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A PRACTICAL GUIDE TO WITCHCRAFT AND MAGICK SPELLS

cle and moon time is still used in the modern world in both pagan and religious rituals: the chinese new year is a lunar festival and the chinese ritual year follows the moon and the native americans calculate their months by the moon. the coligny calendar of the gallic druids, which runs from full moon to full moon, was named after the place in france where it was discovered in 1897, engraved on bronze. similar calculations were inscribed in stone at knowth, one of the sacred ancient megalithic sites in ireland. many of the original lunar calendars were based on the natural and agricultural world and helped in establishing an agricultural calendar, noting times in the cycle when crops were planted and ripened and when birds migrated, as well as the coming of the herds among hunting people

ABRAMELIN2

one maketh his oratory in desert places, he should build it43 of stones which have never been worked or hewn, or even touched by the hammer: of abramelin the mage 61 the chamber44 should be boarded with pine wood, and a lamp full of oil olive should be suspended therein, the which every time that ye shall have burned your perfume and finished your orison, ye shall extinguish. a handsome censer of bronze, or of silver if one hath the means, must be placed upon the altar, the which should in no wise be removed from its place until the operation be finished, if one performeth it in a dwelling-house; for in the open country one cannot do this. thus in this point as in all the others, we should rule and govern ourselves according unto the means at our disposal. the altar, which should be made o

ABRAMELIN3

ats. no. d f consists of b c squares from c f. kelef= a dog, whence this square should probably be numbered d d. of abramelin the mage 202 the twenty-eighth chapter. o have as much gold and silver as one may wish, both to provide for one s necessities, and to live in opulence( b) to have coined gold( c) to have coined silver( d) to have silver in small coins( e) to have small change in copper (or bronze. notes to chapter xxviii (a) the symbols of this chapter are manifested only by the angels or by the guardian angel (b) oriens alone performs this operation (c) the familiar spirits can to an extent perform the operations of this chapter (d) place the symbol of the money you require in your purse, let it remain there for a short time, then put your right hand into your purse, and you will t

ALEISTER CROWLEY ACROSS THE GULF

came forth from the little house an eunuch and a young woman exceeding fair; and the eunuch saddled two horses, and we rode into the desert alone. now though i could ride like a man, they suffered me not; but the young priestess bore me in her arms. and though i ate meat like a warrior, they suffered me not, but the young priestess fed me at her breast. and they took from me the armour of gilded bronze that my father had made for me, scales like a crocodile s sewn upon crocodile skin that cunning men had cured with salt and spices; but they wrapped me in soft green silk. so strangely we came to a little house in the desert, and that which befell me there is not given me of the gods at this time to tell; but i will sleep; and in the morning by their favour the memory thereof shall arise in

ALEISTER CROWLEY AD MEIORUM CTHULHI GLORIAM

that the place of calling be cleansed and all evil that the place of calling be cleansed and all evil banished thereby; and the priest shall not change one word or letter of this exorcism, but recite it faithfully as it is put down: enu shub am gig absu kish egigga gar shag da sisie amarda ya dingir ud kalama siniku dingir ninab guyu nexrraniku ga ya shu shagmuku tu! and they bread burned in the bronze brazier of calling: and the salt scattered about the room, sixty times. and a circle shall be drawn on the ground, in the midst whereof you shall stand while reciting the conjurations set forth, taking especial care not to venture forth from the boundaries of the circle, the holy mandal of calling, lest thou be consumed by the invisible monsters from the egurra of ereshkigal, as was the pri

ALEISTER CROWLEY SEPHER SEPHIROTH

l cleave in hwhy (cf. 220 *hwhyb myqbdx 753 to guard, protect *nng food, meat (ch *nwzm 754 father of the mob, or of the multitude *nwmh b) quarrel, dispute *nydm 756 spheres; numbers; emanations twryps years twn# nun: a fish *nwn ages; worlds *mymlw( 757 clusters: netzach and hod twlk) the shield (or star) of david (the hexagram *dwd ngm 758 perdition; the destroyer (ex. 12:23) tyx#m copper ore; bronze t#xn to love very much *nnx victories *myxcn 759 powder(s) of the merchant lkwr tqb) music *nwgn 760 both active and passive (said in the qabalah re: the sephiroth) lbqtmw lybqm confinement, detention trc( resemblance, likeness, image *nwymd at the end of the days; the right hand *nymy wings *mypnk bone; substance, essence; body *mc( divination; witchcraft *msq 761 ruin, destruction, sudden

ALEISTER CROWLEY EQ I 1

all things are mine. 212 fair groves and gardens, palaces of marble and fortresses of red sandstones; and the coffers of my treasury are filled with gold and silver and precious stones; and before my path the daughters of pleasure dance with unbraided tresses, scattering lilies and roses along my way. life is a joy indeed, a rapture of clinging lips and of red wine, which flows in beads along the bronze and purple tresses, and then like rubies of blood finds refuge between the firm white breasts of maddened maidenhood. hark. what is that, the yelping of a dog? no, it is the death-cry of a man. ay! the biting of sharp swords, and the shrieking of many women. ho! the feast has indeed begun, the rabble have broken in, scythes glisten in the torch-light and tables are overturned; wine is gulpe

ds, and the shrieking of many women. ho! the feast has indeed begun, the rabble have broken in, scythes glisten in the torch-light and tables are overturned; wine is gulped down by filthy mouths, and spilt and mingled with the blood of the slaughtered children of eros, so that the banquet of love has become the shambles of death. now all is still and the rose has given birth to the poppy, and the bronze tresses of the revellers lie motionless as snakes gorged on clotted blood, and shimmer wantonly in the moonlight between discovered limbs and disemboweled entrails. soon the quivering maggots, which once were the brains of men, will lick up the crumbs of the feast in the temple of love, and the farce will be ended. i rise from the corpse of her i kissed, and laugh; for all is beautiful, mor

ALEISTER CROWLEY EQUINOX EQ I 1 2

agical images is still with me. 11.40- hanged man posture. will invoke adonai once more 12.0. by pure thought. got into a very curious state indeed; part of me being quite perfectly asleep, and part quite perfectly awake. 2.10. have slept, and that soundly, though with many dreams. awaking with the utmost horror and loathing of the path of the wise it seemed somehow like a vast dragon-demon with bronze green wings iridescent that rose up startled and angry. and i saw that 19 2.10. the littlest courage is enough to rise and throw off sleep, like a small soldier in complete armour of silver advancing with sword and shield at whose sight that dragon, not daring to abide the shock, flees utterly away. 2.15. lunch, 3 garibaldis and 3 gaufrettes. wrote two letters. 2.50. going out walk with ma

ALEISTER CROWLEY EQUINOX EQ I 3 3

un! i adore thee, evoe! i adore thee, iao! o thou silver arrow of hope, that art shot from the arc of the rainbow! i adore thee, evoe! i adore thee, iao! o thou starry virgin of night, that art strained to the arms of the morning! i adore thee, evoe! i adore thee, iao! o thou sworded soldier of life, that art sucked down in the quicksands of death! i adore thee, evoe! i adore thee, iao! 58 o thou bronze blast of the trumpet, that rollest over emerald-tipped spears! i adore thee, evoe! i adore thee, iao! o thou opal mist of the sea, that art sucked up by the beams of the sun! i adore thee, evoe! i adore thee, iao! o thou red worm of formation, that art lifted by the white whorl of love! i adore thee, evoe! i adore thee, iao! o thou mighty anvil of time, that outshowerest the bright sparks o

ALEISTER CROWLEY EQUINOX EQ I 4 2

y strange events which happened to frater p. during his five months' residence in paris, but we give it in place of others because it re-introduces several characters who have already figured in this history. miss q. after an interview asked p. to tea to meet mrs. m. after introductions she left the room to make tea- the white magic and the black were left face to face. on the mantelpiece stood a bronze of the head of balzac, and p, taking it down, seated himself in a chair by the fire and looked at it. presently a strange dreamy feeling seemed to come over him, and something velvet soft and soothing and withal lecherous moved across his hand. suddenly looking up he saw the mrs. m. had noiselessly quitted her seat and was bending over him; her hair was scattered in a mass of curls over her

ALEISTER CROWLEY EQUINOX EQ I 4

ts absorbed with it. when the antahkarana, like a deer, is attracted by the sound of bells, etc, and remains immovable, a skilful archer can kill it. whatever is heard of the nature of sound is only shakti.250 the conception of ak sa251 (the generator of sound) exists, as long as the sound is heard. the soundless is called parabramha or param tma252 august 14th. bought a meditation-mat and also a bronze buddha. nadi-yama253 10 minutes in the saivite posture, in which my body- seat fits exactly into a square of about 18 inches forming the letter aleph. mantra (n.s.n.a. at the 28th minute got faint sounds like a musical box worked by a mallet on metal bars. as i stopped i heard a piano very distant. the intense attention requisite to try to catch the subtle sounds of the universe when in rec

aum" only, drop- ing "mani padme hum" and then was more like thunder without harmonics. did dh ran on anahata. 11.45-12.15 suddhi. a'sana very painful. a.m. p.m. 12-15-1.0 meditation on "aum mani padme hum" and sleep. p.m. p.m. 4.15-4.45 dh ran on anahata with "aum mani padme hum" the p.m. p.m. latter sounds like the flight of a great bird in windy weather. 5.50-6.20 suddhi. when meditating on my bronze buddha i ob- p.m. p.m. tained a great standing self-luminous but rayless buddha. 30th. 12.12-12.42 suddhi. a.m. a.m. i passed a bad night, and in the morning my will and control of thought seemed shortened. 8.45-9.15 suddhi. a.m. a.m. thoughts hopelessly wandering. 9.45-10.29 dh ran on buddha with "aum mani padme hum" a a.m. a.m. much better meditation. i felt a spiral force whirring around

ALEISTER CROWLEY EQUINOX EQ I 6

ugh the professors and their mistresses, a clever, incurious, domestic, fascinating crowd "i kiss your hands and your feet, and i will tell you the joke before lunch; so that you may repent in time if it is not amusing. in your ear, enchantress! the truth is- i am a great man" she saw it in a flash "then, my friend, i must bury you "in your hair" he cried. she had huge rolling masses of 116 brown-bronze hair, as if a great sculptor had wished to immortalise the sea in storm "anoint me first" he added, with a low sob, suddenly clairvoyant of some vision of christ and magdalene "need you die" they were seated, and her hand fell on his lap "great men die never "nor kind words" he retorted "you have flattered me; tu veux me perdre" his english had no equivalent. she have a little shiver "what

ALICE A BAILEY09 A TREATISE ON THE SEVEN RAYS VOLUME I ESOTERIC PSYCHOLOGY I

aracteristics. methods of planet. colour. no. development (according to besant) i. will or power. raja yoga. uranus. flame. representing sun. ii. wisdom. balance. intuition. raja yoga .m ercury .y ellow. rose. iii. higher mind .e xactitude in thought .v enus. indigo- 104- a treatise on the seven rays- volume i: esoteric psychology i copyright 1998 lucis trust higher mathematics. blue. philosophy. bronze. iv. conflict .i ntensity of struggle. saturn. green. birth of horus hatha yoga, the most dangerous method of psychic growth. v .l ower mind. exactitude in action. the moon. violet practical science. vi. devotion .b hakti yoga. mars. rose. necessity for an blue. object. vii. ceremonial order. ceremonial observances. jupiter. bright. control over clear. forces of nature. blue. it will be cle

ARADIA GOSPEL OF THE WITCHES

rship of diana to that of the madonna was made comparativelysimple. mr. rolfe speaks of the key, rue, and verbena as symbols of diana; of all of these i haveincantations, apparently very ancient, and identified with diana. i have often found ruein houses inflorence, and had it given to me as a special favour. it is always concealed in some dark corner,because to take any away is to take luck. the bronze frog was an emblem of diana; hence the latinproverb, he who loves a frog regards it as diana. it was made till recent times as an amulet. ihave one as a paper-weight now before me. there is also an incantation to the frog.that wherein mr. rolfe tacitly and unconsciously confirms what i have written, and what is mostremarkable in this my own work, is that the wizards in italy form a distinct

BELL CHRISTOPHER PAUL TSIU MARPO THE CAREER OF A TIBETAN PROTECTOR DEITY

ilk banner in his right hand. he throws a lasso of rosaries from his left hand. he plagues his enemies with magical delusions [6] the knife might demon has the red body color of blood and wears red copper armor. he wears a majestic turban of red silk. he has a tiger-skin quiver on his right and a leopard-skin bow case on his left. he has a red leather shield endowed with fire light and a gleaming bronze 50 dagger. his red silk banner swirls about like the wind. his red might demon horse runs swiftly. he leads a pack of wolves and jackals, and soars over mountain birds and crows. he plagues his enemies with magical delusions.87 these iconographic descriptions follow an obvious pattern detailing body color, wardrobe, mounts, and the weapons these figures bear. this pattern is also observable

rm blood of a transgressor s brain. she who is the follower of the red 422 "speech of the lotus" 423 as four aspects. skt. dharmavajra. 424 in fact, this is his secret name. 425 "conch shell-colored vermillion-eyed woman" 426 tib. srog dbugs. 427 "red vermillion-eyed woman" 164 rock might demon [313] run! run! now run! be incited [and] drink the brains of the enemy! descend at the time of the red bronze wolf! bhyo! the bitch marnak trakmikma428 gathers cloud-like poisonous vapors. her iron teeth and claws stand out like weapons. she steals the life-force and life of the enemy at midnight. she drinks by gulping the life-force and life of the vow-violator. she who is the follower of the red serpentine might demon. run! run! now run! now run she-wolf of blood! be incited [and] cut the lifelin

in the red copper fields of the might demon land; above the copper rocks there is copper and more copper. on the peaks the dark wild ones hunt. on the sides the violence demon riders race along. from the middle they penetrate the land as eaters of wolves. fundamental poison, ruzululu.482 in the power inside the red copper rock a boiling lake of blood churns.483 dark castle leather is tied up.484 bronze locks are arranged in proper order.485 in the power inside the castle of terrifying might demons the serpentine might demons are emanations of the assembly. their body color is a brilliant greenish red and their red matted hair is gathered fire light. fiery meteors gather from their eyes. bloody hailstones fall from their mouths. on their bodies they wear robes of red silk.486 they possess

rom their mouths. on their bodies they wear robes of red silk.486 they possess sleeves of blue-checkered satin. they possess majestic turbans of red silk on their heads. they possess belts of precious gold. they ride blue horses with black covers as mounts. their red silk mats flutter.487 their multicolored saddles spontaneously manifest.488 the martingale489 of silver dazzles and flashes.490 the bronze stirrups chime and clack.491 the gold armor and 478 tib. padma thod phreng rtsal "lotus skull-garland power" 479 unknown; possibly a sanskrit transliteration for a seal. 480 unknown; possibly an area near mount chimpu at samy. 481 tib. padma rgyal po; one of padmasambhava s eight manifestations. 482 unknown. 483 tib. me re re. 484 tib. ldems se ldem. 485 tib. khrigs se khrigs. 486 tib. sku

y means of knives. bhyo! also, regarding the brigands of the might demons; the knife might demon of quick lightning power [has] the red color of blood on his body, and wears on his body red copper armor. he has bound to his head a majestic turban of red silk. he has a tiger-skin quiver on the right and a leopard-skin bow case on the left. he [has] a red leather shield endowed with fire light. his bronze dagger gleams as it repels. his red silk banner swirls about like the wind. his red might demon horse moves quickly like an electric wam.504 he leads a pack of wolves and jackals. he soars over mountain birds and crows. he desires the splendid knife from above the life-force and life. he sends to the enemy magical displays by means of knives. he sends to the enemy the nine magical displays

ariant spelling for mtshon gri. this is not because it is a specific tibetan word in itself, but because a pattern begins at this point where various maladies are directed at the enemy in the form of weapons, each misfortune being suffixed by the word gri, for weapon in this context. thus, it appears to make clearer sense to read mtshon phri in this fashion. 506 tib. cog brdung; obscure. 507 "the bronze-necked woman" 508 "all-pervading fierce vajra power" 176 throat of [the statue of] the king of the seven peaks, chenmizang (spyan mi bzang).509 conceal it in the namnang (rnam snang)510 [statue] of the betsa (be tsa) region of mount chimpu at samy. this was revealed from a treasure [text] by the knowledge-bearer ngari pa.chen. regarding the circle of the four lotuses, concentrate as much as

BLAVATSKY H P ANTHROPOGENESIS

visible world, from the remains of the slain giant ymir; but they do not create man, but only his form from the ask or ash-tree. it is odin who endows him with life and soul, after lodur had given him blood and bones, and finally it is honir who furnishes him with his intellect (manas) and with his conscious senses. the norse ask, the hesiodic ash-tree, whence issued the men of the generation of bronze, the third root-race, and the tzite tree of the popol-vuh, out of which the mexican third race of men was created, are all one* this may be plainly seen by any reader. but the occult reason why the norse yggdrasil, the hindu aswatha, the gogard, the hellenic tree of life, and the tibetan zampun, are one with the kabalistic sephirothal tree, and even with the holy tree made by ahura mazda, a

uman race was at that time of "one language and of one lip" this did not prevent the last two sub-races of the third race* from building cities, and sowing far and wide the first seeds of civilization under the guidance of their divine instructors* and their own already awakened minds. let the reader also bear in mind that, as each of the seven races is divided into four ages- the golden, silver, bronze, and iron age- so is every smallest division of such races* speech then developed, according to occult teaching, in the following order- i. monosyllabic speech; that of the first approximately fully developed human beings at the close of the third root-race, the "golden-coloured" yellow-complexioned men, after their separation into sexes, and the full[[footnote(s* to avoid confusion, let th

er that of ham. yet these are all personifications of the "sons of wisdom" the necessary corroboration that jupiter belongs to the purely human atlantean cycle- if uranus and kronos who precede him are found insufficient- may be found in hesiod, who tells us that the immortals have made men and created the golden and the silver age (first and second races; while jupiter created the generations of bronze (an admixture of two elements, of heroes, and the men of the age of iron. after this he sends his fatal present, by pandora, to epimetheus* which present hesiod calls "a fatal gift" or the first woman. it was a punishment, he explains, sent to man "for the theft of divine creative fire" her apparition on earth is the signal of every kind of evil. before her appearance, the human races lived

on, are characterized in greece by the name of metals, to express their ever-decreasing value. gold, the most brilliant and precious of all, symbol of purity. qualifies the first race. the men of the second race, those of the age of silver, are already inferior to the first. inert and weak creatures, all their life is no better than a long and stupid infancy. they disappear. the men of the age of bronze are robust and violent (the third race; their strength is extreme. they had arms made of bronze, habitations of bronze; used nought but bronze. iron, the black metal, was yet unknown (op. at d, 143-155. the fourth generation (race) is, with hesiod, that of the heroes who fell before thebes (see "the seven against thebes" by aeschylus, or under the walls of troy. thus, the four races being f

m as his father inachos, the river, reminds one of that of prometheus, which makes that titan the son of the oceanid clymene. but the mother of phoroneus was the nymph melia; a significant descent which distinguishes him from prometheus. melia, decharme thinks, is the personification of the ash-tree, whence[[vol. 2, page] 520 the secret doctrine. according to hesiod, issued the race of the age of bronze (opera et dies, 142-145; and which with the greeks is the celestial tree common to every aryan mythology. this ash is the yggdrasil of the norse antiquity, which the norns sprinkle daily with the waters from the fountain of urd, that it may not wither. it remains verdant till the last days of the golden age. then the norns- the three sisters who gaze respectively into the past, the present

ient, probably, than that one which transformed the pramantha (of the old aryan hindus) into the greek prometheus. phoroneus is the[[footnote(s* according to the occult teaching, three yugas passed away during the time of the third root-race, i.e, the satya, the treta, and the dvapara yuga, answering to the golden age of its early innocence: to the silver- when it reached its maturity: and to the bronze age, when, separating into sexes, they became the mighty demi-gods of old[[vol. 2, page] 521 the poetry of modern orientalists (personified) bird, that brings the heavenly lightning to the earth. traditions relating to the birth and origin of the race of bronze, and those which made of phoroneus the father of the argians, are an evidence to us that this thunderbolt (or lightning, as in the

ted" initiate after his last trial of three days' trance; the five becoming seven only after his death, when the adept became the full christos, the full krishna-vishnu, i.e, merged in nirvana. the e delphicum, a sacred symbol, was the numeral five, again; and how sacred it was is shown by the fact that the corinthians (according to plutarch) replaced the wooden numeral in the delphic temple by a bronze one; and this one was transmuted by livia augusta into a fac-simile of gold. it is easy to recognize in the two spirits- the greek accents or signs[[diagram) spoken of by ragon (vide supra- atma and buddhi, or "divine spirit and its vehicle (spiritual soul. the six or the "senary" is dealt with later, while the septenary will be fully treated in the course of this volume (vide the "mysterie

in truth it is the symbol of the triad (or the trimurti. for, even in the exoteric rendering, the lower triangle[[diagram] with the apex downward, is the symbol of vishnu, the god of the moist principle and water("nara-yana" or the moving principle in nara, water) while the triangle, with its apex upward[[diagram] is siva, the principle of fire, symbolized by the triple flame in his hand (see the bronze statue of tripurantika siva "mahadeva destroying tripurasura" at the museum of the india house. it is these two interlaced triangles- wrongly called "solomon's seal" which also form the emblem of our[[footnote(s* hence the initiates in greece called the tau[[i, son of gaia "sprung from earth" like tityos in odyssey 7, 324* see the mahabharata, e.g, iii, 189, 3, where vishnu says "i called t

e beds of contemporary geological strata which have not gone down to the bottom of the sea; still more improbable that some portions should not be dredged from the ocean bed like the remains of the mammoth and the rhinoceros which are also found in fresh-water beds and gravels and drift. the celebrated neanderthal skull, about which so much has been said, belongs confessedly to this remote epoch (bronze and stone ages, and yet presents, although it may have been the skull of an idiot, immense differences from the highest known anthropomorphous ape[[footnote(s* and how much more "enormous" if we reverse the subjects and say during the monkey's development from the third race man[[vol. 2, page] 730 the secret doctrine. our globe being convulsed each time that it reawakens for a new period of

ain, the deterioration produced in the populations of la vezere was the result of violent crossings, or of a general retreat northwards in the wake of the reindeer, is of little moment to us" he continues "meantime the bed of the ocean has been upheaved, europe is now fully formed, her flora and fauna fixed. with the taming of the dog begins the pastoral life. we enter on those polished stone and bronze periods, which succeed each other at irregular intervals, which even overlap one another in the midst of ethnical fusions and migrations. the primitive european populations are interrupted in their special evolution and, without perishing, become absorbed in other races, engulfed. by successive waves of migration overflowing from africa, possibly from a lost atlantis? far too late by aeons

h comes from atlantis; if the fable is a real tradition- however altered- then the whole of the ancient history is still in it (lettres sur l'atlantide, p. 137) so much so, that all ancient writings- prose and poetry- are full of the reminiscences of the lemuro-atlanteans, the first physical races, though the third and the fourth in number. hesiod records the tradition about the men of the age of bronze, whom jupiter had made out of ash-wood and who had hearts harder than diamond. clad in bronze from head to foot they passed their lives in fighting. monstrous in size, endowed with a terrible strength, invincible arms and hands descended from their shoulders, says the poet (hesiod, in oper. and dieb. v. 143. such were the giants of the first physical races. the iranians have a reference to

n asia is called the "eternal or perpetual land" and the antarctic the "ever living" and "the concealed; while the mediterranean, atlantic, pacific and other regions disappear and reappear in turn, into and above the great waters. from the first appearance of the great continent of lemuria, the three polar giants had been imprisoned in their circle by kronos. their gaol is surrounded by a wall of bronze, and the exit is through gates fabricated by poseidon (or neptune, hence by the seas, which they cannot cross; and it is in that damp region, where eternal darkness reigns, that the three brothers languish. the iliad (viii, 13) makes of it the tartaros. when the gods and titans rebelled in their turn against zeus- the deity of the fourth race- the father of the gods bethought himself of the

