Michael Wynn's Occult Reference Library
THE CHAMBER,THE CHAMBERS

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ABRAMELIN2

rd hath in abomination all that is impure. you shall sleep in this said chamber, and you shall continue therein during the day, there transacting the matters which belong unto your business; and those which you can dispense with, leave alone. you may sleep with your wife in the bed when she is pure and clean; but when she hath her monthly courses you shall not allow her to enter the bed, nor even the chamber. every sabbatheve it is necessary to change the sheets of the bed, and all the linen. every saturday you shall perfume the chamber. and ye shall not allow any dog, cat, or other animal to enter into nor dwell therein; so that they may in no way be able to render it unclean. as regardeth the matrimonial obligation, it is chastity, and the duty that of engendering children; but the whole

stined unto prayer. the terrace and the contiguous lodge where we are to invoke the spirits we should cover with river sand to the depth of two fingers at the least. the altar should be erected in the midst of the oratory; and if any 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 o

ALEISTER CROWLEY LIBER CHANOKH

gh of the language extant to enable a settlement on general principles. ed. read here vooan in invocations of the fallen spirits. the forty-eight keys or calls 22 can the wings of the winds understand your voices of wonder? o you! the second of the first! whom the burning flames have framed in the depths of my jaws! whom i have prepared as cups for a wedding, or as the flowers in their beauty for the chamber of righteousness! stronger are your feet than the barren stone, and mightier are your voices than the manifold winds! for you are become a building such as is not, save in the mind of the all-powerful. arise, saith the first: move thereofre unto his servants! shew yourselves in power, and make me a strong seer-of-things:7 for i am of him that liveth for ever [invokes: the file of spiri

ALEISTER CROWLEY SEPHER SEPHIROTH

ty twdx) 420 it was htyh a large earthenware jar; a barrel, tub, cask tybx vapour, smoke n( peace-offerings myml# glowing stones; burning coals mypcr oppression kt the work h#(mh 421 to meditate ddwbth 422 the vast countenance: a title of kether nypn) kyr) the golden line [that encircleth the world] qwry wq 424 living creatures twyx 425 a lion fs whelp (gn. 40:9) hyr) rwg ggazzith h: the stone of the chamber (see 1175) tyzgh be made, done; become; an accomplished fact h#(n hearing h(ym# 426 saviour; deliverer (y#wm medium kwt 428 chashmalim, brilliant ones: the angelic choir of chesed mylm#x they swore [an oath] w(b#n 429 judgment, equity +p#m madness nw(g# 430 nephesch: the animal soul of man #pn covered with mist; darkness, twilight p#n sections, members [of the body; fragments myqrp the

ALEISTER CROWLEY EQ I 5

that he gives the sign of the rending of the veil, and tears down the vision. and behold! whirling columns of fiery light, seventy-two. upon them is supported a mountain of pure crystal. the mountain is a cone, the angle of the apex being sixty degrees. and within the crystal is a pyramid of ruby, like unto the great pyramid of gizeh. i am entered in by the little door thereof, and i am come into the chamber of the king, which is fashioned like unto the vault of the adepts, or rather it is fitting to say that the vault of the adepts is a vile imitation of it. for there are four sides to the chamber, which with the roof and the floor and the chamber itself makes seven. so also is the pastos seven, 52 for that which is within is like unto that which is without. and there is no furniture, and

niture, and there are no symbols. light streams from every side upon the pastos. this light is that blue of horus which we know, but being refined it is brilliance. for the light of horus only appears blue because of the imperfection of our eyes. but though the light pours from the pastos, yet the pastos remains perfectly dark, so that it is invisible. it hath no form: only, at a certain point in the chamber, the light is beaten back. i lie prostate upon the ground before this mystery. its splendour is impossible to describe. i can only say that its splendour is so great that my heart stops with the terror and the wonder and the rapture of it. i am almost mad. a million insane images chase each other through my brain. a voice comes (it is my own voice- i did not know it "when thou shalt kn

garments, who makes me partake of the sacraments; bread, that is labour; and fire, that is wit; and a rose, that is sin; and wine, that is death. and all about us is a great company of angels in many-coloured robes, rose and spring-green, and sky-blue, and pale gold, and silver, and lilac, solemnly chanting without words. it is music wonderful beyond all that can be thought. and now we go out of the chamber; on the right is a pylon, and the right figure is isis, and the left figure 53 nephthys, and they are folding their wings over, and supporting ra. i wanted to go back to the king's chamber. the angel pushed me away, saying "thou shalt see these visions from afar off, but thou shalt not partake of them save in the manner prescribed. for if thou change so much as the style of a letter, t

the centre thereof he shall have placed a triangle of oak-wood, painted with scarlet, and upon this triangle the three legs of the censor shall stand. moreover, he shall copy his invocation upon a sheet of pure white vellum, with indian ink, and he shall illuminate it according to his fancy and imagination, that shall be informed by beauty. and on the first day of the twelfth week he shall enter the chamber at sunrise, and he shall make his prayer, having first burnt the conjuration that he had made upon the vellum in the fire of the lamp. then, at his prayer, shall the chamber be filled with light insufferable for splendour, and a perfume intolerable for sweetness. and his holy guardian angel shall appear unto him, yea, his holy guardian angel shall appear unto him, so that he shall be w

ALEISTER CROWLEY EQUINOX EQ I 1 2

perfume and the vision are yet formulated, though insensibly, about me. and thus shall end the third day of my retirement."the fourth day" 12.15. so therefore begins the fourth day of this my great magical retirement; i bleed from the slashes of the 32 magick knife; i smart from the heat of the holy oil; i am bruised by the scourge of osiris that hath so cruelly smitten me; the perfume yet fills the chamber of art; and i? oh adonai my lord, surely i did invoke thee with fervour; yet thou camest not utterly to the tryst. and yet i know that thou wast there; and it may be that the morning may being rememberance of thee which this consciousness does not now contain. but i swear by thine own glory that i will not be satisfied with this, that i will go on even unto madness and death if it be t

though nobody else will guess it for fifty years yet. the travel, too, has been rubbish. it's been a petty, peddling year. the one absolute indication is: on no account live otherwise than alone. but it is 10.35; these considerations, though in a way pertaining to the work, are not the work itself. let me "begin to inflame myself in praying!"the twelfth day" 12.17. when therefore i had made ready the chamber, so that all was dark, save for the lamp upon the altar, i 132 began as recorded above, to inflame myself in praying, calling upon my lord; and i burned in the lamp that pantacle which i had made of him, renouncing the images, destroying the images, that himself might arise in me. and the chamber was filled with that wondrous glow of ultra- violet light self-luminous, without a source

ALEISTER CROWLEY EQUINOX EQ I 3 2

and a sword; and in his left hand the magical candle; and a black chain about his neck. the magus of the fires shall wear a white robe and yellow sash; and the rose upon his breast; in his right hand is a sword and in his left a red lamp. the magus of the waters shall wear a white robe and yellow sash and rose cross: he shall bear in his right hand a sword and in his left a cup of water "opening" the chamber of art shall be duly prepared by the assistant magus of art as aforementioned. 172 he shall draw upon the ground the lineal figures; and shall trace over them with a magic sword: he shall place the furniture of the temple in order. the members shall be assembled and robed. the chief magus rises, holding the ibis wand by its black end, and proclaims "hekas, hekas este bebeloi!"3 fratres

e also formulating the first beginnings of that light""the third vibration" all face east to salute the rising sun. the door is opened wide, since the great work is formulated, and the three adepti formulate by their position the triangle of the supernals, as if it descended from the roof of the vault. then by joining their wands and ankhs they formulate the pyramid (is not this vault of abiegnus the chamber of the king in the great pyramid of cheops_ the most stable of forms, the three showing forth the four, since the triangles form a tetrahedron18. for hb:nun-final hb:mem hb:aleph occultly spelleth 741= hb:shin hb:taw hb:mem hb:aleph. also the pyramid= 4 x 3= 12 hva. thus also each hath 3 letters of 3 words, but all together seal each 3 within a fourth, the synthesis of the 3. note also

nvocation, confession and prayer is to be repeated. 241 during this first period the points to be observed are (1) that both the bed-chamber and oratory are to be kept thoroughly clean "your whole attention must be given to purity in all things (2) that "you may sleep with your wife in the bed when she is pure and clean" not otherwise (3) every saturday the sheets of the bed are to be changed and the chamber is to be perfumed (4) no animal is to enter or dwell in the house (5 "if you be your own master, as far as lieth in your power, free yourself from all your business, and quit all mundane and vain company and conversation; leading a life tranquil, solitary and honest (6 "take well heed in treating of business, in selling or buying, that it shall be requisite that you never give way unto

ALICE A BAILEY08 A TREATISE ON WHITE MAGIC

s body as he falls asleep, has an advantage over the man who never pays any attention to the process. in relation to the technique of dying it is only possible for me at this time to make one or two suggestions. i deal not here with the attitude of the attendant watchers, i deal only with those points which will make for an easier passing over of the transient soul. first, let there be silence in the chamber. this is, of course, frequently the case. it must be remembered that the dying person may usually be unconscious. this unconsciousness is apparent but not real. in nine hundred cases out of a thousand the brain awareness is there, with a full consciousness of happenings, but there is a complete paralysis of the will to express and complete inability to generate the energy which will in

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

chieving son of god. this is the great masonic secret, and the central mystery of the sublime or third degree in masonry. it is sometimes occultly referred to as "the relation of death to the five life-giving energies seen working upon the third day of revelation- 167- a treatise on the seven rays- volume i: esoteric psychology i copyright 1998 lucis trust or, speaking still more symbolically "in the chamber of death, the blue light of dawning day reveals the group of workers who seek to raise the dead. naught avail their efforts until they blend the five great forces of the lord of magic. when thus they work as one, in unity complete the work is done they fuse the life-giving force; the dead are raised, and the work of building can proceed. the temple can be glorified and the word be utte

ALICE A BAILEY10 FROM BETHLEHEM TO CALVARY

iris bear a close resemblance to the christian teaching, and that after the resurrection of osiris his friends rejoice together, saying "we have found him" annie besant points out in an illuminating passage that "in the christian mysteries as in the ancient egyptian, chaldean, and others there was an outer symbolism which expressed the stages through which the man was passing. he was brought into the chamber of initiation, and was stretched on the ground with his arms extended, sometimes on a cross of wood, sometimes merely on the stone floor, in the posture of a crucified man. he was then touched with the thyrsus on the heart the `spear' of the crucifixion and, leaving the body, he passed into the worlds beyond, the body falling into a deep trance, the death of the crucified. the body was

ALICE A BAILEY11 A TREATISE ON THE SEVEN RAYS VOLUME II ESOTERIC PSYCHOLOGY II

g on the summit of the pyramid, dropped from the blue of heaven, a key came down. it landed at the feet of the discouraged worker. the key was of pure gold; the shaft of light; upon the key a label, and writ in blue, these words 'destroy that which thou has built and build anew. but only build when thou has climbed the upward way, traversed the gallery of tribulation and entered into light within the chamber of the king. build from the heights, and thus shew forth the value of the depths' the worker then destroyed the objects of his previous toil, sparing three treasures which he knew were good, and upon which the light could shine. he struggled towards the chamber of the king. and still he struggles- 105- a treatise on the seven rays- volume ii: esoteric psychology ii copyright 1998 lucis

ALICE A BAILEY20 A TREATISE ON THE SEVEN RAYS VOLUME IV ESOTERIC HEALING

page 500- 270- a treatise on the seven rays- volume iv: esoteric healing copyright 1998 lucis trust in relation to the technique of dying, it is only possible for me at this time to make one or two suggestions. i deal not here with the attitude of the attendant watchers, i deal only with those points which will make for an easier passing over of the transient soul. first, let there be silence in the chamber. this is, of course, frequently the case. it must be remembered that the dying person may usually be unconscious. this unconsciousness is apparent but not real. in nine hundred cases out of a thousand the brain awareness is there, with a full consciousness of happenings, but there is a complete paralysis of the will to express and complete inability to generate the energy which will in

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

5. 49 the g nkhang (mgon khang) is the chapel found within most monasteries that houses the statues of the protector deities. 32 samye on his way from lhasa to tsetang (rtse thang).50 according to popular belief this chamber is supposed to be the place where tsi u dmar po sits in judgement of the souls of men, an activity assigned otherwise by orthodox traditions to yama, the ruler of the hells. the chamber is said to have only one extremely narrow window, and legends claim that through this fissure the souls of the dead have to squeeze through at night-time, in order to appear before tsi u dmar po. as some of them find it rather difficult to pass, one is able as the legend tells to see around this window numerous scratches which these unfortunate spirits had caused by their nails. some p

t through this fissure the souls of the dead have to squeeze through at night-time, in order to appear before tsi u dmar po. as some of them find it rather difficult to pass, one is able as the legend tells to see around this window numerous scratches which these unfortunate spirits had caused by their nails. some people even allege that a strong smell of blood comes out of this window, as inside the chamber, after the judgement had been pronounced, the souls are cut to pieces by the acolytes of tsi u mar po. a wooden chopping-block is kept to this purpose in this chamber, and some of my tibetan informants who had stayed at samye claimed that at night they could hear the sound of thuds coming from within the room. monks of this monastery also allege that annually a new chopping-block has t

BLAVATSKY H P ANTHROPOGENESIS

and bound to the cross. in the ritual, the osirian cries 'the apophis is overthrown, their cords bind the south, north, east, and west, their cords are on him. har-ru-bah has knotted him* these were the cords of the four quarters, or the cross. thor is said to smite the head of the serpent with his hammer. a form of swastica or four-footed cross. in the primitive sepulchres of egypt the model of the chamber had the form of a cross* the pagoda of mathura. the birth-place of krishna, was built in the form of a cross* this is perfect and no one can discern in this "sexual worship" with which the orientalists love to break the head of paganism. but how about the jews, and the exoteric religions of some hindu sects, especially the rites of the vallabacharyas? for, as said, the lingham and yoni

BLAVATSKY H P COSMOGENESIS

ysteries of osiris (we had never heard of that writer. and now, six or seven years later, this is what mr. staniland wake writes on p. 93 of his paper, on "the origin and significance of the great pyramid "the so-called king's chamber, of which an enthusiastic pyramidist says 'the polished walls, fine materials, grand proportions, and exalted place, eloquently tell of glories yet to come- if not, the chamber of perfections of cheops' tomb, was probably the place to which the initiant was admitted after he had passed through the narrow upward passage and the grand gallery, with its lowly termination, which gradually prepared him for the[[footnote continued on next page[[vol. 1, page] 318 the secret doctrine "farrago of absurd fiction and superstitions" as the brahminical literature is gener

ion of the bell kept up continuously for a few millions of centuries it would[[footnote(s* this also is the division, made by the occultists, under other names* quite so, since there is the seventh beyond, which begins the same enumeration, from the first to the last, on another and higher plane[[vol. 1, page] 565 the secrets of sound and odour. thoroughly return to its primitive element; and, if the chamber were hermetically sealed, and strong enough, the vacuous volume surrounding the bell would be brought to a pressure of many thousands of pounds to the square inch, by the tenuous substance evolved. in my estimation, sound truly defined is the disturbance of atomic equilibrium, rupturing actual atomic corpuscles; and the substance thus liberated must certainly be a certain order of ethe

BLUE EQUINOX

fondled me their little brother; they decked me out as a bride; the mounted me for thy bridal chamber. 32. they fled away at thy coming; i was alone before thee. 33. i trembled at thy coming, o my god, for thy messenger was more terrible than the death-star. 34. on the threshold stood the fulminant figure of evil, the horror of emptiness, with his ghastly eyes like poisonous wells. he stood, and the chamber was corrupt; the air stank. he was an old and gnarled fish more hideous than the shells of abaddon. 35. he enveloped me with his demon tentacles; yea, the eight fears took hold upon me. 36. but i was anointed with the right sweet oil of the magister; i slipped from the embrace as a stone from the sling of a boy of the woodlands. 37. i was smooth and hard as ivory; the horror gat no hol

re heresy of separateness that weans thee from the rest. this verse reads at first as if the heresy were still possible in the hall of wisdom, but this is not as it seems. the disciple is urged to find out his ego and slay it even in the beginning. 36. let not thy .heaven-born. merged in the sea of m y, break from the universal parent (soul, but let the fiery power retire into the inmost chamber, the chamber of the heart, and the abode of the world.s mother. this develops verse 35. the heaven-born is the human consciousness. the chamber of the heart is the anahata lotus. the abode of the world.s mother is the muladhara lotus. but there is a more technical meaning yet.and this whole verse describes a particular method of meditation, a final method, which is far too difflcult for the beginne

louds of matter. the holy guardian angel is already aspiring to union with the disciple, even before his aspiration is formulated in the latter. 72. now here, now there, these rays illumine it, like sunsparks light the earth through the thick foliage of jungle growth. but, o disciple, unless the flesh is passive, head cool, the soul as firm and pure as flaming diamond, the radiance will not reach the chamber, its sunlight will not warm the heart, nor will the mystic sounds of akashic heights reach the ear, however eager, at the initial stage. the uniting of the disciple with his angel depends upon the former. the latter is always at hand .akashic heights..the dwelling-place of nuith. 73. unless thou hearest, thou canst not see. unless thou seest, thou canst not hear. to hear and see this i

BUDGE E

ne. click to view thath-neteru. hetchefu. isis-thaith. ka-hemhemet. 15. the god hetchefu. 16. the god thath-neteru, in mummied form, holding a sceptre in one hand and a knife in the other. 17. a chamber, with an opening under the roof, through which a snake, which stands on its tail outside it, belches fire; under a vaulted covering is an "image" of ra, in the form of the hind-quarters of a lion. the chamber is called het-tuau-ra. p. 130 18. a similar chamber, with an "image" of ra in the form of a hawk's wing; the name of the chamber is het-stau-kher-aha. 19. a similar chamber, with an "image" of ra in the form of a human head; the name of the chamber is het-temtet-ra. the texts read: click to view (left) het-temtet-ra (center) het-stau-kher-aha (right) het-tuau-ra. p. 131 in the lower re

orus made. this great god crieth out to them after he hath arrived at the place where they are, and they come to life and they hear [his] voice. their work in the tuat is to raise the praises of osiris, and to embrace the hidden soul by means of their words and to bring life and strength to the risings of the god of the tuat [in whatsoever regions they are, and they utter words on [his behalf] in the chamber each day" p. 199 click to view perit. shemat-khu. nebt-shat. nebt-shefsheft. click to view aat-aatet. nebt-setau. hent-nut-s. nebt-mat. click to view tesert-ant. aat-khu. sekhet-metu. netert-en-khentet-ra. p. 200 in the lower register are- 1. twelve uraei, which are mounted each on its instrument for weaving, and each pours forth fire from its mouth; their names are- 1. 2. tekait. 3. 4

CHYMICAL WEDDING OF CHRISTIAN ROSENKREUTZ

hey were already in procession. my page jumped out of the bed as if he had been at his wit s end, and looked more like one dead than living. in what state i was then is easily imaginable, for he said, the rest are already presented to the king. i did not know what else to do but weep outright and curse my own slothfulness; yet i dressed myself, but my page was ready long before me, and ran out of the chamber to see how affairs might yet stand. but he soon returned, and brought with him this joyful news, that indeed the time was not yet, but i had only overslept my breakfast, they being unwilling to awaken me because of my age. but now it was time for me to go with him to the fountain where most of them were assembled. with this consolation my spirit returned again, so i was soon ready with

CONCERNING THE CEREMONY OF THE CONSECRATING THE VAULT

is that we measure. the center point of the l rather than the equator. thus, we see in the qabalistic cross the symbology of the sun and its' life giving rays passing over the l. this is osiris/christ energy united in unison through the qabalistic cross. let us be aware always that no banishings can be done in the vault. in addition, no invoking pentagrams or hexagrams can be made directly inside the chamber of the vault. thus, the altar must be re-charged outside the confines of the vault. next, four knocks are given with the words vibrated tkrp. this spells the word paroketh. paroketh is the veil of the vault of tiphareth and the hidden tabernacle. here, we begin to see our ancient light with our more ancient fraters and sorors as well as our rosicrucian link. the third adept is asked "w

DAVID ICKE AND THE TRUTH SHALL SET YOU FREE

a say that their pyramidal towers known as ziggurats were built for intercourse between a priestess and a god from the sky. herodotus described the inside of a ziggurat he saw in babylon "on the topmost tower there is a spacious temple, and inside the temple stands a great bed covered with fine bedclothes with a golden table at its side. there is no statue of any kind set up in this place, nor is the chamber occupied at night by any but a single native woman who, say the chaldean priests, is chosen by the deity out of all the women of the land. the priests also declare, but i for one do not credit it, that the god comes down in person into this chamber, and sleeps upon the couch."10 on a tomb found in rome and dated between the first and fourth centuries ad the inscription read "i am a son

DAVID ICKE CHILDREN OF THE MATRIX

ven the colours used in the irish book of kells and book of durrow are from middle eastern insects and plants. the famous ancient mound at newgrange, north of dublin, has a narrow passageway of some 62 feet that perfectly aligns with the sun as it rises on the winter solstice. it is so precise that at the solstice sunrise, its golden light shines directly through this narrow passage to illuminate the chamber deep in the centre of the mound. again the present dating of newgrange and other ancient irish standing stones and earthworks fits the period when the sumerian empire arrived and the duel spiral images found at newgrange are identical to those found at other centres of the sumer/lemurian/atlantean empires, like malta. the entrances to many other great structures within that empire are

DAVID ICKE THE BIGGEST SECRET

ng is mirrored by the gamecalled takourt in morocco. irish ritual was, like all the cultures inspired by thephoenician-aryans, focused on the sun. the earth mound at newgrange in ireland hasa narrow passageway of some 62 feet which is perfectly aligned with the sun as it riseson december 2lst/22nd, the winter solstice. so much so that the golden sunlight fillsand illuminates the whole passage and the chamber at the centre. the entrance tostructures in the mediterranean, particularly the one at the palace of minos in crete, arethe same. the distinctive round towers of ireland are, according to some orientalists,of phoenician origin.43 again all this fits perfectly into the story i am revealing here.the phoenicians came from the middle and near east, one of the global centres for theanunnaki

iggering me by using the same wordsthat always preceded a most dangerous game.clinton interrupted: you run. we hunt.bush continued: this will be called hunt for a virgin(clinton chuckled) and shes it. hepointed to kelly who was still in my arms. i catch you, shes mine.clinton spoke up: youll have plenty of time to play with the dogs because theyll have youpinned down while we (he slid a bullet in the chamber for emphasis..hunt down thebigger game. clinton glared at the toy soldier with the waxy face. t oy soldier was a term ioften heard referring to the mind-controlled robotic special forces young men whooperated under the new world order.the two guys ran for the woods. carrying kelly i began running, too. judging from theclose proximity of the dogs barks, i had not gone far when they were

he scholars met to translate theking james authorised version of the bible under the overall supervision of sirfrancis bacon and robert fludd, the grand master of the priory of sion.1 the britishroyal family still hold the copyright for this! the jerusalem chamber is panelled withcedar wood brought from the lebanon because that was the wood said to be used tobuild solomons temple. the tapestry in the chamber depicts the judgement ofsolomon. westminster abbey, the christian cathedral, is in fact a pagan temple. eventhe floor is made of black and white squares like a freemasonic temple.at the start of the ceremony in 1953, the queen sat on the coronation chair andunder her bum was the stone of destiny which edward i had stolen from scone(pronounced scoon) abbey in scotland in 1246. the stone

DAVIDSON DAN SHAPE POWER

nts and trees tend to have branches and leaf growth which are natural spirals. the wellknown chambered nautilus shell grows in a phi spiral. my first book2 relates some research done on understanding how the human ear hears and the mechanisms involved. the inner ear has a spiral shaped chamber, the cochlea. the cochlea is lined with tiny hairs. research by fletcher3 at bell laboratory showed that the chamber acted as a resonance tube and equal distances along the spiral were harmonically related (see figure 5.3.2-1. if we relate this to the phenomena of phylotaxis it may well be that the tree or plant is a resonant structure with specific frequencies as part of its energy patterns. these frequencies and their harmonics would resonate along the length of the plant and its limbs in a natural

lities of sonatech, inc, using modern, sophisticated, acoustic analysis computer programs. this is possible, since the exact measurements of the king's chamber, as well as all other metrics of the great pyramid, are well documented. using computer modeling, he found that the king's chamber resonated at 46.0, 92.0, 137.9, 183.9, and 229.9 hertz. this shows there are several resonant frequencies of the chamber. the only problem with this analysis is that the coffer on the floor of the king's chamber changes the resonant properties of the chamber. what these frequencies do is bracket the range of analysis of the exact frequency (i.e, from 46.0 hertz to 239 hertz. 9.3.2 finding the pyramid forcefield frequency to find the exact frequency, joe stimulated the gravity wheel experiment with acoust

DEMONIC BIBLE

am leviatan, i am the devil incarnate he drinks from the chalice. 9. high priest sprinkles unholy water to the south, the east, the north, and the west while saying, i have crossed the gates of hell and have become the devil incarnate; i am satan, i am lucifer, i am belial, and i am leviatan. 10. high priest strikes the gong three times, signaling the congregation to enter. 11. participants enter the chamber in a procession and take their places by rank. 12. there is a moment of silent meditation. 13. high priest breaks the silence by reciting the preliminary statement. 14. congregation repeats each line of the preliminary statement after the high priest. 15. high priest recites the invocation three times. 16. high priest and high priestess recite the invocation three times. 17. entire con

three times. 18. high priest repeats the invocation one last time, calling the particular spirit or spirits invoked into his body. 19. by rank, participants approach the altar and drink from the chalice. 20. high priest reads any requests to the forces of darkness and burns them. 21. high priest presents to the forces of darkness any gifts which have been brought. 22. new members are brought into the chamber and initiated at this time. 23. other activities may be carried out within the ritual chamber, then 24. the gong is struck three times signaling the participants that they may leave. 25. when all have left, the high priest and high priestess complete the sexual ritual. 26. high priest rings the bell nine times, and then extinguishes the candles. 27. high priest and high priestess leave

anu tarofe coresa tage o-quo maninu ia-i-don. torezodu! gohe-el, zodacare eca cano- quoda! zodameranu micalazodo od ozadazodame vaurelar; lape zodir ioiad (dee) can the wings of the winds understand your voices of wonder? o you the second of the first, whom the burning flames have framed within the depths of my jaws, whom i have prepared as cups for a wedding or as the flowers in their beauty for the chamber of righteousness. stronger are your feet then the barren stone, and mightier are your voices than the manifold winds. for you are become a building such as is not but in the mind of the all powerful. arise sayeth the first. move therefore unto his servants. show yourselves in power and make me a strong seer-of-things, for i am of him that liveth forever (lavey) can the wings of the win

EGYPTIAN BOOK OF THE DEAD PAPYRUS OF ANI MALESTROM

mu as assisting at the birth of children [1. recueil de travaux, t. iii, p. 182 (l. 17. 2, etc. ibid, t. vii, p. 170 (l. 463. 3. see maspero, romans et po sies du papyrus harris, no. 500, paris, 1879, p. 27. 4 pyramid of unas, l. 564] p. cxxvi disguised in female forms, the four goddesses go to the house of ra-user, and, professing to have a knowledge of the art of midwifery, they are admitted to the chamber where the child is about to be born; isis stands before the woman, nephthys behind her, and heqet accelerates the birth. when the child is born meskhenet comes and looking upon him says "a king; he shall rule throughout this land. may khnemu give health and strength to his body"[1] the word meskhenet is as old as the pyramid times, and seems then to have had the meaning of luck, destin

EMPERORS NEW RELIGION CHURCH OF SATAN

ior is inherently satanic. 3. three recipes for magic focusing on aggression, lust, and compassion. the magic in the third section obviously appeals to people that enjoy magic settings, but the church of satan accepts that some followers do not feel so inclined. the church of satan states that belief in literal demons is permitted within the confines of the ritual chamber and abandoned outside of the chamber. presumably this argument also holds in rituals such as the satanic baptism [15, p. 212] which directly refers to the literal satan. it is a valid argument, but the dual acceptance of belief and non-belief is also an effective tool for appealing to such strongly diverging groups of people as theists and atheists simultaneously. 4. a listing of eighteen enochian keys. ironically, this s

