BOOK V Mysteria Magica
THE ORDER OF THE SACRED WORD
AURUM SOLIS
ANNO MDCCCXCVII CONDITO
CONSTAT
By Authority, Crys O’Regan,
Administrator-General, AS.


PARTI
FUNDAMENTAL TECHNIQUES
Ι
POSTURE & BREATHING
The three established postures of the Western Tradition
are
A. The Sitting or God form Posture
B. The Standing or Wand Posture
C. The Supine or Earth Posture
A. The God-form Posture is of ancient Egyptian origin. It is
essential for this posture that a seat should be arranged so that the
thighs shall be horizontal while the lower leg is vertical, and the
soles of the feet rest steadily upon the floor, or if necessary upon a
support. Thus seated, with the spine erect but not stiffly vertical,
the feet should be placed side by side as should the knees. The upper
arms should hang loosely at the sides and the hands should rest palm
downwards upon the thighs. The head should be held so that if
open the eyes gaze straight ahead.
B. The Wand Posture
is a normal and well-balanced
standing position. The head is held erect, the shoulders are dropped
back so that they are neither drooping nor held rigidly square. The
arms hang by the sides with a slight natural curve at the elbow; the
feet are placed side by side, the toes being turned neither in nor out.
If this posture is correctly maintained, it should be possible to
take a step forward with either foot as required, without shifting the
weight.
C. The Earth Posture is a position in which the subject lies flat
on his back. The legs are straight and the arms lie
4
MYSTERIA MAGICA
straight at the sides of the body. It is essential for this posture that
tight clothing and unnecessary discomforts should be
avoided.

The standard breathing technique used in connection with
Aurum Solis practices is referred to as the R h y t h m i c Breath. This
particular rhythm of breathing is termed by some people the
Healίng Breath, because one of the good results of its proficient use
is the rapid and powerful release of energy: for oneself if need be,
or to implement works of healing and magical acts generally.
To practice this Rhythmic Breath, begin by counting your
own heartbeats. At first it may be difficult to concentrate upon the
heartbeat, so keep away while practicing from sounds such as a
ticking clock or strongly rhythmic music. In time you will be able
to disregard sounds which do not relate to what you are doing.
When you first begin to concentrate upon your heart-beat, it
may slow down to some extent before steadying itself. This is quite
normal, and with more practice will cease to occur.
The rhythm of this form of breathing consists in taking the
breath in during a count of 6 heartbeats, holding the breath for a
count of 3, exhaling during a count of 6, then counting 3 before
beginning to inhale again. The critical point is the count of 3
before beginning to inhale: some students may at first find this
pause impossible or distressing. In such a case, strain is to be
avoided. A count of 2 heartbeats should then be used, but the
characteristic rhythm of the practice should be maintained: this
will mean inhaling during a count of 4, holding the breath during
a count of 2, exhaling during a count of 4, and thus coming to the
pause of 2 heartbeats before again inhaling. In time the standard
count will become
easy.
When Rhythmic Breathing is achieved, whether 4-24-2 or
the full 6-3-6-3, it may be used whenever opportunity
POSTURE & BREATHING
5
offers, and certainly should be used when any magical or
meditative practice is undertaken. The intention in Rhythmic
Breathing is not, as it may at first seem, to keep attention focused
upon counting heartbeats or upon the flow of breath; but to
facilitate a total concentration of attention upont other matters in
confidence that the Rhythmic Breath, once established, will
continue in a smooth and entirely adequate manner for as long as it
is needed, without counting, without another conscious thought. A
natural, easy flow of rhythmic breathing thus becomes "second
nature".
II
THE CALΥΧ
(Face East, assume the Wand Posture, develop the Rhythmic
Breath.)
i.
Draw in a deep breath; on the expelled breath,
vibrate : — אתה Ι ΕI
ii.
Draw in a deep breath, raise the arms gently at the
sides so that they are held almost horizontally, but not
stiffly so : the palms being upturned. The breath is
expelled.
iii.
Draw in the breath; on the expelled breath, vibrate:
ת ו כ ל מ Ι H Β Α Σ Ι Λ Ε Ι Α
iv.
Lowering the elbow as may be necessary, on the
next indrawn breath bring the palm of the left hand
across to the right shoulder. On the expelled breath,
vibrate:— הדובגו Ι ΚΑI Ή ∆IΝΑΜlΣ
v.
On the indrawn breath bring the palm of the right
hand across to the left shoulder, across the left arm.
On the expelled breath, vibrate:— הלודגו Ι
K Α Ι Ή ∆ Ο Ξ Α
vi.
Keeping the arms crossed, incline the head slightly
forward on the pause at the end of the breath. Draw
in the breath. On the expelled breath vibrate:
ד ע ו
ע ל
ם ל ו
Ι Ε Ι Σ Τ Ο Y Σ Α Ι Ω Ν Α Σ
(Commentary)
The Calyx is a fundamental technique of Art Magick, which
7
both aligns the practitioner with the forces of the cosmos, and
awakens awareness of the counterparts of those forces with the
psyche. It can thus be said to encapsule in brief
compass the chief method and purpose of all workings of High
Magick.
The Calyx is variously employed as a psychic energizer, as
a mode of adoration, or as a preparatory formula for the
bringing through of power.
It forms, for example, an integral part of the rites of the
Setting of the Wards (Papers III, IV, and V following), where its
primary function is to imbue the operator with the power
necessary to establish a sealed and sanctified environment, a
vibrant astral matrix, in which to conduct his work.
Again, at the conclusion of some of the Ritual Formulae of
Part VI of this book, the Calyx is employed as a gratulatio, a
magical thanksgiving. In this context, the function of the Calyx
is twofold : in the ambience of an achieved rite it honors the
sublime reality of the forces of cosmos and microcosmos, and it
affirms and establishes the equilibrium of potencies within the
psychic organism of the operator.
Although relatively simple, the Calyx is a complete
spiritual "toner" in its own right, and the student should use it
frequently : whether to enhance the personal psychic energies
in preparation for a further activity (ritual, meditative, or other),
or as mode of attunement to the great forces of life, or for the
sheer joy of the work or for bliss of being.