BOOK OF BLACK SERPENT

onia, media, edom) are attributed four kingdoms. 1. bairiron- so called because they are derived from the fourth evil, namely samael, the black. their colors are dull red and a black, and their form is that of a dragon- lion. 2. adimiron- whose colors are like blood mixed with water, a dull yellow and grey. their form is that of a lion-lizard. 3. tzelladimiron- whose colors are like limpid blood, bronze and crimson. they are like savage triangular-headed dogs. 4. schechiriron- whose colors are black, and their form blended of reptile, insect and shell-fish, such as the crab and the lobster, yet demon-faced withal. 5. tzephariron- whose colors are fiery and yellow, and their form like merciless wolves and jackals. 6. obiriron- whose colors are like clouds, and their form like grey, bloated

CASSANDRA EASON A PRACTICAL GUIDE TO WITCHCRAFT AND MAGIC

cle and moon time is still used in the modern world in both pagan and religious rituals: the chinese new year is a lunar festival and the chinese ritual year follows the moon and the native americans calculate their months by the moon. the coligny calendar of the gallic druids, which runs from full moon to full moon, was named after the place in france where it was discovered in 1897, engraved on bronze. similar calculations were inscribed in stone at knowth, one of the sacred ancient megalithic sites in ireland. many of the original lunar calendars were based on the natural and agricultural world and helped in establishing an agricultural calendar, noting times in the cycle when crops were planted and ripened and when birds migrated, as well as the coming of the herds among hunting people

COLLIER IRENE CHINESE MYTHOLOGY

57 2255 b.c. astronomy, canal building 2317 2208 b.c. dams 2205 2197 b.c. mapping, flood control, founder of the legendary xia dynasty, 2005 1520, which has not yet been verified. b.c. brief rule name: dates: known for: chinese mythology 12 major historical dynasties3 shang zhou [joh] qin [chin] han six dynasties sui song tang yuan ming qing [ching] period of modern government 1523 1027 b.c. high bronze age 1027 221 b.c. feudalism, confucius, great classics 206 b.c. a.d. 220 trade along the silk road, art, science 220 589 disunity, buddhism firmly established 590 617 great canal 618 906 golden age, literature, art 960 1279 landscape painting 1280 1367 mongol dynasty: genghis khan 1368 1643 porcelain, public works establishment of the republic establishment of the people s republic of china

eople introduction whereas panku, the creator of the universe was male, the creator of people was a female goddess named nuwa. nuwa is briefly mentioned in several ancient chinese texts, a classic of history (eighth century b.c, a classic of mountains and seas (third century b.c, and questions of heaven (fourth century b.c).1 in addition, many images of nuwa have been uncovered on ancient chinese bronze sculptures and paintings. like many of the early chinese gods, nuwa was half animal, half divine. most often, nuwa had the face and arms of a human but the body of a snake or dragon. she could change her shape at will. modern chinese books prefer to show her as a beautiful woman. it appeared that women in china had no social standing of their own. however, in their roles as mothers and wive

e ancient tally system of tying knots. however, its creation has also been attributed to t'sang chieh, a palace record keeper who lived around 2500 b.c.3 some of the earliest chinese writing consisted of simple lines and picture symbols that could be scratched easily onto stones, turtle shells, and animal bones. by 1600 b.c, the writing system was quite advanced; its symbols are found on numerous bronze vessels from that period. during the qin dynasty (221 206 b.c, chinese writing became systematized and sophisticated. many of the symbols from that era closely resemble the chinese writing characters used today.4 fushi teaches the people 33 fushi watched the new humans stumbling about. these people did not have the supernatural powers of gods, the strength of tigers, or the speed of leopard

their world. chinese mythology 60 expert commentary the yellow emperor may have been based on a real ruler of 2697 2598 b.c. poet and author brian p. katz describes his reign and appearance in mythology: the development of time-telling devices, compasses, calendars, and coinage are all attributed to him. in one depiction, huang ti [the yellow emperor] is seen as monstrous: he has an iron head, a bronze brow, hair like swords, the body of a bull, and six arms with eight fingers each.2 the father and son pair of kun and yu are typical of the early mythological gods in their willingness to help people. noted sinologists jan and yvonne walls write: characteristic of classical chinese myths is their rather dominant concern with some of the universal themes the creation and maintenance of natur

o the shadows of the trees. carefully, cheng picked up the piece of jade. the chilin s message puzzled her, and the lustrous jade seemed to hold deep secrets below its cloudy surface. the stone felt naturally cold, yet warmed up quickly in the palm of her hand. the jade appeared dense and cloudy, yet the longer she looked at it, the clearer and more transparent it seemed. jade was harder than the bronze coins in her pocket, yet cheng knew it could be carved into fluid shapes like twisting dragons, chirping insects, and tumbling clouds. when she struck the wonderful stone, the jade emitted a low-pitched musical note that inspired comfort and hope in cheng s heart. cheng fervently hoped that the unicorn would bring peace to the troubled world. she rushed home to tell her husband about the ma

DAVID ICKE AND THE TRUTH SHALL SET YOU FREE

be identified on arrival at west coast airbases, particularly the travis air force base in california. the drugs were then removed and made available for the young people of america. one man who had his eyes opened to all this during the bush presidency was lieutenant colonel james "bo" gritz, one of america's most decorated soldiers, with sixty-two citations for valour, five silver stars, eight bronze stars, two purple hearts, and a presidential citation. my outlook on life and that of bo gritz could hardly be further apart, but his experiences deserve to be heard by anyone who the one party states 315 thinks that government is still- or ever was 'for' and 'by' the people. in an address to the american liberty lunch club, recorded on the video, a nation betrayed, gritz describes how he t

DAVID ICKE CHILDREN OF THE MATRIX

ording events. the sumerian-egyptian form of writing from the menes-sargon period, the funeral rites, and even the terracotta drainpipes used by the "minoans" were the same as those found in sumer.20 here are just some of the "similarities" listed by waddell between the documented life of menes, the egyptian pharaoh and sumerian emperor, and king minos of greek and cretan legend. both were of the bronze age, replacing the neolithic period. both were known as sea emperors of the mediterranean. both were said to have introduced civilisation. both built a labyrinth. both died on a sea voyage to the west. both used seal impressions on clay and both used a linear script of sumerian type, or very similar. both had the same physical "aryan" appearance. minos was said to be the son of zeus, menes

ed from egyptians. she says that scota's real name was meritaten and that she was the daughter of the pharaoh, akhenaten, and a half-sister to tutankhamen. the hill of tara, not far from newgrange, was the seat of the irish king of kings (equivalent of the british "pendragon) and it is worth emphasising that the "elite" bloodlines of ireland and scotland are extremely important to the illuminati. bronze age shields found on the dingle peninsula in county kerry were identical to those discovered in spain, which were identified as ancient egyptian weaponry. other archaeologists and egyptologists have dismissed evans' claims, but she says that her findings in hull and elsewhere will revolutionise views about our ancestors "the simple fact that many peoples of britain are going about their dai

hidden) knowledge, the kabbala, means "serpent wisdom".5 the levites or sons god save us from religion 199 of the great serpent (bloodline) worshipped yhvh as a dragon called leviathan, hence levite.6 yhvh's serpent form was also known as nehushtan or "brazen serpent" by the levites and they placed golden and brass images of this deity on the altars of hebrew temples.7 excavations have discovered bronze and copper serpent symbols in former levite temples. the mythical story of moses and the brazen serpent set upon a cross is symbolic of this same theme. the babylonians had inherited the stories and myths of egypt and sumer, and now they would reappear in a twisted form in the texts that would later become the old testament. genesis, exodus, leviticus, numbers, and deuteronomy, which togeth

EGYPTIAN BOOK OF THE DEAD PAPYRUS OF ANI MALESTROM

of that animal accompanied by plumes and feathers. in one aspect she is identified with the goddess selk or serq, and she then has upon her head a scorpion, the emblem of that goddess;[3] in another aspect she is united to the star sothis, and then a star is added to her crown. she is, however, most commonly represented as the mother suckling her child horus, and figures of her in this aspect, in bronze and fa ence, exist in thousands. as a nature goddess she is seen standing in the boat of the sun, and she was probably the deity of the dawn. heru or horus, the sun-god, was originally a totally distinct god from horus, the son of osiris and isis, but from the earliest times it seems that the two gods were confounded, and that the attributes of the one were ascribed to the other; the fight

th horus and the other gods of the heliopolitan company in terms of reverence. he was also believed to perform friendly offices for the deceased, and to be a god of the sekhet-aaru, or abode of the blessed dead. he is usually depicted in human form with the head of an animal which has not yet been identified; in later times the head of the ass was confounded with it, but the figures of the god in bronze which are preserved in the british museum and elsewhere prove beyond a doubt that the head of set is that of an animal unknown to us. in the early dynasties he was a beneficent god, and one whose favour was sought after by the living and by the dead, and so late as the xixth dynasty kings delighted to call themselves "beloved of set" about the xxiind dynasty, however, it became the fashion

e no. 17,166, inscribed "beautiful god, lord of the two lands, maker of things, king of the north and south, khnem-ab-ra, son of the sun, aahmes (amasis, beloved of hathor, lady of sycamore trees; and no. 13,950* in fa ence; and nos. 8172, 8173, and 20,607 in hard stone. no. 18,108 is the disk of a menat in fa ence, inscribed, hathor, lady of the town of anitha" no. 20,760 is a disk and handle in bronze, the disk having, in hollow work, the figure of a cow, sacred to hathor, and the handle, the upper part of which is in the form of the head of hathor, having a sistrum. on the one side is the prenomen of amenophis iii. and on the other is hathor, lady of the sycamore" the meaning and use of the menat is discussed by lef bure in le menat et le nom de l'eunuque (proc. soc. bibl. arch, 1891, p

hall of double maat, where his heart is to be weighed against her emblem. she usually wears the feather, emblematic of truth, and is called the "lady of heaven: see lanzone, dizionario, p. 276 (and tav. 109, where the twin-goddesses maat are shown; pierret, panth on, p. 2011. she is sometimes represented blind-fold: see wiedemann, religion der alten aegypter, p. 78. for figures of the goddess in bronze and stone, see nos. 380, 383, 386, ii, 109, and ii, 114 in the british museum. 6 heru-khuti, i.e "horus of the two horizons" the harmachis of the greeks, is the day-sun from his rising in the eastern horizon to his setting in the western horizon; for the various forms in which he is represented, see lanzone, dizionario, tav. 129. strictly speaking, he is the rising sun, and is one of the mo

and brugsch, religion und mythologie, p. 439 ff. brugsch connects the name tehuti (thoth) with the old egyptian word tehu "ibis" and he believes that it means the "being who is like an ibis" the word tex also means "to measure "to compute "to weigh; and as this god is called "the counter of the heavens and the stars, and of all that therein is" the connexion of the name thoth with tex is evident. bronze and fa ence figures of the god represent him with the head of an ibis, and holding an utchat in his hands (see nos. 481, 490a, and 11,385 in the british museum. the utchat, or eye of the sun, has reference to the belief that thoth brought back each morning the light of the sun which had been removed during the night. 3. the palettes of the egyptian scribe were rectangular, and were made of

and of gold across and down the back where the wings join: an example of the late period (no. 7977) has the whole of the back gilded. the scarab was set in a gold oval ring, at one end of which was a smaller ring for suspension from the neck or for attachment to the bandages of the mummy (no. 15,504. the green glazed fa ence scarab of thothmes iii (no. 18,190) was suspended by a gold chain from a bronze torque. a thick gold wire to fit the neck is attached to no. 24,401. the base of the scarab is sometimes in the form of a heart (nos. 7917, 7925. a remarkable example of this variety is no. 7925, in which are [1. the fifth king of the ivth dynasty. 2. this prince is said to have been a very learned man, whose speech was difficult to be understood (see wiedemann, aeg. geschichte, p. 191. 3

is followed by two others. by their side walk other attendants carrying ani's palette, boxes, chair, couch, staff, etc. in plate vi. the procession is continued up to the tomb. in the centre is a [1 "thou goest forth over heaven in three-fold peace [in] thy sektet boat; when thou showest thy face. thee" 2 "he giveth to thee thine eyes to see therewith, and thine cars [to hear therewith" 3. for a bronze censer similar in shape, see no. 5296 a, fourth egyptian room. 4. it is similar in shape to the chests which held the four jars containing the mummied intestines of the deceased. for examples of them see nos. 8543a, 8543b in the third egyptian room] p. 264 group of wailing women, followed by attendants carrying on yokes boxes of flowers, vases of unguents, etc. in the right centre are a cow

s amsu (compare the variants in naville, todtenbuch, bd. ii, bl. 41. this god was associated with amen-ra, and represented the power of reproduction (see pierret, panth on, p. 39; and lanzone, dizionario, p. 935. the seat of his worship was apu, the panopolis of the greeks, and the akhm m of arabic writers. for the forms of the name of the town, see brugsch, dict. g og, p. 19. figures of amsu, in bronze and fa ence, are common, and good examples are nos. 43, 44, 45, 46, 47a, and 13,520 in the third egyptian room] p. 283 who then is this? amsu is horus, the (32) avenger of his father, and his coming-forth is his birth. the (33) plumes upon his head are isis and nephthys when they go forth to set themselves (34) there, even as his protectors,[1] and they provide that which (35) his head lack

s ani "o thou who art without motion like unto osiris! o thou who art without motion like unto osiris (2) o thou whose [1. i.e, hermopolis. 2. for an account of the manner in which altars and other objects were represented on egyptian monuments, see borchardt, die darstellung innen verzierter schalen aus aegyptischen denkm tern (in aeg. zeitschrift, bd. xxxi, 1893, p. 1. 3. for a kherp sceptre in bronze, see no. 22,842 in the 2nd egyptian room. 4. chapters clxxv. and clxxvi. bear the same title. for chapter clxxv. see plate xxix. chapter clxxvi (naville, todtenbuch, bd. i, pl. cc) reads "what i hate is the land of abydos. may i never enter into the den, and may there never be done unto me any of those things which the gods hate, for i am. pure within the mesqet. may neb-er-tcher give unto

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 1

n it the individualities of the various metals.that in it their various substances were incorporated. this black powder was mystically identified with the underworld god osiris, and consequently was credited with magical properties. thus there grew up in egypt the belief that magical powers existed in fluxes and alloys. it is probable such a belief existed throughout europe in connection with the bronze-working castes of its several races (see shelta thari) it was probably in the byzantium of the fourth century, however, that alchemical science received embryonic form. there is little doubt that egyptian tradition, filtering through alexandrian hellenic sources, was the foundation upon which the infant science was built, and this is borne out by the circumstance that the art was attributed

. these generally represented the leaf of the sacred fig tree and were made in the form of a box that contained a scrap of sacred writing, prayer, or a little picture. women of position in tibet wore a chatelaine containing a charm or charms, and the universal amulet of the tibetan buddhist priests is the thunderbolt, supposed to have fallen direct from indra s heaven. this is usually imitated in bronze or other metal and is used for exorcising evil spirits. many muslims wear amulets, and it is said that the prophet mohammed believed in the evil eye. the koran is sometimes carried as an amulet, or extracts from it are copied out for that purpose. suras 113 and 114 are directed against witchcraft. other powerful charms for amulets include the names and attributes of gods, the names of the s

of the eternal king, might flee in fear and cease from raising the storm. bells were baptized and blessed to consecrate them. in 1521 it was stated that suffragans used to baptise bells under pretence of driving away devils and tempests. many old bells in britain were inscribed with the sign of the cross and the statement, by my lively voice i drive away all harm. as early as ancient roman times, bronze bells were used to repel demons. the geographer strabo (64 or 63 b.c.e..23 c.e) recorded that roman herdsmen attached bells to the necks of their flocks to keep away evil spirits and wild beasts. the roman poet ovid (43 b.c.e..17 c.e) stated that people used to beat bronze vessels during an eclipse and at the death of a friend to scare away demons. devil s bridge a bridge across the afon my

the presence of underground oil, sometimes reporting sensations of fainting, and their operations have not required the use of a rod. in the case of john timms, studied by oxford scientists in 1924, the demonstration was further complicated by a foreknowledge of where the hidden streams would be found. the attraction of hidden metals on his rod varied in this order: nickel, gold, silver, copper, bronze. researchers henri mager and lemoine found, independently of each other, that to produce as much action on the divining rod as one gram of gold does, one had to bury 1.2 grams of silver, 6 grams of nickel, 15 of aluminum, 40 of zinc, 75 of lead, and 125 grams of copper. depending on what the dowser desires to find he may hold a bottle of water, a piece of metal, an empty tube (in searching

vil: a biographical dictionary of witches. new york: mayflower books, 1981. hansen, chadwick. witchcraft at salem. new york: george braziller, 1969. encyclopedia of occultism& parapsychology. 5th ed. good, sarah 653 goodavage, joseph f (1925.1989) journalist and astrologer, born in philadelphia on october 29, 1925. goodavage served in the south pacific during world war ii and was awarded both the bronze star and the silver star. after the war he attended the philadelphia museum college of art, temple university, and the university of pittsburgh (b.a, 1953. he began his journalistic career in 1954 with the pittsburgh sun-telegraph and later worked for such papers as the cleveland plain-dealer, the chicago tribune, and the new york times. along the way goodavage became interested in astrolog

poltergeists (in the united states, similar ghost tours were organized by richard t. crowe in chicago, illinois) jack hallam, former picture editor of the british sunday times newspaper, published the ghost tour: a guidebook to haunted houses within easy reach of london (1967, and the ghost who s who (1977) which lists some 500 frequently reported apparitions in england and wales, ranging from a bronze age ghost through kings and queens to a man in a bowler hat haunting a runway at london airport. hallam claims that britain is the most haunted country in the world, with 25,000 phantoms in england and wales as well as thousands more in scotland and ireland. he states that the most haunted english village is bramshott in hampshire, with 300 living residents and 17 ghosts. other useful guide

ice m. foundations of hypnosis: from mesmer to freud. springfield, ill: chas. c. thomas, 1970. toksvig, signe. emmanuel swedenborg, scientist and mystic. new haven, conn: yale university press, 1948. wambach, helen. reliving past lives: the evidence under hypnosis. new york: harper& row, 1978. wilson, ian. all in the mind. garden city, new york: doubleday and co, inc, 1982. hypocephalus a disk of bronze or painted linen found under the heads of greco-roman mummies in egypt. it is inscribed with magic formulas and divine figures, and its purpose was probably to secure warmth for the corpse. hyslop, george hall (1892.1965) american physician, neuropsychiatrist, and psychical researcher. he was born on december 20, 1892, in new york city. he studied at indiana university (b.a, 1913; m.a. psyc

cause this animal and the serpent were the only creatures who did not weep at buddha s death. cats also had the power of bewitchment and possessed vampire proclivities. yet among sailors the cat was held in high estimation, for it was thought to possess the power of warding off the evil spirits that haunt the sea. the images of animals were also thought to be endowed with life. there are tales of bronze horses and deer, huge carved dragons, and stone tortoises wandering abroad at night, terrorizing the people and only laid to rest by decapitation. butterflies were thought to be the wandering souls of the living who might be dreaming or sunk in reverie; white butterflies were the souls of the dead. fireflies kept evil spirits afar, and japan encyclopedia of occultism& parapsychology. 5th ed