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 1

ing against the wall, her flesh as pale as marble, her eyeballs turned up beneath the lids, her forehead covered with a deathlike dampness, no breath coming from the lungs, and no pulse at her wrist. when every person had examined the threads and seals, i cut the flimsy bonds with a pair of scissors and, lifting the chair by its back and seat, carried the cataleptic woman out into the open air of the chamber. she lay thus inanimate for eighteen minutes, life gradually coming back to her body, until respiration and pulse and the temperature of her skin became normal. given the present perspective on such materialization occurrences and olcott s own incompetence as an investigator, in spite of the presence of 11 other people at the seance, there was every reason to believe that he had simply

phy (1909. desmond, gerald (d. 1583) sixteenth earl of desmond, in ireland, who was killed in 1583. he had some reputation as a magician and was known as the great earl. many curious stories have been told about him. he lived in a castle on a small island in lough gur, and there he took his young bride, to whom he was so passionately attached that he could deny her nothing. seeking him one day in the chamber where he worked his magic spells, she demanded to know the secret of the black cat. in vain he told her of the terrible things she must witness. she would not be dissuaded, so he warned her solemnly that if she uttered a word the castle would sink to the bottom of lough gur. then he set to work with his magic spells. terrible indeed were the sights she beheld, but she stood firm and ut

children s bed, and seemed to be against the ticking. it was as loud a scratching as one with long nails could make upon a bolster. there were two little modest girls in the bed, between seven and eight years old, as i guessed. i saw their hands out of the clothes, and they could not contribute to the noise that was behind their heads; they had been used to it, and had still somebody or other in the chamber with them, and therefore seemed not to be much affrighted. i, standing at the bed s head, thrust my hand behind the bolster, directing it to the place whence the noise seemed to come, whereupon the noise ceased there, and was heard in another part of the bed; but when i had taken out my hand it returned, and was heard in the same place as before. i had been told it would imitate noises

ring eyes, and repeatedly making the sign of the cross, he in his turn affrighted the pretended demon, who was at a loss to understand the magistrate s perturbation. recovering from the embarrassment he made himself known, and proved to be a chimney sweeper who, after having swept the chimney of the messieurs des comptes, whose chimneys joined those of the tournelle, had by mistake descended into the chamber of the parliament (for further details, see entry on louis gaufridi, the name by which the notorious priest is better known) goethe, johann wolfgang von (1749.1832) probably the most celebrated of all german writers. goethe had strong interest in mysticism and occult subjects. he was born at frankfurt-on-main, august 28, 1749. his father was a lawyer of some eminence. at an early age t

l-favoured blacke cloud with a mighty terrible noise, flame, smoke, and stinke, which presently fell into the sea. and suddenlie thereupon the tempest ceased, and the ship passing in great quiet the residue of her journey, arrived in saftie at the place whither she was bound (chronicles, vol. 5, p. 146, 1808 ed. in another case related by the same author, the incubus did not depart so quietly. in the chamber of a young gentlewoman who was the daughter of a nobleman in the country of mar there was found a foule monstrous thing, verie horrible to behold. for the love of this deformed, nevertheless, the lady had refused sundry wealthy marriages. a priest who was in the company began to repeat st. john s gospel, and suddenlie the wicked spirit, making a verie sore and terrible roaring noise, f

who was the daughter of a nobleman in the country of mar there was found a foule monstrous thing, verie horrible to behold. for the love of this deformed, nevertheless, the lady had refused sundry wealthy marriages. a priest who was in the company began to repeat st. john s gospel, and suddenlie the wicked spirit, making a verie sore and terrible roaring noise, flue his waies, taking the roofe of the chamber awaie with him, the hangings and coverings of the bed being also burnt therewith. jean bodin, author of demonomaie (1580) cites the case of joan hervilleria, who at age 12 was solemnly betrothed to beelzebub by her mother, who was afterward burned alive for contriving this clandestine marriage. according to the story, the bridegroom was respectably attired and the marriage oath simple

heads. domic de jesus-marie was raised up to the ceiling of his cell and remained there without earthly support for a day and night. a skeptic who seized the floating body by the feet was on another occasion borne on high. frightened, he let go and fell to the earth. in the days of the salem witchcraft persecutions (see america, the tormentors of margaret rule once pulled her up to the ceiling of the chamber, and held her there before a numerous company of spectators who found it as much as they could do to pull her down again. in seance and table-tipping experiences, the power that effects levitation is often short-circuited as soon as the chain of hands is broken, the gaze of the sitters is too intense, the light is switched on, or the levitated body is touched. levitation encyclopedia o

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 2

rnal of george fox, the quaker founder: at mansfield, where was a great meeting, i was moved to pray, and the lord s power was so great that the house seemed to be shaken. when i had done, some of the professors said, it was now as in the days of the apostles, when the house was shaken where they were. the levitation of john lacy, as described in warnings of the eternal spirit (part 2, 1707, made the chamber shake. the wesley family, during physical manifestations known collectively as the epworth phenomena, heard vast rumblings and clattering of doors and shutters. felicia scatcherd writes of a seance with etta wriedt in light (august 3, 1912: we all felt the floor, walls and windows vibrating. i have twice experienced earthquake shocks in the ionian islands. the sensation was similar. in

e. this must be the day of the evocation, and we must prepare for it during the space of two weeks. throughout the period we must refrain from extending to anyone the same proofs of affection which we have the right to expect from the dead; we must observe strict chastity, live in retreat, and take only one modest and light collation daily. every evening at the same hour we must shut ourselves in the chamber consecrated to the memory of the lamented person, using only one small light, such as that of a funeral lamp or taper. this light should be placed behind us, the portrait should be uncovered and we should remain before it for an hour, in silence; finally, we should fumigate the apartment with a little good incense, and go out backwards. on the morning of the day fixed for the evocation

f for a festival, not salute anyone first, make but a single repast of bread, wine, and roots, or fruits. the cloth should be white, two covers should be laid, and necromancy encyclopedia of occultism& parapsychology. 5th ed. 1096 one portion of the broken bread should be set aside; a little wine should also be placed in the glass of the person we design to invoke. the meal must be eaten alone in the chamber of evocations, and in presence of the veiled portrait; it must be all cleared away at the end, except the glass belonging to the dead person, and his portion of bread, which must be placed before the portrait. in the evening, at the hour for the regular visit, we must repair in silence to the chamber, light a clear fire of cypress- wood, and cast incense seven times thereon, pronouncin

day, did continue it for a week with divers degrees of fire. but about midnight, the friday following, this artificer, lying in a chamber next to his laboratory, betwixt sleeping and waking, heard a horrible noise, like unto the lowing of kine, or the roaring of a lion; and continuing quiet, after the ceasing of the sound in the laboratory, the moon being at the full, and, by shining enlightening the chamber suddenly, betwixt himself and the window he saw a thick little cloud, condensed into an oval form, which, after, by little and little, did seem completely to put on the shape of a man, and making another and a sharp clamour, did suddenly vanish. and not only some noble persons in the next chambers, but also the host with his wife, lying in a lower room of the house, and also the neighb

popularly known as solomon s stables. a small doorway, under a little dome at the south-east corner, admits by a flight of steps to a small chamber known as the mosque of the cradle of our lord, from the existence of a hollowed stone which somewhat resembles a cradle, and a tradition that the virgin mary remained in this chamber for some time after her purification in the temple. passing through the chamber, the spacious vaults, which extend over an acre of ground, are reached. these subterranean substructures consist of one hundred square piers arranged in fifteen rows, each pier being five feet wide and composed of large marginal drafted stones, placed singly over each other. the rows are connected by semicircular arches, the intercolumniations of which range from ten to twenty-three fe

GNOSTIC HANDBOOK

h and later the priesthood had a special significance in relation to the unfolding of the great year. the egyptian star gnosis and the rite of rebirth the central focus of egyptian ritualism was the great pyramid, it was connected to the sphinx and operated as a initiatory structure. the pyramid was identified with the sanctuary of the sun and embodied ra, the solar logos. the rites undertaken in the chamber of the king and queen were rites of rebirth whereby the pharaoh became identified with the solar sphere. he mediated the energies of the logos and hence accelerated the positive current and sublimated or transformed the negative. the sun like the planets and zodiac was a doorway between the spiritual and physical worlds and hence emanated forces from the pleroma and from the worlds of

GOETIA LUCIFERIAN

lled practice to achieve contact with this higher self. it is used to also clear the mind and focus the self on the work of which you will undertake. 14 the body of light is brought forth not through dreaming, but the waking plane/conscious mind. find a comfortable place to meditate, decorated in such which would represent the higher self/daimon. anoint the neck and arms in abramelin oil and have the chamber lit with natural light if possible allowing the sun to enter the chamber. remember, the point is to reach the empyrean or celestial realms of the aethyr, the higher consciousness of self. while quietly meditating, envision the astral body growing, of which a great fire and light is rising above the physical body, envision and eye within this fire. raise yourself up in through the aethy

4. contact the spirit before sleep to ensure a detailed communication if you dare. seeking first communicationonce the spirit has been properly bound to the vessel, you may wish to communicate or experience the visions it may send you. keep in mind, all of these visions may not be pleasant and if your will is weak you have the danger of becoming obsessed with the force. place the circle again in the chamber in the triangle if you have made a doll or effigy to hold the spirit, place the doll in the triangle this is the very meeting place of spirits. burn the incense and very few candles should be lit. the ambience of the chamber should be suitable for bringing their world into ours. ritual evocation with the black mirror spirit n. i do rouse thee from the vessel, tomb of darkness. i summon

the spirit and end the rite. if you sleep shortly afterwards, keep a journal next to you to observe the images which you may see. sexual evocation the triangle is the very meeting places of spirit and sorcerer, thus is the channeling point of summoning. place the vessel, doll or pot of which the spirit is bound along with a copy of the sigil for focus in the evocation circle (triangle. illuminate the chamber in low light, incense and that which is pleasant to both the magician and the spirit. visualize the spirit growing within the vessel as you silently summon it begin arousing yourself with the enchantments of your own imagination. understand this spirit is formed from you, something of a familiar and spirit you have given life to. focus on the desire of which caused you to evoke the spi

GOLDEN DAWN RITUALS K

the altar are the cross, cup, dagger, and chain as usual, as well as the crossed scourge and crook. the incense burner is also placed over letter shin. water is placed in the cup) chief adept "associate adeptus minor, see that the portal of the vault is closed and guarded (done) chief adept (advances to the altar, and lifts his wand on high "hekas hekas este bebeloi! associate adeptus minor, let the chamber be purified by the lesser banishing ritual of the pentagram (chief adept returns to place. third adept performs the ritual with the black end of the lotus wand; holds it by the white band afterwards and resumes position) chief adept "mighty adeptus major, let the place be purified by the lesser banishing ritual of the hexagram (second adept performs this with black end of wand, holding

be purified by the lesser banishing ritual of the hexagram (second adept performs this with black end of wand, holding it by the white band. on completing the circle in the east, he gives the 5=6 signs, and the analysis of the keyword) chief adept (advances to the altar without his wand, taking the cross from the altar, goes to the south, raises the cross above his head and slowly circumambulates the chamber with sol, repeating "and when, after all the phantoms have vanished, thou shalt see that holy and formless fire, that fire which darts and flashes through the hidden depths of the universe, hear thou the voice of fire" chief adept (on reaching the south, he faces south, and makes with the cross the invoking pentagram of fire, saying "oip teaa pedoce. in the names and letters of the gre

GOLDEN DAWN RITUALS T

per of the highest. 7 the second key adgt vpaah zong om faaip sald can the wings of the winds understand your voices of wonder vi-i-v l sobam ial-prg i-za-zaz 0 you the second of the first whom the burning flames have framed pi-adph casarma abramg ta talho within the depth of my jaws: whom i have prepared as cups for a paracleda q ta lorslq turbs ooge wedding or as the flowers in their beauty for the chamber of the baltoh givi chis lusd orri od righteous. stronger are your feet than the barren stone and micalp chis bia ozongon lap mightier are your voices than the manifold winds. for ye are noan trof cors ta ge o q manin become a building such as is not save in the mind of the ia-idon torzu gohe l zacar ca c all-powerful. arise, saith the first. move, therefore, unto noqod zamran micalzo o

GOLDEN DAWN RITUALS T3

per of the highest. the second key adgt vpaah zong om faaip sald can the wings of the winds understand your voices of wonder 7 vi-i-v l sobam ial-prg i-za-zaz 0 you the second of the first whom the burning flames have framed pi-adph casarma abramg ta talho within the depth of my jaws: whom i have prepared as cups for a paracleda q ta lorslq turbs ooge wedding or as the flowers in their beauty for the chamber of the baltoh givi chis lusd orri od righteous. stronger are your feet than the barren stone and micalp chis bia ozongon lap mightier are your voices than the manifold winds. for ye are noan trof cors ta ge o q manin become a building such as is not save in the mind of the ia-idon torzu gohe l zacar ca c all-powerful. arise, saith the first. move, therefore, unto noqod zamran micalzo o

GOLDEN DAWN RITUALS ZAM15

also, may he perish and be blotted out from among us. to obtain real force implanted in any magical weapon by consecration, the adept requires to be healthy, pure, strong in mind, free from anxiety and apart from disturbances. he requires also to have mastered the details of the ceremony and to be familiar with the proper pentagrams and other symbols. the consecration ritual of the sword prepare: the chamber, the central altar draped in black, red cross and white triangle, rose and incense, cup and n, lamp, plate and salt, white robe, sash, consecrated rose cross and lotus wand, new sword, red cloak, hierophant's lamen, an invocation to f and hrwbg. in addition, prepare an astrological figure to show the position of f at the time. in wording and in formulating the invocation to the forces

wand. take up the cup and purify the new sword with n, making the cross upon it. put down the cup. step 15 take up the incense and wave it over the new sword. step 16 take up the new sword, and with it, perform the lesser invoking ritual of the hexagram of f, and also perform the supreme invoking hexagram of f, repeating "atyrara" and "rwbg \yhla" lay down the sword. step 17 with the cup, purify the chamber as before. step 18 with the incense, purify as before. 6 step 19 perform the reverse circumambulation three times and say "in the name of hwchy, i now set free all spirits that may have been imprisoned by this ceremony" step 20 perform with the sword the lesser banishing ritual of the hexagram. step 21 perform the lesser banishing ritual of the pentagram. step 22 conclude with the qaba

GRAHAM HANCOCK FINGERPRINTS OF THE GODS

laces (ed. jennifer westwood, guild publishing, london, 1987, p. 70. 2 the times, london, 4 june 1994. graham hancock fingerprints of the gods 153 when they had done so they entered a narrow corbel-vaulted chamber. spread out on the floor in front of them were the mouldering skeletons of five or possibly six young victims of sacrifice. a huge triangular slab of stone was visible at the far end of the chamber. when it was removed, ruz was confronted by a remarkable tomb. he described it as an enormous room that appeared to be graven in ice, a kind of grotto whose walls and roof seemed to have been planed in perfect surfaces, or an abandoned chapel whose cupola was draped with curtains of stalactites, and from whose floor arose thick stalagmites like the dripping of a candle. 3 the room, als

posedly, were the remains of pacal, a ruler of palenque in the seventh century ad. the inscriptions stated that this monarch had been eighty years old at the time of his death, but the jade-draped skeleton the archaeologists found in the sarcophagus appeared to belong to a man half that age.4 having reached the bottom of the stairway, some eighty-five feet below the floor of the temple, i crossed the chamber where the sacrificial victims had lain and gazed directly into pacal s tomb. the air was dank, full of mildew and damp-rot, and surprisingly cold. the sarcophagus, set into the floor of the tomb, had a curious shape, flared strikingly at the feet like an ancient egyptian mummy case. these were made of wood and were equipped with wide bases since they were frequently stood upright. but

very top of the magician s pyramid. it consisted of a single corbelvaulted chamber from the ceiling of which large numbers of bats hung suspended. like the birds and the clouds, they were visibly distressed by the sense of a huge storm brewing. in a furry mass they shuffled restlessly upside down, folding and unfolding their small leathery wings. i took a rest on the high platform that surrounded the chamber. from here, looking down, i could see many more crosses. they were everywhere, literally all over this bizarre and ancient structure. i remembered the andean city of tiahuanaco and the crosses that had been carved there, in distant pre-colombian times, on some of the great blocks of stone lying scattered around the building known as puma punku.14 man in snake, the olmec sculpture from

d of us in the desert. khufu. khafre. menkaure. according to all orthodox egyptologists the pyramids had been built as tombs and only as tombs for these three pharaohs. yet there were some obvious difficulties with such assertions. for example, the spacious burial chamber of the khafre pyramid was empty when it was opened in 1818 by the european explorer giovanni belzoni. indeed, more than empty, the chamber was starkly, austerely bare. the polished granite sarcophagus which lay embedded in its floor had also been found empty, with its lid broken into two pieces nearby.2 how was this to be explained? to egyptologists the answer seemed obvious. at some early date, probably not many hundreds of years after khafre s death, tomb robbers must have penetrated the chamber and cleared all its cont

ling and walls consisted of well-fitted granite blocks. more surprisingly, these continued for some distance below ground level. at about seventy feet from the entrance, the corridor levelled off and opened out into a passageway where we could stand up. this led into a small ante-chamber with carved panelling and grooves cut into its walls, apparently to take portcullis slabs. reaching the end of the chamber, we had to crouch again to enter another corridor. bent double, we proceeded south for about forty feet before reaching the first of the three main burial chambers if burial chambers they were. these sombre, soundless rooms were all hewn out of solid bedrock. the one that we stood in was rectangular in plan and oriented east to west. measuring about 30 feet long x 15 wide x 15 high, it

onoliths was of a perfect barrel vault, much as one might expect to find in the crypt of a romanesque cathedral. retracing our steps, we left the lower chambers and walked back up the ramp to the large, flat-roofed, rock-hewn room above. passing through the ragged aperture in its western wall, we found ourselves looking directly at the upper sides of the eighteen slabs which formed the ceiling of the chamber below. from this perspective their true form as a pointed gable was immediately apparent. what was less clear was how they had been brought in here in the first place, let alone laid so perfectly in position. each one must have weighed many tons, heavy enough to have made them extremely difficult to handle under any circumstances. and these were no ordinary circumstances. as though the

dequate working area between the slabs and the bedrock above them. by crawling into the cavity, i was able to establish that the clearance varied from approximately two feet at the southern end to just a few inches at the northern end. in such a restricted space there was no possibility that the monoliths could have been lowered into position. logically, therefore, they must have been raised from the chamber floor, but how had that been done? the chamber was so small that only a few men could have worked inside it at any one time too few to have had the muscle-power to lift the slabs by brute force. pulleys were not supposed to have existed in the pyramid age8 (even if they had, there would have been insufficient room to set up block-and-tackle. had some unknown system of levers been used?

er, carved their names on to its walls notably the former circus strongman giovanni battista belzoni (1778-1823) who had forced his way into the 9 see, for example, osiris and the egyptian resurrection, volume ii, p. 180. 10 the pyramids of egypt, p. 117. graham hancock fingerprints of the gods 301 monument in 1818. his huge and flamboyant graffito, daubed in black paint high on the south side of the chamber, was a reminder of basic human nature: the desire that all of us feel to be recognized and remembered. it was clear that khafre himself had been far from immune from this ambition, since repeated references to him (as well as a number of flattering statues) appeared in the surrounding funerary complex.11 if he had indeed built the pyramid as his tomb, it seemed inconceivable that such

into a section made of fine tura limestone, the type normally used for lining sacred areas such as chapels or tombs. that, in itself, was intriguing enough, but at the end of this corridor, apparently leading to a sealed chamber deep within the pyramid s masonry, was a solid limestone door complete with metal fittings. it had long been known that neither this southern shaft nor its counterpart in the chamber s northern wall had any exit on the outside of the great pyramid. in addition, and equally inexplicably, neither had originally been fully cut through. for some reason the builders had left the last five inches of stone intact in the last block over the mouth of each of the shafts, thus rendering them invisible and inaccessible to any 15 the pyramids and temples of gizeh, p. 24. graham

brink and upuaut in later chapters. 16 march 1993, however, knowing nothing of this, i was frustrated to find the queen s chamber closed, and glared resentfully through the metal grille that barred its entrance corridor. i remembered that the height of that corridor, 3 feet 9 inches, was not constant. approximately 110 feet due south from where i stood, and only about 15 feet from the entrance to the chamber, a sudden downward step in the floor increased the standing-room to 5 feet 8 inches.20 nobody had come up with a convincing explanation for this peculiar feature. the queen s chamber itself apparently empty since the day it was built measured 17 feet 2 inches from north to south and 18 feet 10 inches from east to west. it was equipped with an elegant gabled ceiling, 20 feet 5 inches in

o-by-one rectangle measuring 34 feet 4 inches long by 17 feet 2 inches wide. with a floor consisting of 15 massive granite paving stones, and walls composed of 100 gigantic granite blocks, each weighing 70 tons or more and laid in five courses, and with a ceiling spanned by nine further granite blocks each weighing approximately 50 tons,4 the effect was of intense and overwhelming compression. at the chamber s western end was the object which, if the egyptologists were to be believed, the entire great pyramid, had been built to house. that object, carved out of one piece of dark chocolatecoloured granite containing peculiarly hard granules of feldspar, quartz and mica, was the lidless coffer presumed to have been the sarcophagus of khufu.5 its interior measurements were 6 feet 6.6 inches i

y on the gnarled granite edge of the sarcophagus which egyptologists insist had been built to house the body of khufu. i gazed 20 for example, see cyril aldred, egypt to the end of the old kingdom, thames& hudson, london, 1988, p. 25. 21 ibid, p. 57. the relevant artefacts are in the cairo museum. graham hancock fingerprints of the gods 323 into its murky depths where the dim electric lighting of the chamber seemed hardly to penetrate and saw specks of dust swirling in a golden cloud. it was just a trick of light and shadow, of course, but the king s chamber was full of such illusions. i remembered that napoleon bonaparte had paused to spend a night alone here during his conquest of egypt in the late eighteenth century. the next morning he had emerged pale and shaken, having experienced so

ely to be an accident that the southern shaft of the king s chamber targeted the southern heavens at 45. during the pyramid age this was the location for the meridian transit of zeta orionis, the lowest of the three stars of orion s belt25 an alignment, i was to discover in due course, that would turn out to be of the utmost significance for future pyramid research. the game-master now that i had the chamber to myself again, i walked over to the western wall, on the far side of the sarcophagus, and turned to face east. the huge room had an endless capacity to generate indications of mathematical game-playing. for example, its height (19 feet 1 inch) was 23 robert bauval, discussions in egyptology no. 29, 1994. 24 ibid. 25 ibid. see also the orion mystery, p. 172. graham hancock fingerprint

ited a system of measures from unknown predecessors. expressed in these ancient measures, the floor dimensions of the king s chamber (34 ft. 4 x 17 ft. 2) work out at exactly 20 x 10 royal cubits, while the height of the side walls to the ceiling is exactly 11.18 royal cubits. the semi-diagonal of the floor (a-b) is also exactly 11.18 royal cubits and can be swung up to c to confirm the height of the chamber. phi is defined mathematically as the square root of 5+ 1+ 2, i.e. 1.618. is it a coincidence that the distance c-d (i.e. the wall height of the king s chamber plus half the width of its floor) equals 16.18 royal cubits, thus incorporating the essential digits of phi? to understand how it is necessary to envisage the rectangular floor of the chamber as being divided into two imaginary

d from top to bottom with hieroglyphic inscriptions. these were carved with exquisite craftsmanship into the solid limestone and painted over with turquoise and gold. 19 today the hieroglyph-lined chamber beneath the ruined pyramid of unas is still reached through the north face by the long descending passage the french archaeological team excavated soon after the foreman s astonishing discovery. the chamber consists of two rectangular rooms separated by a partition wall, into which is let a low doorway. both rooms are covered by a gabled ceiling painted with myriads of stars. emerging stooped from the cramped passage, santha and i entered the first of the two rooms and passed through the connecting doorway into the second. this was the tomb chamber proper, with the massive black granite s

GRERALD SCHUELER AN ADVANCED GUIDE TO ENOCHIAN MAGICK

h red glass from the ceiling and use it to burn olive oil. beneath the lamp set up your magical altar. on the altar place a copy of the watchtower tablets that you have made yourself, and your magical weapons including a wand made by yourself 247 247 from almond or hazel wood. step 2. hold your talisman of iliatai in your left hand. step 3. hold your magical wand in your right hand and consecrate the chamber or area. invoke the elements with the invoking pentagrams and hexagrams in the order fire, air, water, and then earth. step 4. invoke your holy guardian angel by a suitable prayer that you wrote yourself. step 5. banish the watchtower forces and dear the area with the banishing pentagrams and hexagrams in the order fire, air, water, and then earth. step 6. record the results of each op

GRIMM TEUTONIC MYTHOLOGY VOL 2 1883 COMPLETE

f living legend, wherever time and place requires them. frotho, a second siegfried, overpowers a veno mous dragon that lay reposing on his treasure, saxo gram. p. 20. the beautiful thora borgarhiortr had a small l^ngorm given her, whom she placed in a casket, with gold under him: as he grew, the gold grew also, till the box became too narrow, and the worm laid himself in a ring all round it; soon the chamber was too small, and he lay round that, with his tail in his mouth, admit ting none into the room unless they brought him food, and he required an ox at every meal. then it was proclaimed, that whoever slew him should get the maiden for his bride, and as much gold as lay under the dragon, for her dowry. it was ragnar lodbrok that subdued this dragon, fornald. sog. 1, 237-8. the rapid gro

H SPENCER LEWIS ROSICRUCIAN MANUAL AMORC 1990

techamber of a temple this is the room in which the initiates are first prepared for initiation in the various degrees. on such occasions it shall be guarded by the guardian of the temple, assisted by the deputy master. in the first degree initiation, this room is in charge of the conductor of the lodge, and no one may enter it without permission of the conductor, unless so decreed by the master. the chamber of a temple this is a hidden room, wherein the first part of the first initiation is conducted. it is the chamber of the cross, the abiding place of life and "death" the tomb of silence, and the place of terror. all [32] these names have been applied to it in the past, and each expresses to the mind of the initiate its function in the first degree initiation. this chamber is guarded, a

herald, and then by the torchbearer. when not used for ceremonies, it should be reverenced and kept undefiled by the uninitiated. nothing should ever occur in it to profane it (such as levity, unbecoming conduct, or profane labor. the threshold of the temple this is the most beloved place in each lodge to the initiated, for it represents the doorway to light and knowledge. it is the entrance from the chamber to the lodge, and, in the first degree initiation, is guarded by the guardian of the temple, while any other entrance to the lodge is guarded by the secretary or deputy master. the threshold should never be crossed after or between convocations or lectures. it represents the passage from darkness to light, and from finite life to infinite life. the temple the word is derived from the l

estations owe their existence to the continuous reverberations of the word throughout the universe. the vibratory nature of each thing thus fits into a gigantic scale or keyboard. m maat.the egyptian word for truth. the symbol of maat was a feather. cromaat means "the truth shall be, or "so mote it be. the confession to maat is taken from the confession.contained in the book of the dead.spoken in the chamber of maat in egyptian temples of initiation. magic.presumes there are occult powers in nature which must be invoked by the application of certain agencies. both natural and supernatural forces, it is believed, can be brought to serve human will. black magic is the superstitious use of magical rites for malevolent purposes. white magic is the use of these rites for benevolent purposes. ma

HAMIL THE ROSICRUCIAN SEER

being desirous to accompany her mother, the lady beaconsfield, unto london, who lived twelve miles from her habitation, caused sarah to inspect her crystal, to see if she, viz, her mother was gone, yea or not; the angels appeared and shewed her mother opening a trunk and taking out a red waistcoat, whereby she perceived she was not gone. next day she went to her mother's and there, as she entered the chamber, she was opening a trunk, and had a red waistcoat in her hand' lilly wrote the accountofhis life to and by the request of elias ashmole (the founder of the ashmolean museum, oxford) and in reference to these and similar relations, says 'i may seem to some to writeinaedibilia,be it so, but knowing unto whom, and for whose only sake i do write them, i am much comforted therewith, well kn

HEAVEN HELL

pion, a uraeus serpent, a three-headed serpent with wings and human legs, a few of the gods of the hour, a serpent with two necks and heads proceeding from one body, and a tail which terminates in another head (vol. i, pp. 67, 71, 75, 79. on his left are a few more gods and goddesses, the serpents hetch-nau, amen, hekent, and the terrible three-headed serpent menmenut, the face of which illumines the chamber in which khepera is born daily (vol. i, p. 134 p. 79. over the back of the last-named serpent are fourteen heads, which, as m. maspero has well shown, re resent the gods of the first fourteen days of the month, and they are being carried by the serpent to fill the eye which thoth and horus are bringing through re-stau. the beings to the right and left of afu-ra are ancient gods of the

