Category: Evocation

The matter of one’s “First Evocation” has been a hot topic since at least “Students of Franz Bardon”, although with scarce material. 

To compensate, I will address the theme in two ways: one not exemplar at all, which is how I did it, progressively, and the other how I suggest you do it according to Franz Bardon’s take. 

How I did it

After years of seeing spirits and having visions as a child, in my early teenage years there came the transmissions. I would write them all in a big journal with a cipher alphabet. Eventually, I had an eye in the triangle with side eyebrows in the shape of two lightning bolts that climbed as a three-step ladder. Above the eye, the lower one said something like spectral world, above that, psychic world, and then spirit world (astral plane, mental plane, akasha). This is approximate, for after decades with the journal a bug started to eat its pages and I left it behind when changing home. I had no occult studies whatsoever, except for the teachings of my grandmother, and hadn’t even started to study spiritism. The internet was just starting to be a thing and we would pay it dearly by the hour. The web did not have much, but I wanted to understand how to master these teachings and made some use of it. I came face to face with a website about a spirit owl that helped with astral travel, Stolas, that I now know from the Ars Goetia.

There was an invocation and evocation on the website that would lead to astral travel. I tried it, and was transported by Stolas, and from that day on, I could do mental wandering by myself. 

I can hardly count this as a first evocation, as I didn’t even truly know what an evocation was. 

In my later explorations I realized I was very good at consciousness transference (before knowing Bardon and knowing the technique by this name), and realized I could transfer my consciousness to a being or creature in such a way that the space of the entity and my own would merge and I would be able to see it and influence it (if an embodied creature) or communicate directly (if a disembodied being). Later I would be able to explain this method in theory and practice, which I do at Beyond the Veil of Illusion (to be published by Falcon Books Publishing). The method is easy, quick, natural and effective. This way, I would communicate with some entities when exploring theosophy. 

But this is not Bardon’s evocation, and it is far from the possibility of materialization. Now proficient in Initiation Into Hermetics and under the guidance of my mentor we evoked the beings astrally, first he unto both our presences and eventually me by myself. Our method at this time was very much like that of William Mistelle, in which the physical apparatus and most of the ritual structure are dispensed. 

The time came for me to evoke the messenger by a method that was secret and unlike that of Bardon, involving two columns and a mediumistic connection to the Fiery Lamb as the force that gives shape to God or rather the shapes that receive God’s forces. In The Practice of Magical Evocation Franz Bardon writes, concerning The Book of Formulae, this: 

“Generally speaking, the only success that untrained persons will have in this case, is hallucinations, phantoms or delusions, or incomplete, mediumistic results which need not be dealt with here. Usually such mediumistic results are, provided that they are genuine at all, the outcome of the exteriorisation of the person’s unconsciousness. Sometimes elementals, and should the person concerned have a strong capability for emanation, even elementaries might be formed which the genuine magician has already been informed about in Initiation into Hermetics. These elementaries are falsely regarded as the beings which are the object of evocation, and a person whose astral senses have not yet been sufficiently developed is not able to tell the difference or to control the situation.” 

Add all of the described possibilities together, and here is the messenger described in a nutshell. Instead of demonising it, we are to know it to such an extent that it can no longer trick us, and to the extent that it becomes of service. This shapeshifting amalgamate can actually be the source of wisdom regarding self-knowledge and the understanding of the transitory world we inhabit, and a guardian of our memories. After this stage had been mastered, I then evoked my Guardian Genius using the same method. This methodology was used only for these two beings.

Back to William Mistelle’s ways, someone kept evading me, the original intelligence or monarch, Aschmunadai. I tried the full set of evocation as per Bardon, and this time Aschmunadai showed up, and surprisingly, I came up with a technique to stop hearts, almost stopping my own. This revelation was not arbitrary; it was meant to lead me away from an order I was involved with and to show that this technique was not a myth.

Aschmunadai’s appearance in the triangle was gigantic, like a tower of light towering over itself with multiple structures, but resembling the shape of a human being. The world around him was larger on top and funneled to a concentric point at the base of the triangle, whose vertices were literally illumined by his presence.  In other words, the materialization was holographic but powerful enough to change the angles with which the physical realm is perceived. This change in angles could be felt as a warm and cold tingling in the skin and throughout the body, accompanied by a pressing vertigo that lifts.

For some reason, I could not yet consider this my first evocation. I placed strategically in the walls of my house PME elementals inside triangles and seals, a talismanic method I used that opened the windows permanently to the elementals and their dominions, keeping it localized. These talismans functioned as mirrors and served as permanent evocations within them. However, I didn’t feel that would be enough. 

I worked with Lilitha next and gave attention to the original intelligences and monarchs. By then, I had been criticised for only working with systems derived from Semitic astrology and mythology, and eventually, I had a dream with the Greek God Pan that was horrific. One of the worst I had, not because of anything in particular happening: I was simply entering a chamber that was a temple to Pan, to Pan as a living creature instead of a statue or an icon. But the darkness in the chamber had such great saturation that it was the reason for the whole discomfort. In the dream, I walked to Pan, and Pan tried to lend me his scepter, the moment I woke up. I was feeling disturbed and it carried out during the day.

That day, I came across a pamphlet of a witch crouching face to face with the devil, muzzle to muzzle. I decided: why not confront Pan face-to-face and understand what’s going on? And that was what I consider my first materialization. I could smell Pan’s breath, feel its rhythm on my skin, and this materialization had effects on my physical body, such as my legs getting substantially stronger and hairier. 

Don’t ask me why, but this still wasn’t it. There was a lot of blind impulse, and I wasn’t omniscient during the process. A full evocation must imply full mastery in awareness, no matter how impactful the results are.

Eventually, I found myself wrestling with Bael to cut away a job someone had requested from him, and he didn’t give it up easily. It was my first evocation meant as an exorcism. Bael fired up the candles until the roof caught fire and so on, but it worked out fine in the end. This realization was one more brick in my temple, but not it, not it. 

Later in time, I was, I believe, now quite proficient at evocation, although, again, not there yet. I say proficient because, beyond the inner processes and results, I collected a variety of evidence of success, including Nature and people’s responses in ways that would rival fantasy fiction. But I knew a great deal of this was lent power by the beings evoked. The God in the evocational space should not be the one evoked but the one evoking. That said,  I had been working at an abandoned convent for years. It had three floors: the lower floor with a grid of talismans buried beneath, the upper floor (the terrace) with an altar, and the inner courtyard having the arches functioning as planetary gates. The chapel, all covered in conch, served for meditation and preparation activities. And above, the moon, below, the serpentine hills and their tall trees. It was a luxury magician’s temple that, over the years, got sealed and later reopened as a luxury hotel. 

That day, I had just finished an evocation and was in a state of vacancy of mind when a tailed lizard humanoid got into the inner courtyard. There were none of the signs that accompany a vision or clairvoyant activity, nor any of the controls available during evocation, for all effects, there really was a physical tailed lizard humanoid penetrating the chamber and coming my way. When you read this, you may dismiss it as a hallucination or a mental manifestation, but you must truly imagine this happening completely in the material plane so that you have the chance to understand me. I went from vacancy of mind to my heart missing a number of beats, my body freezing, electrified like thunder had just hit me, and I realized in a few seconds, the whole world seemed to freeze along, there being only the chamber breathing together with the moving humanoid lizard. Strangely enough, it passed right in front of me without seeing me and left. 

From this episode, I extracted an essential key. Evocation would have to reproduce this thunder-like effect that freezes time and space, the self and the other, inner and outer, as if one is witnessing the world from inside the speed of light. That was the ideal silence for the most direct contact possible. 

A couple of years later or more, when I was working with the Olympian (Olimpick) Spirits in evocation at the attic during a whirlwind occurrence, I finally felt that was it. I remember these intelligences being stronger than usual, but I was omniscient, I realized their name was legion, and I had a firm grasp of every legionnaire, they all moved within my omnipotence.

How I Suggest you Do it according to Franz Bardon

It’s all in “The Book of Magic Formulae” mentioned in The Practice of Magical Evocation, and all I have to do is add some sparks to the fire.

1. Purpose of the operation

Make sure you know your purpose. Let’s say you wish to evoke a being of Mars for the mastery of righteous force, the tempering of passion, and the art of sovereign courage. Examine this very well, build it a soul mirror.

For the sake of example we will work with “righteous force”. What is the positive side of it, and what may be the negative side? Give four examples of each, one for each element. 

In this case, regarding the positive aspects fire bears heroic valor, water merciful justice, air clear and swift discernment, and earth unwavering fairness. Regarding the negative aspects, there is fanaticism in the fire, smothering in the water, slander in the air, and rigidity in the earth. 