In the text of the Calyx, the Words of Power are given in
both Hebrew and Greek forms. The transliterations and
meanings of these words are as follows:
(Hebrew)
(Greek)
Α Τ Ο Η ............................................Ε Ι .........................................................THOUART
MALKUTH ........... HE ΒΑSILEIA .........THE KINGDOM
V'GEBURAH .... KΑΙ HE DUNAMIS .. AND THE POWER
V'GEDULΑH .... ΚΑΙ HE DOXA .... AND THEMAJESTY
L'AULOM VO-ED . EIS TOUS MONAS . TO ETERNAL AGES
After mastering the "mechanics" of the Calyx—the syn-
chronization of breath, intonation and gesture—the student is
ready to undertake the Calyx in its complete form, to include
the use of visualization and a contemplative awareness of the
successive principles involved. This complete form is exempli-
fied below: in this, for convenience, the Words of Power are
given in their Hebrew form alone.

i. When the Rhythmic Breath has been developed, a
Tongue of Flame is visualized above the head. This Tongue of
Flame represents the Higher Genius, the source of magical
power, that Sacred Flame by virtue of which the practice of
Magick is possible. Its situation above the head should prevent
any confusion of it with the everyday personality or Ego.
Holding this visualization steadily in mind, on the expelled
breath we vibrate : —
Α Τ Ο Η
. On the indrawn breath the arms are raised. In raising
the arms, the vertical line of the body is balanced by a sym-
metrical, horizontal extension. This horizontal evokes an
awareness of Jupiter, Mercy, to the left, with Mars, Strength, to
the right, as balanced powers within us. The palms are up-
turned to signify that this balanced being is ready to receive the
power of the Higher Self. The breath is expelled.
i~. As the breath is drawn in, a brilliant shaft of light is
visualized which descends swiftly from the Tongue of Flame,
passing through the crown of the head and the center of the
body to the ground between the feet.* On the Expelled breath
we vibrate:
As in all magical operations involving the central column energies, whether visualized as
the downward-coursing light or as the Centers of Activity themselves, the primary domain of
controlled function is the astrosome. Initially therefore, the effect of such practices is likely to
consist solely in the increase and harmonization of energy patterns within the astral body.
But this is only the beginning of the process, for through continued and regular use of these
practices, higher and more inward faculties of the psyche will become increasingly involved
in the work and a true harmony and interaction of forces will thus be wrought through all
levels of the psyche.
8
MYSTERIA MAGICA
THE CALYX
9
10
MYSTERIA MAGICA
MALKUTH
iv. On the indrawn breath the palm of the left hand is
brought across to rest on the right shoulder. We acknowledge the
forces of Mars at the right side. On the expelled breath we vibrate :
—
V'GEBURAH
v. On the indrawn breath the palm of the right hand is
brought across to rest on the left shoulder. We acknowledge the
forces of Jupiter at the left side. On the expelled breath we vibrate:
V'GEDULAH
vi. Keeping the arms crossed, on the pause at the end of
the breath we lower the head. The breath is drawn in: we feel the
shaft of light within, radiating energy into our being. We feel a great
concentration of light and power at the heart-center, which lies
upon the vertical line under the crossing of the arms. On the
expelled breath we vibrate : —
L'AULOM VO-ED
111
THE SETTING OF THE WARDS OF POWER
(Hebrew)
(Stand in the centre of the place of working, or as nearly the centre
as the arrangement of the chamber will (llow. *)

