The “Wizards” hat

“And now we come to treat of the Consecrations which, men ought to make upon all instruments and things necessary to be used in this Art: and the virtue of this Consecration most chiefly consists in two things; to wit, in the power of the person consecrating, and by the virtue of the prayer by which the Consecration is made. For in the person consecrating, there is required holiness of Life, and power of sanctifying: both which are acquired by Dignification and Initiation. And that the person himself should with a firm and undoubted faith believe the virtue, power, and efficacie hereof. And then in the Prayer itself by which this Consecration is made, there is required the like holiness; which either solely consisteth in the prayer itself, as, if it be by divine inspiration ordained to this purpose, such as we have in many places of the holy Bible; or that it be hereunto instituted through the power of the Holy Spirit, in the ordination of the Church. Otherwise there is in the Prayer a Sanctimony, which is not only by itself, but by the commemoration of holy things; as, the commemoration of holy Scriptures, Histories, Works, Miracles, Effects, Graces, Promises, Sacraments and Sacramental things, and the like. Which things, by a certain similitude, do seem properly or improperly to appertain to the thing consecrated.” -Agrippa’s Fourth Book of Occult Philosophy

The master of the art should have a crown made of virgin paper… -The Key of Solomon

The other materials are a scepter or sword; a miter or cap, a long white robe of linen, with shoes and other clothes for this purpose. – The Lemgeton (Goetia)


I decided to add another section for magical tool/vestment creation. Due in part to a continued observance to Solomonic ritual magick and those who are interested in pursuing it in a more traditional way, and also as an enjoy jib toward a newly acquired magical acquaintance who just LOVES “overdressed over ego’ed wannabe powerful magicians!!” 😉




“The mitre (/ˈmaɪtər/; Greek: μίτρα, “headband” or “turban”), also spelled miter, is a type of headgear now known as the traditional, ceremonial head-dress of bishops and certain abbots in the Roman Catholic Church, as well as in the Anglican Communion, some Lutheran churches, and also bishops and certain other clergy in the Eastern Orthodox churches, Eastern Catholic Churches and the Oriental Orthodox Churches. The Metropolitan of the Malankara Mar Thoma Syrian Church also wears a mitre during important ceremonies such as the Episcopal Consecration.”
“The word μίτρα, mítra, (or, in its Ionic form, μίτρη, mítrē) first appears in Greek and signifies either of several garments: a kind of waist girdle worn under a cuirass, as mentioned in Homer’s Iliad; a headband used by women for their hair; a sort of formal Babylonian head dress, as mentioned by Herodotus (Histories 1.195 and 7.90). The former two meanings have been etymologically connected with the word μίτος, mítos, “thread”, but the connection is tenuous at best; the latter word is probably a loan from Old Persian.
The priestly mitre or turban (Hebrew mitznefet מִצְנֶפֶת) was the head covering worn by the Jewish High Priest when he served in the Tabernacle and the Temple in Jerusalem.
The Hebrew word mitznefet (מִצְנֶפֶת) has been translated as “mitre” (KJV) or “headdress”. It was most likely a “turban”, as the word comes from the root “to wrap”.
The turban worn by the High Priest was much larger than the head coverings of the priests and wound so that it formed a broad, flat-topped turban, resembling the blossom of a flower. The head covering of the priests was different, being wound so that it formed a cone-shaped turban, and called a migbahat.
The priestly crown (Hebrew tzitz צִיץ “blossom” “flower”) was attached to the turban by means of two sets of blue cords: one going over the top of the head and the other around the sides of the head at the level of the ears (Exodus 39:31).
The camelaucum (Greek: καμιλαύκιον, kamilaukion), the headdress both the mitre and the Papal tiara stem from, was originally a cap used by officials of the Imperial Byzantine court. “The tiara [from which the mitre originates] probably developed from the Phrygian cap, or frigium, a conical cap worn in the Graeco-Roman world. In the 10th century the tiara was pictured on papal coins.”
Worn by a bishop, the mitre is depicted for the first time in two miniatures of the beginning of the eleventh century. The first written mention of it is found in a Bull of Pope Leo IX in the year 1049. By 1150 the use had spread to bishops throughout the West; by the 14th century the tiara was decorated with three crowns.
In its modern form in Western Christianity, the mitre is a tall folding cap, consisting of two similar parts (the front and back) rising to a peak and sewn together at the sides. Two short lappets always hang down from the back.

In the Catholic Church, the right to wear the mitre is confined by Canon law to bishops and to abbots, as it appears in the ceremony of consecration of a bishop and blessing of an abbot. Cardinals are now normally supposed to be bishops (since the time of Pope John XXIII), but even cardinals who are not bishops and who have been given special permission by the pope to decline consecration as bishops may wear the mitre. Other prelates have been granted the use of the mitre by special privilege, but this is no longer done, except in the case of an Ordinary of a Personal Ordinariate (even if he is a priest only). Former distinctions between “mitred abbots” and “non-mitred abbots” have been abolished.
The most typical mitre in the Eastern Orthodox and Byzantine Catholic churches is based on the closed Imperial crown of the late Byzantine Empire. Therefore, it too is ultimately based on the older καμιλαύκιον although it diverged from the secular headdress at a much later date, after it had already undergone further development. The crown form was not used by bishops until after the fall of Constantinople (1453).

The Eastern mitre is made in the shape of a bulbous crown, completely enclosed, and the material is of brocade, damask or cloth of gold. It may also be embroidered, and is often richly decorated with jewels. There are normally four icons attached to the mitre (often of Christ, the Theotokos, John the Baptist and the Cross), which the bishop may kiss before he puts it on. Eastern mitres are usually gold, but other liturgical colours may be used.
The mitre is topped by a cross, either made out of metal and standing upright, or embroidered in cloth and lying flat on the top. In Greek practice, the mitres of all bishops are topped with a standing cross. The same is true in the Russian tradition. Mitres awarded to priests will have the cross lying flat. Sometimes, instead of the flat cross, the mitre may have an icon on the top.
Elaborately embroidered Eastern Orthodox mitre, 1715.

As an item of Imperial regalia, along with other such items as the sakkos (Imperial dalmatic) and epigonation, the mitre came to signify the temporal authority of bishops (especially that of the Patriarch of Constantinople) within the administration of the Rum millet (i.e., the Christian community) of the Ottoman Empire. The mitre is removed at certain solemn moments during the Divine Liturgy and other services, usually being removed and replaced by the protodeacon.
The use of the mitre is a prerogative of bishops, but it may be awarded to archpriests, protopresbyters and archimandrites. The priestly mitre is not surmounted by a cross, and is awarded at the discretion of a synod of bishops.”

The Solomonic Magus cap, mitre or crown.
The KoS and Lemegeton calls for a head piece to be worn during magical evocation. Such ritual attire is noted elsewhere but you get your most detailed instructions in the KoS:

Besides this, the master of the art should have a crown made of virgin paper, upon the which should be written these four names:&mdash JEHOVA, in front; ADONAI behind; EL on the right; and GIBOR on the left. These names should be written with the ink and pen of the art, whereof we shall speak in the proper chapter. The disciples should also each have a crown of virgin paper whereon these divine symbols should be marked in scarlet.