Bearing the negative aspects in mind, you may wish to rephrase and substitute “righteous force” to “sanctified power”, since it no longer can fall into the claws of self-righteousness. You are not right nor is the power yours, it is of what is higher than itself and sanctifies it. 

You must, as well, make sure your purpose and the nature of the being, the purpose of its existence, meet and are one and the same.

Then you write the first portion, regarding the how:

“By the unbroken thread that binds my breath to the starry Crown of the Infinite, I will this operation to draw forth the Intelligence of Mars, named Graphiel, Guardian of the Crimson Flame, that I may cause instruction in the mastery of sanctified power in its heroic valor, merciful justice, clear discernment and unwavering fairness; the tempering of passion in its purpose, compassion, vision and practical service; and the art of sovereign courage in its precision, strength to feel, truth and endurance.”

At this point you should also know what for you find yourself wanting these things.  Again, you may use the elements. 

  “May these be granted that I ignite purpose and transform through action (fire), heal and harmonize (water), illuminate mind and spirit with truth and clarity (air), ground power in stability and endurance (earth), and integrate all forces into wholeness (akasha).” 

We have the what for, so what about the why?

“Because of the urgency of becoming; Because of the paradox of identity and otherness; Because of the burden of consciousness; Because of the weight of finitude and responsibility; and because of the quest for unity in fragmentation”. 

Add something that connects the intelligence with the purpose:

“So oh Glorious Graphiel,

Radiant Intelligence of the Crimson Flame,

Guardian of Mars’ sacred fire,

You of consecrated might.

Who tempers the fiery passions of the heart,

Dispensing truth with clear discernment

By your divine command, the flame is refined

In your luminous presence,

I place my will beneath the starry Crown of the Infinite,

That power be sanctified, passions tempered,

And courage be sovereign and pure.

Graphiel, flame eternal,

Listen to this voice.”

2. The being, power, sphere etc. to be evoked

Something of this was explained above. The purpose of your being and yours should coincide. But although the beings of Mars can be quite responsive, they may be hard to handle, and for a first evocation, an elemental, earth belt zone spirit or moon spirit would be better, the moon spirits being softer. Better yet is the guardian genius, and you should devote your first evocation to no one else, except the messenger, in case you have a supervisor working with you.

3. The place selected for the magical operation

Here, allow me to cite from my work A Magical Study Series Volume I: A Guide to the Elementals:

For cosmic beings, the background is usually impregnated by the image of the infinite expanse inside the circumference of the universe. For elemental rulers, a general scope may suffice, such as the sky, the ocean, the underground vistas or the magma centre of the earth. Elemental kings may have the breadth of their kingdoms as the background, while local elementals could require the magician to have a particular cave, atmosphere, volcano, lake or river in the background.

Micro elementals will require, for instance, a particular plant, tree, or stream. Together with the natural background comes the character, that is, the image of the being with whom the magician is communicating. His mind will put together seemingly disjointed characteristics into a single image that is easier to remember if under a humanoid form. Some beings appear in different guises, for our capacity for image making is limited, but the different appearances connect to each other like different pages of a single book. The same happens when the magician is envisioning the kingdom of an elemental king. It is impossible to remember a whole kingdom and the magician may be under the impression that he is perceiving different kingdoms. In his mind, he is to create or explore entrances and paths that unite the different parts, so that, with time, his understanding of such a kingdom grows in integrity. When the magician is using the limited space of the triangle, he should, likewise, create linking points in his memory between the different sessions of evocation, so that he sees the different moods and apparitions of the being not as fragmented and disperse but as continuous. To this end, the magician’s own grimoire of operation is of the utmost importance.

The way in which different backgrounds can be linked is not to be left to chance, instead, it must be conscious and ordered in its symbolism and choice. Different backgrounds should not be nearly merged nor too distant to cross without putting objective memory at risk. The magician may also link different domains from different beings of the same element, building a better and more conscious understanding of the elemental kingdom itself and, with patience, he can even link the elemental kingdom of the earth with the elemental kingdom of the water and so on.

How to set the background

In all cases, the backgrounds should neither be too bright nor too dark, for it will render it harder for the magician’s mind to remember his communications with the invisible world.

Additionally, the backgrounds will still pose an obstacle to communication unless they are rendered possible to transform upon receiving images, in order to accommodate these images, adding to their meaning and sense. That is, the backgrounds must with no doubt be sensible places, capable of reacting. The domain and appearance of the being, represented by what we have named the background, is passive to the being’s actions and thoughts, such as the wax being altered by the impression of a new image. We can say, therefore, that there are two natures or layers to the backgrounds, appearances and domains of the beings, for there is a substance and the way in which it changes according to what is being attributed to it. Or, better put, the being and his domain plus the astral imaginary that fills the spaces created according to the being’s intelligence. It is through this second layer that communication takes place between the magician and the being, for the magician is perceived in a similar guise by the being and the two domains and appearances transfer images and crafted memories.

All these operations take place either while the magician is sitting in the centre of his circle and looking at the magical mirror or triangle or if he is mental wandering. In the former case the operations, in all their variety, take place semi-consciously, attention being given to the most objective phenomena, and while mental or astral wandering, they take place consciously in all morphology and detail.

4. Preparation of all magical implements needed for the operation

I will keep citing from the same source:

The Virtues Necessary for Magical Evocation

The ideal is that the magician needs no ceremonial aids whatsoever. He then may choose to use them or not, for the sake of his own pleasure. What renders the magical tools optional is the magician’s virtues, might and powers. The magician is to keep in contact with the highest concept of existence at all instances, not only during wanderings or magical evocation, but for as much as possible in his daily life, for contact with one of the entities about to be mentioned in this book can echo back and forth in time.

Perfecting the assumption of our own god in the four hermetic principles of omnipotence, omniscience, omnipresence and immortality is essential. In his daily life the magician must have an unshakable will, act with wisdom and love, and be able to persevere independently of any obstacles. If these virtues are perfectly established on his soul mirror, it will be but a matter of imagination and meditation to bring them to their four divine or absolute states.

Akashic trance is also essential, and together with the four qualities, it represents the circle. This is connected with the capacity of the magician to enter a timeless and spaceless state of consciousness that is all-penetrating through the limits of time and space. Franz Bardon gives a shortcut to attain it, being that the magician transfers his consciousness to the center of his body and imagines himself becoming infinitely small and the body infinitely large until he enters an altered state of mind. An alternative method is for the magician to imagine his body becoming infinitely small together with his limited astral and mental forms and the part of his mind that is connected with the universal mind becoming infinitely large until, at some point, the body disappears and only the cosmic mind of the divine remains in pair with the magician’s awareness. Yet another method and maybe the best method, is for the magician to assume godhood and then imagine his microcosmic god expanding until it merges with the macrocosmic god and acts through it. It is easy to see that we are not yet where we are required when our actions contradict the feeling of the infinite and the awareness of the sacred and of the divine. Of this we must keep vigilant.

The magician must be in control of his mind, emotions and of his body, as well as in dominion of his own aggressiveness and his own subjection. He is not subject to these things, but drives them effortlessly with skill and ease according to his mighty will, uncompromised wisdom, pure kindness and acute consciousness. His feelings should always remain open to his intellect and his intellect to his will-power. His power should run with the flow of life unobstructed and guided by wisdom. Although he can use aggressiveness or passivity, he is neither aggressive nor passive but neutrally aware. This is analogous to the triangle, for it is through perfect self control that the magician will allow himself to receive the impressions of the beings, also limiting their actions to his field of interest.

The capacity to deal with mental wandering or astral projection, the ability to harness and control the fluids of the elements, the electrical and the magnetic fluids as well as the strength to build electromagnetic volts is also of importance to create the proper set for the elementals and to give the magician some kind of control over the atmosphere or to make it possible for the magician to become an elemental himself and travel to the realms of the elements. These things have been dealt with in Franz Bardon’s books as well as in my work, Through the Soul Mirror to the Sphere of the Sun. The magician will have to, likewise, be a master of plastic imagination and over all of his senses, and to be enlightened in the ways of cognition and experienced in the ways of intuition. His will must be powerful and strong to keep his mind connected to the intelligences and their realms without suffering from outside interference. Most importantly, the magician’s word must be firm and above the temptations of any power or being and he will be always safe and respected as an authority by all beings.

At all times, not just when the magician is working with the elementals, his intentions must be pure, for the magician’s intentions appear as his ranking garment in the invisible plane. With his magical equilibrium well established through the works of the soul mirror, his power will be, by such means, always of a universal nature, obeyed without delay.

5. The actual magical operation

To be built from the remaining points. I will go back to this point at the end of the article, so bear with me.

6. Assuming the shape of the deity controlling the being concerned, that is connection with the relevant deity, its attributes, faculties etc.