i.
Facing East, assume the Wand Posture. Vibrate התא

ii .
Raise the arms at the sides, vibrate תוכלמ
iii.

Touch the right shoulder with the left hand, vibrate
הרובגו
iv.

Touch the left shoulder with the fight hand, vibrate
הלודגו
v.

Keeping the arms crossed, bow the head and
vibrate דעו םלועל
vi.
Advance to the East. Beginning at that point and
returning thereto, move widdershins round the place of
working, with hand outstretched tracing the circle.
vii. After completing the circle, return to the centre. Facing
East, make the Gesture Cervus: at the first point vibrate
היהא, at the second הוהי.
viii. Turn to face North: make the Gesture, vibrating אלגא at
the first point,ינדא at the second.
ix.
Face West: make the Gesture, vibrating אלגא, then לא .
x.
Turn to face South. Make the Gesture, vibrating ,היהא
and םיהלא.
If the Bomos is stationed at the centre of the place of working, begin East of Bomos.
11
MYSTERIA MAGICA
xi.
Face East. Assume the Wand Posture then raise the
arms to form a Tau. Vibrate•
ΤO THE EAST
ר
לאיחו TO
THE SOUTH לאישא
TO THE WEST לאימ
TO THE NORTH לאיריפוא
xi.
Repeat the Calyx, i to v.
(Commentary)

The purpose of the present ritual is to demarcate and
prepare the area in which the magician is to work, with astral
and Br ίatic defenses. The ritual consists of both banishing and
invocation: the four Elements having been banished from the
Circle in their naturally confused and impure state, the mighty
spiritual forces ruling the Elements are invoked into symbolic
egregores, to become Guardians of the Circle.
In the text of the Setting of the Wards of Power given
above, the Gesture Cervus is indicated. This Gesture is per-
formed as fol lows:
1. The Wand Posture is assumed.
2. Both hands are raised to the brow, so as to frame
the center of the forehead in the space formed by
conjoining thumb with thumb, forefmger with fore-
fmger, palms facing forwards. (The two middle
fmgers will also touch.) This constitutes the first
point of the Gesture; while this position is held, the
f i r s t Word of Power is vibrated.
3.
In one vigorous movement the hands are separated
and flung forward, slightly apar t and upward : the
elbows should be straightened and the fmgers slightly
spread. The palms are still facing forwards. This
position constitutes the second point of the Gesture.
The second Word of Power should be forceful ly
uttered while this movement is being made. The
arms a r e then lowered.
THE SETTING OF THE WARDS OF POWER
13
When the student has mastered the physical performance
of the rite (that is, vibration, movement and gesture) as detailed in
the text, he should proceed to employ the full form of the
Setting, incorporating visualization and ref lection, as follows.
From the beginning, however, he should perform the Calyx
fully, as set forth in Paper 11.