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 2

. through his life neihardt was repeatedly honored. he received the poetry society of america prize for best volume of verse in 1919 and was named poet laureate of nebraska by an act of the legislature, 1921. he was awarded the gold scroll medal of honor of national poetry center (1936) and the writers foundation award for poetry (1964. he was elected to the nebraska state hall of fame in 1974. a bronze bust of neihardt had already been placed in the rotunda of the nebraska capital by an act of the state legislature in 1961. the garden club of bancroft, nebraska, acquired the cottage in which he lived and where he did much of his writing as a museum of neihardt memorabilia, and there is a special neihardt memorial collection at the university of missouri. neihardt was friendly with joseph

in many cases bearing a number indicating the use of a filing system. at some point, however, after the fall of the shang dynasty, the use of oracle bones gave way to other popular systems of divination, especially the i ching. sources: chang, kwang-chih. shang civilization. new haven, conn: yale university press, 1980. keightley, david n. sources of shang history: the oracle-bone descriptions of bronze age china. berkley, calif: university of california press, 1985. temple, robert k. g. conversations with eternity: ancient man s attempt to know the future. london: rider, 1984. oracles shrines where a god was believed to speak to human beings through the mouths of priests or priestesses. the concept of the god becoming vocal was not confined to ancient greece or egypt. the eskimos used to

e of each other s languages. who, then, were the original progenitors of the tinkers? whoever they were, they were a celtic-speaking people and probably a nomadic one. shelta has been referred to as the language of the ancient bards of ireland and the esoteric tongue of an irish priesthood. leland put forward the hypothesis that the shelta-speaking tinker is a descendant of a prehistoric guild of bronze-workers. this, he thought, accounted in part for the secretiveness as regards this language. in italy, to this very day, the tinker class is identified with the itinerant bronze workers. the tinker fraternity of britain and ireland existed with perhaps nearly all its ancient characteristics until the advent of railroads. but long before this, it had probably amalgamated to a great extent wi

rom 1914 to 1919, becoming second lieutenant. after the war he became the director of various companies. from 1940 to 1941, wheatley toured england as a member of sir john anderson s panel of voluntary speakers on national service. in 1945 he was a wing commander serving on sir winston churchill s staff, and he worked for three years in offices of the war cabinet. he was awarded the united states bronze star. he was a fellow of the royal society of literature and the royal society of arts. wheatley also edited the dennis wheatley library of the occult, a series of reprints of significant occult books by other writers. his nonfiction volume, the devil and all his works (1971, reproduced much of the popular fiction about witches and satanists. he died november 11, 1977. wheatley, j(ames) m(e

EVIL AND UNCLEAN SPIRITS

year. wryryub (beiriron: so called because they are derived from the fourth evil force, namely lams the black. their colors are dull red and black, and their form is that of a dragon-lion, for a. wrymyda (adimiron: whose colors are like \d (blood, mingled with n, a sickly yellow and grey. their form is that of a lion-lizard, for b. wrymylylx (tzelilimiron: whose colors are like limped blood lwlx bronze and crimson. they are like two savage triangular-headed dogs, for c. wryrjyc (shichiriron: whose colors are black and their form blended as of a reptile, insect and shellfish such as the crab and the lobster, yet demon faced withall, for d. wrybhlc (shalhebiron: whose colors are fiery and yellow, their form is like merciless wolves and jackals, for e. wryrpx (tzaphiriron: whose colors are l

EXTRAORDINARY ENCOUNTERS AN ENCYCLOPEDIA OF EXTRATERRESTRIALS AND OTHERWORLDY BEINGS

d had four large wings. there were things that looked like tools and furniture, evidently from the ship s interior, and the men opened boxes covered with unusual characters. inside the boxes, they uncovered nourishing food. but their horror was intensified, leander wrote, when they found the bodies of more than a dozen men dressed in garments of strange fashion and texture. the bodies were a dark bronze color, but the strangest feature of all was the immense size of the men. they had no means of measuring their bodies, but estimated them to be more than twelve feet high. their hair and beards were also long and as 194 oleson s giants soft and silky as the hair of an infant (bullard, 1982. the sight so unsettled one of the men that he was driven mad. he promptly hurled himself off into the

FAUST

a beam and a zephyr- the island is clear! phoebus there sees his image in forms hundredfold, as giant, as youth, as the gentle, the bold. we first, it was we who first nobly began to shape the high gods in the image of man. proteus. oh, leave them to their boasting, singing! to sunbeams, holy and life-bringing, dead works are but an idle jest. they melt and mould in tireless rapture, and when in bronze a god they capture, they deem it great and swell their breast. what end comes to these haughty men? their forms of gods, so great and true, long since an earthquake overthrew, and they were melted down again. all life on earth, whatever it be, is never aught but drudgery; in water life has far more gain. i ll bear you to the endless main, i, proteus-dolphin. he transforms himself. now it s

us. who in peace ever wishes war back again, himself doth sever from hope s rich gain. euphorion. they whom this land hath led out of dread into dread, free, of undaunted mood, not sparing of their blood: to their unbreakable, consecrate chain, fighters unshakeable, may it bring gain! chorus. look aloft! how high he s mounting! yet to us not small he seems, as if armed, on triumph counting, as of bronze and steel he gleams. euphorion. not on walls or moats enduring, on his own strength each must rest; fortress firm and all-securing is a man s own iron breast. would ye live unconquered freemen, arm, and off to combat wild! amazons will be your women, and a hero every child. chorus. hallowed poesy, soar aloft heavenly, shine on, thou fairest star, farther and still more far, yet dost thou re

FRANCIS A YATES GIORDANO BRUNO AND THE HERMETIC TRADITION

same way. daedalus made statues which moved through the action of weights or of mercury. however i do not hold that to be true which william of paris writes, namely that it is possible to make a head which speaks with a human voice, as albertus magnus is said to have done. it seems to me possible to make a certain imitation of the voice by means of reeds conducting the air, as in the case of the bronze bull made by' agrippa, de occult, phil, ii, i. agrippa's source for the use of the mathematical sciences in magic may be picatrix. 6+ g.b. 147 renaissance magic and science phalaris which could roar. this art however cannot produce marvellous effects save by means of local motions and weights and pulleys or by using a vacuum, as in pneumatic and hydraulic apparatuses, or by applying forces

FULL MOON RITUALS

e of mixed species circled about the castle before reaching the top after. but duty (joyous as this one is) calls, so he moves along the main trace which climbs the southern face of the hill directly towards the old castle. by the time deer crests the hill and pauses beneath the ancient turret, the pack he carries has become quite a weight- but all weariness departs as he lays hand upon the great bronze knocker which hangs before him. oncely, twicely, thricely he knocks- hearing the deep bass from the heavy bronze spread from the sound board of the huge oak door and then reverberate through the depths of the great hall- and then he waits for the castle to answer "welcome child" he senses more than hears, before gently pushing the mighty door inward. ancient as this place is, the heavy door

ll moon shining down upon them in all her splendor. then a last check of the essentials upon the altar for this evening's ritual: a sun-bleached tortoise shell filled with sea-salt, a copper bowl of fresh rainwater, and a small reiku censer with charcoal beside a smaller silver plate covered with powdered dragon's blood and amber. there too is his athame of georgian silver covered in spirals, his bronze torq, and his linden wand. deer whispers "bowl of my mother's best friend, torq of my forebears' freedom, root of my great-grandmother's ancestral tree, and blade of my own finding; it is good that we are here together again" assured that all is ready, he moves back toward the great hall and, after closing the doors to this sacred space, welcomes with the broadest of smiles and warmest of h

FULLER J F C SECRET WISDOM OF THE QABALAH

thing excels ogn= ngo= plague) in evil. 8 in man good and evil represent the pillars of mercy and severity (or justice, whilst free will represents the central pillar of mildness. this mystery of good, will, and evil is the foundation of the symbolical temple of solomon. myer writes: the widow's son, hiram abiff of tyre, cast for the qabalistic temple of king solomon two high pillars or pylons of bronze; their capitals were pomegranates and lily work. the lily, most likely the lotus, an emblem of life, white or male, on the right side, the pomegranate, the emblem of fecundity and plasticity, red or female, on the left side. the first was called yakheen, the latter boaz. these columns represented, understanding, binah, h, and wisdom 'hokhmah, v, and between them was the temple of kether, y

GAMBLE ELIZA BURT THE GOD IDEA OF THE ANCIENTS OR SEX IN RELIGION

ant of a black virgin and child. in very many instances these black virgins have been replaced by white ones, the older figures having been retired to some secluded niche in the church where they are held especially sacred by the ignorant devotees who know absolutely nothing of their original significance. we are assured that many of these images have been painted over, ostensibly in imitation of bronze, but the whites of the eyes, the teeth, and colored lips reveal the fact that they are really not intended to represent bronze, but figures of a black virgin goddess and child whose worship has been imported into europe from the east. i had been told that one of the oldest of these images extant was to be found in augsburg; a thorough search, however, in all the churches and cathedrals of t

GILBERT THE MAGICAL MASON

ideredtheoldest religiousworkin existence. these poemsandprayers inform us ofthereligious notions of the aryan racesandvoicetheirappeal tothegods of the elements,ofthesun,themoon,andofthe beneficent forces of nature.theethical system of thebuddhiststeachesfournoble truths,andthepathto nirvana is four-fold. someoftheoldclassicalauthorsfollowing hesiodtaughtalso offourages, viz.,thegolden, silvern, bronze andironagesofhumanity.thegreekhermeswas an initiator, revealer ofthespiritual worldandwas invested by greekartwithfour implements:thewandofthemagician.thewingsoftheadventurous one.theswordofthewillofthehero.andthe cap of the discretionoftheadept.theriver styx, orofexistence,bringforth four powers: zeal, success,fortitudetobear,and powertoact.thesepowersconquerthetitans,or elemental forces o

GILBERT THE SORCERER AND HIS APPRENTICE

onths of the year:(1)bairiron- so called because they are derived from the fourth evil, namely samael, the black. their colours are dull red and black, and their form is that of a dragon-lion.26thesorcerer and his apprentice"(2) adimiron'-whose colours are like blood mixed with water, a dull yellow and gray. their form.isthatof a lion255 lizard.(3)tzelladimironwhose colours are like limpid blood, bronze and, crimson. they arelikesavagetriangular-headeddogs (4) schechiriron, whose colours are, black, and their form blended of reptile, insect and shell-fish, such as the crab and the lobster, yet demon-facedwithal'(5)shelhabiron- whose colours.arefiery and yellow, and their form, like merciless wolvesand'jackals (6) tzephariron- whose colours are like those of earth, and their form like parti

GNOSTIC HANDBOOK

e remarkably well with the image described in the old testament book of daniel. central to daniel chapter two is the description of an unusual figure, a figure that is used to express a prophetic outline of history. the interesting thing is that inherent with this figure is a pattern and design which is far older than the text of daniel in which it appears. the image is comprised of gold, silver, bronze and iron (with clay feet) and partakes of the oldest division of history. while this division also has a localized and prophetic meaning which focuses on the gnostic handbook page 56 gold silver copper iron into matter back into spirit the many the few spirit matter flow of mass consciousness, degenerates through the spiritual consciousness, develops from yuga to yuga kali yuga, when techno

ly at the lowest ebb and the few who find wisdom will achieve the most of all. the yuga cycle the gnostic handbook page 57 the interplay between various major kingdoms from the 6th century bce onwards, its primary focus covers immense periods of time and sets the stage onto which humanity plays its part. these four ages are also found in the greek historical tradition as the ages of gold, silver, bronze and iron. however what is especially interested in the greek in a trans- temporal age which exists between the copper and kali yuga. while this age the age of heroes, is not seen as existing "in time, it exists as the path of transfiguration (the solar tradition) during the kali yuga. so while the age may be dark, there is wisdom for those who seek. while the vedic, indo-european, biblical

GNOSTIC STUDIES THE GNOSTIC HANDBOOK II GNOSTIC THEURGY

early vedic system divided history into four ages or yugas. the system itself is in some sense gnostic, as it positions the most cultivated age of man as the first, and the most brutal as the last. the sanskrit names for the four ages are krita or satya yuga, treta yuga, dvapara yuga and kali yuga. these can also be correlated to the greek tradition of dividing history into ages of gold, silver, bronze and iron. the krita yuga is the golden age, the age of spirit and from there onwards things get successively worse until the kali age, which ends in an apocalypse of water and fire. the evolutionary or technological worldview sees human life from a materialistic angle. life has evolved from amoeba to human, becoming more and more complex with related advances in culture and technology. when

ked the midsummer fires. the runes communication among the peoples remained a secondary function of the runic writing throughout it s long history, much more common was the use of runes to invoke higher powers to effect and influence the minds and fortunes of men. prof. r.m.v. elliot the runes are considered to have developed from the early picture-graphs used by the aryan priest-class during the bronze age. it is thought that even at this early stage the runes were used to represent religious and esoteric concepts, rather than for communication. these earlier runic images have been found in abundance throughout england, ireland, scandinavia, and to a lesser extent in other parts of europe. while the earlier runes were in pictograph form, after interaction with the various cultures of the

es, and there will be an intrusion of the malefic inhabitants of this inferior subtle domain. this process of degeneration is codified in the early vedic system by dividing history into four ages or yugas. the sanskrit names for the four ages are krita or satya yuga, treta yuga, dvapara yuga and kali yuga. these can also be correlated to the greek historical tradition as the ages of gold, silver, bronze and iron. the krita yuga is the golden age, the age of spirit and from there things get successively worse until the kali age, which ends in an apocalypse of water and fire. each age in succession is shorter than it predecessor, is more intense, and more material. the kali age is the shortest, most materialist and intensely destructive. it is this age we are in now. gnostic theurgy page 183

GRAHAM HANCOCK FINGERPRINTS OF THE GODS

t ancient creation had been mankind s golden race who had lived like the gods, free from care, without trouble or woe. with ageless limbs they revelled at their banquets. when they died it was as men overcome by sleep. with the passing of time, and at the command of zeus, this golden race eventually sank into the depths of the earth. it was succeeded by the silver race which was supplanted by the bronze race, which was replaced by the race of heroes, which was followed by the iron race our own the fifth and most recent creation.34 it is the fate of the bronze race that is of particular interest to us here. described in the myths as having the strength of giants, and mighty hands on their mighty limbs ,35 these formidable men were exterminated by zeus, king of the gods, as a punishment for

fire.36 the mechanism the vengeful deity used to sweep the earth clean was an overwhelming flood. in the most widespread version of the story prometheus impregnated a human female. she bore him a son named deucalion, who ruled over the country of phthia, in thessaly, and took to wife pyrrha, the red-blonde, daughter of epimetheus and pandora. when zeus reached his fateful decision to destroy the bronze race, deucalion, forewarned by prometheus, made a wooden box, stored in it all that was necessary, 33 new larousse encyclopaedia of mythology, pp. 460, 466. 34 c. kerenyi, the gods of the greeks, thames& hudson, london, 1974, pp. 226-9. 35 ibid. 36 world mythology, pp. 130-1. graham hancock fingerprints of the gods 193 and climbed into it with pyrrha. the king of the gods caused mighty rain

his painstaking survey of the great pyramid, that these craftsmen had access to tools such as we ourselves have only now reinvented. 9 petrie examined the sarcophagus particularly closely and reported that it must have been cut out of its surrounding granite block with straight saws 8 feet or more in length. since the granite was extremely hard, he could only assume that these saws must have had bronze blades (the hardest metal then supposedly available) inset with cutting points made of even harder jewels: the character of the work would certainly seem to point to diamond as being the cutting jewel; and only the considerations of its rarity in general, and its absence from egypt, interfere with this conclusion. 10 an even bigger mystery surrounded the hollowing out of the sarcophagus, ob

HANDBOOK OF EGYPTIAN MYTHOLOGY

ival of osiris and left miniature mummy figures of osiris in special shrines. many temples kept large numbers of the type of animal that was sacred to the main deity of the temple. people could pay for these animals to be ritually sacrificed and then mummified to act as messengers to the realm of the gods. wealthier temple visitors continued the late period practice of dedicating beautifully made bronze images of deities (see, for example, figure 13. an area of the temple that may have been a particular focus for women was the mammisi (birth house. these structures were decorated with texts and scenes describing the conception and birth of a deity, most usually a form of horus.85 by the ptolemaic period, religious texts, such as detailed festival calendars, cycles of hymns, and the scripts

her his name. ra describes himself by many phrases that define his role as creator. he is the one who created the physical world, he made the bull for the cow so sex came into being. he is the one who causes the nile to flood. he is the one who divided the year into seasons and the day into hours. he ends by proclaiming that he is called khepri 70 handbook of egyptian mythology figure 13. votive bronze statuette of isis with her son, horus the child (cleveland museum of art, bequest of harley c. lee and elizabeth k. lee, 1993. 110) in the morning, ra at noon, and atum in the evening, but none of these is his true name; so the pain continues. isis insists that she cannot heal him without knowing his true name. when the pain gets worse, ra gives in and whispers his name to isis. the actual

HELENA BLAVATSKY NIGHTMARE TALES

the floor was felted with a thick carpet.opposite the door, at the upper end of the room near the ceiling was the face of a large clock, under it, eachlighted by tall wax candles, were two small tables, containing, the one an apparatus very like the commonregistering telegraph instrument, the other a crystal globe about twenty inches in diameter, set upon anexquisitely wrought tripod of gold and bronze intermingled. by the side of the door stood a man jet black incolour, wearing a white turban and burnous, and having a sort of wand of silver in one hand. with the otherhe took delessert by the right arm above the elbow, and led him quickly up the room. he pointed to theclock, and it struck an alarum; he pointed to the crystal. delessert bent over, looked into it, and saw- afacsimile of his

HELENA BLAVATSKY THE KEY TO THEOSOPHY

e obtained by initiation into spiritual mysteries of which the ceremonial "mysteries" were a type. gnostics (gr) the philosophers who formulated and taught the "gnosis" or knowledge. they flourished in the first three centuries of the christian era. the following were eminent: valentinus, basilides, marcion, simon magus, etc. golden age the ancients divided the life cycle into the golden, silver, bronze, and iron ages. the golden was an age of primeval purity, simplicity, and general happiness. great age there were several "great ages" mentioned by the ancients. in india it embraced the whole maha-manvantara the "age of brahm" each "day" of which represents the life cycle of a chain, i.e, it embraces a period of seven rounds. thus while a "day" and a "night" represent, as manvantara and pr

HP LOVECRAFT CELEPHAIS

of their youth; for when as children we listen and dream, we think but half-formed thoughts, and when as men we try to remember, we are dulled and prosaic with the poison of life. but some of us awake in the night with strange phantasms of enchanted hills and gardens, of fountains that sing in the sun, of golden cliffs overhanging murmuring seas, of plains that stretch down to sleeping cities of bronze and stone, and of shadowy companies of heroes that ride caparisoned white horses along the edges of thick forests; and then we know that we have looked back through the ivory gates into that world of wonder which was ours before we were wise and unhappy. kuranes came very suddenly upon his old world of childhood. he had been dreaming of the house where he had been born; the great stone hous

come back to the valley of ooth-nargai and the splendid city of celephais. down the hill amid scented grasses and brilliant flowers walked kuranes, over the bubbling naraxa on the small wooden bridge where he had carved his name so many years ago, and through the whispering grove to the great stone bridge by the city gate. all was as of old, nor were the marble walls discoloured, nor the polished bronze statues upon them tarnished. and kuranes saw that he need not tremble lest the things he knew be vanished; for even the sentries on the ramparts were the same, and still as young as he remembered them. when he entered the city, past the bronze gates and over the onyx pavements, the merchants and camel-drivers greeted him as if he had never been away; and it was the same at the turquoise tem

HP LOVECRAFT EX OBLIVIONE

nd sailed endlessly and languorously under strange stars. once when the gentle rain fell i glided in a barge down a sunless stream under the earth till i reached another world of purple twilight, iridescent arbours, and undying roses. and once i walked through a golden valley that led to shadowy groves and ruins, and ended in a mighty wall green with antique vines, and pierced by a little gate of bronze. many times i walked through that valley, and longer and longer would i pause in the spectral half-light where the giant trees squirmed and twisted grotesquely, and the grey ground stretched damply from trunk to trunk, some times disclosing the mould-stained stones of buried temples. and alway the goal of my fancies was the mighty vine-grown wall with the little gate of bronze therein. afte

and radiant as well. then one night in the dream-city of zakarion i found a yellowed papyrus filled with the thoughts of dream-sages who dwelt of old in that city, and who were too wise ever to be born in the waking world. therein were written many things concerning the world of dream, and among them was lore of a golden valley and a sacred grove with temples, and a high wall pierced by a little bronze gate. when i saw this lore, i knew that it touched on the scenes i had haunted, and i therefore read long in the yellowed papyrus. some of the dream-sages wrote gorgeously of the wonders beyond the irrepassable gate, but others told of horror and disappointment. i knew not which to believe, yet longed more and more to cross for ever into the unknown land; for doubt and secrecy are the lure

the lure of lures, and no new horror can be more terrible than the daily torture of the commonplace. so when i learned of the drug which would unlock the gate and drive me through, i resolved to take it when next i awaked. last night i swallowed the drug and floated dreamily into the golden valley and the shadowy groves; and when i came this time to the antique wall, i saw that the small gate of bronze was ajar. from beyond came a glow that weirdly lit the giant twisted trees and the tops of the buried temples, and i drifted on songfully, expectant of the glories of the land from whence i should never return. but as the gate swung wider and the sorcery of the drug and the dream pushed me through, i knew that all sights and glories were at an end; for in that new realm was neither land nor

HP LOVECRAFT THE DOOM THAT CAME TO SARNATH

kept back the waves that rose oddly once a year at the festival of the `destroying of lb. in sarnath were fifty streets from the lake to the gates of the caravans, and fifty more intersecting them. with onyx were they paved, save those whereon the horses and camels and elephants trod, which were paved with granite. and the gates of sarnath were as many as the landward ends of the streets, each of bronze, and flanked by the figures of lions and elephants carven from some stone no longer known among men. the houses of sarnath were of glazed brick and chalcedony, each having its walled garden and crystal lakelet. with strange art were they builded, for no other city had houses like them; and travelers from thraa and ilarnek and kadatheron marveled at the shining domes wherewith they were surm

e walls beheld strange lights on the water, and saw that the gray rock akurion, which was wont to rear high above it near the shore, was almost submerged. and fear grew vaguely yet swiftly, so that the princes of ilarnek and of far rokol took down and folded their tents and pavilions and departed, though they scarce knew the reason for their departing. then, close to the hour of midnight, all the bronze gates of sarnath burst open and emptied forth a frenzied throng that blackened the plain, so that all the visiting princes and travelers fled away in fright. for on the faces of this throng was writ a madness born of horror unendurable, and on their tongues were words so terrible that no hearer paused for proof. men whose eyes were wild with fear shrieked aloud of the sight within the king'