From A Guide to the Elementals

There are different arrangements that can be worked on, depending on the magician’s magical systems or religious beliefs. I will delineate one example for practical reasons. The first Assumption or Divine Form must always be the one that embodies the four divine principles in a single form of ecstasy, which we may represent by the formula of YHVH as we have approached it in earlier chapters. JHWH as Bardon puts in the fourfold section of The Key to True Quabbalah is equally effective to the magician experienced in the cosmic ecstasies. ‘J’ invokes cosmic consciousness as it stands floating in love, the first ‘H’ brings about the intuition with which this cosmos operates, the intuition of Divine Providence itself. ‘W’ manifests the actual voice of Divine Providence and the truest entity behind mysticism and religions’ power, and the second ‘H’ realises it in the magician on the material plane.

Intelligence does not regard these two as different formulas. The ‘J’ is the ‘Y’ of divine fire in that cosmic consciousness is brought about by the omnipresent light which is considered omnipotent in its victory over the darkness of the void. The first ‘H’ is divine water in that Divine Providence’s intuition is the thought of eternity. The ‘W’ is divine air in that ‘JH’ finds its representation as an entity in the source of all things, Omniscience. The last ‘H’ is divine Earth in that it is the realisation of God in the material plane, and therefore omnipresent. They are put together in that they are phonetically the same, and one may make use of the Mudras described to highlight each element in its electric or active and magnetic or passive attributions.

For ‘Y/J’ (to sound as Yod or Jod) he uses the right forefinger to access omnipotence and the left forefinger to access all-penetrating power. For the first ‘H’ he uses the right thumb for eternity and the left for the intuition of unconditional love. For ‘V/W’ he uses the right pinky to obtain the ecstatic state of omniscience and the left for mystical wisdom. Finally he sounds and performs the second ‘H’ using the right ring finger for omnipresence and the left for realisation. This gives back to the magician all-penetrating omnipotence, eternal love, omniscient wisdom and omnipresent realisation, and the all-penetrating omnipotence of the eternal love of the omniscient wisdom in omnipresent self-realisation.

About self-realisation, one should remember that the Divine Name of God, YHVH, translates in the material plane as Adonai, meaning Sovereign and Ruler. It is this God Head that later assumes the shape of one of the four Archangels, depending on which element is about to be worked. Uriel is indicated for the earth-element, Gabriel for the water-element, Raphael for the air-element, and Michael for the fire-element.

Therefore, the first circle should have the letters of YHVH and the second the names and representations of the four Archangels, while the third circle is to have the elemental rulers of each element: Nicksa for water, Paralda for air, Ghob for earth, and Djin for fire. The circle is to be, therefore, divided in three layers and the magician is to assume God, God assumes the archangel, and the god-archangel the ruler.

The names attributed to water should be to the west axis of the circle, air to the east, earth to the north and fire to the south. In the triangle, then, disposed in one of these directions according to the element of the being evoked, stands the elemental that is subordinate to the ruler of his quadrant, the ruler who will immediately be recognised in reverence.

Having this arrangement in mind, you must only come to the realization that, concerning the planetary beings, you will be dealing with the archangel of the sphere and instead of elemental rulers you will be dealing with the being from the sphere above your sphere of operation that influences the same astral range according to the degrees of the zodiac. In this regard, the information provided in my A Magical Study Series Volume III: A Guide to Stellar Magic & Astrological Mysticism will come in handy:

Bardon states that “there is nothing else but the Divine Light, the inconceivable and indescribable, called Divine Providence by us. There is nothing higher than that in our cosmic hierarchy.” He mentions, nevertheless, the highest sphere in our solar system: the sphere of Pluto, which we know to be responsible for transcendence in astrology. Yet, Franz Bardon adds that the magician has nothing to gain from it at the present time, since humanity cannot work with such sphere.

This sphere is, to my own knowledge and exploration, represented by a single being, influencing the whole 360 degrees of the elliptic and the 360 days of the year in equal measure, so that it cannot truly be differentiated or identified. Such a being, if a being it can be called, can never be perceived in a state of duality. Even so, ultimately, all beings are this being, to the final detriment of the beings they are being, for being is one and not many.

In as far as the elliptic is concerned, each being of a lower sphere is subordinate to the beings of the higher spheres influencing the same degrees. There are exceptions, such as the monarchs of the Zone Girdling the Earth, mentioned by Franz Bardon but not dealt with here. There are also exceptions to this rule in beings residing in centers further away from the Sun, such as the beings of Uranus and Neptune and even, to some extent, the beings of Saturn, these beings ruling mainly by cosmic principle alone and not by alignment.

For the sake of brevity, we can exemplify the method of understanding lineages, useful to gain authority in evocations, with one of the signs of the Zodiac. To do that, we shall pick the first sign, that of Aries.

◦ 1º The being in Pluto rules over all: the lineage begins with this being, in all instances. He represents absolute transcendence.

◦ 2º In Neptune: the divine principle behind Ia rules Uranus, Neptune and Saturn. This is the principle of divine will.

◦ 3º In Uranus: we know Da represents Aries, so we shall begin Aries with Da (vision into reasoning, breath into power, all objects of perception). We may also notice that Da, even having his own most transcended principle in Neptune, is in Uranus subject to the Divine principle behind Ia. At the same time, by order of alignment (range of influence) in the ecliptic Al and Ba influence Aries, namely Al creates through graduation from above to below, and Ba represents the active power of consciousness.

◦ 4º The four first Judges of Saturn influence Aries: These are subordinate to Da by principle, namely the judge judging the vital and physical impulses of the Earth zone; the Judge judging the astral plane of the Earth Zone; the judge judging the mental plane on the Earth zone; and the judge judging love on the Earth Zone. By range of influence, the first and second judges are subject to Al, the third and fourth to Ba.

◦ (The archetypal cosmology, in respect to powers and mights, shows that Unity controls Divine Will. Divine Will regulates vision, reason, breath, power and perception, but also creativity and consciousness. Now the combination of vision, reason, breath, power and perception regulates vitality, emotion, intellect and attraction. The creative principle regulates vitality and emotions. An active consciousness regulates intellectual faculties and sympathy).

◦ 5º Malchjdael, the first head of Jupiter, represents Aries as a whole: His attributions are Electric Fluid & Fire. This being is partially subject to each of the first 4 judges of Saturn. Magically speaking, this puts the electric fluid and fire element subject to a combination of vital force, astral perception, the focus of the mind and the magic of sympathy.

◦ 6º Rarum, Gibsir and Rahol, from the Mars Sphere, are subordinates of Malchjdael: This teaches us that the electric fluid and the element of fire can render the magician perfectly centered, infinitely creative, open to all active forces and erotically passionate.

◦ 7º In The Sun Sphere: Emnasut (fire element) is subject to Rarum (creative centre); Lubech (electric fluid) is subject to Gibsir (all active forces) and Rarum (creative center); Teras (fire element and electric fluid) is subject to Gibsir and Rahol (all active forces and erotic passion) and Dubzeh (electric fluid) is subject to Gibsir and Rahol as well.

◦ 8º In The Venus Sphere: Omah and Odujo are subject to Emnasut; Obideh and Onami are subject to Lubech; and Ophse and Orif are subject to Teras. Obanch and Odumi are subject to Dubzeh. The eight beings attributed by Bardon to Aries on the Venus Sphere are all experts in sex magic. It tells us that sex magic (in Venus and under Aries) works under the influence of the electric fluid and, in a lesser degree, of the fire element.

◦ 9º In The Mercury Sphere: Vehuia (magic) is subject to Omah and Odujo, Jeliel (love) is subject to Odujo and Obideh, Sitael (consciousness) is subject to Obideh and Onami, Elemiah (fate) is subject to Onami and Ophse, Mahasiah (quabbalah) is subject to Orif and Obaneh and Lelahel (sex magic) is subject to Obaneh and Odumi, this according to the days of each. One concludes that magic, love, consciousness, fate, quabbalah and sex magic in Mercury and at least under the influence of Aries all have their essence in the manipulation of the powers of attraction in Venus.

◦ 10º In The Moon Zone: Ebvap (tides) is subject to:

— Vehuiah (magic), Jeliel (love) and Sitael (consciousness)

— Emtircheyud (rhythm) is subject to Sitael (consciousness), Elemiah (fate) and Mahasiah (quabbalah)

— Exhesekis (akasa and success) is subject to Mahasiah (quabbalah) and Lelahel (sex magic)

We see then the proper combinations that can control the tides, the combinations that can control rhythm, and the combinations that can lead to the akashic trance and to success in life, being that in this last case a component falling under the influence of Taurus is missing.

