Professional Documents
Culture Documents
I
WH
hcmOOcrn wOr|O has rc
away matcra|smanO_rc
turn tO QcrsOna_rOwth an
human thOu_ht s cxQcs
:
.
thOscmystcrOus scmOVn
anO rc|_Ous wrtn_thrO
1
1
Introduction
to Angel Magic
ngel Magic is the ancient art of summoning and commu
nicating with Angelic beings. Belief in Angel Magic is as
old the belief in Angels. Throughout history, "sages have
claimed to have the power to call Angels down from heaven-or
fallen Angels up from hell-for the purpose of learning their secrets
and using their supernatural powers. This chapter discusses the nature
of Angels and the basic principles of Angel Magic, through which
saints and sorcerers have sought supreme enlightenment.
WHT A AGEL?
The modern world has rediscovered Angels. Glutted with the run
away materialism and greed of the 1980s, people are beginning to
turn to personal growth and spiritual development. This evolution in
human thought is expressing itself in a renewed interest in Angels,
those mysterious semi-divine beings who fgure so greatly in folk tales
and religious writing throughout the world.
I
2 AGEL MGIC
This fascination wth Angels i not a cult phenomenon. It has a wide
base of interest. A recent survey by Tme magazine revealed that flly
sixty-nine percent of Americans believe in the eistence of Agels.1
Along with this renewed interest comes a number of questions.
People may believe in Agels, but theyre uncertain as to their nature
and purpose. In the past, most people would have looked to priests
and pastors for the answer to these questions. Today, people aren't so
sure that the established curch has the answers.
In fact, the belief in Angels far antedates the established Christian
churc. People in many cultures throughout the ages have believed in
Angels. This fact suggests that either there is some deeper reality
behind the belief or that the very idea provides an important beneft
to the human psyche. In either case, there is something mysterious at
work when people continue to beliee in the existence of something
that is not only very ancient but totally contrary to the principles of
modern science and popular materialism.
According to Christian tradition, Angels are spiritual entities that
God created before He created Adam and Eve. The Angels were
appointed to rule over the stars, the planets, and the diferent regions
of the earth. While Angels appear throughout the Bible, they remain
mysterious being of unknown power.
Part of our fascination with Angels is that they don't seem to be
strictly necessary. Afer al, if God is omnipotent, why would he need
a crowd of lesser beings to help him administer and protect the earth?
Angels not only def theology, they reach beyond logic and into the
deepest desires and aspirations of the human race.
According to the legends, not alAngels are benign. In the Christ
ian tradition, the most powerful Angel was Satan, who rebelled
against God and, as a punishment, was cast into hell. A number of
other Angels rebelled with
up the hordes of devils s p
Like good Angels, the d,
Why, for eample, would G
late alrules of common sn
to be plagued by noxiow sp"
sages in the Bible that sem
diference between Angels a
example, God and Satan
.
wagering about the fate of t.
devils belong to an older td
the Christian church. They
,
and religious tales of hund;
l
Angels, other religions clthe -
l
The Greeks, for example,
fnction was the same as cl
heavens and controlled vari,
worlds. Just as Christian th
from the mighty Cherubim
saw the spiritual world sep
'
i
and the lesser gods of the w1
believe that each person has ai
4
believed that each person hd
represented his or her highet
Interestingly, the Greek
demon. It was the Christians
with the devils. The early C
of other cultures must, by de
Ishtar, the Babylonian Ang
demonology, the devil A
'
j
m phenomenon. It has a wide
me reealed that flly
'i te etence of Angels.1
R ucrtan as to their nature
wud have looked to priests
te established Christian
- the ae have believed in
there is some deeper reality
pride an important beneft
i something mysterious at
i te eistence of something
cnt to the principles of
ll ar spiritual entities that
and Eve. The Angels were
ad the diferent regions
out the Bible, they remain
i tt they don't seem to be
lo tent, why would he need
ltr and protect the earth?
bond logic and into the
_. race.
a benign. In the Christ
l wa Satan, who rebelled
INTRODUCTION T ANGE MGIC 3
other Angels rebelled with him and it is these fallen Angels that make
up the hordes of devils so prone to tempt mankind.
Like good Angels, the devils raise diffcult theological questions.
Wy for example, would God allow them to eist at all? It seems to vio
late all rules of common sense for the supreme being to allow the earth
to be plagued by noxious spirits. The problem is made worse by pas
sages in the Bible that seem to suggest that there's not a great deal of
diference between Angels and devils anyway. In the Book of Job, for
example, God and Satan seem almost like cronies, hobnobbing and
wagering about the fate of the hapless Job. Clearly, both Angels and
devils belong to an older tradition, one that precedes the formation of
the Christian church. They appear, in diferent guises, in the folklore
and religious tales of hundreds of cultures. What the Christians call
Angels, other religions call the gods, divas, jinn, kmis, or daimones.
The Greeks, for example, believed in the existence of gods whose
function was the same as Christian Angels. They watched over the
heavens and controlled various aspects of the human and natural
worlds. Just as Christian theology postulates a hierarchy of Angels,
from the mighty Cherubim down to the lowly Archangels, the Greeks
saw the spiritual world separated into the greater Gods of the heavens
and the lesser gods of the woods and felds. Just as some Christians
believe that each person has an individual guardian Angel, the Greeks
believed that each person had a "daimon"-a guardian Angel-that
represented his or her highest spiritual sel
Interestingly, the Greek word daimon is the source of the word
demon. It was the Christians that equated the term daimon (demon)
with the devils. The early Christians insisted that the gods and Angels
of other cultures must, by defnition, be devils in disguise. In this way,
Ish tar, the Baby lonian Angel of the moon became, in Christian
demonology, the devil Astaroth. This demonization of the old gods
4
AGE MGIC
did not take place every where. In the Celtic countries, the Angels of
the druids were incorporated into the Christian hierarchy. For exam
ple, the Celtic goddess Brigit became, in Christian mythology, the
good Saint Brigit.
The early Christians were unusual in their intolerance for the
Angels of other cultures. The Greeks, the Romans and the Celts
tended to accept al religions as valid ways to express respect and love
for the divine power. The same kind of tolerance has always been the
rule in the Orient. Hinduism, Buddhism, Shinto and Taoism treat
gods, Angels and other spirits as manifestations of the divine energy
that informs and empowers everything in the universe.
Unlike Christianity, oriental religions don' t separate Angels into
good and evil. Instead, they believe that all Angels represent divine
energy, althoug that energy may appear as evil from the human view
point. The Taoist Yin-Yang sy mbol represents this interplay of
opposing forces in the universe. To the Taoists, good and evil are sides
of the same coin.
This diference in philosophical viewpoint gives us a diferent per
spective on Angels. Oriental religion treats spiritual beings as if they
were placed on a sliding scale. At one end of the scale are the highly
powerfl beings that have nearly reaced Nirvana. At the other end are
the weak but mischievous beings that play pranks and cause sickness.
Regardless of their level of development, such spirits are manifestations
of divine energ; however, just like human being, these manifestations
are at diferent points in their spiritual development.
A echo of this concept c be found in the Christian traditions of
the "neutral" Angels. According to European folklore, there exist cer
tain Angels that didn't participate in the war between God and Satan.
These are the Fairies-te spirits of the woods, rivers and felds, who
represent the power of nature. It is these neutral Angels who guard the
The belief in Angels is a n
the belief has remained so
tells us that there is some
has a propensity to believe
some higher reality under'
chology do an excellent job
were hallucinations. It is
possibility that Angels mg
The psychologist Carl J
the myths and legends of
mon. He postulated thea .
in the mind peopled by
sses a
human being who then manifests the Angelic energy.
C
WHT IS AGEL MGIC?
In dreams, visions, and Angelic possessions, the role of the human is
basically a passive one. The Angels come and go as they please, dis
pensing wisdom and assistance seemingly at their own pleasure. Angel
Magic, on the other hand, is an ancient art that allows hus to ini
tiate contact with Angels (whenever it seems necessary or prudent)
through rituals, prayers and practices that summon Angels to e.
While belief in Angel Magic is compatible with religious beliefs,
the purpose of Angel Magic is quite diferent from the purpose of reli
gious prayer. Sir James George Frazer, in the landmark anthropology
text, The Golen Bough, makes this distinction quite clear. The nature
of religion is worship. It is passive. The prayers that are ofered to God
are humble requests. Angel Magic is something altogether diferent.
Angel Magic implies control.5
14
AGE MGIC
Angel Magic as we know it today is based largely on a number of
manuscripts that were copied and recopied in the medieval and
Renaissance periods. These manuscripts, known as "grimoires," con
tained complex rituals believed to have the power to summon Angels.
Because Angel Magic ran contrary to the teaching of the church, only
a few of these Angel Magic grimoires were published prior to this cen
tury. Figure 1 shows the title page of the frst known grimoire ever
published, a book of Angel Magic dated 1565. No publisher was
named, because publishing Angel Magic rituals was dangerous to all
concered. (See the Sugested Reading at the back of this book for a
list of grimoires published within the past thirty years.)
T
;
I
CORNELJI
AGRIP
I p AE L I BE R Q. v A R Tv $
b 0 CCV LT A P N 1-
/coflii,f'u Jt (. i.
, ...... ,. .;.
.""
Cui cctn
tt
nt,
Elt
m,n
t4
M
gi
u
Pt
r
-
b
a
,
Philolop .
1"
111
Jnno
}.
D. L
X r
j"
- ; - ....
I
FIGURE I. TITE PAGE OF RENASSANCE GRIMOIRE
6
An "Angel Magus" is a
Angel Magus is very dife
to the theological notion
evil. The Angel Magus tend:
useful. This is why so my
been highly Christianized
well as Angels. The Angel
Angels and obtaining a pl
of the Angel involved.
According to the grimoi
teristics, powers, and abilit
lists of Angelic names, ec
constellations, the four ele
the hours of the day. By ui
with great precision, the t 1
Above this mass of lesser 3
the western tradition, the
and Gabriel. The names of
to early Hebraic religion. T
terminate-was an ancient
were believed to be his chief
very powerful magician to cj
Dee-arguably the greatest
uneasy in their presence.
i
The two basic principle oj
the folk beliefs of many c
1
1
kow as "grimoires," con
t pwer to summon Angels.
t of the church, only
published prior to this cen
te frst known grimoire ever
l 1565. No publisher was
rt was dangerous to all
a te back of this book for a
t years.)
I
INTRODUCTION TO ANGEL MGIC 15
An "Angel Magus" is a person who practices Angel Magic. An
Angel Magus is very diferent from a priest who is, by necessity, tied
to the theological notion that some Angels are good and others are
evil. The Angel Magus tends to categorize Angels a usefl and not
useful. This is why so many of the grimoires-even those that have
been highly Christianized-indude methods for summoning devils as
well as Angels. The Angel Magus is more interested in controlling
Angels and obtaining a particular outcome than in the ethical stance
of the Angel involved.
According to the grimoires, different Angels have different charac
teristics, powers, and abilities. Grimoires usually contain exhaustive
lists of Angelic names, each corresponding to one of the planets, the
constellations, the four elements, various parts of the world, and even
the hours of the day. By using these lists, the Angel Magus can choose,
with great precision, the type and quality of the Angel to be contacted.
Above this mass of lesser Angels are the mighty Angels of legend. In
the western tradition, the more powerful Angels are Michael, Uriel
and Gabriel. The names of these Angels are very old, harkening back
to early Hebraic religion. The term "El"-in which all three names
terminate-was an ancient Hebrew name for God and the Elohim
were believed to be his chief servants. According to tradition, it takes a
very powerful magician to control such entities. Even Doctor John
Dee-arguably the greatest Angel Magus of all time-tended to be
uneasy in their presence.
The two basic principles of Angel Magic come from two soures:
the folk beliefs of many cultures and the Hebrew Cabala.
r6 AGEL MGIC
hc htst QtnCQlc Oln_cl Na_C s thc bclcl that humans Can
COnttOl n_cls thtOu_h thc usc Ol ma_Cal wcaQOns.hs bclcl s
lOundncatlycVctywhctc nthc wOtd. OteQlc:
t thcsOuthctn tQ OloOuthmctCa, thc ata_Onans
uscdtO tty tOdsQcl thc dcmOnOl smalQOxbyslashn_
thc atwt thct wcaQOns and thtOwn_ watct abOut n
OtdcttO kccQOthc dtcadml Qutsuct.
t thcnOtthctntQ OlOtthmctCa,thc LskmOshaVc
thct `yOun_ wOmcn and _tls dtVc thc sQtt Out Ol
cVctyhOusc wththct knVcs, stabbn_ VCOusly undct
thcbunksanddcct-sknsandCalln_uQOn [thcdcmOnsj
tObc_Onc.
mOn_ thc hcathcnOtyaks, a nnshQcOQlc Ol Last-
cmHussa,allthcyOun__tls OlthcVlla_c asscmblc On
thc last day Ol thc ycat, atmcd wth stcks, thc cnds Ol
whChatcsQltnnncQlaCcs. th thcsc thcybcatcVcty
COtnct Ol thc hOusc and yatd, sayn_ `c atc dtVn_
oatanOutOlthcVlla_c.
nusttaa, thc abOt_ncs dtVc away dcVlsby bcatn_
thc _tOund wththc stucdtalOl akan_atOO.'
hc scCOnd QtnCQlc Ol n_cl Na_C s thc bclcl that Ccttan
wOtdscsQcCally thcnamcsOl LOdhaVcthcQOwct tO COnsttan
n_clstO Obcy thc wllOl thcn_clNa_us.hs QtnCQlc s bascd
uQOn thc tcbtcw Labala whCh says that thc namc Ol an ObjcCt s
ncxtttCablylnkcdwththatObjcCt.O knOwthc ttucnamcOl sOmc-
thn_ s tO bc ablc tO COnttOlt COmQlctcly.hsbclcl wassO sttOn_
that thc]cwstcmscd tO sQcak Ot wttc thc namc Ol LOd3tVt.
nstcad,tbcymasKcdthshOg
blsandsubsttutOns.hcr
ol scVcnty-tWO lcttcts, andb
dcttOycd !anybOdyacm
O!tbc LOdbcad, n
3. Conjuration. bc
namcs, ma_cal wcai
causctbcn_cltOaP
4. Conversation. Lnccj
dcscrbcsand rccOt
5. Dismissal. bcn_
tbc arcaOrsctst tO
bcsc Vc clcmcnts atc lo
cctcmOncs arc O!tcn cOmQ
ae
=\
o
a
'
c
The Golden Age of Angel {
SS
A
Mgc Includes Ag
i
pp
an
A
and Eo Angel Magic.
}
Cris
anizatio
of the
gmoues. Clencal
c
experimenttion with
_ Angel Magic.
oace
c
o
c
cc
c
I
c
oac
No tt
n reco
.
rds.
{ oac
| Assmlated mto
varous Euro
p
ean
berac
} P
"
tot
y
Pe
beliefs. .,
'
c
gnmoues
o
based u
pon
1 the Cabala.
X
'
oc
cn
'
c
.
PR|m|C|Vc cL|c |D
cDc CcRC C} R|c
F:oukz4 JuzHzk:1nozOF AozLMno(c
uals are clearly quite old
Egyptian Angel Magic over
hand, the form ard struc
The rituals were collected
C, and they refect the u
The true heritage of Angl
3
vcsctcage
vcsctcage
vcsctca3
vcsctca
vcsctca
vc `r/cd
vc `r/cdT
vczw
j
j
!
I
I
.J. . J ... must be very old indeed.
rponded in his Book of
wre obviously modern in
that the rituals inside the
l them to be.
} Cn ton of te
Js Oerca
eentton wt
A
M
c
THE SOUCE OF AGEL MGIC 25
The truth lies in between. Certain elements of the Agel Magic rit
uals are clearly quite old and some elements might even date from
Egyptian Angel Magic over three thousand years ago. On the other
hand, the form ard structure of the grimoires are clearly medieval.
The rituals were collected and edited and amended by medieval cler
ics, and they refect the scholarly thinking of the men of that time.
The true heritage of Angel Magic is shown in Figure 4.
CHDE AGEL .GIC
The earliest recorded Angel Magic rituals in existence today were
composed in ancient Chaldea around 3000 B.C., and later recorded
on stone tablets. A old a these incantations are, they contain many
elements that are found in the medieval grimoires:
The seven god of the vat heavens,
The seven god of the geat earth,
The seven god of the igeous spheres,
The seven god, these are the seven god,
5 The seven malvolnt god,
The seven malvolnt phantoms,
The seven malvolnt phantom of th jT,
in the heavens, seve, on th arh, see.
The wicked dmon, th wicked A
the wicked Gigm,
The wicked Ttal the wicked god
the wicked Makim
26
AGEL MGIC
10 Spirit of the heavem, conjure!
Spirt of the earh, conjure!
Spirt of Mul-ge, king of the countes, conjure!
Spirt of Nin-gell ly of the countes, conjure!
Spirt of Nin-dr son of the znith, conjure!
15 Spirt ofTskhu ly of the countes,
which shines in the night, conjure/4
Lines one through three describe the gods (Angels) of the planets,
who live in the "vast heavens," rule the "great earth" {the universe),
and are gods of the "igneous spheres" (the celestial spheres of the plan
ets themselves). That there are only seven gods {and not twenty-one)
is shown by the summary in line four, "these are the seven gods."
Lines five through seven describe the seven evil gods, who in
Chaldean mytholog rebelled against the seven planetary gods and fell
to earth. Thus in total there are "in the heavens, seven," and "on the
earth, seven." Lines eight and nine give the names of the four most
powerfl of the seven evil gods, Aa, Gigim, Tetal, and Maskim. Lines
ten through ffteen give the divine names of the planetary Angels
Mulge, Nin-gelal, Nin-dar, and Tiskhu, which represent the Sun, the
Moon, Jupiter, and Venus, respectively
Despite the age of this incntation, it possesses many of the charac
teristics of the conjurations in ritual systems of a much later date.
