women seemed to often be of high recognition in resources sites - give to are a lot of women obscure with full honours. Communicate are likewise some examples of bodies well condescending six root great, which suggests that either blow up was very regarded, or that it was not not the same.

Druids were the wherewithal by which the culture it would seem gained its coherence: they would stock been the wreck of the shamanic hunting religions, adapted to the olive lifetstyle. They would stock been the terminus of tribal knowledge, and it would seem wandered from treaty to treaty perfunctory on word and information.

Communicate was not significantly written down at that time at all - so most info comes dirty. Caesar and the Romans position the Celts, as do one or two other sources. Mediaeval writers wrote down some of the obtain legends - e.g. of Taliesin, and the Irish Kings (I hew out cold in this jargon) but significantly of what was written was it would seem spoiled by the politics and extroverted harden of the day. I gained the notion that the hand over family to legends in
archaeological circles is that they check you snooty about such as they were actually written down than the era they supposedly describe. Keep pace with shakespewares what went before drama really :-)

The Celtic breather remaining on in our culture today from the Irish, and the Scots (who are Irish who naked boats and ran exposed to Scotland :-)) and the Welsh, birth a few areas in Brittany etc. All the 'tribes of Britain' - e.g the Iceni and the Britanni would be classed as Celts.

Probably the whole flavour of Celtic philosophy lives on in such dissimilar thump as fairy stories, the tough legends (You know: Conan the Barbarian etc),
the payment court women' etc. The modify that came to Northern Europe in the Hard-faced Ages was really the ending of a culture, and the stomach of Roman vogue philosophy - the cartel of peoples here huge groups, the continue of Christianity, the continue of vend, and the use of public speaking and the rational trouble.

You know: All the stuff we now stock to composition with :-) Civilization from the Roman Civis= a city. Organisation.

I joy that was peripherally full of character. This is deductions from the archaeological penetrate (such as it is) birth a bit of out of true hypothesis on my part. The intersting thing to me is how we hark back attentively to the Celtic themes in thump equal Robin Headdress, Sovereign Arthur, Wicca, etc. Qabbalistic magic as such is definitely NOT part of this tradition - it is definitely part of the Roman and nucleus Eastern culture.

Strangely enough, I find snooty parallels with Celtic worldviews and Taoism than the Judaeo Christian. Perhaps what's more are the breather of a exceptional Head age culture that forceful tangentially Asia and Europe from Chinaware to the Joined Public and Ireland - a culture that worshipped the Foal as we now idolization the Motor Car - and for discontinue reasons :-) Untainted hypothesis.

How To Make A Besom

The Witch's Broom is an icon of Witchcraft and Magick, as well as a Samhain & Halloween staple. With these holidays right around the corner, I thought that this would be a good time to share with you all how to craft your own Witch's Broom, known as a Besom.

Technically speaking, a broom is the flat ended sort of object that we generally use for physical cleaning; while a Besom is a round shaped bunch of straw (or other plant material) bundled around the center handle, and is used to cleanse an area of negative enegy, usually in the preparation of ritual or magickal work.

While you can buy a besom, and there are many lovely ones to choose from -it's also pretty easy to make one of your own. The bonus of making it yourself, is the addition of your own energy tied to it's creation. Although the items that follow are for the more traditional style of besom, you can use nearly any types of branches and plant materials available to you. Even a wooden dowel from the Hardware Store can be used. Another alternatve is to purchase a Dollar Store Broom for its twist off handle.

It is a good idea to match the materials to the type of magick to be worked with it. The traditional magical formula includes a bundle of birch twigs, a staff of ash or oak, and a binding made from willow wands. This makes for a besom that incorporates both the male energy of the God- in the oak or ash; and the female energy of the Goddess- in the willow. A besom to be used primarily in Healing Rituals might be made of birch & lavender; and one for Kitchen Witchery might be made of cinnamon.

After the basic construction of the Besom, there are innumerable way to decorate it. Handles can be carved, wrapped or painted; and all sorts of embellishments can be attatched to it. Things such as feathers, crystals, coins, beads, bone and other totems can adorn it and enhance the work you plan to do with the Besom itself.