HP LOVECRAFT A DARK LORE

nder called the death-demon out of some fearsome secret place; and be that demon solid entity or vaporous pestilence, i meant to see it. i had thoroughly searched the ruin before, hence knew my plan well; choosing as the seat of my vigil the old room of jan martense, whose murder looms so great in the rural legends. i felt subtly that the apartment of this ancient victim was best for my purposes. the chamber, measuring about twenty feet square, contained like the other rooms some rubbish which had once been furniture. it lay on the second story, on the southeast corner of the house, and had an immense east window and narrow south window, both devoid of panes or shutters. opposite the large window was an enormous dutch fireplace with scriptural tiles representing the prodigal son, and oppos

HP LOVECRAFT THE ALCHEMIST

ing which had haunted my line for centuries, and made of my own youth one long-continued nightmare. determined upon further exploration, i felt in my pockets for flint and steel, and lit the unused torch which i had with me. first of all, new light revealed the distorted and blackened form of the mysterious stranger. the hideous eyes were now closed. disliking the sight, i turned away and entered the chamber beyond the gothic door. here i found what seemed much like an alchemist's laboratory. in one corner was an immense pile of shining yellow metal that sparkled gorgeously in the light of the torch. it may have been gold, but i did not pause to examine it, for i was strangely affected by that which i had undergone. at the farther end of the apartment was an opening leading out into one of

HP LOVECRAFT THE LURKING FEAR

under called the death-demon out of some fearsome secret place; and be that demon solid entity or vaporous pestilence, i meant to see it i had thoroughly searched the ruin before, hence knew my plan well; choosing as the seat of my vigil the old room of jan martense, whose murder looms so great in the rural legends. i felt subtly that the apartment of this ancient victim was best for my purposes. the chamber, measuring about twenty feet square, contained like the other rooms some rubbish which had once been furniture. it lay on the second story, on the southeast corner of the house, and had an immense east window and narrow south window, both devoid of panes or shutters. opposite the large window was 'an enormous dutch fireplace with scriptural tiles representing the prodigal son, and oppo

IRISH WITCHCRAFT AND DEMONOLOGY

quoth she 'for i have somewhat to say, and to tell unto the king; for i am the same woman that not long ago desired to have spoken with him at the leith, when he should pass the scottish sea' the usher went in and told him of this woman 'yea' quoth the king 'let her come tomorrow; because that he was occupied with such disports at that time him let not to hear her as then. the usher came again to the chamber-door to the said woman, and there he told her that the king was busy in playing, and bid her come soon again upon the morrow 'well' said the woman 'it shall repent you all that ye will not let me speak now with the king' thereat the usher laughed, and held her but a fool, charging her to go her way, and therewithal she went thence" her informant "huthart" was evidently a familiar spiri

of which he is supposed to lie enchanted. according to the legend 1 he was a very potent magician, and usually resided in a castle which was built on a small island in that lake. to this he brought his bride, a young and beautiful girl, whom he loved with a too fond love, for she succeeded in prevailing upon him to gratify her selfish desires, with fatal results. one day she presented herself in the chamber in which her husband exercised his forbidden art, and begged him to show her the wonders of his evil science. with the greatest reluctance he consented, but warned her that she must prepare herself to witness a series of most frightful phenomena, which, once commenced, could neither be abridged nor mitigated, while if she spoke a single word during the proceedings the castle and all it

o be got up, and sent for florence newton, but she refused to come, pretending she was sick, though it indeed appeared she was well. then the mayor of youghall came in, and spoke with the maid, and then sent again and caused florence newton to be brought in, and immediately the maid fell into her fit far more violent, and three times as long as at any other time, and all the time the witch was in the chamber the maid cried out continually of her being hurt here and there, but never named the witch: but as soon as she was removed, then she cried out against her by the name of gammer newton, and this for several times. and still when the witch was out of the chamber the maid would desire to go to prayers, and he found good affections of her in time of prayer, but when the witch was brought i

ith them "she was constantly more afflicted as they approached the house; particularly there was one latimer, who had been sent from carrigfergus privately by mr. adair, the dissenting teacher; who, when she came to the house where the afflicted was, viz. in island magee, none of them suspected her, but the afflicted fell into a fit as she came near the house, and recovering when the woman was in the chamber the first p. 210 words she said were, o latimer, latimer (which was her name, and her description agreed most exactly to the person. after this manner were all the rest discovered; and at one time she singled out one of her tormentors amongst thirty whom they brought in to see if they could deceive her either in the name or description of the accused person. all this was sworn to by pe

she told them the several persons who had drawn her in that manner, with the intention, as they told her, of bearing her out of the window; but that she reflecting at that time, and calling upon god in her mind, they let her drop on the floor "the afflicted, recovering from a fit, told the persons present that her tormentors had declared that she should not have power to go over the threshold of the chamber-door; the evidence declared that they had several times attempted to lead her out of the door, and that she was as often thrown into fits as they had brought her to the said threshold; that to pursue the experiment further they had the said threshold taken up, upon which they were immediately struck with so strong a smell of brimstone that they were scarce able to bear it; that the ste

ISIS UNVEILED

hffvu tt ritiul d ta kauu lagu, bit, di. sr. digitizecoy google 66 isis unveiled and consulted tlie oracle of the 'bleeding bead' this infemal opera- tion required the decapitation of a child who must be possessed of great beauty and purity. he had been prepared in secret for his 6rst commu- nion by the chaplain of the palace, who was apprised of the plot, and at midnight of the appointed day, in the chamber of the sick man and in presence only of catherine and a few of her confederates, the 'devil's mass' was celebrated. let us give the rest of the story as we find it in one of levi's works "at this mass, celebrated before the image of the demon having under his feet a reversed cross, the sorcerer consecrated two wafers, one black and one white. the white was given to the child, whom they

KETAB E SIYAH

er, flew swift through the gates thrown open before him as he flew in haste to heaven's hub where reached above all the eternal tower, seat of god's once-great majesty. descending, alighting within its long shadow he now went by foot to the spire's portal and demanded of the gatesmen entrance. these doors opened also to his coming and, the herald before him hurrying, scaled the tower's heights to the chamber in which his father, adonai yahweh, sat upon the platinum throne, seat of heaven, and directed the movements of the elohim. now, announced by trumpet and by voice, before the very throne of god went raphael and there abased himself before the emperor of all, making due humility before that king, crouched within the shattered throne of the elohim and their kingdom, darkened by ruin's bl

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 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 p

ire of opal and ruby and came before me in great distraction, panting with ardour of his flight. in this way i learnt of what was planned by heaven for the race of man. upon a seat of cedar i sat, draped with silks of purple and cinnabar, and sipped from jewel-starred cup a rich nectar brewed from grapes grown upon the shadowed vines of the underworld, potent with prophecy and sleep. the doors of the chamber now 252 were cast open and inwards flew ashmedai of the shedim and stood before me as i stood to greet my faithful friend who had come to stand beside me at that first rebellion. both bowed to greet the other, making plain the mutual admiration that each for the other held. seeing that he was yet weary, unrestored after that headlong mission that had brought him to me i offered him a s

LEADBEATER C W THE HIDDEN LIFE IN FREEMASONRY 2E

ected to his seat in the north-east part of the lodge, that being the point of the compass where the egyptians believed that the sun began his journey when he was first created. 541. the working tools 542. the interpretation given to the working tools of the e.a. in ordinary craft masonry is explained to the new bro. by the w.j.w. at his initiation. this officer does it because he is in charge of the chamber where the e.a.s work. 543. in masculine craft masonry the t c f c i c g c is described as indicating a measure of time, to remind him that the hours of his day are to be spent not in mere carelessness or selfishness, but partly in meditation and study, and partly in labour, refreshment and sleep; in co-masonry we add gbut all in the service of humanity h. it is also explained that this

dealt in chapter v. the special reason for putting this query again at this stage is that we are now especially collecting and generating force which is intended to be used not within the lodge, but for projection along certain definite lines outside it. we therefore see carefully to the t c g of our lodge, just as a man who has inserted a cartridge into a breech-loading rifle is careful to close the chamber hermetically, so that the whole force of the explosion will be directed only along the barrel, but of course the explosion in this case is not of destruction, but of blessing to the world. 979. the next command is that the brn. should come to order as freemasons- not this time in order to see that no intruders are present, because our doors have been guarded all through the ceremony, b

LEADBEATER CW GLIMPSES OF MASONIC HISTORY

och. the throne itself, the stone benches round, and the tank on the opposite side to the throne, find all their close analogies, and are arranged in the same relative positions. in the galatian sanctuary we see, on a larger scale it is true, a chamber with a throne- in this case near, not actually against the back wall- to the right of the entrance, while opposite it on the left side on entering the chamber is an oblong tank. here, too, along the back wall runs a rock-cut bench or divan, and the chamber was approached by an ante-room or pronaos. 238. cult arrangements are often handed down almost unaltered through long periods of years, and the striking analogies here presented afford a real presumption for believing that the much earlier room of the throne at knossos and its adjoining ta

the palace site and the divine associations attributed to minos lead to the conclusion that here, too, each successive dynast was a priest for ever after the order of melchizedech and made like unto the son of god. 239. there is little doubt that in the room thus described we find one of the minoan temples of the mysteries. most probably, as sir arthur evans suggests, the throne which is shown in the chamber was the seat of the hierophant, and on the stone benches round the walls were ranged the brn. who took part in the ritual. the candidates for initiation had to undergo a preliminary purification in the lustral basin before they could be admitted to the ceremonies. 240. the three columns 241. a plan of this minoan temple is shown in plate ii, 2 (following p. 50. facing the throne of the

oan shrines. in plate iii, 1, a gold plaque from mycenae, we see again the three columns surmounted by the horns of consecration which, like the double axe, denote the sacred character of the object, and the ritual significance is further emphasized by the doves perched on the ends of the sacred horns. in looking at these illustrations of minoan sanctuaries we must remember that the side walls of the chamber are flattened out in the picture and not drawn in perspective, so that we must in imagination fold the two side panels of the picture of the shrine forward so as to form three walls of a shrine room. underneath the pillars in the different illustrations the floors are paved, as shown in plate iv, 2 and 3 (following p. 50, in black and white squares similar to the mosaic pavement of the

rine above. there can be little doubt that we have here the remains of an important sanctuary facing the inner sea gate of the palace(*op. cit, p. 404) 253. the altar objects 254. still further evidence of the masonic character of the minoan rites is shown by the remarkable objects found in the temple repositories in which were kept the different altar-objects connected with the ritual worship in the chamber of initiation. sir arthur evans has rearranged these objects on the altar ledge for which they were no doubt intended, and we show a reproduction of his arrangement in plate v, 2 (following p. 50. perhaps the most arresting feature is the marble cross in the centre of the altar. the cross with equal arms, or greek cross, as well as the latin cross and the swastika, are found repeatedly

LIBER CHANOKH

ape noanu tarofe coresa tage o-quo maninu ia-i-don. torezodu! gohe-el, zodacare eca ca-no-quoda! zodameranu micalazodo od ozodazodame vaurelape; lape zodir ioiad! can the wings of the winds understand your voices of wonder? o you! the second of the first! whom the burning flames have framed in the depths of my jaws! whom i have prepared as cups for a wedding, or as the flowers in their beauty for the chamber of righteousness! stronger are your feet than the barren stone, and mightier are your voices than the manifold winds! for you are become a building such as is not, save in the mind of the all-powerful. arise, saith the first: move thereofre unto his servants! shew yourselves in power, and make me a strong seer-of-things:8 for i am of him that liveth for ever [invokes: the file of spiri

LIBER CORDIS CINCTI SERPENTE

out as a bride; the mounted me for thy bridal chamber. 32. they fled away at thy coming; i was alone before thee. 33. i trembled at thy coming, o my god, for thy messenger was more terrible than the death-star. liber cordis cincti serpente svb figvra ynda 19 34. on the threshold stood the fulminant figure of evil, the horror of emptiness, with his ghastly eyes like poisonous wells. he stood, and the chamber was corrupt; the air stank. he was an old and gnarled fish more hideous than the shells of abaddon. 35. he enveloped me with his demon tentacles; yea, the eight fears took hold upon me. 36. but i was anointed with the right sweet oil of the magister; i slipped from the embrace as a stone from the sling of a boy of the woodlands. 37. i was smooth and hard as ivory; the horror gat no hol

LIBER DCCCLX JOHN ST

the vision are yet formulated, though insensibly, about me. and thus shall end the third day of my retirement. liber dccclx 28 the fourth day 12.15. so therefore begins the fourth day of this my great magical retirement; i bleed from the slashes of the magick knife; i smart from the heat of the holy oil; i am bruised by the scourge of osiris that hath so cruelly smitten me; the perfume yet fills the chamber of art;.and i? oh adonai my lord, surely i did invoke thee with fervour; yet thou camest not utterly to the tryst. and yet i know that thou wast there; and it may be that the morning may being rememberance of thee which this consciousness does not now contain. but i swear by thine own glory that i will not be satisfied with this, that i will go on even unto madness and death if it be t

, though nobody else will guess it for fifty years yet. the travel, too, has been rubbish. it.s been a petty, peddling year. the one absolute indication is: on no account live otherwise than alone. but it is 10.35; these considerations, though in a way pertaining to the work, are not the work itself. let me begin to inflame myself in praying! the twelfth day 12.17. when therefore i had made ready the chamber, so that all was dark, save for the lamp upon the altar, i began as recorded above, to inflame myself in praying, calling upon my lord; and i burned in the lamp that pantacle which i had made of him, renouncing the images, destroying the images, that himself might arise in me. and the chamber was filled with that wondrous glow of ultra-violet light self-luminous, without a source, that

LIBER SAMEKH

thereof he shall have placed a triangle of oak-wood, painted with scarlet, and upon this triangle the three legs of the censer shall stand. liber viii 43 moreover, he shall copy his invocation upon a sheet of pure white vellum, with indian ink, and he shall illuminate according to his fancy and imagination, that shall be informed by beauty. and on the first day of the twelfth week he shall enter the chamber at sunrise, and he shall make his prayer, having first burnt the conjuration that he had made upon the vellum in the fire of the lamp. then, at his prayer, shall the chamber be filled with a light insufferable for splendour, and a perfume intolerable for sweetness. and his holy guardian angel shall appear unto him, yea, his holy guardian angel shall appear unto him, so that he shall be

LIBER VII

the centre thereof he shall have placed a triangle of oak-wood, painted with scarlet, and upon this triangle the three legs of the censor shall stand. moreover, he shall copy his invocation upon a sheet of pure white vellum, with indian ink, and he shall illuminate it according to his fancy and imagination, that shall be informed by beauty. and on the first day of the twelfth week he shall enter the chamber at sunrise, and he shall make his prayer, having first burnt the conjuration that he had made upon the vellum in the fire of the lamp. then, at his prayer, shall the chamber be filled with light insufferable for splendour, and a perfume intolerable for sweetness. and his holy guardian angel shall appear unto him, yea, his holy guardian angel shall appear unto him, so that he shall be w

MANLY P HALL THE SECRET TEACHINGS OF ALL AGES

lime, and the highest--were analogous to the worshipful master and the junior and senior wardens of a masonic lodge. after wandering for hours through the intricate passageways, the candidate was ushered into the presence of a statue of balder the beautiful, the prototype of all initiates into the mysteries. this figure stood in the center of a great apartment roofed with shields. in the midst of the chamber stood a plant with seven blossoms, emblematic of the planers. in this room, which symbolized the house of the sir, or wisdom, the neophyte took his oath of secrecy and piety upon the naked blade of a sword. he drank the sanctified mead from a bowl made of a human skull and, having passed successfully through all the tortures and trials designed to divert him from the course of wisdom

dvancing reptile with the serpent-wound staff and with snarling cry the dragon fell over upon its side, while the flames about it slowly died away. hermes placed his foot upon the skull of the vanquished typhon. the next instant, with a blaze of unbearable glory that sent the neophyte staggering backward against a pillar, the immortal hermes, followed by streamers of greenish mist, passed through the chamber and faded into nothingness. suppositions concerning the identity of hermes iamblichus averred that hermes was the author of twenty thousand books; manetho increased the number to more than thirty-six thousand (see james gardner--figures which make it evident that a solitary individual, even though he be overshadowed by divine prerogative, could scarcely have accomplished such a monumen

niversal bodies. if possible, the temple itself was constructed in the form of the human body. the candidate entered between the feet and received the highest degree in the point corresponding to the brain. thus the first degree was the material mystery and its symbol was the generative system; it raised the candidate through the various degrees of concrete thought. the second degree was given in the chamber corresponding to the heart, but represented the middle power which was the mental link. here the candidate was initiated into the mysteries of abstract thought and lifted as high as the mind was capable of penetrating. he then passed into the third chamber, which, analogous to the brain, occupied the highest position in the temple but, analogous to the heart, was of the greatest dignit

expressions of divine energy, the sun and the moon, sulphur and salt, good and bad, light and darkness. between them is the door leading into the house of god, and standing thus at the gates of sanctuary they are a reminder that jehovah is both an androgynous and an anthropomorphic deity. as two parallel columns they denote the zodiacal signs of cancer and capricorn, which were formerly placed in the chamber of initiation to represent birth and death--the extremes of physical life. they accordingly signify the summer and the winter solstices, now known to freemasons under the comparatively modern appellation of the "two st. johns" in the mysterious sephirothic tree of the jews, these two pillars symbolize mercy and severity. standing before the gate of king solomon's temple, these columns

urification already described. it signified to the priest that he should cleanse not only his body but also his soul from all stains of impurity, for none who is not clean in both body and mind can enter into the presence of divinity and live. beyond the laver of purification was the entrance to the tabernacle proper, facing the east, so that the first rays of the rising sun might enter and light the chamber. between the encrusted pillars could be seen the holy place, a mysterious chamber, its walls hung with magnificent drapes embroidered with the faces of cherubs. against the wall on the southern side of the holy place stood the great candlestick, or lampstand, of cast gold, which was believed to weigh about a hundred pounds. from its central shaft branched out six arms, each ending in a

which time the bird, laying its neck upon the book, suffered itself to be decapitated. its body was burned to ashes, which were placed in a box of cypress wood. virgo lucifera told c.r.c. and three of his comrades that they were lazy and sluggish "labourators" and would therefore be excluded from the seventh room. musicians were sent for, who with cornets were to "blow" the four in ridicule from the chamber. c.r.c. and his three companions were disheartened until the musicians told them to be of good cheer and led them up a winding stair to the eighth floor of the tower directly beneath the roof. here the old warden, standing upon a little round furnace, welcomed them and congratulated them upon being chosen by virgo lucifera, for this greater work. virgo lucifera then entered, and after

MASTERING WITCHCRAFT

r employment is this: provide yourself with some pieces of clean paper, your pen and ink of art, a good supply of mercurial incense, your square of mercury, a flat-surfaced table, your thurible and your cup of salt and water. lock all the doors and means of access to your place of working, and if there is any chance of being overlooked through a window, make sure the drapes are drawn. then purify the chamber with fire and water as you were taught in an earlier chapter, using your mercurial incense. begin with the square of mercury ritual to tune your deep mind to the correct level. at this point, write out your question on the paper provided with the pen of art. then take the rune sticks in your right hand and cast them so they tumble away from you in parallel formation on the table. say a

yfully seized upon by the practitioners of the black arts, and turned to excellent account, particularly as a love spell, which it is now generally known as and much renowned for. the method used in preparing this spell is as follows. select a friday with the moon waxing and choose your time, either 8 a.m, 3 p.m, or 10 p.m. then, your altar dressed in the usual manner for amatory workings, purify the chamber with fire and water, with the regular habondia invocation and attendant images. then take a sheet of clean, white paper such as you used for your square of mercury, and after exorcising it with water and fire, divide it up into twenty-five equal squares, five down and five across with your pen and ink of art. then chanting a suitable jingle phrasing your intention with each letter that

MICHAEL FORD WITCHMOON

drop for the altar, giving an ominous direction for the rite, submerged in the applications of astral vampirism. we were invoking the hidden vampiric aspects of the subconscious, given form by our collective will and focus. we sought to bring forth a spirit fueled by blood, from which i gave the offering of will. towards the end of the invocations, one of the magickians became ill and had to exit the chamber, while the other persisted on with my mantras. before i had completed the other had decided this was not for him and remained silent, no further offering in the ritual. i had to close and banish extensively, for such forces remain powerful if not invoked properly and such disruptions were adding towards the demons growth. i had fear that it was taking on the attributes of our collected

34 astral projection and the visitation of the dead -the psychonaut- you should adorn your chamber with vampiric symbols and darkside objects which stir your imagination. the first step would be to set a single red candle upon an altar. the altar can have any significant symbols on it, but above the altar, framed if possible, should be displayed the varcolaci sigil. incense should be billowing in the chamber, frankincense, jasmine, and rose are preferred. each is a fragrance of our coven and of babalon, the scarlet woman. in my personal experience dream is a form of astral projection. if i create a sigil for dreaming and traveling/meeting with another, then this can be done through an induced trance and then sleep. many actually are able to lie down and astrally project, while i have devel

movement, to every urge the web will respond. the spider and serpent that exist in the night side are of symbolic nature, being of reversion and double senses, of speed and accuracy. i focused upon my star, the inverted pentagram, meaning life and mind and made proclamations to the lord of the sabbath, being the adversary or the shadow form of lucifer. candle lit, burning black in the darkness of the chamber i whispered before the flame: by the embrace of death s sleep in life, thanatos hearken my swift flight. of the devil s sight, which views the webs of night to come and the freedom of the fields, may thy 41 41 beauty be as my gift. by the thorns which tear the waking flesh and guards our great hidden place, be my flesh in night and astral waking, i shall emerge. i seek the blood of the

embrace your lover and friends as one; to them and to you are given joy! behold, the hooves of the goat are behind thee and ahead of thee, knowing the step you are taking. there is a key here, learn of it what is in your very heart! mask yourself in the paint of the dead or of the spirit you are! abandon yourselves to the freedom of the flying flesh! if indoors, let billows of incense smoke fill the chamber; then with invocations and evocations, callings and banishings learn from the dead what ye will. contact via ouji boards as trivial as it may sound can be of use, as are room recorders to capture any messages from the dead. upon the closing of the great celebration, banish and retire to sleep and to dream. shed your skin as the serpent of the forest and fly upon broom or animal. take t

r in some cases and dance around the fire. elementals are often observed that have odd and wickedly interesting forms, they too will dance with the dead if you are so filled with joy and pleasure. this is the result of witches sabbatal union under the moon in which you will fly. the sabbat may be prepared by a personal feast and sexual arousal- without orgasm! incense should be burnt profusely in the chamber of sleep and no disturbances should be able to reach you if at all possible. the focus should be a sigil of the sabbath. the sabbat will generally occur on the seasonal changes, the most frequent and significant of these astral congregations is in october before and directly after samhain (pronounced 'sow-in. the second most favorable and active is at the spring equinox, however sabbat

the belief which forms your webs of sorcery. i drink in honor of the witches sabbat mysteries. amen. spirit servitors and guardians spirit servitors are extremely useful for the vampire who practices astral projection frequently, as you are often leaving the human body open for attack. the "black iron walls" are quite powerful however it is more ideal to create servitors based on sigils to guard the chamber in which you sleep. the reason for this is simple, once your astral double has left the human body, the will is not necessarily in perfect tune with the defense settings you have created. in other words, although elementals are also born of desire and will, they can be charged with a specific purpose. the iron walls act only as a blocking force for unwanted spiritual energy which appea

on the wall, hanging above the altar, was the four flying witches piece. this depicts three witches upon the ground in some astral state with one flying above. quite a beautiful piece which still captivates me to this day. i had an incense of the four elements which represented the forces of transition by which to obtain the communion of witch blood. candles of black, red, blue and purple adorned the chamber which illuminated it with a certain beauty which felt so rare that evening. it was my intention to attend in the form of the owl, and had created a sigil to assume the form of this particular id. i had felt the callings three nights before this sabbat eve. now i felt my body and form shape shift, into a dark shadow and circle the chamber until falling back into my body. i took a long a

ndles, numerous flowing colors which are attractive or hold some magickal significance to you personally. images of black eagle should also be hung around the altar. aos created several different images of this spirit which are worthy of a search. it is also recommended and even more magically potent to create your own sigil or painting of black eagle. incense smoke should be billowing throughout the chamber. the altar should be adorned with human or animal bones. this represents the connection to the earth as well as a summoning tool of spirits. ancient tibetan monks would create human thigh bone trumpets to purify and to summon the dead, holding in their temples great occult energies which could be harnessed for nearly any magickal act. human bones are obtainable from various medical sup

i felt no fear but fascination, a deep calling to the levels of my mind so often touched by this beauty. was this a creation of hers or my own? perhaps both the more i think about it. i started through the wooden door, etched with a wolf head and what could be celtic carvings. once i passed through the door i knew she would be waiting, as she always had been. as i passed through i gained sight of the chamber and finally the witch. she stood prominent in the shadows of the room, standing behind a slow burning fire. robed and hooded in black and what could be night blue, she was sounding a beautiful and almost haunting mantra, by which the quality of her voice was displayed. it seemed to be both fairy-tale like and haunting at the same time, as if a dual or double headed spirit was made mani

adorned her body, with crimson red flower petals embroidered upon it, with what seemed to be nothing underneath. her astral flesh had formed itself into so refined and haunting a beauty. ivory white flesh so smooth and tight, her own devised psycho-physical desire body was exhilarating. her breasts were firm and ample, in keeping with her lean, well proportioned body. she stood near the center of the chamber, holding out her arms towards the ceiling, and her robe opened to bare her beautiful body even further. i glimpsed at her method of summoning the dead. the witch began chanting a mantra composed of a short sentence, which rolled off her tongue with beauty and grace, like an age old song in a forgotten language. the spirits began encircling her in a tornado like spirit storm. i felt her

entagram a special sigil designed to invoke the werewolf atavism which shall be consecrated and destroyed. the chalice and elixir wolf skin or item which can be worn as a wolf belt or skin werewolf mask this rite should include an offering of your own blood, which should be held in a goblet or chalice not to be drunk, however but to store the life force with which the wolf spirit will be invoked. the chamber or area should be darkened with illuminating candles, sigils should be painted on the body: the sigil of the spirit marchosias (1) obtained from the goetia of solomon, from the author's personal experience, this spirit s aid proves a significant benefit, and the sigil should be available for the purpose of visualization. the wolf hook rune the sign of luna (the moon and it's current) t

tra and sigil, moving your hand and magickal weapon (usually the dagger) either laterally or in some "automatic" pattern, until the spirit begins to form. in my experience blood may only give partial life to these spirits, they may only become partially manifest, or incompletely visible. during such manfestations these spirits may make sudden noises, such as knocking into something, voices across the chamber, scraping noises etc. if possible, take a photograph of these rites, near the altar while you are still in the circle. you may find such surprises as spirit orbs, ghostlike limbs, figures, lines of spirit energy and similar phenomena. once you have entered the ecstasy of evoking the spirit, return once again to your invocation. begin a mantra again which should be the same as the first

up the floor- because of carpetting or such- may wish to purchase a large piece of material and then paint the triangle upon it. at each point of the triangle a red candle should be placed. it is wise to prepare musick which involves rapid beats- perhaps voudon inspired musick or rhythm based recordings. a rather violent flavor should be present in the sounds which will pulsate through the air of the chamber. the sorcerer shall then paint upon his body such sigils as represent the beast and its lunar nature. a sigil involving the combination of sex- death- moon- birth sign can be formed as one power-packed unit. your sight shall then become much more focused, everything transforming into a fire spiral of self realization. clear your mind so it may enter into spheres of rapid and lustful in

sychodrama, it is most important for the dream working after that control is retained. when rites are planned as exercises and battle awakenings, then one should indulge in full psycho dramatic ecstasy. when however the will must stay intact to orchestrate a pure state of modification- which will compensate for the sacrificed sexual release- one must pay heed to control. 122 122 the musick within the chamber should drive one to a seeming frenzy, almost thrashing movements and animalistic passion enveloping you in abrupt, yet manageable spasms of movement. lycanthropic nature derives from the most basic instincts of man s bestial ancestors. the basis of human nature lives in the caverns of the mind, wherein all things secret constitute the light of inspiration. this light is composed of man

the hidden space, i evoke thy specter to this circle" my evocations led up to a powerful intonation, at which i felt kundalini rising through my spine. an aura of great strength visible as an outline of red light surrounding me emanated through my being and was observed by soror davcina. so much may be expected by those who would use such evocations from the very heart of night. the atmosphere of the chamber became rather humid and heavy, so much so that sweat began to form upon my forehead. i felt i was ready to assume the death posture, to perform which i bent my body over towards my legs and began breathing at a deep and rapid rate, exhaling until i felt a dizziness take my mind. as i regained my standing position soror davcina took both her hands and with a firm and steady grip squeeze