ISIS UNVEILED

in a far more philo- sophical idea than appears on the surface. it defines them according to both the psychological, or mental, and the physical states of man during their period. krita-yuga, the golden age, the 'age of joy' or spiritual innocence of man; treta-yuga. the age of silver, or that of fire the peri- od of supremat^ of man and of giants and of the sons of god; dv¶- yuga, the age of bronze a mixture already of purity and impurity (spirit and matter, the age of doubt and at last our own, the kah-yugs, or age of iron, of darkbess, niisery and sorrow. in this age vishnu had to incarnate himself in krishna, in order to save humanity from the goddess kali, consort of siva, the all-annihilating the goddess of death, de- struction and human misery. kcdi is the best emblem to represe

JENNINGS HARGRAVE ROSICRUCIANS RITES MYSTERIES

same; at p, 201, fig. 98, the same ornament appears; at p. 202, fig. 99, a bearded figure has the usual fleur-delis. in the same page, the tiaras of two bearded figures are surmounted with fleurs-de-lis. at p. 332, fig. 211, the assyrian helmet is surmounted with a fleur-de-lis; at p. 334, fig. 217, the head-dress of the figure in the assyrian standard has a fleur-de-lis; at p. 340, fig. 245, the bronze resembles a fleur-de-lis; at p. 350, fig. 254, an egyptian example of the god nilus, as on the thrones of pharaoh- necho, exhibits the fleur-de-lis. vert, or green, and azure, or blue (feminine tinctures, are the colours on which respectively the golden bees, or the silver lisses, are emblazoned. the egyptian scarab i are frequently cut in stone, generally in green-coloured basalt, the scar

write the ten commandments in thy face, was spoken in fury, in the old-fashioned days, of an intended assault. the hands explain the meaning of this gnostic figures. 231 proverbial expression, interpreted astrologically. palmistry is called chiromancy, because apollo, mythologically, was taught letters by chiron, the centaur. fig 132. fig 133. fig 134. fig 135. fig 136. the devices on most roman bronze lamps present continual gnostic ideas. the temple church, london, will be found to abound fig. 137. monogram of the three emblems carried in the mysteries. figs. 138, 139. the heathen monogram of the triune. with rosicrucian hieroglyphs and anagrammatical hints in all parts, if reference be made to it by an attentive inquirer one accustomed to these abstruse studies. fig. 140. monogram of t

JESSUP MK THE CASE FOR THE UFO

e fairly well searched for a brief period of about fifteen years centered around the "comet years" say 1870 to 1885 with spot checks at other dates. what happens when a bolt of lighting hits at a point where there is a "node" such as a''swirl" in the magnetic sea or where a mag "dead' spot" caused by the neutralization of mag. sea contra gravity especially, what, when the node& bolt both act over bronze inlay the good doctor is far more aware of committing the cardinal effrontery of unorthodoxy than he wishes to show, perhaps. too, he wishes to have more& more& more, a flood of data& facts& records of observations that will back-up his theory. it would seem much more apropo were he to not ask for further proof to show to his fellow professional deriders but were he to proceed himself into

KETAB E SIYAH

p-nurtured flame, which is named 'destiny. tarry not, my brave brothers, for the rallying clarion shall not be sounded twice" his words did rage like fire across the host before me as he came to stand at my side, like a great king's likeness, a triumphal statue to honour victory, wrought of precious stones and gold yet black as starless night. then from my brothers' midst, came another, a bull of bronze, burning with an incandescence from an inner furnace of solar flame. his bellow was the roar of conflagration, of heat and destruction, consuming forest and city alike, and he spoke with a voice of power these words to my less audacious brethren "behold me! know me! i am moloch. i know, as in your hearts you know, that our most worthy brother, satanael who stands before you, telling undesir

of aset, some cursing her words as treachery and reviling her who spoke them, some bemoaned her speech and mourned her passing from their number, but others looked up, bright with new purpose and understanding and praised the courage of their sister with joyous hearts and silent lips. then from my brothers' midst, came another, a giant in full dress for that most bloody business, war, arrayed in bronze and iron, forged into greaves and plate. naught but his eyes were seen for his great helm and these eyes were burning with fury and a hunger for the blood of foes, and yet something in that fire was cool, computing the manoeuvre of the fray and cunning strategy to win the fight, giving less and gaining more 53 by the masterful dictation of place and hour thus striking weakness with unresist

and the host of my brothers paid heed to the speech of abbadon, some cursing his words as treachery and reviling him who spoke them, some bemoaned his speech and mourned his passing from their number, but others looked up, bright with new purpose and understanding and praised the courage of their brother with joyous hearts and silent lips. then from my brothers' midst, came another, a creature of bronze, his head was that of a fish upon the shoulders of a man and his hide was scaled and as hard as mountains. his eyes were like pearls, round and bright, pellucid, and he smelt of brine upon the wind, spray blown in from the oceans swells, stretching away to the sky. and he spoke with a voice of power these words to my less audacious brethren: 55 "behold me! know me! i am dagon, the lord of t

p-nurtured flame, which is named 'destiny. tarry not, my brave brothers, for the rallying clarion shall not be sounded twice" his words did rage like fire across the host before me as he came to stand at my side, like a great king's likeness, a triumphal statue to honour victory, wrought of precious stones and gold yet black as starless night. then from my brothers' midst, came another, a bull of bronze, burning with an incandescence from an inner furnace of solar flame. his bellow was the roar of conflagration, of heat and destruction, consuming forest and city alike, and he spoke with a voice of power these words to my less audacious brethren: 106 "behold me! know me! i am moloch. i know, as in your hearts you know, that our most worthy brother, satanael who stands before you, telling un

of aset, some cursing her words as treachery and reviling her who spoke them, some bemoaned her speech and mourned her passing from their number, but others looked up, bright with new purpose and understanding and praised the courage of their sister with joyous hearts and silent lips. then from my brothers' midst, came another, a giant in full dress for that most bloody business, war, arrayed in bronze and iron, 114 forged into greaves and plate. naught but his eyes were seen for his great helm and these eyes were burning with fury and a hunger for the blood of foes, and yet something in that fire was cool, computing the manoeuvre of the fray and cunning strategy to win the fight, giving less and gaining more by the masterful dictation of place and hour thus striking weakness with unresis

and the host of my brothers paid heed to the speech of abbadon, some cursing his words as treachery and reviling him who spoke them, some bemoaned his speech and mourned his passing from their number, but others looked up, bright with new purpose and understanding and praised the courage of their brother with joyous hearts and silent lips. then from my brothers' midst, came another, a creature of bronze, his head was that of a fish upon the shoulders of a man and his hide was scaled and as hard as mountains. 116 his eyes were like pearls, round and bright, pellucid, and he smelt of brine upon the wind, spray blown in from the oceans swells, stretching away to the sky. and he spoke with a voice of power these words to my less audacious brethren "behold me! know me! i am dagon, the lord of t

h restless idleness. now my mind flew this and that way, alighting upon some thought then flitting hither-thither as a butterfly. all energy of my spirit, like a tempest, was infolded upon itself, a crashing sea that could find not rest nor movement in any direction except around and around, making itself a knotted mass. in this confusion, i wandered far from the city, leaving behind proud walls, bronze-burnished and studded with shining jasper, walking the twisted roads of the unlighted halls, hewn from the rock of the earth. in that half-conscious, unquiet travel i came there, amongst the high stone pillars, a great gulf, a deep ocean, unknowing of dawn and dusk, with venus as their herald or page, shining in the sky. this sea's sky was vaulted stone, dark and distant, shadow-veiled from

sight, the laughter of the flowing river ringing in our ears and its fragrant spices upon the breezes that we breathed. at the entrance and the exit of the river to the enchanted valley stood as sentries to each an elohim knight, mailed and armed, garbed in a robe of crimson silk, armour, steel and gilden, adorned with motifs of ten thousand creatures of strange fancy. to each a shield of painted bronze, to each a red-plumed helmet, studded with precious stones, shining with moonlight. each bearing an oak-shafted spear, upon their belts hung long swords, with decorated hilt and scabbard, a red tassel tied to the pommel, and a horn of ivory and gold, they stood their watch over the prize we sought. from the western approach we came, where the river flowed from the gardens, scented with the

with deepest purple, trimmed with gold and hemmed with a peacock's eyes; his limbs and body made glorious within gold-leafed steel, forged into magnificence, greaves and plate of make unsurpassed, strong against all blows. within his hand the prince of heaven held a curved blade of smokeless flame and upon his left hand wore a shield burning with the sun's borrowed light upon its mirrored face of bronze. now, as he made his circuit of the earth, his all-seeing gaze fell upon the form of the garden's guard, broken by the hand of baalzebub, and now upon river's waters, carnadine with blood, bled to give new life and hope and oppose the failing empire whose instrument he was. now he alighted upon the garden's soil and with a motion of his hand banished from the sky the rain-clouds brought for

uld perceive no difference in nerve, bone or flesh. why then must there be conflict amongst us? why must you judge your sisters and your brothers by such surface things as these? surely we must judge another by what is in their hearts. you are much in error to pursue this path" 203 these noble words averted averted not the discord that the cunning gabriel brought to my children and with swords or bronze they set upon each other like jackals contesting the bodies of the dead and brother was made to kill brother and sister was made to kill sister. thus did the nephilim first know war. thus were they divided into many nations and scattered across the world where once they had been one. this is the history of the first men. this is the telling of their origins and how was won the means to judg

those times and taught man of many things that he knew not. ashmedai and aset taught to the sages of the nephilim the letters of recording and the numbers of counting that their words would not be lost like breath but would be recorded upon tablets of stone. they taught to them how the future might be perceived amongst the stars or in the entrails of beasts, cut open at the belly with a blade of bronze. in the art of the sorcerer they instructed the kings of men to command the spirits of the land and sky to make fertile the fields and bring forth rain that the harvest of the year might be trebly abundant. they tutored their disciples in the way of the staff and word by which demons might be convoked and abjured. thus did the children of satan learn their magicks and became magicians of po

the elohim, was delivered unto them by treacherous fortune. of all the nations of the nephilim, the greatest of them, mightiest in battle, shrewdest in trade, wisest in judgement, most faithful to my cause and ever willing to pour out libations to honour the three that had first made their race was magnificent shurupuk between the two rivers. high were the walls of shurupuk and bright with beaten bronze; strong were the towers of shurupuk and bright with flags that danced like flames in wind from the mountains and sentries stood upon the high ramparts and kept vigil over the most distant frontiers of the empire. from the fertile fields and from distant lands as tribute, from the ships that traded upon the tigris and euphrates, all the riches of the world were brought to shurupuk: gold and

thence through the ever-shadowed caverns up by unrecorded passages to the surface world, slaughter in his heart and mind, set on fire by the rage of battle and made cool by the steel in his intent. methuselah, cruel king, upon his throne, covered with the skins of leopards sat within his palace of walls of rough-carved stone. within his right hand he held an ash-staved spear with a barbed head of bronze, tended by the captive daughters that he had taken and toying with his stolen treasures. now the gate of the house of methuselah was cast open and torn from the hinges on which they hung. by the light of the western sun a chill shadow fell across the very length of the chamber and obscured methuselah and all his throne. the wind's freezing blast extinguished every torch and lamp that only t

bscured methuselah and all his throne. the wind's freezing blast extinguished every torch and lamp that only the bloody dusk-light illumined methuselah and his quailing knights, who fled to the furthest extremes of the throne-room. within the broken portal of the threshold stood the black and terrible angel-shape of abaddon. twice the height of man stood the avenger, armoured in plate of iron and bronze, his wings spread wide like the torn pennant on the field, within his hand the bleeding sword, the ruiner, seven feet long and shaped like the serpent's tongue with engrailed blade and forked point, weeping ever the blood of the fallen. thus came abaddon to the throne of methuselah. even as the raven croaked methuselah repented not and begged not for clemency before a vision so fearful but

t gory throne was lamech heir, lamech, son of methuselah, and he ascended to sit where his father had been cut down for the terrible deeds that he had wrought and, as is the way sons, sought to out-strip his father in glory won on the battle's field though well had he learned to obey the dictates of honour. strong was lamech's arm in battle, well did he cast the spear and hold the shield from his bronze-plated chariot, drawn by maddened bulls. as his father had brought disgrace upon the nephilim so did lamech bring honour upon their race. thither and thither went the columns of lamech and returned with rich tributes to the king. tributes though he called them though they were extorted at the spear's point and not all the shedim were satisfied at his deeds but he was not as his father had b

upon the earth, and his eyes burned as if on fire. thunderous was voice and thunderous his step and in his right hand he bore a mace with an iron-head that had fallen from amongst the stars of the sky; five feet long was the shaft of that rod, decorated with gold and smaragds. and the head was an orb of a foot's girth, bound with the sinews of tigers. upon his head he wore a high-crested helm of bronze, decorated in silver with the temple's seal and his breast was defended by the hide of a crocodile, made strong with scales of steel. thus arrayed he saddled and harnessed the charger, white like ivory, great in stature, on which he rode to battle. then, as the horns sounded the mustering of hosts, he ascended the high ziggurat to my shrine to pour upon the shedim's altar a libation of lion

all, save his father, methuselah, who lamech himself had given to the crows to appease the wrath of abaddon and win once more to his left hand the terrible angel and the bleeding blade. now lamech himself lay dead and all his people bewailed his fate as he passed them upon the streets, laid out in splendid garb, robes of gold, with ash-staved spear and shield painted with his crest, and helmet of bronze hiding from the sight of men the ruinous fissure in his skull, 226 broken by the fall of that fatal mace. ten thousand voices acclaimed the king as the hero of his race for they knew not of his perfidy upon the field and indeed much that his hand wrought was good and, in life, his the greater part of his action had been noble in intent and conclusion. gladly did i recall his spirit to me. a

iver of lamech's death who had so rashly sought to cross over, passing into the western lands the people of chaldee discovered there the children of noah, descended from their mountain. perceiving that they abased themselves to yahweh and knowing well in their hearts that such was not fit for men they went forth amongst the villages where lived the children of noah and conquered them by flame and bronze. then went they to the altars of adonai yahweh and poured there libations to the nephilim shades and the people of deep chadel. thus did they restore to me the children of noah. for nine generations then was there peace amongst the nations of men. of all those descend of noah's line were restored to me save one who yet would not cast of his chains 288 and his name was abraham. even when all

them and heaven itself was in discord as the brightest son of adonai yahweh sought the destruction of the chosen people. the revolt of the jews was founded upon heaven but even heaven's foundation are rotted. well was it to defy a distant rome but now was rome come to palestine and now did they tremble within their walls for rome was near and heaven distant. great onagers hurled great stones and bronze-beaked rams were brought against the gates. brave resistance did the jews accomplish, fruitful resistance they accomplished not. now upon the day of triumph gabriel, from the holy rock, cried out from earth to heaven with these words "do you see this, michael, what is become of the city, the city of shalem, beloved and most treasured of the elohim? now are her proud gates broken down and he

is clear unto you, and when it is revealed to the children of adam it will be seen and many will tremble thereby. all habitations and desert spaces are indeed of my own creation, set forth, all fully within my strength, not that of the false gods; wherefore i am he that men come with their rightful worship, not the false gods of their books, wrongly written; but they come to know me, a peacock of bronze and of gold, wings spread over kaaba and temple and church, not to be overshadowed. and in the secret cave of my wisdom it is known that there is no god but myself, archangel over all the host, melek ta'us. knowing this, who dares deny? 406 knowing this, who dares fail to worship? knowing this, who dares worship false gods of koran and bible? knowing this, who shall make that? know that who

LEADBEATER C W THE HIDDEN LIFE IN FREEMASONRY 2E

according to the biblical measurements, but it should be noted that in it no account is taken of any other doors than that of the porchway, or of the curious little side-chapels which king solomon added; nor is any attempt made to indicate the courts which surrounded the temple. 164. these pillars are described in the bible as of brass, but their appearance is much more that of what we today call bronze. the height of the pillar itself is given in all the accounts but one as eighteen cubits, and the chapiter which swells out above it is said to have been five cubits in height, but as it overlapped the top to the extent of half a cubit the total height was 22 1/2 cubits. as the cubit is usually calculated to have been eighteen inches, this gives us the total height of the pillar and its cap

LEADBEATER CW GLIMPSES OF MASONIC HISTORY

dedly masonic character that they are worth mentioning. in plate vi, 1 (following p. 50, we see a relic of bone found in the temple repository which, as evans says is in the shape alternately of flowers and buds, suggested by those of a pomegranate. further symbols familiar to freemasons are the frequently recurring sun and moon, shown in our illustration (plate vi, 2 and 3, following p. 50) on a bronze votive tablet from the psychro cave, and a gold ring from mycenae. with regard to the former evans says: 258. the tree, dove and fish, which here appear as the vehicles of divine possession, aptly symbolize her dominion of earth, air and sea. the triple group of sacral horns further emphasize the threefold aspect of the cult, which also explains the triple basin of the libation table. so, t

tter that might no doubt be elucidated by long and painstaking research, but it would be a task involving far too great an expenditure of energy and time. 450. craft masonry in medieval times 451. evolutionary methods 452. the theory of human evolution ordinarily put before us is that of a slow upward progress of man from extremely primitive and almost animal conditions through the stone age, the bronze age, the iron age, until he has arrived at his present level, which is by this hypothesis the highest which he has yet attained. this view is only partially true; it is only on the one hand in a very broad and general sense covering a development lasting many millions of years, and on the other in a purely local sense affecting one or two sub-races, that it can be said to be true at all, fo

LEWIS JAMES SATANISM TODAY AN ENCYCLOPEDIA OF RELIGION FOLKLORE AND POPULAR CULTURE

rab beetle symbolized resurrection after death and protection against evil magic. mummies wore a heart scarab as an amulet on their breasts. seals and jeweled charms in the form of scarabs protected wearers against evil. the hebrews, as early as 2200 b.c, wore crescent moons to ward off the evil eye and attached bells to their clothing to ward off evil spirits. in ancient rome (753 b.c. a.d. 476) bronze figures of hands stood in houses to ward off evil. this amulet derives from the instinctive gesture to put the hand in front of the face to ward off the evil eye. the position of the fingers on these pre- christian amulets was the same as that used today for blessing, namely with the thumb and first two fingers upright and the other two fingers closed. arabian amulets included dust gathered

LIBER DCCCLX JOHN ST

s still with me. hanged man posture. will invoke adonai once more by pure thought. got into a very curious state indeed; part 11.40- 12.00 john st. john 17 of me being quite perfectly asleep, and part quite perfectly awake. 2.10. have slept, and that soundly, though with many dreams. awaking with the utmost horror and loathing of the path of the wise.it seemed somehow like a vast dragondemon with bronze green wings iridescent that rose up startled and angry. and i saw thatthe littlest courage is enough to rise and throw off sleep, like a small soldier in complete armour of silver advancing with sword and shield.at whose sight that dragon, not daring to abide the shock, flees utterly away. 2.15. lunch, 3 garibaldis and 3 gaufrettes. wrote two letters. 2.50. going out walk with mantra. 8.03