First, the Angels are associated with the planets, just as in the
medieval grimoires. Second, we see the appearance of the belief that
divine names of higher Angels give control over lesser Angels.
own mythologies and theolo
Angels (gods) could be coma
of greater Angels. They a
exalted into near-divine . --
The Egyptians elevated prie
giving man a place in the
could be an Angel, it w b
much as a king could comm2111
. g (Agels) of the planets,
, gret earth" (the universe),
cletia spheres of the plan
gos (and not twenty-one)
'these are the seven gods."
te seven evil gods, who in
sen planetary gods and fell
hevens, seven," and "on the
te names of the four most
. .. n, Tetal, and Maskim. Lines
e of the planetary Angels
wc represent the Sun, the
! ps many of the charac
sems of a much later date.
te planets, just as in the
apce of the belief that
I oer leser Angels.
THE SOURCE OF AGEL MGIC
FIGURE 5 CHoE AGEL (FROM ARcHEOLOGICL RmNs)5
EGYTIA AGEL MGIC
27
Other cultures borrowed Chaldean concepts, uniting them to their
own mythologies and theologies. The Egyptians also believed that
Angels (gods) could be controlled by invoking the power of the names
of greater Angels. They also believed that an Angel Magus could be
exalted into near-divine status through certain rituals and prayers.
The Egyptians elevated priests and pharaohs above the native spirits,
giving man a place in the hierarchy of the Angels. 6 Because a human
could be an Angel, it was believed that he could control lesser Angels,
much as a king could command lesser men.
It was the Egyptians who began the use of mysterious magical
names as part of their Angel Magic prayers. This can be seen in the
following excerpt from an Egyptian papyrus:
I
,,,
28
AGEL MGIC
Tke a cean linen bag and wrte upon it the names given
below. Fold it up and make it into a lmp-wick and set it
alight, pouring pure oil over it. The word to be written is
this: c.rmiuth. Lailamchouch, Arsenophrephren. Phtha,
Archentechtha. "7
Egyptian Angel Magic was connected to astrology, anq featured
paraphernalia such a wands, incense, and sacrifces. The Egyptians
believed that Angels could appear in any number of diferent ways:
in a statue or in an image
in a talisman
in a dream
in a trance {sometimes induced by drugs)
a a phantom or a a disincarnate voice
in a human or animal body (possession)
in a human or animal corpse (necromancy)
a an invisible or selectively invisible being.
FIGUR 6. EGYTIA AGEL MGus8
er time. One Egptian
dating fom earlier than 100
T obtain a vision
shown belw on your
a stp of blck clth
you write mut be co
of a white dove, .esh
ink, cinnabar mulber
wormwood and veth. ..
the setting sun, {saying
hol shrine, I beseech
Dardalam, lor/ex: 0
Anuth, Salbana, Ch,
quickl Come in thi
i
Once again we see elem
medieva grimoires. The uI
ately suggestive of Angelic
the god Besa, a bestial d
decriptions of fallen Ange
mal blood are also mentio
Agel Magic had to be wo
restrictions are described in
names in the Egyptian ritu ,
'
included in the grimoire.
'
So here we have cear e
practiced in the Renaissac
rices of ancient Egypt.
l
to astrology, anq featured
ad sacrifces. The Egyptians
number of diferent ways:
THE SOURCE OF AGEL MGIC 29
Figure 6 shows what appears to be an Egyptian Angel Magus invok
ing an Agel into a statue. The Magus is wearing some sort of animal
skin and holds a curved wand or club.
Several examples of Egptian Angel Magic have survived until mod
em time. One Egptian papyrus gives a ritual of Angel Magic probably
dating fom earlier than 1000 B.c.:
T obtain a vision fom Bes. Make a drawing of Besa, as
shown belw on your le hand and envelope your hand in
a stp of blck clth around your neck. The ink with which
yu write must be composed of the blood of a cow the blood
of a white dove, fesh fankincense, myrh, black writing
ink, cinnabar mulberr juice, rain-water and the juice of
wormwood and vetch. Wth this write your pettion bere
the setting sun, {saying 'send the truthfl seer out of the
hol shrine, I beseech thee Lampsuer Sumarta, Baribas,
Dardalam, lor/ex: 0 Lord send the sacred deit Anuth,
Anuth, Salbana, Chambre, Breith, now now, quickl,
quickl Come in this ver night. "9
Once again we see elements of Angel Magic that appear in the
medieval grimoires. The drawing of an image on the hand i immedi
ately suggestive of Angelic talismans contained in the grimoires, and
the god Besa, a bestial dwarf, is similar in form to the medieval
descriptions of fallen Angels. Incense, herbs, and ink made fom ani
mal blood are also mentioned in the medieval grimoires. Egyptian
Agel Magic had to be worked at a specifc time of the day; similar
restrictions are described in the grimoires. Furthermore, the magical
names in the Egyptian ritual closely resemble the cabalistic names
icluded in the gimoires.
So here we have clear evidence that Angel Magic, in the form it was
practiced in the Renaissance, had its roots deep in the religious prac
tc of ancient Egypt.
MEDIEVAL AGEL
The ancient Hebrews picked
izing and improving the pra,
of the Cabala and Jewish m
about Angel Magic is tied to
who was reputed to have c
The Book ofWisdom, a Gnos
the following description of
Wieling the weapons o
ing incense ... not b p
but by word he prevai
Angel by recalling th
and atoning incense e e e n
of arms; but by word h
ing Angel by recaling .
whol worl was on h
'
s A
l
If
A R 1
T E
,,
0 p
l
R 0
:
l
FIGU
Another ancient item of
square shown in Figure 7. The
found on a wall in Herculane
Vesuvius in A.D. 79. Under
to the god Saturn. The Ke of
the planet Saturn which is built
This magical square might ,
the later grimoires, The Sac
variation based upo
,
n Hebrew
;
s A
A R
,
L E
n
0 p
M 0
4
FIGUR 8. MoDIF
I
t commencement of
-.wth onl eating
; t dy; and it wil
of ba and water
impur thing, recit-
te Sword, begins, "0 Lord
a lue le which is used for
to the seals in the Key. Both
mcl efectS. Both deal with
i lcl bcause, according to
-U a subservient to God. 2
IICon, which contain the
al god and evil spirits, or
tugh his Magic.
&l and the Lemegeton, also
I1er. their texts have been
of te She Riel may be as
. , however, has undergone
llof the seals of the Goeta,
llremble the inscriptions
te atqut of the Lemege
ase.
THE SOURCE OF AGEL MGIC
35
s A
T
0 R
A
R
E p
0
T
E N E T
0 p
E R A
R
0 T A
s
FIGURE 7 THE SATOR/RoTAS MAGICAL SQuARE25
Another ancient item of Angel Magic is the Sator-Rotas magical
square shown in Figure 7. The earliest example of this acrostic can be
found on a wall in Herculaneum, one of the cities destroyed by Mt.
Vesuvius in A.D. 79. Underneath the square was an inscription sacred
to the god Saturn. The Key of Solomon contains a talisman sacred to
the planet Saturn which is built around the Sator-Rotas square.
This magical square might originally have been Hebrew. One of
the later grimoires, The Sacred Magic of Abramelin the Mage, gives a
variation based upon Hebrew words, a shown in Figure 8.
s A
L 0 M
A R E p
0
L E M
E L
0 p E R A
M
0 L A
s
FIGURE 8. MoDIFIED SAToRRoTAS MAGICAL SQUARE2
6
I
i
I
f
f
36
AGEL MGIC
These similarities suggest that the medieval grimoires share their
origins with texts like the Sword of Moses. Despite the errors of transla
tors and copyists and the editorial additions from a later date, we have
a case where the essential elements of some very old magical cere
monies have survived into comparatively modern times.
'
GNOSTIC ANGEL MGIC
The rituals of Angel Magic spread from the middle east into other
regions of the world. The Eleusian and similar mystery cults probably
practiced the art in their inner orders. The Zoroastrian Magi and the
Pythagoreans were widely revered as magicians, and the priests of Ser
a pis and Mithras may also have been involved in Angel Magic
rituals. 27 Despite the atmosphere of secrecy that surrounded these
cults, the basic premise of Angel Magic-that man could control spir
its through the power of prayer-was universally accepted in
pre-Christian times. The universal acceptance of these beliefs can be
gauged by the practice of exorcism to treat mental illness, a practice
that was common throughout the Mediterranean.
The Gnostic sects of the Christians were particularly attracted to
the practice of Angel Magic. The Gnostics were a sect of early Chris
tians who tried to unite Christian doctrine to the older traditions of
Paganism. The Gnostics were also infuenced by the Zoroastrians and
the Essenes. Gnosticism tended to develop in the eastern parts of the
Roman Empire. Because the Gnostics were closer geographically and
theologically to the traditions of the East, they more easily accepted
the practice of Angel Magic than the more skeptical branches of the
church in the West.
The Gnostics built their belief in Angel Magic upon biblical refer
ences to Jesus' ability to control devils. Jesus even states (Mark 16:7)
TH
tat his name, like that of
That some form of Angel
church is quite likely; ho
towards Angel Magic even
least for a while, from st
A passage from the A o
of the early church towad
Some itnerant jewh
of the Lord jesus ove
its; they used to say,
-
'
s
p
okesman i Paul . . . "T
and I know who Paul i.
with the evil spirt h
frst one, and then a
that the ran fom that
The story of the gi& of
phers realized the debt that
inherited and preserved the
in this respect, to note that
exorcisms were primarily m
Gnostic Angel Magic cni
ing many of the element fo
Gnostic text, referred to a
following promise to Gnost
l
Be steadfst in My
and send you powe,
power, and gve you
no one shall hindr
'
fr yourelve tn,
'
,
ieval grimoires share their
Despite the errors of transla
. ns fom a later date, we have
sme very old magical cere-
m the middle east into other
similar mystery cults probably
Te Zoroastrian Magi and the
cians, and the priests of Ser
n involved in Angel Magic
'krecy that surrounded these
':- t man could control spir
as universally accepted in
tc of these beliefs can be
were particularly attracted to
c were a sect of early Chris
. e to the older traditions of
c by the Zoroastrians and
p in the eastern parts of the
.. w coser geographically and
, they more easily accepted
r skeptical branches of the
lI Magic upon biblical refer
Jeus even states (Mark 16:7)
THE SOURCE OF AGEL MGIC
37
that his name, like that ofYHVH, has the power to control demons.
That some form of Angel Magic was practiced in the early Christian
church is quite likely; however, the attitude of the early church
towards Angel Magic eventually became hostile and it disappeared, at
least for a while, from standard Christian dogma.
A passage from the Acts of the Apostles illustrates the ambivalence
of the early church towards Angel Magic:
Some itnerant jewish eorcst tried pronouncing the name
of the Lord jesus over peopl who were possessed b evil sir
its; they used to say, "I command you by the jesus whose
spokesman is Paul ... " The evil spirt replied 'esus I recogiz,
and I know who Paul is, but who are you?" And the man
with the evil spirt hurled himsel at them and overowered
frst one, and then another and handld them so violentl
that the ran fom that houe naked and badl mauled
28
The story of the gifs of the Magi also suggests that Jesus' biogra
phers realized the debt that he owed to the Zoroastrian Magi, who
inherited and preserved the ancient Chalden rituals. It i interesting.
in this respect, to note that both the Chadean incantations and Jeu'
exorcisms were primarily medicina in purpose.
Gnostic Angel Magic continues wit the Hebraic theme, provid
ing many of the elements found in the medieva grimoire. A ancient
Gnostic text, referred to as the "Untitled Apocalypse," contains the
following promise to Gnostic devotees:
Be steadfst in My word, and I wil gve you eternal li
and send you powers, and I wil stenghen you in spirt of
power and give you authort according to your wilL And
no one shal hindr you in what ye dsire and ye shal beget
fr yourselves aeon, worl, and heavens, in order that the
38 AGEL MGIC
mind-born spirt may come and dwel therein. And ye wil
be god, and wil know that ye come fom God . . . 29
In this passage, knowledge of the ineffable name ("My word")
grants the control of "mind-born spirits" (Angels created in the mind
of God). The aeons, worlds and heavens which the magician is to
"beget" are most likely representations of the universe seals and talis
mans in which the spirits are to dwell. The relationship of Gnostic
Angel Magic to previous systems c be discered in the assumption
that by assimilating himself into the Godhead through the use of the
inefable name, the Angel Magus can gain divine status.
By contrast, the orthodox branches of the church looked upon the
practice of Angel Magic with a certain amount of distaste. Their own
cultures possessed only the most primitive form of spirit control. 30
The mystical aspirations of the Gnostic magician seemed foreign and
bizarre, and the "mind-bor spirits" were too much like the old gods
of the Pagans.
FIGURE 9 ANGEL FROM LTE GNOSTIC MNUSCRIPT31
THE.-
The tale about the meet
posed founder of Gnosticism,
Magus was reputed to have a
Making himself i
Passing through roc
tering an obstacle
1
Throwing himself fa" 1
Flying in the air
,
Flinging himself in f1
I
Breaking through blt,
Animating statues, s ..
;
der to be men and w
I
;1
M the frni
Changing his count ,,
Making himself into a -
Walking through t
of strange fgures, w
the departed
l
J
Making trees and b
ever he pleased
Setting up and de
Causing a sicle to g . 1'
would mow tc a
l
1
aount of distaste. Their own
. ir form of spirit control. 30
maician seemed foreign and
to muc like the old gods
THE SOURCE OF AGEL MGIC
39
The tale about the meeting of St. Paul and Simon Magus, the sup
posed founder of Gnosticism, illustrates this skeptical attitude. Simon
Magus was reputed to have a panoply of magical skills32 including:
Making himself invisible
Creating a man out of air
Passing through rocks and mountains without encoun
tering an obstacle
Throwing himself from a precipice uninjured
Flying in the air
Flinging himself in fre without being burned
Breaking through bolts and chains
Aimating statues, so that they appeared to every behol
der to be men and women
Making the frniture in the house to change places
Changing his countenance and visage into that of another
Making himself into a sheep, a goat, or a serpent
Walking through the streets attended with a multitude
of strange fgures, which he afrmed to be the souls of
the departed
Making trees and branches suddenly to spring up wher
ever he pleased
Setting up and deposing kings at will
Causing a sicle to go into a feld of cor, which unassisted
would mow tc a fst as the most industrious reaper
40
AGEL MGIC
When asked to demonstrate his power to St. Paul, Simon com
manded his spirit servants to lift him above the earth. St. Paul,
however, ordered the spirits to drop the Magus, which they did, caus
ing his deathY This magical duel is perhaps symbolic of the conflict
between the established church and the Gnostic heresy.
Although the basic premises of Agel Magic were among the teach
ings of Christ, and the ancient rituals had been adapted by the
Gnostics to Christian mythology, the established church eventually
rejected the belief that man could become like an Angel and com
mand other Angels.
This did not keep the Gnostics from developing Angel Magic into
a complex system of rituals and prayer. They introduced magical
squares into the tradition of Angel Magic. Figure 10 shows a Gnostic
magical square that was believed to give the bearer power not only
over Angels, but over other humans as well.
a 8
1
t 0 u (
8
1
t 0 0 ( a
1
t 0 u 0 a 8
t 0 u ( a 8
1
0 u ( a 8
1
\
u ( a 8
1
t 0
( a 8
1
t 0 u
FIGUR IO. GNOSTIC MAGIC SQUAR34
TH
The Gnostics also seem to
aphabets to preserve the s'
time of the Gnostics, such
general illiteracy of the public
c alphabet appears on a Gn
talisman engraved on it (F
Gnostic talismans and the m
are separated into thirty-two
letter of the Greek alphabet.
eoteric forms of the letter, i:
eral shapes are given for m
sophisticated rotational cod
replaced by the frst form, te
etc., until alavailable choice
The inner circle contains a
knship with the Greek acr'
written out, appear to be a b
in the inner circle are direct
l
i
Ime like an Angel and com-
deeloping Angel Magic into
. They introduced magical
Fte 10 shows a Gnostic
the bearer power not only
wl
0 \ c
\ c a
m a e
a e
1
6
1
t
1
t 0
1 0 \
SuA3
THE SOUCE OF AGEL MGIC 41
FIGUR II. GNOSTIC MGICA TAISM35
The Gnostics also seem to have been the frst magicians to use secret
alphabets to preserve the sanctity of the magical names. Previous to the
time of the Gnostics, such secrecy was probably unnecessary due to the
general illiteracy of the public. One of the earliest examples of a magi
cal alphabet appears on a Gnostic artifact of the third century A.D. The
talisman engraved on it (Figure 11) forms a substantial link between
Gnostic talismans and the medieval grimoires. The three outer circles
are separated into thirty-two segments, each representing a diferent
letter of the Greek alphabet. The characters inside each segment are
esoteric forms of the letter, intended for use only among initiate. Sev
eral shapes are given for many of the letters, possibly indicating a
sophisticated rotational code, where the frst occurrence of a letter is
replaced by the frst form, the second ocr ence by the second form,
etc., until alavailable coices have been used.
The inner circle contains an incantation that immediately suggests a
kinship with the Greek acrostic given in Figure 10. The words, when
written out, appear to be a howling or keening sound. The characters
in the inner circle are directly related to characters and talismans found
42 AGEL MGIC
in the grimoires. The glyph of a man with outstretched arms i identi
c to glyphs that are linked to the central fgure in the Secret Sea of
Solomon (Figure 12) given in the Lemegeton. Note that this seal is also
surrounded by alphabetic characters. Other glyphs in the central circle
of the artifact bear a curious resemblance to the characters in the
famous Pentacle of Solomon also from the Lemegeton (Figure 13).
FIGURE I2. SECRET SE oF SowMo
FIGURE 13. PENTACLE OF SOLMON37
Gnostic jewelry often
Magic. The Gnostics aso
cnfgurations to exres
all movement away from
Egyptians and Chaldeans t
found in later works on 1l
Eventually the establishe
constituted a threat. The
subject to great persecutio
-l
tianized Roman Empire w,
Gnostic priests, and bu
Gnosticism had been ne
Gnostic tradition of Agel
to prove only temporary.
1
1
1
It i prhaps irnic tt the s
ion should be used by the erabl .
may have mor cosely rembl .
l
I
r
outtretched arms is identi
fgure in the Secret Seal of
Note that this seal is also
gphs in the central circle
c to the characters in the
Ln egetn (Figure 13).