Note: “Aub24 and K288. EL GIBOR is Hebrew for “mighty God”. For some reason Mathers silently departs from the manuscripts, reading: “YOD, HE, VAU, HE, in front; ADONAI behind; EL on the right; and ELOHIM on the left.” Ad. 10862 reads, “inscribe these four names: Adonaÿ, Jeova, Il, Gabor.” Ad. 36674: “…AGAA; AGAY; AGALTHA* [In Marg: *Aglatha]; AGLAOTH.” –JHP

The Goetia just mentions a cap or miter which can be your standard linen Catholic Miter (mitra simplex), Jewish turban miter, or probably any significant clerical headdress of the western granted that it’s white and should be of a similar material composition as the robe.
A great way to utilize the holy names from the KoS and personal headdress style is to choose a portion of white linen or silk material (possibly the same that was used to make your robe) and attach (sew) the parchment crown to the base of the material.

So to create this magical headpiece vestment you would want to first select a piece of parchment and consecrate it towards its use. Measure the circumference of your head and allow a small bit of extra space and get an idea of where you would like the crown/miter to sit on your head. You can experiment a bit with this by using regular paper cut into strips to get it right before cutting the parchment. Once you have the length, space out the holy names to your liking so they evenly reflect the front, back, and two sides of your head. I use the red cinnabar ink that is useed for magick sigils and holy names for my BOS separated by black crosses with the black ink. This forms a nice little “magic circle” directly around your most centered and important magical tool. You’ll obviously want a bit of extra material so you can attach (sew) the parchment together making small holes and perhaps using a bit of white or red silk thread. However…if your adding the silk or linen headdress piece, don’t sew it together quite yet.

The next part will be to decide what sort of magician or wizard hat you want to have. The classical cone shape is easiest and can be seen with good examples of the “conjures” found in Esoteric Archives and included in the front of Peterson’s Lemegeton book. It’s your classical wizard’s hat with the conical shape and buffer brim near the forehead. There are two basic ways to make this one: 1. Simply cut out a triangle with the base measuring just past (enough to sew) the measurement of the length of your crown parchment. The length can be about any you desire, although I think it looks silly if it is too tall. About 5 to 7 inches is plenty and will give it more height than you can initially tell. Once you have this, simply fold the fabric in two and stitch up one side of the length. 2. Cut two pieces of fabric the base of which measures half the length of your original parchment and sew up the two sides of the length.
Another version you can use is almost like the chef’s hat or turban where it puffs out on the sides. This one can be a bit more complicated to sew in order for it to look nice, but the best way I’ve found is to cut several small triangles together so that they form a natural dome around the top and once that is done, sew the top together. Don’t forget to turn the fabric “inside out” so that the proper shape can be seen with the rough sewn edges hidden in the inside of the hat.
Once the basic pattern for the linen or silk is sewn, you’ll want to attach it to the parchment crown in two ways. First, you’ll want to sew or otherwise attach the crown with a small part of the fabric of the hat showing at the bottom. Next, you’ll want to sew the top fabric part together, do one more check on how it will fit on your head, mark it and then sew the fabric and crown “ring” together. The last part will be to sew or attach the small piece of fabric around at the very bottom part of the sharp parchment crown to create a soft buffer.

There! Your basic Solomonic magical hat is complete! If you so desire, you can also attach lappets or strips of material 2-3 inches wide and roughly a foot long on the back. To do this you would want to sew them directly to the parchment and material if possible. Tassels can be added on the end for the complete fancy show. As most of you have seen, I added the All Seeing Eye to my first miter and also the planetary and astrological sign symbols to my lappets on the underside, and additional Hexagrams of Solomon to the backs. All personal touches and not needed. I advise consecrating the magical hat when it’s completed in addition to anointing the forehead before serious magical operations as these further sacraments will only further the “fire in the head” that is generated by the ceremonial magician.


Traditional Greek/Cretan style black goat horn knife


The reproduction, creation, and proper use of magical weapons have all been passions of mine for many years now. In the study of the grimoires I have enjoyed uncovering the similarities of various magical instruments such as the hazel wand, Magical/Solomonic Seal, magical vestments, and the magical sword. Within the genre of the classical traditions, I have poured hours into research, experimentation, and divination to find out which of these magical tools will best serve me in the operations I undertake.

Usually, I follow the exact recipes mentioned for constructing and consecrating magical tools if I’m working from a specific grimoire. A few of the magician’s tools, (such as the ones I mentioned above) however are described in countless grimoires with quite a bit of variation between them. Many other scholarly and practical magicians have written on the subject and shared their own creations and points of view on the matter. Their efforts along with notable girmoric authors and scholars have really paved the way for others to find what they are looking for with ease and clarity.

It probably doesn’t need to be mentioned that much of my research goes beyond simple academic interest and theorizing. I believe the ritual implements serve a necessary purpose and fulfill a specific function. In some instances they provide the necessary protection and defense against some very (possible) harmful situations and beings. In such cases it would be a rare occasion should one ever need to wield or use such a weapon beyond a cautionary symbol of authority. I try to err on the side of caution though, when spiritual interaction is concerned. It’s better to be more prepared than not in these circumstances.
As with the magical sword, the magical black hilted knife should be apprehended as a potent symbol of sever authority and obedience,- and possibly punishment for hostel spirits. It is most certainly connected to the harsher aspects of Saturn and Mars.The “modern” grimoires say to construct it is on the day and hour of Saturn. However, you’ll find that older Greek sources say the knife should be made on the day and hour of Mars. After going back and forth between my sources I propose one could try creating the dagger on one day and recon-consecrating it on another. Another idea would be to possibly forge the dagger on the day and hour of Mars and consecrating and adding and symbols or sigils on the day and hour of Saturn.

The Hemlock juice mentioned as part of the forging quenching process is a poisonous plant associated with Saturn. As a leathal form of consumption, it was known since ancient Greece and other lands to send man into the otherworld. The black cat which is found in later versions of the Key of Solomon, was to have its blood added to the temper of the metal as well.
I’ve encountered mention of Greek and Roman ritualistic uses of knives of which I will expound on further below. I recalled earlier reading that priests would use a ‘black handled knife’ to cut turf and possibly the wood that was used for an altar (or sacrifice fire), and the ivory or white handled knife was used in the animal sacrifice.
There was also some mention that the black handled knife may have been more of a hatchet and would have had to be rather large and heavy.

Stylized “athame” black handle dagger with sigils done by Gary of OMEGA ARTWORKS

Much of the black handled knife has already been written and blogged about so I’ll do my best to (hopefully) add some new information and ideas to the interested magician/grimorist.

First let’s take a look at the parts of the knife and how they are made:

1. Material(s):
A finely made damascus steel knife with black horn handle.
Steel/iron …forged….steel and/or iron will have many obvious connotations to power, weapons foremost, and war. Metal/Iron is sacred to Aries or Mars. It seems the handle that was most commonly used was bone/ ivory or a goat or sheep’s (black) horn. The horns of animals have been used since ancient times for tools and ritual implements. Horns are typically associated with power, strength, and a productive nature. The very forging of a blade is an interesting process; a work of alchemy and artistry. The violence and force needed to temper a blade by hand is enough to put the intent of the tool into action.