The Calyx is performed.
The operator advances to the East. He moves wίddersWns
round the place of working, tracing the circle with his out-
stretched right hand. As he proceeds, he visualizes a shimmering
wall of silver mist which he is thus drawing round the limits of
the chamber: when he links the circle in the East this silver wall
completely encompasses the place of working.
The operator returns to the center. Facing East, he makes
the Gesture Cervus; at the completion of the first point he
visualizes a pentagram of brilliant light on his brow, framed by
his hands. Holding this in mind he vibrates Ε Η Ε Ι Ε Η . The
pentagram is f lung forth with the second point of the Gesture,
the operator vibrating YAHWEH: as the pentagram is flung forth
it is seen to diffuse as a burst of light into the shimmering mist-
wall. The result of this is twofold: the forces of Air are banished
from within the circle, and the first Ward is
established.*
Remaining on the same spot, but turning to face the
North, the operator repeats the Gesture and visualizations,
using the names AGLA and ADONAY.
Still at center, the operator turns to face West. He repeats
the Gesture and Visualizations, using the names AGLA and EL.
• The Gesture by its nature causes diffusion, but does not lessen banishing force within a
small area. Magical practice has established that Cervus ίs fully efficaεious to a distance of
approximately thirty feet from the operator, and thus in a working area sixty feet in diameter.
Beyond this range the full astral reality of its power beαinα to diminish. The fortification of
the circle by the method of the Cervus Is only possible because the projected force Is
diffused thereby; a concentrated projection of force would, inevitably, pierce the barrier.
The circle alone will contain forces, but will provide no adequate defense.
12
MYSTERIA MAGICA
Turning to face South, he again repeats the Gesture and
visualizations, using the names EHEIEH and ELOHIM.
The operator now faces East. He assumes the Wand
Posture, then raises his arms to form a Tau, palms downwards.
He remains thus, at center and facing East, arms raised in the
Tau, thrοughout the fourfold invocation of the Archangelic
powers (section xi of the text).
Before him he visualizes a tall and slender form clad in a
voluminous and billowing robe of yellow, heightened with
traces of violet. While this figure is contemplated, a cool
rushing of wind is to be felt as emanating from the East. This
wind should be felt inwardly to awaken the hidden aspirations
and wordless hopes which have lain dormant in the toils of
sloth and habitude: it sings to the inner ear of the potential-
ities of a life which reaches forth to the spiritual heights. When
this image has been formulated and realized, the operator
vibrates TO THE EAST RUACHIEL.
To the South he visualizes a lean muscular figure with an
appearance of great strength, clad in a robe of brilliant red
with changeful sparks of green, and standing amid flames.
This figure holds in his right hand a wand of burnished copper.
While this figure is contemplated, a sensation of powerful heat
is to be felt as emanating from the South. It should also be
perceived inwardly that the fire from which this heat is
generated is the fire of inspiration: there is in its power a
kernel of inebriation too, as may be understood by recalling
that Dionysus took birth from the all-consuming fire of Zeus.
When this image has been formulated and realized, the
operator vibrates TO THE SOUTH ASHIEL.
To the West he visualizes a tall and powerful figure
standing amid foaming turbulent waters, clad in a robe of blue
merging into highlights of orange, and holding in his left hand a
silver cup. While this figure is contemplated, the mighty surge
of the sea tides is imagined, pouring in successive waves from
the West. Inwardly it should be felt that these waves are of the
cold and shining waters which purify the intellect in their
flood, healing it of unreason's fever and tempering it as
THΕ SETTING OF THE WARDS OF POWER (Hebrew) 15
steel is tempered. When this image has been formulated and
realized, the operator vibrates TO THE WEST MIEL.
To the North he visualizes a broad-shouldered, placid
figure, robed in indigo which gleams with flashes of pale gold,
and standing upon wild grass studded with yellow flowers. In
his left hand the figure bears a golden orb, in his right a golden
sickle. While this figure is contemplated, a feeling of great peace
and stability is to be imagined, for the succession of the
seasons wipes out or mitigates past errors: the innocence of the
Golden Age ever awaits us in earth's renewal. Elemental Earth
itself is the medium of nature's work, and the instinctual
faculties of man find their repose therein. When this image has
been formulated and realized, the operator vibrates TO THE
NORTH AUPHIRIEL.
The fourfold invocation having been accomplished, the
operator, still at center and facing East, concludes with the
Calyx.