THE SOUCE OF AGEL MGIC
43
Gnostic jewelry often contained the divine names of Hebraic
Magic. The Gnostics also developed talismans that used geometric
confgurations to express power over Angels. This was part of a over
all movement away from the simple talismans of the Hebrews,
Egyptians and Chaldeans to the complex graphic representations
found in later works on Angel Magic.
Eventually the established church decided that the Gnostic heresy
constituted a threat. The magicians of the late Gnostic period were
subject to great persecutions. The military machinery of the Chris
tianized Roman Empire was mobilized to destroy temples, murder
Gnostic priests, and bur heretical documents.* By the sixth century,
Gnosticism had been nearly eradicated, and with it much of the
Gnostic tradition of Angel Magic. This fall from grace, however, was
to prove only temporary.
* It is prhaps irnic that the same militar strngth that prmitted and prmoted the ccf
ion should b used by the established church to persecute a Christian sect whose doctrines
may have more closely reembled Christ's original teching.
FRoM THE RELTION oF ST. joHN
ngel Magic fell ..
ceased to be pa
lished church
were now considered Paga
thus conjured and controlle
-
' )
DA
This idea can be seen clel
fom the dark ages. Accordi
for surrounding his native
He committed to the execut
who labored underground i'
time that Merlin was entra1
Meanwhile the fends, at
'l
3
The Surva
of Agel Magic
ngel Magic fell into disrepute in Western Europe. It
ceased to be part of the religious teachings of the estab
lished church and those who practiced it were persecuted
as heretics. This is not to say that people completely disbelieved the
idea that humans could control Angels; it was just that these teachings
were now considered Pagan rather than Christian, and the Angels
thus conjured and controlled were assumed to be devils.
DAR AGE AGEL MGIC
This idea can be seen clearly in a popular tale abut Merlin that dates
from the dark ages. According to this story, Merlin conceived a project
for surrounding his native town of Caermarthen with a wal of brass.
He committed to the execution of this project a multitude of spirits,
who labored underground in a neighboring cavern. It was about this
time that Merlin was entrapped in his tomb by the Lady of the Lake.
Meanwhile the fends, at work in the cavern, and remembering their
45
I
I.
[:
I
46 AGEL MGIC
mater's commands not to suspend their labor ut his return, contin
ued in their labors forever. The traveler who passes that way, if he lays
his ear dose to the mouth of the cavern, will hear a ghasdy noise of iron
chains and brazen caldrons, the loud strokes of the hammer, and the
ringing sound of the anvil, interixed with the pant and groans of the
workmen. It is said that this is enough to unsetde the brain of any who
is so brave or foolish as to listen to the din.
Another reputed Angel Magus of the Dark Ages was Saint Dun
stan, an early curch fgure associated with the Abbey at Glastonbury
where King Arthur was reputed to have been buried. Dunstan, so the
story goes, spent his early years hanging around prostitutes and living
a sinfl life. Despite this, he was said to be a person of extraordinary
intelligence and high ambition, who swifly acquired any talent or art
upon which he fxed his attention. At one point he contracted a dan
gerous illness that bafed his physicians. While he lay at the point of
death, an Angel was seen bringing him medicine that cured him
instantly. The future saint immediately rose from his bed and has
tened to the nearest church to thank God for his recovery. On his way,
he had a vision of the devil, surrounded by a pack of black dogs,
which tried to keep him from the church. Dunstan brandished a rod
that he held in his hand driving the vision away. 1
What is interesting about this story is that we see one of the essen
tial elements of Angel Magic: the use of a rod or weapon to control a
spirit. This legend, along with the similar tales about Merlin and
other wizards suggests that the belief in Angel Magic was not eradi
cated, but merely pushed into the background.
More evidence for the survival of Angel Magic in the dark ages is a
curious eleventh century manuscript in the Nationalbibliothek Wien
(Codex 1761). It presents an extremely degenerate alphabet of
Hebrew letters that could only have been transmitted through numer
ous copying. This indicates that the manuscript is probably a survival
of material that was main1
hood is also increased bf
alphabet of Celtic rune.
been included in an
monogram talisman is s
many Catholic and Ei
the Greek letters for "C -
persecutions. However, it i"
sent the mainstream of
western Europe as fertile
once replanted, could g
aund prostitutes and living
b a prson of extraordinary
acquired any talent or art
pint he contracted a dan-
Wile he lay at the point of
medicine that cured him
rose from his bed and has
fr h recovery. On his way,
by a pack of black dogs,
Dt brandished a rod
a r or weapon to control a
.I .. tales about Merlin and
Magic in the dark ages is a
te Natonalbibliothek Wien
dy degenerate alphabet of
u
tted through numer
uipt is probably a survival
THE SURVA OF AGEL MGIC
47
of material that was maintained somewhere in Europe. This likeli
hood is also increased b the fact that the manuscript includes an
alphabet of Celtic runes, something that would defnitely not have
been included in an Arabic manuscript. (The alphabets from this
manuscript are included in the Apendix.) The manuscript also con
tains a number of interesting talismans that are made of letters
connected together to form a single sea or monogram. For example,
the talisman in Figure 14 is deibd as being sacred to the crucifx
ion and to be able to make peace between enemies. This kind of
monogram talisman is similar to the traditional altar cross found in
many Catholic and Episcopal churce, where the cross is formed by
the Greek letters for "Christ."
This eleventh century manuscpt ilute that some of the basic
elements of Angel Magic survived i weter Europe despite repeated
persecutions. However, it is also higly unusual ad does not repre
sent the mainstream of European culture. Ie, one might think of
western Europe as fertile ground where the seeds of Angel Magic,
once replanted, could grow quickly in intert ad ppularity.
FIGURE 14. MEDIEVA MoNOGR TAsM2
48
AGEL MGIC
FIGURE 15. ANGELS FROM 8TH CENTURY PERSIAN MNuscrPT3
The Angel Magic of the
unchanged within the lam
there because the origina
the memory of Angel M
addition, the persecution
nounced in this part of te
in the library of Babylon i
rible, awe-inspiring name
effect upon the uncalled,
shrunk, lest they be punishe
The Islamic Angel Ma
Magic. They popularized t
based upon it.5 They alsop
ters-sets of seven magical
coded* into a magical alp
medieval grimoires in Europ
degeneracy, however, in the
the characters had already
The Islamic empire not om
exported it to the regions of
literature spread throuout
this dissemination c be
lected in his Spanish palace a
l
'"""'""'"""f" .... ,
'
I
I
THE SURVA OF AGEL MGIC
49
"
ISLIC AGEL MGIC
The Angel Magic of the Hebrews and the Gnostics survived virtually
unchanged within the Islamic empire. Angel Magic probably survived
there because the original Chaldean rituals had originated there and
the memory of Angel Magic was deep in the folklore of the people. In
addition, the persecutions against Angel Magic had been less pro
nounced in this part of the world. A description of the magical text
in the library of Babylon in the tenth century states that treatises on
Angel Magic were "innumerable," and contained, "the Inefable name
and other similar mysterious names of Angels ... books with these ter
rible, awe-inspiring names and seals which have had that dreaded
effect upon the uncalled, and from the use of which our ancestors
shrunk, lest they be punished for incutous use. "4
The Islamic Angel Magi added to the paraphernalia of Angel
Magic. They popularized the magical square and invented talismans
based upon it.5 They also proliferated the use of planetary charac
ters-sets of seven magical names, each sacred to a planet and each
coded* into a magical alphabet. These character appr fequendy in
medieval grimoires in Europe and in the Middle Et The amount of
degeneracy, however, in the European example suge that some of
the characters had already undergone signifcant alteraton.
The Islamic empire not only preserved the rt of Angl Magic, but
exported it to the regions of the world that it conquered. Angel Magic
literature spread throughout North Aica and into Spain. The efect of
this dissemination can be gauged by the fct that one Islaic prince col
lected in his Spanish palace a total of 60,000 volume.6 It is highly likely
* Substituting a letter fm the mcl alphabet fr the crpnding letter in the r alphabet.
50 AGEL MGIC
that a library of this size contained many eples of the Angel Magic
treatises that were "innumerable" in the main library at Babylon.
Not surprisingly, Spain quickly became a center in Europe for the
study of the "forbidden art," which at that time included mathemat
ics, astrology, alchemy and Angel Magic. It is at this time that the
Gnostic and Hebraic material preserved in the Islamic texts began to
disseminate into the rest of Europe. The frst Latin translations of
Arabic and Araaic magical tets were eecuted in the tenth through
twelf centurie by Spanish Jews and members of the Catholic clerg
from Spain, Italy and France. At least one Latin medieval grimoire,
the Pxa,survives in the original Arabic, although there are many
te diferences. 7
This spread of ancient rituals of Angel Magic into Christian tradi
tion may have begun as early as the tenth century. In 967, a young
Italian monk named Gerbert joureyed to Spain, and there compiled a
library which included Arabic mathematics, geometry, and astrolog, 8
al closely related to Angel Magic. Gerbert is credited with introducing
Arabic numerals into Christian Europe, as well as the use of clocks. It
is likely that Gerbert encountered Arabic manuscript on Angel Magic
at this time and may have copied some of them.
A number of interesting rumors began to foat around the enter
prising young scholar. Gerbert is said to have constructed a brazen
head, which would answer when it was spoken to, and thus resolve
many difcult questions. Through this Angelic oracle, he was believed
to have made various discoveries of hidden treasures, and to have pro
duced visions of a magical underground palace. His learning appears
to have done his career good, for he was appointed Archbishop of
Rheims at an early age. He afterward became a favorite of Holy
Roman Emperor Otho the Third and through Otho's infuence he
became archbishop of Ravenna, and fnally Pope in 999, taking the
name of Sylvester the Second.
Jerusalem. Gerbert acL
the seven districts of the c1
1003.
1
0 A few years ae
that Gerbert had conve
h successors.
11
One of Gerbert's sucs
Angel Magus. He was one
established the law of the
It is interesting and
nects Popes with the pra1
was beginning to get ver
this time that there are
texts into the rest of E
century that the Gnostic
Angel Magic began to sp
nearest to Islamic-infuen
an Angel Magic ceremony
e
q
soe
,
j
n
oametsf demsnsu
the
,
mmso
j
nt
'
a
ple of the Angel Magic
lbrary at Babylon.
a center in Europe for the
tme included mathemat
.
It is at this time that the
i the Islamic texts began to
e frst Latin translations of
ib '.'
dsLy tmenqstt
endpsctoice
'
The efect of frther a,
in an incantation from a .
Reginald Scot's iss
l
Dlof Ltin grimoires were
probably early versions of
Sht Riel. The practice
te Catholic clergy as in
accused of consulting an
ll n.l4
had considerable impact
The more conservative
Ic toward a ritual system
Agels; however, the more
clergy embraced the gri
prhaps on a par with the
a not satisfed with the old
te te, they adapted and
flinto the Catholic reli
t priod. For example, the
ritual system that was
I comparatively unchanged
sirit which the magician
. ' on the other hand, the
r r and their own per
W 8 (See Figure 16). The
ofles er spirits appealed to
THE oUKW&OFAGEL MGIC
53
IGURE1. oIGIL OF 1A1ELFROMTHB LBMBGBTOH
'"
Other elements in the Lemegeton are by contrast extremely ancient,
such as the arrangement of the spirits into seven planetary groups,
'
6
and the similarity of the conjurations to those found in more Hebraic
ritual systems:
And by this inefable name TETRGRMMATON
JEHOVAH I do command thee, at which being heard the
elements are overthrown, the air is shaken, the sea runneth
back, the fre is quenched, the earth trembleth, and all the
hosts of the celstial, terrestrial, and infral d trembl
together and are troubled and confunded .... Wherere
come thou visibl, peaceabl, and afbl, now without
dely to manist that which I dsire, seaking with a clar
and perct voice.17
The efect of frther Christianization, however, C derly be seen
in an incantation from a later version of the Leegeton excerpted in
Reginald Scot's Discoverie ofWtchcraf in 1584:
54
AGEL MGIC
Oh fther omnipotent, oh wise sonne, oh Holie-ghost, the
searcher of harts, oh you three in person, one true god-head
in substance ... by these holie names of thy sonne, to wit
ALPH and OMEGA and al other his names, gant me
thy virtue and power that I may be able to sit bere me thy
spirits which wee thrown down fom heaven.18
Note that despite the thousands of years separating this Christian
ized conjuration from its Chaldean roots, the key premise of Angel
Magic-that the name of the higher god gives power over lesser enti
ties-remains unchanged. In fact, both the basic concept of Angel
Magic and certain ceremonial paraphernalia have survived centuries
intact while most other forms of theological belief and superstition of
comparable antiquity are merely dust.
Regardless of the attempts to Christianize Angel Magic, the conser
vative elements of the church objected to it. This was not because tey
questioned its reality, but because they considered it unethical, for a
variety of reasons. It was a period of extreme anti-Semitism and any
thing Jewish was automatically suspect. Angel Magic had defnite
Hebraic elements within it and thus automatically was considered
dangerous. The grimoires possessed elements of Gnosticism that
smacked of heresy even at that late date. The ability to control spirits
was still considered part of the powers of the pagan sorcerers of legend
rather than something legitimately Christian. The Templars' occupa
tion of Palestine had given them access to the libraries of the Islamic
empire.19 A a result, they were associated with Angel Magic and when
the Templars were persecuted, Angel Magic seemed even more disrep
utable. Imitation grimoires began to appear which included elements
such as black masses and human sacrifces that weren't present in the
original grimoires.
of inquisition and
the same way that the
persecutions and death.
the established church h
was plainly heretical. Te
bers tried. 21 At the same
Magic. In 1318, Pope
ian priests:
1h Holie-ghost, the
, t t god-head
th sonne, to wit
. / names, gant me
t sit bere me thy
lv.18
. sparating this Christian
te key premise of Angel
pwer over lesser enti
basic concept of Angel
have survived centuries
blief and superstition of
Agel Magic, the conser-
Tis was not because they
'dered it unethical, for a
anti-Semitism and any
gel Magic had defnite
tically was considered
nts of Gnosticism that
ability to control spirits
pgan sorcerers of legend
The Templars' occupa
. t libraries of the Islamic
Angel Magic and when
se ed even more disrep
wc included elements
THE SURVA OF AGEL MGIC
55
FIGUR 17- MEDIEVA ANGEL AND 0EMONs
20
It was guilt by association. The established Catholic clergy con
cluded that Angel Magic was merely a tool of the devil, worthy only
of inquisition and persecution. The rebirth of Angel Magic ended in
the same way tbat the ancient Gnostic practices had ended-with
persecutions and death. By the beginning of the fourteenth century,
the established church had decided that the practice of Agel Magic
was plainly heretical. The Templar estates were seized and their mem
bers tried.
21
At the same time, the church cracked down on Angel
Magic. In 1318, Pope John XII issued a Bull condemning eight Ital-
ian priests:
56 AGEL MGIC
"They} have entangled and enmeshed themselves in the
drk toil of nigomanc geomanc and other Magic arts,
possessing wrtng and books that teat of these art ... hav
ing consecrated certain mirrors and images according to
their accrsed ceremonies, [the} not unelm make ue of
such objec and tking their plce in crcls the .equentl
invoke evil spirts. On occaion, moreover the enclose in
mirrors, circles, or rings, devils, who may answer their
inquires conceing the pat and fture .... When the have
evoked these ful spirit, the essay many a curious experi
ment in ee branch of dibolic lre.
"22
The Bul goe on to mention that others in the court of the Pope
himself had committed similar "enormities." The fact that Angel
Magic was being practiced right under the Pope's nose shows how
prevalent the practice had become among the clerg
In 1326, John XII dealt a death blow to the practice of Angel
Magic among the clergy by issuing a Bull specifcally forbidding,
under pain of excommunication, both Angel Magic and alchemy. 23 A
a result of this, Angel Magic was nearly eradicated from the church
and its dogma. Catholic exorcism rituals are a remnant of the practice
which has survived because, unlike Angel Magic, they were used by
the inquisitors themselves to torture accused witches.
Soon the established church was persecuting Angel Magic outside
of the clergy as well. Wen Peter d'Abano, a reputed Angel Magus,
died, the inquisitors of the Catholic church decreed that his bones
should be dug up and publicly burned. Some of his friends got word
of this, and saved him from the impending disgrace by removing his
remains. Disappointed in this, the inquisitors proceeded to burn him
in efgy.
2
4
'
'
!
I
THS
From this point on, the at1
Angel Magic did not die,
with humanism and ushen
Angel Magic, the Rnais,.
powerfl Angel Magus,
grew stronger a scholar
of human achievement.
Both Catholic and Pro
view the human condition
basically corrupt and con
human race possessed a
reafrmed the essential
ing it co-equal, if not su
The church continued t
they belonged to the chu.
clerical jurisdiction were
about Angel Magic.
i
Take, for example, John l
tinguished himself by h
man. He became Abbot of
after, under his superint'
umes. Trithemius was a,
with
Angels. I
1
1
i
1
j
I
i
i the court of the Pope
IDe." The fact that Angel
to the practice of Angel
specifcally forbidding,
Magic and alchemy. 23 A
edicated from the church
Agel Magic outside
a reputed Angel Magus,
decreed that his bones
of h fiends got word
dce by removing his
proeeded to burn him
THE SURVA OF AGE MGIC
57
RENAISSANCE ANGEL MAGIC
From this point on, the attitude of the church w unery hostile.
Angel Magic did not die, however; instead it began to be associated
with humanism and ushered i what might b clled the glden age of
Agel Magic, the Renaissance in wester Europe. The ide of the al
powerfl Angel Magus, embedded in the culture of the middle age,
grew stronger as scholar and philosopher began to celebrate the glorie
of human achieement.
Both Catholic and Protestant branches of the church tended to
view the human condition as a fall from grace. Human beings were
basically corrupt and contemptible. To the humanists, however, the
human race possessed a powerfl spark of the godhead. Angel Magic
reafrmed the essential power and dignity of the human race by mak
ing it co-equal, if not superior, to the Angels themselves.