I’m actually a rather snobbish sword collector and practice my martial art’s style of Iaijutsu and Kenjutsu (swordsmanship) in the Japanese tradition. I pay particular attention to not only how a sword is made but what types of steel(s) are used, and how the forging process is conducted. The melding, shaping, and combining of raw elements together is a sight to behold.

You’ll find lore that the Fae, or Celtic spirits/gods/faery are known to dread steel and treat it as a bane to their existence. In fact all spirits, especially ones closest to the earth are weary of tempered steel and bladed weapons in general.

In the excellent work, “The Magical Treatise of Solomon, or Hygromanteia (Sourceworks of Ceremonial Magic Series)”
Ioannis Marathakis quotes Nikolaos Politis describing a tradtion from Messara in 1904:
“Somebody was going to Khrousa with a friend of his. In some place they stopped for a while and then they separated. The moment they separated fairies surrounded him and they were talking to him. He did not understand what they were saying, but he had heard that if one beds a black handled knife into the ground, they leave. Luckily, he had such a knife, he bedded it into the ground and they left.”
2. Design and symbols/Sigils:
Wiccan perspective meaning of the sigils
There are some correlations between the grimoires of sigils and words to be engraved on the blade and/or handle. Many are difficult to decipher and understand in any direct sense. There have been theories and attempts made by various scholars and working magicians. Many of the symbols or sigils look like corrupted Hebrew letters as well as numbers which may have been measurement notes in some cases. However, the few which look to be direct and intended magical sigils seem to speak of “separating”, “dividing, “scattering”, and “dispatching” whatever they happen to come in contact with in the spiritual and possibly the physical as well. The other sigils have references to Saturn and Mars. After inscribing various sigils and using the black knife, The sigils seem to denote the severance of energies which would work well for “cutting the line in the earth” for the circle to make an unbreakable, spiritual, barricade as well as divide any assembled spiritual energies back into the void.

3. Mixtures, herbs, liquids, and prayers added:

Now with occurring the blood of a black cat, (and no I don’t think it was “code” for something else.) Black cats are symbols of the controlled division between the worlds: Life and death, intelligent attentiveness and balance between the physical world and the world of spirit. There is a humane way to obtain such an ingredient without killing or even really harming the said feline. Taking blood from people and animals is a common practice in the healthcare field but may take some practice and knowledge for any lay person. If available, I would suggest having a friendly vet or doctor do it for you and only take a reasonable amount so as not to cause the animal much discomfort. You can also purchase hyperdermic needles and go on YouTube and study online to learn how to extract the blood yourself if you wish. Obviously there is some risk to injuring the furry animal and I would suggest you obtain it from a cat you plan on having in your family or houshodl for a while. Magicians tend to likeor have cats, at least many do. Well I myself have a black cat. Seriously, not much “juice of Hemlock” and “Blood of black cat” is needed to absorb a sufficient amount within the chemical structure of the steel blade under extreme heat. You’ll get the needed mixture of molecules to have a very sufficiently “spiritually lethal” blade. Hemlock,is referring to one or two species of highly poisonous perennial herbaceous flowering plants in the family Apiaceae, native to Europe and the Mediterranean region as Conium maculatum, and to southern Africa as Conium.

Poisonous Hemlock was formerly used as a method of execution. In Greece, Hemlock juice was the substance the famous philosopher, Socrates ingested when he was sentenced to death. I caution the magus to be EXTREAMLY cautious if and when deciding to use this ingredient for your magical knife. There are no specific antidotes available for the toxin which is produced by this plant so you handle it at your own risk!
Overdoses can produce paralysis and loss of speech, followed by depression of the respiratory function, and then death. However, if you are still wishing to obtain this plant to extract the juices from, you can find them at the below websites:
The creation or consecration process doesn’t end there. Usually, the knife is then blessed with holy water and/or run through sacred incense which has also been consecrated to magical workings. The item is kept safe in a wrapping of black silk.
Most ancient magical Greek texts that mention the black handled knife say it should be made from the horn of a he-goat. It is used to assist with making the pen, parchment AND the circle. David Rankine also mentions it was used in cases of divination, as found in in a Talmudic passage by Rashi (Rabbi Shlomo Yitzhaki)

The strongest argument and tradition supporting the make, appearance and use of the magical black handle knife comes from Greece and mainly the island of Crete. During my research I found that knife making is still a very proud tradition and the quality of knives that are made there are highly prized heirlooms and works of exquisite craftsmanship. The handles are still primarily made from goat horns and white bone.

Blades of CRETE:
On an Island south of Greece (practically between Greece and Egypt) is located a place of immense occult lore and foundation for some occult tradtions that are scattered through the grimoires, especially in its use of weapons against spirits. The Island name of Crete can be found surfacing in a few occult references, Dittany of Crete” is an oregano type plant that was said to be beneficial for manifesting goetic spirits. The knifes which were manufactured in this tiny region were often of high sentimental value and personal worth. The blades would have poems and songs inscribed on them. They were used for defense and customary wear by betrothed or married Cretan women.
The Cretan Dagger in Manners. Customs and Popular Beliefs of Crete (all information found on related website)

“The importance of the Cretan dagger’s symbolic value in the social life of Crete survived even until recently.

From a semiological point of view, the dagger indicated to other men that the girl was betrothed or married and that she belonged to one and only man.

As a symbolism, it reminded the girl herself that she ought to be devoted to her husband and that the price she would pay for any infidelity would be her own life. However, in addition to its symbolic significance, the dagger also had practical value, because the young Cretan woman would be able to defend herself and her dignity when in danger.

For the success of the wedding ritual and the stable foundation of the new family, Cretan customs prescribed earlier that a small black – hilted dagger be placed on the bride’s shoe before and during the wedding ceremony, so that the “spells” of those envying her fortune would not work.

Earlier, they used to believe in Crete that if the couple held a black – hilted dagger during the wedding ceremony, it would be able to counteract any “spells” that might have been cast on them aiming at the solution of the marriage.

Finally, after the wedding ceremony the newly – wed couple had to etch a cross on the threshold of their house with a black – hilted dagger, so that evil spirits would be prevented from entering and haunting it.

The symbolic significance of the dagger and its great metaphysical value in protecting humans against the fiendish powers of the invisible world and “ill – fated moments” was deeply rooted in Crete .

Tiny black – hilted daggers were used in manufacturing talismans for young children and talismans for protecting epileptics from the bad influence of the moon and the possessed from the pernicious influence of demons.

Furthermore, when a woman lost one of her children, she used to hang small black – hilted daggers with crosses etched on their hilts around her other children’s necks as talismans, so that the Grim Reaper would not take them too.

Engraved Cretan black horn knife
The Cretan Dagger and Magical Ceremonies

Daggers, always black – hilted, since black – hilted daggers were feared by the demons, played a leading part in the practice of magic in the sublunar world of sorcerers.

The sorcerer, master of love and hatred, in proceeding with his work of magic according to his wishes or those of the man or woman who had requested his assistance, used a black – hilted dagger in his spells and rituals of any nature.

