The Book of Ceremonial Magic (A.E. Waite)

The text explains the full-page plates. Plate I (Frontispiece) shows a witch who has shot a peasant in the foot with a magic hazel wand; the victim removes his shoe as the foot swells, and yielding to the witch would lift the spell; a note identifies Ulrich Molitor as a medieval demographer. Plate II presents the Angels of the Seven Planets with their Sigils, signs, houses, and heavens, naming Michael (Sunday), Gabriel (Monday), Samael (Tuesday), Raphael (Wednesday), Sachiel (Thursday), Anael (Friday), and Cassiel (Saturday). Plates III and IV describe mystic figures of the Enchiridion, including Tau monograms, the Labarum of Constantine, the reversed pentagram (called by Éliphas Lévi the sign of the Demon), and talismans of Michael and Gabriel. Plate V lists twenty-seven characters of evil spirits from the "Fourth Book" of Cornelius Agrippa. Plate VI shows the Sabbatic Goat from Lévi's Ritual. Plate VII shows instruments of Black Magic from True Black Magic. Plate VIII shows the Magical circle of Goëtic Theurgy. Plate IX shows Lévi's Goëtic Circle formed from a victim's skin, coffin nails, a parricide's skull, goat's horns, a drowned bat, and a black cat. The Preface then argues that Goëtic art is the diabolic issue of Practical Magic, distinguishes theoretical from higher Magic, and denies that the arts and processes correspond to the true wisdom of ancient sanctuaries. The writer rules out the distinction between white and black magic, calling them rooted together. He recounts an 1889 English edition of the Clavicula Salomonis prepared for occult students, states his own bibliographical and critical aims, cites Robert Turner's phrase "magical vanity," and declares the work's purpose to demonstrate the futility of Ceremonial Magic. The book is divided into two parts: a critical account of rituals and a complete Grimoire of Black Magic. A closing plate shows "A Serpent Before the Curse" from the Speculum Salvationis.

An image caption reads "THE TEMPTATION OF EVIL From Cædmon." The Introduction opens by stating that the mystic tradition in Christian Times is preserved in the literature of Christian Mystical Theology, a scattered body of texts needing codification. The text defines this literature as texts of the way, the truth and the life, and cites the Epistle to the Hebrews and a Johannine Epistle on eternal life through the Son, and the Fourth Gospel's Divine Voice. It affirms this Voice was incarnate in Jesus of Nazareth, establishing a canon of criticism against claims that mystics abandoned their creed. Two examples are taken. The anonymous Cloud of Unknowing, dated to the early fifteenth century, is examined for its doctrine of the soul's substantial creation "which was sometime nothing," the path of undoing, and union with God. The text describes the soul dissolving into consciousness of God only, distinguishing this state of being from the Beatific Vision of St. Thomas, the Angelic Doctor. Molinos and his Spiritual Guide are then discussed as a more ascetic, less catholic treatise. The text names Dionysius, Ruysbroeck and Molinos as souls in whom the Christ nature was fulfilled. The discussion turns to a concealed tradition behind mysticism, a hidden postern reached through the lawful entrance, and the Ladder of Jacob. It then contrasts a tradition à rebours—that of miraculous power, the ambition of the Magus—setting Kether against the abyss below Malkuth. Astrology is excepted from occult science. The text denies a real distinction between White and Black Magic, distinguishes Alchemy, and cites prayers (Pater noster, Custodi nos Domine) as sufficient against the abyss. It compares the Grimorium Verum and Key of Solomon, references the Chourineur in The Mysteries of Paris, and discusses psychical research versus Magic. It closes stating the following work permits the Rituals of White and Black Magic to speak for themselves.

The chapter opens under Part I, "The Literature of Ceremonial Magic," with an illustration captioned "The Serpent of the Garden of the Hesperides," from a Greek vase painting. Chapter I, "The antiquity of Magical Rituals," begins with §1, "The Importance of Ceremonial Magic." The text describes fields of psychological inquiry fringed by an occult borderland, beyond which lies the legendary wonder-world of Theurgy, Magic and Sorcery, where paradoxes obtain: matter passes through matter, the circle is squared, youth is renewed, the dead live. It states this domain cannot withstand daylight, reason, or the human eye. The text distinguishes several points of view regarding Magic, including one framed in terms of exorcism and the auto-da-fé, and one in which Magic responds that there is a Black and White Art. Two important questions remain: that of the Mystics and that of history and literature, the latter being the inquiry's purpose. The text argues Ceremonial Magic—the art of dealing with spirits—is the most important branch, more formidable than astrology or alchemy, and that it brought people to the Black and White Sabbath and kindled the faggots. It discusses correspondences between Chaldean Magic and mediæval rites, the doctrine of compulsion, and Kabalistic symbolism, noting two ways of regarding Kabalah. The annotator, writing in the first person, presents the imputed standpoint of occult Fraternities, dividing magical literature into three heads: work of putative adepts, speculations of independent seekers, and travesties of occult doctrine. Section §2, "The Distinction between White and Black Magic," argues the distinction is modern, that each occult science could be abused, and that the two classes overlap. It notes modern occultism's Brothers of the Right and Left, and states these are creations of romance, closing with a French remark about such people.