When the integration of gestures, vibrations, visualizations
and other parts of the Setting has been achieved, the student
should accustom himself to performing the Setting of the
Wards, and to working within their protection. To this end, he
should carry out the Setting very often, and always before his
exercise sequence or any other magical work.
One of the effects of the practice is a personal attune-
ment to the equilibrium of the great forces invoked therein.
Long familiarity with this ritual will but render it more
rewarding; care must be taken, however, that it is always
performed attentively and with unabated heed to all its parts.
The circle traced about the place of working (section vi
of the text) should encompass the whole area, all necessary
equipment having been duly placed beforehand within its
limits. This is of vital importance, as no-one is to cross the
bounds of the circle during the working. No relaxation of
this rule should be permitted. If the circle is disturbed in this
way, there is a real danger that undesirable influences attracted
14
16
HYSTERIA MAGICA
by the magick may enter through the breach and vitiate the
working. Α more insidious danger, however, is t hat t he operator
who is careless concerning the breaking of his defences will find
that he has weakened his own belief in their reality; and such
doubts carry their own perils. One's work must be sound, and
one must know it to be sound.
ΙΥ
THE SETTΙNG OF THE WARDS OF POWER
(Greek)


(Stand in the centre of the place of working, or as nearly the
centre as the arrangement of the chamber will allow.)

i.
Facing East, assume the Wand Posture. Vibrate EI

b..
Raise the arms at the sides, vibrate Ή ΒΑΣΙΛΕΙΑ
~i.
Touch the fight shoulder wit h the left hand, vibrate
ΚΑΙ Ή ∆ΥΝΑΜΙΣ
iv.
Touch the left shoulder with the right hand, vibrate
KAΥ Ή ∆ΟΞΑ
v.
Keeping the arms crossed, bow the head and vibrate
ΕΙΣ ΤΟΥΣ ΑΙΩΝΑΣ
vi.
Advance to the East. Trace the circle, returning to
the East.
v1.
Return to the centre. Facing East, vibrate:—
Ή ΠEΛΕΙΑ KAI Ή ΥΓΡΑ
O 0Φ Ι Σ ΚΑΙ ΤΟ Ω IΟΝ
viιι.
Facing East, make the Gesture Cervus: at the first
point vibrate ΑΘΑΝΑΤΟΣ, at the the second
Σ EΛ AΗ - Γ ΕΝ Ε ΤΗΣ .
ix.
Turn to face North: make the Gesture, vibrating
IΣΧΥΡΟΣ at the first point, and ΚΥΡIΟΣ at the
second point.
x.
Face West: make the Gesture, vibrating IΣΧΥΡΟΣ
then ΠΑΓΚΡΑΤEΣ.
xi.
Turn to face South. Make the Gesture, vibrating
ΑΘΑΝΑΤΟΣ and ΘΕΟΣ.
17
18
MYSTERIA MAGICA
xii.
Face East. Assume the Wand Posture. Vibrate:—
ΓΑΙΑ KAI '0 ΙΧΩΡ TOY ΟYΡΑΝΟY
Raise the arms to form a Tau, vibrate:
ΤO THE EAST ΣΩTHΡ
TO THE SOUTH ΑΛΑΣΤΩΡ
TO THE WEST ΑΣΦΑΛΕΙΟΣ