In their effort to dominate over the powers of nature, to transgress against its known laws and to control the lives of humans with the help of demons, sorcerers used black – hilted daggers, with which they traced a circle on the ground and then poked it in its centre. Then they entered the circle and uttered some cryptic words and secret names. In this way they summoned the demons and ordered them, according to their wishes, protected from their malicious power inside the circle they had traced with their dagger. The dagger should not have been used in any other work before this procedure.

The tracing of the circle and the invocation of demons that followed constituted, according to tradition, the consummation of the sorcerer’s magic skills.

The tracing of the magic circle with black – hilted daggers was exercised by the island’s sorcerers mainly during their meetings with demons, called “davetia”.

The most typical description of the tracing of a magic circle with a black -hilted dagger in Crete for obtaining a magic purpose is provided by Nikos Politis in his description of the instruction of the lyra – player by the Fairies, so that he would be able to play the lyra with great virtuosity:

‘Whoever wants to become a good lyra – player should go to an isolated crossroads at midnight. First he should trace a circle on the ground with a black – hilted dagger, then enter it, stay there and start playing the lyra. A little later the Fairies will come and start hanging around him. Their purpose is not good, they want to do him harm, but since they cannot enter the circle, which has been traced with a black – hilted dagger, they try to lure him out in every possible way. They use blarney, they sing him nice songs, they wheedle him in a thousand and one different ways, but if he is wise, he must remain calm and continue to play the lyra without leaving the circle. If they fail, they invite him out of the circle in order to teach him how to play the lyra better. He must refuse. Then they will ask him to give them the lyra. The lyra – player should give it, cautious to let his arm or other part of his body out of the circle, because it will be amputated or he will go insane.’

Then a Fairy starts playing the lyra with great virtuosity and afterwards they return the lyra to him, hoping that he will be persuaded to leave the circle and they will be able to harm him”.

According to the description of Nikos Politis, the continuous interchange of the instrument between the Fairies and the lyra – player, without anyone of them passing the limits of the circle traced with the black – hilted dagger, continues all night long until the first cock crows. Then they ask him to give them something of his own and they promise to teach him how to play the lyra like them in return. The lyra – player usually gives them one of his nails and they in turn teach him how to play the lyra with great virtuosity and then disappear at daybreak.

For this reason, in earlier times, if a lyra player played his instrument with outstanding virtuosity, he used to say: “What do you think? I learnt to play the lyra at the crossroads”. ”

Videos on The Style Greek blades
More Info on the history of the black hilted knife:

Finley made modern White and Black handle Cretan knives
Cretan dagger with engraved poem/song

Cretan daggers are steel bladed, one-edged, straight knifes with very sharp, thin points. Ancient Cretan daggers were double-edged and very ornate. Modern blades are more practical. The handle of the dagger is called the “manika.” Daggers are made with three common types of manikas, the bird’s beak, the V-shape, and the classic style of ancient Cretan daggers. Manikas are only made from animal horn (black goat horn), white bone or ivory. Cretan daggers are sheathed in highly decorated metal sheath of silver or gold.
A small black hilted dagger is also used in the wedding ceremony during rituals intended to keep bad spirits away.

Two separate grimoire illustrations shows stylized “split” handle section popular with greek/Cretan knifes and shows
A Grimoric List of Variations for construction of the Magical Black Handled knife:

Illustrations of the “Magical knife” or dagger in The Clavis or Key to the Magic of Solomon: From an Original Talismanic Grimoire in Full Color by Ebenezer Sibley and Frederick Hockley
1. The Key of Knowledge (Clavicula Salomonis) Transcribed from British Library, Additional manuscript 36674.

A knife is required in this art, therefore make it be made with a handle of iron which is pure, and let it be tempered in goose blood in the day of Mercury [Wednesday], in the increase of the Moon. After it be finished, say ten masses to be said over it, and write upon the handle thereof with the needle aforesaid these signs which follow:

Then perfume it as hereafter is appointed, and note that the circle be made with such a knife, this day lay it up in silken cloths until thou wilt work, and cut nothing with this knife, but only all things belonging to this art.
All other instruments of iron whatsoever they be, let them be made on the day, and hour of Mercury, and write upon them these signs following:
Also, see to the swords wherewithal you will work, that they be clean, and write upon them as followeth: lamec, Theah, Aniles, Theophilos, Def, Beth ladomay, El, Ja, Jah, Emanuel, Saday, Emnanal, sum qui sum, Agla, ALPHA & OMEGA. Write this with the ink aforesaid, and smoke them with the odours, and say this conjuration:

I conjure thee by the names, Abraham, Abraho, Tetragrammaton, which is to say, Aglane, that thou hurt me not in work. I conjure thee by pure, Stimulaton, and by these unspeakable names of Almighty God, which are: Egyrion, Osystron, Enona, Aula, by Asyn and by Manalo, Emanuel, Sabaoth, Adonay, primus, nouissimus, vnigenitus, Via, Vita, Manus, hono, primogenitus, finis, Sapientia, virtus, a. Caput, verbum, gloria, splendor, lux, Sol, Imago, Mors, Janua, Petra, Lapis, Angulus, Sponsus, pastor, propheta, Sacerdos, Athanatos, Ysyon, Pantacraton, Jesus, Halleluia; by these names, and all other names; I conjure you, that you have no power to hurt me.

Which done, let him keep it as before is said.
Besides this there must be made another knife in the day and hour of Mercury, tempered with the juice of pimpernel, and the bloode of a goose, upon the which you shall cause three masses to be said. Also, you must perfume it and sprinkle it with water as is aforesaid, with which knife, all thinges necessary must be cut. Note also that before any of these things be consecrated, that they be virgins, that is, such as were never used in work or labour.

edited by S. Liddell MacGregor Mathers
Traditional Black handle knife reproduced from the image found in Mather’s illustration made by my friend Gary of
But as for the knife with the black hilt for making the circle, wherewith to strike terror and fear into the spirits, it should be made in the same manner, except that it should be done in the day and hour of Saturn, and dipped in the blood of a black cat and in the juice of hemlock, the characters and names a shown below being written thereon, from the point towards the hilt. Which being completed, thou shalt wrap it in a black silk cloth.

variation of sigils 1
Variation of sigils 2

Let him make a knife, of the form following, of Iron andamco. With a white haft of Ivory yt is tempered in the bloud of a goose and the Joyce [juice] of pimpernell, and let it be made one day & his howre in the augment of ye and fullfill from the first howre to ye 13th howre, and when he is made, cause to be songe over him x. masses. And write over (?) cinabrig conjured upon his hast, eyther with a needle or a poyntell of Iron, of such as followeth, of a needle, with this figure
Notice the suggested size and shape for the black knife here. Worthy of what is described in the Grimorium Verum.