Section 3 opens by proposing that Rituals be considered under three heads—Transcendental, Composite, and Black—held to be one. The text notes the inquiry rests on printed literature, then surveys magical manuscripts in European libraries, principally the Arsénal at Paris and the British Museum, tracing their inspiration to The Key of Solomon. Three cycles are identified: the group of Honorius, the Sepher Raziel, and the Lemegeton codices. Sloane 313, connected with the Grimoire of Honorius, is described as the Sworn Book of Honorius; its prologue recounts 811 masters of Magic convening, choosing Honorius, son of Euclidus, who counsels the angel Hochmel and writes seven volumes, later condensed into ninety-three chapters. The magicians swear to preserve it. The text discusses Honorius the sorcerer being identified with Pope Honorius, comparing this to Raymond Lully. The Sepher Raziel group (Sloane 3826 and 3853), sent to Solomon by Sameton via Kamazan and Zazant, is divided into seven books. The Lemegeton group (Sloane 2731, 3648, 3805) is detailed, along with the Ars Notoria and Paracelsus. Miscellaneous manuscripts Sloane 3884, attributed to Roger Bacon, and Sloane 3850, containing Agrippa and Peter de Abano material, are noted.

Chapter II opens with a discussion of the term "transcendental," which the text says must not be read in an exalted or philosophical sense; it is used for want of a better word and is loosely equivalent to the Haute Magie of Eliphas Lévi, rendered Transcendental Magic. The text argues Ceremonial Magic holds as much or as little transcendentalism as modern mediumship, and names St. John of the Cross, Ruysbroeck, Eckart, Molinos, Saint-Martin, and Thomas à Kempis's Imitation as containing true transcendental processes. An exception is made for the Church's Rite of Exorcism. The putative Transcendental Rituals are listed: the Enchiridion of Pope Leo the Third, the Arbatel of Magic, and the Theosophia Pneumatica. The text discusses the Arbatel's mysterious origin, its appearance at Basle dated 1575, its Latin text, references to Theophrastic Magic and Benedictus Figulus, its Christian character, and the meaning of "Arbatel" as a revealing Angel. Of nine "Tomes," only the Isagoge survives; the missing books are enumerated. The Seven Septenaries introduce the Olympic Spirits, distributed across 196 provinces among Aratron, Bethor, Phaleg, Och, Hagith, Ophiel, and Phul. The text explains Och's threefold gold-making, the doctrine on names and characters, and seven sources of occult wisdom. It lists the powers of each Olympic Spirit in turn—Aratron, Bethor, Phaleg, Och, Hagith, Ophiel, Phul—with their planetary governance and gifts. A Prayer of invocation and a Discharge, citing Robert Turner and Ecclesiastes, follow. Section 2 describes the 1686 German translation of the Arbatel and the Theosophia Pneumatica, both reprinted in Scheible's Das Kloster; the adapter applies the term Talmid, accentuates transcendental portions, and adds a passage on Transcendental Medicine.

§ 3 introduces the Enchiridion of Pope Leo III., stated not to be a book of Ceremonial Magic but included to establish its character. The text notes misconceptions among those describing it: Catholic bibliographers in Migne's series call it a storehouse of Black Magic; Éliphas Lévi claims it was never printed with its true figures; Alfred Maury, in La Magie et l'Astrologie, calls it a work on Sorcery—the text says none of them read it. The legend follows: when Charlemagne left Rome after his coronation by Leo III., the pontiff gave him a collection of prayers of wonderful virtue, dated to the year 800; it was supposedly first printed at Rome in 1523. The text examines the work, calling it a collection of charms cast as prayers. It analyses the letter attributed to Charlemagne (styling himself Carolus Magnus), stating no such document exists in the Vatican. Editions are discussed—Pierre Christian defends its authenticity; the 1633 and 1660 examples were available. Instructions for use are described: keeping the book in new leather, reading a page daily on the knees facing east, giving alms. The In Principio of St. John is named most potent. Nine mysterious figures, the Labarum of Constantine and Tau symbol, are mentioned. The contents are enumerated, including the pseudo-epistle of Jesus Christ to King Abgar and conjurations against weapons, plus "curious secrets." § 4 gives the Seven Mysterious Orisons for Sunday through Saturday, each addressing God, Jesus Christ, the Virgin Mary, and enemies visible and invisible. The text then judges these prayers post-Renaissance forgeries by an unskilful hand. § 5 concludes that so-called Transcendental Magic contains no Transcendental Rituals, and the truth is not in them.