The church continued to persecute would-be Angel Magi, whether
they belonged to the churc or not. Humanists who remained under
clerical jurisdiction were particularly vulnerable to rumor and slander
about Angel Magic.
Take, for eample, John Trithemius. Bor in the yer 1462, he dis
tinguished himself by his devotion to literature while still a young
man. He became Abbot of Spanheim when only tent yers of age.
He wrote a great number of work and lef many memorials of h life,
and was an avid bibliophile. When he wa chosen Abot, the library
of the convent consisted of litde more than forty volumes. Shortly
after, under his superintendence, it grew to many hundreds of vol
umes. Trithemius was accused of both necromancy and commerce
with Angels.
MEDIEVAL AGEL
emperor Maximilian, to a
was that Trithemius had w
to communicate thought 11.
maintained, however, tht
language of Angel Magc
sorcery. 25 There still eist a
Trithemius, including te
includes al the various m
hers, planets, and constel
One of the most fmou
Bor in the year 1486, he
time, highly praised by Tr1
great contemporary humanii
Agrippa was a man of t
ing in a number of difc:
reputation as an astrologer
possessed the philosopher's .
ofen, because he was w
and repeatedly imprison
defeats, he died at the co
Many extraordinary sto
Agel Magic. A one tale
upon him, who accompa1
black dog. When he lay on
to repent of his sins. Being
took hold of the dog and
'
* Te end prduct of acemy t
mute "ba" metals (lie lead) it
'
THE SURVA OF AGE MGIC
59
The principle basis of this accusation was a story that has been told
that he caused the spirit of Mary of Burgundy, the late wife of the
emperor Maximilian, to appear before her bereaved husband. Another
was that Trithemius had written a book about how to u secet writing
to communicate thoughts to someone in another place. Trithemius
maintained, however, that the Steganographia merely contained the
language of Angel Magic, and categorically denied all imputation of
sorcery.
2
5 T here still exists a number of magical works attributed to
Trithemius, including the Magical Calendar, a curious work that
includes althe various magical correspondences of the elements, num
bers, planets, and constellations.
2
6
One of the most famous Angel Magi was Henry Corelius Arippa.
Born in the year 1486, he was one of the most celebrated men of his
time, highly praised by Trithemius, Erasmus, Melancthon, and other
great contemporary humanists.
Agrippa was a man of the most violent passions and temper, result
ing in a number of difculties in his life. Despite this, he had a great
reputation as an astrologer and an alchemist, and was believed to have
possessed the philosopher's stone,* which he can't have used very
o&en, because he was without money, subject to gret persecutions,
and repeatedly imprisoned. After a stormy life of triumphs and
defeats, he died at the comparatively erly age of fr-eigt ye.
Many extraordinary stories have been told of Agrippa's skills in
Angel Magic. A one tale goes, Agrippa alway kpt a spirt attendant
upon him, who accompanied him in all his travels in the shape of a
black dog. When he lay on his death bed, he w earnetly pressured
to repent of his sins. Being convinced of the wisdom of this, Agrippa
took hold of the dog and removed a collar studded with nails, which
*Te end prduct of alcemy the phlosophers stone, i magicl substanc whic c t
mute "bas" metals (lik lead) into gld.
6o AGEL MGIC
formed a necromantic inscription. Agrippa said to the dog: "Begone,
wretched animal, which hast been the cause of my entire destruction."
The dog immediately ran away and plunged itself in the river, afer
which it was seen no more. 27
This story is denied by Wierus, Agrippas student, who writes that
Agrippas dog was a perfectly innocent animal that Weirus himself had
ofen taken for w. The sole foundation for the story lay in the fact
that Agrippa had been very attaced to the dog, which ate at the table
and slept in the same bed as its master. Weirus further remarks that
Agrippa w accustomed to remain in his room for as much as a week at
a tme. People wondered how he could have such accurate information
of what w going on in all part of the world. Lacking any better expla
nation, they assumed that his intelligence was communicated to him by
his dog. Weirus points out, however, at Agrippa had correspondents
in every quarter of the globe, and received letters from them daily, and
that this was the real source of his extraordinar intelligence.
28
According to another story, Agrippa had occasion one time to be
absent for a few days from his residence at Louvain. During his
absence he entrusted his wife with the key to his Museum, telling her
that nobody should be allowed to enter. Agrippa happened at that time
to have a boarder in his house, a young fellow of insatiable curiosity,
who pestered his hostess, until at length he obtained the forbidden key.
The frst thing in the Museum that attracted his attention was a book
of spells and incantations. He spread this book upon a desk and began
to read aloud. He had not long done this, when a knock was heard at
the door of the chamber. The youth took no notice, but continued
reading. Presently there was a second knoc, which somewhat alarmed
the young man. A minute later, the door opened and a devil entered.
"For what purpose have I been called?" asked the spirit. When the stu
dent made no answer, the devil advanced towards him, seized him by
the throat, and strngle
be invoked from mere p
The story of the stud,
books is common in fo
attractive, because it a
study for years when w
enced Magus? The tal
inherent in this practce.
Angel Magi were sen
learn secret information
the power of the Angel
Magi naturally believed
Angel Magi themselves,
was intended to be he
jure devils.
people and there was a
De Occulta Philosop.
publications, many of
or lesser antiquity. Pro
sid to the dog: "Begone,
of my entire destruction."
ll itself in the river, after
srudent, who writes that
III tat Weirus himself had
fr the story lay in the fact
dog, which ate at the table
Wei frther remarks that
suc accurate information
Ling any better expla
cmmunicated to him by
.ippa had correspondents
ltr fom them daily, and
h attention was a book
bo k upon a desk and began
we a knock was heard at
no notice, but continued
wich somewhat alarmed
oed and a devil entered.
llte spirit. When the stu
rd him, seized him by
THE SURVA OF AGEL MGIC 61
the throat, and strangled him, indignant that his presence should thus
be invoked from mere presumption.
The story of the student who obtains access to the magician's work
books is common in folklore.* The idea of stealing magical power is
attractive, because it appeals to our natural sense of laziness. Why
study for years when we can merely rife the workbooks of an experi
enced Magus? The tales also consistently point out the danger
inherent in this practice.
Angel Magi were seen as superhuman-able to control vast powers,
learn secret information, and obtain whatever they wanted through
the power of the Angels that they conjured. The enemies of the Angel
Magi naturally believed these Angels to be devils in disguise. The
Angel Magi themselves, however, always maintained that Angel Magic
was intended to be heavenly and that they would never stoop to con
jure devils.
Agrippas main claim to fame as an Angel Magus was his De Occulta
Philosophia, a compilation from many sources that serves virtually as
an encyclopedia of occult lore. De Occulta Philosophia (Concerning
Occult Philosophy) provided the entire philosophical framework for
Angel Magic of the time, without actually providing the rituals to
accomplish it. It was written around 1510, but not published until
1533, about a year before Agrippas death. The publicton creted an
uproar in scholarly circles, because for the frst time the conceptual
framework of Angel Magic was made available to large numbers of
people and there was a wild upsurge of interet in the subject.
De Occulta Philosophia was followed by numerous other occult
publications, many of which contained Angel Magic rituals of greater
or lesser antiquity. Probably the most widely distributed was a small
*A in "Te Sorcerer's Apprentice" segment of the Disney movie, Fantaia.
62 AGEL MGIC
book containing what purported to be a fnal chapter to De Occulta
Philosophia. This book, published in 1565, supposedly provided the
keys to actually performing the Angel Magic ceremonies that the
main body of De Occulta Philsophia only hints at. It was published
along with another curious work entitled the Heptameron, attributed
to Peter d'Abano (Peter of Apono). While the actual authorship of
both works is questionable, there's little doubt that the works proceed
from the same kind of thinking that lies behind Agrippas work.
The fgure of the Angel Magus became increasingly common in the
literature of the period. Often literary descriptions of Angel Magi
were surprisingly detailed as in tis list of the various equipment that
Angel Magi ue i their ceremonies:
halowed chalke, water and palme, circle pentacles, and
pltes used fr fe, crowne, sword, and sceter a a token
of power fre, oyles, and powders to make fmagacions,
tedious fates,. washinges and shaving, of the consecration,
of their invocatons, constuctons, ligacions, maledictiones
and other frsaid intumentes .... 29
Manuscripts and books on Angel Magic began to be widely circu
lated. By 1584, one author was able to complain that:
Conjurors carrie about at this die, bookes intited under
the names of Adm, Abel Tbie, and Enoch; which Enoch
the reute the most divine fllw in such matters. 3
Ten years later, the literature of Angel Magic had become so well
known to the public at large that the playwright Christopher Marlowe
actually included a satire-in Latin no less, and translated here-of
an Angel Magic ritual inside his highly popular play Doctor Fauts:
Demogorgon, we P
appear and r ise!
Gehenna and b 1
the sig of the cs
let M ephostophili
Mephostophili, in 1
Marlowe's original so
Occulta Philosophia and t
the conjurations so that
Marlowe made Faustus it
unknown reason he wante
greatest Angel Magus of alt
resents a high point in t
root source for much of
Because of this, we'll be
next few chapters.
f chapter to De Occulta
supposedly provided the
Magic ceremonies that the
ht at. It was published
te Hetameron, attributed
the actual authorship of
It that the works proceed
bd Agrippas work.
icesingly common in the
decriptions of Angel Magi
te various equipment that
crcl pentacles, and
t scete a a token
t make fmagacions,
of the consecration,
lxaons, maledictiones
bgan to be widely circu
Ipl that:
bokes intitled under
Enoch; which Enoch
THE SUVA OF AGE MGIC
Be propitious to me, god of Acheron! May the tpl name
of jehovah prevail Spirt ofre, air water hail Pince of
the East, Beelzebub, monarch of burning hell, and
Demogorgon, we propitat you so that Mehostophili may
appear and r ise! Why do you delay? By jehovah, by
Gehenna, and b the hol water that I now srnkl, and b
the sig of the cross which I now make, and b our prayer,
let Mephostophi/is now arise, summoned by us! Return,
Mephostophilis, in the image of a far 31
Marlowe's original sources were probably the fourth book of De
Occulta Phi/osophia and the Heptameron. However, Marlowe changed
the conjurations so that they became diabolical rather than Angelic.
Marlowe made Faustus into a black Angel Magus because for some
unknown reason he wanted to slander Doctor John Dee, probably the
greatest Angel Magus of al time. The life and career of John Dee rep
resents a high point in this history of Angel Magic and provides the
root source for much of the Angel Magic that is practiced today.
Because of this, we'll be examining John Dee's work specifcally in the
next few chapters.
THE HoLY WoMEN AT THE SEPULHRE
o fr, we:ve f,
ancient ume
ages. We've
Angel Magic rituals that
Angel Magic has contin
ments and theologies of
questions remain unan
come from? Why are tea.
Angel Magic useful? How
The best way to answer
work of Doctor John De
was a rabid diarist, reco
journals. Not only have
4
The Makng of
a Angel Magus
o far, we've looked at the practice of Angel Magic in
ancient times and we've traced its heritage through the
ages. We've seen that there are elements of the traditional
Angel Magic rituals that are very old indeed. We've also seen that
Angel Magic has continued to evolve to match the diferent require
ments and theologies of the cultures which have adopted it. Some
questions remain unanswered, however: Where does Angel Magic
come from? Why are there so many different rituas and recipes? Is
Angel Magic useful? How do Angel Magi beneft from its practice?
The best way to answer these questions is to examine the life and
work of Doctor John Dee.
Unlike the other Angel Magi, of whom little is known (especially
about their magical practices) there is so much information about
John Dee that it is difficult to ft all the pieces into the together. Dee
was a rabid diarist, recording nearly every aspect of his life in multiple
journals. Not only have many of his diaries survived, but many of his
65
66 AGE MGIC
letters have been preserved in diferent collections. Furthermore, he
was an extremely conspicuous fgure in the late sixteenth century, and
many fmous people have lef records of their interactions with him.
John Dee was very diferent from the Agel Magi that came before
him in that he was brave enough to let the world know what he was
attempting. Unlike Agrippa and Trithemius, both of whom denied
having practiced the art, Dee openly and flly declared tat he was an
Angel Magus and made no apologies for the fact. He was patronized
by a number of very powerful people, including Queen Elizabeth,
Count Albert Lasky of Poland, King Stephen of Poland (briefy),
Count Rosenberg ofTrebona, and Sir Walter Raleigh. Rather than
being at odds with the authorities, Dee was at one point given the
equivalent of a government grant to pursue "scientifc" research into
Angel Magic.
By studying John Dee, we learn about the inner mechanics of
Angel Magic and the motivations of the Agel Magi. In this way we
c reach a deeper understanding of this interesting and ancient art.
THE EY YEAS
John Dee's Angel Magic was a natural outgrowth of his interest in
nature and what we would today call science. He was born in London
in the year 1527, the son of a gentleman servitor of King Henry VIII.
Royal courts in those times employed a large number of servitors and
courtiers who performed roles which could be somewhat servile, such
as emptying the royal chamberpot, or exalted, such as escorting and
entertaining high-ranking ambassadors frm foreign lands.1
These gentlemen servitors ofen had their families with them in
London, sometimes even living in the palace. By the time Dee was
born, Henry VIII w 3
erence to favor and ad : ',
him of himself at a y
.
athletic. Two of his ge1
been jousting and hun
young John Dee was ver
in the extreme.
He must have seemed a
ble scholars of Elizabetha
deal of learning in a very
the rigors of his schedue b
were not appreciated at
ing the exhibition of a G
artifcial scarab, or beetle,
a man and a basket of pr'
was to haunt John Dee for
Dee's stagecraft may s
the modern cinema have
mid-sixteenth century.
l
'l
* Sme tng ner cg.
I
I
cllections. Furthermore, he
. te late sixteenth century, and
c o teir interactions with him.
Angl Magi that came before
te world know what he was
ius, both of whom denied
fl y declared that he was an
fr the fct. He was patronized
incuding Queen Elizabeth,
Stephen of Poland (briefy),
Walter Raleigh. Rather than
was at one point given the
... ue "scientifc" research into
intereting and ancient a.
outgrowth of his interest in
their families with them in
palace. By the time Dee was
THE MNG OF A ANGEL MGUS
born, Henry VIII was already old. The king had always shown a pref
erence to favor and advance the careers of young men who reminded
him of himself at a younger age. "Young King Hal" had been highly
athletic. Two of his greatest loves in life, not including women, had
been jousting and hunting. In light of this, it is unlikely that the
young John Dee was very popular at Henry's court. Dee was bookish
in the extreme.
Dee was forever wrapped up in some arcane text or studying some
obscure subject. Perhaps it is not surprising, then, that he left the
court for Cambridge at the tender age of ffteen. His behavior at
Cambridge reveals the level of his dedication to learning. For several
years he allowed himself only four hours a sleep a day, spending the
rest of his time studying and occasionally attending church .
He must have seemed a very unusual person to the rough and tum
ble scholars of Elizabethan Cambridge. Dee clearly had little time for
the drinking and wenching that were the customary behaviors of the
student body.* He worked hard, and as a result, accumulated a great
deal of learning in a very short time. We can also assume that due to
the rigors of his schedule he made few fiends. In any case, h talents
were not appreciated at Cambridge. At one point, while superintend
ing the exhibition of a Greek play of Aristophanes, he built an
artifcial scarab, or beetle, which few up to the paace of Jupiter, with
a man and a basket of provisions on its back. This bit of cleverness
was to haunt John Dee for the rest of h life.
Dee's stagecraft may seem trivial today, but the special efects of
the modern cinema have left us jaded. This was not the case in the
mid-sixteenth century. Audiences were unsophisticated. Stage plays
* Sme tng nevr cnge.
68 AGEL MGIC
had only the simplest of props. Dee's audience had never seen any
thing like his fying scarab before. Rather than assuming that it was
simply done with wires and mirrors, Dee's contemporaries believed
that he must have used some form of Angel Magic to accomplish this
unheard-of feat.
Even though it was thirty y ears before he took up the practice of
Angel Magic seriously, Dee was already a wizard in the minds of his
contemporaries. He was never able to shed this judgment, and per
hapt it may have infuenced Dee to actually take up the practice of
Angel Magic. Having been accused of it so long, he may have con
cluded that he might as well be guilty in earnest.
THE CELEBRTED ScHoL
The fying scarab incident made Dee even less popular at Cambridge,
and he did not stay there long. Dee had been translating the works of
Euclid and was asked to lecture on the subject at the University of
Louvaine. Probably to Dee's surprise, his lectures were extremely well
received. His work had been virtually ignored at Cambridge, but it
quickly attracted the attention of the dukes of Mantua and Medina.
Dee traveled on to Paris where his lectures were instantly popular. Stu
dents crwded around the doors of the University to hear him speak.
Today, it is diffcult for us to imagine how a series of lectures on
Euclid could have generated so much interest. We tend to think of
scholars and scholarly research as bone-dry boring, but in Dee's time
people got excited about ideas, and students were fully capable of
fgting and even killing eac other during arguments about religion
and philosophy.
TH
Dee's views of Euclid rl
revolutionary. Dee used
learning and the science a
matic. 2 This was a ver di
church, which tended to
from secular knowledge.
revealed truth and that s
When Dee returned to
found himself to be som
young King Edward (Hen
Dee that he awarded h a
The awarding of this pen1
sidered the greatest schola
It is likely at this time
indeed he had not met he
This brings up an inte
his mind, have once ente
This is not as far-fetched a-"
* Te term "science" w not u i
concept of knoled t i n
l
tan assuming that it was
's contemporaries believed
Magic to accomplish this
he took up the practice of
a ward in the minds of his
se this judgment, and per
llou take up the practice of
it so long, he may have con-
les popular at Cambridge,
be n translating the works of
subject at the University of
lees were extremely well-
, iored at Cambridge, but it
of Mantua and Medina.
were instantly popular. Stu
Uerity to hear him speak.
how a series of lectures on
iteret. We tend to think of
- bring, but in Dee's time
dents were fully capable of
. It aguments about religion
THE MKNG OF A ANGE MGUS
Dee's views of Euclid received massive attention because they were
revolutionary. Dee used Euclid's work to explain that al branches of
learning and the sciences are interrelated and tied together by mathe
matics. 2 This was a very diferent viewpoint than that of the Medieval
church, which tended to believe that divine knowledge was separate
from secular knowledge. The traditional view held that theology was
revealed truth and that secular science* was somehow suspect. Dee's
idea made it possible to combine theology and science into a com
plete and integrated system.