TO THE NORTH ΑΜYΝΤΩΡ
Repeat the Calyx, i to v.
(Commentary)
The Calyx is performed:
El—Thou Art
HE BASILEΙA—The Kingdom
ΚΑΙ HE DYNAMIS—And the Power.
ΚΑΙ HE DOXA—And the Glory
EIS TOUS AIONAS*—To the Ages.
The operator advances to the East. He moves widdershins
round the place of working, tracing the circle with his out-
stretched right hand. As he proceeds, he visualizes a silver mist
which he is thus drawing round the limits of the chamber: when
he links the circle in the East, the place of working is
completely encompassed by this shimmering wall.
The operator returns to the centre. Facing East, he
vibrates:
HE PELEIA ΚΑΙ HE HUGRA— The Dove and the Waters
HO OPHIS ΚΑΙ TO ΟΙΟΝ — The Serpent and the Egg
He makes the Gesture Cervus: at the completion of the
first point he visualizes a pentagram of brilliant light on his
brow, framed by his hands. Holding this in mind he vibrates
ATHANATOS. The pentagram is flung forth with the second
point of the Gesture, the operator vibrating SE LAE-G EN ETES:
as the pentagram is flung forth it is seen to diffuse as a burst
* Asa general note on the pronunciation of Greek, it is pointed out that the transliterations
occurring in this volume are in some respects only approximate, particularly with regard to
the letters H, T and Ω. For exactitude the student is advised to familiarise himself with the
sound-values of the Greek letters.
THE SETTING OF THE WARDS OF POWER
19
of light into the shimmering mist-wall.
This procedure is repeated with the paired names
ISCHYROSand KYRIOS, ISCHYROSand PANKRATES,ATHANATOS and
THEOS, for the North, West, and South respectively.
The operator faces East. He assumes the Wand Posture
and vibrates:
GAIA ΚΑΙ HO ICHOR ΤΟUOURANOU
Earth and the Blood of Heaven.
He raises his arms to form a Tau, remaining thus
throughout the fourfold invocation: –
Before him he visualizes a tall and slender form clad in a
voluminous and billowing robe of yellow, heightened with
traces of violet. While this figure is contemplated, a cool
rushing of wind is to be felt as emanating from the East. (It
awakens the hidden aspirations and wordless hopes which have
lain dormant in the toils of sloth and of habitude. It sings to the
inner ear of the potentialities of a life which reaches forth to
spiritual heights. When this image has been formulated, the
operator vibrates TO THE EAST SOTER.
To the south he visualizes a lean muscular figure with an
appearance of great strength, clad in a robe of brilliant red with
changeful sparks of green, and standing amid flames. This
figure holds in his right hand a wand of burnished copper.
While this figure is contemplated, a sensation of powerful heat
is to be felt as emanating from the South. (The fire from which
this heat is generated is the fire of inspiration: there is in its
power a kernel of inebriation too, as may be understood by
recalling that Dionysus took birth from the all-consuming fire
of Zeus. Nevertheless, although the nature of this Element is to
be acknowledged, it is not to receive in this rite our inner
submission to its power; but we salute its great Regent with
veneration.)
When this image has been formulated, the operator vibrates TO
THE SOUTH ALASTOR.
To the West he visualizes a tall and powerful figure
20
MYSTERIA MAGICA
standing amid foaming turbulent waters, clad in a robe of blue
merging into highlights of orange, and holding in his left hand a
silver cup. While this figure is contemplated, the mighty surge of
the sea-tides is imagined, pouring in successive waves from the
West. (These waves are of the cold and shining waters which
purify the intel l ect in their f l ood, healing it of unreason's fever
and tempering it as steel is tempered.) When this image has
been formulated, the operator vibrates TO THE WEST
ASPHALEIOS.
To his left he visualizes a broad-shouldered placid figure,
robed in indigo gleaming with f l ashes of pale gold, and
standing upon wild grass studded with yel l ow flowers. In one
hand the figure bean a golden orb, in the other a golden sickle.
While this figure is contemplated, a feeling of great peace and
stability is to be imagined. (The succession of the seasons wipes
out or mitigates past error s , the innocence of the Golden Age
ever awaits us in earth's renewal. Elemental Earth itself is the
medium of nature's work : and the instinctual faculties of man
find repose therein.) When this image has been formulated, the
operator vibrates TO THE NORTH AMYNTOR.
The Calyx is repeated.
V
SUB ROSA NIGRA
THE SETTING OF THE WARDS OF ADAMANT
(Stand ίn the centre of the place of working, or as nearly the
centre as the ar r angement of the chamber will allow.)

Calyx

i.
Facing East, assume the Wand Posture. Vibrate TU ES
i i .
Raise the arms at the sides, vibrate R EG N U M
i i i . Touch right shoulder with left hand, vibrate
ΕΤ POTENTIA
iv.
Touch left shoulder with right hand, vibrate
ΕΤ GLORIA
v.
Keeping arms crossed, bow head and vibrate IN
SAECULA
Circulus
vi.
Advance to the East. Beginning at that point and
returning thereto, trace the widdenhins circle,
encompassing the area of working.

Praesίdίa
vii.
Return to centre and face East. Make the
Gesture Cervus: at the first point vibrate ΑΘ Α Ν Α
Τ Ο Σ, at the second point vibrate Σ E Λ Λ Η —Γ E
Ν E Τ Η Σ.
viii.
Face North: make the Gesture, vibrating
ΙΣΧΤΡΟΣ at the first point, ΚΤΡΙΟΣ at the second.
ix.
Face West: make the Gesture, vibrating IΣΧΤΡΟΣ
at the first point, ΠΑΛΚΡΑΤΗΣ at the second.
21
22
MYSTERIA MAGICA
x.
Face South: make the Gesture, vibrating
ΑΘΑΝΑΤΟΣ and ΘΕΟΣ.