Chapter III introduces composite Rituals, defined as incorporating both Black and White procedure. At their head stands the Key of Solomon, with its complement the Lemegeton or Lesser Key, attributed to Solomon Rabbi; the text says Rabbi and monarch are one. Other rituals named are the Fourth Book of Cornelius Agrippa and the Magical Elements ascribed to Peter of Abano. The annotator states the aim of showing their mixed character. Mr. Mathers' printed presentation removes the need for a detailed account. The Key is known in Latin, French, Italian and German MSS; the oldest codex used by the English editor is sixteenth-century contracted Latin in the British Museum. A Hebrew original is claimed; per P. Christian, Gretser stated it was unknown but noted a Greek translation in the Duke of Bavaria's library. The Abbé d'Artigny mentions a 1655 edition unknown to Mathers. The annotator dates the work to the fourteenth or fifteenth century. On character, the translator excised Goëtic portions but retained bloody sacrifice, which Mathers condemns without rejecting; experiments are frivolous, hyperbolical or foolish. M. Papus distinguishes the Keys from colportage. The Key is called a grotesque combination, the mountain and the mouse. §2 treats the Lemegeton, divided into four parts: Goëtia, Theurgia Goëtia, the Pauline Art, and Almadel. Wierus and Agrippa's pupil are cited. It is distinguished from the Key of Rabbi Solomon proper. §3, the Pauline Art, gives catalogues of Rulers of the Hours of Day and Night, Angels of the Twelve Signs under archangels Michael, Raphael, Gabriel, Uriel, invocation formulæ for Samael and a crystal genius, and comparison to the Enochian Tablets of John Dee and Edward Kelley.

Section 4 describes the Almadel, an invocation scheme named after its talisman of white wax, used for the four chief angels governing the four altitudes—East, West, North, South—and their ministers. Because each quarter has a distinct colour, four Almadels, sixteen candles, and a gold or silver seal engraved HELION, HELLUJON, ADONAI are required. The text lists the Intelligences of the four Altitudes and their offices, then describes how an Angel of each Altitude appears—with banner, child-form, crown, garment, and perfume. Invocation occurs on a Sunday in the hour of the sun; the Almadel rests on candle-feet over hot ashes and mastic, whose smoke prompts the Angel to speak. The Angel asks why the Choir was called; the operator answers and enumerates requests. The Prayer at Calling addresses the angel N., invoking God ADONAI, HELOMI, PINE, and the name ANA BONA, closing with O MAPPA LAMAN, HALLELUJAH, AMEN. Planetary timing restricts when each Angel may be called. Section 5 treats the Fourth Book attributed to Cornelius Agrippa, rejected as spurious on grounds of date, internal repetition, and rejection by Wierus. The text summarizes its divisions—names, characters, shapes, pentacles, consecrations, invocation—and cites Robert Turner's translation "Concerning the Invocation of Evil Spirits," detailing circle-making, timing, prayers, threefold conjuration, binding a Spirit in a triangle, licensing its departure, and composing a book of spirits. It then tabulates the forms of the Spirits of Saturn, Jupiter, Mars, the Sun, Venus, Mercury, and the Moon, with bodies, motions, signs, and particular shapes, closing by calling the tabulation muddled and imbecile.

§ 6 concerns the Heptameron, or Magical Elements, ascribed to Peter de Abano. The text states the Fourth Book of Cornelius Agrippa was too informal for so exact a science, and that the Heptameron supplies a complete procedure for the ordinary sorcerer. The introduction quotes claims that Agrippa wrote for the learned. The text doubts the attribution, noting a chronological disparity of about three hundred years. It gives an account of Peter of Abano, born 1250 near Padua, a physician who quoted Averroes, established himself at Paris, fled after accusations of heresy, and was tried by the Inquisition but delivered by death in 1316; his body was removed by a servant and he was burned in effigy, later commemorated by a bust. The Heptameron is divided into a general method for evoking Spirits of the Air and angelical conjurations for each day; only the first part is ascribed to Peter de Abano. § 7 concerns The Sacred Magic of Abramelin the Mage, made available by Mr. Mathers, editor of the Key of Solomon, in 1898. The text is a French manuscript in the Arsénal Library, claiming 1458 authorship by Abraham, son of Simon, father of Lamech. The annotator argues it was never written in Hebrew, citing Christian internal evidence. Abramelin the Mage instructed Abraham; the work derides observations of times and seasons, proscribes words and pentacles, and relies on Guardian Angels, yet deals with demons Lucifer, Leviathan, Satan, Belial, Astaroth, Asmodeus, Beelzebub for ordinary ends. Chapter IV lists four handbooks of Black Magic: Grimorium Verum, True Black Magic, The Grand Grimoire, and The Constitution of Pope Honorius, describing their dates, contents, and relations to the Key of Solomon and Lemegeton, ending on the Grand Grimoire's evocation of Lucifuge Rofocale and its pact-making.