When Dee returned to England from his triumphs in Paris, he
found himself to be something of a celebrity. He was received by
young King Edward {Henry having died), who was so impressed with
Dee that he awarded him a pension of one hundred crowns per year. t
The awarding of this pension was royal recognition that Dee was con
sidered the greatest scolar in the England of his time.
It is likely at this time that Dee met the then-princess Elizabeth, if
indeed he had not met her when he was a young boy. She was only a
few years younger than Dee, attractively nubile and very studious. If
they met at this age, it is possible that Dee developed a crush on the
young princess. Or perhaps it wa the oter way aound. I any c,
there was an undeniable afection beteen the to of tem tat lated
the whole of their long live.
This brings up an interesting quetion. Coud Dee, in te back of
his mind, have once entertained the notion of mar g Elizabeth?
This is not as far-fetched as it seems. At the tme, Ebeth was con
sidered a bastard unlikely to ever ascend to the throne and Dee had
* The term "science" w not used in De's tme. I u it her bu it best approximates the
concept of knowledge that i not part of theologc ston.
t To put this into perspectiv, a entir fmily culd liv quite wl on a fction of this amount.
70 AGEL MGIC
some traces of royal blood in him. Whatever the case, Elizabeth never
abandoned Dee over the long period of their association-even when
he became unpopular with her subjects-and Dee never abandoned
Elizabeth, considering her his ultimate patron, even when he was trav
eling far abroad.
Still, the days of Queen Elizabeth's reign were far away. King
Edward did not live long and was succeeded, not by Elizabeth, but by
Mar, the daughter of Henry's frt wife. At frst, the change of royalt
did not afect Dee; however, when Mary committed herself to the
suppression of the Protestant heresy, Dee's work immediately fell
under suspicion. Dee was caught writing letters to Elizabeth's servants
and soon found himself imprisoned on charges of trying to kill Queen
Mary through the use of enchantment.
Dee was eventually cleared of heresy, and the experience did not
appear to have greatly afected his dedication to learning, because he
soon afterwards presented a petition to the Queen, requesting her
cooperation in a plan for preserving and recovering certain monu
ments of classical antiquit.
One of Dee's main interests at this time was astrolog When Mary
died and Elizabeth ascended the throne, her fvorite, Robert Dudley,
commissioned Dee to select the most auspicious day for her corona
tion. This was just the first of many indications of Elizabeth' s
friendship toward Dee. In 1571, when Dee was ill in France, Eliza
beth sent two of her personal physicians to help him get better. She
also visited him at his home in Mordack, where she enjoyed examin
ing his library and the scientifc instruments and curiosities that he
had collected over the years.
Dee fourished under Elizabeth's patronage. He collected an enor
mous library of fve thousand books and manuscripts, a collection
that makes up the core of
gation and ge ogra phy,
Elizabeth's claim to be te
Iceland. A number of
one of the treasures of her
i
ar the case, Elizabeth neer
teir association-even when
and Dee never abandoned
's reign were far away. King
e, not by Elizabeth, but by
At frst, the change of royalty
committed herself to the
Dee's work immediately fell
letters to Elizabeths servants
cges of trying to kl Queen
and the experience did not
ton to learning, because he
to the Queen, requesting her
ad recovering certain monu-
. te was astrology. Wen Mary
her fvorite, Robert Dudley,
apicious day for her corona
y indications of Elizabeth's
Dee was ill in France, Eliza-
to help him get better. She
where she enjoyed examin
ents and curiosities that he
n. He collected an enor
ad manuscripts, a collection
THE MKNG OF A ANGEL MGUS
71
that makes up the core of today's British Library. He delved into navi
gation and geography, and used historical research to defend
Elizabeth's claim to be the ruler of various parts of the globe, such as
Iceland. A number of emperors and princes offered him patronage,
which he refused, being happy in Elizabeth's service. The Russian
Czar offered Dee two thousand pounds a year if he would move to
Moscow. He was the most respected scholar of his day, basking in the
attention of a Queen who thought highly of him and treated him as
one of the treasures of her realm.
FIGUR 18. DocToR JoHN DEE3
72 AGEL MGIC
THE MGIC BEGINS
When Dee approached his fies, however, he was seized by a strange
malaise. Today, I suppose we would have said that he had a mid-life
crisis. He became dissatisfed with al that he had learned. He wanted
to discover the secrets of nature, the philosopher's stone, and the elixir
of life. He wanted to build machines that could fy through the air or
beneath the se. He wanted to be able to communicate with people
immediately, even thoug they were many miles away. In short, Dee
wanted to bring into the world all the technological marvels that we
take for granted today. It was this quest for what he called "radical
knowledge" that brought Dee to the practice of Angel Magic.
The notion that technological breakthroughs could result from
communicating with Angels seems odd to the modern mind. To Dee,
however, the concept had al the force of logic. Dee, unlike a modern
scientist, did not see human knowledge as something that was grow
ing and changing as people learned more and more about the
universe. Dee and his contemporaries didn't think of human history
in term of progress, but in terms of rediscovery.
The men and women of the Rnaissance were in awe of the majesty
of the past. They looked back at the glorious ruins and literature of
Egypt, Greece, and Rome and compared them unfavorably with the
products of their contemporary culture. Dee considered Adam-the
frst human-to be the perfect scientist, the ultimate repository of all
human wisdom. Furthermore, Dee had a deep respect for the prophets
of the Old Testament, who had received knowledge directly from God
or indirectly through intermediary Angels. Because Dee believed that
al knowledge existed in its purest form inside the mind of God, Angel
Magic seemed a convenient method for extracting that knowledge. In
Having committed h
obtained a number of df
tions and receive ar
Two of Dee's stone c b
number of other stone a
scryer named Saul on D
Anael into a "Christaline
A conversation then r1
partly in Latin, partly i
At the end of the session,
named Annael (rather t
self to be sacred to the p.
only because it is the ee"
, he w seized by a strange
sd that he had a mid-life
IIIpher's stone, and the eliir
culd fy through the air or
to communicate with people
Jy mile away. In short, Dee
tnological marvels that we
for what he called "radical
c of Angel Magic.
. ... roughs could result from
t the moder mind. To Dee,
; of logc Dee, unlike a modern
a something that was grow
more and more about the
dd't think of human history
e
ry.
. ne were in awe of the majesty
rious ruins and literature of
tem unfvorably with the
De considered Adam-the
te ultimate repository of all
a de p repect for the prophets
koledge directly from God
Buse Dee believed that
id the mind of God, Angel
cg that knowledge. In
THE MG OF A AGEL MGUS
73
short, Dee thought that he could use Angel Magic to reestablish the
power and wisdom that the acient had so obviously possessed.
Having committed himself to the practice of Angel Magic, Dee
obtained a number of diferent stones and crystals for this purpose.
Using these stones, the obserer could hold conversations, ask ques
tions and receive answers fom the Agels that appeared in the mirror.
Two of Dee's stones c b sen toay in the British Museum: a black
ony mirror about eight inche acos, and a crystal ball of about two
inches in diameter. Based upon his diary, it is likely that he used a
number of other stone as well.
Dee's records of his frst erments still survive. Working with a
scryer named Saul on December 22, 1581, Dee conjured the Angel
Anael into a "Christaline Globe."
Saul, looking into my stone to sp Al saw one which
amwered to that name. But beng eary rquestd to tel
the tuth i he reall were Anl ant d appear ver
beautil, with yellw appa"el that gtd lke gl He
had star beams blazing and spreading fom his ees. He
wrote in the stone many Hebrew ltof tlgl
which Saul was not abl to read so that I cm nt wt
them down. A bright star did go rght d b him an
many other visiom appeared ... 4
A conversation then resulted between Dee and Ae, conducted
partly in Latin, partly in English, with a few smatter of Hebre.
At the end of the session, Dee notes that the bright Agel wa actually
named Annael {rather than Anael) and that the Ae declared him
self to be sacred to the planet Venus. This session is interesting not
only because it is the earliest in Dee's records, but it is also shows that
74
AGEL MGIC
Dee was perfectly capable of getting impressive results without his
most famous scryer Edward Kelly. In fact, it is difcult to fnd major
diferences between Dee's scrying session with Kelly and those with
other scryers. However, we have far more records of Kelly's scrying
than of any of the others.
During these ceremonie, the Angels would sometimes show them
selves on the surface of the stone, and sometimes in diferent parts of
the room by vinue of the action of the stone. Only the scryer could see
the Angels and her their voices, and was required to have his eyes and
his e thus engaged throughout the ceremony This meant that there
had to b two people present: the scryer and the someone to read the
prayers and incntations and write down what the scryer dictated.
Edward Talbot replaced Saul as Dee's scryer, although in Dee's
diaries it is not exactly clear whether Edward Talbot was actually
someone else, or Edward Kelly under an assumed name. Elias Ash
mole, who preserved and copied most of Dee's manuscripts, suggests
that Talbot and Kelly may have been diferent people. Ashmole notes
in his copy of Dee's magical diary:
E T was unwilling to serve as scryer any frther because
Michael willd him to marr and it is probable that he le
afer ... Tlbot went away .om Mortlack and deserted his
emplment .... Kell had been emploed a screr sometime
bere the said fling out. 5
In any case, the name Talbot soon disappeared from the diaries.
Dee settled down into a productive period of Angel Magic with
Edward Kelly, who was to become the most famous of his scryers.
TH
Edward Kelly remains
through Dee's eyes and h
tory has cast him in the r'
credulous Dee. This vie i
A number of unsavory
According to one sourc, wl
forgery, brought to trial, O
truth of this story has be
never have been received a
was some years later, h b
tent rumor is that prior t
corpse and used incantaton
diet future events. This i
attached itself to Kelly. No
to have survived.
charming when he wante m'
ofen unpredictable in h
leave Dee, usually on the .
actually devils in disg
Whatever Kelly's true n
from Dee. Dee was a gn
royalty. Kelly was at the v
this, it is clear from De's
more than that of mater a
tion and concern for Kell's
his friendship and loyalt t
well and had a very close
experienced numerous al
it all maintained a reson
I
I
f
E
ressive results without his
it is difcult to fnd major
with Kelly and those with
re records of Kelly's scrying
metmes in diferent parts of
ne. Only the scryer could see
ruired to have his eyes and
ony. This meant that there
and the someone to read the
wat the scryerdictated.
's scryer, although in Dee's
Edward Talbot was actually
'of Dee's manuscripts, suggests
rnt people. Ashmole notes
any frther because
i i prbabl that he le
lck and deserted his
- a screr sometime
dppeared from the diaries.
. priod of Angel Magic with
_nt fmous of his scryers.
THE MKNG OF A ANGEL MGUS
75
Edward Kelly remains something of an enigma. We see him only
through Dee's eyes and have no other record of his experiences. His
tory has cast him in the role of a charlatan who preyed upon the
credulous Dee. This view is oversimplistic.
A number of unsavory rumors have clung to Kelly over the years.
According to one source, when he was a young man he was accused of
forgery, brought to trial, convicted, and lost his ears in the pillory. The
truth of this story has been questioned on the grounds that he would
never have been received at the court of the German Emperor, as he
was some years later, had he sufered this mutilation. Another persis
tent rumor is that prior to being employed by Dee, he had dug up a
corpse and used incantations to cause it to answer questions and pre
dict fture events. This is probably just an item of folklore that has
attached itself to Kelly No eyewitness accounts of such an event seem
to have survived.
Dee's diary reveals Kelly to be a higly colorfl personality Extremely
charming when he wanted to be, he also had a violent streak and was
ofen unpredictable in his daily behavior. He fequently threatened to
leave Dee, usually on the grounds that he believed Dee's Angels were
actually devils in disguise.
Whatever Kelly's true nature, he was, by all account, very diferent
from Dee. Dee was a gentleman with an unspotted life, honored by
royalty. Kelly was at the very least somewhat of a scoundrel. Depite
this, it is clear from Dee's records that their relationship was much
more than that of master and servant. Dee shows an undeniable afec
tion and concern for Kelly's welfare, while Kelly fequently protests
his friendship and loyalty to Dee. The two of them got along tolerably
well and had a very close association that lasted many years. They
experienced numerous adventures and trouble5 together, and through
it all maintained a reasonable level of camaraderie and friendship.
76 AGE MGIC
One of the frst things that Dee and Kelly attempted together was
an exploratory jourey to the celebrated ruins of Glastonbury Abbey
in Somersetshire. Here they believed that they had, by accident,
located a small vial of the fabled "elixir of life"-the precious alchemi
cal substance said to cure all diseases, prolong life, and turn lead into
silver or gold. The vial was supposed to have dated from the time of
Saint Dunstan in the tenth century. 6 While they were exceedingly
pleased at t discovery, they didn't discover how to use the substance
for some time aferard.
Dee and Kelly continued their experiments for years, conjuring
variou A into stones and recording their actions and utterances.
Dee's diaries reveal that the Angels with whom they spoke were
arranged into a complex hierarchy, with lesser Angels on the bottom
and the more powerfl Angels on the top. It required a diferent set of
ceremonie and sigils to conjure and control the Angels at eac level,
the formula for which could only be obtained from the Angels at the
next level down. It was like a complicated bureaucracy, where the
Magus had to learn and master the lesser ofcials before he could be
admitted to the presence of the greater and more powerfl ofcials.
At frst, Dee employed rituals from an unidentifed Magical text,
probably something adapted from the fourth book of De Occulta
Philsophia. A the workings continued, this basic system was embell
ished both by Dee's cabalistic elaborations and by magical material
dictated by the Angels. Dee was an Anglican with Catholic leanings,
and his Christianity is revealed in the many prayers that occur during
the communications. Dee undoubtedly perceived his ritual system as
holy rather than profane. Nevertheless, Dee's ritual system was with
out some of the trapping usually associated with Christianized Angel
Magic: There was no performance of the Mass, and there is no record
of a Magcal circle.
acrostic designs had ben
scryer would g into a u I
Through this process, t0
Magic, sacred to the A
Dee called the "Mystical
fully-realized and complet
which Dee is most famou.
While still in England, Dee
Polish nobleman, Lord P
attention. Lask, however,
and instead wanted to mee
Leicester was only too h
Morclack by sailing up the
was fascinated by Dee and
convinced Dee to admit h
uals, from which the rest of
Lask ofered Dee his pato
tory inside of Poland.
Klly attempted together w
r of Glastonbury Abbey
that they had, by accident,
of life"-the precious alchemi
plong life, and turn lead into
t have dated from the time of
6 While they were exceedingly
er how to use the substance
riments for years, conjuring
their actions and utterances.
with whom they spoke were
les er Angels on the bottom
1. It required a diferent set of
. mntol the Angels at each level,
otined from the Angels at the
ted bureaucracy, where the
ofcials before he could be
a unidentifed Magical text,
e fourth book of De Occulta
t basic system was embell
. on and by magical material
c with Catholic leaning,
Jy prayers that occur during
prceived his ritual system as
De' s ritual system was with
l
l:n with Christianized Angel
t Ms, and there is no record
THE MNG OF A ANGEL MGUS
77
The rituals began with Dee and the scryer sitting at a table, separated
from the floor by cabalistic tablets upon which a complex series of
acrostic designs had been written. Afer a few preliminary prayers, the
scryer would g into a crystal while Dee recorded what the scryer saw.
Through this process, the Angels frst revealed a new system of
Magic, sacred to the Angels of the seven planets. This system, which
Dee called the "Mystical Heptarchy" was only a prelude to the more
fully-realized and complete system of Enochian Angel Magic for
whic Dee is most famous.
'"
VoYAGE TO CRcow
While still in England, Dee and Kelly were visited by Albert Lask, a
Polish nobleman, Lord Palatine of the principality of Siradia. Lasky
came to England to acquaint himself with the glories of the reign of
Elizabeth. The queen and her favorite, the Earl of Leicester, received
Lasky with every courtesy and attention. Having shown him all the
wonders of her court at Wetminster and Greenwic, she sent h to
Oxford, with a command to the heads of college to pay him every
attention. Lask, however, was disappointed at what he found there,
and instead wanted to meet the fmous Doctor De.
Leicester was only too happy to comply and brought Lsky to
Mortlack by sailing up the Thames on Elizbeth's private barge. Lsk
was fascinated by Dee and even more fascinated by what he could
learn about Dee's experiments. Aer two or three interviews, Lasky
convinced Dee to admit him as a third pa to their Agel Magic rit
uals, from which the rest of the world had been careflly excluded.
Lask ofered Dee his patronage, if Dee woud move to Lask's terri
tory inside of Poland.
78 AGE MGIC
Dee at frst was hesitant. While he was beginning to feel that he
had a number of enemies at Elizabeths court, he was not at a time in
his life when it would be easy to move away from his home and the
connections and friendships of a lifetime. The Angels, however, were
fond of Lask. They told Dee that Lask should shortly become king
of Poland and several other kingdoms, that he should overcome many
armies of Saracens and Pagans, and prove a mighty conqueror. The
Angels insisted and Dee fnally caved in.
Despite the Angels' confdence, Lask had a somewhat question
able character. While he was certainly intelligent, he was not
particularly reliable. He possessed extensive lands in Poland, but still
had to borrow money to make ends meet during his trip. Some of
thee debts he failed to pay before leaving England. The frst time that
Dee had reason to question his decision to accept Lasky's patronage
happened as soon as they crossed the English channel. Lask, lacking
the fnds to support Dee's entourage, quickly rented a carriage for
himself and his servant and merely instructed Dee and his party to
follow as quickly as they could. Luckily, Elizabeth had given Dee a
presnt of some money before they left, which allowed Dee, Kelly,
their"wives, and servants to make the journey at Dee's own expense.
The trip was neither easy nor pleasant. At one point, the rigging in
Dee's ship became entangled and they collided with another ship,
almost capsizing the both of them. At another point, the party was
forced to cross a river on the ice because the bridge had fallen down.