◦ 11º In the Earth Zone: under the rule of Ebvap (tides and electromagnetic fluid in Moon Magic) are:

— Morech (invention)

— Malacha (alchemy)

— Ecdulon (love)

— Lurchi (love and prosperity)

— Aspadit (luck)

— Nascela (writing)

— Apollogon (magic)

— Ramara (magic)

— Anamil (electric-magnetic fluids)

— Tabori (magic and the water element)

— Igigi (magic)

— Bialode (alchemy and Sun Magic)

Subordinate to Emtircheyud (rhythm) are:

— Opilon (magic and science)

— Jrachro (magic and eloquence)

— Golog (science and philosophy)

— Argilo (love)

— Barnel (love)

— Sernpolo (language)

— Hyris (water magic)

— Hahadu (water magic)

— Oromonas (magic)

— Bekaro (justice)

— Belifares (magic)

— Nadele (medicine)

— Yromus (alchemy)

Under Exhesekis (akasha, correlative influences of the moon, timeless and spaceless happiness, physical success) are:

— Hadcu (magic)

— Balachman (astrology)

— Jugula (talismans)

— Secabmi (spagiry)

— Calacha (water magic)

To mention remain the beings under the range of Taurus. This example should suffice for the magician seeking the correspondences of the whole.

It must be stated that Bardon sees the spheres as organic, vital and natural, so that this orderly cosmic disposition happens via natural tendencies, i.e. if the magician synchs in the akasha to this and that house and degree of the zodiac he will likely be contacting one of these beings, one of their subordinates, or different beings that are similar heads. The mentioned heads of the Earth Zone themselves are thus masters with their own students (to whom we use the medieval term subordinates).

7. The drawing of the magic circle according to the magician’s connection with the deity. If the operations are carried out with a magic circle sewn on a piece of linen, piece of cloth, or the like, it has to be re-drawn

The attentive reader may have realized I have given in this article two kinds of circles: one to work with the elementals but that can be adapted to the beings of the spheres, and that has three layers: Godhead, Archangel, and elemental ruler (or being raking in the astral range of the sphere above the being to be evoked) and one of up to 10 layers.

Beyond that, remember the circle is formulated most of all by the depth point, which is to say the magical trance. For this, I should redirect you to yet another article:  From the Depth Point to Life on Venus, by André Consciência.

8. Drawing of the magic triangle

If you ever worked with the cosmic letters you know the meaning of the so-called threefold intonation. Bardon speaks of creation, preservation, destruction; material, astral and mental; past, present and future; electric, magnetic and electromagnetic, and so on, regarding the triangle, but the the threefold consciousness present in the cosmic letters is equally important and to be integrated, which means the light oscillation or fluid of the being, the sensation attached, and the sound of the element (cosmic mother letters) or of the sphere (see A Magical Study Volume II – A Guide to Sphere Quabbalah). 

Keep in mind as well that every evocation into the triangle is an act of Saturn, and should bear its strength.

Whatever you are drawing, do not forget to use your three bodies, and to highlight it I am forced again to cite from A Guide to the Elementals:

First, the magician is to activate his spirit by invoking the original light (the light of all lights) in akashic trance and having it manifest as spiritual illumination in his mind, magnetism in his soul and substance in his body. When this is done, he will be able to gaze into the Akasha without obstructions, and he takes upon him the GodHead as has been taught in Initiation Into Hermetics.

He then, as an awakened spirit, activates his mind by invoking the power of the verb in akashic trance and letting it flow to the mind, becoming influence, influence becoming self-preservation in the soul, and finally self-preservation giving place to physical memory and analogy. He is now able to perceive the mental plane, and he traces the first circle in there, inspired by his own omnipotent spirit.

His mind awakened, he proceeds to fully activate his soul. Meditating, in akashic trance, on the power to penetrate all, his mind starts to see clearly the qualities of all things, his soul is flooded with mystic feelings, and his body receives and transmits the flush of the four fluids. His senses pierce through the astral veil, and he now traces the second circle, his spirit inspiring his mind and it acting through his astral body.

Finally, in akashic trance, he meditates on divine inspiration. His now enlightened mind will automatically position itself so that it can understand intellectually what divine inspiration is, and his open soul will absorb all that is good. When the senses of the body accept it, the physical body awakens and the magician has a crystal clear vision of physical reality. He now, with his mind inspired by the spirit and acting through his soul that in turn takes possession of his body, draws the third circle and the previous circles physically, together with the triangle, sigils or signs, and all that is necessary.

9. Putting censer into the correct place, including, if necessary, the way of censering

The censors are addressed in PME, and although there could be further elaboration and I could provide the alchemical way of their preparation, I’d be making this article unbearably long. All I can do is a very quick resume:

Dedicate a day to fasting from meat and abstaining from distractions, and in the morning of this day, take a bath with salt, rosemary and rue, practicing magical washing and pray for cleansing.

At night meditate at the depth-point of your chest center and once there is silence, quietness and stillness, begin to assume your personal deity according to IIH’s step 10. At this point you will charge the resin, herb, leaf, bark, root, essential oil or tincture with its telesma (that is, with its mission, creating an elementary inside it). You are to write the mission on a paper that will then be burned in the mix, according to Bardon’s elemental magic at IIH. 

In the longest version you’d assume the archangel connected with the sphere or element of the incense and then the spirit or elemental ruler, and strengthen the telesma with the blessing of these beings, then performing quabbalistic formulas over the incense when grinding and using magical breath upon blending with oil or tincture. 

Remember to leave the incense one or two weeks in the shade and program it to grow in power and influence. Wrap it then in silk for seven days and unwrap it only to recharge it in the corresponding planetary hour. The incense should be burned by a candle also devoted to the same planet or element, and the essential oil is to be prepared alchemically as well. 

In any case, too much smoke will distort the operation and I can add that, in time, I discovered that activating flowers via Quabbalah works better or, if you are not learned in Quabbalah, activating their smell via alcohol. 

For a little more on basic magical perfumes read my article The Adept – Perfumes & Cognitions.

10. Lighting of the magic lamp, including meditative attitude to cause intuition and enlightenment

From Beyond the Veil of Illusion (to be published by Falcon Books Publishing)

You are to observe your thoughts, without identifying with or engaging them, simply observing them. Do it consciously and for a long time. If you can only manage short periods at first, repetition will take you as far as it goes.

When this is as easy as breathing, proceed to observe the observer, that is, to observe the one who or the faculty that was observing before.

You will notice that while before you were identifying yourself with the observer, now, even though you are indeed observing this previous observer, you can no longer be the observer. You remain aware of the existence of this faculty that observes, but your awareness is in your presence and not in your action.

When this state of consciousness has become quite natural, proceed to observe this presence that was aware of the faculty of observation to observe the observer. Do it so that you are now far removed from both, you cannot be the one who is observing nor the one who is simply present or that is the presence.

Then, when identification ceases entirely you will know that you have succeeded, for a force will flood your whole body that is not your body anymore, and it will start shaking.   

Another method is the Ogdoad method. The Ogdoad are four couples. Amun and Amunet are said to erase knowledge. Stay only with the sparks of thought, eyes open, in that even the objects of the senses become sparks before formation.

The second couple is Kuk and Kauket, said to stop the absolute from dissolving all potential. Remove the sparks of thought, so that what is left is a single materialization of the absolute.

Then Heh and Hauket, remove space and time. Remove the observer that observes the absolute. There will be an absence. Awareness of nothing. Presence in the nothing.

The last couple is Nun and Naunet. I see Nun as the Hindu Shiva, and Nun is described in Egypt too sometimes as a dark blue bearded man. Naunet I see as a dark blue starry serpent walking around Shiva’s body. The thing to do is to now remove even the absence previously mentioned. You will feel pure boundless energy and your body will quiver intensely. Your body will likely freeze except for this, and for a minute you will find it hard to breathe. But do breathe. The ability to move will likely return before you come back to thinking or feeling. In time, the shift will be much subtler as your normal state will be more and more like this state of ecstasy.

It is this solar power that has been described in the cosmology of many holy books, the so-called Fiat Lvx, because of true awareness and power coming into being. This power and this awareness is the original or cosmic fire. 

11. Charge of the seals, pentacles or lamens of the being desired

From A Guide to the Elementals:

Now, regarding the imagination, except in its outward projection, there is no major difference between the pen and the writer. A sign might show a pen, his character might appear as a writer. Similarly, the magician knows a being that is a patron of writers, and he might include or be shown a pen as part of the sign of this being. The same goes for the arrow and the archer, etc.

Because a being’s signature is the conjunction of his most prominent faculties, virtues and abilities, the sign brings the conjunction of the attributes to life by awakening the intelligence, that then has to solve all the symbols of the attributes into a living and more abstract expression that puts them all together, forming a world. Any sign that calls a being also opens his world, his domain.