§4 opens by stating that the Grand Grimoire has drawn less condemnation than the Grimoire of Honorius, whose accusations the text calls largely false. Papus takes a middle view; Éliphas Lévi calls the work not unimportant and links it to Kabalism, which the annotator disputes, noting its Christian character. Lévi charges that its prescribed sacrifice of a virgin kid means a human child; the text rejects this. J. H. Slater, following Lévi, calls it an advocate of murder and confuses it with the Grand Grimoire. On authorship, Lévi conjectured an anti-pope set up by Henry IV; the text dismisses this, dating the first edition to 1629 and mentioning an excluded work, Honorii Papæ... Conjurationes (Rome, 1529). The Grimoire is called a clever imposture claiming apostolic sanction; the text quotes its pseudo-constitution and the Bull of Honorius addressing the Church's brethren. Editions are listed: Grimorium Verum, the Grand Grimoire (Nismes, 1823, identical to the Red Dragon), and Honorius reprints of 1660, 1670, 1760, plus an MS given to the Abbé d'Artigny. §5 treats minor rituals. The Verus Jesuitarum Libellus, claiming Paris 1508 and reprinted by Scheible (1845), translated by Major Herbert Irwin (1875), is exposed since no Jesuits existed then. Its conjurations demand Spanish gold from the sea, cite Agrippa, and address the spirit Zayariel. The Praxis Magica Fausti, dated Weimar 1571, commands the spirit Rumoar by Lucifer. §6 covers The Black Pullet, dated to the late eighteenth century; Dr. Encausse ascribes it to Roman priests. A magical romance of a French officer in Napoleon's Egyptian expedition, revived by a Turkish sage in the Pyramids and taught talismanic rings and the Black Pullet's manufacture. Evocation words include THOMATOS, BENESSER, FLIANTER and RABIAM.

Section 8 describes the incubation of the gold-finding hen, called the head and crown of the proceedings. The grand Oromasis, father of Zoroaster, first possessed such a fowl. The text gives the method: burning aromatic woods with balsamic oil and incense in a golden chafing-dish, reciting ATHAS, SOLINAM, ERMINATOS, PASAM, then placing the ashes in a golden egg under rock-crystal, crying O SANATAPER, ISMAÏ, and so forth, until a black pullet emerges, which nestles in the operator's bosom when he says BINUSAS, TESTIPAS. An alternative for persons of small means uses an unspotted egg and the blackest hen, hooded and boxed in darkness, yielding a black chicken said to detect hidden gold. The mystery reappears in the Red Dragon as the Grand Cabala, a recipe for evoking the devil: seizing a black hen, going to a crossway at midnight, tearing the bird in twain while pronouncing Euphas, Metahîm, frugativi et appellavi, then kneeling toward the East, whereupon the Unclean Spirit appears in scarlet and green with a dog's head. The annotator notes he has modified the procedure. Illustrations are listed. Chapter I concerns the preparation of the operator. Section 1 discusses the Love of God, arguing Black Magic involves religious observances to derive power from above, invoking the "terrible and venerable Deity," Jehovah or the Trinity, not the Principle of Evil. Section 2, on Fortitude, cites the Grand Grimoire's author, who claims sixty-seven years of toil. Section 3, on Continence and Abstinence, quotes the Fourth Book of Occult Philosophy, the Grand Grimoire's prayer to Adonai, Honorius, the Grimorium Verum, and the Book of True Black Magic. Section 4 covers ablution and its prayers; Section 5 covers vestments recommended by Peter de Abano and the Key of Solomon, with names written on hat and garments.