MICHAEL TSARION ATLANTIS ALIEN VISITATION AND GENETIC MANIPULATION

n much enthused over the discoveries and believes that the find will prove of incalcula-ble value in archaeological work. one thing i have not spoken of, may be of interest. there is one chamber, the passageway to which isnot ventilated, and when we approached it a deadly, snaky smell struck us. our light would not pene-trate the gloom, and until stronger ones are available, we will not know what the chamber contains.appendix d: scientific evidence292atlantis, alien visitation, and genetic manipulation some say snakes, but other boo-hood this idea and think it may contain a deadly gas or chemicals usedby the ancients. no sounds are heard, but it smells snaky just the same.the whole underground installation gives one of shaky nerves the creeps. the gloom is like a weighton one's shoulders

MICHAEL W FORD NOX UMBRA

the sigil may have printed the crest/sigil of vlad dracul or countess bathory. one may create a mask of the vampyre, which is associated to the ahrimanic sorcerer as well. when one prepares the skull the sigil should be placed at bottom, the soil above it and the mask above the soil. when the ritual of the vampyre is undertaken the sigil will be consecrated and then buried beneath the soil layer. the chamber or temple should be decorated in the elements and atmosphere of death and the tomb. the altar should have human and animal bones across the temple, symbols and decorations of death and the tomb. the altar should have red and black candles, above the altar the eye of varcolaci and sigil of algol. the sorcerer should have a grave shroud in while, along with the body painted in a corpse l

or instance, akhtya seker arimanius, the present author) in the blood of the sorcerer, along with the sigil of binding. consider the vampyric fetish to house the greater shadow familiar, which is essentially an exteriorization of your own being. one will use the magickal aspects of obsession and will- desire- belief to set in motion the essence of self-transformalion, the demon emerging in flesh. the chamber should be adorned in the elements of death, of vampyrie design with such implements, fetishes and elements of ahriman, lilith, dracul or any night born ghost or image which relates therein. one should dress in the black robe of passing through shadows, a crimson lining if possible to indicate ones rebirth in the bloodied caul of lilith. the sigil of binding should be placed upon the al

angling, facing the west i called "i approach the west gate, unto the winds of funerals of past and to come, i summon forth azrael, the angel of death who grants the sight of beyond, the veil is thin! i summon thee goddess of the crossroads, who walks with the howling of wolves, come forth hecate. phenomena and record- became too dark to write as i worked through the ritual, two candles burned in the chamber which was sufficient light. rain poured as i recited. holding evocation dagger "zrazza, zrazza, ushanicht, zrazza, umpeshu "from the grave i return, midnight and midday, from the black earth i grow stronger. as the wings of the bat do i fly in spirit through the twilight dreams of others, with the eyes of the owl do i see, with the limbs of the wolf do i run. i summon forth the dead fr

zazas i am always by nasatanada in opposition i become by zazas i change the world by my will" so it is done the opener of the way anubis is considered to be an initiatory god form, one which one assumes as a form of passage unto the celestial/luciferian realms of spirit and the infernal sabbat. anubis, as defined by e.a. wallis budge in "the gods of the egyptians" presents am ut, the "dweller in the chamber of embalmment" as the opener of the north (ap-uat) to the realm of set. anubis is also called hermanubis and death. heru-em-anpu is a dual god form, which holds power in both the celestial/luciferian and infernal regions. this draws a close connection between the egyptian anubis and grecian triple moon goddess hecate. as anubis is the jackal headed lord of the dead, he presides in the

small table to which you may have an image of anubis and the bones or images of the dead. west is the gateway of which you enter and dwell, then you shall emerge in the north from the gates of amenta. west holding the anthame focus on image of anpu and recite "i stand at the gate of the twilight realms. i have passed as a shadow of death yet in joy and love i shall return in flesh. o' dweller in the chamber of embalmment i invoke theel fill my spirit with the mysteries of the jackal and the divine, that through darkness i shall emerge as light. am ut, hekak, sekak, ursha umpesta zoriodo! dweller in the chamber of embalmment, by holy fire and blackened flame, arise from shadows, jackal and wolf, son of chaos born! surround the self in the enchantments of death and the tomb, the anthame sho

setian awakening and renewa l,a luciferian core that is called inward and focused outward. the triple hermetic circle is b design not yheld to keep forces out, rather a power circulation of the arcana of energy within. nox umbra was written by michael w. ford. cover image- the sigil of seker elda isela ford 2003 back cover- the greater necrotic servitor, the shades which walks the ghostroads unto the chamber of the necroerotic nathan harris illustrations in the order of their appearance by elda isela ford -the dragon and the sigillic formula ofsah -vampyric binding sigil -lilith- sexual servitor creation by the sun and the moon -sigil of seker -necrotic servitor i by nathan harris -vampyric sigil ofshaitan of midnight, the lilitu brought forth, the genii of this book -akhtya, initiator of

MYTHS AND LEGENDS OF ANCIENT CIVILIZATIONS E

e garment, the unsuspecting glauce lost no time in donning it; but no sooner had she done so than the fell poison began to take effect. in vain she tried to tear the robe away; it defied all efforts to be removed, and after horrible and protracted sufferings, she expired. maddened at the loss of her husband's love medea next put to death her three sons, and when jason, thirsting for revenge, left the chamber of his dead bride, and flew to his own house in search of medea, the ghastly spectacle of his murdered children met his view. he rushed frantically to seek the murderess, but nowhere could she be found. at length, hearing a sound above his head, he looked up, and beheld medea gliding through the air in a golden chariot drawn by dragons. page 262 in a fit of despair jason threw himself

ly threw him to the ground, and left the spot. athene, moved with compassion, carried him to alcmene, and entreated her kind offices on behalf of the poor little foundling. alcmene at once recognized her child, and joyfully accepted the charge. soon afterwards hera, to her extreme annoyance, discovered whom she had nursed, and became filled with jealous rage. she now sent two venomous snakes into the chamber of alcmene, which crept, unperceived by the nurses, to the cradle of the sleeping child. he awoke with a cry, and grasping a snake in each hand, strangled them both. alcmene and her attendants, whom the cry of the child had awakened, rushed to the cradle, where, to their astonishment and terror, they beheld the two reptiles dead in the hands of the infant heracles. amphitryon was also

f alcmene, which crept, unperceived by the nurses, to the cradle of the sleeping child. he awoke with a cry, and grasping a snake in each hand, strangled them both. alcmene and her attendants, whom the cry of the child had awakened, rushed to the cradle, where, to their astonishment and terror, they beheld the two reptiles dead in the hands of the infant heracles. amphitryon was also attracted to the chamber by the [235]commotion, and when he beheld this astounding proof of supernatural strength, he declared that the child must have been sent to him as a special gift from zeus. he accordingly consulted the famous seer tiresias, who now informed him of the divine origin of his stepson, and prognosticated for him a great and distinguished future. when amphitryon heard the noble destiny which

ty with which athene had endowed him at the court of alcinous. but penelope, still incredulous, determined to put him to a sure test. she therefore commanded in his hearing that his own bed should be brought from his chamber. now the foot of this bed had been fashioned by odysseus himself out of the stem of an olive-tree which was still rooted in the ground, and round it he had built the walls of the chamber. knowing therefore that the bed could not be page 353 moved, he exclaimed that the errand was useless, for that no [323]mortal could stir it from its place. then penelope knew that it must be odysseus himself who stood before her, and a most touching and affectionate meeting took place between the long-separated husband and wife. the following day the hero set out to seek his old fathe

ONYX TABLET OF SET

mple is a tool for learning how to do things beyond the temple's cozy reaches. this can be an essay about what initiation is, or an answer to the question "what do you think you'll be doing in ten years" or "why do you think we seek initiation anyway. to help with the latter, we need to stress the idea that all temple experience is an illustrative working for the rest of life. just as the work in the chamber is towards a specific goal, so all temple work is towards life as a whole. now i would appreciate those priests who have had some time to have had both good and bad recognitions of ii s to write essays on their methods of detecting/teaching the ii for compilation in the onyx tablet. suggestion for a year's tryout in order to see that items #1 and #3 are met, i would suggest that setian

have chosen the city and dates, begin researching information and hotels at least one year in advance onyx tablet: ot.o.4.18 temple of set author: lilith aquino iv date: may 28, 1998 ce revision: html revision: june 11, 1998 ce for the international conclave, and six months in advance for regional conclaves. the most expedient way to do this is to contact the convention and visitors bureau and/or the chamber of commerce in the chosen city and ask them to send you a list of convention hotels or hotels with meeting room and banquet facilities. choosing the hotel- once you have this list, look it over and compare prices, amenities, restaurants, surrounding amenities such as good inexpensive eateries, convenience stores and the like. pick several possible hotels. call each one and speak first

me of set as of their own being taste again of the grail of the black flame. as its holy fire courses through your veins, affirm again your bond with the prince of darkness and his sacred temple "can the wings of the winds understand your voices of wonder, o enlightened ones who shine like fire in the jaws of chaos, whom i have prepared as cups for a wedding, or as the flowers in their beauty for the chamber of righteousness? stronger are your feet than the barren stone, and mightier are your voices than the manifold winds, for you are become a temple such as is not, but in the mind of set. arise, says the first of your kind; move, therefore, unto the elect; show them the fire within you, and awaken them that they may gain the strength to live forever" towards this working the will of set

PATH OF INITIATION

and experience. 2. the 'year and a day' period (or a set period of a fixed time) of internal growth, or the "spiritual hermitage, or the trial-time; also, at times, instruction by otherworldly beings or their representatives; this is the station of the circling airs, that communicate knowledge. 3. the descent into the cavern of the black water and the two torches, or the initiatory chamber below (the chamber or cavern of enody or zerinthia) to the source, or to the presence of the initiatrix in the innerworld/underworld, the pale woman under the hill, queen in the meadows of elfhame, who brings about (a normally traumatic) ego death in the candidate, and bestows the innerworld birth, purification, and regeneration (which at this stage is largely unconscious in immediate depth and effect, b

RABBI MOSHE WISNEFSKY APPLES FROM THE ORCHARD THE ARIZAL ON THE PARASHAH

the arizal on parashat matot (2) 659 yesod-malchut thus, the full stature of the land of israel, i.e, of the ten sub-sefirot of nukva of z feir anpin of atzilut, extends from the midpoint of tiferet of z feir anpin of atzilut until the midpoint of netzach of the world of beriah. remaining [below nukva] are thus three and a half sefirot. as we have explained, malchut of beriah is always vested in the chamber of the holy of holies of yetzirah. the gholy of holies h of any world is the keter of that world. similarly, the malchut of yetzirah is [always vested] in the chamber of the holy of holies of asiyah. and similarly [above, malchut of atzilut is [vested] in the holy of holies of beriah. it therefore follows that there are in fact only two and a half[ gexposed h] sefirot remaining in beri

REGARDIE ISRAEL THE COMPLETE GOLDEN DAWN

, in the centre. upon the altar are the cross, cup, dagger, and chain as usual; also the crossed scourge and crook. lncense burning is also placed over letter shin. water is placed in the cup. chief associate adeptus minor, see that the portal of the vault is closed and guarded (done) chief advances to altar, lifts his wand on high, and says: hekas hekas este bebeloi! associate adeptus minor, let the chamber be purified by the lesser banishing ritual of the pentagram. returns to place. third adept pet.fonns ritual with black end of wand, holding it by the white band. mighty adeptus major, let the place be purified by the lesser banishing ritual of the hexagram <265> second adept performs this with black end of wand, holding it by the white band. he faces east, qabalistic cross, tracing the

lved and revealed when you have become familiar with the present simple and elementary system. concerning the use of the vault <287> by g. h. frater, f. r. the vault of the adepti may be said to represent or symbolise various things; first of course, it is the symbolic burying place of our founder c. r c. it is also the mystic cavern in the sacred mountain of initiation- abiegnus. therefore it is the chamber of initiation wherein, after. passing through the preliminary training of the outer, we are received into the portal of the vault of the rose of ruby and the cross of gold. all who are eligible should use the vault when it is in its place. when working it is well to be clothed in the white robe and yellow sash, yellow slippers and yellow and white nemyss on your head. rose cross should

the outer, we are received into the portal of the vault of the rose of ruby and the cross of gold. all who are eligible should use the vault when it is in its place. when working it is well to be clothed in the white robe and yellow sash, yellow slippers and yellow and white nemyss on your head. rose cross should be upon the breast. remember that within the vault you never use a banishing ritual. the chamber is highly charged by the ceremonies which have been held there and the atmosphere thus created should not be disturbed. at first i do not recommend you to fast asa preliminary. though later on when you set yourselves to attain some definite point, this may be necessary. being then clothed, and at peace, you enter the vault, light the candle, and kindle either a pastile in the small cen

e cup between cross and triangle 314 the golden dawn: volume 111 book four as in the= a. rose and incense east. 4. place the new rose cross upon triangle. 6. take up lotus wand in right hand (black band. 7. repeat: hekas, hekas, esti bebeloi! 8. perform the lesser banishing ritual of the pentagram. 9. perform the lesser banishing ritual of the hexagram. 10. deposit wand upon the altar. 11. purify the chamber with water in the four quarters, repeating the words "so therefore first the priest who governeth the works of fire, shall sprinkle with the lustral water of the loud resounding sea" 12. consecrate the chamber with fire in the four quarters, saying 'when after all the phantoms are vanished, thou shalt see that holy and formless fire, that fire which darts and flashes through the hid <5

am not certain which) tablet of union <334> the second key 'can the wigs of the wids 2understand your voices of wonder 'adgt vpaah zong zom faaip sald '0 you the second of the first whom the burning flames 3have framed 'vi-i-v l 2sobam ial-prg 31-2- az 'within the depth of my jaws: 2whom 31 have prepared as cups for a 'pi-adph tasanna 3abramg ta talho 'wedding q as the flowers in their beauty tor the chamber of the 'paracleda zq ta lorslq turbs 300ge 'righteous. 2stronger are your feet than the barren stone 4and 'baltoh 2civi chis lusd w 40d 'mightier 2are your voices than the manifold winds. 3for ye are 'micalp this bin owngon 'become 2a building such as 3la 31s not save in the mind of the 'noan %of cors ta 3ge 0 q manin 'all-powerful. 2arise, 3saith the first 'move, therefore, wnto 'la-l

RITUALS OF THE SOCIETAS ROSICRUCIANIS IN ANGLIA

hat was found on his centraldesk contained nitre and gold in solution with some other admixture: and his motto 'igne nitrumroris invenitur, by fire the nitre of dew is extracted, scrawled in crimson upon a piece of dyedskin, was laying close by his seat.the supposition was entertained that he may have drunk of the solution, and his own life mightthereby be saved: his body was taken accordingly to the chamber of rest, together with his books,and the chemica1s with which he was experimenting, in hopes of his giving evidence of life andrevealing the long sought for secret.it had been agreed that his watchers should be without intermission, and that the magus and councilshould set this day and hour (it being now 3 days since his syncope commenced) and adjudge himalive or dead: with the notific

RITUEL ET DOGME DE LA HAUTE MAGIE BY ELIPHAS LEVI PART II

brance. this must be the day of evocation, and we must prepare for it during the space of two weeks. throughout the period we must refrain from extending to anyone the same proofs of affection which we have the right to expect from the dead; we must observe strict chastity, live in retreat and take only one modest and light collation daily. every evening at the same hour we must shut ourselves in the chamber consecrated to the memory of the lamented person, using only one small light, such as that of a funeral lamp or taper. this light should be placed behind us, the portrait should be uncovered, and we should remain before it for an hour in silence; finally, we should fumigate the apartment with a little good incense, and go out backwards. on the morning of the day fixed for the evocation

the day fixed for the evocation, we should adorn ourselves as if for a festival, not salute anyone first, make but a single repast of bread, wine and roots, or fruits. the cloth should be white, two covers should be laid, and one portion of the broken bread should be set aside; a little wine should be placed also in the glass of the person whom we design to invoke. the meal must be eaten alone in the chamber of evocations and in presence of the veiled portrait; it must be all cleared away at the end, except the glass belonging to the dead person, and his portion of bread, which must be set before the portrait. in the evening, at the hour for the regular visit, we must repair in silence to the chamber, light a clear fire of cypress-wood and cast incense seven times thereon, pronouncing the

RUBY TABLET OF SET

dual magician's sexual tendencies, the magic will work. the author of this piece, being most notoriously dour and puritanical, of course knows nothing of any of these matters. rite of setian passage the ritual area is set up with an altar containing the following: a source for the black flame, an aluminum foil baking dish on a hot pad, candles as needed for light, a censor that can be moved about the chamber, myrrh, frankincense, and incense pellets, the blue feather of maat, and the bell. in the center of the chamber is an oblong narrow table, draped in black, representing the coffin. upon it is placed a painting of the name of the deceased, and the funeral boat that carries the soul to the tuat. it will be commended to the abyss (the flame) at the working part of the rite, much as the vi

a qta lorslq turbs ooge baltoh. giui chis lusd orri od micalp chis bia ozongon lap noan trof cors tage, oq manin iaidon. torzu gohel zacar ca, cnoqod, zamran micalzo od ozazm urelp lap zir ioiad. can the wings of the winds understand your voices of wonder, o enlightened ones who shine like fire in the jaws of chaos, whom i have prepared as cups for a wedding, or as the flowers in their beauty for the chamber of righteousness? stronger are your feet than the barren stone, and mightier are your voices than the manifold winds, for you are become a temple such as is not, but in the mind of set. arise, says the first of your kind; move, therefore, unto the elect; show them the fire within you, and awaken them that they may gain the strength to live forever. the third part micma goho piad zir co

e wewelsburg, was the "magical epitaph" of nazi germany: that, in fighting against certain features of the mind, it had seemed at first to succeed- but then had thus unleashed other, even less desirable features of that same mind which had previously remained in some rough degree of sociallycontrolled equilibrium before this ultimately disastrous experiment in "conscious evolution" was attempted. the chamber in which i stood, i now realized, was nothing less than an ss laboratory for experiments in "conscious evolution- a sort of "krel machine" without computerized, science-fiction accoutrements. it was not designed to teach or educate, rather to mirror and enhance thoughts and impulses already in existence. hence its effect on the consciousness could be devastating for better or for worse

law of the trapezoid was key to tapping into the contemporary action and manifestation of the year xvii working, so we commenced the ritual with a recitation of the law as a simple means of evocation. from this point on, all invocations and calls were of a spontaneous nature. after the invocation of the powers of darkness, i immediately became aware of a kind of vortex of force welling up within the chamber which force seemed to wash over the room, bringing in its wake a stream of images i realized were representative of the magical/historical evolution spoken of in the ipsissimus' text. most of these images were of a disconcerting cast, and the emotional impact of realizing a connection had been made with the wewelsburg current was immense. the remainder of the working was spent occupied

sarmouni. in the age of satan it was the yankee rose. by our word do i now loosen that knot so that the dread radiance of the northern star lights our dark and secret enclosure. we will shape the dark light and knot it up again in the shape that polaris brought back from hel [strobe on; tape vorspiele parameters on [for a few minutes the participants work and shape the forces in themselves and in the chamber. then the work is tied back into the is-to-be by the the weird spell of the dhol chant [strobe off; tape off] the dhol chant [celebrant reads the litany, while pointing a dagger at each of the correct angles. all respond as indicated [celebrant] hidden in the darkness the flute player of leng plays the melody that stirs up the dark light, and the force of desire reaches us in the realm

ct: initiation, challenge reading list: from which he will drink- the transformation takes place as he drinks, and the outcome is evident and irreversible. having passed the test, the initiate may then approach the pentagram and speak with the prince of darkness if he so desires. he then returns to his place, the journey complete. rite of the nine sorcerors [the music begins [everyone is led into the chamber by xa anubis and oomam anubis.(2 [the bell is rung nine times by a chosen initiate [the chamber is censed by a chosen initiate, who then speaks] we are woven together through time and space by many elements, just as this vapor weaves itself through our bodies within this chamber. breathe deeply of it and of each other's essence; become one and become all [xa anubis speaks] i, xa anubis

iestess reynolds, but some of the statements by the nine sorcerors were written or modified by the participants who were scheduled to speak them. 2. priestess linda j. reynolds and priest ronald l. barrett, jr, respectively ritual of the passage through the tuat classification: v2- b2r.1- 2 author: janice harris ii date: ca. xi-xii [lighting of candles and brazier [ringing of the bell [censing of the chamber [conjuration of the elemental forces] sekhmet! i summon you, goddess of fire. come forth from the barren wastes and burning heat of the desert. be with me this night. thoth! lord of mystery and magic, wrapped in starlight. come, bearer of wisdom, for i summon you this night. seb! lord of the earth, rise up from flaming lava spewn from the earth's core. come forth and join me this night

pentagram of set bell tolling: towards altar grail liquid: cola invocation: modified temple of set elements summoned: the song embryo notes: the ritual went the same as the magical tower working, except that when i got to the upper room where the ritual chamber was, i performed a g.b.m. working there. the working i undertook was to understand my higher self, that which i can become. when i got to the chamber, i looked around before i started. i found an old wooden chest that i did not notice the last time i was there. i touched my staff to its lock, and the lock fell from it, open. i opened the trunk, and found inside a grail made from silver, a brass bell, a bottle of wine, a silver dagger, and a book. i took everything but the book, and placed them on the altar (the book i did not invest

found an old wooden chest that i did not notice the last time i was there. i touched my staff to its lock, and the lock fell from it, open. i opened the trunk, and found inside a grail made from silver, a brass bell, a bottle of wine, a silver dagger, and a book. i took everything but the book, and placed them on the altar (the book i did not investigate) from there i proceeded with the ritual in the chamber by willing the black flame to ignite, and following the ritual format in the crystal tablet. i repeated my modified version of the invocation, and asked set to let me meet my higher self and learn to understand him. after that i came out and closed the ritual. the next day i went shopping, and found a little bookstore where, after weeks of searching unsuccessfully, i found nietzsche's

may "touch his being" by looking into his eyes [priest] we have each shared a little of our own essence tonight. go forth now alone into the universe, but remember with respect those who walk near you, xeper [this time the phrase may be echoed by those who so desire. the priest will now turn off the music, and the candles will be extinguished. the participants will stand in silence, each leaving the chamber when the it is felt that decompression has been accomplished] set-harwer "us, and them, and after all, we're ordinary men. me, and you, and gods only know, it's not what we would choose" us, and them. who knows which is which, and who is who? there is more than one way of looking at it. the working i am about to recall here on paper is one which began about the first part of august to

merely a talented dilettante in all. but that's neither here nor there. 3. incidentally, i will not be founding an order of atmu-set-t, but an order of atmu. atmu-set-t is merely the aspect which i am, not the essence of the neter, any more than merensexmet would be considered to be the creator of the order of merensexmet- his is the order of sexmet, as is right. rite of self initiation [prepare the chamber [dress according to setian custom [purify the air by ringing the bell [light the black flame/ open the gate [the celebrant traces the pentagram of set with the sword, starting at the eighth angle, and proceding to the seventh, sixth, fifth, and finally the ninth. at each point he says [eighth angle] within is [seventh] the first flame [sixth] creation [fifth] darkness [ninth] eternal l

e of turning his will into refinement and improvement of self by actively participating in the process of xeper- becoming. 0. decompression: i want it all by queen "ain't much i'm asking, i heard him say "gotta find me a future- move out of my way; i want it all, and i want it now" 1. clapping my hands 9 times towards the altar. 2. rekindling the black flame and bringing my immortal presence into the chamber/ opening the gate. 3. invocation to set: o dark lord set, by your presence i, your undying child, have risen to this state of unique existence beyond dimensions. i call you to join me through the angles of your great pentagram. mingle and interact with my most exalted and noble self, and let my eyes become the eyes of set, my strength become the strength of set, my will become the will

e humans who slept by night. then i saw the elect of today assuming the places of those magicians, and creating a magical grid of control over the world. we lived by day and worked, and we were in constant communication with set. the daemonic confluence classification: v2- cb6r- 1 author: linda reynolds iv date: october 27, xxv, set-xi conclave working, hollywood, california reading list [prepare the chamber. all participants enter the chamber once it has been prepared for them. the ipsissimi are seated at the head of the chamber. magistra aquino and magus flowers wait nearby. those priests who will represent invoked neteru distribute themselves throughout the chamber. all other participants may stand where they wish. they should not be too far away from the priest with whom they will work

is the person. there is nothing beyond the person, it is the limit, the highest that can be reached. this is the secret and the mystery [nine ringings of the bell] so it is done. north solstice working of the ritual of opening the mouth purpose: to establish a magical link between the subjective and objective universes of the celebrant, and to invoke the energies of the draconian current [prepare the chamber. the pentagram of set should be centered above the altar on the west wall of the chamber as a symbolic gateway to the tuat. emphasis should be placed on egyptian symbolism, as is appropriate to the nature of the rite. the stele of bes-na-maut should be beneath the pentagram of' set in the center of the altar between two black candles. the graal of babalon and the ur-hekau("mighty one o

in his respective place, sheathed in white, and the assistant who lights the two altar candles, any other lighting devices used, and starts the music. classification: v2- b6r.2- 1 author: r. amon dececco(1) iii date: july 14, xiv, set-i conclave, windsor, ontario, canada revision: november 5, xxiv(2) reading list: 1. all enter except the celebrant and the four shades, and form a semicircle around the chamber [seating is optional; the assistant's place is at right of altar] 2. three or four minutes are allowed to pass for personal preparation and concentration. 3. the four shades enter, and place themselves at the cardinal points as follows: shade #1- west; shade #2- south; shade #3- east; shade #4- north [left of altar. 4. the celebrant enters slowly and faces altar. 5. the assistant walks

ree the universe. a god begets a god! witness the birth of a god unknown to all, but the father and mother, before this night of wonder. do you hear the cry of the babe? do you smell the sweetness of his newborn flesh? come closer and feel the warmth of his breath. open your eyes and behold this god beget of set! open your eyes and behold the god tikkrr as he is now come into being. energy within the chamber began to build shortly after beginning the invocation and continued to build in a steady flow throughout the delivery. the altar flame reflected a spot on the feather of the golden maat upon my altar, and immediately following the delivery my eyes focused on that spot. i tried, but my eyes would not move from the spot on the golden maat's feather. the entire figurine suddenly started t

the door as "open" and it swings silently inward. another four hundred meters more, and i am now standing before the largest and heaviest of the four doors. this door too is inlaid with the pictographs, but is a deep royal blue in color. i make no effort to push against the door, instead i use the method i had employed on the previous door- and with the same results. i am now in set's chamber. in the chamber i notice that the stone comprising the walls are interlocking trapezoids, and i am curious as to why i failed to notice this fact on my preceding trips to the house of set. fascinated both by the cut of the large stones and their inlaid hieroglyphs, i approach the walls for closer scrutiny. the black walls are smooth, finely polished, as if they are made of glass "jade" i say to myself

on here as they did within the gallery, viz: illumination, seem to be breathing. believing this to be a hallucination, i shake my head as if to clear it, and blink my eyes several times. the hieroglyphs still breathe. i am so absorbed in my thoughts and speculations concerning the reason and nature of the hieroglyphs' strange phenomenon, that i fail to notice for a time that i am not alone within the chamber. i turn around slowly to see set sitting patiently in his throne-chair. i go over to the spot on the floor where i see both pen and paper waiting, sit down upon the warm floor in an "indian style" method, and pull my robe tightly around my knees to stretch my robe taut between them. i place the paper upon my lap, and the conversation begins. the dialogue: set: greetings, ptah. are you