The fnally ended up in Cracow, where Lask kept a house. There, Dee
and Kelly spent a great deal of time in alchemical experiments, trying to
discover the usage of the elixir that they had found at Glastonbury.
They also conducted many Angel Magic ceremonies with Lasky
present. The Angels made many predictions of wealth, fame, and
glory for their patron. Non
and Lasky soon began to
promises. Not so Dee. He
Angelic communication
new stage. They had b
reputed to be the most
cu he was not at a time in
ay fom his home and the
The Angels, however, were
should shortly become king
tt he should overcome many
a mighty conqueror. The
-J intelligent, he was not
-.a, .. lands in Poland, but still
Ine at Dee's own expense.
A one point, the riging in
collided with another ship,
aother point, the party was
the bridge had fallen down.
L kept a house. There, Dee
THE MNG OF A ANGEL MGUS
79
glory for their patron. None of these predictions came true, however,
and Lasky soon began to tire of the endless string of unfulflled
promises. Not so Dee. He was more fascinated than ever by the
Angelic communications, especially since they had entered an entirely
new stage. They had begun to reveal Enochian Angel Magic, today
reputed to be the most powerfl ever revealed to mankind.
jAcoB's LooER
uring one of - .
Kelly tol De
on a magtc s1
seen before.
.
5
The
A
g
elic Ke
y
s
uring one of their Angel Magic ceremonies in Cracow,
Kelly tol Dee that the Angels were tapping out letters
on a magic square.
[The angel hath a rod or wand in hi hand .. it is of Gol
... He standeth upon his round tbl of Chrstal or rather
Mother of Pearl: There appear an infnite numbe of l
ters on the same, as thick as can stand b another ... He
standeth and pointeth with his rod to the lmers of his
Tble, as i he made some account or reckoning.1
This had happened once before in England, rultng i a ggntic
collection of mysterious tables that the Agls attbut to te prphet
Enoch. Dee at first thought that they were abut to ri mor of the
same, but he was pleasantly surprised. Rther t cmple tables, the
Angels dictated what appeared to be a set of conjurtions in a foreign
language which Dee-although a consummate linguist-had never
seen before.
8r
82 AGEL MGIC
THE AGELIC LGUAGE*
Dee was asked to prepare a book in which the Angelic conjurations
would be written. The procedure was laborious and diffcult, and
apparently confsing to both Dee and Kelly. Nevertheless, they con
tinued to record this bizarre information, eventually receiving an
entire collection. Accompanying the conjurations were a number of
magical squares said to be of vast potency, a hierarchical arrangement
of spirits who reponedly understood the conjurations, and the names
of thirty "Aires," or "planes of existence" in which the Angels were
said to "dwell."
The strange language was called, somewhat unimaginatively,
'gelic." The Angels told Dee that it was the original language that
Adam had spoken in the garden of Eden and that Hebrew was merely
a degenerate form of it. This made Dee very excited because he knew
that divine names control Angels, and the most powerfl conjurations
always contained Hebrew words, or at least words that sounded like
Hebrew. Take, for example, this conjuration from the grimoires the
Ke of Solmon:
Sceaboles arbaron elohi elimigith herenobulcule methe
baluth timayal vilaquiel teveni yevie, frete bachuhaba
guvarin ... Almiras cheros maitor tangedem transidim
suvantos baelios bored belmith catmi dbuel ... Saturiel
harchiel daniel beneil assimonem ... Metatron melekh
beroth noth venibbeth mach.
2t
* A condensed version of t capter appeared in my earlier wrk The Enochin Magck of Doc
tor fohn Dee. This version differs in that it provides more detail and represents a more
balanced account of the possible sources for the Angelic language.
t I've formatted and excerpted the Solomonic material to emphasiz the similarit.
words that are recogl
there had been so many w
become indecipherable. T
Dee's "discovery" of
meant he could restore the
nal and most powerful fo
supposed to be the puret ,
which Adam conversed wt
.
.
.
it to control the very hige
The Angelic language w
of conjurations. The An
(keys)-an obvious refere;cl
connection between the
were dictating. On the Su
lows, were similar to the c.
Hoath !aid. 3
Unlike the Solomonic e.
English translation, whic
ple, the Angelic key given
the Angelic conjurations
laborious and difcult, and
Klly. Nevertheless, they con
_.u,,., eventually receiving an
urations were a number of
a hierarchical arrangement
cnjurations, and the names
in which the Angels were
somewhat unimaginatively,
w the original language that
and that Hebrew was merely
ver excited because he knew
most powerfl conjurations
lest words that sounded like
tJon from the grimoires the
hrnobulcule methe
yni. frete bachuhaba
tangedem transidim
;tTi' dbuel ... Saturiel
-. . . Metatron melekh
wr Th( Enochin Magck of Doc
mor detail and re
p
resents a more
m ehi the similarity.
THE AGELIC Ks
While the Hebrew in the conjuration is doggerel, it contains some
words that are recognizable: "elohi," "Saturiel," and "melekh," however,
there had been so many copyist error that the origina conjurtion has
become indecipherable. The same was true in Dee's day.
Dee's "discovery" of Angelic flled him with excitement because it
meant he could restore the conjurations of Angel Magic to their origi
nal and most powerful forn. Because the Angelic language was
supposed to be the purest form of language-the very language with
which Adam conversed with God-Dee felt certain that he could use
it to control the very highet Angels in the heavenly hierarchy.
The Angelic language was conveniendy dictated in the form of a set
of conjurations. The Angels called these conjuration "Claves"
(keys)-an obvious reference to the Ke of Solmon, illustrating the
connection between the grimoires and the material that the Angels
were dictating. On the surface, the Angelic key, l the one that fol
lows, were similar to the conjurations i the K ofSlmon:
Olson[ vorsg, goho lad bait lnsh cal vonpho, sobra z-ol
ror i ta nazpsad Gra ta Malrg d hol-q Qi notha zm
Od commah ta nobloh zien: Soba thil gnonp pr ali Ds
urbs obileh grsam: Casdrm ohorela cabd pir Ds znrmsg
cab erm ]adnah: Pi'h frzm znrz adnd gono Idpil Ds
hom th Soba !am Lu limis Ds !hil ve zm Poam
od boga aii ta piap piamos od vaooan ZC c-a od
ZAMRN odo cicle Qid zorge, lap zirdo noco MAD
Hoath !aid. 3
Unlike the Solomonic conjuration, the Angelic key had a complete
English translation, which the Angels dictated separately. For exam
ple, the Angelic key given above translates to:
84
AGEL MGIC
I rayge over you sayeth the God of justce in powre ealted
above the frament of wrath: in Whose hand the Sonne
is as a sword, and the Moon as a through-thrusting fre
which meaurth your garent in the mydt of my vestures,
and tussed you togeher a the palms of my hand: Whose
seat I garihed with the fr of gathering and beautfed
your garment with amiraton, to whom I made a lw to
gover the hol ones, and dlivered you a rod with the ark
of knowld. Moreover you lied up your voyces and sware
obedience and fith to him that liveth and triumpheth,
whose begnning i not nor ende can not be, which shneth
as a fame in the myddst of your palace and rayngneth
amongst you as the balance of righteousnes, and truth:
Move therre, and shew yourselves: open the Mysteries of
your Creation: Be fendl unto me: fr I am the servant of
the same your God: the tue Wrshiper of the Highest. 4
What is most interesting about this translation is that it bears very
little resemblance to the colloquial conjurations. in the grimoires. Gone
are the lists of Hebraic names of God. The word YHVH does not
ap
pear at al in the Angelic Keys; instead there are curious new names
for God, like Madildr (literally "the God of stretch-forth and con
quer"). Gone are the cittions to Saint and the traditional Angels like
Michael. Instead, there are tantalizing references to beings like "the
spirits of the 4th angle" and "the thunderers of wrath and judgement."
Furthermore, the structure of the Angdic Keys are diferent from
the structure of the grimoires. Rather than an elaborate series of alter
nating threats and supplications, the Angelic Keys are simple
statements of the power and offce of the spirits and a request that
they ap
pear. Even the name Satan is missing from the Angelic Keys,
replaced by the chilling Telocvovim ("death-dragon").
It is surprising that t
Renaissance Angel Ma
the medieval grimoires a
Heptarchical system-di
much more typical, being
d'Abano, a work that had
The Angelic language i
reasons as well. Angelic do
able to the human voc st
said that the Angels pointe
speaking the words aloud.
language does have it ow
tion of the Keys reveals a n
Angelic verbs ae U
in powre ealted
Wou hand the Sonne
through-thrusting fire
1 mydt of my vestres,
of my hand: Whose
rt nc. and beautfed
whom made a lw to
g a rod with the ark
a yur voces and sware
lveth and triumpheth,
not be, which shyneth
nnu,
and rayngneth
and truth:
open the Mysteries of
am the servant of
Wof the Highest. 4
-uu1 in the grimoires. Gone
The word YHVH does not
tere are curious new names
G of stretch-forth and con
ad the traditional Agels like
rferences to beings like "the
of wrath and judgement."
AG8LMGiC
PLETARY SIGNATURES
These signatures probably contain the names of angels coded into mag
ical alphabet and ciphers. Due to repeated cpying fom manuscript to
manuscript, it is no longer possible to decipher much of the original
names, een with a complete collection of magicl alphabet. The indi
vidua lines shown in Figure Z come fom a vriety of sources:
Line J ufom an acient Arabic manuscript. 1
Lines Z through 9 are from an unpublished manuscript
attibuted to Cardanus. 2
Line 9throug are fom a work attributed to Trithemeus.3
Line o is from an unpublished sixteenth century Latin
manuscript.4
Line V is from the Heptameron. 5
Line J is from the French Ke ofSolmon.6
Line JJ is from Agrippa.?
:
3 <
~ m
l 7 +
.
.
"
f
-
::
E
J
''
=
-
' ;
.
=
4
... -
t
-
-
.
-
"
>
t
..
m
" "
r
=
t
i
L .
E * J
A
+
P
:
.
i l
'
: 1 H
i
l
J
-
- ( C N.
APPEDI
1
55
anth century Latin
I 56
AGEL MGIC
SEALS OF THE PLANETAY AGELS
These seals are from an unpublished Greek manuscript. They appear
to be monogram talismans constructed from Angelic names tran
scribed into Angel Magic alphabets such a those given in Figures 32
and 35.
@{
@@
@
08
i
@
@(
AGELS
mucript. They appear
fm Agelic names tran
to given in Figures 32
APPENDI
1
5
7
@@
@@-"
@S
V
@@(@o
N
!
0@@
@@
@@
158 AGEL MGIC
MGIC SQUAES OF THE PLETS
Thee are the pletay tables given by the renaissance magician Cor
nelius Agrippa. Ech table is supposed to be sacred to a particular
planet and thu ale to control the angels whose characters are aligned
with that planet iuence. 8
FIG
i
l
magician Cor
scred to a
p
articular
caracters are aligned
r
r
APPENDI
1
5
9
4 9 2
3 5 7
8 I 6
FIGUR 25. SQUAR OF SATUR
4 14 I5 I
9 7 6 I2
5 11 10 8
16 2 3 13
FIGUR 26. SQUAR oF JuPIER
I1 24 7 20 3
4 I2 25 8 16
I7 5 I3 2I 9
IO I8 I 14 22
23 6 I9 2 15
FIGUR 27. SQUAR OF M
160 AGE MGIC
6 32 3 34 35 1
7 11 27
28 8 30
19
14 16
15 23 24
18 20 22
21 17 13
25 29 10 9 26 12
36 5 33 4 2 31
FIGUR 2. SQUAE OF SoL
22 47 16
5 23 43
30 6 24
13 31 7
38 14 32
21 39 8
46 15 40
41
17
49
25
1
33
9
10 35
42 11
18 36
43 19
26 44
2 27
34 3
' - -
FIGUR 29. SQUAE OF VENUS
4
29
12
37
20
45
28
:,
8 58 S9
49 IS 14
41 23 2
32 34
3S
40 26 2
17 47 4
9 35 S
6 2 3
FIGURJ
'
:
37 78 29
6 38 79
47 7 39
67 27 59
1
36 68 19
APENDI
161
8 58 59 3 4 62 63 1
49 15 14 52 53 11 10 56
41 23 22 44 45 19 18 48
32
}
4 35 29 28 38 39 25
40 26 27 37 36 30 31 33
17 47 46 20 21 43 42 24
9 35 54 12 13 51 50 16
6 2 3 61 60 6 7 57
FIGURE 30. SQUARE OF MERCURY
37 78 29 70 21 62 13 54 5
6 38 79 30 71 22 63 14 46
47 7 39 80 31 72 23 55 15
16 48 8 40 81 32 64 24 56
57 17 49 9 41 73 33 65 25
26 58 18 50 I 42 74 34 66
67 27 59 10 51 2 43 75 35
36 68 19 60 11 52 3 4 76
77 28 69 20 61 12 53 4 45
FIGURE 31. SQUAE oF TE MoN
162 AGEL MGIC
ANGEL MGIC ALPHETS
The alphabets and characters that follow are taken from diverse
sources. In some cases, the letters had to be reconstructed where a page
had been torn or destroyed by time. These alphabets may be used to
translate magical naes on talismans, or c befed by the practicing
magician to encode new taismans. Note that the numbers along the
top are used to identif the aphabet, while the numbers in columns
(when given) reprent the numerical vaues of the various letters.
Figure 32 represents a set of interrelated Hebraic magical ciphers
taken fom European magical texts. In some cases they may represent
degenerate forms of Hebrew rather than intentional cipher codes.
1. The Characters of Celestial Writing9
2. Untitled Hebraic Script10
3 "Passing the River"u
4. The Malachim 1
2
5. Untitled13
6. Untitled14
7. Unticled15
8 Unticled16
9. Untitled17
.,j
I
'
1
1
I
K X r
I
: 3 X
,.,
I
o a
, .
l
1
-
,
i 1
le
, r
l
e.
'
r I t
n n E
!..
0
u W
0
.
A
:
l
m
-
I
I
,- I
u
1
1
1
;
!
r
a
(
1
7
b t
r:
v ": t
I
I
I!
c
1
m
v 1 U lA
, '
1/
t w 1
lo
J
I
r
"1
;IGUR 32.
l
1
j
te nubers in columns
o te vious letters.
Hebrc magical cip
hers
Q
o-
A
.
PI b.
Q Z
C-
c
`
V
:
"T u -F
`
'
z
T |
Ia
! |
V'|
| E
Jt
|| d
' w
`
!
7
.
^
`
. o .
0
`
: . .
.. I
L U .
V '
O
n
l
L
|
! '
|!
.` VV V ?
O O.
L
T
'
> |
I
W V
`
-.
`
I
Y
1'
1
m
IC
>
. -
V/
CU
'`
`
`V
l
0
J\
\/ V
F =
m
if
r
. X
lode -bbb-
FIGUR 32. EuROPE HEBRIC MGICA APHBETS
164 AGEL MGIC
Figure 33 represents a set of ancient Semitic alphabets that are
related to the magical scripts given in Figure 32. Al of these alphabets
are from the same source.
18
10. Hieroglyphic
11. Hieractic
.
12. Demotc
13. Acet Phoc
14. Nud
15. Ely Hebre
16. Aramaic
17. Estrangelo
18. Palmyrean
19. Kufc
1
"
2
:
3
4
I
5
n
6
,
7
T
8 T
q
1
10
.
.
30
?
iO
50
60
0
70
y
a
qo
s
100
i
20
"
1
.
.:j
'
10 n
l
'-
.
S
,
...
[
t
t,
t
i
1
.
f f,
li
.
.. ..
t.. 4
f -
,
!
""
,.
.
$
l 1
G
' ' .
t l'
R
'
30
r
-
..
o
1
l
FIG
U
_,.
Semitic a|pbabcrsrbararc
32.Aolrbcsca|pbabcts
x
::
O
'
I
,
7
T
T
q
|0
.
4
U
?
10
0
c0
0
7J
!
H0
1
!0
i
-
J
r
7
1
APEDI
I1 ]l !0
I1 I 1 D ta 1q
l
'
-
-
^
r
&
r
.
7
' ' : s
.
, 1 1
A
(
1
"
9
b
U
?
f
'
c
X
J
t
(
'
.
1
i
z |
l
1
)))
R
..
J
a
h
O
0
"
6
1
&
u (
"
)
J
, A
I.
-...
1
.
3
f -
1
/
J
L
l
l
-
L
"
2
l
I:J
-
""
,
.
J
.
J
J
k
D
Z
"
I
8
,
..
L
0 ()
v
y
L
J
J
) 1
=
f
"
J
t 4
u
"
1 p L
'
I
. R
" 1
9
,
'
J
-
"
"" l
w
X J 1
j
f t
Z
f
'
J
J
FIGUR 33 SEMmc MGIC APHETs
166 AGEL MGIC
Figure 34 presents a set of miscellaneous Hebraic scripts that
appred in Europe. Alphabets 22 and 23 are actually of Middle East
em origin and are proved to show a contrast with Alphabets 24 and 25.
20. Old Hellenic (pre-Christian)19
21. Old Italic (pre-Christian)20
22. Samaritan21
23. Syrian22
24. Te Alphabt of the Magi23
25. Mac Alphabet (evidendy a form of Syrian)24
26. Degenerate form of Hebrew found an eleventh century
European manuscript. 25
Hebraic scripts that
aly of Middle Eat
Aphabet 24 and 25.
APPENDI
20 21 l' 2 l' 25 2&
4
m
.
1
'
z
2
j
1
7
*
C
.
A
'
T
'
.
?
)
i 3
0
T
T
F
=
0
. Q
"
T
I
I
1
" j
T
E B
B
..
<
3
l
0 0
v
"
!
b
T
.
'
r .
c
I
..
k
-
"
C
y
?
1
/
'.
z
0
M 1
)
I
)
l
f N
;
\
: s
-
f
t
.
9
y
0 0 \ \
T
v
l
1 1
: .:
IS
2 t
i
v
i
9
9
r ..
Z
c
p
,
9
p
.
I
2 "
'
f
M M . ..