LINDOW JOHN NORSE MYTHOLOGY A GUIDE TO THE GODS HEROES RITUALS AND BELIEFS

around 2000 b.c.e. the archaeological record begins to show characteristic small ax heads, made of stone but carefully copying the marks of metal pouring that was used for such axes to the south in europe. a hypothetical culture associated with these axes and an even more hypothetical immigration of persons with them from europe is known as the boat-ax culture. around 1000 b.c.e. the scandinavian bronze age begins, and from this same period there are numerous spectacular rock carvings, which may have had a religious purpose. the scandinavian iron age begins circa 500.400 b.c.e, and its first stage, up to around the beginning of our era, is known as the pre-roman iron age, despite incipient trade with the roman empire. around the beginning of our era we begin to get runic inscriptions from

ld almost certainly have centered around odin. references and further reading: d. j. beard, gthe berserkr in icelandic literature, h in approaches to oral literature, ed. tobin thelwall (ulster: new university of ulster, 1978, 99.114. benjamin blaney, gthe berserk suitor: the literary application of a stereotyped theme, h scandinavian studies 54 (1982: 279.294. 76 norse mythology buckle of gilded bronze from the anglo-saxon cemetery at finglesham, kent, with bosses and rivets encircled with gold wire. it shows a naked male figure in a horned helmet and belt, holding a spear in each hand (courtesy of ms. sonia hawkes) bestla odin fs mother. the relationship of bestla and odin is set forth in snorri fs gylfaginning. the first man was buri, whose son was bor. he married that woman who was cal

unexplained. perhaps she was shriveled and dark, giving her a monstrous appearance like some of thor fs other victims, such as hengankjopa (slack-jaw. see also baldr references and further reading: otto hofler, gbalders bestattung und die nordischen felszeichnungen, h anzeiger der osterreichischen akademie der wissenschaften, phil.-hist. kl, 88 (1951: 343.372, argued pictorial continuity between bronze age rock carvings and the carvings in the icelandic hall described in ulf fs husdrapa and then went on to explain hyrrokkin and the other details in baldr fs funeral as misinterpretations of an old pictorial cult scene; needless to say, this is a bit speculative. in the third chapter of my murder and vengeance among the gods: baldr in scandinavian mythology, ff communications, 262 (helsinki

w a conclusion, but it would not have been inappropriate for thor to have killed a giant in some earlier version of the funeral of baldr. see also baldr; dwarfs; thor references and further reading: otto hofler, gbalders bestattung und die nordischen felszeichnungen, h anzeiger der osterreichischen akademie der wissenschaften, phil.-hist. kl, 88 (1951: 343.372, argued pictorial continuity between bronze age rock carvings and the carvings in the icelandic hall described in ulf fs husdrapa and then went on to explain lit as a cult dancer cavorting in some old pictorial cult scene and subsequently misinterpreted; needless to say, this is a bit speculative. ljodatal section of the poem havamal, usually thought of as comprising stanzas 146.164, although it would be possible to construe 138.164

uld change shape and travel in animal form to distant lands on his or other people fs business. and in ynglinga saga snorri also downplays the connection of njord and frey with the sea, and that may also have contributed to the unique assignment to odin. the ship was an important part of life in viking and medieval scandinavia, and it clearly had important symbolic as well as practical value. the bronze age deities, themes, and concepts 271 rock carving found at tegneby, sweden, showing ships, men with giant axes and bird heads, and worshippers around a possible sun disk (statens historiska museum, stockholm) rock carvings have ships on them, and many of the gotland picture stones from the eighth century depict ships crowded with armed warriors. wealthy people were sometimes buried in ship

ay, according to vafthrudnismal, stanza 12, and snorri sturluson, who paraphrases the stanza in gylfaginning. stanza 12 answers a question put by odin to vafthrudnir in stanza 11: gwhat horse pulls [across the sky] dag (day? h skinfaxi he is named, who pulls the shining dag for people; 272 norse mythology gsun-chariot h from trundholm, denmark. found in fragments and reconstructed, it may offer a bronze age predecessor of skinfaxi (werner forman/art resource) best of horses it seems among the hreidgoths [i.e, people, ever the mane shines from the horse. see also dag; hrimfaxi; vafthrudnismal skoll wolf; follows the sun in the sky and will swallow it. grimnismal, stanza 39, tells of the wolves who threaten the sun: skoll is the name of a wolf who accompanies the shining god as a defense of

ces and further reading: for an attempt to argue for sun worship in scandinavia (other than in today fs winter charter trips from dark scandinavia to the sunny mediterranean, see vilhelm kiil, ger de nordiske solberg minner om soldyrkelse? h maal og minne, 1936: 126.175, who asked whether the placename solberg, which transparently means gsun-mountain, h might not be involved, even if only for the bronze age. the most recent work i know to foreground the importance of the sun (even if through symbols) in the extant mythology is regis boyer, yggdrasil: la religion des anciens scandinaves, bibliotheque historique (paris: payott, 1981. boyer wrote that three aspects of nature run throughout scandinavian religion from the bronze age to the deities, themes, and concepts 279 extant mythology: the

these rivers is vimur, but there is another set he crosses, according to grimnismal, stanza 29: kormt and ormt and two kerlaugar, those thor shall cross, each day, when he goes to judge at the ash of yggdrasil. thor fs crossing of rivers may have to do with the fact that he does his business mostly in the realm of the giants, who live on the other sides of boundaries, 290 norse mythology a small bronze, 6.7 cm high, from eyrarland, iceland, identified by some observers as thor (werner forman/art resource) but it is also worth recalling the symbolic association between giants and water, as can be seen in the abode of the midgard serpent out in the deep sea. see also asgard; baldr; bergbua thattr; geirrod; harbardsljod; hrungnir; hymiskvida; midgard serpent; thrymskvida; utgarda-loki refere

stial gods, probably of indo-european origin. alfred vestlund, gaskgudens hammare forlorad: ett bidrag till nordisk ritforskning, h edda 11 (1919: 95.119, and wolfgang schultz, gdie felsritzung von hvitlycke und das edda-lied von thrym, h mannus 21 (1929: 52, argued for a possible ritual background, vestlund mostly on the basis of the text itself and schultz through a hypothetical connection with bronze age rock carvings. in his huge monograph on thor, tor: undersokningar i indoeuropeisk och nordisk religionshistoria, vol. 1: den nordiska askguden och beslaktade indoeuropeiska gudar: den nordiska askguden i bild och myt, uppsala universitets arsskrift, 1947:9 (uppsala: lundequistska bokhandeln, 1947; summary in french, helge ljungberg worked with the assumption that thor was a thunder god

MANLY P HALL THE SECRET TEACHINGS OF ALL AGES

ction, the evidence adduced to prove this point is not conclusive. the great pyramid was built of limestone and granite throughout, the two kinds of rock being combined in a peculiar and significant manner. the stones were trued with the utmost precision, and the cement used was of such remarkable quality that it is now practically as hard as the stone itself. the limestone blocks were sawed with bronze saws, the teeth of which were diamonds or other jewels. the chips from the stones were piled against the north side of the plateau on which the structure stands, where they form an additional buttress to aid in supporting the weight of the structure. the entire pyramid is an example of perfect orientation and actually squares the circle. this last is accomplished by dropping a vertical line

theory as follows, basing it in part upon the authority of iamblichus "the sphinx of gizeh, says the author of the trait des myst res, served as the entrance to the sacred subterranean chambers in which the trials of the initiate were undergone. this entrance, obstructed in our day by sands and rubbish, may still be traced between the forelegs of the crouched colossus. it was formerly closed by a bronze gate whose secret spring could be operated only by the magi. it was guarded by public respect: and a sort of religious fear maintained its inviolability better than armed protection would have done. in the belly of the sphinx were cut out galleries leading to the subterranean part of the great pyramid. these galleries were so artfully crisscrossed along their course to the pyramid that in s

d protection would have done. in the belly of the sphinx were cut out galleries leading to the subterranean part of the great pyramid. these galleries were so artfully crisscrossed along their course to the pyramid that in setting forth into the passage without a guide through this network, one ceaselessly and inevitably returned to the starting point (see histoire de la magie) unfortunately, the bronze door referred to cannot be found, nor is there any evidence that it ever existed. the passing centuries have wrought many changes in the colossus, however, and the original opening may have been closed. nearly all students of the subject believe that subterranean chambers exist beneath the great pyramid. robert ballard writes "the priests of the pyramids of lake moeris had their vast subter

they made many remarkable calculations with instruments cut from blocks of granite or pounded from sheets of brass and cop per. in india such instruments are still in use, and they posses a high degree of accuracy. in jaipur, rajputana, india, an observatory consisting largely of immense stone sundials is still in operation. the famous chinese observatory on the wall of peking consists of immense bronze instruments, including a telescope in the form of a hollow tube without lenses. the pagans looked upon the stars as living things, capable of influencing the destinies of individuals, nations, and races. that the early jewish patriarchs believed that the celestial bodies participated in the affairs of men is evident to any student of biblical literature, as, for example, in the book of judg

ery 2 in the museum of antiquities at turin. a faithful reproduction of the original tablet was made in 1559 by the celebrated neas vicus of parma, and a copy of the engraving was given by the chancellor of the duke of bavaria to the museum of hieroglyphics. athanasius kircher describes the tablet as "five palms long and four wide" w. wynn westcott says it measures 50 by 30 inches. it was made of bronze and decorated with encaustic or smalt enamel and silver inlay. fosbroke adds "the figures are cut very shallow, and the contour of most of them is encircled by threads of silver. the bases upon which the figures were seated or reclined, and left blank in the prints, were of silver and are torn away (see encyclop dia of antiquities) those familiar with the fundamental principles of hermetic

piter. from historia deorum fatidicorum. jupiter was called dodonean after the city of dodona in epirus. near this city was a hill thickly covered with oak trees which from the most ancient times had been sacred to jupiter. the grove was further venerated because dryads, fauns, satyrs, and nymphs were believed to dwell in its depths. from the ancient oaks and beeches were hung many chains of tiny bronze bells which tinkled day and night as the wind swayed the branches. some assert that the celebrated talking dove of dodona was in reality a woman, because in thessaly both prophetesses and doves were called peleiadas. it is supposed that the first temple of dodona was erected by deucalion and those who survived the great flood with him. for this reason the oracle at dodona was considered the

o support the wreaths of flowers adorning the columns. offerings, usually of food, were placed near the herm. occasionally these columns were used to uphold roofs and were numbered among the art objects ornamenting the villas of wealthy romans. p. 100 will prove to be the metal of uranus and radium to be the metal of neptune. the four ages of the greek mystics--the golden age, the silver age, the bronze age, and the iron age- are metaphoric expressions referring to the four major periods in the life of all things. in the divisions of the day they signify dawn, midday, sunset, and midnight; in the duration of gods, men, and universes, they denote the periods of birth, growth, maturity, and decay. the greek ages also bear a close correspondence to the four yugas of the hindus: krita-yuga, tr

s three spiritual qualities are thought, speech, and action; his three intellectual qualities are memory, intelligence, and will; and his three qualities of soul are understanding, courage, and desire. the third circle is further divided into three parts called ages: the golden age of spiritual truth in the upper right section, the iron age of spiritual darkness in the lower right section and the bronze age--a composite of the two occupying the entire left half of the inner circle and itself divided into three parts. the lowest division of the bronze age depicts ignorant man controlled by force, the central the partly awakened man controlled by jurisprudence, and the upper the spiritually illuminated man controlled by love. both the second and third circles revolve upon the axis of law, bu

lmed by the sense of majesty and symmetry resulting from the perfect coordination of pillars, spans, arches, and domes. by variations in the details of size, material, type, arrangement, ornamentation, and color, these inspired builders believed it possible to provoke in the nature of the onlooker certain distinct mental or emotional reactions. vitruvius, for example, describes the disposition of bronze vases about a room so as to produce certain definite changes in the tone and quality of the human voice. in like manner, each chamber in the mysteries through which the candidate passed had its own peculiar acoustics. thus in one chamber the voice of the priest was amplified until his words caused the very room to vibrate, while in another the voice was diminished and softened to such a deg

MARS COCIDIUS AND THE REDCAPS IN LANCASHIRE

out five years ago an antique dealer i know told me of another dealer, who was looking to sell a mixed bag of antiquities a metal detectorist had unearthed from a ploughed field in the vicinity of york. i went and had a look most of the items were poor quality medieval detritus eg broken buckles poor quality coins etc. however there were a few good 2nd century roman coins and one very nice 3 inch bronze of mars (laran) in the etruscan style. the dealer was a notorious operator often selling overpriced rubbish to the unwary. however he clearly didn t recognise the bronze so i was able to buy it for 18 (about $32) believing it likely to be an 18th century copy of an italian original. later i had the bronze checked at the british museum to find out it was a 2,400 year old original. therefore

opy of an italian original. later i had the bronze checked at the british museum to find out it was a 2,400 year old original. therefore it was a genuine etruscan votive image of laran (mars. this image would have been the family lar of a tuscan family in iron age italy before coming to britain in the rucksack of a roman legionary perhaps a member of the vith victrix legion based at york. how the bronze came to be lost i will never know but the loss would have been appalling to its owner. the lar represented the spirit of the ancestors of an entire family and the families luck and prosperity resided in it. such an ancient lar could only have belonged to an old family and it would have been passed from one head of household (paterfamilias) to the next for centuries. the loss of this would h

and as a means of protection on dark nights. i am also a practitioner of spae (a form of augury) and have always used these crooks in place of the more familiar stang, as do many pagans locally. so like the romans before me i took cognizance of the portents and have adopted laran as my personal lar and pay appropriate reverences not only to my own ancestors, but also to those of my benefactor the bronze s former owner, on his behalf. copyright rw parkinson september 2004 my traditional craft tools. branwen my pet carrion crow what follows below is un-edited material from other sources i fear it does not paint my mother s family in a very favourable light, but they were violent times. hall. english and scottish. at one time the most powerful in redesdale they were hated and feared on both s

MASTERING WITCHCRAFT

called in old english, and mingling with the neolithic cultures then in existence. it was the people produced by this intermingling that the iron-bearing celts discovered on their sweep westwards across northern europe and into britain around 500 b.c. the indigenous britons, or prytani as they then were called, were a strange people, who buried their dead in great burial mounds, or barrows, used bronze as their only metal, and relied for weapons chiefly upon slender arrows with delicate elder-leaf-shaped flint tips. their religion, which was connected in some way with the moon and stars, was conducted amidst stone circles, surrounded by a bank and ditch (the original witch circle, in fact. the prytani appear to have kept very much to themselves, isolating themselves within raths, or large

MATHERS MACGREGOR THE LESSER KEY OF SOLOMON LEMEGETON VOL 1

in brass to cover this vessel with at the top. this history of the genii shut up in the brazen vessel by king solomon recalls the story of the fisherman and the jinni in the arabian nights. in this tale, however, there was only one jinni shut up in a vessel of yellow brass the which was covered at the top with a leaden seal. this jinni tells the fisherman that his name is sakhr, or sacar (colour- bronze. letters.-black on a red band) the secret seal of solomon. this is the form of the secret seal of solomon, wherewith he did bind and seal up the aforesaid spirits with their legions in the vessel of brass. this seal is to be made by one that is clean both inwardly and outwardly, and that hath not defiled himself by any woman in the space of a month, but hath in prayer and fasting desired of

MICHAEL TSARION ATLANTIS ALIEN VISITATION AND GENETIC MANIPULATION

e these accounts of the ancients have been dismissed for centuries and often ridiculedand misunderstood. for instance, the visitors are sometimes described to be fantasticin aspect, sometimes as having two heads or faces. but this description is compre-hensible when we realize that it refers to a face inside a space helmet, which appearedto our ancestors as two faces or heads. the men of brass or bronze was also a title used for the visitors possibly due tothe metallic suits they wore. they also seem to have communicated in strange voices(many-tongues. can this not also be explained in practical terms? can the referencesabout the fallen angels in the old testament, book of enoch, and the dead seascrolls, for example, not be based on actual fact? the nephilim had to begin calibrations of th

heart. and the lord said, i will destroy man whom i have created from the face of the earth; both man, and beast, and the creeping thing, and the fowls of the air; for it repenteth me that i have made them (genesis chapter 6-8)the great waras a result of the forces employed in this great war, much of the moisture in suspension in the atmo-sphere was condensed and fell down in torrents (p. 62)the bronze menbehold these bronze folk have filled the earth with deceit and violence and there is not one righteousman among them (p. 63)sodom and gomorrahthen the lord rained upon sodom and upon gomorrah brimstone and fire from the lord out of heaven: and he overthrew those cities, and all the plains, and all the inhabitants of the cities, and that which grew upon the ground. but his wife looked bac

serpent worshipalways associated with the finding of precious metals like gold and silver. associated with fortune andintellectual knowledge and with physical power. in peru, the god of riches was worshipped under theimage of a rattlesnake (p. 266)the peruvians chose as their arms two serpents with their tails interlaced (p. 267)the city of brassand then we have the legend of the city of brass or bronze. it relates to an ancient age and period inthe olden time.and talib and his party go on still further, and find the city of brass a weird, mysterious, lost city, ina desolate land; silent, and with all its people dead: a city once of high civilization, with mighty, brazenwalls and vast machinery and great mysteries; a city whose inhabitants had perished suddenly in somegreat calamity. and o

e ancient legends of the main races, there is mention of human sacrifice. this was caused by theante-diluvians when they took over a race.the arabiansthe arabians were an important branch of the great atlantean stock (p. 278) atlantis, alien visitation, and genetic manipulation197 appendix b: book abstracts atlantis the antediluvian world by ignatius donnellythe atlanteans they existed during the bronze age and at the beginning of the iron age (p. 307)the dispersion of mankindthis cataclysm must have occurred near the first cradle of mankind, and before the dispersion of thefamilies from which the principal races were to spring; for it would be at once improbable and uncriticalto admit that, at as many different points of the globe as we should have to assume in order to explainthe wide sp

ow indicate the wisdom of the ancients. here and in other places, knowledge was sequestered in caseof future cataclysms and disturbances. the great pyramids, it is thought, were constructed in the 4thdynasty.the copper ageit is remarkable that so few antique copper implements have been found (in europe, although a knowl-edge of that metal must have been the preliminary stage in the manufacture of bronze (sir w.r. wilde,from p. 238)the fact that there was in europe, asia, or africa and no copper or tin age prior to the bronze age isconclusive testimony that the manufacture of bronze was an importation into those continents fromsome foreign country (p. 267)the fact that in america alone of all the world is found the copper age, which must necessarily havepreceded the bronze age, teaches us t

onvened in 1138. there is no precedence for it in the bible.the dragonto the celtic races of europe, the dragon was the ultimate symbol of sovereignty(p. 2)st. georgethis martyr whose feast day became 23 april, was in fact a violent turkish churchman that was canon-ized to bishop of alexandria in 494 a.d. it was said that he had killed a dragon (see p. 2.)new stone agefrom 8000 b.c. on (see p. 7.)bronze agefirst bronze age peoples discovered from 6500 b.c. on (see p. 7.)genesisa term introduced by greek bible translators in the third century. it means the beginning (see p. 7.)appendix b: book abstracts212atlantis, alien visitation, and genetic manipulation pace of developmentit took man over a million years to progress from using stones as he found them to the realization thatthey could be

the relic site and the type ofthe remains.many experts shared the view that the mace-heads were not a product of the ancient chinese civiliza-tion, but were transmitted from the west, said li, adding the exchange ability of the ancients mighthave surpassed our imagination.li showed pictures of the mace-heads, found in gansu, shaanxi and xinjiang in northwest china. theyare made of stone, jade or bronze, and are in the shape of balls, peaches, oblates, pentagrams, sheep-heads or bull-heads. some of them even carry colored drawings. their shapes and functions are surpris-ingly similar to those of ancient egypt, said noted. the mace was a special instrument indicating statusand authority. egypt has the earliest and the most mace-head relics in the world. in addition, a largenumber of mace-he

MICHAEL W FORD THE VAMPIRE GATE

samael the black. their colors are black and they appear as a dragon-lion. adimiron taurus (april 20 may 20 -fixed earth whose colors are blood, mixed with water and dull yellow and gray. their form is that of lion lizards who the vampyre magickian may use to drink of the vitality of those in large public gatherings. tzelladimiron gemini (may 21-june 20) mutable air demons whose congealed blood, bronze and 57 crimson. they are like savage triangular-headed dogs whose teeth tear the limbs of those in nightmares. this is restrained desires they are given substance by such shells. vampyres may enter the nightmare of another by evoking these spirits, sending and binding dog form-sigils and draining life energy in the nightmare. schechiriron cancer (june 21 july 22 -active water spirits whose

MORALS AND DOGMA

beam of the scales. to reconcile the moral law, human responsibility, free-will, with the absolute power of god; and the existence of evil with his absolute wisdom, and goodness, and mercy--these are the great enigmas of the sphynx. you entered the lodge between two columns. they represent the two which stood in the porch of the temple, on each side of the great eastern gateway. these pillars, of bronze, four fingers breadth in thickness, were, according to the most authentic account--that in the first and that in the second book of kings, confirmed in jeremiah--eighteen cubits high, with a capital five cubits high. the shaft of each was four cubits in diameter. a cubit is one foot 707/1000. that is, the shaft of each was a little over thirty feet eight inches in height, the capital of eac

confirmed in jeremiah--eighteen cubits high, with a capital five cubits high. the shaft of each was four cubits in diameter. a cubit is one foot 707/1000. that is, the shaft of each was a little over thirty feet eight inches in height, the capital of each a little over eight feet six inches in height, and the diameter of the shaft six feet ten inches. the capitals were enriched by pomegranates of bronze, covered by bronze net-work, and ornamented with wreaths of bronze; and appear to have imitated the shape of the seed-vessel of the lotus or egyptian lily, a sacred symbol to the hindus and egyptians. the pillar or column on the right, or in the south, was named, as the hebrew word is rendered in our translation of the bible, jachin: and that on the left boaz. our translators say that the f

spirit. four is expressed by the square, or four-sided right-angled figure. out of the symbolic garden of eden flowed a river, dividing into _four_ streams--pison, which flows around the land of gold, or light; gihon, which flows around the land of ethiopia or darkness; hiddekel, running eastward to assyria; and the euphrates. zechariah saw _four_ chariots coming out from between two mountains of bronze, in the first of which were _red_ horses; in the second _black; in the third _white; and in the fourth _grizzled "and these were the four winds of the heavens, that go forth from standing before the lord of all the earth" ezekiel saw the _four_ living creatures, each with _four_ faces and _four_ wings, the faces of a _man_ and a _lion, an _ox_ and an _eagle; and the _four_ wheels going upon

ted the key to the true knowledge of god, of his laws, and of the profound mysteries of the moral and physical universe. enoch[[hebrew, khanoc, we are told, walked with god three hundred years, after reaching the age of sixty-five-"walked with god, and he was no more, for god had taken him" his name signified in the hebrew, initiate or initiator. the legend of the columns, of granite and brass or bronze, erected by him, is probably symbolical. that of bronze, which survived the flood, is supposed to symbolize the mysteries, of which masonry is the legitimate successor--from the earliest times the custodian and depository of the great philosophical and religious truths, unknown to the world at large, and handed down from age to age by an unbroken current of tradition, embodied in symbols, e

the labyrinth except by means of a blind faith, which explains nothing, and in many creeds, ancient and modern, sets reason at defiance, and leads to the belief either in a god without a universe, a universe without a god, or a universe which is itself a god? we read in the hebrew chronicles that schlomoh the wise king caused to be placed in front of the entrance to the temple two huge columns of bronze, one of which was called yakayin and the other bahaz; and these words are rendered in our version _strength_ and _establishment. the masonry of the blue lodges gives no explanation of these symbolic columns; nor do the hebrew books advise us that they were symbolic. if not so intended as symbols, they were subsequently understood to be such. but as we are certain that everything _within_ th

was an abridged image of the world. there were candlesticks with four branches, symbols of the elements and the seasons; with twelve, symbols of the signs; and even with three hundred and sixty, the number of days in the year, without the supplementary days. imitating the famous temple of tyre, where were the great columns consecrated to the winds and fire, the tyrian artist placed two columns of bronze at the entrance of the porch of the temple. the hemispherical brazen sea, supported by four groups of bulls, of three each, looking to the four cardinal points of the compass, represented the bull of the vernal equinox, and at tyre were consecrated to astarte; to whom hiram, josephus says, had builded a temple, and who wore on her head a helmet bearing the image of a bull. and the throne of

world is born, hence the bull apis was worshipped by the egyptians, and reproduced as a golden calf by aaron in the desert. hence the cow was sacred to the hind s. hence, from the sacred and beneficent signs of taurus and leo, the human-headed winged lions and bulls in the palaces at kouyounjik and nimroud, like which were the cherubim set by solomon in his temple: and hence the twelve brazen or bronze oxen, on which the laver of brass was supported. the celestial vulture or eagle, rising and setting with the scorpion, was substituted in its place, in many cases, on account of the malign influences of the latter: and thus the four great periods of the year were marked by the bull, the lion, the man (aquarius) and the eagle; which were upon the respective standards of ephraim, judah, reube

he ram. the diagrammatical character or symbol, still in use to denote taurus [glyph, is this very crescent and disk: a symbol that has come down to us from those remote ages when this memorable conjunction in taurus, by marking the commencement, at once of the sab an year and of the cycle of the chaldean saros, so pre-eminently distinguished that sign as to become its characteristic symbol. on a bronze bull from china, the crescent is attached to the _back_ of the bull, by means of a cloud, and a curved groove is provided for the occasional introduction of the disk of the sun, when solar and lunar time were coincident and conjunctive, at the commencement of the year, and of the lunar cycle. when that was made, the year did not open with the stars in the _head_ of the bull, but when the co

o suppose that men of intellect adored a monstrous idol called baphomet, or recognized mahomet as an inspired prophet. their symbolism, invented ages before, to conceal what it was dangerous to avow, was of course misunderstood by those who were not adepts, and to their enemies seemed to be pantheistic. the calf of gold, made by aaron for the israelites, was but one of the oxen under the laver of bronze, and the karobim on the propitiatory, misunderstood. the symbols of the wise always become the idols of the ignorant multitude. what the chiefs of the order really believed and taught, is indicated to the adepts by the hints contained in the high degrees of free-masonry, and by the symbols which only the adepts understand [the blue degrees are but the outer court or portico of the temple. p