SATANGEL

ent or paper with wine which is the blood of jesus christ: they should be written upon the altar, and, at the end of the sacrifice, the paper should be folded in a new veil of violet silk, to be concealed on the morrow, together with the oblation of the sacrifice and a part of the consecrated host. on the evening of thursday the warlock must rise at midnight and, having sprinkled holy water about the chamber, he must light a taper of yellow wax, which shall have been prepared on the wednesday and pressed in the form of a cross. when it is lighted he shall then begin the office of the dead with great veneration to the living god. he shall recite matins and lauds, but in place of the versicle of the ninth lesson he shall say: deliver us, o lord, from the fear of hell. let not the demons dest

. 1mad 2hoath 3iaida [1. or sobolo] the second key 1can the wings of the winds 2understand your voices of wonder 1adgt vpaah zong 2om faaip sald 1o you the second of the first 2whom the burning flames 3have framed 1vi-i-v l 2sobam ial-prg 3i-za-zaz 1within the depth of my jaws: 2whom 3i have prepared as cups for a 1pi-adph 2casarma 3abramg ta talho 1wedding 2or as the flowers in their beauty 3for the chamber of the 1paracleda 2q ta lorslq turbs 3ooge 1righteous. 2stronger are your feet 3than the barren stone 4and 1baltoh 2givi chis lusd 3orri 4od 1mightier 2are your voices than the manifold winds. 3for ye are 1micalp 2chis bia ozongon 3lap 1become 2a building such as 3is not save in the mind of 1noan 2trof cors ta 3ge o q manin 1all-powerful. 2arise, 3saith the first. 4move, 5therefore, 6u

SATANIC RITUALS

cal meanings of satan, situations, sensations and values are often inverted and reversed. this is not intended solely to serve as blasphemy-on the contrary, it is used to make it apparent that things are not always as they seem and that no standard can or should be deified, for under the proper conditions any standard can be changed. because satanic ritual so often exerts such change, both within the chamber and as an aftermath in the outside world, it is easy to assume that the upside-down cross and the lord's prayer recited backwards* usually linked with the black mass are also synonymous with satanism. this generalization is correct in theory, since satanism indeed represents the opposite viewpoint, and as such acts as a catalyst for change. the fact is, throughout history a "bad guy" h

ain an awareness of its raison d'etre while revelling? the festival becomes only an excuse, so to speak-a theme upon which to base social needs. unfortunately, too many arcane and occult ceremonies and rituals wind up as just such excuses for social (and sexual) intercourse. an important point to remember in the practice of any magic ritual or ceremony is: if you depend upon the activities within the chamber to provide or sustain a social climate, the ensuing energy-conscious or otherwise-directed toward these ends will negate any results you wish to obtain through the ritual! the line is fine between the desirability for close rapport between participants, and one's need per se for close rapport. the ritual will suffer if there is a single person in the chamber who drains the substance fr

itual or ceremony with outsiders present who happen to be "sincerely interested" or "want to find out more about it" or "want to see what it's like" a philosophical commitment is a prerequisite for acceptance into ritualistic activities, and this serves as a rudimentary screening process for organized satanism. consequently, a degree of compatibility-necessary to a successful workingexists within the chamber. of course, anyone can say "i believe" simply to gain access. it will be up to the discerning magician to determine actual sincerity. because lesser magic is everyday magic, a finely attuned sense of discrimination is essential for all accomplishment. in addition, one of the most important "commandments" of satanism is: satanism demands study-not worship! this book was, for the most pa

etched crosswise and each hand grasps a candleholder containing a black candle. when the celebrant is at the altar, he stands between the woman's knees. the wall over the altar should bear the sigil of baphomet or an inverted cross. if both are employed, the sigil of baphomet must take the uppermost or prominent position, the cross occupying the space between the lower halves of the altar's legs. the chamber should either be draped in black or in some way approximate the atmosphere of a medieval or gothic chapel. emphasis should be placed on starkness and austerity, rather than finery and glitter. all implements standard to satanic ritual are employed: bell, chalice, phallus, sword, gong, etc (see satanic bible for descriptions and use. in addition a chamber pot, thurible (censer) and ince

n the altar and recites the following [the gong is sounded] celebrant: hanc igitur oblationem servitutis nostrae sed et cunctae familiae tuae, quaesumus, domine satanas, ut placatus accipias; diesque nostros in felicitate disponas, et in electorum tuorum jubeas grege numerari. shemhamforash! congregation: shemhamforash! celebrant: enlightened brother, we ask a blessing [the subdeacon brings forth the chamber pot and presents it to the nun, who has come forward. the nun lifts her habit and urinates into the font. as she passes water, the deacon addresses the congregation] deacon: she maketh the font resound with the tears of her mortification. the waters of her shame become a shower of blessing in the tabernacle of satan, for that which hath been withheld pourest forth, and with it, her pie

the death's-head, etc, can easily be euphemized, but the rejection of certain values demanded by l'air epais cannot be cloaked in accepted theologies. once the celebrant has taken this degree, he embarks upon the left-hand path and chooses hell in place of heaven. besides being both ritual and ceremony, the stifling air is a memento mori carried to its highest power. requirements for performance the chamber must either be black, or mirrored. a mirrored chamber provides greater confrontation for the celebrant, making him hyperconscious of his role. mirrors also serve to "rob the soul" according to old tradition. an austere chair is provided in which the celebrant sits during the first part of the ritual. the coffin may be of any type, although a traditional hexagonal style is recommended

e asylum, and controlled people's actions from the safety of confinement. the principles were employed for real-life ends by real-life caligaris and mabuses. and still are. flashing lights producing stroboscopic effects, electrostatic generators, electric organs with controllable harmonics, scanners, and a mental discipline and emotional response that can temporarily leave its alpha waves outside the chamber and strive towards gamma, the ultimate goal: these are the ingredients required for the creation of the is-to-be, as defined in the ritual of the electrical prelude-die elektrischen vorspiele. many of the rite's principles relate to the experiments of wilhelm reich, a name to be reckoned with in the magic of the future. the procedure is to "charge" the chamber in a manner that allows t

e future. the procedure is to "charge" the chamber in a manner that allows the celebrant to "draw" energy from it while at the same time he adds his own strength of will. the celebrant's intensity of purpose is further stimulated by the related litany. upon "peaking" the celebrant enters the reflective planes that will multiply and send forth his will. he remains within the enclosure until he and the chamber itself is devoid of all energy, and a negative ionization and deozonization (or in reichian terminology, dor) ensues. requirements for performance the ritual may be attended by several persons: however, the essential working is confined to a single celebrant, who acts as the catalyst. although additional persons can benefit from participation, the celebrant can effectively perform alon

single purpose, and the presence of several persons therefore added to the effectiveness. the rite, as presented here, was intended to alter an existing social climate and establish far-reaching change. the rite is best performed in a relatively small enclosure, as a large chamber necessitates excessively heavy amounts of electrical discharge in order to attain sufficient ionization. essentially, the chamber acts as an electrical vacuum tube, with the participants inside it serving as oscillators. a van de graaff generator, tesla coil, or other electrostatic generator, with enough power to influence the atmosphere within the chamber, is needed. the device must be exposed, not contained within its own enclosure, hence extreme care must be exercised that bodily contact is not made with the d

m tube, with the participants inside it serving as oscillators. a van de graaff generator, tesla coil, or other electrostatic generator, with enough power to influence the atmosphere within the chamber, is needed. the device must be exposed, not contained within its own enclosure, hence extreme care must be exercised that bodily contact is not made with the device. it is best placed in an area of the chamber that is inaccessible to persons present to avoid the danger of serious injury or electrocution. the electrostatic generator should produce electrical discharge which is readily visible, a lightning display that is controlled by the celebrant during the first part of the ritual. in this way he is "dressing" the chamber according to his own emotional responses. there is no arbitrary span

attern. the now-extinct compton electrone and schilder klavilux were admirably suited, as are larger model hammond organs and the moog synthesizer. sounds must fluctuate between 60 cps and 11,000 cps-preferably "pure" tones, although "resultants" are permissible. beneath and above these frequencies should prevail a continuous emission of "black" and "white" sound, lasting through the entire rite. the chamber should be designed with what might best be described as "expressionistic" decor, so that all visual images may add to the out-thrusting quality of the ritual. an altar platform at one end of the chamber should be utilized foe all necessary artifacts. the unclad woman who customarily serves as a living altar is not required in die elektrishen vorspiele. in her place, a human skull (tote

he altar and the artifacts is required, as is a large brazier. a small vial of flash powder is placed next to the brazier. the powder is thrown into the brazier according to the rubric. a human arm or leg bone is used as an aspergeant, in honor of kashchey, the skeleton god. all other devices common to satanic ritual are employed. the altar sits in a semicircle of ferns, arranged in a fan effect. the chamber is lighted by candles and is decorated in byzantine motif. musical background should be carefully cued to the service, using either russian folk instruments or suitable recordings. the tiny bells typical of russian liturgical ceremony should be used wherever appropriate to the rite, and played in the rhythm associated with the obikhod. if in doubt, modeste mussorgsky or walt disney can

lly cued to the service, using either russian folk instruments or suitable recordings. the tiny bells typical of russian liturgical ceremony should be used wherever appropriate to the rite, and played in the rhythm associated with the obikhod. if in doubt, modeste mussorgsky or walt disney can be your guides. homage to tchort [the ceremony opens with the purification of the air and benediction of the chamber with the phallus. the chalice is filled, but not presented the four principal names are invoked to the compass, followed by the calling of the third enochian key (from the satanic bible. the priest (celebrant) then addresses the altar, who is in the "bast enthroned (seated upright) position. the priest begins his invocation with arms upraised] celebrant: in the name of he who reigns in

been manifest, throughout satanism's underground period, in the procedures of virtually every secret brotherhood since the knights templar, and in countless literary works. now, after the often tragic epic of the yezidis has become history, it is safe to pronounce the dread name. the statement of shaitan and wordless rite of dedication the rite begins one hour after sunset. the congregants enter the chamber and seat themselves on pillows placed on the floor in a semicircle facing the shrine of melek taus. the water runs over the rocks surrounding the sanjak and into a pool at their base. incense burns in braziers at each side of the shrine. the kawwals (musicians) stand against the rear wall of the temple, playing a prelude on flutes, drums, and tambourines (note: as emotional response is

y i am the only one and the exalted; i create and make rich those whom i will. praise it to myself, for all things are by my will, and the universe is lighted by some of my gifts. i am the king that magnifies himself, and all the riches of creation are at my bidding. i have made known unto you, o people, some of my ways. so saith shaitan (pause, gong is struck) the priest and his assistants leave the chamber while the kawwals take up their instruments and resume playing. the congregants remain seated, allowing themselves to absorb the essence of what has been said and the atmosphere which prevails. individually, the congregants silently respond to their innermost feelings, not speaking to another. each, when his fulfillment has been effected, leaves the chamber as unobtrusively as possible

s and the call to cthuihu are presented. one emphasizes potential: the other reflects the dimness of an almost forgotten past. as for the phonetics, they bear no linguistic given name. the translation is as accurate as contemporary methods permit. ceremony of the nine angles [this ceremony is to be performed in a closed chamber containing no curved surfaces whatsoever. no open flames are to be in the chamber except for a single brazier or flame pot. general illumination is provided through controlled starlight or moonlight, or via concealed ultraviolet devices. above and behind the altar platform should appear the outline of a regular trapezoid. the celebrant and participants all wear masks or headpieces to blur or distort the true facial features. all participants assemble in a half-hexag

manner, i.e. black ceremonial robes and (except for priest) peaked, full-faced hoods, and amulets bearing the symbol of baphomet. the ceremony commences with the initiate barefoot, robed in white, wearing no undergarments. an additional black robe and baphomet amulet will be needed for the initiate later in the ceremony and therefore should be prepared and placed nearby. before formally entering the chamber, participants don appropriate vestments, arrange artifacts and implements conveniently but without sacrifice of magical correctitude: the brazier, the initiate's chair or stool, and the receptacles containing soil and sea water are placed near altar. light the altar candles and the candle to be used by the priest during the ceremony (black flame, ignite charcoal, and complete all other

e artifacts and implements conveniently but without sacrifice of magical correctitude: the brazier, the initiate's chair or stool, and the receptacles containing soil and sea water are placed near altar. light the altar candles and the candle to be used by the priest during the ceremony (black flame, ignite charcoal, and complete all other preparations. then begin appropriate music. upon entering the chamber, the priest (or celebrant acting in that capacity) assumes his position before the altar. the initiate and the other participants stand to either side, with the priest's assistants positioned as their respective roles require. preliminary functions of ritual are performed in customary order. the initiate is then called forward and kneels before the priest, who recites the first enochia

SINISTER TAROT

of an individual, gradually leaving the essence behind the appearance to haunt the psyches of others. the altering of the astral shell; that which ultimately cannot and need not be described. the deliberate removal of that which is detrimental to wyrd. xiii a canal route lined by white griffins. a vortex of grey starless space. the chalice spills its white blood and the herdsman s light shines in the chamber of the sphinx. death- nythra that which follows hubris; the consequence of attempting to escape that which is ill-fated by destiny. personal destruction from self-delusion and the cessation of self-evolution. energy vortex in the abyss. the stripping away of the self-image that, if successful, will produce a genuine master/mistress; confronting the chaos within and without. xiv the ble

SIR EDWARD BULWER LYTTON ZANONI A ROSICRUCIAN TALE

hou believest not in any god! ha, ha! behold the result of thy lessons" another moment and those murderous fingers would have strangled their prey. but between the assassin and his victim rose a form that seemed almost to both a visitor from the world that both denied, stately with majestic strength, glorious with awful beauty. the ruffian recoiled, looked, trembled, and then turned and fled from the chamber. the old man fell again to the ground insensible. chapter 1.viii. to know how a bad man will act when in power, reverse all the doctrines he preaches when obscure. s. montague. antipathies also form a part of magic (falsely) so-called. man naturally has the same instinct as the animals, which warns them involuntarily against the creatures that are hostile or fatal to their existence. b

cles in human calamities. the wife was more active, more bustling, more hopeful, and more tearful. viola took heed of all three. but towards dawn, beatrice's state became so obviously alarming, that viola herself began to despair. at this time she saw the old woman suddenly rise from before the image of the saint at which she had been kneeling, wrap herself in her cloak and hood, and quietly quit the chamber. viola stole after her "it is cold for thee, good mother, to brave the air; let me go for the physician "child, i am not going to him. i have heard of one in the city who has been tender to the poor, and who, they say, has cured the sick when physicians failed. i will go and say to him 'signor, we are beggars in all else, but yesterday we were rich in love. we are at the close of life

e not, mascari? fool! in what age of the world, even if the madmen of france succeed in their chimeras, will the iron of law not bend itself, like an osier twig, to the strong hand of power and gold? but look not so pale, mascari; i have foreplanned all things. the day that she leaves this palace, she will leave it for france, with monsieur jean nicot" before mascari could reply, the gentleman of the chamber announced the signor zanoni. the prince involuntarily laid his hand upon the sword placed on the table, then with a smile at his own impulse, rose, and met his visitor at the threshold, with all the profuse and respectful courtesy of italian simulation "this is an honour highly prized" said the prince "i have long desired to clasp the hand of one so distinguished "and i give it in the

ve the writhing lips like marble; and then, with a sad, gentle look of self-pity, rather than reproach, she pressed her hands tightly to her bosom, and said "he was right! pardon me, englishman; i see now, indeed, that i am the pariah and the outcast "hear me. i retract. viola, viola! it is for you to forgive" but viola waved him from her, and, smiling mournfully as she passed him by, glided from the chamber; and he did not dare to detain her. chapter 3.ix. dafne: ma, chi lung' e d'amor? tirsi: chi teme e fugge. dafne: e che giova fuggir da lui ch' ha l' ali? tirsi: amor nascente ha corte l' ali "aminta" at. ii. sc. ii (dafne: but, who is far from love? tirsi: he who fears and flies. dafne: what use to flee from one who has wings? tirsi: the wings of love, while he yet grows, are short) wh

to, and left alone in a chamber adorned with all the luxurious and half-eastern taste that at one time characterised the palaces of the great seigneurs of italy. her first thought was for zanoni. was he yet living? had he escaped unscathed the blades of the foe, her new treasure, the new light of her life, her lord, at last her lover? she had short time for reflection. she heard steps approaching the chamber; she drew back, but trembled not. a courage not of herself, never known before, sparkled in her eyes, and dilated her stature. living or dead, she would be faithful still to zanoni! there was a new motive to the preservation of honour. the door opened, and the prince entered in the gorgeous and gaudy custume still worn at that time in naples "fair and cruel one" said he, advancing with

that i am safe even here; but you you, prince di, have brought danger to your home and hearth" the neapolitan seemed startled by an earnestness and boldness he was but little prepared for. he was not, however, a man easily intimidated or deterred from any purpose he had formed; and, approaching viola, he was about to reply with much warmth, real or affected, when a knock was heard at the door of the chamber. the sound was repeated, and the prince, chafed at the interruption, opened the door and demanded impatiently who had ventured to disobey his orders, and invade his leisure. mascari presented himself, pale and agitated "my lord" said he, in a whisper "pardon me; but a stranger is below, who insists on seeing you; and, from some words he let fall, i judged it advisable even to infringe

sists on seeing you; and, from some words he let fall, i judged it advisable even to infringe your commands "a stranger! and at this hour! what business can he pretend? why was he even admitted "he asserts that your life is in imminent danger. the source whence it proceeds he will relate to your excellency alone" the prince frowned; but his colour changed. he mused a moment, and then, re-entering the chamber and advancing towards viola, he said "believe me, fair creature, i have no wish to take advantage of my power. i would fain trust alone to the gentler authorities of affection. hold yourself queen within these walls more absolutely than you have ever enacted that part on the stage. to-night, farewell! may your sleep be calm, and your dreams propitious to my hopes" with these words he r

yourself queen within these walls more absolutely than you have ever enacted that part on the stage. to-night, farewell! may your sleep be calm, and your dreams propitious to my hopes" with these words he retired, and in a few moments viola was surrounded by officious attendants, whom she at length, with some difficulty, dismissed; and, refusing to retire to rest, she spent the night in examining the chamber, which she found was secured, and in thoughts of zanoni, in whose power she felt an almost preternatural confidence. meanwhile the prince descended the stairs and sought the room into which the stranger had been shown. he found the visitor wrapped from head to foot in a long robe, halfgown, half-mantle, such as was sometimes worn by ecclesiastics. the face of this stranger was remarkab

ill make experiment of thy boasted power. what, ho there! ho" the prince shouted; the room was filled with his minions "seize that man" he cried, pointing to the spot which had been filled by the form of mejnour. to his inconceivable amaze and horror, the spot was vacant. the mysterious stranger had vanished like a dream; but a thin and fragrant mist undulated, in pale volumes, round the walls of the chamber "look to my lord" cried mascari. the prince had fallen to the floor insensible. for many hours he seemed in a kind of trance. when he recovered, he dismissed his attendants, and his step was heard in his chamber, pacing to and fro, with heavy and disordered strides. not till an hour before his banquet the next day did he seem restored to his wonted self. chapter 3.xv. oime! come poss'

poverty has preserved from vice. for yourself, thank me that i do not give you up to the executioner; recollect the wine of cyprus. well, never tremble, man; it could not act on me, though it might react on others; in that it is a common type of crime. i forgive you; and if the wine should kill me, i promise you that my ghost shall not haunt so worshipful a penitent. enough of this; conduct me to the chamber of viola pisani. you have no further need of her. the death of the jailer opens the cell of the captive. be quick; i would be gone" mascari muttered some inaudible words, bowed low, and led the way to the chamber in which viola was confined. chapter 3.xviii. merc: tell me, therefore, what thou seekest after, and what thou wilt have. what dost thou desire to make? alch: the philosopher'

two chambers communicating with each other, and a third in which he slept. all these rooms were placed in the huge square tower that beetled over the dark and bush-grown precipice. the first chamber which glyndon entered was empty. with a noiseless step he passed on, and opened the door that admitted into the inner one. he drew back at the threshold, overpowered by a strong fragrance which filled the chamber: a kind of mist thickened the air rather than obscured it, for this vapour was not dark, but resembled a snow-cloud moving slowly, and in heavy undulations, wave upon wave regularly over the space. a mortal cold struck to the englishman's heart, and his blood froze. he stood rooted to the spot; and as his eyes strained involuntarily through the vapour, he fancied (for he could not be s

r changed into a kind of horrid trance he felt his hand seized, and he was led from that room into the outer one. he heard the door close, his blood rushed again through his veins, and he saw mejnour by his side. strong convulsions then suddenly seized his whole frame, he fell to the ground insensible. when he recovered, he found himself in the open air in a rude balcony of stone that jutted from the chamber, the stars shining serenely over the dark abyss below, and resting calmly upon the face of the mystic, who stood beside him with folded arms "young man" said mejnour "judge by what you have just felt, how dangerous it is to seek knowledge until prepared to receive it. another moment in the air of that chamber and you had been a corpse "then of what nature was the knowledge that you, on

, half to himself "surely, in so much courage the true disciple is found at last" then, speaking aloud, he added "be it so; man's first initiation is in trance. in dreams commences all human knowledge; in dreams hovers over measureless space the first faint bridge between spirit and spirit, this world and the worlds beyond! look steadfastly on yonder star" glyndon obeyed, and mejnour retired into the chamber, from which there then slowly emerged a vapour, somewhat paler and of fainter odour than that which had nearly produced so fatal an effect on his frame. this, on the contrary, as it coiled around him, and then melted in thin spires into the air, breathed a refreshing and healthful fragrance. he still kept his eyes on the star, and the star seemed gradually to fix and command his gaze

moved to the shelves on which the crystal vases were placed; with an untrembling hand he took from one of them the stopper, and a delicious odor suddenly diffused itself through the room. the air sparkled as if with a diamond-dust. a sense of unearthly delight, of an existence that seemed all spirit, flashed through his whole frame; and a faint, low, but exquisite music crept, thrilling, through the chamber. at this moment he heard a voice in the corridor calling on his name; and presently there was a knock at the door without "are you there, signor" said the clear tones of maestro paolo. glyndon hastily reclosed and replaced the vial, and bidding paolo await him in his own apartment, tarried till he heard the intruder's steps depart; he then reluctantly quitted the room. as he locked the

nor" said the clear tones of maestro paolo. glyndon hastily reclosed and replaced the vial, and bidding paolo await him in his own apartment, tarried till he heard the intruder's steps depart; he then reluctantly quitted the room. as he locked the door, he still heard the dying strain of that fairy music; and with a light step and a joyous heart he repaired to paolo, inly resolving to visit again the chamber at an hour when his experiment would be safe from interruption. as he crossed his threshold, paolo started back, and exclaimed "why, excellency! i scarcely recognise you! amusement, i see, is a great beautifier to the young. yesterday you looked so pale and haggard; but fillide's merry eyes have done more for you than the philosopher's stone (saints forgive me for naming it) ever did f

m open the casement, light the lamps, and bathe his temples with the elixir. he must beware how he presume yet to quaff the volatile and fiery spirit. to taste till repeated inhalations have accustomed the frame gradually to the ecstatic liquid, is to know not life, but death" he could penetrate no farther into the instructions; the cipher again changed. he now looked steadily and earnestly round the chamber. the moonlight came quietly through the lattice as his hand opened it, and seemed, as it rested on the floor, and filled the walls, like the presence of some ghostly and mournful power. he ranged the mystic lamps (nine in number) round the centre of the room, and lighted them one by one. a flame of silvery and azure tints sprung up from each, and lighted the apartment with a calm and y

to his sight. it was as that of a human head covered with a dark veil through which glared, with livid and demoniac fire, eyes that froze the marrow of his bones. nothing else of the face was distinguishable, nothing but those intolerable eyes; but his terror, that even at the first seemed beyond nature to endure, was increased a thousand-fold, when, after a pause, the phantom glided slowly into the chamber. the cloud retreated from it as it advanced; the bright lamps grew wan, and flickered restlessly as at the breath of its presence. its form was veiled as the face, but the outline was that of a female; yet it moved not as move even the ghosts that simulate the living. it seemed rather to crawl as some vast misshapen reptile; and pausing, at length it cowered beside the table which held

paused to consider if there are no distinctions between one kind of love and another. where, too, was the great offence of yielding to a temptation which only existed for the brave? had not the mystic volume which mejnour had purposely left open, bid him but "beware of fear? was not, then, every wilful provocative held out to the strongest influences of the human mind, in the prohibition to enter the chamber, in the possession of the key which excited his curiosity, in the volume which seemed to dictate the mode by which the curiosity was to be gratified? as rapidly these thoughts passed over him, he began to consider the whole conduct of mejnour either as a perfidious design to entrap him to his own misery, or as the trick of an imposter, who knew that he could not realise the great profe

SIR WALLIS BUDGE EGYPTIAN MAGIC

as led by the old man to a house, and, having been taken into the room where the dead body was, found a man making notes on tablets to the effect that nose, eyes, ears, lips, chin, etc, were untouched and whole. having been provided with a lamp and some oil that night he began his watch, and all went well, notwithstanding that he was greatly afraid, until the dead of night when a weasel came into the chamber and looked confidingly at the watcher; but he drove the animal--which was no doubt a witch--from the room, and then fell fast p. 13 asleep. in the early morning he was suddenly wakened by the trumpets of the soldiers, and almost immediately the widow of the dead man came to him with seven witnesses, and began to examine the body to see if it was intact; finding that no injury had been

rought forth a bowl which he kept for the purpose, he filled it with water, and then, having made wax figures of the ships and men of the enemy, and also of his own men and ships, he set them upon the water in the bowl, his men on one side, and those of the enemy on the other. he then came out, and having put on the cloak of an egyptian prophet and taken an ebony rod in his hand, he returned into the chamber, and uttering words of power he invoked the gods who help men to work magic, and the winds, and the subterranean demons, which straightway came to his aid. by their means the figures of the men in wax sprang into life and began to fight, and the ships of wax began to move about likewise; but the figures which represented his own men vanquished those which represented the enemy, and as

ooked at the wax figures, and saw, to his dismay, that the gods of egypt were steering the enemies' ships, and leading their soldiers to war against himself. now as soon as nectanebus saw this, he understood that the end of the kingdom of egypt was at hand, for hitherto the gods had been wont to hold converse with him readily, and to lend him their help whenever he had need of it. he then quitted the chamber hastily, and having shaved off his hair and his beard, and disguised himself by putting on common apparel, be took ship and fled to pella in macedonia, where he established himself as a physician, and as an egyptian soothsayer. omitting, for the present, any reference to the contents of the ivth chapter of pseudo- callisthenes, in which the casting of the nativity of olympias by nectan