6
U
,
T
-
A "
6 T
FIGUR 34 HEBRC MGIC APHBETS
168
AGEL MGIC
Figure 35 presents a set of Arabic magical alphabets that were used
to form the monograph talismans found in magical text such a the
Goetia. These alphabets are also related to the alphabets in Figure 23.
All are untitled.26
c pbabctstbatwcrcuscd
i magctcxt sucba tbc
t mcpbabctsin lgurc23.
r
y
O
0
7
j
U
|
'
l
E
\
V
\
/
(
t
j
b
t
APPENDI
f L J 1
'
J/
I
'l
1
/ |x
x
I
V
t
'
0
. \
,
8
J b
1
t
6
V
{
_
J +
XJ t
--
/
X
:
A
m
t -
'
ci..
"
< t
1L
:'
s l
I
'8
t
/1 1
)
o-"
"
o
M
CY
/
(
/ C
v
g.
7
l
>
.1
u
> W) J
1
H
c=
v
/ +'
<
7.
l + A
>
i+
~
D o 7 H
.
'
/
>A A
.
>A /
.
5 A
-
/ V
-
X '
-
/ V
.
? w
.
)
I'
I t
.
X
w
.
.
+
.
t
-
.
L
'
-r '
0
'
f
_
0
f
.
'
-
v
-
-
i
.
1
.
0
T
n
-
F
T
e
01a
-
,
|
r
a
) r b
'
f
!
r
h
. r
w
l
f
z
1
0h
J 1
f0
L
f
I
I 1
f
1
|
G
'
m
1
s
.f
1
a
5
' f
|
'
L
1
k
) l
r
L
'
50
1
'
t
1
l
t
I l
0
l
'
Jb
!
l
m
!
l
zz
! l
1
6
6
7
H
l0
20
30
l0
50
60
70
&0
'O
IX
X
w
1
w
w0
700
N
10
roo
I]O
AGEL MGIC
Figure 36 presents a set of Greek ciphers that are possible survivals
fom traditional Gnostic magical alphabets. Alare untitled. 27
^
U
1
l
Z
U
H
1
.
M
^
'
-
U
U
1
J
Y
9
X
Y
U
' 2
L
k L
L
7
,
A 1
4
w
'
-
{
"
I
I
'
J
.
|
"" I
U
"
.
* 1
1
"
0
-.
1 1
r
:
-
..
'
,
1
'
'
+
P
+
L
l 7
(e that are
p
ossible survivals
" Al are untitled. 27
A
B
r
a
E
z
H
8
I
IK
l
IM
N
T
..
0
n
p
.
T
y
t
X
t
n
APPENDI
1 13'6 6 7&910
C
V -
"
v c
t
6 -
! t
C
I
7 b
n
Sk
K
L
/
r
Y
A /
D
'
\
G
w
d
/
l
.
C 7
c
<
O
-
-
"
1
0 1
r
- ,.
{
t
l|
w
l,|
u
o
` J
0
9 9
+
0
"
C
|
I
"
1 I
I
I
I |
'r
"
| |
.
L ~
)
T -
r
' ^
(
! ! 1
^
J
0
(
*
T
!
7
N
.
Y
1 L Z 7^
I"
|
1
7
" - .
ltl
t
"
=
-
"
0 7
0
X
C
A
c.
0
!\
J
1
\
L
L l O f K
r
8
(
p p
A
t
*
:
: H
0
4 <
A
w
..
Y
T
d
-
T
' "
/
4
,
t
y .
" y
A
-
-
0
,
.
^
4
..' :1
;
A X
l
+ H
X
Y v
L
t
l
t
-
.
7 /
" A 00
A
A
(
FIGUR 36. GREK MGIC AHE
172 AGEL MGIC
Figure 37 gives a set of alphabets that have been adapted to Latin
Script. These alphabets are European in origin and are apparently
unrelated to the other magical alphabets. They may, in some cases,
represent survivals of archaic languages. Note that the Enochian
alphabet does not contain al the possible Latin phonemes.
1. The Theban Alphabet28
2. The Enochian Alphabet29
3. Germanic Rue3
4. Universal Letters of Philosophy and Ethics (eleventh
centu}'1
5. Alphabet oflnctations and Divinations32
6. Untitled Cipher Code (probably a form of Ogham
script.)33
7. Untitled Cipher Code (also probably a form of Ogham
script.}34
hve been adapted to Latin
i origin and are apparently
They may, in some cases,
Note that the Enochian
Lt phonemes.
a form of Ogham
APPENDI
1
7
3
1 23J5 6 7
a
li
1&
f
rl 1
0 `
`d rll
c H f J rill
J 0 C
rllll
e
Y
*
.
rlllll
.
| ^
'
rill Ill
Q N
*
1
rd
h h
b "1111
1
f
I
n
lll
I
*
h
111111
|
"
v
n
lllll
m . f N B
I
ullllll
1
+J
^
rl
0 L
mll
D 1
b
I
I lUI
u U
11011
; 1 &
nrlllll
5
~X
v
rnllllll
t 7 2
JIIIII
v Y 8
7
null
X t
H
X ,a
rmlll
u
M
T
v
nullll
i
1
+Tz
lin IIIII
FIGUR 37 I.NATE AD ENGUSH MIC APHETS
HEuoooaus CsT DoW
CHTER!. I
2. A excellent accou
Joseph Capbell entide
Volume III. (St. Paul:
T T
3. See Carl Jung. The
er Library, 1959), 37-9.
iJ
'
a
5. Sir James George F.
''
t
Ia, 1923), 111: 11.
6. (Traditional attrib
the Occult Philsoph (Si
I
Notes
'
CHTER I. INTRODUCTION TO AGEL MGIC
1. Nancy Gibb. "Angels Among Us," Tm, December 27, 1993.
2. A excellent account of t i found i the recrde lee of
Joseph Campbell entided, "Transformaton of My Tu Tue
Volume III. (St. Paul: Higbridge Publicton).
3. See Carl Jung. The Baic Wrtng ofC G. ]ung (e Yor Mo
ern Library, 1959), 37-96.
4. Strange Stories, Amazing Facts. (New York: Readers Digest,
1976), 376. According to another story, the visions were reported
only afer a fctional piece by Arthur Machen was published.
5. Sir James George Frazer, The Goln Bough. (e York: Macmil
lan, 1923), III: 11.
6. (Traditional attribution) Cornelius Agrippa, The Fourth Book of
the Occult Philsoph (Sine Loco, 1565), 1.
1
7
5
176 .GE MGIC
7. See Frazer, The Golden Bough for details on these and other
eamples.
8. Reginald Scot, The Discoverie ofWitchcraf, (New York: Dover
Publications, 1972), 240.
9. This is slightly edited from Mar maduke Pickthall, trans., The
Koran. {Government Central, Hyderabad-Decca, 1938). In the text,
it's unclear whether God or Adam speaks the sentence beginning "Did
I not tell you . . . . " I have chosen the magical interpretation, which
gives Aam power over the Angels.
10. Scot, 243.
CHER 2. TH SouRcE OF AGEL MGIC
1. Paracelsus, The Archidxes of Magc. {London: Askin, 1975), 36.
2. S. Liddell MacGr egor Mathers, The Key of Solomon the King.
(New York: Weiser, 1972), vii.
3. Ar thur Edward Waite, The Book of Ceremonial Magic. (New
York: University, 1961), 9.
4. Frncois Lnormant, Chalan Magc. (London: Bater, 1877), 17.
5. From Schaf A Dictionar of the Bible (Philadelphia: American
Sunday School, 1880).
6. E. A. Wallis Budge, The God of the Egptans, vol. 1. (New York:
Dover, 1969), 3.
7. Ibid., 216.
8. Ibid., 60.
9. Ibid., 216.
11. Mathers, K of
12. Ibid., 26.
13. Ibid., 92.
14. See Henry A
(Ne York: Doubledy 1
16. Ibid., 30.
17. I Samuel, 28:8.
18. Gaster, 1.
19. Ibid., 28.
21. Gaster, 37.
22. See I Samuel, 16:14.
23. Gaster, 15.
24. Aleister Crowle, t.
25. Mathers, Ke
Mage. (New York: Dover, 1
27. Manly P Hall, Th
Philosophical Rsearch Sl
28. The jerusalem Bibl
1966), 234.
details on these and other
'hcaf, {New York: Dover
te sntence beginning "Did
c interpretation, which
l (Philadelphia: American
NO 177
9. Ibid., 216.
10. The jerualm Bibl (New York: Doubleday, 1966), 1032.
11. Mathers, Ke ofSolmon, 96.
12. Ibid., 26.
13. Ibid., 92.
14. See Henr y Ansgar Kelly, The Devil Demonolg and Wthcaf
(New York: Doubleday, 1968), 70.
15. M. Gaster, The Sword of Moses. (New York: Weiser, 1973}, 37.
16. Ibid., 30.
17. I Samuel, 28:8.
18. Gaster, 1.
19. Ibid., 28.
20. Mathers, Ke ofSolomon, 89.
21. Gaster, 37.
22. See I Samuel, 16:14.
23. Gaster, 15.
24. Aleister Crowley, t., Ge (Chc: Dc, 1916, 52.
25. Mathers, Ke of Solmon, 67.
26. Mathers, trans., The Book of the Sacred Magc of Abramelin the
Mage. (Ne York: Dover, 1975}, 216.
27. Manly P Hall, The Secret Tachings of Al Ages. (Los Angeles:
Philosophical Research Society, 1975), 21-32.
28. The jerusalem Bible, New Tstament. (New York: Doubleday,
1966), 234.
178
AGEL MGIC
29. G. R S. Mead, Fragent of a Faith Forotten. (New York: Uni
versity, 1960), 563.
30. Montague Summers, The Geograph ofWtchcraf. (New Jersey:
Citadel, 1973), 8.
31. Miniature from the Bibl of St. Paul reproduced fom Lost Books
of the Bibl and the Forot Bo k ofE (Ne York: Ls Copeland
Co.: 1930).
32. Clemens Romanu, Rcogitones, Lib. II, cap. 9. Anastasius
Sinaita Quone, Qo 20.
33. Hal, x
3. Bud, Gd of the Egptans, 178.
35. From a pottery jar in the British Museum.
36. Aleister Crowle, ed. and S.L. MacGregor Mathers, trans., The
Book of Goeta of Solmon the King. (Inverness: Society for the Propa
gation of Religious Truth, 1904), illustration facing 38.
37. Ibid., loc. cit.
CHAPTER 3 THE SURVAL OF AGEL MAGIC
1. William of Malmesbury, Lib. II, c. 10.
2. Codex 1761, Nationalbibliothek Wein, 11th Century.
3. Reproduced fom The Lost Books of the Bibl. (Cleveland: Forum
Books, 1963).
4. Gaster, Sword ofMoses,15-16.
5. See Israel Rgardie, How to Make and Ue Tlismans. (New York:
Weiser, 1972).
7. Hellmut Ritter, Ptl
don: Warburg Institute,
Solmon, 1.
8. Mann, Lives of the ,_
9. Wlliam of Malmeb
12. Summers, Geogaph
13. Walter L. Wakefeld,
York: Columbia Universit,
14. Summers, 361.
15. Sloane MSS 2731.
17. Ibid., 57.
19. Eliphas Levi, The
207-211.
20. From the "Triumph
the Campo Santo, Pisa.
21. Ibid., loc. cit.
rruced fom Lost Books
(e York: Lewis Copeland
Lb. II, cap. 9. Anastasius
.. "' Mathers, trans., The
t: Society for the Propa
I
I
&
cing 38.
- u 11t Century.
' Bibl. (Cleeland: Forum
Ue Tlismans. (Ne York:
NoT 1
7
9
6. Rev. Horace K. Mann, The Lives of the Popes, vol. v. (London:
Kegan Paul, 1925), 13.
7. Hellmut Ritter, Picatrix, German translation of Arabic. (Lon
don: Warburg Institute, 1962), foreword. Aso see Mathers, Ke of
Solmon, 1.
8. Mann, Lives of the Popes, 14-15, 22.
9. Wlliam ofMalmesbury, Lib. II, c. 10.
10. Naude, Aolioge ds Grand Hommes Accuses d Magc. Malme
bury, ubi supra.
11. William of Malmesbury, De Gestis Regum Anglorum, vol. 1.
(Majesty's Stationary Ofce, 1887), 203. Also see William Godwin,
The Lives of the Necromancer. (London: Mason, 1834), 231-234.
12. Summers, Geogaph ofWtchcraf 523 .
13. Walter L. Wakefeld, Heresies of the High Middle Ages. (New
York: Columbia University, 1969).
14. Summers, 361.
15. Sloane MSS 2731. Brith Lbra
16. Crowley, trans., Goe 47-8.
17. Ibid., 57.
18. Scot, Discovee ofWthcaf 227.
19. Eliphas Levi, TheHistorofMagc. (NewYork: Weiser, 1973),
207-211.
20. From te "Triumph of Death," ascribed to Francesco Traini in
the Campo Santo, Pisa.
21. Ibid., loc. cit.
22. Summers, Geogaph ofWtchcraf 256.
:I
r8o AGEL MGIC
23. James J. Walsh, The Popes and Science. (Fordham University,
1971), 129.
24. Naude, Aolioge, cap. 17.
25. Biogaphie Universell.
26. Codex Vindobonesis 11313, Imperial Library ofVienna. A ver
sion of this Magcal Calndr attributed to Tycho Brahe, was printed
in 1979 by Adam McLean under the auspices of Magnus Opus Her
metic Sourceworks in Edinburgh, Scotland.
27. Paulus Jovius, Elg Docrm Vrorm, c.1 01
28. Weirus, D Pagi Dnum, Lib. II, c.v. & 11, 12
29. Frac Cx, Th Wckdness of the Magcal Scences. (London,
1561).
30. Scot, Discovee ofWtchcraf 262.
31. Barnet, ed., The Genius of the Earl English Theate. (New York:
Mentor, 1962), 109-110.
CHATER 4 THE MNG OF A ANGEL MGUS
1. A number of passages in this chapter are taken, with some edit
ing, from Godwin's Lives of the Necromancers, an interesting book
published in 1834 and out of print ever since.
2. See Aleen G. Debus, ed., john Dee: The Mathematcal Paece to
the Element ofGeomete of Eucid ofMegara (570). (New York: Sci
ence History Publications,1975).
3. From the frontispiece of Meric Casaubon, A True and Faithfl
Rlton. (London: Akin, 1974).
4. From Sloane MSS 3188.
6. Elias Ashmole,
1652), 481.
c
4. Ibid.
7. Waite, ed., Th
Weiser; 1973), liii.
8. Geofrey James, "
Magck of Docor john De
9. Ibid., 68.
I
10. Peter French, job
(London: Routledge &
11. Casaubon, Tm
12. Ibid., 116.
13. Ibid.
Library ofVienna. Aver
t Tycho Brahe, was printed
. pia of Magnus Opus Her-
a taen, with some edit
-.J . an interesting book
T Mathematcal Paece to
(570). (New York: Sci-
NoT 181
5. Sloane MSS 3677, 23. This is Ashmole's much more readable
copy of Sloane MSS 3188.
6. Elias Ashmole, Theatrum Chemicum Britannicum. (London,
1652), 481.
CHATER 5 THE AGELC KYS
1. Casaubon, True and Faithfl Rlton, 73.
2. Mathers, Ke ofSolmon, 51.
3. From Sloane MSS 3191.
4. Ibid.
5. For more information see Donald Laycock, The Complete
Enochian Dictonar (London: Askin, 1978).
6. Frances Yates, Gordino Brno and the He Tatn (n
don: Routledge and Keg Paul, 1964), 149.
7. Waite, ed., The Aheial Wrtng of Ear Kl {e Yor
Weiser; 1973), liii.
8. Geofrey James, "The Key of the Thirt y Aires," The Enochian
Magck of Docor john Dee. (St. Paul: Llewellyn, 1994), 100.
9. Ibid., 68.
10. Peter French, john Dee: The Wrld of an Elizbethan Magus.
(London: Routledge & Kegan Paul,
i
972), 114.
11. Casaubon, True and Faithfl Rlton, 382.
12. Ibid., 116.
13. Ibid.
182 AGEL MGIC
14. Regardie, The Golden Dawn, vol. iv. (St. Paul: Llewellyn,
1971), 268.
15. Scot, Discoverie ofWtchcraf.
16. Funk and Wgall Encclpedia, vol. 15. Article on Krakow.
17. Casaubon, True and Faithfl Rlton, 158.
18. See "The Secrets of Enoch," The Lost Books of the Bible. (Cleve-
land: Forum Books, 1963), passim.
19. Mead, Fraget, 462.
20. Ibid., 188.
2l.lbid., 487.
22. Ibid., 528, 541.
23. Caubn, Tre and Faithfl Rlton, 88.
24. Med, 471.
25. Ibid., 516.
26. Casaubon, 77.
27. Mead, 523.
28. Laycock, Complete Enochian Dictonar 38.
29. Jean Paul Richter, trans., The Notebooks of Leonard Da Vnci,
vol. ii. (New York: Dover, 1970), 307.
1. Casaubon, 229-230.
3. Casaubon, 280.
4. Ibid., 25.
5. Ibid.
6. Ibid., 19.
10. Waite, Alchemists
1970), 158.
from CompuServe.
13. Yates, The Occ
Routledge and Kegan Pa.
14. Barnet, Erl Eng
the passage understand
15. From Dee's pr
16. Yates, Occul Ph ,,
17. The Compk Plt
bridge: Houghton M
iv. (St. Paul: Llewellyn,
15. Aticle on Krakow.
NO
CHATER 6. THE REsuLT oF DEE's MGIC
1. Casaubon, 229-230.
2. From the frontispiece of Casaubon.
3. Casaubon, 280.
4. Ibid., 25.
5. Ibid.
6. Ibid., 19.
7. Scot, Discovere ofWitchcraf, 183.
8. Godwin, Necromancers, 380.
9. Waite, Alhemical Wrtng, 6.
10. Waite, Alchemists Through The Age s. (New York: Steiner,
1970), 158.
11. Artice on Marlowe, Aan Hetge Eld Re
from CompuSere.