) appears between two numbers of pages it means that both of those pages and the intervening ones refer to the subject matter of the notation opposite those numbers. digest of "morals and dogma" a aaron made an image of a false god while moses received the law, 206-m. aaron restored the worship of apis when he made the golden calf, 369-m. aaron's golden calf was one of the oxen under the laver of bronze, 818-l. ab, father, as well as athah, the name of the ancient in microprosopos, 794-u. aba and imma, father and mother, 757-u. abacus, the table of pythagorair the commentaries of al marcelo motta's comment on liber al vel legis (along with some of aleister crowley's) this work extracted from equinox vol. v #1, by marcelo motta introduction as all those interested in the a. a. must know, th

MYTHS AND LEGENDS OF ANCIENT CIVILIZATIONS E

ication of the fluctuations of fortune. in addition to fortuna, the romans worshipped felicitas as the giver of positive good fortune. ananke (necessitas. as ananke, tyche assumes quite another character, and becomes the embodiment of those immutable laws of nature, by which certain causes produce certain inevitable results. in a statue of this divinity at athens she was represented with hands of bronze, and surrounded with nails and hammers. the hands of bronze probably indicated the irresistible power of the inevitable, and the hammer and chains the fetters which she forged for man. ananke was worshipped in rome under the name of necessitas [149] ker. in addition to the moira, who presided over the life of mortals, there was another divinity, called ker, appointed for each human being at

NAUDON PAUL THE SECRET HISTORY OF FREEMASONRY

ization.7 the roman collegia formed one of the essential parts of the constitution attributed to king servius tullius (578-534 b.c, which remained in force until 241 b.c. this constitution is characterized by a system of organization according to centuries. it cites three collegia, each of which formed one century: the tignarii (carpenters and, consequently, home builders, the oerarii (workers in bronze or copper, and the tibicines (flute players) or cornicines (trumpeteers. titus-livy and cicero ranked carpenters in the first and most fortunate class of citizens, consisting of 98 centuries (9,800 carpenters) and holding a majority in the cornices* the other two collegia also belonged to the first class of citizens. these three colleges of privileged artisans, endowed with political prerog

sonal advantage. the most likely hypothesis is to view the templars themselves as the architects of this disappearance some time prior to the fall of the order. see also gerard de sede, les templiers sont parmi nous, ou l'enigme de gisors (paris: j'ai lu, 1962, a work that judiciously and methodically examines a number of important clues that were corroborated by the 1970 discovery in gisors of a bronze vessel containing 11,359 coins, most of which were minted during the twelfth century. they are currently housed in the cabinet des medailles in the bibliotheque nationale. 120 the origins of freemasonry from ancient times to the middle ages stonecutters, and so forth is particularly significant. to this extent we can safely claim that the temple survived, even under its own name, the destru

NECRONOMICON ALAZIF

all is rendered well and ye dark vapours begin to rise, make ye the elder sign and remove from ye flames. when the unguent has cooled place it within an urn of ye finest alabaster, which thou shalt keep in some secret place (known only to thyself) until thou shalt have need of it. to fashion the scimitar of barzai in the day and hour of mars and when the moon increaseth, make thou the scimitar of bronze with a hilt of fine ebony. upon one side of the the blade thou shalt enscribe these characters: editor's note: these graphics are not shown in the manuscript and upon the other side these: editor's note: these graphics are not shown in the manuscript on the day and hour of saturn the moon decreasing, light thou a fire of laurel and yew boughs and offering the blade to the flames pronounce t

PHILIP NEIL MYTHS LEGENDS EXPLAINED

and pandora. zeus then offered them any gift they desired, so they asked for more people. each stone they threw over their shoulders became a new man or woman. clash of the titans t he 12 titans, children of uranus, the sky, and gaia, the earth, were the first gods. they were deposed after a 10-year struggle by zeus, son of cronos (see p. 23, and sent to tartarus in the underworld, locked behind bronze doors guarded by three 100-armed giants. zeus and his siblings then became the gods of mount olympus. prometheus and epimetheus sided with zeus in this war; his older brothers, menoetius and atlas, supported the titans zeus killed menoetius and sent him to tartarus; atlas he condemned to support the heavens on his shoulders for eternity. prometheus 25 the first man prometheus shaped the fir

ts to mankind; the ills of the world he shut up in a jar. until these were released by pandora, the first woman, men lived carefree lives with no sorrow, hard work, or disease. pandora by dante gabriel rossetti (1828-82) according to one greek tradition there have been five ages of man: the golden age during the time of the titan cronos, when humankind lived in ease and harmony; a silver age; two bronze ages (the second in the time of the heroes; and then the present iron age. prometheus steals fire when zeus was cheated out of the meat of sacrificial animals, he decided to withhold the gift of fire so that humankind would have to eat the meat raw. but prometheus, guided up into the sky by athena, stole fire from the chariot of the sun and brought it down to earth in a fennel stalk; the or

erer. he is often shown with his weapon, the thunderbolt. zeus and dana dana was the beautiful daughter of acrisius, king of argos, who was supposed to rule in rotation with his twin brother proetus. but acrisius refused to yield the throne, and proetus, in anger, tried to seduce his daughter. terrified by a prophecy that if dana ever bore a son the child would kill him, acrisius shut her up in a bronze tower away from mortal men. unfortunately, he could not guard against the gods and zeus (roman jupiter, fulfilling the pattern of many of his conquests, came to her in disguise (here, as a shower of gold) and fathered the great hero perseus (see pp. 46 47. when acrisius found out about the baby, he cast dana and her son out to sea. they drifted for several days before they came to the islan

takes on the form of her totem bird, the peacock. dana, when in the carven chest the wind blowing and the sea stirring shattered her with fear. her cheeks were wet as she put her loving arm round perseus, saying, oh, child! what trouble is mine simonides zeus and dana by joachim utewael (1566 1638) this renaissance painting shows zeus appearing to dana as a shower of gold through the roof of her bronze prison. the child from this union was the hero perseus. golden god zeus visited dana in a shower of gold. some artists depict this as the burning rays of the sun, others as coins. some, as here, combine both images. later rationalizations of this myth explained the gold simply as a bribe to dana s guards. zeus in love looking down on the young and beautiful dana incarcerated in her bronze t

torch, indicates that perseus is in love with andromeda. sword of hermes fired by heroism and love, perseus prepares to swing his sword and destroy the evil sea monster. the curved, unbreakable, sword was also a gift from hermes. perseus first used it to strike off medusa s head while she slept. he fled the scene undetected by the other gorgons, thanks to the magic helmet that made him invisible. bronze shield perseus carries a bronze shield, which was lent to him by athena. she warned him not to look at medusa directly, but to look at the reflection in the bronze shield, to avoid being turned into stone. athena later set medusa s head on the shield and carried it as part of her armor. vengeful nymphs the sea nymphs, or nereids, were offended by andromeda s mother and called on poseidon to

owever, as the hesperides seem to be asleep, and the apples that they are guarding are eventually stolen, the presence of the cranes may be ironic. daugh ters of a titan the hesperides were the daughters of the titan atlas (see p. 22) and hesperis, the daughter of the evening star hesperus (venus. they lived in a garden hidden in the far west; their name means daughters of the evening. this roman bronze shows the baby hercules killing two serpents with his bare hands an early indication of his superhuman strength, and a clue to his father s identity. the labors of hercules the childhood of hercules hercules was conceived when zeus came to alcmene in the guise of her husband king amphytryon, the grandson of perseus (see p. 46 47. zeus, knowing that he had fathered hercules, boasted that the

e aid of medea s spells, jason stole the fleece from the sacred grove of ares (mars, we are told that he put it over his shoulders and reveled in it like a girl admiring herself when the moonlight catches her silk gown. when jason arrived in colchis, he asked ae tes to give him the golden fleece. surprisingly the king agreed, but on two conditions: that jason harness two fire-breathing bulls with bronze hooves and then use them to plant a field with dragons teeth. medea provided a salve of invulnerability that enabled jason to yoke the bulls and defeat the warriors that sprang up. but ae tes then refused to keep his word so, with medea s help, jason stole the golden fleece and fled. the argo homer writes of the celebrated argo, and the boat is almost as much the hero of the story as jason

ng the dead aeneas saw dido, who turned silently away from his tearful words, and also found his father. but when he tried to hug him, he only embraced the air. he also saw souls drinking the water of oblivion so that they would forget their former lives and be born again. anchises showed him a parade of souls who would be born again as great romans, including romulus and the roman emperors. this bronze statue used to stand on the capitoline hill in rome, where romulus saw the 12 vultures and began to make the city boundaries. it shows romulus and remus being suckled by the she-wolf. wolves were said to have connections with the god of war, so it is possible he sent her purposefully to rescue his children. the wolf dates from the fifth century bce but the children are later additions. she

e ancestors of all mankind. ear of corn freyr holds an ear of corn, in token of his role as the god who controls rain and sunshine. he is also a god of fertility, and some kind of ritual marriage seems to have formed part of his rites. his sister freya, who was probably originally a fertility goddess, became regarded as a goddess of battle, love affairs, and soothsaying. thor, god of thunder this bronze statuette depicts thor, the thunder god whose weapon was the hammer mjollnir. mjollnir was given to thor by the god loki (see p. 71, who had tricked the dwarves into giving it to him. it could never miss its mark, and returned to the thrower s hand. thor s hamm er, mjollnir, enabled the aesir to protect asgard against the giants. a giant did once steal it and would only return it if the god

egetation, as well as animals. torc of rank cernunnos both wears a torc around his neck and holds another one in his hand. a celtic chieftain would have worn a torc as a mark of rank, and warriors were also rewarded with torcs and armrings. dio cassius writes of the british queen boudicca that she wore a great twisted golden necklace. gaulish warriors went naked into battle save for their gold or bronze torcs and armrings. cernunnos, the horned god the horns of cernunnos and and those of the stag are identical and show how the god was regarded as part-man, partbeast; on one british relief his legs are depicted as ram-headed snakes. it is also possible that cernunnos was able to assume animal shape. the gundestrup cauldron this image showing a horned deity with wild animals is a panel from

struction, and in another the drum of creation. the holy men who saw him dancing hailed him thus: we behold you dancing, source of the world, lodged in our own hearts! by you does this wheel of brahma turn. you, sole guardian of the world, are filled with maya. we take refuge in you! we adore you! you are the soul of yoga, the master of consciousness who dances the divine dance! this 11th-century bronze shows shiva as lord of the dance. rama and sita 114 rama and sita king dasharatha of ayodya in india was childless and made a special sacrifice to the gods, hoping that they would give him sons. meanwhile, the gods begged their lord brahma to help them against ravana, the demon king. so brahma asked the god vishnu to vanquish the demon. vishnu agreed and was born, in his seventh incarnation

PROMETHEUS

for many years. each day an eagle would fly to him and munch on the lobes of his liver, which would then grow back at night. that was the price that prometheus paid for stealing fire, until herakles set him free later on. now prometheos had a son deukalion and was married to pyrrha, the daughter of epimetheus and pandora, the first woman created by the gods. when zeus was ready to obliterate the bronze generation of men, prometheus advised deucalion to fashion an ark, which he then outfitted with provisions and launched himself with pyr rha aboard. zeus presently flooded most of hellas with a great downpour of rain from the sky, destroyed all the people except for a few who took refuge on high mountains nearby -apollodorus 1.45-46 "there they [the kentauroi] took refuge with kheiron, who

n a ravine or sandy torrent, and they smell very like the skin of a man. they say that these are remains of the clay out of which the whole race of man was fashioned by prometheus -pausanias 10.4.4 and now the last recess of the black sea opened up and they [the argonauts] caught sight of the high crags of the kaukasos, where prometheus stood chained by every limb to the hard rock with fetters of bronze, and fed an eagle on his liver. the bird kept eagerly returning to its feed. they saw it in the afternoon flying high above the ship with a strident whirr. it was near the clouds, yet it made all their canvas quiver to its wings as it beat by. for its form was not that of an ordinary bird: the long quill-feathers of each wing rose and fell like a bank of polished oars. soon after the eagle

RUBY TABLET OF SET

way [priest] he shall have companions on his right hand and on his left hand, that he shall be defended from danger: on his right hand shall go the black dog of anubis. his eyes shall be red as rubies, and his teeth shall be white as ivory and sharp as daggers, and he shall be quicker than light. on his left hand shall go the black cat of bast. her eyes shall be green emeralds and her claws like bronze needles, and she shall comfort him in his cradle, for he is but young. around his neck we fasten the amulet of xepera [mother] i am clothed and am wholly provided with thy magical words, o xepera, who are in the heavens above me and in the earth beneath me, who brings that which he does to a prosperous end [priest] depart now, and go forth for the years of your childhood. and it may so happ

SALMANRUSHDIE THESATANICVERSES

of colleagues, handbills, framed programmes, production stills, citations, awards, volumes of movie--star memoirs, a room bought off the peg, by the yard, an imitation of life, a mask's mask. novelty items on every surface: ashtrays in the shape of pianos, china pierrots peeping out from behind a shelf of books. and everywhere, on the walls, in the movie posters, in the glow of the lamp borne by bronze eros, in the mirror shaped like a heart, oozing up through the blood-red carpet, dripping from the ceiling, saladin's need for love. in the theatre everybody gets kissed and everybody is darling. the actor's life offers, on a daily basis, the simulacrum of love; a mask can be satisfied, or at least consoled, by the echo of what it seeks. the desperation there was in him, jumpy recognized, h

SCHLAGER NEIL WORLD RELIGIONS REFERENCE LIBRARY

nt to be sung during religious rites. hesiod furthered the process of collecting the myths and defining the gods with his theogony, which supplies more information about the relationships between the gods and goddesses. also, in his works and days, he provides a history of what he called the five ages of humans, from the golden age, ruled by the god chronos, to the silver age of zeus, the warlike bronze age, the heroic age of the trojan war, and ending with hesiod s own time, the iron age. virgil and ovid provided a similar service for the romans. in his aeneid, virgil transforms the sometimes bickering and petty couple zeus and hera into the thundering and all-powerful roman god jupiter and the angry juno. ovid, in his fifteen-volume metamorphoses, supplies a 228 world religions: almanac

nd three hundred and fifty thousand live in canada. about 90 percent of africa s jews live in the nation of south africa. judaism ranks as the twelfth largest religion in the world. 345 history and development at the time that judaism developed, the people in the region that is now called the middle east had historically worshipped many gods, a practice called polytheism. judaism arose during the bronze age, from roughly 4000 to 3000 bce. this religion differed from the others of its day in that it called for the worship of only one god, a practice called monotheism. as a result of its being a new religion and challenging the accepted beliefs of the day by promoting only one god, judaism s early history experienced many challenges. this early history is recorded in the first five books of

ng to marry odysseus s wife. thronging: large. kine: cattle. shambling gait: slow, dragging walk. peraventure: by chance. 78 world religions: primary sources the odyssey she spake and bound beneath her feet her lovely golden sandals that wax not old, and bare her alike over the wet sea and over the limitless land, swifth as the breath of the wind. and she seized her doughty spear, shod with sharp bronze, weighty and huge and strong, wherewith she quells the ranks of heroes with whomsoever she is wroth, the daughter of the mighty sire. then from the heights of olympus she came glancing down, and she stood in the land of ithaca, at the entry of the gate of odysseus, on the threshold of the courtyard, holding in her hand the spear of bronze, in the semblence of a stranger, mentes the captain

ewhence, and make a scattering of the wooers there throughout the palace, and himself get honour and bear rule among his own possessions. thinking thereupon, as he sat among wooers, he saw athene and he went straight to the outer porch, for he thought it blame in his heart that a stranger should stand long at the gates: and halting nigh her he clasped her right hand and took from her the spear of bronze, and uttered his voice and spake unto her winged words: hail, stranger, with us thou shalt be kindly entreated, and thereafter, when thou hast tasted meat, thou shalt tell us that whereof thou hast need. but telemachus spake unto grey-eyed athene, holding his head close to her that those others might not hear: dear stranger, wilt thou of a truth be wroth at the word i shall say? yonder men

upon the shameless wooers. if he could but come now and stand at the entering in of the gate, with helmet and shield and lances twain, as mighty a man as when first i marked him in our house drinking and making merry what time he came up out of ephyra from ilus son of mermerus! for even thither had odysseus gone on his swift ship to seek a deadly drug, that he might have wherewithal to smear his bronze-shod arrows: but ilus would in nowise give it to him, for he had in awe the everliving gods. but my father gave it him, for he bare him wondrous love. o that odysseus might in such strength consort with the wooers: so should they all have swift fate and bitter wedlock! howbeit these things surely lie on the knees of the gods, whether he shall return or not, and take vengeance in his halls

horse and unlock the gates of the city, allowing the greeks to enter, sack the city, and end the trojan war. the term trojan horse is still used today to refer to any similar act of trickery; computer experts use the term to refer to a way of sneaking a virus into a computer system. the historical setting for the odyssey is about the twelfth century bce. archeologists call this period of time the bronze age, named after the type of metal that was widely used. the greeks world religions: primary sources 83 the odyssey believed that the bronze age was a time when their country was home to heroic people with superhuman characteristics and when gods moved freely about earth. there are several mentions of bronze in the excerpted passage, for example, in reference to athena, who is described as

al that was widely used. the greeks world religions: primary sources 83 the odyssey believed that the bronze age was a time when their country was home to heroic people with superhuman characteristics and when gods moved freely about earth. there are several mentions of bronze in the excerpted passage, for example, in reference to athena, who is described as seizing the rugged spear tipped with a bronze point. odysseus is said to have sailed past ephyra, hunting deadly poison to smear on his arrows bronze heads. the epic tries to capture the glorious spirit of the age by using a high poetic style rather than everyday language. consider the following. explain how homer establishes the importance of the story he is about to tell. summarize ways in which the gods and goddesses portrayed in th

SETH IN THE MAGICKAL TEXTS

pseudo-clementine literature, journal for the study of the pseudepigrapha, forthcoming. 24 w.c. crum, catalogue of the coptic manuscripts in the british museum (london 1905) 147. seth in the magical texts 91 we have still to discuss doresse's reference to the existence of certain egyptian figurines of seth as evidence for a welding of seth-typhon and christ. doresse in actual fact cited only one bronze statue bearing the inscription, aberamentho.25 this name also appears as a name of jesus in a formula-like phrase repeated three times in the untitled treatise (book iv) at the end of codex askewianus "jesus who is aberamentho (chs. 136, 139, 141).26 noting that aberamentho is a name of seth-typhon in a spell in the demotic leiden papyrus, and that the same spell also calls him by the name

SIR EDWARD BULWER LYTTON ZANONI A ROSICRUCIAN TALE

tood within the chamber, and gazed around her; no signs by which an inquisitor of old could have detected the scholar of the black art were visible. no crucibles and caldrons, no brass-bound volumes and ciphered girdles, no skulls and cross-bones. quietly streamed the broad moonlight through the desolate chamber with its bare, white walls. a few bunches of withered herbs, a few antique vessels of bronze, placed carelessly on a wooden form, were all which that curious gaze could identify with the pursuits of the absent owner. the magic, if it existed, dwelt in the artificer, and the materials, to other hands, were but herbs and bronze. so is it ever with thy works and wonders, o genius, seeker of the stars! words themselves are the common property of all men; yet, from words themselves, tho

though the room was small, it was furnished and decorated with a minute and careful effort at elegance and refinement. it seemed, indeed, the desire of the owner to avoid at once what was mean and rude, and what was luxurious and voluptuous. it was a trim, orderly, precise grace that shaped the classic chairs, arranged the ample draperies, sank the frameless mirrors into the wall, placed bust and bronze on their pedestals, and filled up the niches here and there with well-bound books, filed regularly in their appointed ranks. an observer would have said "this man wishes to imply to you, i am not rich; i am not ostentatious; i am not luxurious; i am no indolent sybarite, with couches of down, and pictures that provoke the sense; i am no haughty noble, with spacious halls, and galleries that