Let’s say we have a bent line, a white cascading shape above, and five undulating lines on each side of the bent line. In the left corners there is a shield and a fly, in the right corners there is a spear and a pen. The central shapes evoke the image of an old man, the bent line projects as a bent back, the white cascading shade as white air, and the five undulating lines as trembling hands. Around the old man and inside him revolve four powers, as the four symbols in the corner come to be inhabited by imagination. They indicate he is an angel of war and a messenger of the dead.

The mind immediately asks where this old man is and from this old man spawns a context and a world of his likeness. This world, in turn, has the mind ask what the old man is doing in this world. Then the old man acts.

While the magician has extracted and summoned these animated images from the graphic in the sign, the being who is most naturally attracted to them comes to inhabit them and to truly speak through them. If the magician is ill-trained, he may let other thoughts interfere and anything can come to inhabit what he has summoned, or it may be the case that he isn’t rich and pure enough to attract more than astral larvae.

12. Charge of the magic mirror, or several magic mirrors, depending on the special purposes they are to serve

I suggest you work with the magic mirror in inner alchemy before using it for the operation. Which means if you, as in the case of Graphiel, wish sanctified power you will work your soul mirror together with the magic mirror in order to cultivate sanctified power. There is nothing the being can do for you about what you don’t bring with you to the operation. In other words, be the master of the art you wish to perfect with a specialist. For this purpose, make use of my article Magic Soul Mirrors. 

13. Putting on of the magical garment and meditative attitude to cause protection, purity etc.

From The Way of Abrahadabra (to be republished by Black Moon Publishing)

Once, the magician has stepped out of his physical body to roam with his astral body, and also out of his astral or physical body as he projected his mind. Now, the magician is without the shadow of a doubt a mature magician, and he should, instead, let his etheric body swallow his physical body, so that even on what seems to be the physical, the magician will start to see the world in terms similar to those of infrared vision. 

If the magician further allows the etheric body, swollen by the physical body, to be absorbed by the astral body, he will start to perceive the physical world as if a dream or a journey of hallucinatory nature.  If, even then, he lets himself be swallowed by the mental body, all will be light, sound and geometry.  At this stage, if he allows himself to be wholly taken by the gates of Akasha, the magician will penetrate a new kind of akashic trance.

14. Putting on of the magical headgear – crown, cap or magusband and meditation to bring about the contact with the deity

Reach the depth point of the deity, dislocate it to the depth point of the magusband, wear it and let it take over your mind, your whole perception becoming the web of this divine spider. When working with certain beings and making use of the deity that governs them, this means the being’s mind will as well be taken over.

15. Girding on the magical belt with the right attitude to bring about the magician’s power to control all powers, especially the elements

The belt, connecting micro and macrocosm, also connects the magician to the world. Without this alignment, the encounters of evocation can be so otherworldly that they go beyond repair: that is, the magician cannot translate them into anything useful on this Earth and he himself disconnects further and further from his own life mission. Therefore, I suggest my method from The Way of Abrahadabra:

The magician is to find a name that is suitable to him as a worker of the Great Work . He is to proceed with it in the same manner as he did with the names of the beings and the divine names of the spheres. 

The original name should have a quintessence, translating into a mantra and a threefold intonation.

We give the example of the author’s magical name, Panreva. Its number is 887, and it may be read as «Psyche and Cupid» on the mental plane, «Mind Body Spirit» on the astral plane, and «Divine Circle» at the physical. Its keyword is «The Abyss is Locked» and its mantra «Here divinity sees energy, breathes in and binds the magician». So, in its original concept, it stands for the overcoming of all steps between the union of life and desire. This is also present at the union of Eve and Pan under the Sun, Eve being the matrix for sublunar life and Pan its living expression, the instincts inherent to desire, while R stands for Resh, the radiation of the sun, that is, of consciousness. On an emotional level, that concept turns into a feeling of oneness between thought, instinct and enthusiasm. On a physical level its translates as Divine Circle because once the union of these aspects is achieved the magician moves about the universe as a star in its proper rout, and because of it the abyss is locked, no manifestation can counter Agape et Thelema for every event comes to feed the purpose of their marriage, which on and by itself may already describe the meaning of the mantra. The number for these expressions is 887, but the reader is not obliged to use gematria.

After the study and definition of one’s own name is accomplished, the magician is to find a duty connected to it. He should find a verb to which all other verbs should connect easily, for the more isolated his verb stands, the harder it will make the magician’s job. Nonetheless, he should not choose a helping verb like the verb to be, do, or have. He should also find an adjective to describe how he will be doing the verb chosen. For instance, «To dream out loud», the magician’s duty, or his word as a Magus, would then be to dream out loud. Every other verb can be preceded by this verb. i.e. «To dream out loud of flying».  

Some words may be ambiguous, so the magician is to describe what he means by dreaming with three other expressions. What does he personally mean by dreaming: on a rational basis, on an emotional basis, and as a practical activity? He should also use this method on the adjective and form three other sentences based on it. 

For instance: 

«To elaborate with precision»

«To hope with passion»

«To create with intensity»

So the following is now his manifesto: 

«To dream out loud,

To elaborate with precision,

To hope with passion,

and to create with intensity» 

In the original sentence, he should have added his objective. «To dream out loud in order to inspire those around me. » The objective is to define the balance of his duty, and the four elements should define that balance. Inspiration needs determination on the fire element, freedom on the element of air, a celebrative spirit on the water element and thoroughness on the element of earth. Whatever the objective of the magician, he is to find the proper elemental associations and practice their balance.  These elemental virtues act as the four sentinels of the Work. Their imbalance can collapse the structure of the duty, and therefore of the magician himself.

The magician is still to nominate by which means he is to do his duty and enumerate them on a document. He will be able to change that document to accommodate the needs of his evolutionary work concerning his duty. 

The document could be written in the following manner:

«In order to comply with his duty, Panreva commits to: 

1 – Work on one or more magical systems and elaborate his own;

2 – To study philosophy and apply it as a tool to work on his own thesis, the best of which he is to present to the world;

3 – To inspire his community with expressions of the highest ideals;

4 – To do works of illustration and set them out to the world, to write prose and poetry and to publish them, to make music and play it live, to perform theatre on stage. 

The four commitments refer to the four lines on the manifesto.

Each of these paragraphs should also have a temporal paper assigning the initiatives the magician is to take forward in order to serve their content. And they should dictate the course of the magician’s actions towards his duty during a one-year period.

For instance:

1 – To join the order of ____ and attain to the grade of ____. 

2 – To refute ___’s theory and seek to present a seminar. 

3 – To create a cooperative and to work with the community of ____.

4 – To get exhibited, get one show on tour and a book about ___ finished for release. 

This book of minutes should be sealed with the magician’s own sigil, which is to be received while the magician is meditating on his own magical name. Further validation is needed, and the sigil is to be recognized by the guardian genius before the duty is consecrated. 

The original sentence of the duty is to be inscribed on a belt which the magician should use during magical operations, and the sigil is to be inscribed at its lock. At his belt, the magician rests his wand. The belt signifies the region between micro and macrocosmos, above and below. The belt of the magician is like the serpent Uraeus worn by initiates of the Nile, it guards the channel of ascent, and holds fast the divine authority entrusted to the magician.

16. Girding on magic sword to magic belt with the meditative attitude of absolute victory; re-charging, with magic wand in the right and concentrating on the idea that the magician’s absolute will be realised

General response from A Guide to the Elementals

In physical evocations or journeying in subtle bodies, it is in the wisdom of magic to add further substantive backgrounds, such as magical weapons. These are to be inserted as fixed images that cannot dissolve and they are connected to the feeling that has been bestowed upon them. For instance, the magician’s magical sword represents his absolute victory over the world of phenomena.

No matter what the scenario is, if the sword is there, the outcome can never contradict the meaning of the sword, for part of everything the magician is experiencing is being given life by the sword itself. Of the same order are the sigils or signs that give the life of the being himself and his aspects to the whole scenario.

Regarding the elemental wands, and from the same source:

Formulas to Activate the Wand

A different wand can be used for each of the four elements. The wands represent the will of the magician piercing through all layers of the element, mastering it and ruling it.

Wand of Fire:

The magician can inscribe, after mastering them, the cosmic letters “Sh H S T” as portrayed in The Key to True Quabbalah by Franz Bardon. They should be painted in their corresponding colors. The wand must be charged in one end with a volt of the element of original light enveloped by the fluid of understanding, which is the mental structure of the principle of light. The other end should be charged with the light of clairvoyance and the power of analogy. Both volts should grow until they merge and compress into the form of the wand of fire. This can be done by the magician imbuing himself with these qualities and passing them to the wand in the form of volts or by drawing, by power of imagination, these fluids from the universe itself into the wand and forming the volts. He then breathes into the magical tool the intelligence of the original light and the power of the verb, and has it inspire the electric fluid and exhale creativity.