Black and White handled knives from the “Veritable Key of Solomon”
Sloane 3847. The Clavicle of Solomon, revealed by Ptolomy the Grecian.
It is necessary in operations of artes or experiments to have swordes and knifes and other Instruments of the which circles may be made, and other necessary operations,
[48v] Let him make a knife, of the forme following, of Iron andamco. With a white haft of Ivory yt is tempered in the bloud of a goose and the Joyce [juice] of pimpernell, and let it be made one & his howre in the augment of ye fullfill from the first howre to ye 13th howre, and when he is made, cause to be songe over him x. masses. And write over (?) cinabrig conjured upon his hast, eyther with a needle or a poyntell of Iron, of such as followeth, of a needle, with this figure
and fumigate him with fumigations as followeth, with such a knife as the circles should be made with, if it be greevous for you to make such a knife, finde some knife of the foresaid fashion, with a haft all white or all blacke, and write upon manicu~ or haft the foresaid wordes, after the mañer aforesaid of that knife, and upon the plate begiñinge from the poynt, write with encausto conjured, Alpha et omega, agla, Ja, el, ou, premeumaton, syrnel, afrnel, and cause to be sayd over this knife [49r] 3 masses, one of the holy ghost and 2 of our Lady and fumigate him, with the fumigations followinge, and blesse him with water as followeth, conjuring sayinge, in nomine patris filii et S. Sancti Amen, and put him in a silke cloth, of such as followeth, until ye will worke, and of that knife let the circles of artes be made, and with that knife, let things necessary to the artes or experiments be cut, likewise let Artanus be made, but they neede not to be put in any operation, Let other Instruments of Iron, or staves, or rodds excersised in artes or experiments be consecrated, on that mañer, if they be Instrumts Let them be made one Mercurydayes and his howre as it is said of ye knife, and Arthano, and let these that followeth be written upon them,
( Here we have some obvious references to the word that would later be called “The athame”)

if they be staues or rodds, they ought for to be virginall, of whatsoeuer wood they be, & cutt of at one cut, with the knife aforesayd, in the howre of Mercury, and let the foresayd carecters be written upon that rodde, with such Inke as followeth then say ouer that rodd these wordes,
Adonay sanctissime et potens, tetragrammaton, fortissime, Saday, potentissime, adestote, et consecrate virgulam istam quemadmodum [49v] convenit per te sanctissime Adonay cuius regni noterit finis per omnia secula seculorum Amen.
Then let him be put in cleane place untill ye worke, swordes be necessarry in artes or experriments, take the swordes that ye worke withall after the manner followinge let them be scoured, and cleane from the first howre of the xii howre, and let these wordes be written upon his syde,
Lamec, Sidac, Cethag, Cheah, anilos, theodomos, theophilos, persidonos dif, chech, hech, ladomay ely elyol, ysyh, elya, Iach, emanuel, Saday, emuanas, nazarel, sum qui sum, alpha et omega
with cinobrio coniured, then let him be fumigate with fumigations followinge,
Arthanos is made one Mercuryday in the augment of the moone, and let him be tempered in the Joyce of pimpernell, and the bloud of a goose, and 3 masses songe ouer him, and be fumigate with such fumigation as followeth, and let them bathe them with such water as followeth, of water and Isope, of the which arthano ought to be cutt all necessary thinges to artes or [50v] experiments, and of him must the circles be made, about testas of the fumigations, and that is the dewty of this artanus, likewise let the swordes and spheares be consecated [sic], that they be new and virgin Iron, and never occupied in any worke, for if it were made otherwise, it would not profit.

The Black hilted knife for cutting hazel making circle and pinning down demons . “That with the black handle, destined to describe the circle and intimidate the spirits, and for performing other similar things, must be made in every respect like the first, except as regards the day and hour, which should be those of Saturn. The steel should be extinguished in the blood of a cat 3 times and the juice of hemlock, while the handle should be of sheep’s horn.”




The True Grimoire

The Most Approved Keys
Solomon, The Hebrew Rabbi
Of the Magical Knife.
It is necessary to have a knife or lancet, of new steel, made on the day and hour of Jupiter with
the Moon crescent.
( This is curiously unique to the grimoire indicating the knife be an implement for authority and success. Most likely the “crescent moon” in question is when the moon is waxing but not quite half.)
If it cannot be made, it may be bought, but this must be done at the time, as above. Having achieved this, you will say the Orison or Conjuration following, which will serve for the knife and lancet.

Conjuration of the Instrument.
I conjure thee, O form of the Instrument, by the authority of our Father God Almighty, by the
virtues of Heaven and by the Stars, by the virtue of the Angels, and by the virtue of the
Elements, by the virtues of the stones and herbs, and of snow-storms, winds and thunder: that
thou now obtain all the necessary power into thyself for the pefectioning of the achievement of
those things in which we are at present concerned! And this without deception, untruth, or
anything of that nature whatsoever, by God the Creator of the Sun of Angels! Amen.

Then we recite the Seven Psalms, and afterwards the following words:

Dalmaley lamekh cadat pancia velous merroe lamideck caldurech anereton mitraton : Most
Pure Angels, be the guardians of these instruments, they are needed for many things.

The Sacrificial Knife.

( Again, the Verum is ubnique as this is most likely the “black hilted” knife but is NOT the one listed above which is used to make the circle with. In most other SOlominc texts, the black handled knife is the one that enscribes the circles)

On the day of Mars [Tuesday] at the New Moon, make a knife of new steel which is strong
enough to cut the neck of a kid with one blow,
( Here a large knife or machete or clever type blade is suggested and would be practical in “cutting the hazel rod with one strike”. A small knife would not be able to serve this function properly and also a large knife would be easier to inscribe a circle on the ground with.)
and make a handle of wood on the same day ( The type of handle suggested here is most likely hazel nut as well) and in the same hour, and with an engraver you engrave on the handle these characters:
And the sigil Bechaud:
Engrave or write on the blade AGLA. Then asperge and fumigate it, and you have prepared an instrument for service when and whereyou wish.
Large Greek/Cretan style Black Horn “knife” apropriate for the Verum Sacrificial knife.
The Sacrificial knife is meant to slay the goat for the spirit that is to be summoned, as well as to make the parchment for the art by skinning it after. This may seem barbaric to some at first but echoes strongly the earlier Greek and Hebrew practices of animal sacrifices. Interestingly though, as I mentioned, the sacrificial knife is the same one used for cutting the wood of the hazel rod, but NOT marking out the circle with. The suggested size and ability to kill and cut “in one stroke” makes it a formidable and more effective weapon however.
My favorite Black horn handle knife to date before its engraving and consecration
So what do I use? Well the above was my knife before I fancied it up. I decided to refrain from displaying a current image of it at this time for personal reasons. I will say this. I opted for using a collaborating source of sigils stemming from The Key of Solomon Aub24 and using the preperations dictated by the text. I also experimented reconsecrating it if you will on auspicious Saturnine times as well as during Martian days/hours. Forming circles with this weapon out of doors is a very powerful gesture. I admit I do not typically use it in dealing with spirits for the severity and harshness it represents. However I am never worried about a spirit daring to stand against it.