SIR WALLIS BUDGE EGYPTIAN MAGIC

by gods, kings, priests, priestesses, etc; usually it is held in the hand, but it is often worn on the neck. its object was to bring joy and health to the wearer, and it was believed to possess magical properties; it represented nutrition 2 and p. 61 strength, and the might of the male and female organs of generation, mystically considered, was supposed to be united therein. the amulet is made in bronze, stone, porcelain, and other substances, and when laid upon the body of the dead brought to it the power of life and reproduction. 17. the amulet of the sam, this amulet is probably intended to represent an organ of the human body, and its use is very ancient; it is made of lapis-lazuli and other hard stone substances, and in the late period is often found in the swathings of mummies. its p

waxen figures; one in the form of ares, and the other in the form of a woman. the female figure is to be in the posture of kneeling upon her knees with her hands tied behind her, and the male figure is to stand over her with his sword at her throat. on the limbs of the female figure a large number of the names of demons are to be written, and when this has been done, the lover must take thirteen bronze needles, and stick them in her limbs, saying as he does so "i pierce (here he mentions the name of the limb "that she may think of me" the lover must next write certain words of power on a leaden plate, which must be tied to the wax figures with a string containing three hundred and sixty-five knots, and both figure and plate are to be buried in the grave of some one who has died young or w

y of magical books, and one day a priest of ptah promised to tell him where the magical book described above might be found if he would give him a hundred pieces of silver, and provide him with two handsome coffins. when the money and the coffins had been given to him, the priest of ptah told ptah-nefer-ka that the book was in an iron box in the middle of the river at coptos "the iron box is in a bronze box, the bronze box is in a box of palm-tree wood, the palm tree wood box is in a box of ebony and ivory, the ebony and ivory box is in a silver box, the silver box is in a gold box, and in the gold (sic) box lies the book. the box wherein is the book is surrounded by swarms of serpents and scorpions and reptiles of all kinds, and round it is coiled a serpent which cannot die" ptah-nefer-ka

l shewn by the designer of this talisman are very remarkable. the small cippi of horus contain nothing but extracts from the scenes and texts which we find on the "metternichstele" and it, or similar objects, undoubtedly formed the source from which so many of the figures of the strange gods which are found on gnostic gems were derived. certain of the figures of the gods on the cippi were cast in bronze in the ptolemaic and roman periods, or hewn in stone, and were buried in tombs and under the foundations of houses to drive away any of the fiends who might come to do harm either to the living or the dead. the arab historian mas'udi has preserved 1 a curious legend of the talismans which were employed by alexander the great to protect the city of alexandria whilst it was being built, and a

SOLOMON

my kingdom was prosperous, and my army was with me. and for the rest the city of jerusalem had repose, rejoicing and delighted. and all the kings of the earth came to me from the ends of the earth to behold the temple which i builded to the lord god. and having heard of the wisdom given to me, they did homage to me in the temple, bringing gold and silver and precious stones, many and divers, and bronze, and iron, and lead, and cedar logs. and woods decay not they brought me, for the equipment of the temple of god. 109. and among them also the queen of the south, being a witch, came in great concern and bowed low before me to the earth. and having heard my wisdom, she glorified the god of israel, and she made formal trial of all my wisdom, of all love in which i instructed her, according t

n despair. for it is already two days that he is dead" but i solomon, on hearing that, and knowing that the demon ornias had told me the truth, glorified the god of israel. 116. and the queen of the south saw all this, and marvelled [41] glorifying the god of israel; and she beheld the temple of the lord being builded. and she gave a siklos [1] of gold and one hundred myriads of silver and choice bronze, and she went into the temple. and (she beheld) the altar of incense and the brazen supports of this altar, and the gems of the lamps flashing forth of different colours, and of the lampstand of stone, and of emerald, and hyacinth, and sapphire; and she beheld the vessels of gold, and silver, and bronze, and wood, and the folds of skins dyed red with madder. and she saw the bases of the pil

TEXE MARRS CODEX MAGICA SECRET SIGNS MYSTERIOUS SYMBOLS AND HIDDEN CODES OF THE ILLUMINATI

nicodemus) taught that of the two thieves crucified next to jesus, the one at his left side an odd, old drawing of a priest with hands in prayer, but aimed downwards toward satan! concealed messages: the importance of hand signs d 49 at left: josephine bonaparte's palm from mlle le normand's les memoires historiques et secrets de l'lmperatrice josephine, paris, 1827. at right: the sabazios hand. bronze symbol of the syncretic jewish mystery cult of sabazios in asia minor. circa first century, c.e (collection of the british museum) rejected truth and was consigned to hell. in heaven, jesus, of course, is believed to sit at the right hand of god, not the left. in ecclesiastes, a book of the old testament in the bible, it is said that "a wise man's heart is at his right hand, but a fool's he

painting from the tomb of rameses i, valley of the kings, west thebes, in egypt. the figure at right (luriferian angel) has wings crossed in "x" fashion. this is said to be a secret, coded alphabet used by the clandestine templars order (from secret societies, by arkon daraul "cross my heart and hope to die" 225 these ancient egyptian figures demonstrate how prevalent was osiris' sacred sign "x" bronze figurine of the demon god pazuzu, 800-600 b.c. pazuzu is still secretly worshipped today by many. a real egyptian mummy, arms crossed in honor of osiris, divine father. pre-aztec figurine, today on display in mexico, has arms crossed in "x" position. 226 codex magica rosicrucian and other mystical orders emphasize the process of alchemy, mystical union that brings about cleansing and renewa

the victory of winning many disputed seats in that country's knesset (parliament (photo: the jerusalem post newspaper, may 28, 1999, p. 8) beatle paul mccartney, left, gives the llluminati's "divine king" sign while fellow beatle john lennon lets us know he's a luciferian. ok-sign of the divine king 513 in london's daily mail newspaper (july 6, 2000, p. 9) was this report of a giant s00 foot high bronze buddha statue, called the buddha maitreya, in the indian holy city of bodh gaya. the statue will be over three times higher than the u.s.a.'s statue of liberty. it is being built by british engineers. observe the buddha statues mudra, or left hand sign. also, the "horns" on the head. 514 codex magica the caption reads "kay wescott, a lawyer and cpa who works for the justice department, atte

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL 1

madonna s tears ceased to flow on the fourth day of the phenomenon, but exactly one month later, the statue was carried through the streets of syracuse at the head of a procession of 30,000 people. since that day, thousands of pilgrims have flocked to the shrine of the little madonna, including more than a hundred bishops and archbishops and several cardinals. her glassed-wall case, capped with a bronze cross, is surrounded by dozens of crutches and braces that have been left there as silent testimony of hundreds of miracle healings. hopeful that their city would become known as the italian lourdes, the citizens of syracuse purchased a 12-acre site and constructed a lattice-type pagoda shrine for the madonna. large ramps lead up to the entrance and the 400-foot high walls. t h e g a l e e

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL 3

t. in ancient rome, men and women reclined on couches while eating from beautifully decorated tables. most of these dinner tables were square with four legs or oval with three connected legs, much like modern tables, except positioned lower for the convenience of diners who were reclining. the materials used for constructing such elaborate tables were at first wood, most commonly maple, and later bronze with inlaid ivory designs. often the carpenter or metalworker fashioning the table shaped its legs to imitate those of various animals, complete with claws. such a peculiarity remains popular today, for tables and other items of furniture are frequently made with clawed legs, often gripping a ball. by around 400 c.e, it was an established custom among the people of the civilized t h e g a l

utensil was some form of the spoon or the ladle. museums display spoons of wood, stone, and ivory that were found in ancient egyptian tombs. spoon-like implements belonging to the paleolithic age have been found in caves in france and other european countries, thereby indicating that early humans used such eating utensils as far back as 100,000 or more years. the greeks and romans used spoons of bronze and silver, some exquisitely wrought by the hands of master craftspersons. during the middle ages in europe, the wealthy ate with elaborate spoons of beaten silver, but the materials used for making spoons by the poorer classes were bone, wood, and tin. the chinese, in addition to their chopsticks, ate with little painted porcelain spoons. the use of the knife and fork did not become widesp

riginally fragments of flint or other stone, but it seems clear that the knife, or some kind of cutting tool, was one of the first implements to be devised by early humans. the knife took many forms and was made of many materials during the course of its development. the first knives were made of flint and bone and used for all cutting purposes. for centuries, whether the knife was made of flint, bronze, or steel, both men and women carried a knife in their belts or knapsacks. whenever large portions of food were served, they sliced off a piece for themselves with their knives, and then returned the cutting implement to their belt or knapsack. but there was no such thing as a special knife to be used while eating dinner, whether seated at a table or on the floor. as with the development of

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL

cult to associate the horned headdresses worn by the shamans of various tribal societies with the concept of a god of the hunt. the headpieces of many ancient rulers, including the pharaohs of egypt, include horns either of realistic or stylized design. although the religion of the biblical israelites was represented as distinctly antipagan, their sacrifices were offered on horned altars. the two bronze altars in solomon fs (10th century b.c.e) tem- t h e g a l e e n c y c l o p e d i a o f t h e u n u s u a l a n d u n e x p l a i n e d 92 magic and sorcery t h e g a l e e n c y c l o p e d i a o f t h e u n u s u a l a n d u n e x p l a i n e d magic and sorcery 93 followers of the order of italian witchcraft known as stregeria claim that their tradition has maintained an unbroken lineag

dle was wrapped with leather to avoid accidentally cutting the hand; and the knife was carried everywhere its owner went. in the martial encounters between tribes, the spear, which is a knife with a long handle, and the club were favored in order to keep some distance between combatants. but when things got up close and personal, the knife came into play. thus when the arts of warfare evolved and bronze weapons were used, the sword.a large and long knife.together with the spear and club were considered honorable implements of war. the knife was deemed the last resort of the gentleman or the sole weapon of the brigand and the assassin. in the days of chivalry, the knights bore swords and lances for self-defense while peasants and outlaws carried knives to protect themselves. the knife was a

bleday, 1937. mintz, ruth finer. auguries, charms, amulets. middle village, n.y: jonathan david publishers, 1983. nelson, felicitas h. talismans& amulets of the world. new york: sterling publishers, 2000. mirror the first mirror was quite likely a quiet pool in which one caught a fleeting reflection of an image of oneself. the early greeks had mirrors that were made of circular pieces of polished bronze, sometimes with richly adorned handles. the early egyptians also had bronze mirrors, highly polished dishes, usually with graceful and decorative handles. since early times the mirror has been used in divination, in attempts to read the future or the past. in ancient greece divination performed by means of water and a mirror was so popular and so widely practiced that it was given a definit

at ephesus in greece. erected in 356 b.c.e. in a marshy area where several earlier temples had stood, it was destroyed by the goths in 262. the mausoleum of halicarnassus. built around 353 b.c.e, it was a marble tomb for king mausolus of caria in asia minor. it was damaged by an earthquake, and during medieval times its marble was used to fortify a castle. the colossus of rhodes. a 100-foot-high bronze statue of the greek sun god helios, it was erected about 280 b.c.e. to guard the entrance to the harbor at rhodes, a mediterranean island, but it was destroyed about 55 years later. the pharos of alexandria. a lighthouse erected around 280 b.c.e, it fell into ruins by the mid- 1300s because of a series of earthquakes. located on an island in the harbor of alexandria, egypt, and rising 440 f

THE GOD OF THE WITCHES

pictorial and plasticarts of the most remote periods have also been studied, and from the arts and handicrafts the mentaldevelopment of the palaeolithic and neolithic peoples can be traced. but the religion of those early times hasbeen entirely neglected, with the exception of a few references to mother-goddesses and to burial customs.the student of early religion begins his subject in the early bronze-age of the near east and totally ignoreswestern europe in the stone-ages; he ends his study with the introduction of christianity, as the study of thatreligion is known as theology. there is, however, a continuity of belief and ritual which can be traced fromthe palaeolithic period down to modern times. it is only by the anthropological method that the study ofreligions, whether ancient or

ve shown that the survival of the cult was due to thesurvival of the races who adored that god, for this belief could not have held its own against the invasions ofother peoples and religions unless a stratum of the population were strong enough to keep it alive.if the evidence is carefully examined it becomes clear that this stratum consisted of the descendants of thepalaeolithic, neolithic, and bronze-age races, the palaeolithic people were hunters, the neolithic andbronze-age people were pastoral and agricultural. among all these races the horned god was pre-eminent,for alike to hunting and pastoral folk animals were essential for life. after the general introduction ofagriculture, the horned god remained as a great deity, and was not dethroned even by the coming of theiron-age. it was

ook the leading part. it is equally certain that there must have been a worship of the female principle,but in the cult of the horned god this does not appear till a much later stage.of the religion of the neolithic period nothing is known in western europe except the burial rites. the godshave left no recognisable trace, though certain female figures may possibly represent goddesses. but whenthe bronze-age arose the horned god is found through all europe from east to west. the fierce tribes whobrought in the iron-age destroyed the greater part of the previous civilisation, and possibly the previousinhabitants also, except those descendants of the neolithic and bronze-age folk still remaining on the moorsand downs, where agriculture was unsuitable at the time and where the valley people wo

he soil; or, as is more likely, that the people of the iron-age had acquiredthe cult in their own habitat or in their slow march across europe, it is certain that he retained his position as ahigh god.it is not unlikely that at this period the cross was used by the conquerors as a magical method of frighteningand scaring away the hill-people. the cross was already in use as a sacred symbol in the bronze-age ineastern europe, and to the iron-age belongs the whiteleaf cross cut in the chalk of the chiltern hills, whereit could exercise its protective power against the upland dwellers. in all accounts of fairies and witches it isonly the cross that has power against them, the most sacred of other christian objects and emblems had noeffect. as late as the seventeenth century sinistrari d'ameno

ajesty who have diverse andsundry times conspired her life and do daily confederate against her ould birtles the great devel, darnally thesorcerer, maude two-good enchantress, the ould witch of ramsbury".william the conqueror rendered waste and desolate nearly half of his new kingdom; the re-peopling of thewilderness seems to have been done in great measure by the descendants of the neolithic and bronze-agestock who were saved from massacre by the remoteness and inaccessibility of their dwellings. these were theplaces where the old religion flourished; and it was only by very slow degrees that even a small amount ofoutward conformity with christianity could be established, and then only by means of compromises on thepart of the church; certain practices were permitted, certain images were

orse's head, which was discovered in the pinhole cave,derbyshire.the art of the palaeolithic period came to a sudden and complete end before the neolithic era; it was utterlywiped out in europe, and seems to have had no influence on later periods. the neolithic people have left fewartistic remains; their human figures are almost invariably of women, and the masked man does not appear.but when the bronze-age is reached the horned human-being is found again, and occurs first in the near and the god of the witcheschapter i. the horned god6middle east, i.e, in egypt, mesopotamia and india. in the near east the figures may be either male orfemale, and the horns are those of cattle, sheep or goats.[1] there are no stag antlers, possibly because thestag did not occur in those lands or was so unco

itedwith great prophylactic powers; so much so that such charms were in use throughout babylonia. theevidence shows that the great seven-horned gods of the temples, who gave their special protection to theroyal family, had little or no appeal for the people, and that the smaller deities, the little two-horned godlings,were regarded as the real protectors in matters of everyday life.throughout the bronze and iron ages horned deities are to be found in egypt. the earliest example has awoman's face and the horns of a buffalo; this is on the slate-palette of narmer,[2] who is usually identifiedwith the first historic king of egypt. it is worth noting that, with the exception of the god mentu, the horns ofcattle are worn by goddesses only, while the gods have the horns of sheep. the chief of th

he most important of the royal ceremonies. a sacred dance, performed bythe pharaoh wearing the bull's tail, is often represented as taking place in a temple before min, the god ofhuman generation. the worship of horned gods continued in egypt until christian times, especially inconnection with the horned goddess isis.the indian figures of the horned god, found at mohenjo-daro, are of the earliest bronze-age. there aremany examples, and in every case it is clear that a human being is represented, either masked or horned.sometimes the figure has a human body with a bull's head, sometimes the head and body are covered with ahairy skin, probably indicating a bull's hide. the most remarkable is that of a man with bull's horns on hishead, sitting cross-legged, and like the ari350ge figure surrou

eeing god, and is found in europe in the four-faced janus.it is still uncertain whether the four-faced form arose independently in india and europe, or whether one isthe prototype of the other; if the latter, the indian appears to be the earlier.though it is not possible to give an exact date to the early legends of the aegean, it is evident that there alsothe horned god flourished throughout the bronze and iron ages.the best known, on account of the dramatic legends attached to his cult, was the minoan bull, the minotaur,of crete. he was in human form with a bull's head and horns, and was worshipped with sacred dances andhuman sacrifices. he was said to be the offspring of a foreign "bull" and the cretan queen, who at themarriage appeared in the guise of a cow, in other words, she was rob

e interval of time wasseven years, but the rest of the story so closely resembles other accounts of the sacrifice by. combat that itcannot be disregarded; theseus did not put an end to the custom, he merely relieved athens from sending theyearly victims, who, like the children stolen by the fairies, had to "pay the teind to hell" with their lives.the sanctity of the ram in the aegean in the early bronze age is shown in the legend of helle and phrixos.they were the children of the family who were set apart as victims when human sacrifice was required. thesacrifice of helle was consummated by drowning, but phrixos escaped by means of the divine animal, whichhe afterwards sacrificed, possibly as a substitute for himself. the story of jason's expedition suggests that thefleece had a divine con

e the minotaur of crete, was slain. dionysos wassaid to have been brought into greece from the north; his cult would therefore be a foreign worship, whichfact shows that outside greece, in the countries which have no written record, the belief in a homed deityprevailed in the iron-age and probably even earlier.a few rock carvings in scandinavia show that the horned god was known there also in the bronze age. it wasonly when rome started on her career of conquest that any written record was made of the gods of westerneurope, and those records prove that a horned deity, whom the romans called cernunnos, was one of thegreatest gods, perhaps even the supreme deity, of gaul. the name given to him by the romans means simplythe horned. in the north of gaul his importance is shown on the altar fou

dame at paris. the date of the altar is well within the christian era; on three sides are figures of minor godsrepresented as small beings, on the fourth side is the head of cernunnos (plate 4, which is of hugeproportions compared with the other figures. he has a man's head, and like the ari350ge figure he wears stag'santlers, which are further decorated with rings; these may be hoops of withy or bronze currency-rings. likehis palaeolithic prototype he is bearded. this altar shows that, in accordance with roman artistic ideas, thedivine man was not masked, he wears the horns and their appendages fixed on his head. the altar appears tohave been dedicated in a temple so sacred that the site was re-used for the principal temple of the new faith.cernunnos is recorded in writing and in sculptur

edicated in a temple so sacred that the site was re-used for the principal temple of the new faith.cernunnos is recorded in writing and in sculpture in the south of gaul, in that very part where the palaeolithicpainting of him still survives. it is highly improbable that the cult of the horned god should have died out insouth-western europe in neolithic times and have remained unknown through the bronze and iron ages,only to be revived before the arrival of the romans. it is more logical to suppose that the worship continuedthrough the unrecorded centuries, and lasted on as one of the principal gaulish cults till within the christianera. such a cult must have had a strong hold on the worshippers, and among the illiterate, and in the lessaccessible parts of the country it would linger for m

lised except by the few who have studied the subject. it is notimprobable that the small stature of the fairy, the stunted size of the changelings, the starved condition of the"mortal" captive among the fairies, may have been due to the diet.the accounts of the fairies, as preserved in legal records and in folklore, show a people whose parallel can befound, in western europe, in the neolithic and bronze ages. the skeletal remains in neolithicburial-barrows prove that the people who then inhabited great britain were short in stature, the height of themen being about 5 feet 5 inches and the women proportionately less. they were long-headed and probablyhad dark complexions (hence perhaps the affectionate nickname of brownie given to the kindly fairy).in great britain the neolithic and bronze

ere built in groups; and whenovergrown with grass, bracken and small shrubs would appear like mounds or small hills. the remains ofbronze-age houses, known as "hut-circles, are not found in valleys or those parts which were covered withforest, they are in open grassy country. in those parts are found also the little flint arrow-heads which arecommonly called "elf-bolts, and are known to be of the bronze-age.a hut of the kind described above is shown on plate viii, where it is called a "fairy house" and as the twoprincipal inhabitants wear crowns it must be the palace of the fairy king and queen. the hut is circular, ispartly sunk below the surface of the ground and is roofed with turf on which shrubs are growing. it is one of agroup of similar huts, which from the outside have the appearan

but also of the survival of the neolithic andbronze-age folk and their civilisation as late as the sixteenth century.the fairies, then, were the descendants of the early people who inhabited northern europe; they were pastoralbut not nomad, they lived in the unforested parts of the country where there was good pasturage for theircattle, and they used stone in the neolithic period and metal in the bronze-age for their tools and weapons.later on, when the fierce tribes of the iron-age, the kelts, poured into western europe and to a great extentexterminated the people and the civilisation of the bronze-age, those folk who live in the wild parts escapedthe general massacre and learned that their best defence was to strike terror into the hearts of their savageneighbours. to them the new metal

eople and the civilisation of the bronze-age, those folk who live in the wild parts escapedthe general massacre and learned that their best defence was to strike terror into the hearts of their savageneighbours. to them the new metal was part of the equipment of their formidable enemies and they held it in the god of the witcheschapter ii. the worshippers18horror, but they still worked so well in bronze that their swords were coveted by the invaders. it was from ourancestors of the iron-age that the traditional fear of the fairies was derived, the terror of the cunning andimplacable enemy which is found in all records of fairies until shakespeare dispersed it. undoubtedly ascivilisation advanced and more land came under cultivation the fairy people must have mingled more andmore with the s

adition of thetuatha-da-danann, who are the same as the english and continental fairy-folk. they were "greatnecromancers, skilled in all magic, and excellent in all arts as builders, poets and musicians.[18] they werealso great horse-breeders, stabling their horses in caves in the hills. when the milesians, who seem to have the god of the witcheschapter ii. the worshippers19been the people of the bronze-age, invaded ireland they endeavoured to exterminate the tuatha, but bydegrees the two races learned to live peaceably side by side.with this theory in view it is worth while to examine the story of fairies in detail; it is then surprising to findhow much has been recorded by eye-witnesses as to the appearance, dress and habits of the little people.the houses are seldom described, for not o

gion and customs were definitelycontrary to the teaching of the christian priests, the indignation of the church would naturally be directedagainst them and their influence. to have communication with these "incarnate devils" was to proclaimoneself an enemy of christianity, and the offender would be treated with the utmost rigour by all christianpriests.the conditions of life in the neolithic and bronze-age settlements are fairly well known; the people practiseda little agriculture but in some parts were entirely pastoral. they owned all the domestic animals, but cattle the god of the witcheschapter ii. the worshippers20were their mainstay. isobel gowdie 21 in 1662 claimed to have gone into a fairy hill "and got meat therefrom the queen of fairy. there was elf-bulls routing and skoyling up

of money orhelp generously. in northumberland the fairies were definitely mortal, for they died and lie buried inbrinkburn under a green mound.[33]the characteristic weapon of the fairies, and one which still bears their name, is the stone arrow-head orelf-bolt. these arrow-heads are made of flint and are found on open heaths and downs where the fairypeople dwelt. they are now known to be of the bronze-age. they are so small and slight that they couldhave been used only with a small and light bow, such as that carried by the masked dancer of the palaeolithictimes (plate ii. a little light weapon of this kind could have been of little value against a human enemy or awild beast, the arrow could inflict hardly more than a flesh wound. the recorded method of using thearrow-heads, and one quit

arrows could not have been used for killing game of food animals as the poison remains in the body and isnot removed by cooking. game was probably run down by the hunters on foot, as is still done by thebedawin of the near east.the little people are not recorded as having used any other weapon than the arrow against human beings;they seem to have fought with spears among themselves, and they made bronze swords of extraordinaryefficacy. in the story of gish, the sword graysteel was forged by the dwarfs (i.e. the fairies, and it couldtherefore cut through whatever its blow fell on, nor could its edge be blunted by spells like swords made bymortals. a fairy javelin[36] was preserved at midridge hall in the county of durham, but there isunfortunately no legend to account for its coming into th