lηνοιatίο
xi.
Face East. Assume the Wand Posture then raise the
arms to form a Tau. Vibrate:—ΤO THE EAST ΣΩΤΗΡ
TO THE SOUTH ΑΛΑΣΤΩΡ ΤΟ THE
WEST ΑΣΦΑΛΕΙΟΣ TO THE NORTH
ΑΜΤΝΤΩΡ

Dedίcatίo Sub Rosa Nίgra
xii Lower the arms to the sides. After a few moments' pause,
make the Gesture Ave, then declaim:—FROM THE
PORTAL OF EARTH
TO THE PORTAL OF FIRE,
FROM THE PORTAL OF AIR
TO THE PORTAL OF WATER,
FROM THE CENTRE OF POWER
TO THE ENCOMPASSING ADAMANT,
LET THIS SANCTUARY BE ESTABLISHED
WITHIN THE BLACK ROSE:
IN THE NAMES ΛΕΤΚΟΘΕΑ, ΜΕΛΑΝΟΘΕΟΣ,
ΑΓΑΘΟ∆ΑΙΜΩΝ.

Arista
xiii.
AVE LUX SANCTISSIMA,
1st point
SOL VIVENS,
2nd point
CUSTOS MUNDI,
3rd point
IN COROE TΕ FOVEO,
4th point
MEMBRIS CIRCUMAMICTIS GLORIA TUA. 5th point
THE SETTING OF THE WARDS OF ADAMANT
23
I
The Gesture Ave is accomplished as follows:
The right arm is raised with the elbow flexed, so that the
upper arm is held forward in an almost horizontal position,
slightly out from the side as necessary, the forearm and hand
being raised vertically, the palm forward.*
The Gesture Arista is accomplished as follows:
1st point. Commencing from the Wand Posture, raise the
arms at the sides, so that the body and the upcurved arms
form roughly the shape of the Greek letter 41, with the upturned
palms held almost horizontally though not stiffly so.
2nd point. In one smooth movement the hands are
brought over to cross upon the breast, right arm over left,
fingertips touching collarbones.
3rd point. In one smooth movement the forearms are fully
extended downward and slightly forward from the body (the
elbows move only slightly in this change of position), the hands
horizontal with palms downward and closed fingertips pointing
forward. This position is, in its own right, the Gesture Pronatίo. f
4th point. In one smooth movement return to position 2,
as above, but with left arm over fight.
5th point. In one smooth movement the arms are opened
to a gentle curve just below horizontal, so that they are outward
to the sides of, and slightly forward from, the body:
• This Gesture is customarily used by comites ("companions", sing. comes) as a general
salutation to the East when passing that station. It is used by all comites who have cause to
pass the East but are not at that time involved ipi a specific ritual action. comites involved in
a specific ritual action, having cause to pass the East, do not employ the Ave unless it is an
ordained part of their action. If a ritual act culminates in the East, at the conclusion thereof
the Gesture is employed if convenient. But the Gesture is also to be used as a salutation to
the East whenever a reverent acknowledgment of the Place of Light is felt to be appropriate.
(When performing Morning or Evening Adoration, the Ave may be made towards Sol.)
t The Gesture Pronatto Is independently used (according to context) in invoking chthonic
forces, or to link the magical purpose with an intended offering.
24
MYSTERIA MAGICA
the hands following the same line but slightlyincurved, very
slightly cupped.