TECHNICIANS GUIDE TO THE LEFT HAND PATH

photographer william mortensen in his magisterial thesis the command to look a formula for picture success. this rare, expensive volume denotes the visual aspect of the command to look through theoretical discussion of its various components, and via examples of mortensen s phenomenal photographic technique. in a ritual setting, the command to look can be used to draw attention to those areas of the chamber that need to be focused upon. outside of the chamber, the command to look can be used in drawing attention towards objects or areas that the adept desires focus upon. the question to be asked is what needs to be focused upon in the ritual chamber? the item of most particular interest as regards ritualization should be the inverted pentagram. the geometric design of the pentagram with i

is devoted to visual recognition. understanding the cognitive parameters of the visual cortex can greatly enhance appropriate visual design in the ritual chamber. we know from neuronic tracing that angular motifs are processed within the higher functioning areas of the brain. angularism as found within the inverted pentagram used within the lhp is a central gate that needs to be exploited within the chamber area. a few notes about the inverted pentagram the inverted five point pentagram- the pentagram of set (the ancient egyptian war god of magic, initiation, the future) is a vital constituent within the ritual chamber. it is also the most important lhp talisman available to our senses psychologically, and to a great extent even physically, as it opens a direct neural signal to the cerbra

psychologically, and to a great extent even physically, as it opens a direct neural signal to the cerbral cortex through its perfect use of angles. it has most often been associated to the ideas of magic, mystery, truth and perfection. however, there is much more to know about the inverted five point pentagram. i will mention a few items here in conjunction with the preparatory phase of designing the chamber. an important note is that the more you understand the elements of the ritual the better the efficacy of that ritual. there can be no blind-faith here. it must be replaced by practical, real and theoretical knowledge of the elements involved, and why they have the effects upon the psyche that they do. if you do not have this information, you are shooting blind. this is also a defining

e use of computer graphics and animation files. the visual whitenoise could then be projected into the ritual environment through the use of a video projector that can take a computer (rgb) input as one of its options and project that signal. this can then be distributed into the ritual chamber and multi-reflected through the use of mirrors and other reflective materials that can be set up within the chamber. atmospheric elements atmospheric elements are a combination of olfactory, tactile, visual and audio ingredients that are introduced into the area of the ritual working. an atmospheric element can most easily be defined and understood as a component within the ritual chamber that permeates the entire environment in some way, and is not intended to require direct concentration or attent

oint. rather, that the true power of the angles lie in their proportional components and how they interacted with the psyche. therefore, geometric proportion is multi-formative and exists in various proportional mechanisms, thus impacting upon various sensorial perceptions relative to the initial form. with all of this preparatory work complete, research has been done, the various elements within the chamber have been prepared, there is just one more bit of fortification that must be completed in order to begin the actual rite itself. preferably, one day prior to the ritual, i would begin to prepare the chamber atmospherically. this will require the use of simple on/off timers with at least one timer capable of seconds setting (available everywhere) and multiple on/off capability. go into

to the electrical device such as van de graff, generator, tesla coil or negative ion generator, set that device to go on for 20 seconds every hour or so for at least one day prior to the working itself. in addition to that, if there is a whitenoise generator it should be on and run continuously until the completion of the rite itself. once the timers are in place, checked and double checked, seal the chamber until the moment that the participants enter and begin the actual ritual itself. this sealing off of the chamber is extremely important. by creating this closed environment and then allowing the discharge of the angularly proportioned atmospheric elements into the chamber room- undisturbed- you are creating an area of extreme separation from the atmosphere and ambience that exists outs

mber until the moment that the participants enter and begin the actual ritual itself. this sealing off of the chamber is extremely important. by creating this closed environment and then allowing the discharge of the angularly proportioned atmospheric elements into the chamber room- undisturbed- you are creating an area of extreme separation from the atmosphere and ambience that exists outside of the chamber itself. this is because we are creating a closed environment that is densely compacted with these atmospheric elements. all of this may seem like a lot of work. serious initiation requires a lot of work, the ritual must reflect and resonate the seriousness of the task- that of transforming. it is not a joke, or a game. the element of compression after making the ritual declaration (a m

environment of the ritual chamber itself. manifestation manifestation involves the actual working of the rite itself within the confines of the prepared chamber. it is the moment of extension, and then retraction that forms the body of the working itself. the elements involved in the manifestation of the working are too individual to be generalized other than to state it involves the unsealing of the chamber, the entrance of the participants and the activity of the rite itself. this is the primary moment of the entire ritual procedure. all the other elements of ritual (before and after the manifestation phase) i have mentioned are subservient to the aspect of manifestation. manifestation involves the extension and focus of the individuals involved in the working towards the goal of the rit

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL 3

hanted: a witch, a witch! i am a witch! when mompesson rushed into the nursery with his pistol, the disturbances ceased at once. that night it came to his bedside, panting like a large dog. the bedroom, even though lacking a fireplace, and on a particularly cold and bitter winter s night, became very hot and filled with a noxious odor. on the following morning, mompesson scattered fine ashes over the chamber floor to see what sort of imprints might be made by the incredible entity. he was rewarded by the eerie discovery of the markings of a great claw, some letters, circles, and other weird footprints. it was at this point in the manifestations that rev. joseph glanvil arrived to conduct his investigation. the phenomena were most cooperative for rev. glanvil and provided him with ample evi

THE BOOK OF GATES

e, and their glory p. 149 is in the holy place of ament. they say unto ra-'come thou, o ra, progress through the tuat. praise be to thee! enter thou among the holy [places] with the serpent mehen' ra saith unto them-'there are offerings for you, o ye who made offerings. i am content with what ye did for me, both when i used to shine in the eastern part of heaven, and when i was sinking to rest in the chamber of my eye' their food is of the bread-cakes click to view the twelve gods who hold the cord for measuring land. of ra, and their drink is of his tcheser drink, and their libations are made of cool water, and offerings are made unto them on the earth in [return] for the praisings which they make unto ra in ament" the passage in the text which refers to the holders of the measuring cord

THE SECRET RITUALS OF THE OTO

t) file//c /documents%20and%20settings/michael..secret%20rituals%20of%20the%20o.t.o/p2c7.html (12 of 14 [12/28/2001 2:04:51 pm] the secret rituals of the o.t.o. sir knight (noble dame) i salute you from the chair (m.w.s. applauds, h.p. applauds, g.m. applauds, 3 officers applaud. all applaud (triumphant musick. m.w.s. and h.p; g.m. and new kt (dame; all leave red room, and march in triumph around the chamber of death) third point (re-entering the red room, and the door being closed. m.w.s. presents the cakes of light to h.p, who passes to new kt (dame) and so on, ending with g.m, who presents to m.w.s. the cup then passes) m.w.s: consummatum est (the living circle, and dance. h.p. then advances and consumes the word.58) h.p: consummatum est (all resume thrones) additional note: the seven s

en velvet is a mantle of black velvet. the garter is black with gold lettering: the shoes black with gold buckles. the collarette, eagle and sash of 30 are worn. the tassels of the mantle are of gold cord. the cap is that of a templar, but black with the insignia in gold. sword and belt are black and gold. the ante-room contains the tomb of j(acobus) b(urgundus) m(olensis) and is hung with black. the chamber of reflections contains a small altar or table on which is a skull and the ever-burning lamp. in the mouth of the skull is a green leaf. when more than 3 companions are present, they draw lots for the offices, the loosers remaining without, on guard, under the direction of the knight sentinel. file//c /documents%20and%20settings/michael..0secret%20rituals%20of%20the%20o.t.o/p2c8.html (

THE HOLY BIBLE KING JAMES VERSION

and took their spoil, and gave change of garments unto them which expounded the riddle. and his anger was kindled, and he went up to his father s house. 14:20 but samson s wife was [given] to his companion, whom he had used as his friend. 15:1 but it came to pass within a while after, in the time of wheat harvest, that samson visited his wife with a kid; and he said, i will go in to my wife into the chamber. but her father would not suffer him to go in. 15:2 and her father said, i verily thought that thou hadst utterly hated her; therefore i gave her to thy companion [is] not her younger sister fairer than she? take her, i pray thee, instead of her. 15:3 and samson said concerning them, now shall i be more blameless than the philistines, though i do them a displeasure. 15:4 and samson wen

strength [lieth] and wherewith thou mightest be bound to afflict thee. 16:7 and samson said unto her, if they bind me with seven green withs that were never dried, then shall i be weak, and be as another man. 16:8 then the lords of the philistines brought up to her seven green withs which had not been dried, and she bound him with them. 16:9 now [there were] men lying in wait, abiding with her in the chamber. and she said unto him, the philistines [be] upon thee, samson. and he brake the withs, as a thread of tow is broken when it toucheth the fire. so his strength was not known. 16:10 and delilah said unto samson, behold, thou hast mocked me, and told me lies: now tell me, i pray thee, wherewith thou mightest be bound. 16:11 and he said unto her, if they bind me fast with new ropes that n

, thou hast mocked me, and told me lies: now tell me, i pray thee, wherewith thou mightest be bound. 16:11 and he said unto her, if they bind me fast with new ropes that never were occupied, then shall i be weak, and be as another man. 16:12 delilah therefore took new ropes, and bound him therewith, and said unto him, the philistines be upon thee, samson. and [there were] liers in wait abiding in the chamber. and he brake them from off his arms like a thread. 16:13 and delilah said unto samson, hitherto thou hast mocked me, and told me lies: tell me wherewith thou mightest be bound. and he said unto her, if thou weavest the seven locks of my head with the web. 16:14 and she fastened [it] with the pin, and said unto him, the philistines [be] upon thee, samson. and he awaked out of his sleep

se, and dress him meat. 13:8 so tamar went to her brother amnon s house; and he was laid down. and she took flour, and kneaded [it] and made cakes in his sight, and did bake the cakes. 13:9 and she took a pan, and poured [them] out before him; but he refused to eat. and amnon said, have out all men from me. and they went out every man from him. 13:10 and amnon said unto tamar, bring the meat into the chamber, that i may eat of thine hand. and tamar took the cakes which she had made, and brought [them] into the chamber to amnon her brother. 13:11 and when she had brought [them] unto him to eat, he took hold of her, and said unto her, come lie with me, my sister. 13:12 and she answered him, nay, my brother, do not force me; for no such thing ought to be done in israel: do not thou this folly

8:31 and, behold, cushi came; and cushi said, tidings, my lord the king: for the lord hath avenged thee this day of all them that rose up against thee. 18:32 and the king said unto cushi, is the young man absalom safe? and cushi answered, the enemies of my lord the king, and all that rise against thee to do [thee] hurt, be as [that] young man [is] 18:33 and the king was much moved, and went up to the chamber over the gate, and wept: and as he went, thus he said, o my son absalom, my son, my son absalom! would god i had died for thee, o absalom, my son, my son! 19:1 and it was told joab, behold, the king weepeth and mourneth for absalom. 19:2 and the victory that day was [turned] into mourning unto all the people: for the people heard say that day how the king was grieved for his son. 19:3

n. 1:13 go and get thee in unto king david, and say unto him, didst not thou, my lord, o king, swear unto thine handmaid, saying, assuredly solomon thy son shall reign after me, and he shall sit upon my throne? why then doth adonijah reign? 1:14 behold, while thou yet talkest there with the king, i also will come in after thee, and confirm thy words. 1:15 and bath-sheba went in unto the king into the chamber: and the king was very old; and abishag the shunammite ministered unto the king. 1:16 and bathsheba bowed, and did obeisance unto the king. and the king said, what wouldest thou? 1:17 and she said unto him, my lord, thou swarest by the lord thy god unto thine handmaid [saying] assuredly solomon thy son shall reign after me, and he shall sit upon my throne. 1:18 and now, behold, adonija

ght evil upon the widow with whom i sojourn, by slaying her son? 17:21 and he stretched himself upon the child three times, and cried unto the lord, and said, o lord my god, i pray thee, let this child s soul come into him again. 17:22 and the lord heard the voice of elijah; and the soul of the child came into him again, and he revived. 17:23 and elijah took the child, and brought him down out of the chamber into the house, and delivered him unto his mother: and elijah said, see, thy son liveth. 17:24 and the woman said to elijah, now by this i know that thou [art] a man of god [and] that the word of the lord in thy mouth [is] truth. 18:1 and it came to pass [after] many days, that the word of the lord came to elijah in the third year, saying, go, shew thyself unto ahab; and i will send ra

d she said unto her husband, behold now, i perceive that this [is] an holy man of god, which passeth by us continually. 4:10 let us make a little chamber, i pray thee, on the wall; and let us set for him there a bed, and a table, and a stool, and a candlestick: and it shall be, when he cometh to us, that he shall turn in thither. 4:11 and it fell on a day, that he came thither, and he turned into the chamber, and lay there. 4:12 and he said to gehazi his servant, call this shunammite. and when he had called her, she stood before him. 4:13 and he said unto him, say now unto her, behold, thou hast been careful for us with all this care; what [is] to be done for thee? page 217 2 kings wouldest thou be spoken for to the king, or to the captain of the host? and she answered, i dwell among mine

t up to the altar of the lord in jerusalem, but they did eat of the unleavened bread among their brethren. 23:10 and he defiled topheth, which [is] in the valley of the children of hinnom, that no man might make his son or his daughter to pass through the fire to molech. 23:11 and he took away the horses that the kings of judah had given to the sun, at the entering in of the house of the lord, by the chamber of nathan- melech the chamberlain, which [was] in the suburbs, and burned the chariots of the sun with fire. 23:12 and the altars that [were] on the top of the upper chamber of ahaz, which the kings of judah had made, and the altars which manasseh had made in the two courts of the house of the lord, did the king beat down, and brake [them] down from thence, and cast the dust of them in

t the commandment of our god; and let it be done according to the law. 10:4 arise; for [this] matter [belongeth] unto thee: we also [will be] with thee: be of good courage, and do [it] 10:5 then arose ezra, and made the chief priests, the levites, and all israel, to swear that they should do according to this word. and they sware. 10:6 then ezra rose up from before the house of god, and went into the chamber of johanan the son of eliashib: and [when] he came thither, he did eat no bread, nor drink water: for he mourned because of the transgression of them that had been carried away. 10:7 and they made proclamation throughout judah and jerusalem unto all the children of the captivity, that they should gather themselves together unto jerusalem; 10:8 and that whosoever would not come within t

to the congregation of god for ever; 13:2 because they met not the children of israel with bread and with water, but hired balaam against them, that he should curse them: howbeit our god turned the curse into a blessing. 13:3 now it came to pass, when they had heard the law, that they separated from israel all the mixed multitude. 13:4 and before this, eliashib the priest, having the oversight of the chamber of the house of our god [was] allied unto tobiah: 13:5 and he had prepared for him a great chamber, where aforetime they laid the meat offerings, the frankincense, and the vessels, and the tithes of the corn, the new wine, and the oil, which was commanded [to be given] to the levites, and the singers, and the porters; and the offerings of the priests. 13:6 but in all this [time] was no

ot i at jerusalem: for in the two and thirtieth year of artaxerxes king of babylon came i unto the king, and after certain days obtained i leave of the king: 13:7 and i came to jerusalem, and understood of the evil that eliashib did for tobiah, in preparing him a chamber in the courts of the house of god. 13:8 and it grieved me sore: therefore i cast forth all the household stuff of tobiah out of the chamber. 13:9 then i commanded, and they cleansed the chambers: and thither brought i again the vessels of the house of god, with the meat offering and the frankincense. 13:10 and i perceived that the portions of the levites had not been given [them] for the levites and the singers, that did the work, were fled every one to his field. 13:11 then contended i with the rulers, and said, why is th

the city in the streets, and in the broad ways i will seek him whom my soul loveth: i sought him, but i found him not. 3:3 the watchmen that go about the city found me [to whom i said] saw ye him whom my soul loveth? 3:4 [it was] but a little that i passed from them, but i found him whom my soul loveth: i held him, and would not let him go, until i had brought him into my mother s house, and into the chamber of her that conceived me. 3:5 i charge you, o ye daughters of jerusalem, by the roes, and by the hinds of the field, that ye stir not up, nor awake [my] love, till he please. 3:6 who [is] this that cometh out of the wilderness like pillars of smoke, perfumed with myrrh and frankincense, with all powders of the merchant? 3:7 behold his bed, which [is] solomon s; threescore valiant men [

on of josiah king of judah, saying, 35:2 go unto the house of the rechabites, and speak unto them, and bring them into the house of the lord, into one of the chambers, and give them wine to drink. 35:3 then i took jaazaniah the son of jeremiah, the son of habaziniah, and his brethren, and all his sons, and the whole house of the rechabites; 35:4 and i brought them into the house of the lord, into the chamber of the sons of hanan, the son of igdaliah, a man of god, which [was] by the chamber of the princes, which [was] above the chamber of maaseiah the son of shallum, the keeper of the door: 35:5 and i set before the sons of the house of the rechabites pots full of wine, and cups, and i said unto them, drink ye wine. 35:6 but they said, we will drink no wine: for jonadab the son of rechab o

in the book the words of the lord in the lord s house. 36:9 and it came to pass in the fifth year of jehoiakim the son of josiah king of judah, in the ninth month [that] they proclaimed a fast before the lord to all the people in jerusalem, and to all the people that came from the cities of judah unto jerusalem. 36:10 then read baruch in the book the words of jeremiah in the house of the lord, in the chamber of gemariah the son of shaphan the scribe, in the higher court, at the entry of the new gate of the lord s house, in the ears of all the people. 36:11 when michaiah the son of gemariah, the son of shaphan, had heard out of the book all the words of the lord, 36:12 then he went down into the king s house, into the scribe s chamber: and, lo, all the princes sat there, jeremiah page 468 [

ked baruch, saying, tell us now, how didst thou write all these words at his mouth? 36:18 then baruch answered them, he pronounced all these words unto me with his mouth, and i wrote [them] with ink in the book. 36:19 then said the princes unto baruch, go, hide thee, thou and jeremiah; and let no man know where ye be. 36:20 and they went in to the king into the court, but they laid up the roll in the chamber of elishama the scribe, and told all the words in the ears of the king. 36:21 so the king sent jehudi to fetch the roll: and he took it out of elishama the scribe s chamber. and jehudi read it in the ears of the king, and in the ears of all the princes which stood beside the king. 36:22 now the king sat in the winterhouse in the ninth month: and [there was a fire] on the hearth burning

g. 40:44 and without the inner gate [were] the chambers of the singers in the inner court, which [was] at the side of the north gate; and their prospect [was] toward the south: one at the side of the east gate [having] the prospect toward the north. 40:45 and he said unto me, this chamber, whose prospect [is] toward the south [is] for the priests, the keepers of the charge of the house. 40:46 and the chamber whose prospect [is] toward the north [is] for the priests, the keepers of the charge of the altar: these [are] the sons of zadok among the sons of levi, which come near to the lord to minister unto him. 40:47 so he measured the court, an hundred cubits long, and an hundred cubits broad, foursquare; and the altar [that was] before the house. 40:48 and he brought me to the porch of the h

and palm trees, like as [were] made upon the walls; and [there were] thick planks upon the face of the porch without. 41:26 and [there were] narrow windows and palm trees on the one side and on the other side, on the sides of the porch, and [upon] the side chambers of the house, and thick planks. 42:1 then he brought me forth into the utter court, the way toward the north: and he brought me into the chamber that [was] over against the separate place, and which [was] before the building toward the north. 42:2 before the length of an hundred cubits [was] the north door, and the breadth [was] fifty cubits. 42:3 over against the twenty [cubits] which [were] for the inner court, and over against the pavement which [was] for the utter court [was] gallery against gallery in three [stories] 42:4

TYSON DONALD NEW MILLENNIUM MAGIC

faith that may or may not be ultimately rewarded. they must be carefully considered and made, for the magical life of the magus depends on their efficacy. also called the temple material. this must be a place where, above all, the magus can feel relaxed and secure from interruption on any level of being. the air should be healthful and quiet, free from odors, discordant noises, dampness or smoke. the chamber that is to contain the outer temple must be secure from the intrusions of strangers. the emotional atmosphere should be pleasant or, at the least, neutral. for these reasons the heart of a city is a poor place for the outer temple. how- ever, since many people live in cities, oftentimes the best must be made of a bad sit- uation. cellars are well insulated from chance comings and going

th the points of the compass, so much the better. since windowless rooms are uncommon, shutters should be made in the inside to com- pletely seal the windows. these can be left open during the day and closed for rit- ual work at night. where it is not practical to employ shutters, heavy opaque blinds or drapes may be substituted. there must be adequate lighting in the room so that in an emergency the chamber can be brightly lit at the touch of a switch. a large tilt-style switch that can be easily located and operated in the dark should be installed. the walls are best left undecorated, and the same goes for the door. walls, door, shutters, and ceiling are painted a pale neutral gray. some adepts suggest black, but this tends to be oppressive. red should not be used, as it is the color com

ale neutral gray. some adepts suggest black, but this tends to be oppressive. red should not be used, as it is the color commonly associated with satanism. the temple should never be painted any one particular color since it would cast a pervasive influence over all succeeding rituals. study of the interior design principles of traditional japan will suggest the ideal the magus should strive for. the chamber must be simple and balanced, nei- ther forbidding nor inviting. when the magus has entered it, there should be a sense of belonging, yet when the magus leaves and looks back, there should be no impression that anything is lacking. ventilation is necessary, as sometimes large amounts of incense are burned in charcoal fires-during certain evocations, for example-and carbon monoxide poiso

ed, nei- ther forbidding nor inviting. when the magus has entered it, there should be a sense of belonging, yet when the magus leaves and looks back, there should be no impression that anything is lacking. ventilation is necessary, as sometimes large amounts of incense are burned in charcoal fires-during certain evocations, for example-and carbon monoxide poisoning could be a possible threat were the chamber sealed tightly. a large crack under the entrance door and the window left open slightly behind the vented shut- ters or drapes should solve this problem. ideally, the floor should have some spring so that prolonged standing and walking may be done without fatigue. concrete floors are tiring. before the chamber is used it must be purified and consecrated. some adepts maintain that the m

fied and consecrated. some adepts maintain that the magic circle is not necessary when magic is done in a consecrat- ed chamber. this is true when dealing with the forces of light. the odor of sancti- ty generated by sincere prayers will keep away any prowling demons. when calling on qlippothic or chaotic forces, however, a circle is always used. the very fact that such entities are summoned into the chamber defiles its purity and thus it is no longer a protection. middle temple also called the temple astral. this is the imaginary landscape that satisfies the emotional needs of the magus, as the outer temple meets his or her physical needs. it is created in the mind through a stepped process of visualization that requires many hours of intense meditation. it must be as clear in the mind of

ojected clockwise from the wand, held in the right hand, at the level of the heart while walking around the altar. this circle is visualized as extending from the tip of the wand to hang glowing with white light upon the air of the middle temple. it must be seen clearly and sustained in the astral vision. it may correspond to a circle of similar diameter drawn on the floor with chalk or paint. if the chamber of the outer temple is small, the magus may draw the circle by rotating on a point, thus making his or her own body the center and, if need be, the altar. cleansing the circle usually the circle is cleansed of unwanted influences by fire and water, following the golden dawn practice. however, if preferred, the three active elements (fire, air, water) may be used, or all four elements (

TYSON DONALD SOUL FLIGHT

amber does not need to correspond with the physical chamber in all its details. simply by not visualizing anything that lies on the other side of the walls, floor, or ceiling of the windowless astral chamber, those walls can be rendered completely impervious. 164 soul flight door the only opening in the astral chamber described in the following ritual is a single closed door. just as the walls of the chamber correspond in a symbolic way with the barrier of the magic circle, so the door corresponds with the point at the center of the circle through which entry or exit of the circle is enabled. a magic circle can have only one opening: the point at its center. by expanding the point, it becomes an aperture into or out of the circle. it is necessary to create a doorway in the astral chamber t

out of the circle. it is necessary to create a doorway in the astral chamber to allow travel in the projected astral body to other places in the astral world. on the astral level, it is possible to shift the central aperture of the circle to its circumference. this change is sometimes reflected in the physical temple of working magicians by moving the altar-which ideally resides in the center of the chamber-to one of the four walls of the room. it is usually done for convenience, to obtain a larger open floor area. the altar symbolizes the center of the magic circle, even when it is placed at its edge. the door visualized in the astral chamber does not need to have a corresponding door in the actual room in which the ritual is conducted because it represents not the physical door of the r

ed in detail in later chapters. the tattwa symbols used to open astral gateways by members of the golden dawn are one type of key. the twenty-two picture cards of the tarot are another type. the ancient germanic symbols known as runes are yet a third kind of key. the key, visualized in the form of a modern keycard on the astral level, is used to unlock the door of the astral chamber when you exit the chamber in your projected astral form. the door is conceived to be of a type that will relock itself behind you automatically. the locked door keeps your physical body safe from harm while your awareness is elsewhere. because you are protected by the magic circle, the only access from the astral world to your physical place of working, where you sit or lie during the ritual, is through the ast

ed it is imagined to be, the more substantial it becomes. the symbol that serves as the astral key selects the particular type of astral environment to which the door will provide access. all other astral landscapes are excluded, or tuned out, by the specific occult vibrations of the key, which emits a kind of psychic musical chord that is different for each key. the key does not open the door of the chamber directly upon that astral environment, however. in order to reach the desired location in the astral world, it is necessary to travel there in the astral body. this travel is effected laterally or horizontally, so to speak, across the base level of the astral plane that corresponds closely with the physical world. when the door is opened by the keycard, it leads into a long, windowless

cross the landscape of the physical world, the key can be made quite narrow and specific-an address in a particular city, for example. the corridor has no windows or doors on its sides. this provides secure travel, since there is no entry to the corridor, which leads only to a single place. at its far end, there is a single locked door that is accessed with the same keycard that opens the door of the chamber. beyond this door is a smaller square room. in the opposite wall of the room is set a second door, and when this door is unlocked with the keycard, it opens directly onto the astral landscape or location defined by the key. the traveler takes the keycard out of its slot and retains it when exiting this small room. elevator the small, square room at the end of the corridor is a special

in your inner sight for a minute or so, reinforcing it with your imagination when it becomes dim. try to see it as clearly as you can, as though it were projected against the inner surface of your eyelids. the blue circle also stands for the astral chamber. the red line begins at the center of the circle, which is its natural aperture, and represents the extension of the corridor from the door of the chamber. the red line terminates at the elevator. it is not necessary to be conscious of these correspondences during the practice of soul flight, but you should be aware that they exist. the red line pierces the blue circle at its center and flies beyond its boundary to its destination. it is a sign of going out of the body. when you finish your exercise and lie on your bed in the astral cham

n plan ahead of time. if it feels right to you that you allow the tone you are creating to gently rise or fall in pitch, do so. it may make a sort of atonal melody, but you should not let your awareness focus on the sound as music, but instead continue to ride it farther and farther away from your body. this sound technique is effective as a way of initially entering the astral chamber. visualize the chamber as you sustain the tone, and allow yourself to be carried to the astral chamber, where you will find yourself lying on your bed, just as you are in your physical chamber of practice. when you feel yourself present in the astral chamber, you can allow the whistle or hum to cease. do not be surprised if your low whistle has some curious effects on those in the same house or building wher

e it over and over as it fades. this is best done by focusing the awareness on details, such as the pattern of the wallpaper, the shape of the overhead lighting fixture, the texture of the quilt or blanket beneath you on the bed, the way the light reflects from the floorboards or tiles, the colors of the rug, the shape of the molding chapter ten: uses of ritual 173 around the door. all details of the chamber must be created by you, and re-created by visualizing them over and over. in the beginning, you will have to invent details, but as you go back to the astral chamber day after day in the course of your regular practice, you will discover that it changes in subtle ways, and that new furnishings or details of its decor suggest themselves. it is an astral place, so its form is not fixed

over. in the beginning, you will have to invent details, but as you go back to the astral chamber day after day in the course of your regular practice, you will discover that it changes in subtle ways, and that new furnishings or details of its decor suggest themselves. it is an astral place, so its form is not fixed. you hold it together by re-imagining it, but if you are successful in creating the chamber on the astral level, it will begin to sustain itself, so that the process becomes less an exercise of creating the chamber anew each day, and more a matter of visiting a place that already exists. will your will is the driving force that projects you from your physical body to the astral landscape that you wish to inhabit temporarily. how effectively you are able to use it depends on y

ethan mathematician, cartographer, and spiritualist john dee (1527-1608, would scry spiritual beings within a globe of rock crystal and relate their actions and words to dee, who then copied the narrative down in his diaries. kelley was also able to see complex astral landscapes in the crystal. sometimes, the spirits came completely out of the crystal and were present to kelley's astral vision in the chamber in which he scried, yet dee could not see them because he lacked kelley's psychic talent. on various occasions, they even touched kelley so that he felt their contact: once pressing a heavy weight on his right shoulder,lxa1n d another time clawing him about the head.lx2 not only was the boundary between seeing astral images at a distance and being surrounded by them blurred, but also b

t is used as an astral doorway is the wall at the foot of the bed upon which you lie when you practice soul flight. when you exit your physical body and leave it behind you on the bed, you can arise in your astral body and step into the mirror, which if you wish can be used as a conduit to carry you directly to your destination without the necessity to use the intermediary astral constructions of the chamber, corridor, and elevator. needless to say, once you arise in your astral body, you are already on the base level of the astral world. it is helpful to imagine a vortex forming in the center of the mirror just before you step into it, a sort of whirlpool of silvery-gray light. in ceremonial magic, the symbol of the vortex, in the form of the two-dimensional spiral or three-dimensional co

t for common purposes. it should be protected from the direct rays of the sun, and from strong daylight. to charge it with lunar virtue, set it outside or beneath a window where it can reflect the light of the full moon. covering the mirror with a black cloth after it is charged will help retain this virtue. to incorporate the lunar virtue of a mirror into the standard projection ritual, in which the chamber, corridor, and elevator are visualized, a small mirror may be combined with the symbolic key that specifies the astral destination. these can be held together with tape or a rubber band. the mirror and the key can then be placed over the solar plexus beneath the folded hands while lying on the bed during the projection. it is best to leave the surface of the mirror unobstructed and to

the water of the basin until a light is perceived. he will gradually become aware that he is no longer descending into the depths of the basin, but ascending toward the light. as the light approaches, it enlarges itself into an opening through which the traveler emerges into the astral landscape he sought to reach. in this way, the basin of water can be used as a direct astral channel, bypassing the chamber, corridor, and elevator of the general ritual. i have provided this method of direct passage into the astral world, along with the method of the mirror, because i know that some individuals who practice using the formal ritual of the chamber, corridor, and elevator may find it too elaborate and cumbersome to easily manipulate in their imaginations. the ritual of projection is not an es

en window covered with a curtain that conceals the place of execution from the gaze of those in the 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 ma

and it is easy to become lost. servants move silently about, perpetually cleaning the house and maintaining it. they will not notice the traveler unless they are directly addressed, and their responses are usually unhelpful. some of the doors are locked and others are open, but this cannot be known until they are tried. each opened door leads into a different tableau, in which the inhabitants of the chamber enact a drama for the traveler as he enters. if they are questioned, they will respond and explain what they are doing. the scene out of each window in different-some show cityscapes, others mountains, others the seashore, others forests or country scenes. the god of this place is the keeper of the keys, the owner of the house who selects what rooms the traveler may enter. he is never