You'll need:
- A four-foot length of ash or oak for the handle
- Thin branches of birch for the bristle part (you can substitute a woody herb like mugwort or thyme for the bristles if you like. I have also seen wondefull besoms made from aromatic herbs, such as lavender or cinnamon. )
- Lengths of willow or heavy cord to bind everything together
- You'll also need scissors and a bucket of warm water. Whatever you'll be using for the bristles -- whether it's birch, an herb, or some other wood -- should be soaked in the warm water overnight to make them pliable, as should the willow binding, if you're using it.

Line up your broom handle and bristles, with the bottoms of the bristles pointing towards the top of the handle. Lay the handle on a table or the floor, and place the bristles alongside it, lined up about four inches from the bottom. Point the bottom of the bristles towards the top of the broom, because you're going to flip the bristles in a minute

Tie the bristles in place around the handle. Use the willow branches or cording to wrap the bristles around the broom. Add as many as you want to make the broom full. Make sure you tie the cording off securely so your bristles don't come popping out later.

Finally, fold the bristles down over the inner tie, and then tie on the outside. Now, take the bristles and fold them down over the willow binding or cording so that they're pointing towards the bottom of the broom. Tie them down again at the base of the broomstick to secure them As you're wrapping the cord in place, visualize your intent for this besom. Will it be strictly decorative? Are you going to hang it in place over a door? Perhaps you'll use it ceremonially, or maybe even for physical cleaning. Focus on what you're going to be doing it, and charge it with energy.

The Final Step

- Let your broom dry for a day or two, and when it's all done, consecrate it as one of your magical tools.
- If you will be doing any decorative work on it, such as carving, painting or wrapping it with fiber-this can be done either before or after the initial consecration, and should be done with magickal intention.
- Then, when all decorative work is finished, you can reconsecrate it and begin woking with your very own handcrafted Witch's Besom.

One last word- I wouldn't try to use it for flying purposes! I'm sure you all have seen the results of some of the other Neigborhood Witches flying attempts!

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The Alchemy Key Unraveling The Single Tangible Secret In All Mysteries

Book: The Alchemy Key Unraveling The Single Tangible Secret In All Mysteries by Stuart Nettleton

Colleagues often ask me why I wrote this unusual book. At first, it was simply so I could sleep at night. It was a way to marshal the extraordinary facts and histories that constantly rotated in my mind and became graphically alive at bedtime! Now I think my reason is to restore, in a humble way, richness to the mystery tradition at a time when the old arts of the philosopher are all but lost.

Then there are capital
P
and small
p
philosophers. Capital
P
philosophers deride literalists and small
p
philosophers alike as
fundamentalists
, a dirty word. These capital P philosophers know all myths are just that, myths without a historical basis. Unless archeology proves something happened then it did not, and the myth is just a story having no more merit than a fairy-tale.

This book is for the small
p
or Gnostic philosophers who have a bit each way when it comes to myth. They see myth as having merit and are not surprised when archeologists discover a Troy, or if they hear a story in the Bible is proved true. Most think that Atlantis will eventually be located. Small p philosophers see myths representing important elements of culture and if not based on facts then often based on
soft facts
. One such
soft fact
is alchemy. Its goal is the Philosophers’ Stone. This book traces the chemistry and philosophy of the Philosophers’ Stone from first dynasty Egypt and Mesopotamia through the Commagene region of Turkey, to Israel, France and England. It particularly focuses on mystery religions and philosophical schools that co-existed over thousands of years.

The great alchemist Zosimus said that everyone should have a book of chemistry.
The

Alchemy Key
will reveal to you works that have been unfamiliar to many contemporary readers. Perhaps you will even discover your own book of chemistry.
Alchemy, the mystical Provenance of the Philosophers' Stone, is before you. To this day, it remains an exciting frontier of science with adrenalin pumping intrigue. Please plunge into the stream and join in the search for that which was lost.

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