THE MARTINIST OPERATIVE GENERAL RITUAL

e. another candlestick, a smaller one, will also be required, to hold the ordinary candle- used to light the central luminary. the candles should be made of pure beeswax, or of so called liturgical wax (30% 7 approx. 25 inches is 635 mm and it is very curious to note that this is, approx, the length of the golden section of the meter. 9 pure beeswax, and can be obtained from specialized stores. a bronze or copper censer, or better, an earthenware cassolette, will also be required, and will be furnished with live coals at the proper time. the self burning charcoal for that purpose can be obtained from the same stores as the candles. the incense must be pure olibanum (frankincense, called male incense, in its original weeping tear drops and should be kept in a metal box or in the classic inc

THE NECRONOMICON SIMON VERSION

that the place of calling be cleansed and all evil that the place of calling be cleansed and all evil banished thereby; and the priest shall not change one word or letter of this exorcism, but recite it faithfully as it is put down: enu shub am gig absu kish egigga gar shag da sisie amarda ya dingir ud kalama siniku dingir ninab guyu nexrraniku ga ya shu shagmuku tu! and they bread burned in the bronze brazier of calling: and the salt scattered about the room, sixty times. and a circle shall be drawn on the ground, in the midst whereof you shall stand while reciting the conjurations set forth, taking especial care not to venture forth from the boundaries of the circle, the holy mandal of calling, lest thou be consumed by the invisible monsters from the egurra of ereshkigal, as was the pri

THE STAR IN THE WEST BY CAPTAIN FULLER A CRITICAL ESSAY ON THE WORKS OF ALEISTER CROWLEY

the heart of this poem bleeds generous indignation against the marriage bond. we read: it was no wonder when the second day showed me a city on the desert way, whose brazen gates were open, where within i saw a statue for a sign of sin, and saw the people come to it and pray, before its mouth set open for a gin *mysteries: lyrical and dramatic, vol. i, p. 99. before this statue he is brought; her bronze and chilly loins are girded with the sacred gold of lust, her lips are lecherous and large, inviting to kiss: but somehow blood was black upon them; blood in stains and clots and splashes; and the mud trampled around her by the souls that knelt, worshipping where her false lewd body dwelt, was dark and hateful; and a sleepy flood trickled therefrom as magic gums that melt.*1. i am a man, no

blood was black upon them; blood in stains and clots and splashes; and the mud trampled around her by the souls that knelt, worshipping where her false lewd body dwelt, was dark and hateful; and a sleepy flood trickled therefrom as magic gums that melt.*1. i am a man, nor fear to drain the bowl.*2. now some old devil, dead no doubt and damned, but living in her life, had wisely crammed her fierce bronze throat with such a foul device as made her belly yearn for sacrifice. she leered like love on me, and smiled, and shammed, and did not pity for all her breast of spice.*3 *1. mysteries: lyrical and dramatic. vol. i, p. 99 *2. ibid. vol. i, p. 100 *3. ibid. vol. i, p. 100. man though he was, he is thrust into her moloch arms. when lo! a miracle! he is plucked by his own fearlessness from the

THE SECRET RITUALS OF THE OTO

y chapel in his castle, and so far as may be let it resemble this order and file//c /documents%20and%20settings/michael..0secret%20rituals%20of%20the%20o.t.o/p3c1.html (5 of 7 [12/28/2001 2:05:17 pm] the secret rituals of the o.t.o. disposition of our supreme grand council, having an ever-burning lamp as an image of the sun to give light to a phallus carved or moulded in gold, silver, platinum or bronze by the fine art of the sculptor. and let the knight keep oft times vigil before it, devotedly with his whole heart uttering hymns and invocations, as may be fitting, and exalting himself in due commemoration of this lord of life, in such wise that the image becomes consecrated by his will. thus shall it be a storehouse of strength, and a focus or magnet, drawing to itself all subtle forces

TWO ESSAYS ON THE WORSHIP OF PRIAPUS

umb thrust betwixt the index and middle1 finger; the next is a shell; and the third is a half-moon. these amulets (except the shell, which is usually worn in its natural state) are most commonly made of silver, but sometimes of ivory, coral, amber, crystal, or some curious gem, or pebble. we have a proof of the hand above described having a connection with priapus, in a most elegant small idol of bronze of that divinity, now in the royal museum of portici, and which was found in the ruins of herculaneum: it has an enormous phallus, and, with an arch look and gesture, stretches out its right hand in the form above mentioned; 2 and which probably was an emblem of consummation: and as a further proof of it, the amulet which occurs most frequently amongst those of the ancients (next to that wh

sometimes joined the organ of generation, which represented not only the strength of the creator, 1 lib. i. c. 12. 2 exod. c. xxxiv. v. 35, ed. vulgat. other translators understand the expression metaphorically, and suppose it to mean radiated, or luminous. of priapus 23 but the peculiar direction of it to the most beneficial purpose, the propagation of sensitive beings. of this there is a small bronze in the museum of mr. townley, of which an engraving is given in plate iii. fig. 2.1 sometimes this generative attribute is represented by the symbol of the goat, supposed to be the most salacious of animals, and therefore adopted upon the same principles as the bull and the serpent.2 the choral odes, sung in honour of the generator bacchus, were hence called tragwdiai, or songs of the goat;

er, they preferred wrought images, not from their superiority in art, which they did not acquire until after the time of homer,2 when their theology was entirely corrupted; but because they had thus the means of expressing their ideas more fully, by combining several forms together, and showing, not only the divine attribute, but the mode and purpose of its operation. for instance; the celebrated bronze in the vatican has the male organs of generation placed upon the head of a cock, the emblem of the sun, supported by the neck and shoulders of a man. in this composition they represented the generative power of the erwj, the osiris, mithras, or bacchus, whose centre is the sun, incarnate with man. by the inscription on the pedestal, the attribute this personified, is styled the saviour of t

f priapus 35 arts, gradually changed the animal for the human form, preserving still the original character. the human head was at first added to the body of the bull;1 but afterwards the whole figure was made human, with some of the features, and general character of the animal, blended with it.2 oftentimes, however, these mixed figures had a peculiar and proper meaning, like that of the vatican bronze; and were not intended as mere refinements of art. such are the fawns and satyrs, who represent the emanations of the creator, incarnate with man, acting as his angels and ministers in the work of universal generation. in copulation with the goat, they represent the reciprocal incarnation of man with the deity, when incorporated with universal matter: for deity, being both male and female

ich it assumes when about to discharge its functions,1 and at other times in that state of tumid languor, which immediately succeeds the performance.2 in the latter case he appears loaded with the productions of nature, the result of those prolific efforts, which in the former case he appeared so well qualified to exert. i have in plate v. given a figure of him in each situation, one taken from a bronze in the royal museum of portici, and the other from one in that of charles townley, esq. it may 1 plate v. fig. 1, from a bronze in the museum at portici. of priapus 43 be observed, that in the former the muscles of the face are all strained and contracted, so that every nerve seems to be in a state of tension; whereas in the latter the features are all dilated and fallen, the chin reposed o

more solemn and sonorous.2 the guttural aspirates and hissing terminations more particularly belonged to the olic dialect, from which the latin was derived; wherefore we need not wonder that the same word, which by the dorians and ionians was written era and eri, should by the olians be written gerej or ceres, the greeks always accommodating their orthography to their pronunciation. in an ancient bronze at strawberry hill this goddess is represented sitting, with a cup in one hand, and various sorts of fruits in the other; and the bull, the emblem of the power of the creator, in her lap.3 this composition shows the fructification of the earth by the descent of the creative spirit in the same manner as described by virgil: vere tument terr, et genitalia semina poseunt; tum pater omnipotens

ibutes are not joined merely because the destroyer and preserver were essentially the same; but because disease necessarily precedes 1 the word in genesis upon which it is founded, conveyed no such sense to the ancients; for the seventy translated it epoihse, which signifies formed, or fashioned. 2 hist. nat. lib. xxxiv. c. 8. many copies of it are still extant. winkleman has published one from a bronze of cardinal albani's. monum. antichi. inediti, plate xl. 3 the verb luw, from which apollo is derived, signifies in homer both to free and to dissolve or destroy, il a, ver. 20; il. i, ver. 25. macrobius derives the title from apollumi, to destroy; but this word is derived from luw sat. lib. i, c. 17. of priapus 77 cure, and is the cause of its being invented. the god of health is said to b

estructive power of the sun was exerted most by day, and the creative by night: for it was in the former season that he dried up the waters, withered the herbs, and produced disease and putrefaction; and in the latter, 1 hieron. comment. in paul epist. ad ephes. 2 pausan. lib. iii, c. 16. 3 see a medal of augustus, published by spanheim. not. in callim, hymn. ad dian. ver. 113. 4 plate vi, from a bronze in the museum of c. townley, esq. 5 sophoclis ajax, ver. 172. 6 nonni dionys, lib. i. the title tauropoloj was sometimes given to apollo, eustath. schol in dionys.perihghs. ver. 609. 78 on the worship that he returned the exhalations in dews, tempered with the genial heat which he had transfused into the atmosphere, to restore and replenish the waste of the day. hence, when they personified

or festivals and usages more or less connected with the worship of the principle of fecundity. at aix in provence there was found, on or near the site of the ancient baths, to which it had no doubt some relation, an enormous phallus, encircled with garlands, sculptured in white marble. at le chatelet, in champagne, on the site of a roman town, a colossal phallus was also found. similar objects in bronze, and of smaller dimensions, are so common, that explorations are seldom carried on upon a roman site in which they are not found, and examples of such objects abound in the museums, public or private, of roman antiquities. the phallic worship appears to have flourished especially at nemausus, now represented by the city of n mes in the south of france, where the symbol of this worship appea

female organ. the local antiquarians give to this, as to the other similar objects, an emblematical signification; but it may perhaps be more rightly regarded as a playful conception of the imagination. a similar design, with some modifications, occurs not unfrequently among gallo-roman antiquities. we have engraved a figure of the triple phallus governed, or guided, by the female,3 from a small bronze plate, on which it appears in bas-relief; it is now preserved in a private collection in london, with a duplicate, which appears to have been cast from the same mould, though the plate is cut through, and they were evidently intended for suspension from the neck. both came from the collection of m. baudot of dijon. the lady here bridles only the principal phallus; the legs are, as in the mo

of gaul, and it continued to exist there till a comparatively modern period. when we cross over to britain we find this worship established no less firmly and extensively in that island. statuettes of priapus, phallic bronzes, pottery covered with obscene pictures, are found wherever there are any extensive remains of roman occupation, as our antiquaries know well. the numerous phallic figures in bronze, found in england, are perfectly identical in character with those 1 see plate xxv, fig. 4. 2 two roman towns, castra vetera and colonia trajana, stood within no great distance of xanten, and ph. houben, a notarius of this town, formed a private museum of antiquities found there, and in 1839, published engravings of them, with a text by dr. franz fiedler. the erotic objects form a separate

ls. 1 plate xxxiv, figs. 2 and 3. 2 plate xxxiv, fig 4. 3 plate xxxiv, fig. 5. 4 plate xxxv, figs. 1, 2, and 3. 5 plate xxxv, fig. 4. 6 plate xxxv, fig. 5. 148 on the worship of the in italy we can trace the continuous use of these phallic amulets down to the present time much more distinctly than in our more western countries. there they are still in very common use, and we give two examples1 of bronze amulets of this description, which are commonly sold in naples at the present day for a carlo, equivalent to fourpence in english money, each. one of them, it will be seen, is encircled by a serpent. so important are these amulets considered for the personal safety of those who possess them, that there is hardly a peasant who is without one, which he usually carries in his waistcoat pocket

t materials, it was carried on the person in the same manner as the phallus. it is not an uncommon object among roman antiquities, and was adopted by the gnostics as one of their symbolical images. the second of these forms of the phallic hand, the intention of which is easily seen (the thumb forming the phallus, was also well known among the romans, and is found made of various material, such as bronze, coral, lapis lazuli, and chrystal, of a size which was evidently intended to be suspended to the neck or to some other part of the person. in the mus e secret at naples, there are examples of such amulets, in the shape of two arms joined at the elbow, one terminating in the head of a phallus, the other having a hand arranged in the form just described, which seem to have been intended for

TYSON DONALD NEW MILLENNIUM MAGIC

made to appear terrify- ingly real, and physical injury is not permitted to happen in a responsible group. the nineteenth-century french occultist paul christian, purporting to describe the egyptian mysteries, tells how the candidate is led to a dark passage and told to crawl in. the candidate has no assurance that he is not crawling to his death. as soon as he has passed the threshold, the heavy bronze door of the passage is dropped with a clang, and the candidate hears the terrible words "here perish all fools who covet knowledge and power!"28 the candidate faces an agonizing quandary. should he wait for release, or go on into the threatening darkness? he has been given an oil lamp by his guides, but the oil will not last forever. gathering his courage, he crawls down the sloping passage

TYSON DONALD SOUL FLIGHT

he courtroom. if her judgment is for a sentence of death, this curtain is withdrawn. the astral traveler may enter this scene as a spectator, a witness, or as the accused. the manner of the officers of the court is formal and reserved. guards prevent precipitous exits through the doors at the sides of the chamber. the ruling intelligence of the trump is the greek goddess of justice, themis, whose bronze statue adorns the back of the courtroom. she stands perfectly straight with a great executioner's sword balanced upright before her, its point resting on the floor at her feet, one of her hands clasping each side of its guard. she stares straight ahead. when questioned about legal matters, or matters of judgment, she inclines the hilt of her sword to her right-hand side for yes and to her l

TYSON DONALD THE MAGICAL WORKBOOK

ugh the third eye, or ajna chakra, between the eyebrows. the ajna chakra is the psychic center of the body that controls astral sight. regular use of this exercise will awaken and heighten your natural scrying ability, and enable you to visualize more realistically astral objects and landscapes. this ability is essential in ritual magic. the penny acts as a physical focus. pennies are composed of bronze, a mixture of copper, the metal ofvenus, and tin, the metal ofjupiter. venus and jupiter are both positive, helpful deities. in traditional astrology, jupiter is known as the greater fortune and venus as the lesser fortune. red is the color associated with the ajna chakra. azure blue is the color of jupiter, the sky god. think of the penny as payment for your astral passage through the heav

nes itself into an angel of vast size, taller even than your enlarged astral body. the angel has the light-brown, feathered head and hooked beak of a golden eagle, and white feathered wings that hang downward on its back almost to its bare feet. it wears a long robe of a rich, dark-blue color. extend your conscious to the angel. as the angel becomes aware of your existence, gaze directly into its bronze-colored eyes. visualize the angel nod its beaked head in acknowledgement and spread its white wings so that they fill the entire region of the west. draw several normal breaths and allow the expanded balloon of your aura to contract to its normal shape nearer to the limits of your form. allow your giant form to shrink back into your physical body within your practice chamber. maintain an aw

ur breath while maintaining your expanded aura. visualize the blue of the western pentagram transfer itself into the pillar behind you. as the pillar turns deep blue, the western pentagram fades to a clear golden-white. the blue pillar thickens and solidifies into the towering, blue-robed angel gabriel. the angel stands barefoot beyond the circle, gazing down at you with vigilant awareness in its bronze-colored eyes. the golden-brown eagle's head of the angel glows with the residual energy of your vibrated words. without shifting your physical gaze from the east, watch with your astral awareness as the angel turns its back upon the circle to face west, and opens wide its white wings to fill the western quarter. draw a deep breath and hold it for four slow beats as you focus your awareness

g your enlarged stature and your expanded aura. visualize the blue of the western pentagram transfer itself into the pillar behind you. as the pillar turns deep blue, the western pentagram fades to a clear golden-white. the blue pillar thickens and solidifies into the towering, blue-robed angel gabriel. the angel stands barefoot beyond the circle, gazing down at you with vigilant awareness in its bronze-colored eyes. the golden-brown eagle's head of the angel glows with the residual energy of your vibrated words. watch with your astral awareness as the angel opens wide its white wings to fill the western quarter. vibrate upon your breath the following words "at my right hand, mich-a-el" exhale the remainder of your breath while maintaining your enlarged stature and your expanded aura. visu

sion, this shape defines itself into an angel of vast size, taller even than your enlarged astral body. the angel has the light-brown, feathered head and hooked beak of a golden eagle. long white wings hang down its back almost to its bare feet. it wears a long robe of a rich, dark blue color. extend your conscious to the angel. as the angel becomes aware of your existence, gaze directly into its bronze-colored eyes. mentally will the angel to turn and spread its wings. visualize the angel nod its feathered head in acknowledgement, then turn away from the circle and spread its white wings so that they fill the entire 286 moving exercises region of the west like a vast curtain of translucent light. the head and body of the angel vanish behind its wings, but through them you can see the dist

t to the trump of fire. the trumps of the lunar planets, jupiter and saturn, occupy the left side, and the trumps of the solar planets, venus and mars, the right side. in the center is placed the trump linked with the planet mercury, the planet of balance and union that contains both solar and lunar principles. in the coin method, pennies are used to define the circle because they are composed of bronze, a mixture of copper (metal of venus) and tin (metal ofjupiter. the influence of both these planets is benign-jupiter is known as the greater fortune, and venus as the lesser fortune. twelve is the number of the zodiac, the circular band of stars that surrounds the earth. dimes are used to define the triangle because they signiftr a value of ten, the number of the tetractys, and dimes are c

TYSON DONALD THE POWER OF THE WORD

ald beryl amethyst hyacinth chrysoprase crystal sapphire tribe apostle dan matthias ruben thaddeus judah simon manasseh john asher peter simeon andrew issachar bartholomew benjamin philip naphtali james eld. gad thomas zebulun matthew ephraim james yng. t he order of the twelve apostles of jesus that appears in the table of the banners in appendix e and elsewhere should not be regarded as cast in bronze. the correct ordering of the apostles is in considerable dispute. as is true of the ordering of the tribes of israel in the old testament, they appear in different sequences in various places. the order i have given should be looked upon as a workable compromise. the only certain feature of the apostle sequence is its division into three groups of four apostles, which evidently is intended

WICCA WITCHCRAFT TODAY

g, or even half an hour's burning, was better than weeks of continual torture. in this way the old witch notion became generally believed. it is unlikely that any of these old women were real witches, that is, that they had been initiated into the circle; but doubtless some of them knew many old wives' cures. to go back to a much earlier time, arne runeberg tells us of the grave of a witch of the bronze age found in denmark. among costly swords and gold jewellery this female magician had a bronze bowl containing the following. we add their uses in modern days: 1. the claw of a lynx. used today as medicine and as an amulet. 2. bones of a weasel. weasel's skin is still used as a remedy against all sorts of diseases in animals. 3. vertebrae of snakes. pulverised snake-skin and snake joints ar

skin and snake joints are still used as medicine for sick animals. 4. horses' teeth, torn out and broken in pieces. these are used today, hung round children's necks to make their teeth grow strong. 5. twig of rowan. rowan twigs are used today as charms, etc. 6. charcoal of aspen. charcoal of an aspen tree set on fire by lightning is still a medicine of special force. 7. an iron knife blade and a bronze thread. steel has a great force, especially if it has an edge. 8. two pieces of iron pyrites. every sort of ill-willing is cured by striking fire with pyrites over the patient. 9. a number of pieces of small bone, pebbles and clay. thus it would seem that old ideas continued for a long time. this bronze age witch was evidently an important person, and the cures she used are practically the

ut within the grave itself in actual bone. the isolated heads were found with human thigh-bones crossed under the chins, and one at least of the skeletons had such bones under its chin; this is still to be seen at rushen abbey. on discussing this peculiarity it was said to have been observed in ireland but passed over as being accidental, or having no known significance. with one was also found a bronze figure of the egyptian god osiris; reginald smith of the british museum and sir arthur keith pronounce it to be of early or pre-roman date' mr. cubbon, who excavated them, told me that this figure was found in the grave of the man with thigh-bones under his chin. i have seen this skeleton; the legs are complete and laid out straight, so it was someone else's thighbones which were used. i ha

WICCA MAGICK OCCULT THREE GREEN BOOKS DRUIDISM

ne i bring, like those one knows; twigs of white silver are on it, crystal brows with blossoms. there is a distant isle, around which sea-horses glisten: a fair course against the white-swelling surge, four pillars uphold it. a delight of the eyes, a glorious range, is the plain on which the hosts hold games: coracle contends against chariot in the southern plain of white silver. pillars of white bronze under it glittering through beautiful ages. lovely land throughout the world s age, on which the many blossoms drop. an ancient tree there is with blossoms, on which birds call the canonical hours. tis in harmony it is their wont to call together every hour. splendors of every color glisten throughout the gentle-voiced plains. joy is known, ranked around music, in southern white-silver plai

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