TYSON DONALD THE POWER OF THE WORD

is relevant to our inquiry because it shows that the order of angels known as the wings of the winds are elemental angels of the earth: can the wings of the winds understand your voices of wonder, 0 you, the second of the first? whom the burning flames have framed within the depths of my jaws; whom i have prepared as cups for a wedding, or as the the hieroglyphic monad flowers in their beauty for the chamber of righteousness. stronger are your feet than the barren stone, and mightier are your voices than the manifold winds: for you are become a building such as is not, but in the mind of the all-powerful. arise, saith the first! move, therefore, unto his servants! show yourselves in power, and make me a strong see-thing; for i am of him that liveth forever. the 'wings of the winds" signify

s 109 your heart center through your left hand, which should lie flat on your chest, and feel it flow up your left arm, across your shoulders, and out your right arm. take care to join the end of the circle with its beginning in the north. in the event that you are unable to walk completely around the table, which serves as the ritual altar, you can project the circle of fire mentally to surround the chamber by turning on your own axis clockwise with your right index finger extended as you stand before the altar, your left hand over your heart center. begin projecting the circle in the northern quarter, and be sure to join the end of the circle with its beginning. once these preliminary steps are concluded, you may go on with the actual ritual of consecration. walk clockwise around the alt

ds to the spirits to appear visibly, or at least tangibly, before the magician. magically speaking, they are the most potent words in the keys. the second key can the wings of the winds understand your voices of wonder, 0 you, the second of the first? whom the burning flames have framed within the depths of my jaws; whom i have prepared as cups for a wedding, or as the flowers in their beauty for the chamber of 192 tetragrammaton righteousness, stronger are your feet than the barren stone, and mightier are your voices than the manifold winds: for you are become a building such as is not, but in the mind of the all-powerful. arise, saith the first! move, therefore, unto his servants! show yourselves in power, and make me a strong see-thing, for i am of him that liveth forever. analysis of t

rtue of the invisible breath of god "you are become a building, such as is not, but in the mind of the all-powerful" here "building" signifies the names, or personal identities, of the ancient ones. in kelley's vision, these trumpets are "wreathedn with flowers. christ says of the "second of the first (the trumpets "whom i have prepared as cups for a wedding, or as the flowers in their beauty for the chamber of righteousness" these images celebrate the consummation of sexual union within the lawful marriage bond, and would seem to refer to the kabbalistic appendix a: the keys 193 union between microprosopus (christ) and the bride (kingdom. i am inclined to speculate that the bride of microprosopus is in this case the mysterious unseen mother of the spirit madimi. the trumpets, which are th

UNCLE SETNAKT SEZ PERFORM A RITUAL TOASTING

d of toasts- no passing! 1. prepare your chamber. the preparation of a sacred space sets up all the moods and expectations you want for self-exploration and magic. if you reuse a chamber often, the mere entering of it can put you in a state of communication with yourself and- perhaps- the unknown that lies beyond. for communication with the prince of darkness, the creator of isolate intelligence, the chamber should be dark, display his pentagram (the kaliyuga productions pentagram will do excellently if like uncle setnakt you can't paint your own, and those ritual tools you deem necessary. you'll also need a quantity of sweet liquid (uncle setnakt recommends water with a little honey- this mixture may touch off some dim ancestral memories indeed considering that the roots of the words "mea

s pentagram (the kaliyuga productions pentagram will do excellently if like uncle setnakt you can't paint your own, and those ritual tools you deem necessary. you'll also need a quantity of sweet liquid (uncle setnakt recommends water with a little honey- this mixture may touch off some dim ancestral memories indeed considering that the roots of the words "mead"and "soma" both mean honeyed water. the chamber should be quiet and out of the way, so you can relax, calmly listen to yourself. 2. prepare yourself. read through this article and be sure you've found the internal and external facts you'll need. dress for the occasion, whether it is ritual robes or just a black tasteful suit, you are going to honor the highest part of yourself! your attitude and demeanor should be one of solemn joy!

o yourself. 2. prepare yourself. read through this article and be sure you've found the internal and external facts you'll need. dress for the occasion, whether it is ritual robes or just a black tasteful suit, you are going to honor the highest part of yourself! your attitude and demeanor should be one of solemn joy! don't approach this rite until you are both prideful and joyful. when you enter the chamber, remain in darkness and silence for a while, until your mind is working smoothly and the rite can flow out of you freely. 3. begin in your standard manner. ritual openings improve with time and use, you don't have to cut new channels to the unknown every time you work. for those of you who are trying to reinvent the wheel, i recommend the ringing of a bell nine times and an invocation

triumphs slowly letting this meditation take you to an understanding of the nature of isolate intelligence. when this is achieved, you may close in the standard manner. for those of you operating outside of the temple of set, i would recommend crying out "hail set! hail loki" and ringing the bell nine times. 8. to be effective this rite must be done many times. sometimes you will have to come to the chamber with an understanding that you've failed in your goal. this will teach about resistance, you may have to recast your oath or redouble your efforts. by meditating on this you will have learned about yourself and the universe. sometimes you will come to boast on accomplishments. you will begin to sense your becoming- to make real contact will your godhood. this will enable you to become

VOX SABBATUM

you meditate and participate by dream or flesh remember the will that invokes change in a positive sense. you are the djinn of fire who begets both light and darkness, you are the serpent and the lion, the wolf and the goat. with the angelic higher self (the true will) you will join the bestial self (the daemon or shadow) as one. the luciferian sabbat may be conducted in the following manner. let the chamber (unless the rite is intended to be held outdoors) be decorated in more ambivalent forms of lucifer, such as illustrations of the fallen angel by gustave dore, fidus or franz von stuck. you will use the algol sigil above a mirror; your altar may have the tools of your work. you may have conductive music which reflects an ambient atmosphere, without heavy drumming or noise, to aid ultima

WOLFSON ELLIOT ALEF MEM TAU KABBALISTIC MUSINGS ON TIME TRUTH AND DEATH

ites: how can one do kindness with his master? through study of torah, for he who studies torah bestows kindness upon his master, as it is written riding the heavens through your assistance (deut 33:26. that is to say, when you study torah for its own sake, then you assist me and i ride the heavens, and consequently through the skies in his majesty (ibid. what are the skies [shehaqim? i would say the chamber of chambers [hadrei hadarim. in contrast to 34, where the nexus between torah study and gemilut hasadim was explained in terms of the human being drawing benefit from the divine attribute of mercy, in 128, it is god who benefits from the human act, which bestows kindness. more specifically, in the latter passage, the theurgical principle is embraced whereby the activity of the human be

4 7 INITIATION CEREMONY

esumes his seat. heg: leads practicus to hiereus. hiereus (indicating tablet) this is the so-called qabalah of nine chambers. in it the letters are classed together, according to the similarity of their numbers. thus, in one chamber you will see gimel, lamed and shin classed together, whose numbers are similar 3, 30, 300 and so on. the uppermost is the most usual form of the diagram. in the lower the chambers are arranged according to the sephiroth. this tablet (indicating it) represents the method of 'forming the tree of life in the tarot. the four aces are placed on the throne of kether. the remaining small cards of each suit desired are then placed on the respective sephiroth, 2 on chokmah, 3 on binah and so on. the 22 trumps are then arranged on the letters of the paths between them. t

ALEISTER CROWLEY MAGICK IN THEORY AND PRACTICE

d thine handmaiden, in thine office of gladness. the people. so mote it be (the saints) the deacon. lord of life and joy, that art the might of man, that art the essence of every true god that is upon the surface 353 of the earth, continuing knowledge from generation unto generation, thou adored of us upon heaths and in woods, on mountains and in caves, openly in the market-places and secretly in the chambers of our houses, in temples of gold and ivory and marble as in these other temples of our bodies, we worthily commemorate them worthy that did of old adore thee and manifest thy glory unto men "lao-tze and siddhartha" and krishna and "tahuti" mosheh "dionysus, mohammed and to mega therion, with these also" hermes "pan" priapus, osiris, and melchizedeck, khem and amoun "and mentu, heracl

ALEISTER CROWLEY THE OTO GNOSTIC MASS

hou and thine handmaiden, in thine office of gladness. the people: so mote it be. the saints the deacon: lord of life and joy, that art the might of man, that art the essence of every true god that is upon the surface of the earth, continuing knowledge from generation unto generation, thou adored of us upon heaths and in woods, on mountains and in caves, openly in the marketplaces and secretly in the chambers of our houses, in temples of gold and ivory and marble as in these other temples of our bodies, we worthily commemorate them worthy that did of old adore thee and manifest they glory unto men (at each name the deacon signs with thumb between index and medius. at ordinary mass it is only necessary to commemorate those whose names are italicized, with wording as is shown) laotze and sid

ALICE A BAILEY04 A TREATISE ON COSMIC FIRE

: a. the throat, b. the heart, c. the solar plexus, d. the spleen, e. the organs of generation, f. the base of the spine, are in due order according to a man's ray and subray transferred into the correspondences within the head centre. these seven head centres are the reflection in the microcosm of those "mansions prepared in the heavens" which receive the sevenfold energy of the monad. these are the chambers prepared by the lower energy which are to be the recipients of "soul or the higher psychic energy" the final hint which can be given, may be summed up in the words that as the aspirant progresses,75(241) he not only balances the pairs of opposites, but the secret of his brother's heart becomes revealed to him. he becomes an acknowledged force in the world, and is recognised as one who

BLAVATSKY H P COSMOGENESIS

r "authorities" that no eastern nation knew of the zodiac before the hellenes kindly acquainted their neighbours with their invention. this, in the face of the book of job, declared, even by themselves, to be the oldest in the hebrew canon, certainly prior to moses, and which speaks of the making "of arcturus, orion, and pleiades (ash, kesil, and[[vol. 1, page] 648 the secret doctrine. cimah) and the chambers of the south (ix. 9; of scorpio and the mazzaroths- the twelve signs (xxxviii, 31, 32, which words, if they mean anything, imply knowledge of the zodiac even among the nomadic arabic tribes. the book of job, they say, precedes homer and hesiod by at least one thousand years- the two greek poets having themselves flourished some eight centuries before the christian era. one who prefers

BLUE EQUINOX

ou and thine handmaiden, in thine office of gladness. the people: so mote it be (the saints) the deacon: lord of life and joy, that art the might of man, that art the essence of every true god that is upon the surface of the earth, continuing knowledge from generation unto generation, thou adored of us upon heaths and in woods, on mountains and in caves, o enly in the marketplaces and secretly in the chambers of our houses, in temples of gold and ivory and marble as in these other temples of our bodies, we worthily commemorate them worthy that did of old adore thee and manifest they glory unto men (at each name the deacon signs+ with thumb between index and medius. at ordinary mass it is only necessary to commemorate those whose names are italicized, with wording as is shown) laotze and si

BOOK OF ENOCH

louds, and of the dew; and there i saw from where they go out, in that place. and how, from there, the dust of the earth is saturated. 41.4] and there i saw closed storehouses from which the winds are distributed, and the storehouse of the hail, and the storehouse of the mist, and the storehouse of the clouds; and its cloud remained over the earth, from the beginning of the world. 41.5] and i saw the chambers of the sun and the moon, where they go out, and where they return. and their glorious return; and how one is more honoured than the other is. and their magnificent course, and how they do not leave their course, neither adding nor subtracting from their course. and how they keep faith in one another, observing their oath. 41.6] and the sun goes out first, and completes its journey at

BOOK T

shape of an ankh, with symbols about and upon the form. the loop is a series of four concentric bands like the rose cross, about a central circle. the central circle is quartered by a vertical greek cross. this cross has a dot in the center and is marked "red on white" the ring just about this circle is divided by radial segments into three chambers, with one centered at top; clockwise from top, the chambers are marked "bright pale yellow "glowing orange scarlet "deep blue. the next ring outward is divided into seven chambers, one to bottom, and marked clockwise from 1 o'clock "violet "indigo "blue "emerald green "yellow "orange "red. the next ring outward is divided into twelve chambers, division at top and bottom with six to either side; clockwise from 1 o'clock "crimson "violet "indigo

DEMONIC BIBLE

all powerful. arise sayeth the first. move therefore unto his servants. show yourselves in power and make me a strong seer-of-things, for i am of him that liveth forever (lavey) can the wings of the winds hear your voices of wonder; o you, the great spawn of the worms of the earth, whom the hell fire frames in the depth of my jaws, whom i have prepared as cups for a wedding or as flowers regaling the chambers of lust! stronger are your feet than the barren stone! mightier are your voices than the manifold winds! for you are become as a building such as is not, save in the mind of the all-powerful manifestation of satan! arise, saith the first! move therefore unto his servants! show yourselves in power, and make me a strong seer-ofthings, for i am of him that liveth forever! the third key a

EGYPTIAN BOOK OF THE DEAD PAPYRUS OF ANI MALESTROM

nd the heliopolis of the greeks, and which was based upon a series of texts now lost, but which there is evidence to prove had passed through a series of revisions or editions as early as the period of the vth dynasty. this version was, so far as we know, always written in hieroglyphics, and may be called the heliopolitan version. it is known from five copies which are inscribed upon the walls of the chambers and passages in the pyramids[2] of kings of the vth and vith dynasties at sakk ra;[3] and sections of it are found inscribed upon tombs, sarcophagi, coffins, stel and papyri from the xith dynasty to about a.d. 200.[4 [1. see naville, todtenbuch (einleitung, p. 39. 2. hence known as the "pyramid texts" 3. i.e, un s, tet, pepi i, mentu-em-sa-f, and pepi ii. their pyramids were cleared o

of egypt about b.c. 3300, which vyse thought[2] had never been entered, and of which, in his day, the masonry on one the versions of the book of the dead. http//www.sacred-texts.com/egy/ebod/ebod03.htm (11 of 36 [8/10/2001 11:22:54 am] side only could be seen. here again it was found that thieves had already been at work, and that they had smashed in pieces walls, floors, and many other parts of the chambers in their frantic search for treasure. as in the case of the pyramid of unas, certain chambers, etc, of this tomb were found covered with inscriptions in hieroglyphics, but of a smaller size.[3] a brief examination of the text showed it to be formed of a series of extracts from the book of the dead, some of which were identical with those in the pyramid of unas. thus was brought to lig

ids of the vth and vith dynasties. in that of unas about one-quarter of the sarcophagus chamber is covered with architectural decorations, and the hieroglyphics are large, well spaced, and enclosed in broad lines. but as we advance in the vith dynasty, the space set apart for decorative purposes becomes less, the hieroglyphics are smaller, the lines are crowded, and the inscriptions overflow into the chambers and corridors, which in the vth dynasty were left blank. see maspero in revue des religions, t. xi, p. 124] p. xxv consideration by the scribe, although it seems, at times, as if traditions had assigned a sequence to certain texts. historical reference. that events of contemporary history were sometimes reflected in the book of the dead of the early dynasties is proved by the followin

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 1

to a better and holier life. the phenomenon is even recorded in the bible: then david gave to solomon his son the pattern of the porch, and of the houses thereof, and of the treasuries thereof, and of the upper chambers thereof, and of the inner parlors thereof, and of the place of the mercy seat and the pattern of all that he had by the spirit, of the courts of the house of the lord, and of all the chambers round about it, of the treasuries of the house of god, and of the treasuries of the dedicated things. all this, said david, the lord made me understand in writing by his hand upon me, even all the works of this pattern (chron. 28. modern psychic artists include the brazilian luiz gasparetto. painting in the early 1900s at lightning speed and in semidarkness, the entranced artist produ

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 2

the supernatural (1852. the phenomena started with the mysterious displacement of objects when the family was at church. after their return, inanimate things began to fly about and stuffed effigies were discovered in empty rooms. the following letter in the new haven journal describes the early activity: while the house of dr. phelps was undergoing a rigid examination from cellar to attic, one of the chambers were mysteriously fitted up with eleven figures of angelic beauty, gracefully and imposingly arranged, so as to have the appearance of life. they were all female figures but one, and most of them in attitudes of devotion, with bibles before them, and pointing to different passages with the apparent design of making the scriptures sanction and confirm the strange things that were going

GILBERT AE WAITE A MAGICIAN OF MANY PARTS

s fellow directors, on charges of fraud. but all of this was in the undreamed future when redwayceasedto be redway and waite found himself at a loose end. and just as sinnett had takenawayhis publisher, so sinnett now hauled him out.ofthe pit of enforcedidleness.among thejournals published by the catherinestreet publishing association wasthebritishmail,a monthly that professed to be a 'journal of the chambers of commerce of the united kingdom' but was also, in february1889,without an editor. to waite's great astonishment, sinnett offered him the post. that waite knew nothing of journalism seemed not to matter, for when he pointed this out sinnett told him that 'the responsibilities were light enough as the periodicalappropriated without acknowledgement anything that came itsway.theissueswe

GILBERT THE MAGICAL MASON

ker of thenorth,which is one of the stars of ursa minor, the little bear. some persons call this constellation the wain, an old name for a wagon; some ancients called it a winnowing fan, and the chinese, a dipped or handled basin.thegreek name pleiades occurs twice in the book of job.intheauthorised version, chapter, ix v. 9, job speaking to god says 'which maketh arcturus, orion and pleiades and the chambers of the south; and chapter xxxviii v. 31, god speaking to job says 'canst thou bind the sweet influencesofpleiades'.therevised version here adds, theclusteror thechainof the pleiades. in amos, also, v. 8 we read,'theseven stars, and in the revised version the words become'thepleiades'.thepleiades form a cluster of stars which are very easy of observation and they are recognised by many

GILBERT THE SORCERER AND HIS APPRENTICE

d hod. metatron and' sandalphon were the two pillars betwixt which was the glory of tiphereth, revealing the supernal triad. is. in the kabalah of the nine chambers the letters are classed together according to the similarity of their numbers. thus in one chamber are placed gimel, lamed and shin, whose numbers are similar, 3, 30, 300 and so on. the first form is the more usual. in the second form the chambers are arranged according to the sephiroth.3 3 3 2 2 2i i iru, h6 6 6 5 5 54440i:)i ,mmq,9 9 9 8 8 87 7 7first form33 3 i i i2 2 2binah kether chokmahl'h55 5 6 6 6 4 4 4geburahtlpherethchesed,n0i),mq,8 88 99 9 7 7 7hodyesod netzach:'1nramsecond form16. each of the 22 paths represents the equilibrium of the sephiroth it connects.theazoth lecture33tetrad oftheelements hexad of dimensions o

GRAHAM HANCOCK FINGERPRINTS OF THE GODS

the peshenkhef, a ceremonial cutting instrument. this was used to open the mouth of the deceased god-king, an action thought necessary to ensure his resurrection in the heavens. surviving reliefs and vignettes showing this ceremony leave no doubt that the mummified corpse was struck a hard physical blow with the peshenkhef.21 in addition, evidence has recently emerged which indicates that one of the chambers within the great pyramid at giza may have served as the location for the ceremony.22 all this finds a strange, distorted twin in mexico. we have seen the prevalence of human sacrifice there in pre-conquest times. is it coincidental that the sacrificial venue was a pyramid, that the ceremony was conducted by a high priest and four assistants, that a cutting instrument, the sacrificial

egyptologists were prepared to consider. nor was it just a few hieroglyphs or a few diorite bowls. during my travels in egypt i had examined many stone vessels dating back in some cases to pre-dynastic times that had been mysteriously hollowed out of a range of materials such as diorite, basalt, quartz crystal and metamorphic schist.17 for example, more than 30,000 such vessels had been found in the chambers beneath the third dynasty step pyramid of zoser at saqqara.18 that meant that they were at least as old as zoser himself (i.e. around 2650 bc19. theoretically, they could have been even older than that, 14 ibid, pp. 74-5. 15 the pyramids: an enigma solved, p. 8. 16 the pyramids and temples of gizeh, p. 75. 17 the pyramids: an enigma solved, p. 118. 18 egypt: land of the pharaohs, time

HANDBOOK OF EGYPTIAN MYTHOLOGY

itionally represented the power of the king. khufu wants to behead a criminal and have djedi bring him back to life. fear of losing your head in the afterlife is mentioned in many spells, so this may be khufu s motive. djedi rebukes the king for wanting to experiment on people and restores the severed heads of two geese and a bull. finally, khufu asks djedi for what he really wants: the number of the chambers in the mansion of thoth. this secret knowledge would probably allow khufu to build the perfect tomb for himself. djedi warns him that this knowledge is destined to be revealed only to the eldest of three kings who will replace khufu s dynasty. secret knowledge is a central theme in the stories told about setna, a character based on a prince of the thirteenth century bce who is known t

HEAVEN HELL

o follow in all general matters the ancient copies to which he had access, but when new beliefs and new religious conceptions had to be illustrated, he was free to treat them pictorially according to his own knowledge, and according to the wishes of those who employed him. the oldest books of the dead known to us, that is to say, the religious compositions which are inscribed p. 3 on the walls of the chambers and corridors of the pyramids of kings unas, teta, pepi i, mer-en-ra, and pepi ii, are without illustrations of any sort or kind, and it is not easy to account for this fact. that the egyptians possessed artistic skill sufficient to illustrate the religious and general works which their theologians wrote or revised, under their earliest dynasties of kings of all egypt, is evident from

of illustrating certain sections of books of the dead existed under the xith dynasty, and there is no good reason for doubting that it continued to be observed during the prosperous rule of the kings of the xiith dynasty. under the ivth, vth, and vith dynasties the selections of extracts from books of the dead which were intended to benefit royal souls in the underworld were cut upon the walls of the chambers and corridors of their pyramids, and in the case of private individuals texts intended to produce the same effect were usually cut into the walls of the chambers wherein their stone sarcophagi were placed. the pyramids of the kings of the xith and xiith dynasties, whether in the north or south of egypt, are not, so far as the information at present available goes, characterized by len

iests of the god in all matters relating to his worship, and they permitted them to prepare tombs for them in the valley of biban al-muluk at thebes, which were built and ornamented according to the views held by the followers of amen-ra concerning the other world. the oldest tombs here, i.e, those of the xviiith dynasty, are usually entered by means of long, sloping corridors that lead down into the chambers which held the sarcophagi, and into smaller halls which adjoin the large chambers; in the later tombs the corridors are often very long, and it is this characteristic which caused certain greek writers to call them, i.e "shepherd's pipes" of the forty-five tombs in this valley (strabo mentions forty only, the oldest royal tomb appears to be that of thothmes i, and the most recent that

HP LOVECRAFT A DARK LORE

apparently of bizarre used. most of them had fireplaces, the upper courses of whose chimneys would have formed an interesting study in engineering. never before or since had he seen such instruments or suggestions of instruments as here loomed up on every hand through the burying dust and cobwebs of a century and a half, in many cases evidently shattered as if by the ancient raiders. for many of the chambers seemed wholly untrodden by modern feet, and must have represented the earliest and most obsolete phases of joseph curwen's experimentation. finally there came a room of obvious modernity, or at least of recent occupancy. there were oil heaters, bookshelves and tables, chairs and cabinets, and a desk piled high with papers of varying antiquity and contemporaneousness. candlesticks and

MANLY P HALL THE SECRET TEACHINGS OF ALL AGES

by virtue of his kingly office, he automatically became a priest and the temporal head of the state religion (see wilkinson's manners and customs of the egyptians) a limited number were admitted into the greater mysteries: these preserved their secrets inviolate. much of the information concerning the rituals of the higher degrees of the egyptian mysteries has been gleaned from an examination of the chambers and passageways in which the initiations were given. under the temple of serapis destroyed by theodosius were found strange mechanical contrivances constructed by the priests in the subterranean crypts and caverns where the nocturnal initiatory rites were celebrated. these machines indicate the severe tests of moral and physical courage undergone by the candidates. after passing throu

loki caused h thr, the blind god of fate, to shoot balder with a mistletoe arrow. with the death of balder, light and joy vanished from the lives of the other deities. heartbroken, the gods gathered to find a method whereby they could resurrect this spirit of eternal life and youth. the result was the establishment of the mysteries. the odinic mysteries were given in underground crypts or caves, the chambers, nine in number, representing the nine worlds of the mysteries. the candidate seeking admission was assigned the task of raising balder from the dead. although he did not realize it, he himself played the part of balder. he called himself a wanderer; the caverns through which he passed were symbolic of the worlds and spheres of nature. the priests who initiated him were emblematic of

that there was a profound mystery concerning this crime of which they could not speak, but warning their disciples that a great sorrow comes to all who take their own lives. this, in substance, constitutes the esoteric doctrine given to the initiates of the lesser mysteries. as the degree dealt largely with the miseries of those who failed to make the best use of their philosophic opportunities, the chambers of initiation were subterranean and the horrors of hades were vividly depicted in a complicated ritualistic drama. after passing successfully through the tortuous passageways, with their trials and dangers, the candidate received the honorary title of mystes. this meant one who saw through a veil or had a clouded vision. it also signified that the candidate had been brought up to the

ings with which the burial chambers of egyptian royalty are almost invariably ornamented are entirely lacking and it embodies none of the elements of their architecture or decoration, such as inscriptions, images, cartouches, paintings, and other distinctive features associated with dynastic mortuary art. the only hieroglyphics to be found within the pyramid are a few builders' marks sealed up in the chambers of construction, first opened by howard vyse. these apparently were painted upon the stones before they were set in position, for in a number of instances the marks were either inverted or disfigured by the operation of fitting the blocks together. while egyptologists have attempted to identify the crude dabs of paint as cartouches of cheops, it is almost inconceivable that this ambit

ages personified in the master of the hidden house. who was the master dwelling in the mighty pyramid, the many rooms of which signified the worlds in space; the master whom none might behold save those who had been "born again? he alone fully knew the secret of the pyramid, but he has departed the way of the wise and the house is empty. the hymns of praise no longer echo in muffled tones through the chambers; the neophyte no longer passes through the elements and wanders among the seven stars; the candidate no longer receives the "word of life" from the lips of the eternal one. nothing now remains that the eye of man can see but an empty shell--the outer symbol of an inner truth--and men call the house of god a tomb! the technique of the mysteries was unfolded by the sage illuminator, the

revealed to the new initiate; the method of disentangling his material body from. his divine vehicle was explained; and to consummate the magnum opus, there was revealed the divine name--the secret and unutterable designation of the supreme deity, by the very knowledge of which man and his god are made consciously one. with the giving of the name, the new initiate became himself a pyramid, within the chambers of whose soul numberless other human beings might also receive spiritual enlightenment. in the king's chamber was enacted the drama of the "second death" here the candidate, after being crucified upon the cross of the solstices and the equinoxes, was buried in the great coffer. there is a profound mystery to the atmosphere and temperature of the king's chamber: it is of a peculiar dea

of all things and sustain the inviolable laws of nature. here are the gods of the spheres and also those who wander from place to place, laboring with all substances and forms (zonia and azonia, grouped together as figures of both sexes, with their faces turned to their superior deity" the mensa isiaca, which is divided horizontally into three chambers or panels, may represent the ground plan of the chambers in which the isiac mysteries were given. the center panel is divided into seven parts or lesser rooms, and the lower has two gates, one at each end. the entire table contains forty-five figures of first importance and a number of lesser symbols. the forty-five main figures are grouped into fifteen triads, of which four are in the upper panel, seven in the central, and four in the lowe

who included in certain of their initiatory rituals a scene in which the candidate was confronted by two female figures. one of them, veiled with the white robes of the temple, urged the neophyte to enter into the halls of learning; the other, bedecked with jewels, symbolizing earthly treasures, and bearing in her hands a tray loaded with grapes (emblematic of false light, sought to lure him into the chambers of dissipation. this symbol is still preserved among the tarot cards, where it is called the forking of the ways. the forked stick has been the symbol of life among many nations, and it was placed in the desert to indicate the presence of water. concerning the theory of transmigration as disseminated by pythagoras, there are differences of opinion. according to one view, he taught tha

their knowledge of the laws controlling the universe. every initiated workman was given a hieroglyphic with which he marked the stones he trued to show to all posterity that he thus dedicated to the supreme architect of the universe each perfected product of his labor. concerning masons' marks, robert freke gould writes "it is very remarkable that these marks are to be found in all countries--in the chambers of the great pyramid at gizeh, on the underground walls of jerusalem, in herculaneum and pompeii, on roman walls and grecian temples, in hindustan, mexico, peru, asia minor--as well as on the great ruins of england, france, germany, scotland, italy, portugal and spain (see a concise history of freemasonry) from this viewpoint the story of chiram may well represent the incorporation of

compass; for the meanings of these phrases as symbols have long been lost" according to the ancient rabbins, solomon was an initiate of the mystery schools and the temple which he built was actually a house of initiation containing amass of pagan philosophic and phallic emblems. the pomegranates, the palm-headed columns, the pillars before the door, the babylonian cherubim, and the arrangement of the chambers and draperies all indicate the temple to have been patterned after the sanctuaries of egypt and atlantis. isaac myer, in the qabbalah, makes the following observation "the pseudo-clement of rome, writes 'god made man male and female. the male is christ: the female, the church' the qabbalists called the holy spirit, the mother, and the church of israel, the daughter. solomon engraved o