Chapter II opens with §1, on the virtues of the planets. The text states that the Key of Solomon regulates operations by hours attributed to planets, and the Book of True Black Magic follows it closely, though the directions are confused. It sets out the seven days attributed to seven planets (Solday=Saturn, Zedex=Jupiter, and so on). It describes the Grimoire's method of computing unequal planetary hours by multiplying, and calls the method absurd since it yields 1530 minutes rather than 1440. A Table of Planetary Hours, computed midnight to midnight, is given, corresponding to Peter de Abano. The text explains the recurring succession of planets. It reports which hours suit communion with spirits, invoking souls in hell, invoking the slain (hour and day of Mars), and various operations governed by the Moon's position, conjunctions and aspects. §2 concerns the instruments. It notes that Goëtic rituals follow the Key of Solomon, that De Abano and pseudo-Agrippa mention only the sword. It lists instruments of the Book of True Black Magic and details making the bolline, with a conjuration and salutations invoking DAMAHII, LUMECH, and others. Directions follow for the white-handled knife, black-handled knife, poniard, and lancet, and for the Grimorium Verum's three instruments with their conjuration, plus the swords of Master and disciples. §3 concerns the rod and staff, citing Éliphas Lévi, the Book of True Black Magic, the Grimorium Verum, and the Grand Grimoire's Blasting Rod, with cutting instructions and consecration prayers to ADONAY, ELOIM, ARIEL and JEHOVAM. §4 treats the pen and ink, with exorcisms and a pact-ink recipe. §5 concerns virgin wax or earth, with invocations and exorcism.

Section 6 concerns the silken cloth: after all instruments are consecrated and exorcised, they are gathered into a costly silk cloth as Solomon ordains, upon which characters are written in pigeon's blood with a goose-quill, adding the names ADONAY, AMMASTIUS, ANARETON, COSBOS, ELOYM, followed by fumigation, aspersion, and recitation of certain Psalms. The Magus Iroë-Grego is quoted. Section 7 concerns the victim of the Art. The text explains that bloody sacrifice, though enjoined, serves a commonplace purpose, based on the Key of Solomon. The magician must slay a lamb or kid himself to obtain virgin parchment. The annotator cites Paracelsus's maxim and the Book of True Black Magic's definition of virgin parchment. The Grimorium Verum's procedure is reproduced: cutting the kid's throat while naming the Spirit, skinning it while making an invocation (ADIRAM, DALMAY, LAUDAY, etc.), salting with an exorcism and benediction of salt, sun-drying, treating in quicklime with characters of Guland and Surgat, peeling with hazel-wood knife with prayer to ABOEZRA and AGASON, stretching with stones and prayer to ADONAY, drying, aspersion, and final blessing. Restrictions: it must not be seen by women in their times. The Book of True Black Magic gives a variant using a virgin rod conjured by HELSADAY. Simplifications follow: buying new parchment, using another animal's skin, or the caul of a newborn child, consecrated with Psalms and conjuration. Section 8 concerns aspersion and cleansing: the Aspergillus's composition per the Grimorium Verum and True Black Magic, the ewer, Psalms, prayers, and sprinkling formulas; then incense and fumigation, with prescribed vessels, perfumes, exorcisms, benedictions, coal exorcism, and stinking perfumes. Section 9 concerns the time of operation, regulating experiments by planetary days and hours for conjuring, theft, invisibility, love, destruction, burlesque, and extraordinary works, following Iroë-Grego and the Clavicle.

Chapter III opens by stating that ceremonial inspiration is sought in the Key of Solomon, but the names and offices of demons in the Lesser Key. The text notes the hierarchy of the Lemegeton will appear in the fourth chapter and turns to simpler summaries. The Book of True Black Magic gives no account of spirit nature; the Grimoire of Honorius names four kings and seven lesser spirits but lacks a Descending Hierarchy. The Grimorium Verum names three superior spirits—Lucifer, Beelzebuth, Astaroth—ranked by the Grand Grimoire as Emperor, Prince, Grand Duke. Their characters, written in blood or engraved on emerald or ruby, must be worn. Each ruler has two officers: Lucifer's are Put Satanachia and Agaliarept; Beelzebuth's Tarchimache and Fleurety; Astaroth's Sargatanas and Nebiros. The Grand Grimoire ranks six spirits as a standing army—Lucifuge Rofocale, Satanachia, Agaliarept, Fleurety, Sargatanas, Nebiros—each with powers and subordinates. The Grimorium Verum lists seventeen subordinate spirits, from Clauneck to Huictiigara, each with a character and function. Further spirits under Satanachia, Agalierept, and the Nebirots are described, including eight inferiors from Proculo to Bucon. Section 2 concerns infernal forms: spirits borrow bodies and assume shapes. Lucifer appears as a comely boy, Beelzebuth in monstrous forms or as a fly, Astaroth black and white or as an ass. Chapter IV treats the Lesser Key's seventy-two spirits shut in a brass vessel by Solomon, freed by Babylonians, all returning save Belial. The text then enumerates spirits I through XXXVIII—Baal, Agares, Vassago, Gamygyn, Marbas, Valefor, Amon, Barbatos, Paimon, and onward through Halpas—each with rank, appearance, and offices.