The way in which I wil use this knife in abroad, begins with unwrapping it from its black silk, saying a prayer over it that I used during its consecration and I chat vigeriously the prayers found in the KoS while marking out my circle. If I also have my hazel wand or magical sword, I will almost always stab it in the ground within my circle before I begin my conjurations. This has felt “right” and a powerful sealer to my circle. (examine the “conjurer picture illustrations in esoteric archives)

My disposition toward spiritual entities of all sorts has evolved and changed over the years and I find I am less and less likely to threaten and demand in a harsh manner as I wish to learn and form respectable relationships between myself and the denizens of the spiritual world. Regardless, I am a warrior as much as a magician and I take nothing for granted and realize my best intentions are not always considered by supernatural beings. The black handled knife is a reminder of my capabilities…
OTHER EXAMPLES OF the magical knife and its uses:
African style ritual dagger

There are a few cultures I’ve studied who utilize a dagger or knife in a ritualistic way concerning spirits. You will find many similarities between Cretan and Indonesian knives in their composition, make, and use. The Indonesians make many blades with black horn handles in similar styles that you find in the grimoires. The kris is a highly prized knife of reputed magical power. In some circles and weapon’s experts it is seen as the most magical and effect knife in the world. For my tastes, if I cannot make the knife myself, I prefer it be made by a person of a culture and disposition where magic is vibrant and the lineage is inherent with mystical tradition and intention. Forming a relationship with a knife maker or artisan is a great way to have one made but their disposition toward magical arts might be a deciding factor depending on how much you inform them of your intentions.
Richard P. H. Greenfield in his
“Traditions of belief in late Byzantine Demonology” describes some various uses for the “magical knife” and more specifically the black-handled knife in exorcism. The knife was plunged into the heart of a tree when calling upon that tree’s spirit to work with the magician. And again, whilst and exorcism was being carried out on a person laid out on a table, the knife is plunged into the table to fix or hold the spirit once it was brought out of the

Phurba or more properly, kīla (or kīlaka)

To work with the spirits and deities of the earth, land and place, indigenous people of India, the Himalayas and the Mongolian Steppe pegged, nailed and/or pinned down the land. The nailing of the kīla is comparable to the idea of breaking the earth (turning the sod) in other traditions and the rite of laying the foundation stone. It is an ancient shamanic idea that has common currency throughout the region; it is prevalent in the Bön tradition and is also evident in the Vajrayana tradition. According to shamanic folklore current throughout the region, “…the mountains were giant pegs that kept the Earth in place and prevented it from moving.” (Kerrigan, et al., 1998: p27) Mountains such as Amnye Machen, according to folklore were held to have been brought from other lands just for this purpose. Stupa (compare cairn) are a development of this tradition and akin to kīla.

As a tool of exorcism, the kīla may be employed to hold demons or thoughtforms in place (once they have been expelled from their human hosts, for example) in order that their mindstream may be re-directed and their inherent obscurations transmuted. More esoterically, the kīla may serve to bind and pin down negative energies or obscurations from the mindstream of an entity, person or thoughtform, including the thoughtform generated by a group, project and so on, to administer purification
As Müller-Ebelling, et al. (2002: p. 55) states:
“The magic of the Magical Dagger comes from the effect that the material object has on the realm of the spirit. The art of tantric magicians or lamas lies in their visionary ability to comprehend the spiritual energy of the material object and to willfully focus it in a determined direction. . . The tantric use of the phurba encompasses the curing of disease, exorcism, killing demons, meditation, consecrations (puja), and weather-making. The blade of the phurba is used for the destruction of demonic powers. The top end of the phurba is used by the tantrikas for blessings.”
“In the Kathmandu Valley, the kīla is still in usage by shamans, magicians, tantrikas and lamas of different ethnic backgrounds. The kīla is used particularly intensively by the Tamang, Gurung and Newari Tibeto-Burmese tribes. The kīla is also employed by the Tibetans native to Nepal (the Bhotyas), the Sherpas, and the Tibetans living in Dharamasala.”
Black horn knife Indonesian style

Origion of the “Athame”

Finley made double sided, black handled dagger
“t\The Key of Solomon show considerable variability in labelling the ritual implement in question, but the oldest and best Latin and Italian manuscripts read “artavus” (penknife.) The English mss. Sl.3847 reads arthanus or arthany. The French manuscripts read artave, arthane, arthame, or athame. Other variations include arctavus. The variability is easy to explain: Artavus is a Medieval Latin term, not found in most dictionaries. It is clearly described by Du Cange
as “a small knife used for sharpening the pens of scribes.” –Joseph Peterson

One of my first Magical Daggers or “Athame” equivalent. The handle is 5000 Irish bog oak.
-Available for the interested magician: I am offering a few of my select prized blades that I’ve collected over the years in honor of the mighty black hilted knife. Each one was handpicked and selected for its materials and uniqueness and also for it’s seemingly predisposition toward magical work. The blades have each been modified and/or worked with in some sense with spiritual entities so they will not be virgin in any case if that is one of your concerns.

A look of magical knives I’ve collected over the years

However I can attest that each works for its intended purpose and should do so regardless of my previous handling. I am also offering some custom fashioned IRISH HAZELNUT WANDS which where personally hand made, cut, and sealed with a mixture of consecrated hazelnut oil and hyssop oil.
For the time being I am not listing these implements up on auction and will not be listing prices here. If anyone is curious in any of the aboce items, contact me adn we will work it out from there.


Joseph Peterson’s The ESOTERIC ARCHIVES classical works of Solomonic Magic:

The Clavis or Key to the Magic of Solomon: From an Original Talismanic Grimoire in Full Color by Ebenezer Sibley and Frederick Hockley

The Magical Treatise of Solomon, or Hygromanteia (Sourceworks of Ceremonial Magic Series)
by Ioannis Marathakis

Google: “taking blood from cats” – you tube.


The Veritable Key of Solomon -Stephen Skinner and David Rankine

The TRVE Grimoire by Jake Stratton-Kent

The Magician’s Voice

“How in the world do you remember those long conjurations?!
I mean that must take ages!”

…When I say I’m a grimoric (traditionalist) magician and go by the book, I mean it. I use the conjurations, like the ones found in the Goetia, and make sure to recite them word for word during my evocations.
I do more than read them from a book when it comes time for the ceremony; I memorize them long in advance, integrating the meaning and flow behind each word, to harmonize with my intentions.

Memorizing the conjurations has some beneficial if not vital advantages for grimoric mages. For one, it keeps the mind and intentions completely in the present; consistent, and harmonious in the flow of the ceremony. The mind can only focus on so many things at once, and even if there is a small portion of it (your thoughts) making sure to pronounce the words correctly, understand what is meant by the Old English which the conjurations are written in, and/or determining if you really believe every word you are speaking while speaking them, at least SOME measure of your will and/or concentration will be fractured. The conjuration will be working against instead of for you if this occurs.

The conjurations as given in the Goetia of the Lemegeton, The Heptameron, or The Key of Solomon are complete in that they cover all the vital parameters and areas where major loopholes could be exploited and use the most powerful names to bind it as a sealing contract. You won’t have to make last minute adjustment or become distracted with wondering if your ad-lib or personally constructed conjuration was complete if you use the given invocations.

Another reason for reciting the conjurations directly as opposed to reading them is direction of will/intention. Think for a moment and remember the last time you heard someone speak to the audience while reading from a book. A couple small town ministers and teachers might still do this as they are not held to the same public speaking standards of more visible individuals. If you are younger, perhaps you can remember the last time you heard a “book report” from a fellow student in class and all they did was read from their paper. There is a disconnection which occurs where the audience no longer feels as if THEY are being spoken to.
This is a sure way to lose the attention and respect of your audience, a very bad idea when your audience is a powerful spirit.