MICHAEL FORD WITCHMOON

' sabbath. come close, if your will is against it much is deadly, however with pleasure and the glowing lamp of strength all is possible. come within the night side, where varcolaci await. vampirism, lycanthropy and european folklore for thousands of years there have been tales of beasts haunting the countryside by night, demons which stalk the roads and pathways of the forests. corpses who enter the chambers of the sleeping for sexual congress. the wild hunt which rides the northern skies in the autumn, searching for souls to join their ghastly celebrations. the undead in european folklore are immensely strong and colorful in their legend. walking corpses known as draugr, which is described as an animated corpse which crawls from its own grave mound to haunt the night and its prudent folk

om the time i began approaching this lair. the arched doorway, old heavy oak carved into a lavish and noble wolf head, guarded against any approach. since i felt welcomed and wanted it was by that urging i entered the doorway. i do not recall specific details on the exact layout of the rooms except they were lit by dim burning candles. i felt her essence close by, so i drew my astral further into the chambers, until i found myself going down a staircase made of stone. the stone, even in this blue toned light, was gray and worn. there is a kind of pride and character to old brick and stone, often worn with stories of age and struggle. i knew a part of myself was home as i drifted down each stair. it is a very odd and surreal feeling to know a part of you is home especially if you have never

MICHAEL TSARION ATLANTIS ALIEN VISITATION AND GENETIC MANIPULATION

hieroglyphics, the key to which the smithsonian institute hopes yet to discover. the engrav-ing on the tablets probably has something to do with the religion of the people. similar hieroglyphicshave been found in southern arizona. among the pictorial writings, only two animals are found. one isof prehistoric type.the cryptthe tomb or crypt in which the mummies were found is one of the largest of the chambers, the wallsslanting back at an angle of about 35 degrees. on these are tiers of mummies, each one occupying a sep-arate hewn shelf. at the bead of each is a small bench, on which is found copper cups and pieces of bro-ken swords. some of the mummies are covered with clay, and all are wrapped in a bark fabric. the urnsor cups on the lower tiers are crude, while as the higher shelves are

MICHAEL WYNN THE SOUL TRAVELERS

bearing in his hand the sevenfold key of eternity. who was the master dwelling in the mighty pyramid, the many rooms of which signified the worlds in space; the master whom none might behold save those who had been "born again? he alone fully knew the secret of the pyramid, but he has departed the way of the wise and the house is empty. the hymns of praise no longer echo in muffled tones through the chambers; the neophyte no longer passes through the elements and wanders among the seven stars; the candidate no longer receives the "word of life" from the lips of the eternal one. nothing now remains that the eye of man can see but an empty shell--the outer symbol of an inner truth--and men call the house of god a tomb! the technique of the mysteries was unfolded by the sage illuminator, the

revealed to the new initiate; the method of disentangling his material body from his divine vehicle was explained; and to consummate the magnum opus, there was revealed the divine name--the secret and unutterable designation of the supreme deity, by the very knowledge of which man and his god are made consciously one. with the giving of the name, the new initiate became himself a pyramid, within the chambers of whose soul numberless other human beings might also receive spiritual enlightenment. in the king's chamber was enacted the drama of the "second death" here the candidate, after being crucified upon the cross of the solstices and the equinoxes, was buried in the great coffer. there is a profound mystery to the atmosphere and temperature of the king's chamber: it is of a peculiar dea

RABBI AMIRAM MARKEL MARKEL THE KNOWLEDGE OF G D VOL 1

speech abba yasad barta the father founded the daughter the combinations of the six days of creation briyah, yetzirah& asiyah in general the masach the screen, between atzilut& briyah the source of the masach the expansions of the holy name the lower unity the world of briyah creation the world of yetzirah formation the world of asiyah action everything that g-d desired he did hechalot u malachim the chambers& angels kelipat nogah the intermediary shell olam hashafel the lowly world part two: contemplation& meditation what is contemplation hitbonenut girsah surface study length, width& depth height chochmah, binah& da at the depth of a concept iyun deep analysis (hitbonenut) da at concentration "meditation" chochmah wisdom "be understanding with wisdom, and wise in understanding" binah& tv

mple, in the evening prayer we say "he arranges the stars at their watches according to his desire. this means that the stars, planets and constellations, which only receive from the external vessels of malchut of malchut of asiyah, are also only according to his simple desire within the essence of the infinite light. this is true to the finest detail of the finest atom or subatomic particle etc. the chambers& angels in each of the lower worlds of briyah, yetzirah and asiyah there are seven chambers within which the angels reside. to understand what these are, we must understand the source of the chambers. furthermore, we must understand why in atzilut these chambers do not exist. the source of the chambers is the chashmal, which is also called nogah, as mentioned earlier. this chashmal en

ot. it is for this reason that there are specifically seven chambers and not ten. furthermore, because chochmah itself is above any definition of a chashmal, it is not applicable to speak of hechalot (chambers) or malachim (angels) in atzilut. binah, however, is the source of the chashmal. it is therefore applicable to begin to speak about chambers and angels in briyah. it must be understood that the chambers and angels come from the kelipah (the external shell of the world they are in. in other words, their source is not from the lights, but rather from the external vessels. in essence, what the angels are, is the "somethingness" of the world they are in. this is how they receive their existence. however, though they have a felt existence and sense of self (since they are from the kelipat

RABBI MOSHE WISNEFSKY APPLES FROM THE ORCHARD THE ARIZAL ON THE PARASHAH

taken his divine spark animating him at that moment and brought it down to the level of the cake. he the arizal on parashat bechukotai 552 becomes, in effect, not a human-person but a cake-person. moreover, he has to a certain extent brought the whole level of creation down to this level. so long as this cakeness and cake-identity remains with him, this individual cannot expect to be admitted to the chambers of paradise, where the delights of this world are insignificant and the soul basks in the glow of the divine presence. he has, on the contrary, demonstrated that he is ginto h much coarser delights. he must therefore be cleansed of this cake-mentality. this is accomplished by being reincarnated into the vegetable kingdom, where he can experience the pain of his soul.which is used to t

RUBY TABLET OF SET

cient sorcerors! join your mystic ringing voices with ours as we honor the dark one who accompanies us in our work [oomam anubis: light the fourth candle, and say] away! begone all profane, all weak and fear-filled ones! we have no time nor patience for your pleading and your sniveling cries. you are but dust in the path of the great ones! our timeless names have echoed throughout the palaces and the chambers and the vaults of those whose words shook the universe in aeons past [xa anubis: light the fifth candle, and say] begone! the hand of set is raised against you and your destruction is proclaimed by we who are your masters. we have clutched with allknowing talons the failing hearts of every mortal fool who dared obstruct us. you have no place here- we banish you to the farthest side of

SALMANRUSHDIE THESATANICVERSES

t he had ever written. sometimes when he was with ayesha he felt a slowness come over him, a heaviness, and he had to lie down "it's strange" he told her "it is as if i see myself standing beside myself. and i can make him, the standing one, speak; then i get up and write down his verses" these artistic slownesses of baal were much admired by his wives. once, tired, he dozed off in an armchair in the chambers of "umm salamah the makhzumite. when he woke, hours later, his body ached, his neck and shoulders were full of knots, and he berated umm salamah "why didn't you wake me" she answered "i was afraid to, in case the verses were coming to you" he shook his head "don't worry about that. the only woman in whose company the verses come is 'ayesha, not you" o o o two years and a day after baa

SATANIC BIBLE

gonu! lape noanu tarofe coresa tage o-quo maninu ia-i-don. torezodu! gohe-el, zodacare eca ca-no-quoda! zodameranu micalazodo od ozadazodame vaurelar; lape zodir ioiad (english) can the wings of the winds hear your voices of wonder; o you, the great spawn of the worms of the earth, whom the hell fire frames in the depth of my jaws, whom i have prepared as cups for a wedding or as flowers regaling the chambers of lust! stronger are your feet than the barren stone! mightier are your voices than the manifold winds! for you are become as a building such as is not, save in the mind of the all-powerful manifestation of satan! arise, saith the first! move therefore unto his servants! show yourselves in power, and make me a strong seer-of-things, for i am of him that liveth forever! the third key

SIR EDWARD BULWER LYTTON ZANONI A ROSICRUCIAN TALE

e busied herself in pouring forth an anodyne, which she had been directed to give the sufferer as soon as the delirium should cease. the doctor had told her, too, to send for him the instant so important a change should occur. she went to the door and called to the woman who, during gionetta's pretended illness, had been induced to supply her place; but the hireling answered not. she flew through the chambers to search for her in vain, the hireling had caught gionetta's fears, and vanished. what was to be done? the case was urgent, the doctor had declared not a moment should be lost in obtaining his attendance; she must leave her father, she must go herself! she crept back into the room, the anodyne seemed already to have taken benign effect; the patient's eyes were closed, and he breathed

connected with the garment came over his memory; he walked tremulously across the room, and entered the small cabinet next to his chamber, in which his wife had been accustomed more often to watch than sleep, when illness separated her from his side. the room was desolate and void. he looked round wistfully, and muttered to himself, and then proceeded regularly, and with a noiseless step, through the chambers of the silent house, one by one. he came at last to that in which old gionetta faithful to her own safety, if nothing else nursed herself, in the remotest corner of the house, from the danger of infection. as he glided in, wan, emaciated, with an uneasy, anxious, searching look in his haggard eyes, the old woman shrieked aloud, and fell at his feet. he bent over her, passed his thin h

SIR WALLIS BUDGE EGYPTIAN MAGIC

hould fall in with these beings and their nets, for a whole chapter of the book of the dead was written with the view of enabling him to escape from them unharmed; the god their leader is called "the god whose face is behind him" and "the god who hath gained the mastery over his heart" to escape from the net which was worked by "the fishers who lay snares with their nets and who go round about in the chambers of the waters" the deceased had to know the names of the net, and of the ropes, and of the pole, and of the hooks, and of each and every part of it; without this knowledge nothing could save him from calamity. we unfortunately understand very few of the allusions to mythological events which are contained in the names of the various parts of the machinery which work the net, but it is

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

and the palm facing toward the object of admiration, or astonishment. 186 codex magica this illustration in richardson's monitor of freemasonry (1860) shows the master mason giving the "first sign, or due guard" with his hands upright "in the manner of giving the grand hailing sign of distress" compare this with the image inscribed on the cave stone above. this goddess statuette was on display in the chambers of alex sanders, well-known british warlock (witch) as he led a witchcraft ritual. witches worship both the goddess and the horned, male god (photo: witchcraft, magic and the supernatural, octopus books, hong kong, 1974) a show of hands 187 instructional material for educators in the fort worth, texas, independent school district included this drawing of 13 goddess worshippers (13 com

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL 1

hat a mortal cannot hope to achieve the transmutation of base metals into gold without the help of satan. and the only way that an alchemist or a sorcerer could hope to arouse satan s interest in his work was by dedicating the most abominable crimes to his name. under prelati s direction, de rais set about to commit his first abominable crime. he lured a young peasant boy into the castle and into the chambers that he provided for prelati. under the alchemist s instruction, de rais brutally killed the boy and used his blood for writing of evocations and formulas. satan did not appear and no base metals were transmuted into gold, but gilles de rais no longer cared. he had discovered an enterprise far more satisfying than the alchemist s quest. he had discovered sadistic satisfaction and plea

THE BOOK OF GATES

hese tombs is become -much lower than the torrents; in consequence, the water finds its way into the tombs, some of which are entirely choked up with earth "when we had passed through the little aperture we found ourselves in a beautiful hall, 27 ft. 6 in. by 25 ft. 10 in, in which were four pillars 3 ft. square. i shall not give any description of the painting, till i have described the whole of the chambers. at the end of this room, which i call the entrance-hall, and opposite the aperture, is a large door, from which three steps lead down into a chamber with two pillars. this is 28 ft. 2 in. by 25 ft. 6 in. the pillars are 3 ft. 10 in. square. i gave it the name of the drawing-room; for it is covered with figures, which though only outlined, are so fine and perfect, that you would think

neyeth through the hidden place [ra saith 'draw ye me along, o ye gods of the tuat, and sing praises unto me, o ye who are at the head of the stars; let your cords be strong (or, vigorous, and draw ye me along by means of them, and let your hands and arms be steady, let there be speed in your legs, let there be strong intent in our souls, and let your hearts be glad. open ye a prosperous way into the chambers (qerti) of hidden things' click to view the nine gods who hold ennutchi. the text relating to the bearers of the serpent reads "those who are in this scene carry this serpent. ra striketh them and advanceth towards them to make himself to rest in [the gateway called] nebt-ahau. this serpent travelleth as far as it (i.e, this (gateway, but he passeth not beyond it. ra saith unto them-'

thou art towed along, o great god, lord of the hours, who dost work on behalf of those who are under the earth' the gods have life in his attributes, and the spirits look upon his forms. and ra saith unto them-'there is magical protection to you, o ye who tow, and there is holiness to p. 195 you, o ye who tow and bring me into the nethermost parts of the tuat, tow ye me along until [ye arrive] at the chambers, and take ye your stand upon the hidden mountain of the horizon" in front of the divine towers of the boat march- 1. twelve bearded gods, the amennu-aaiu-kheru-shetau, whose hands and arms are bidden; they are described as "hidden of hands and arms and possessing hiddenness" the text relating to them reads- p. 196 "these are they who possess the hiddenness (or, who hold the mystery) o

ceive ye your heads, o ye gods, and draw tightly the front end of your rope. hail, o ye gods, come into being! hail, possess ye the power of light, o ye gods, and come ye into being, o ye gods. possess ye the power of light, o ye gods, by click to view the serpents bata and tepi and the warder abeth. my coming into being in the secret place, and by my power of light in the hidden place (ament, in the chambers of things" the passage which refers to horus-set reads "ra maketh to arise this god. this god with his two faces goeth in after ra hath passed by him" p. 252 the passage which refers to the gods of the north reads "ra saith unto them-'let your heads be to you, o ye gods! receive ye your crowns of the north, and pull ye tightly at the hinder end of the boat of him that cometh into bein

THE HOLY BIBLE KING JAMES VERSION

ildren [had] the oversight of the gates of the house of the lord [namely] the house of the tabernacle, by wards. 9:24 in four quarters were the porters, toward the east, west, north, and south. 9:25 and their brethren [which were] in their villages [were] to come after seven days from time to time with them. 9:26 for these levites, the four chief porters, were in [their] set office, and were over the chambers and treasuries of the house of god. 9:27 and they lodged round about the house of god, because the charge [was] upon them, and the opening thereof every morning [pertained] to them. 9:28 and [certain] of them had the charge of the ministering vessels, that they should bring them in and out by tale. 9:29 [some] of them also [were] appointed to oversee the vessels, and all the instrumen

made the ointment of the spices. 9:31 and mattithiah [one] of the levites, who [was] the firstborn of shallum the korahite, had the set office over the things that were made in the pans. 9:32 and [other] of their brethren, of the sons of the kohathites [were] over the shewbread, to prepare [it] every sabbath. 9:33 and these [are] the singers, chief of the fathers of the levites [who remaining] in the chambers [were] free: for they were employed in that work day and night. 9:34 these chief fathers of the levites [were] chief throughout their generations; these dwelt at jerusalem. 9:35 and in gibeon dwelt the father of gibeon, jehiel, whose wife s name [was] maachah: 9:36 and his firstborn son abdon, then zur, and kish, and baal, and ner, and nadab, 9:37 and gedor, and ahio, and zechariah, a

s people, that they may dwell in jerusalem for ever: 23:26 and also unto the levites; they shall no [more] carry the tabernacle, nor any vessels of it for the service thereof. 23:27 for by the last words of david the levites [were] numbered from twenty years old and above: 23:28 because their office [was] to wait on the sons of aaron for the service of the house of the lord, in the courts, and in the chambers, and in the purifying of all holy things, and the work of the service of the house of god; 23:29 both for the shewbread, and for the fine flour for meat offering, and for the unleavened cakes, and for [that which is baked in] the pan, and for that which is fried, and for all manner of measure and size; 23:30 and to stand every morning to thank and praise the lord, and likewise at even

e to build an house for the sanctuary: be strong, and do [it] 28:11 then david gave to solomon his son the pattern of the porch, and of the houses thereof, and of the treasuries thereof, and of the upper chambers thereof, and of the inner parlours thereof, and of the place of the mercy seat, 28:12 and the pattern of all that he had by the spirit, of the courts of the house of the lord, and of all the chambers round about, of the treasuries of the house of god, and of the treasuries of the dedicated things: 28:13 also for the courses of the priests and the levites, and for all the work of the service of the house of the lord, and for all the vessels of service in the house of the lord. 28:14 [he gave] of gold by weight for [things] of gold, for all instruments of all manner of service [silv

of a thousand drams; and two vessels of fine copper, precious as gold. 8:28 and i said unto them, ye [are] holy unto the lord; the vessels [are] holy also; and the silver and the gold [are] a freewill offering unto the lord god of your fathers. 8:29 watch ye, and keep [them] until ye weigh [them] before the chief of the priests and the levites, and chief of the fathers of israel, at jerusalem, in the chambers of the house of the lord. 8:30 so took the priests and the levites the weight of the silver, and the gold, and the vessels, to bring [them] to jerusalem unto the house of our god. 8:31 then we departed from the river of ahava on the twelfth [day] of the first month, to go unto jerusalem: and the hand of our god was upon us, and he delivered us from the hand of the enemy, and of such a

the lord: 10:36 also the firstborn of our sons, and of our cattle, as [it is] written in the law, and the firstlings of our herds and of our flocks, to bring to the house of our god, unto the priests that minister in the house of our god: 10:37 and [that] we should bring the firstfruits of our dough, and our offerings, and the fruit of all manner of trees, of wine and of oil, unto the priests, to the chambers of the house of our god; and the tithes of our ground unto the levites, that the same levites might have the tithes in all the cities of our tillage. 10:38 and the priest the son of aaron shall be with the levites, when the levites take tithes: and the levites shall bring up the tithe of the tithes unto the house of our god, to the chambers, into the treasure house. 10:39 for the chil

have the tithes in all the cities of our tillage. 10:38 and the priest the son of aaron shall be with the levites, when the levites take tithes: and the levites shall bring up the tithe of the tithes unto the house of our god, to the chambers, into the treasure house. 10:39 for the children of israel and the children of levi shall bring the offering of the corn, of the new wine, and the oil, unto the chambers, where [are] the vessels of the sanctuary, and the priests that minister, and the porters, and the singers: and we will not forsake the house of our god. page 285 nehemiah 11:1 and the rulers of the people dwelt at jerusalem: the rest of the people also cast lots, to bring one of ten to dwell in jerusalem the holy city, and nine parts [to dwell] in [other] cities. 11:2 and the people

d shemaiah, and eleazar, and uzzi, and jehohanan, and malchijah, and elam, and ezer. and the singers sang loud, with jezrahiah [their] overseer. 12:43 also that day they offered great sacrifices, and rejoiced: for god had made them rejoice with great joy: the wives also and the children rejoiced: so that the joy of jerusalem was heard even afar off. 12:44 and at that time were some appointed over the chambers for the treasures, for the offerings, for the firstfruits, and for the tithes, to gather into them out of the fields of the cities the portions of the law for the priests and levites: for judah rejoiced for the priests and for the levites that waited. 12:45 and both the singers and the porters kept the ward of their god, and the ward of the purification, according to the commandment o

and hath prospered? 9:5 which removeth the mountains, and they know not: which overturneth them in his anger. 9:6 which shaketh the earth out of her place, and the pillars thereof tremble. 9:7 which commandeth the sun, and it riseth not; and sealeth up the stars. 9:8 which alone spreadeth out the heavens, and treadeth upon the waves of the sea. 9:9 which maketh arcturus, orion, and pleiades, and the chambers of the south. 9:10 which doeth great things past finding out; yea, and wonders without number. 9:11 lo, he goeth by me, and i see [him] not: he passeth on also, but i perceive him not. 9:12 behold, he taketh away, who can hinder him? who will say unto him, what doest thou? 9:13 [if] god will not withdraw his anger, the proud helpers do stoop under him. 9:14 how much less shall i answe

eart to hate his people, to deal subtilly with his servants. 105:26 he sent moses his servant [and] aaron whom he had chosen. 105:27 they shewed his signs among them, and wonders in the land of ham. 105:28 he sent darkness, and made it dark; and they rebelled not against his word. 105:29 he turned their waters into blood, and slew their fish. 105:30 their land brought forth frogs in abundance, in the chambers of their kings. 105:31 he spake, and there came divers sorts of flies [and] lice in all their coasts. 105:32 he gave them hail for rain [and] flaming fire in their land. 105:33 he smote their vines also and their fig trees; and brake the trees of their coasts. 105:34 he spake, and the locusts came, and caterpillers, and that without number, 105:35 and did eat up all the herbs in their

ike through his liver; as a bird hasteth to the snare, and knoweth not that it [is] for his life. 7:24 hearken unto me now therefore, o ye children, and attend to the words of my mouth. 7:25 let not thine heart decline to her ways, go not astray in her paths. 7:26 for she hath cast down many wounded: yea, many strong [men] have been slain by her. 7:27 her house [is] the way to hell, going down to the chambers of death. 8:1 doth not wisdom cry? and understanding put forth her voice? 8:2 she standeth in the top of high places, by the way in the places of the paths. 8:3 she crieth at the gates, at the entry of the city, at the coming in at the doors. 8:4 unto you, o men, i call; and my voice [is] to the sons of man. 8:5 o ye simple, understand wisdom: and, ye fools, be ye of an understanding

stricken me [shalt thou say, and] i was not sick; they have beaten me [and] i felt [it] not: when shall i awake? i will seek it yet again. 24:1 be not thou envious against evil men, neither desire to be with them. 24:2 for their heart studieth destruction, and their lips talk of mischief. 24:3 through wisdom is an house builded; and by understanding it is established: 24:4 and by knowledge shall the chambers be filled with all precious and pleasant riches. 24:5 a wise man [is] strong; yea, a man of knowledge increaseth strength. 24:6 for by wise counsel thou shalt make thy war: and in multitude of counsellors [there is] safety. 24:7 wisdom [is] too high for a fool: he openeth not his mouth in the gate. 24:8 he that deviseth to do evil shall be called a mischievous person. 24:9 the thought

use of israel, pourtrayed upon the wall round about. 8:11 and there stood before them seventy men of the ancients of the house of israel, and in the midst of them stood jaazaniah the son of shaphan, with every man his censer in his hand; and a thick cloud of incense went up. 8:12 then said he unto me, son of man, hast thou seen what the ancients of the house of israel do in the dark, every man in the chambers of his imagery? for they say, the lord seeth us not; the lord hath forsaken the earth. 8:13 he said also unto me, turn thee yet again [and] thou shalt see greater abominations that they do. 8:14 then he brought me to the door of the gate of the lord s house which [was] toward the north; and, behold, there sat women weeping for tammuz. 8:15 then said he unto me, hast thou seen [this] o

cording to these measures; 40:36 the little chambers thereof, the posts thereof, and the arches thereof, and the windows to it round about: the length [was] fifty cubits, and the breadth five and twenty cubits. 40:37 and the posts thereof [were] toward the utter court; and palm trees [were] upon the posts thereof, on this side, and on that side: and the going up to it [had] eight steps. 40:38 and the chambers and the entries thereof [were] by the posts of the gates, where they washed the burnt offering. 40:39 and in the porch of the gate [were] two tables on this side, and two tables on that side, to slay thereon the burnt offering and the sin offering and the trespass offering. 40:40 and at the side without, as one goeth up to the entry of the north gate [were] two tables; and on the othe

and so increased [from] the lowest [chamber] to the highest by the midst. 41:8 i saw also the height of the house round about: the foundations of the side chambers [were] a full reed of six great cubits. 41:9 the thickness of the wall, which [was] for the side chamber without [was] five cubits: and [that] which [was] left [was] the place of the side chambers that [were] within. 41:10 and between the chambers [was] the wideness of twenty cubits round about the house on every side. 41:11 and the doors of the side chambers [were] toward [the place that was] left, one door toward the north, and another door toward the south: and the breadth of the place that was left [was] five cubits round about. 41:12 now the building that [was] before the separate place at the end toward the west [was] sev

that [was] over against the separate place, and which [was] before the building toward the north. 42:2 before the length of an hundred cubits [was] the north door, and the breadth [was] fifty cubits. 42:3 over against the twenty [cubits] which [were] for the inner court, and over against the pavement which [was] for the utter court [was] gallery against gallery in three [stories] 42:4 and before the chambers [was] a walk of ten cubits breadth inward, a way of one cubit; and their doors toward the north. 42:5 now the upper chambers [were] shorter: for the galleries were higher than these, than the lower, and than the middlemost of the building. 42:6 for they [were] in three [stories] but had not pillars as the pillars of the courts: therefore [the building] was straitened more than the low

s toward the north. 42:5 now the upper chambers [were] shorter: for the galleries were higher than these, than the lower, and than the middlemost of the building. 42:6 for they [were] in three [stories] but had not pillars as the pillars of the courts: therefore [the building] was straitened more than the lowest and the middlemost from the ground. 42:7 and the wall that [was] without over against the chambers, toward the utter court on the forepart of the chambers, the length thereof [was] fifty cubits. 42:8 for the length of the chambers that [were] in the utter court [was] fifty cubits: and, lo, before the temple [were] an hundred cubits. 42:9 and from under these chambers [was] the entry on the east side, as one goeth into them from the utter court. 42:10 the chambers [were] in the thic

ourt [was] fifty cubits: and, lo, before the temple [were] an hundred cubits. 42:9 and from under these chambers [was] the entry on the east side, as one goeth into them from the utter court. 42:10 the chambers [were] in the thickness of the wall of the court toward the east, over against the separate place, and over against the building. 42:11 and the way before them [was] like the appearance of the chambers which [were] toward the north, as long as they [and] as broad as they: and all their goings out [were] both according to their fashions, and according to their doors. 42:12 and according to the doors of the chambers that [were] toward the south [was] a door in the head of the way [even] the way directly before the wall toward the east, as one entereth into them. 42:13 then said he unt

WALLIS BUDGE E A LEGENDS OF THE EGYPTIAN GODS

the priests go over to it from the mainland to solemnize their customary rites to the dead, and to crown his tomb with flowers, which, they say, is overshadowed by the branches of a tamarisk-tree, the size of which exceeds that of an olive-tree [fn#316] plutarch refers to the long colonnaded courts which extend in a straight line to the sanctuary, which often contains more than one shrine, and to the chambers wherein temple properties, vestments &c, were kept [fn#317] in what city the cult of osiris originated is not known, but it is quite certain that before the end of the vith dynasty abydos became the centre of his worship, and that he dispossessed the local god an-her in the affections of the people. tradition affirmed that the head of osiris was preserved at abydos in a box, and a pic

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