Wand of Air:

The magician may inscribe the cosmic letters “A C L H.” The wand is to be charged at one edge with the feeling of the highest wisdom enveloped by a mental layer, forming a volt. At the other end, a volt of the feeling of understanding enveloped by the fluid of cosmic equilibrium. In all cases, the volts should grow in size, fuse and compress into the form of the magical wand until it stands glowing wide. One then infuses into it the intelligence of wisdom and the power to acquire all qualities, and has it inhaling virtue and exhaling comprehension.

Wand of Water:

The letters are “M N W G,” one volt of the principle of fluidity with the principle of the mind, another with wonderment and abundance. One then creates in it the intelligence of original water and the life of supreme happiness, having it invoke concentration in and evoke peace all around it.

Wand of Earth:

Are to stand the letters “Ae I F R,” one volt of the fluid of life and death covered by a sphere of memory and consciousness and another volt of astral or magical equilibrium enveloped by the fluid of reason. The intelligence of life itself is given to it and the power over evolution, cause and effect. It is made to start getting inspired by the universal laws and to express absolute security.

Operating with Wands

Wand of Fire:

To conjure and master salamanders the magician must manage this wand with an attitude of absolute victory through understanding and a feeling of embodying the prophecy that molds the astral world itself. To use the wand to materialise such elementals that have been conjured, he invokes the origin of fire in himself and the power to overcome destiny, he then generates for the being to inhabit a volt of heat and light—the heat being the inner part and the light the outer part—and lets him take it into his shape.

Wand of Air:

The wand of the air is to be brandished with the attitude of an influential enlightened being and a feeling of standing as the cosmic balance that influences destiny. The beings it conjures can be materialised by invoking mastery over the air element and absolute influence over the mental plane, then creating for the elemental the volt of weightlessness and dryness.

Wand of Water:

The wand is held with an attitude of one who is the source of all sensory perception of life and master over all the intellectual perceptions of the mind, the feeling is that of a mystical sense of happiness. The beings it conjures can take on full shape by the magician invoking into himself a sense of being the self‑sustaining master over all waters and magnetic fluids, then creating for the being a volt of cold and moisture.

Wand of Earth:

The attitude with which this wand should be used is one of the master of his thoughts, memories and consciousness, with the feeling of innocent and natural magical equilibrium. The earth elementals can take on material appearance by the invocation of the feeling of being master over all desires and astral phenomena, then creating a volt of gravity and darkness for the gnome to take upon himself.

Regarding planetary wands, from Beyond the Veil of Illusion:

The premise to explain cosmic harmony can be quite simple too, as most solar teachings. It says the magic wand, loaded with cosmic radiation, works for the magician in all spheres because the magician works for the universe in all spheres through universal radiation.

At first, this simple axiom might leave the reader wondering about its meaning. Luckily, we are still magicians, and we can load our magic wand with cosmic radiation, finding the axiom in practice. We will not enter details on how to charge or load and consecrate a magician’s wand, this is not that kind of book. I have, however, written enough books that explain the method with some amount of precision, and Franz Bardon has given as well enough elucidations in this kind of procedure, either through his work Initiation Into Hermetics or The Practice of Magical Evocation.

For the work at hand and having cosmic radiation into account, it is enough to remind the reader that the light infusing the wand must be imagined (created) with the quality of a will that feeds itself and of itself, becoming an unbreakable ring of unity and power, whose name is cosmic harmony. 

In other words, the use of this ring, figuratively speaking but also magically speaking, is the entrance to the realm of cosmic harmony, where all things work for the same end and where the magician himself sacrifices to (becomes) that end.

Beyond what has been said, we can add that cosmic harmony is represented by a lion-serpent. The Ancient Egyptians knew this symbol as the royal seed of the pharaohs, where the pharaohs are Osiris (the continuity of consciousness throughout all dissolution).  

As a symbol, this solar figure, the Chnoubis , was used for protection, banishing all hindrances to cosmic harmony and ensuring health and enlightenment throughout the cycles of life.

17. Entering of the magic circle with the simultaneous feeling of ties and symbolization of the microcosm and macrocosm

This has been entertained in various ways, and although more could be said, this article has limits.

18. Concentration on the magic space, that is, the complete elimination of the ideas of time and space

For the quabbalist, it should be sufficient to practice the letter N in the akasha. For others, I should like to quote again from the yet unpublished Beyond the Veil of Illusion, so as to feed the practitioners meditation on the subject:

Focusing on the personality of the masters is stripping the contacts that are about to take place of their cosmic quality, so do keep your own personality and the personality of the master in the background. 

Some notes should be given in this book as well regarding the process of evocation itself, for there have been many misconceptions about the whole process, and some I seemingly have not been able to clarify in previous books. 

If a cosmic master wants to materialize, the cosmic master will, and there are enough accounts of this happening. During evocations, however, the materialization of the master in the room comes most often than not from the consciousness of the magician being projected through the akasha to the spiritual abode of the being, so that the being appears in the room as the senses channel the impressions, but there is no room where the master is and both the consciousness of the master and of the Adept are reunited nowhere and everywhere. 

More, some people ask me if one or another master is still available in the spiritual realms or if this or that master has reincarnated. 

There is little essential in this question. If we are to take essence into account, whatever being lives in the spiritual realm exists in no time and at all times. This means that the many stages of a spiritual entity exist without limitation of extension, that is, the beings are available through the akasha eternally in all their facets. The reason why this is not often spoken of is that, even for very knowledgeable and experienced magicians, it confounds the concept of personality, for if, in spirit, we exist in all manners that we have existed and will exist, how can we maintain our individuality? However, the mind of a cosmic master is not limited by notions of time and space except to operate in time and space, and it is expressed by the hive mind of all these possibilities. 

In other words, incarnation and reincarnation are measured sequentially from the standpoint of time and space, but from the akasha, all incarnations happen simultaneously, and all disembodied journeys too.

19. Repeated contact with one’s deity

Two suggestions. Assume the deity as taught in step X of Initiation Into Hermetics and, as the deity, communicate with the deity in all things external, so that all phenomena is a manifestation from the deity to the deity.

The second suggestion for repeated contact figures in my Through the Soul Mirror to the Sphere of the Sun:

Once the magician learned to meditate on his spirit, composed of fire as willpower, air as cognition, water as feeling, and earth as consciousness, he has learned to think with all four heads simultaneously, then adding a fifth, that of the astral senses, and finally, the physical senses. He has brought the six heads to think in harmony.

The seventh head is that of the God-Head. The magician has learned this seventh head too; all six heads have bowed to the seventh, and during such trances, the pyramid has become wholly the centre at the top.

We will now learn how to articulate the seventh head in a different shape. Let the magician transfer himself to his spirit, his mental body, standing beside his physical body. Let the mental body meditate on the godhood that it has known, calling it forth from out of its depth point. Then, the magician will imagine the God-Head leaving the mental body as the hand leaves the glove.

The explorations the magician will be capable of are not possible to describe, but let him gaze on the mental body now, for it will become omniscience itself, and let him look at the astral body and it will become the eternal sea of love; let him look at the physical body, and it will become omnipresence.

This is the Philosophical Stone, said to make its owner capable of feeling the sweeping of all stars, and it is the Grail of the Scarlet Lady kept and carried by the seven-headed beast.

20. Placing of the magician’s whole personality into the relevant mental sphere with all his implements

Not only this, which may easily be achieved by performing the sphere tone quabbalistically (again, A Guide to Sphere Quabbalah) or by Bardon’s imagination of the light oscillation, the chamber of operations (in the subtle plane) should also be transported to the corresponding sphere. 

21. Giving orders to the being or power of that sphere in regard to its evocation and imaginative forming of shape in which the being or power is to appear in the magic triangle or magic mirror

Forget monopoly over the being’s shape and let the being have its mode of expression. Focus instead on filtering the quality of the experience: you want the best outcome under the best of luck and for the experience to bless you supremely and totally.

22. Returning with consciousness to the operating room

Bring not only the being but the very sphere or elemental kingdom with you into the room.

23. Wanting or ordering a spirit to communicate a message or do a certain job in whatever sphere necessary

Addressed in the beginning.

24. Conscious dismissing of the being, at the end of operations, to the sphere from which it has been evoked and the finishing of the operation by saying a prayer of thanks

Nothing to add to Bardon’s suggestions.

25. Storing up of all magical implements, including the magic circle etc.

As a curiosity, my old mentor once taught me to have all my magical tools loaded into rings, bracelets and pendants that I could carry with me, wear and undress at all times and places. I go as far as to state that you can encode the magical tools in ritual gestures or seals. See my article Magical Gestures by André Consciência.