The text catalogues spirits with their seals. Malpas appears as a crow, then human, brings artificers, gives familiars, deceives offerers. Raum, a crow-form earl, steals treasure and destroys cities. Focalor drowns men, hopes to return to the Seventh Thrones in 1050 years. Sabnack, a lion-headed soldier, builds and torments with sores. Vepar, a mermaid, guides waters and causes death. Shax, a stockdove, destroys senses and transports things. Vine builds and demolishes. Bifrons teaches sciences and lights phantom candles. Vual, a dromedary, procures love. Hagenti transmutes metals to gold. Procel teaches geometry. Furcas, an old man on a pale horse, teaches philosophy. Balam, three-headed, gives answers and invisibility. Allocen teaches astronomy. Caim, a thrush, imparts understanding of birds. Murmur constrains the dead. Orobas defends the exorcist. Gomory appears as a woman. Ose changes men's shapes. Amy betrays treasures. Orias teaches planetary virtues. Vapula, Zagan, Valac, Andras (sows discord, kills the unwary), Flauros, Andrealphus, Cimeries, Amduscias, Belial, Decarabia, Seere, Dantalian, and Andromalius follow, each with attributes described. A note states these are the seventy-two mysteries of Goëtia per the Lemegeton, equating the "analogical realms" with "the world, the flesh and the devil," and concludes that the distinction between White and Black Magic lies between the Lemegeton and the Grimoire of Honorius—between cipher and zero.

This section, headed § 2 "Concerning the Rite of Conjuration, from the Lemegeton," states that in communicating with the seventy-two spirits the age of the Moon should be observed, citing Solomon on profitable days. It specifies the metals for the seals of kings, marquises, dukes, prelates, knights, presidents, and earls. It names AMAYMON, CORSON, ZIMINAR, and GAAP as kings governing the cohort, and gives the hours at which each rank may be bound. It describes drawing the ceremonial circle, the triangle two feet outside, the double seal and pentagram of Solomon, and the secret seal drawn with the blood of a black cock, requiring the operator's abstinence, fasting, and prayer. It lists the instruments: rod, sword, mitre, white robe, lion's-skin girdle, fumigations, oil, and water, and gives the Prayer at Lustration (David's versicle), the Prayer at Vesting, and three Conjurations invoking numerous divine and secret names, an Invocation of the King AMAYMON, a Chain Curse, and further curses over the spirit's seal placed in a box with brimstone, ending with the License to Depart. The text notes that Wierus's Latin version substitutes one general form of citation and discusses the Lemegeton compiler's knowledge of the New Testament. Chapter V, "Concerning the Mystery of the Sanctum Regnum... according to the Grimorium Verum," summarizes the operator's preparations, a daily prayer at planetary hours, and instructions for preparing virgin parchment, drawing blood from the finger of Mercury, and forming the character of Scirlin. It gives the Invocation of Scirlin, and Conjurations to Lucifer, Beelzebuth, and Astaroth, a Discharge, a Conjuration for Inferior Spirits, and Another Conjuration.

Chapter VI, "The Mysteries of Infernal Evocation according to the Grand Grimoire," opens § 1, "The Rite of Lucifuge." A note states that the Grand Grimoire and the Grimoire of Honorius share the distinction of an unmutilated Ritual of Black Magic, describing each work and explaining that both are printed nearly in full. It recalls that the operator, or Karcist, is enjoined continence and fasting for a quarter of the moon. He buys a blood-stone called Ematille, then a virgin kid to be decapitated on the third day of the moon, garlanded with vervain. At an isolated spot he kindles white wood and recites the Initial Offering to ADONAY, ELOIM, ARIEL and JEHOVAM, cuts the kid's throat, burns it, casts the ashes toward sunrise, and preserves the skin for the circle. The text describes the Blasting Rod, the materials for the night of action, and the tracing of the Kabalistic circle and triangle. Prayers, an Offertory, and three Conjurations addressed to the Emperor Lucifer follow, commanding him to appear or send his messenger Astarôt. A Grand Conjuration from the Clavicle is added. Lucifuge Rofocale then manifests, asking why his repose is disturbed. A dialogue follows: the Karcist (marked SOLOMON) demands communication twice nightly and the nearest treasure; the Spirit demands his body and soul in fifty years; the Karcist refuses and threatens the rod until the Spirit complies, approving the Book, giving his signature, and pledging treasure on conditions. The Karcist follows the Spirit to the treasure, drives off a Gnome-dog, casts parchment, seizes a coin, and retires backwards. He recites the Conjuration and Discharge of the Spirit and an Act of Thanksgiving, ending with Vale.