I do not recall many occult books which delve into the subject of training the magical voice. The most I can recall are explanations from various occult authors that go into “vibrating” words of power (Such as in the Golden Dawn, (LBRP, LBRP, MP, OBWT, etc.). The closest thing I have come across lately is Jason Miller’s “The Sorcerers Secrets” where he goes into excellent explanations of how to utilize one’s voice, appearance, presence, and gaze to influence the world and others around them. EVERY, and I mean EVERY magician/will-worker/sorcerer/ whatever should be skilled (at least moderately adept) in these areas if they are worth their mana, no exceptions. If you cannot use your abilities to at least sound confident during a conversation, you have no business trying to persuade a spirit to do anything for you. (I theorize this is a main reason for the many frustrated sociopaths attempting these practices for some hope of power with none to begin with) If you cannot get people to acknowledge you for anything, you are fooling yourself, thinking a spirit will. You will need training in how to bring about your voice that will make the cosmos take notice.
A ceremonial/grimoric magician must be skilled in projecting power/will through their voice (I’m inclined to say every magician should. Period). This has nothing to do at all with “vibrating” words. In practice, they might help you to eventually get your will across, but are not the key in and of themselves. If you’ve read this far and felt your heart sink because you’ve realized your voice is not on the level it should be: confidently/energetically/ magically……
Fear not! Most of the best speakers have had classes and practice, practice, practice. Just like with anything: The MAGIC to become skilled at something is to work your butt off for it. This is something you definitely can get better at, even if you’re a natural.

Magical voice practice as well as conjuration memorization can happen in the same step: Get a tape recorder and record yourself speaking the entire conjuration, word for word. Before this step, I had to write or type out the conjuration, correct some of the spelling, and organize it into sentences and paragraphs. (Many conjurations are one big run-on sentence)

Speak every word, clearly, purposefully, and directly.

There is no reason to shout or vibrate unless you absolutely need to do so for the “barbarous names”. Put as much intention as you can into your practice. When I was doing this exercise for the invocation in the Goetia, I would omit the spirit’s name for fear of drawing its attention at a time I was not ready. It felt like a good idea since the practice made the invocation quite powerful. The atmosphere would become eerily still when I got going.

When you are done recording, listen to the entire thing as often as you can. Go to sleep while listening to it, implant it in the deepest reaches of your unconscious. If you’re like me, you’ll begin picking up sections of the conjuration quickly, memorizing more and more each time. Be patient, and listen to your recording as often as possible, saying the words in your mind or aloud while listening. A neat thing about this exercise is that you are doing more than memorization here. With every recitation, you are integrating the meaning of the words within your psyche and will. Bit by bit, it becomes yours by the apprehension of the invocation, and not just something from a book. You start to realize that the invocation covers very specific parameters as a matter of binding and contract. The spirit is under the terms of the ceremony to fulfill its end of the bargain without any tricks or deceptions. They are designed with specific intent and purpose, tying them with the most potent of names.

Make the recitation of the holy/barbarous names with as much reverence and power as you can muster. Speak them as you would a prayer of invocation. The more you recite in this manner, the stronger the words will become for you.

If you follow this example, you may find that your flow and speaking improve in such a degree that you will want to re-record over your original attempt. Try recording the conjurations again, and you’ll notice how much you’ve improved…notice where your voice sounds strongest. Are there any points where you hit a snag or can tell where you’ve broken concentration? Do you sound like you are confident in what you are saying? If you were an objective listener, does the speaker sound like they believe what they are saying? Do they sound powerful? Authoritative? Certain? All these descriptions are elements you should be striving for.

Beyond getting a spirit to appear, these practices will cause your day today “words” will have more power, more intention. People will listen and take better notice of what you say and how you say it. This formula is the magical instruction given by spirits as “eloquence” and “rhetoric”. If you still have difficulty, seriously consider taking a speech or public speaking class in college or wherever you are able. Find topics to speak on publicly. Experiment with friends and family members, vying to prompt reactions which you intend.

My original exposure to these concepts and to magic itself was through the realm of hypnosis. I have been hypnotizing people since I was 14 years old and have explored the capabilities and possibilities of hypnosis for many years. Trained hypnotists/ hypnotherapists utilize an area of magic no matter what they, or the scientists say. The fluctuation of intention through sound/voice and intention are the very factors one uses to propel their -will- through space. A spell, a chant, invocation, or evocations are all done through intentions expressed through “the word”.

“In the Beginning was the WORD”

Hypnosis is a fantastic practice because you get to see instantaneous results on how your voice affects another human being. Further exploration of “the voice” can be explored through the study of music and song which is by far one of the most powerful and influential creations ever designed by mankind.


For now, let us stay within the areas of evocation and the magical voice’s use for spirit contact.
Often, speaking to a being that is initially invisible can be challenging. A respected magician and colleague in the field of Goetic evocation is John King. He describes this initial difficulty of “speaking to a being, who at first is not apparent” as a matter of willed intention. If you are interested in Goetic evocation as it is given in the Lemegeton (and have not done so already), I encourage you to purchase his book, IMPERIAL ARTS. It will help the aspiring magician to ascertain the experience of real evocation from someone who has apparently done so quite successfully.

The spirit you are evoking must be spoken to directly. Not spoken at, or spoken about. (Remember the kid giving his book report) There are huge differences between these actions. Don’t assume the “spirit will know what you mean”. The spirit must acknowledge they are being spoken to directly and that the entirety of the evocation is directed at them. This is done intentionally and energetically. Your words, focus, intention, and purpose are all focused on the spirit.

…Now imagine, you have the conjurations not only memorized, but actualized in their innermost meaning and intention, within you. You’ve heard them and read them so many times you know them like your own name. When you perform your ceremony, you speak the age old words fluidly and powerfully. You know EXACTLY what you are saying and WHY you are saying them. Backed by the cohesiveness of tradition and ceremony, you speak each word to the spirit directly and filled with proper intention…..

Now… You almost don’t need to imagine what would occur ….if you accept there is a being out there, whose name you evoked to appear with the intensity described above, if the being is there, by the names, and by the art, it will appear.

Since you have trained your voice, you will not be disarmed by the actual appearance of the spirit but be able to continually and skillfully communicate with an authoritative voice.

Be it that a magician if not a man…is only good as his word…..What worlds could be created with that which you utter?

Hey Bob!!

One of these days I’d love to tackle an experiment for housing a spirit in a skull.

I’ve read in a few sources of where this particular ‘item’ was used by magicians ranging from the early renascence to the ancient middle east. How many classical images of wizards or alchemist have you seen that contain at least one human skull on a table or tucked on some dusty bookcase somewhere? Ever wonder as to the nature and use such things were put to?

Though undoubtedly originating from multiple cultures in various parts of early history, my particular interest stems from Old Hebrew magic. From what I’ve researched, there have been over two thousand ‘skulls’ found with Ancient Hebrew or Aramaic scrawled with various enchantments.

The concept of the human skull spirit is what is alluded to as an ‘Oboth’ (“The ones who return”) or ‘Yiddeonim’ ( “The knowing ones”) in ancient Jewish culture. Basically, its referring to a familiar spirit who works for the magician/necromancer, accomplishing a variety of tasks.

Later, you find these as inscribed ceramic or iron pots where the familiar spirits were tended and consorted for a number of reasons.