26. Entering the total course of operation, the time it needed, its success etc. into the Book of Formulae.

Have two different books. Let one be of pure recording and evidence, for later consultation. On the other book, translate all experiences into bodies of wisdom, practice and method. Magic should become science, art, worldly activity or philosophy. Evocations are useless otherwise. 

Also, remember that it is not enough to register successes and failures merely; it is essential to identify the causes of success and failure, as well as how to replicate success and overcome failure.

Now we can finally return to point 5: 

I will not be focusing on the ceremony itself, you have PME for that effect and Bardon’s example. In itself, it is quite sufficient, and all that I am adding is purely extra content. But I will focus on a preparation that leads to an impactful first evocation, capable of serving as a deep initiation.

Magical Belt

Reduce the magical belt operation to nine months if you must, but do engage and give it great priority. Then renew it, make it a way of life if you are up to it. If you don’t align your mastery with your worldly call to action you risk severing the connection during evocation.

Evoking your subconscious

Despair not, for during these nine months you will be working other aspects as well. Start by evoking your subconscious and interacting with it. This process is personal but the universal goal is to have it become obedient, non-active during the operations and only working to maximize the undistorted signal of the evoked beings.

If you can’t simply evoke the subconscious (this should be no big challenge if you have completed IIH) engage in mental wandering, which will help you define the background.

If that seems to be beyond your reach also, try a cave with reflective dark waters and moving glyphs. Inside the waters, there is a submerged twilight temple with a labyrinth whose turns and chambers change according to your thoughts, and inside this labyrinth, there is a library of shadows, dreams and emotions. The library is the messenger. Interact with this library.

Later, you do not find the library but a dreaming child’s room where the toys engage and speak to you. They are the messenger.

Then, at some point, instead of the dreaming child’s room in the labyrinth, you find a theatre, and scenes play out both directed and played by the messenger, who is all actors. 

Finally, you find nothing, but the walls of the labyrinth are all made of mirrors and your reflections do not obey you. They are obeying the messenger. When you can bring him from the mirrors to your front, you will easily get indications on how to evoke him successfully.  

Whatever the case, provide the background intimacy, making it inner and suggestive (mutability and association), rather than cosmic or elemental. You can use, during such explorations, the help of your guardian genius if it is not distorted, and during the evocations, the assumption of your personal deity.

The messenger must always answer to divinity under whatever form or shape, for although the messenger rules psychic form and shape, it has no rule and only subservience towards divinity. That said, the specific deity that governs it directly appears as a masked king, the mask showing no recognizable feature and the crown radiating with infinite light. 

Additionally, it will be easy for the magician to capture the seal of their subconscious through automatic drawing and similar techniques, as taught in IIH through passive communication. Besides, a universal seal can be a triple ring inside which there is a crescent moon held in a mirror, and in this crescent moon, a black drop. Inside this black drop, there should be your birth chart’s moon.  Obviously, if you use this sign, later the messenger will provide unique and personal alternatives. 

Evoking your Guardian Genius

You will be able to test if your work with the subconscious is successful when you can, without disruption, evoke your guardian genius with the utmost clarity, and the line is unimpeded within all extrasensory abilities. Since the magician has met the Guardian Angel or Genius already in IIH, spiralling up where all shadows are banished to that white-gold temple floating above the boundless sea of thought, instructions will be given by the Genius.

At this point, you are already practicing knowing well the purpose of your evocations, and proceeding as indicated in point 1 when it comes to the evocation of the messenger or the evocation of the guardian genius. In fact, all the delineated steps are being put into practice, although some of them are still being refined towards perfection. 

To evoke the guardian genius, the personal deity is optimal, but something that could work universally is the omnipotent head of Ra or Atum-Ra, the contemplative chest of the omniscient Apollo, the abdominal region of the eternal Ahura Mazda, to whom the world is his bosom, and the ever-reaching limbs of the very Guardian Angel.

Obtaining the personal seal from your guardian genius is imperative. A generic seal that might help is a six-petaled flower inside a hexagram. At the top triangle of the hexagram, there is a crown, and at the bottom triangle, a magical mirror. The other triangles should contain the letters of YHVH, each one letter, correspondingly, in the Hebrew glyph. And around a circle should close with the inscription: “In silent radiance, I behold the Face of My Star”. 

Meditative Light

During these nine months a very important aspect will be to practice the meditative attitude with which to light the magical lamp. That is, the practice of the meditation we have given. It should develop to a point as further described in Beyond the Veil of Illusion:

The second task is that of maintaining the trance state generated in the previous step. The longer one maintains it, the stronger the consequences and transformations. Without the transformation that comes from the permanence of this state, all that will result from the Ogdoad Method is a cathartic moment after which there will be no fruits to reap.

One can strive to remain in this state for one minute, then two, then three, up to five, and up to half an hour. Maybe one hour. Then in daily life, while engaging in daily activities and performing daily duties, until this state becomes our natural state of repose and balance.

From remaining in the trance of cosmic creation or fire, we begin to exhale the so-called cosmic emanation. In the “Way of Mystery – Magick, Mysticism and Self-Transcendence”, Nema  speaks of this state in an elucidating descriptive manner. I will, therefore, use her better words.

What she calls rapture , and we cosmic emanation is, in her words, “a sense of being seized and swiftly carried upward, like a fish or a rabbit in the talons of an eagle or a hawk. Solid footing is gone, and struggle might result in a fatal plunge. There is often a sensation of being surrounded by and merged with light. In my own experience I’ve encountered a warm golden haze, a brightness of pure light, a silver-blue radiance as well as occasions of vivid, living darkness, a light beyond sight. In each case, the radiance is inhabited by an intelligence that stays at the edge of awareness, scarcely glanced, almost seen, haunting, familiar, and strange. The light and darkness pierce and penetrate every part of you, charging your vibratory rates with new energy while bearing its information into you.”

In other words, the cosmic emanation is the rapture of surrender, whose name is ecstasy, and it removes experience, physical pleasure, and instinct from their commanding stations so that bliss now guides the magician, and he or she becomes the mystic saint whose presence can produce miracles like healings, bi-locations, sightings, etc. The mystic will produce his or her miracles often unaware of them, but the magician knows that this cosmic emanation also translates into an astral fluid that intoxicates the air with the perfume of sanctity, being a visionary light that gives him or her and the bodies around him or her their glowing countenance and halos.

This fluid can be harnessed and worked consciously in and with the mind, the soul, and the body, and through the mental plane, the astral plane and the material plane.

The Order of Works

So, during these nine months in which you are solidifying the work of the belt, you are also doing concurrent operations.

In the first three months, you are conquering the messenger while working alongside your guardian genius. You are also training the meditative light daily and obtaining a sense of sainthood.

In the next three months, you are focusing on the work with your guardian genius, and working the magic mirror with the soul mirror to make sure all those virtues that the magical tools symbolize are fixed within your character. 

The next three months, you dedicate to mastering the mandala or Vimanarupa of the sphere or elemental kingdom you wish to work with in your first official evocation, according to my article “From the Depth Point to Life on Venus”, and transporting the room to the sphere. You are also practicing repeated contact with your deity, and leaving your mental body within the Godhead, then inhabiting with the Godhead your bodies down to the material body and in this state absorbing the material with the etheric body, the etheric body with the astral body, the astral body with the mental body and absorbing the mental body back to the akasha state of the Godhead. You should also be able to reproduce this effect with whole rooms. 

After these nine months, it is time to research for a whole moon all that is necessary to know about the being you will evoke. 

Let us pick, for the sake of example, Aschmunadai:

You have spent a whole moon understanding your purpose and the purpose of the monarch, adapting your soul mirror with the aid of the magic mirror for this operation and gaining insight into all the characteristics of the being yourself. You have now charged all magical tools and mastered the corresponding meditations, states of consciousness, or attitudes.

You have become acquainted with raising consciousness to the abodes of your guardian genius and lowering those abodes to the very room, after charging it with the guardian’s light, and all other preparations, such as the timeless and spaceless state and so on. You can become your deity at will, and all the general steps have been mastered. 

Aschmunadai’s first seal is given by Franz Bardon (PME), so we need not delve into that. We need to get acquainted with the place of evocation, which is to say, most importantly, the background. 