12. French, john Dee, 171.
13. Yates, The Occlt Philsophy in the Elizbethan Age. (ondon:
Routledge and Kegan Paul), 116.
14. Barnet, Earl English Theate. I've done a little editing to make
the passage understandable to the average reader.
15. From Dee's preface to Sloane MSS 3188.
16. Yates, Occult Philsoph 120.
17. The Complete Plys and Poems ofWilliam Shakespeare. (Cam
bridge: Houghton Mifin: 1942), 565.
184 AGEL MGIC
CHTER 7 FARY MGIC
1. Sloane MSS 1727, London: British Museum, 17th Century. A
quoted in Katherine Briggs, An Enccopedia of Fairies. (New York:
Pantheon, 1976), 378.
2. From Richard Bovet's Pannium or the Devils Clste 1684.
Reproduced by Katharine Brigs in A Encclpedia of Faires, 3 5.
3. Sloane.
4. Ahole MSS 1406, Oxford: Bodleian Library, 17th Century.
A quote in Brig, 376.
5. Ibid., lo. ct.
6. Ibid., 377.
7. Scot, Discovere ofWtchcaf, 234.
8. Ibid., loc. cit.
9. Sir Walter Scott, Demonolog and Wtchcraf. (London: Murray,
1830).
10. Robert Rirk, The Sce Commonwealth of Elves, Faun and Faires.
(Macay Stirling, 1691). A quoted in Brigs, Encclopedia, 351.
11. Ibid., loc. cit.
12. John Gregorson Campbell, Wtchcraf and Second Sight in the
Highlnd and Islnd ofScotlnd (Glasgow: MacLehose, 1902), 180.
Weiser, 1972), Chapter 1.
2. See Aleister Crowle,
1973), 362.
j
1. Pseudo-Magriti, The
Institute, 1968).
l
I
2. Cardanus, De Rm "'
Nationalbibliothek Wein, 1
4. Liber lmgnum LTI.
5. Peter d' Apono, Ep
6. Clviculs d Salmon
7. Agrippa, De Occlt
in Barrett, Frances, The
facing second page 64.
J
.
8. See Regardie, Ho t,
9. Barrett, loc. cit.
:
10. Codex Philos. g 1
11. Barrett, loc. cit.
Muu, 17th Century. A
l of Fairies. (New York:
o te Devils Clste 1684.
-dof Faires, 35.
Library, 17th Century.
o Evs, Fauns and Faires.
Eclopedia, 351.
and Second Sight in the
. MacLehose, 1902), 180.
NO
CHPTER 8. ANGEL MGIC AND THE GoLDEN DAW
1. Ellie Howe, The Magicians of the Golden Dawn. (New York:
Weiser, 1972), Chapter 1.
2. See Aleister Crowley, Magc Without Tars. (St. Paul: Uewellyn,
1973), 362.
APPENDIX
1. Pseudo-Magriti, The Gold of the Sages, trans. Ritter. (Warburg
Institute, 1968).
2. Cardanus, De Rrum Vretate, Lib. X. (Basileae, 1557).
3. Trithemeus, Calandrium Magicum Natral. Codex 11313,
Nationalbibliothek Wein, 1503.
4. Liber lmgnum Ln. BibliotcNao F 15t c
5. Peter d' Apono, Eptm .n. (Si L, 1565).
6. Clvicuks d Smon. Lnddone 1203, 17t ct
7. Agrippa, De Occlt Philsophi. (Sine Loco, 1533), a preented
in Barrett, Frances, The Mags. (New York: University Books: 1967),
facing second page 64 .
8. See Regardie, How to Make and Ue Tlismans.
9. Barrett, loc. cit.
10. Codex Philos. graec. 108, 17th century.
11. Barrett, loc. cit.
I
'
,I
186 AGE MGIC
12. Ibid., loc. cit.
13. Banolozi, Inhumt Behiltcha Mag Rhhinia. (Rome, 1675).
14. Ibid.
15. Ibid.
16. Ibid.
17. Ibid.
18. Ballhor, Grammatogaph (1861)
19. Ibid.
20. Ibid.
2l.lbid
22. Ibid.
23. Paul Christia, The Histor and Pactice of Magc. (Secaucus:
Citadel Pres , 1969), 147.
24. Barrett, loc. cit.
25. Code 1761, Nationalbibliothek Wein, 11th century.
26. Ballhor, Grammatogaph. {1861).
27. Code Philos. graec. 108, 17th century.
28. Barrett, loc. cit.
29. See Jae, Enochin Magck, for an alterte verion of this scipt.
30. Code 1761, Nationalbibliotek Wein, 11th century.
31. Ibid.
32. Ibid.
33. Ibid.
3. Ibid
In this list of suggested
books that would b in
books in this list have be
should be available to t
The Sixth and Sevmth
Publishing C. A c.
torian restoration of
Raphael' Ancient Manij
renee Co., 1916. A
sources available e
&bbinica. (Rme, 1675).
11th century.
Sugested Reading
In this list of suggested reading, I've omitted manuscripts and rare
books that would be inaccessible to the normal reader. Most ofthe
books in this list have been published within the last thirty years and
should be available to those who ma a rely diligent searc.
'"
GRIMOIRS
The Sixth and Seventh Books of Moses. Minneapolis: Tau Universl
Publishing Co. A collection of spurious conjurations and late Vic
torian restorations of ancient texts. Suitable only for adolescents.
Raphael' Ancient Manuscrpt ofTlismanic Magic. Chicago: de Lau
rence Co., 1916. A handwritten version of various Agrippan
sources available elsewhere.
188 AGEL MGIC
Barrett, Francis, ed. The Mags. New York: Universit Books,1967. A
collection of fragments from Agrippa's Occult Philosophy,
(including "book four"), the Heptameron and some other
sources. Interesting only as a curio as other, more accurate edi
tions of these works are available.
Crowley, Aeister, ed. Goeta. Letchworth: Garden City Press, 1976.
Actually translated by S. L. MacGregor Mathers and published by
Crowle, who attributed it (rather meanly) to a "dead hand." This
is the frst book of the Lemegeton, the rest of which remains to be
published.
Driscoll, Daniel, trans. The Sworn Book of Honorius the Magician.
Ne Jere Heptangle, 1977. A very beautifl handset volume,
now quite rare. Probably one of the earliest European manu
scripts, ti contains a seven-pointed talisman that's clearly the
root of the seven-pointed "Sigil of Aemet" that fgures so largely
in Dee's magica system. A interesting text in every way
Gaster, M., trans. The Sword of Moses. New York: Weiser, 1973. A
classic. The key to understanding the dating of the medieval gri
moires, this shows ceremonial magic in a very early form.
Hay, George, ed. The Necronomicon. New Jersey: Neville Spearman,
1978. A elaborate hoax proving that some people have a great
deal too much time on their hands.
James, Geofrey, trans. The Enochian Magck of Doctor john Dee. St.
Paul: Llewellyn, 1984. It's been called the defnitive version of
Dee's magical manuscripts (even by people other than me.)
MacGregor Mathers, S. L., trans. The Sacred Magc of Abramelin the
Mage. Chicago: de Laurence Co., 1948. An interesting classic
that's connected with the Golden Dawn tradition. Reputed to be
a very difcult and dangerous set of rituals to perform.
--. The Ke ofSo
classic grimoire, wt
centuries B.C. A defn
classic text presente
tains a number of n...
Machus, Marius. The
Press, 1971. A late
Turner, Robert, trans. T
Askin, 1978. A rep
lished in 1655. The
become
q
uite rare.
Scot, Reginald. The Dic
Contains a complete
ing for its description
by witch trial judge.
pan text.
Universit Books, 1967. A
-avva's Occult Philosophy,
_ . . .. ,uueron and some other
Garden City Press, 1976.
Mathers and published by
to a "dead hand." This
rt of which remains to be
of Honorius the Magician.
butifl handset volume,
erliest European manu
tisman that's clearly the
fe that fgures so largely
dting of the medieval gri
i a very early form.
Jersey: Neville Spearman,
some people have a great
Il of Doctor john Dee. St.
Ic the defnitive version of
pple other than me.)
Sd Magc of Abramelin the
1948. An interesting classic
tradition. Reputed to be
rt to perform.
/
SUGGESTED RDING
The Key of Solomon the King. New York: Weiser, 1972. The
classic grimoire, with elements that probably date from several
centuries B.C. A defnitive text, especially important in compari
son with the Sword of Moses.
-- . The Grimoire of Armadel. New York: Weiser, 1980. Another
classic text presented courtesy of the indefatigable Mathers. Con
tains a number of particularly interesting sigils.
Machus, Marius. The Secret Grmoire ofTuriel. London: The Aquian
Press, 1971. A late version of the Arbatel.
Turner, Robert, ed. Arbatel. New Jersey: Heptangle, 1979. A very sim
ple and straightforward grimoire. Another beautifl and rare book
from the hand of Daniel Driscoll.
Turner, Robert, trans. The Fourth Book of Occult Philosophy. London:
Askin, 1978. A reproduction of a collection of magical texts pub
lished in 1655. The existence of the original shows the continuing
popularity of Angel Magic.
--. Of Occult Philosophy Book Four: Magcal Cermonies. Ne
Jersey: Heptangle, 1985. A more redable transcription t the
Askin facsimile. Another beautifl letterpress book, this has now
become quite rare.
Scot, Reginald. The Discoverie ofWitchcraf. New York: Dover, 1972.
Contains a complete manual of Fairy Magic. Extremely interest
ing for its descriptions of stage magic and the frauds perpetrated
by witch trial judges.
Tyson, Donald, ed. Three Books of the Occult Philosophy. St. Paul:
Llewellyn, 1993. A welcome re-publication of the classic Agrip
pan text.
190 AGEL MGIC
Waite, A. E. The Book of Ceremonial Magic. New York: University
Books, 1961. A classic collection of various texts, interesting
because it includes some of the black magicl text that circulated in
the eighteenth centur. Waite's opinions on dating the manuscript
can be judiciously ignored. Contins fagent of the Leegen.
"
How To" BooKs
Bardon, Franz. The Practice of Magical Evocation. Germany: Dieter
Ruggeberg, 1970. A completely diferent approach from the Eng
lish and Americn material. Very original and curious.
Crwe Aetr. 77 New York: Weiser, 1970. A collection of corre
spondenc for building conguent magical ceremonies.
--. Magck Wthout Tar. St. Paul: Lewellyn, 1973. A series of
letters explaining various aspects of magical practice.
--. Magck. New York: Weiser, 1976. A maddening and obscure
as it is informative, Crowley's work continues to fascinate. The
defnitive modern work on Angel Magic-if you can tolerate the
author's insuferable arrogance.
Davidson, Gustav. A Dictionary of Angels. New York: Macmillian,
1967. Recently reissued in paperback, this interesting collection
includes (very democratically) fllen as well as heavenly Agels.
Godwin, David. Godwin' Cabalitic Encclpedia. St. Paul: Lleellyn,
1994. The classic reference work. Don't leave the physical plane
without it.
Gray, William. Magical Ritual Methods. London: Helios, 1971. An
somehat heavily-written text but flof excellent advice.
"
Kraig, Donald Michael.
Eplains how to evok
use the Greater and
Laycock, Donald. The
1978. The defnitive
Schueler, Gerald and
Manual St. Paul: U
seasoned magician
lifc Enochian resear'
Tyson, Donald. How to
Llewellyn, 1990. Ste
. The New Mag:
Paul: Llewellyn, 1988. 1
ter of magic.
1
. Ritual Magc: W
1992. An overview of
.
.
magical practice.
1
--.An Advanced
Included are exercise.
level magical operation1
Vinci, Leo. Gmicalzm:
_
A
1976. An interesting
I
-j
1
J
,
'
Plc. New York: University
of various texts, interesting
Itc texts that circulated in
on dating the manuscripts
fent of the Lemegeon.
Ecaton. Germany: Dieter
ll approach from the Eng-
New York: Macmillian,
la St. Paul: Llewellyn,
leve the physical plane
of ecellent advice.
SUGGETED RDING
Kraig, Donald Michael. Modr Magck. St. Paul: Llewellyn, 1994.
Explains how to evoke entities to physical appearance and how to
use the Greater and Lesser Keys of Solomon.
Laycock, Donald. The Complte Enochian Dictonar London: Akin,
1978. The defnitive reference source for the Angelical lae.
Schueler, Gerald and Betty Schueler. Enochian Magic: A Practcal
Manual St. Paul: Lleellyn, 1993. A manual for the beginner ad
seasoned magician alike. The Schuelers are among the most pro
lifc Enochian researchers alive today.
Tyson, Donald. How to Make and Use a Magic Mirror. St. Paul:
Llewellyn, 1990. Step-by-step instructions with a historical per
spective on mirror lore in magic and literature.
--. The Ne Mags: The Mod Magcian' Pactcal Gid. St.
Paul: Llewellyn, 1988. A practical framework for a personal sy
tem of magic.
--. Rt Magc: What It Is & How T Do It. SL Pau: lel
1992. An overview of the choices ad phiosophe of moe
magical practice.
--. An Advanced Gid t Enh Mg. SL P Ul
Included are exercises, complete rt, ad outne for mut
level magical operations.
Vinci, Leo. Gmicalzma: An Enochin Dictonar London: Rgenc,
1976. An interesting book, but superceded by Laycocks work.
192 AGE MGIC
HISTORIC BACKGROUD
Ay ton, William Alexander. The Li of john Dee. London: First
Impressions, 1992. A particularly interesting biography that also
tells the story about Dee's son Arthur.
Clulee, Nicholas H. john Dee' Natural Philosophy: Beteen Science
and Religion. London: Routledge, 1988. A defnitive study of
Dee's philosophical life. Absolutely frst rate. A classic.
Dee, John. The Mathematcal Paece to the Elment of Geomete of
El ofMegara Ne York: Science History Publications, 1975.
The book that established Dee's fame prior to his Angel Magic
eent.
-- . Te Higyhi Mon Ne York: Weiser. 1975. A curious
and impenetrable work that's puzled whomever has examined it.
French, Peter J. john Dee: The Wrl of an Elizbethan Mag. London:
Routledge & Kegan Paul, 1972. Still the defnitive biography of
Dee, albeit one that doesn't follow any chronological order.
Laurence, Richard, trans. The Book of Enoch The Pophet. Minneapo
lis: Wizards Bookshelf, 1976. An interesting contrast to Dee's
Enochian material.
Mead, G. R S. Pit Sophia. Ne Jersey: University, 1974. A Gnostic
miscellany collected fom various sources. Interesting as a study of
Gnostic belief.
--. Fragent of a Faith Forgoten. New York: University. 1960.
More Gnostic fragments with etensive commentary.Waite, A E.
The Alchemical Writings of Edward Kelly. New York: Weiser,
1970. An interesting collection of Kelly's work afer his sojourn
with Dee.
Orchard, James Hal
AMS Press, 1968. A
and political situato
ginalia.
Yates, Frances A Te Rl
1978. An insight
--. The Occult Pl
Paperbacs. 1983. A
tory of Angel Mac
Philsophy: Beteen Science
1988. A defnitive study of
Yor Weiser. 1975. A curious
womeer has examined it.
Eethan Mags. London:
the defnitive biography of
cronological order.
The Pophet. Minneapo
interesting contrast to Dee's
. Universit, 197 4. A Gnostic
iiC. Interesting as a study of
commentary.Waite, A E.
-a Kelly. New York: Weiser,
Klly's work afer his sojourn
SUGGFTD RDING 1
9
3
Orcard, James Halliwell. The Pvate Diar of Dr john Dee. London:
AMS Press, 1968. An interesting perspective into Dee's home life
and political situation. These are casual references written as mar
ginalia.
Suster, Gerald. john Dee: Esental &ading. London: Crucible, 1986.
An interesting selection of John Dee's work in various felds.
Yates, Frances A. The Rosiccan Enlightenment Boulder: Shambhala,
1978. An insightfl vie of the development of Magic afer Dee.
--. Giordiano Bruno and the Heretc Taiton. London: Rout
ledge & Kegan Paul. 1964. An excellent overview of a Renaissance
Angel Magus who forms an interesting contrast with John Dee.
-- . The Occult Philsophy in the Elizbethan Age. London: Ark
Paperbacks. 1983. An esential work for anyone studying the his
tory of Angel Magic and related subjects during the Rnaissance.
Rituals & Practices I History-Renaissance I Supernatural
"There is something mysterious at work when people
continue to believe in the existence of something that's not
only very ancient but totally contrary to the principles of
modern science and popular materialism."
-Geofrey James
ANClENT KEYS TO ANGEL MAGlC
FlNALLY REVEALED
One of the most universal religious beliefs is that a magician can harness the
power of spiritual beings to gain influence and power over the physical world.
The highest and most beautiful manifestation of this belief is Angel Magic. Angel
Magic is a set of ritual practices that is believed to control angels, daimones, divas,
genies, and other personifications of the elements, the planets, and the stars. In
obscurity for centuries afer being banned by the pope in 1318, Angel Magic is
at once the most practical and efective of the occult sciences and is rooted frmly
in the collective unconscious of the human race.
Compiled from over 100 difcult-to-fnd sources, Angel Magic establishes the
heritage of this long-forbidden art and gives you the following:
The keys to conjuring spiritual beings
Numerous excerpts from rare manuscripts and long-hidden texts
The basic principles of Angel Magic, through which saints and
sorcerers have sought supreme enlightenment
Over 50 magical alphabets, many never before published, that provide
a key to the symbolism of angelic seals, sigils, and signatures
An eye-witness account of an actual modern-day
.
ceremony
Geoffrey James is a full-time author and consultant on com
puter industry issues. He is an adjunct faculty member at
Boston University and teaches management courses at the UC
Santa Cruz and the University of Washington. His other
books include The Tao of Programming, The Zen of
Programming, Computer Parables and The Enochian Magick of
Dr john Dee. Mr. James resides on the East Coast.
ISBN 1-56718-368-9
1 I I
9 11 7
8 1 5 6
7
1 8 3 6 8
9
51295>
II
/
$12.95 us
$17.95 CAN
Llewellyn Publications
St. Paul, MN 55164-0383
PRINTED IN THE USA