In the original Hebrew verses, it is this oboth or yiddeonim which is ( most likely) referred to when King Saul contacts the ‘woman of Endor’ (Leviticus 20:27 9) A couple of modern magical books go into detail behind ‘spirit pots’. Aaron Leitch, RO, and Jake Stratton-Kent have written about this subject a few times in great detail.

In the ‘Dresden Files’ novels, Harry has a skull named ‘Bob’ that is basically a magical encyclopedia and storehouse of occult knowledge. This idea further sparked my interest in being able to create a real version of this familiar spirit. “Bob” helps Harry solve a plethora of occult mysteries and riddles with his vast occult knowledge that makes up the entire purpose of the spirit.

Basically, the skull is a spirit in a spirit pot which is thus used as an oracle or astral information source. This practice has many common threads through ATRs and older necromantic methods. The dilemma will be: ‘Do I house a ‘ghost’ of a human who I work with and teach to accomplish such things, or find a spirit being which was never physical to begin with? Which is more appropriate to this type of spirit pot? Hmmm

Some of my original research and consideration for this operation came from ‘Communing with Spirits: The Magical Practice of Necromancy by Martin Coleman. I really love this book for the practices and ideas it has set up for working with spirits who were human.

The ritual and procedure to create a veritable oboth or yiddeonim ( the one I have in mind )would take quite a bit of time and resource, not to mention finding a suitable skull. On it, I would inscribe the most potent binding litany of what sort of spirit would be housed in the skull along with appropriated sigils and symbols.

I figured a ‘fetch’ or spiritual informant resource would be most handy: A spirit who could retrieve other spirits to communicate with me or garner information that was obtainable in the spirit world. There are quite a few possibilities with this one.

Novel ‘magick’ skull I bought years ago

There is a fantastic specimen and article on such a skull in a few web sites I found.

Look at the one here for the full article on the Skull with magic inscription

In the website article above, a collector named Shlomo Moussaieff “acquired two earthenware bowls, the open ends of which were adjoined to form a kind of case—inside the case was an ancient human skull. A magic incantation, written in Aramaic, was inscribed on the skull.”
I guess there are more than than two thousand magic incantation bowls that have survived from third–seventh-century C.E. It says, “Jewish communities in Babylonia.a The incantation bowls were made at the same time and in the very communities that produced the most intricate, complex and revered accomplishment of rabbinic Judaism, the Babylonian Talmud.”

The article goes on to state: “Although some have deemed the incantation literature to be inconsistent with the spirit of the Talmud, recent research has shown it to be, rather, complementary and representative of aspects of life reflected within the Talmud.1” Quite fascinating indeed!

“The fact remains that belief in demons was widespread at this time among Jews as well as other peoples. Incantation bowls are known not only from Jewish communities but from other communities as well. The Jewish versions are written in what is commonly known as Jewish Aramaic.”

The researchers deemed the “bowls and inscribed skulls were typically used to, “To combat demons—who cause medical problems as well as other mishaps and ills—people invoked numerous magic rites and formulae. The magic rites could also serve as a love charm. Your desired one would surely fall in love with you if the proper incantation was invoked. The reverse was also true. To bring disaster on your personal enemy, you would invoke a curse text. These often-strange and mystifying incantations were usually inscribed in cramped writing in a spiral on the interior of the bowls. Not all magic incantation texts were written on bowls. Sometimes they were written on parchment, tin, lead, copper, silver and even gold. Occasionally we find one on even more exotic materials such as eggs. Now from the Moussaieff collection comes one written on a skull.”

“BY MEANS OF A SKULL.” It is difficult to write on the idiosyncratic surface of a skull; reading a skull inscription can be equally difficult. Like the inscriptions on incantation bowls, the skull text is surrounded by a squiggly line. Although the inscription on the Moussaieff skull is very hard to decipher, one thing is clear: It contains names of people for whom the incantation was made. One of the names, Shilta, is derived from an Aramaic word meaning “after-birth.” The skull itself was probably that of a woman. The exact manner in which this skull was used, however, remains a mystery. A contemporaneous source, the Babylonian Talmud, Tractate Sanhedrin 65b, offers a possible clue: “There are two kinds of necromancy: the one where the dead is raised by naming him, the other where he is invoked by means of a skull.”
These are the main sources for my interest and curiosity. Of course WHO KNOWS when I’ll have time to tackle this project..I need to finish with the ones I’m doing now first……my wife says so lol!
Rare Magic Inscription on Human Skull
Red Ice Creations – Explore – Observe – Be Here (K)Now

There’s no cut and dry directions for creating the ‘Spirit in the skull’ but alas (poor Yorik!..I think that’s what I’ll name the spirit) I’ll find a way!
Now…….Who knows where I can get a decent skull under $500.00?
That’s the real magick question.

‘Bob’ prop from the Dresden Files TV Series


I wanted to update this site since I’ve been devising and developing the skull spirit project further which includes methods of old Jewish folk magic, classical conjuration and sigilistic binding spells used in an elaborate ceremony of several different sections; one developing building on another to have a lasting and very potent working spirit. In this I’ve still been particular in selecting my skull and how I wish to proceed. I’ve debated on whether or not I wish to carve and engrave the bone myself or commission the help of a professional. In this I’ve recently come across a highly skilled artisan whose work is perfectly suited to this endeavor. I wished to promote his business here and share with you some of his art work.

celtic articulated

If you have the means and the serious attitude toward what owning something like this would entail I’d suggest contacting the artist to commission a work for you. I highly discourage any flippant purchasing or half thought out design as this should be a most serious undertaking in my assessment. However, one can appreciate beyond any macabre sense how skillful the artwork is.

I’m excited to see this project develop in due time as I work in
collaboration toward its final end. It would be quite an immense magical undertaking and one based on systematic blending of grimoric and folk traditions. Hopefully I will be ultimately successful in my undertaking and have something much more than a uniquely crafted piece of artwork.

The planetary Spirit Altar for the Trithemius Table

Altar for Trithemius , planetary intelligence- angelic gate way operations … is beginning to come together. I created this to be the table which will hold my Holy table as well as scrying device for the operations. A 3 ft tripod censor will be placed, circle directly behind with seat to view directly in crystal. As stated, the altar is my design and not mentioned in text but construction will be included in the upcoming booklet.

Altar made of two 12x24in boards, ebony stained with center pillar and side supports. Center pillar done with planetary kamea on one side with planetary symbols on reverse. Side of pillars with planetary angelic symbols and Armadel Olympic spirit sigils.

The top has all three sets of symbol/sigils for all 7 planets painted on boarders. Top has Grand Solomonic Seal as well as two pentagrams for the candle locations. The surface will eventually have altar cloth of corresponding planetary color with matching candles.

the Goetic Circle of Art

The canvas or portable magick 9ft circle rug: Somewhat historic by Islamic and other accounts of Solomonic magic, and possible origins of the “magic rug” also practical and reusable. This one I made with latex paints I treated magically and physically. The paint used for the white circle was mixed with 9 grams of iron filings, 9 grams of powdered consecrated sea salt, and a vial of holy water. The idea was spontaneous at the time to add reinforcement to the physical symbol. Luckily it turned out well and did not affect the paint negatively in any way.