Bardon described Aschmunadai in the following manner:

“Aschmunadai – is a powerful initiate in the zone girdling the earth. He has the rank of an absolute monarch. His universal seal, as shown in picture 1, is very complicated, but is a graphical representation of all the fundamental qualities with which this high intelligence is equipped with regard to the zone girdling the earth and also with regard to our physical world. For the first evocation this seal has to be drawn in blue, red, green and yellow colours and has to be placed into the triangle outside the magic circle in front of the magician. As soon as he has been able to contact Aschmunadai he will get from him an abbreviated sign by the help of which the magician will be able to call the intelligence. This simplified sign of Aschmunadai’s seal must not be used unless approved by Aschmunadai. Aschmunadai can make the magician acquainted with all laws governing the mental and astral sphere of the zone girdling the earth and enable him to apply these laws. With Aschmunadai’s help the magician can get under his control the total zone girdling the earth and gain plenty of knowledge. Since Aschmunadai is in possession of a great number of servants, he can place at the magician’s disposal, if asked by him, servants who will assist him either in the zone girdling the earth or in our physical world and do everything he wants.”

This leaves us with a domain that is the magnetic and symbolic envelope of the Earth, the intermediary between the terrestrial and the celestial. For instance, a vast temple suspended in space, from whose balconies the continents are visible.

Since the seal is drawn in blue, red, green, and yellow, which directly correspond to Water, Fire, Earth, and Air, the background must radiate balanced elemental power. Given Aschmunadai’s monarchic status, a throne is appropriate. A transparent crystalline seat formed of interwoven elemental fluid, suspended in the zone, its form shifting subtly, making known his mental sovereignty.

His seat is encircled by spirits, luminous figures in orbit, like satellites of choirs: his servants or aspects of his intelligence.

To reflect his control over mental and astral laws, the background features floating diagrams or scrolls of light that inscribe themselves around the monarch in a horizon that contains both stars and minds, where thought and cosmos are one.

Ethereal geometry, platonic solids, sigils, and mandalas drift or orbit, while Aschmunadai holds their laws with living presence. There is an ambient luminosity, as if these laws themselves emit light.

Then, the magician, seated in the centre of his circle, beholds through the triangle a curved sphere of vast magnitude, encasing the Earth like a subtle membrane. Within it floats a crystalline throne, whose frame undulates between the elemental colors: red fire curling into blue water, green earth rising into yellow air. Upon the throne sits Aschmunadai, not robed in fabric but clothed in light-geometry and abstract crown, his face noble and vast, unreadable yet familiar. Behind him, the four elements spiral in immense arcs, and around him, seals drift like satellites, releasing the laws of matter, thought, and soul. In this space, symbols become alive and breathing. The practice for half a moon (from New Moon to Full) of this magical cartography and its plastic materialization is enough to get the magician introduced to Aschmunadai. When the magician visits him in the Earth Belt, things might be different, or if the magician invites Aschmunadai to possess this scenario and take body during the Full Moon, Aschmunadai will certainly take over and surprise the magician.  

Finally, I suggest adding to this visualization of the background a second session devoted only to the character background in all its iconography. The first session is generalist and leaves more room for the influence of the intelligence, the second is quite detailed, zoomed, and holds greater psychic pressure from the magician. 

The iconographic representation of Aschmunadai stands tall and regal, in a slightly abstracted anthropomorphic form, cloaked in flowing robes made of translucent astral energy, segmented and alive. The body itself has the form of the outer contour of the seal, a double-winged cloak built of the fluid of his aura. This becomes part of the robe or mantle. He towers as a hierophantic figure, seated on his crystalline throne shaped like a cube intersected by waves.

Atop his head is a double red disc, of solar authority and earth-zone dominion. It is made of a halo of red-gold, with two discs intersecting and floating above the head like a planetary alignment. From the discs descend two vertical rods into his temples, directing the influx of universal law. His face is serene and abstract, half human, half mask, transpiring hidden knowledge. The eyes are crystalline and slightly closed, turned inward.

Over the heart there stands a red-and-white shield with the letters Æ E S carved into the plate like a glyph of sovereignty. This quabbalistic formula discloses the threefold power of mental, astral, and physical dominion over the Earth zone, the first letter indicating Aschmunadai sees through all thoughts, actions and wishes concerning matter and is their absolute master; the second that Aschmunadai understands the perception of the remotest past, the present, and the future, indiscriminately of distance or kingdom, i.e., human kingdom or animal kingdom; the third letter revealing Aschmunadai has control of the consciousness of any human being or being of any sphere or plane of our macrocosm, starting from the kingdom of the elements up to the highest angels, original beings, genii, etc. 

In the neck Aschmunadai has banded seal of the Egyptian scarab Kephra. This radiating jewel pulses with lines representing the flow of thought. On one side of the torso there is a butterfly-like glyph and on the other a spiral form, emanations of force and delegation, along with four small cherubic faces emanating from him at cardinal points.

Additionally, the iconographic living figure presents four arms, in red, blue, yellow, and green, each holding an elemental wand:

Red: Staff of Fire

Blue: Staff of Water

Yellow: Staff of Air

Green: Staff of Earth 

The lower torso catches three red-wave patterns that connect him to the fluid mental and astral currents of the earth zone. At the feet there stand intertwined elemental serpents coiling around a ringed globe, showing Aschmunadai’s rulership over the totality of elemental zones. Embedded into the surface of his mantle, as part of his robe’s iconography, there is a dice to his left shoulder and a playing card to his right.

Behind him, a radiant wheel with compass-like arrows, the Wheel of Law, displays Aschmunadai’s insight into fate, cycles, and astral coordination. Influenced by the double disc it turns slowly behind his head like a celestial clock.

In sum, Aschmunadai stands as a monumental form of light, his four arms holding the elemental staves, his mantle flowing like curved magnetic geometry. A double sun crowns his head, and in his breast shines the sigil ÆES, carved like a seal upon a divine tablet. From his back emerges the wheel of heavens, and his robe is inscribed with symbols of fate, elemental balance, and mental law. Beneath his feet, a globe is circled by spiraling bands. His presence is that of a mind-shaped flame, robed in elemental light, crowned with a radiant double-sun. His face is calm, abstracted, mirrored, his eyes are not for seeing but reflecting. And you feel the pull of order and the demand for clarity.

Final Template

To be performed in the Circle with Triangle prepared, Aschmunadai’s seal inscribed in red, yellow, green, and blue, and placed within the Triangle of Art. The magician wears white or gold, and carries a wand or sceptre crowned with a clear crystal or solar glyph. The ritual may take place at dawn or dusk, under a temperate sky. The elemental tools should be present in their proper quarters. And everything we have learned should have been taken care of. 

You should have reinforced the operation by breathing into your robe the breath of silence, into your wand the fire of the stars, into your mirror the waters that reflect the astral planes, into the triangle the earth that bears the mystery of form, into the circle the spirit that binds all into wholeness, etc, always proceeding in wisdom, in harmony, in balance and peace.

Now, in the center of the circle, with all it implies, and facing the Triangle, with all it implies, place the tip of your wand upon your heart:

“By the unbroken thread that binds my breath to the starry Crown of the Infinite,

I will this operation to draw forth the Intelligence of the Zone Girdling the Earth,

The Great Monarch named Aschmunadai,

Sovereign Architect of the Elemental Equilibrium,

Master of the mental and astral legislations of Earth,

That I may cause instruction in the noble art of inner dominion,

Comprehension of the subtle statutes of causality and motion,

Movement with poise across the corridors of force,

And craft a soul palace governed by order, balance, and clarity.”

(Fix the seal of Aschmunadai)

“May these things be

That I establish a dwelling-place of peace at the center of my being,

That I administer the faculties of mind, imagination, and will

That I walk the boundary between manifestation and intention

That I perceive the concealed architecture of cause and effect,

And inscribe new meaning in the soul mirrors

With deliberate and reverent hand.”

(Place both hands over your heart. Speak slowly.)

“Because I am the sovereign of my inner world.

Because form meets freedom in the temple of consciousness.

Because I listen through silence.

Because the mental realm is a kingdom,

And I wear the crown of responsibility.

Because beneath all multiplicity is one order,

And I serve that order in fullness of will.”

(Hold the wand vertically before you. Call forth the backgrounds and fix your gaze on what you see.)

“So, O Sovereign Aschmunadai,

High Initiate of the Zone that girdles the Earth,

Supreme Mediator of Element and Idea,

You whose thought is law and whose law is balance,

Who holds the mirror of the Earth between the realms,

And teaches the magician how to reign in reflection and radiance.

By your command, the four elements are yoked in harmony.

By your voice, the mind becomes luminous and silent.

In your presence, the realms realign into their proper tone,

And the ladder of ascent is guarded but clear.

In the sanctuary of your dominion this divinity visits,

By your sigil this divinity knocks, by your seal this divinity waits,

And in reverence this divinity asks:

Unveil the statutes of your kingdom.

Show the ways of rulership without tyranny.

Place in this keeping a servant of your light

To instruct according to readiness and truth.

Aschmunadai, Monarch of the Encircling Flame,

Listen to this voice.”

As for the rest, you know what to do. 

The best of luck,
André Consciência