Section 2 concerns the Genuine Sanctum Regnum, or true method of making pacts. The Grimorium Verum distinguishes tacit and manifest pacts, warning against spirits that require something personally belonging to the operator. The text notes that evil spirits give nothing for nothing. With the Grand Grimoire, the pact is a concession to the poverty of the operator lacking the Blasting Rod and Kabalistic circle. It lists purposes pacts serve—treasure, women, secrets, storms, the Hand of Glory—and attributes the method to Solomon's Clavicle. Binding compacts with Lucifer, Beelzebuth, and Astaroth are deemed impossible; the sorcerer deals with subordinates. The Grand Grimoire details preparation: cutting a hazel rod at sunrise, using the stone Ematille, blessed candles, and a Triangle of Pacts inscribed with the Holy Name of Jesus. The Grand Conjuration addresses Lucifer, Beelzebuth, Astarôt, and Lucifuge Rofocale. Lucifuge Rofocale appears, demands the operator's body and soul in twenty years; the operator offers a blood-signed pact. After renewed conjuration, the spirit agrees to grant the nearest treasure for a monthly coin. The text notes the compact's evasiveness. It then presents the Abbé Eynatton's 1678 Manual of Exorcisms, giving two exorcisms compelling the demon to restore the written agreement, invoking Jesus Christ and the Virgin Mary. The note concludes that little chance remained for Infernus, making Lucifuge Rofocale's reluctance intelligible.

Chapter VII opens by describing the Grimoire of Honorius as the most frankly diabolical of the Black Magic Rituals, though its enormities have been exaggerated. The text lists its objections: profanation of religious mysteries, and a bloody sacrifice of monstrous details. A note distinguishes vain observance from superstition, citing Éliphas Lévi that superstition signifies survival—the sign outliving the idea. It discusses Transubstantiation, double consecration, and the Rosary as examples, then applies the reasoning to magical practice, judging the slaughter of a kid for virgin parchment precautionary, but the black cock's eyes, tongue, and heart reduced to powder redundant and monstrous. The annotator states that were he an occultist he would advise avoiding the Grimoire. The Ritual is then set out. The operator, a priest of the Latin Church, must fast three days, confess, recite the Seven Gradual Psalms, say a Mass of the Holy Ghost, and recite a Prayer holding the Host. He kills a black cock, dries and powders its eyes, tongue, and heart, and buries the remains. He says a Mass of the Angels on Tuesday, inscribes signs, and folds them in violet silk. On Thursday he rises at midnight, lights a yellow taper, recites Psalm lxxvii and the Office of the Dead, then cuts a nine-day lamb's throat, burns its tongue and heart, and prepares the skin over many days with holy water, ashes, prayers, and Litanies. Further Psalms and characters follow, ending with a Mass for the Dead. The text lists the Seventy-two Sacred Names of God, the Gospel of St. John opening, a Universal Conjuration commanding a Serpent to appear, a Discharge, Act of Thanksgiving, Conjuration of the Book, Conjuration of the Demons, and instructions concerning the magic Circle.

The text presents four conjurations of the Kings of the cardinal directions. The Conjuration of the King of the East addresses MAGOA, commanding him to obey or send MASSAYEL, ARIEL, SATIEL, ARDUEL, ACORIB. A note states the Grand Pentacle or Circle of Solomon serves these conjurations, sayable on all days and hours, and that one spirit may be named alone. The Conjuration of the King of the South addresses EGYM, demanding Fadal and Nastrache. The Conjuration of the King of the West addresses BAYMON, calling for Passiel Rosus, with threats of the sword of fire. The Conjuration of the King of the North addresses AMAYMON, calling numerous spirits, followed by an extended adjuration invoking the Trinity, the Virgin Mary, Christ's Passion, and various saints. Next follow Conjurations for each day: Monday to Lucifer (with requisites and the spirits SATAN, RANTAM, etc.); Tuesday to Frimost (also exorcising NAMBROTH); Wednesday to Astaroth; Thursday to Silcharde; Friday to Bechard; Saturday to Guland; Sunday to Surgat. Each specifies hours, offerings, and circle inscriptions. A "Very Powerful Conjuration" for hidden treasures commands demons to declare their names and yield the place, invoking many divine names and St. Michael. Further conjurations address Acham and Cassiel. Chapter VIII, "Miscellaneous and Minor Processes," §1 concerns Works of Hatred and Destruction. The annotator discusses a process omitted by the English editor of the Key of Solomon as a supposed Goëtic interpolation, arguing it is integral, citing passages on days and hours of Mars and Saturn. The process describes experiments upon enemies using waxen images, fumigation, and recited words invoking VSOR, DILAPIDATORE, and other ministers to sow discord and enmity.

The section "Concerning Venereal Experiments" opens by describing the medieval sorcerer as squalid, despised, and libidinous, seeking treasure, mastery, and the desire of women. It contrasts the Grimorium Verum, which states such experiments openly, with the Key of Solomon, which disguises them; the former invokes Hell, the latter appeals to Adonai. The Book of True Black Magic's "Experiment of Love" is given: words spoken over wax, conjurations naming ministers of love, the kings PAYMON, EGIM, ASMODEUS, and AYMAMON, and princes ANAËL, DONQUEL, THELIEL. An image is composed, fumigated, placed under a pillow or door, and a powder cast on the person. The Grimorium Verum's process for causing three ladies or gentlemen to appear after supper follows: three days' abstinence, cleaning the chamber, setting a table with rolls and water, and reciting a Latin conjuration. The visitors draw lots; one remains, answers questions, reveals treasure, and gives a ring bringing luck at play and power over women. Next, "To Cause a Girl to Seek You Out": writing her name on virgin parchment with the words Melchiael, Bareschas, observing a star, and reciting a conjuration naming Gabriel, Mercury, Michiael, Melchidael, Zazel, Firiel, Malcha. The "Experiment of Invisibility" gives the Book of True Black Magic's memorized words and conjuration by Lucifer; the Grimorium Verum's process using a dead man's head and black beans; and the Little Albert's ring of mercury and hyena-hair ring, with Éliphas Lévi's remarks on Porphyry, Iamblichus, Peter of Apono, and Cornelius Agrippa. "Concerning the Hand of Glory" describes a gibbeted criminal's hand made into a candle, and an alternative serpent-process. Finally, "Concerning the Vision of Spirits in the Air" gives a compost of cock's brain, grave dust, oil, and wax.

Section 6 addresses divination by the Word of Uriel. A note observes that some White Magic practices connect with Black Magic, and that a process may be curious in one Ritual and diabolical in another. The Word of Uriel appears in the Grimorium Verum as Hydromancy and in the Verus Jesuitarum Libellus as an infernal conjuration. The Invocation of Uriel is quoted: preparing a cleansed chamber, a table with a phial of spring water, tapers of wax and human fat, virgin parchment, a raven's quill, ink, fire, and a young boy who gazes into the phial while the Master recites the Conjuration to Uriel. The child reports what he sees, and the Spirit is asked to answer aloud or write on the parchment. The note describes the Libellus version as a fierce, compulsory conjuration commanding Uriel. Section 7 concerns the Mirror of Solomon from the Grimorium Verum. The process directs inscribing names—JEHOVA, ELOYM, METATRON, ADONAY—with white pigeon's blood on a steel plate, then invoking the Angel ANAËL over forty-five days with prayers and perfume until Anaël appears as a beautiful child. Dismissal and the perfume of saffron are given. Section 8 concerns the Three Rings of Solomon, an incomplete process from the Grimorium Verum requiring a talisman with Pentacles of Solomon, a perfumed circle, invocations repeated seven times, the Fiftieth Psalm, and dismissal of the Spirit.

Chapter IX, "Concerning Infernal Necromancy," opens by distinguishing Modern Spiritualism from old Necromancy, comparing the connection to likening physical Alchemy with mercantile pursuits. The text states occult writers have wrongly exalted magical communication with the dead above Spiritualism. It notes Éliphas Lévi and Pierre Christian purged ancient Necromancy into auto-hallucination. It places the Necromancy of the Rituals within Black Magic, excluded from the Arbatel, the Keys of Solomon, and the Magical Elements. Where given—as in the Fourth Book of Cornelius Agrippa—it treats damned souls and requires blood and body parts. Pseudo-Agrippa recommends churchyards, gibbets, battlefields, and murder scenes. The ritual is drawn from Ebenezer Sibley, the Grand Grimoire, and the Red Dragon, possibly from Sloane MS 3884. The verbatim rite describes the magician and assistant at a midnight grave, touching the body thrice, conjuring "Spirit of N." with names BERALD, BEROALD, etc. A separate rite addresses suicides, using St. John's wort and an owl's head, invoking Banal and Hecate, smiting the corpse nine times, then burning offerings until the body rises and answers. The magician quiets the spirit with quicklime and stays within the circle, protected by the Pentacle of Solomon. The annotator compares this to the Grand Grimoire's rite, credited to Lévi, involving graveyard bones and Christmas Eve mass. A treasure-guardian conjuration from the Verus Jesuitarum Libellus follows, with conjurations for obedience, obstinacy, citations, charges, and barbarous words, noting Picus de Mirandola's remark on unintelligible words. The Conclusion argues White and Black Magic aim at material gain, condemns the desire for power and knowledge without learning, and situates Ceremonial Magic as an averse stream of Jewry's tradition.