II
The Calyx is performed in Latin. (Significance is as in
Hebrew and Greek.)
The operator advances to the East. He moves widdershins
round the place of working, tracing the circle and linking in the
East. As he proceeds, he visualizes a shimmering wall of silver
mist which he is thus drawing round the chamber.
He now returns to the centre. Facing East, he makes
Cervus: at the completion of the first point he visualizes a
pentagram of brilliant light on his brow, framed by his hands.
Holding this in mind he vibrates ATHANATOS. The pentagram
is flung forth with the second point of the Gesture, the operator
vibrating SE LAE G EN ΕΤ ES: as the pentagram is flung forth it
is seen to diffuse as a burst of light into the mist-ωall.
Cervus is repeated with the paired names ISCHYROS and
KYRIOS, ISCΗYROS and PANKRATES, ATHANATOS and THEOS, for
the North, West, and South repsectively.
The operator faces East and assumes the Wand Posture.
He then raises his arms to form a Tau, remaining thus
throughout the formulations and utterances of the "fourfold
invocation", as in the Greek Setting of the Wards of Power.
He lowers his arms to his sides; after a pause he makes the
Gesture Ave. The Gesture having been dismissed, he declaims:
FROM THE PORTAL OF EARTΗ TO THE PORTAL OF FIRE,
FROM THE PORTAL OF AIR TO THE PORTAL OF WATER,
FROM THE CENTRE OF POWER TO TΗE ENCOMPASSING
ADAMANT, LET THIS SANCTUARY ΒΕ ESTABLISHED WITHIN THE
BLACK ROSE: IN THE NAMES LEUKOTHEA, MELANOTHEOS,
AGATHODAIMON.
The above italicized names are from the Constellation of
the Worshipped. While vibrating these the operator traces in
the an. before him with his right hand a circled, equal-armed
THE SETTING OF THE WARDS OF ADAMΑNT
25
cross, all lines being visualized in white light as traced; the
horizontal line with the first name, the descending vertical line
with the second name, the circle–beginning at the top and
returning deosil with the third name.
The operator concludes with the five points of the Gesture
Arista and their Latin words:
He establishes the first point of the Gesture and intones
AVE LUX SANCTISSIMAHail, most holy Light!
He establishes the second. point of the Gesture and
intones SOL V I V ENS-Lιvίng Sun.
At the third point of the Gesture he intones CUSTOS
MUNDI– Guardian of the World.
At the fourth point he intones IN CORDE TΕ FOVEOIn
my heart I hold thee.
At the fifth point, MEMBRIS CIRCUMAMICTIS GLORIA
T UA – My limbs being girt about with thy glory.
N.B. No visualizations are employed with Arίsta.
VI
CLA VIS REI PRIMAE
(1st Formula)
THE ROUSING OF THE CITADELS
(Face East, assume the Wand Posture, develop the Rhythmic
Breath.)
The Gates:
i.
Visualize the Crown Center, the Corona Flammae,
as a sphere of intense whiteness.
ii.
Exhale, vibrating AHΙΗ (Eheieh).
iii.
Inhale, drawing down a shaft of brilliance from the
Corona and formulating the Brow Center, the Uncia
Coeli, as a sphere of luminous whiteness.
iv.
Exhale, vibrating YHVH ALHIM (Yahweh Elohim).
v.
Inhale. Maintaining awareness of the Corona and
the Uncia Coeli, draw down the shaft of brilliance
from the Uncia Coeli and formulate the Throat
Center, the Flos Abysmi, as a sphere of luminous
whiteness.
vi.
Exhale, vibrating OLIVN (Elion).
vii.
Inhale. Maintaining awareness of the preceding
Centers, draw down the shaft of brilliance from the
Flos Abysmi and formulate the Heart Center, the
Orbis Solis, as a sphere of luminous whiteness.
viii.
Exhale, vibrating YHVH ALVH VDOTh (Yahweh
Eloah V'Daath).
27
MYSTERIA MAGICA
ix.
Inhale. Maintaining awareness cf the Centers previously
established, draw down the shaft of brilliance from the
Orbis Solis and formulate the Cornua Lunae, the
Genital Center, as a sphere of luminous whiteness.
x.
Exhale, vibrating ShDI AL Cm (Shaddai El Chai).
xi.
Inhale. Maintaining awareness of the preceding Centers,
draw down the shaft of brilliance from the Cornua
Lunae and formulate the Instita Splendens, the Feet
Center, as a sphere of luminous whiteness.
xii.
Exhale, vibrating ADNI HARTz (Adonai Ha-Aretz).

The Caduceus:
Inhale, Visualizing a band of white light emanating from
the Instita Splendens, and at once beginning to spiral
swiftly upwards in an anticlockwise direction about the
Centers and the shaft of brilliance until it reaches the
Flos Abysmi, the Throat Center, into which it is entirely
assumed and vanishes.

xiν.
Exhale, strengthening awareness of Centers
and
connecting shaft.
xv. Inhale, visualizing a band of reddish-white light emanating
from the Instita Splendens, and at once spiraling swiftly
upwards in a clockwise direction about the Centers and
the shaft of brilliance until it alsο reaches the Flos
Abysmi, into which it is entirely assumed and vanishes.
(Commentary)
The 1st Formula of the Claris Rei Primae is to be a regular part
of the personal curriculum, being performed daily or on alternate
days as may be found most effective: it should be performed within
the protection of the Wards.
The Rousing is a technique of very considerable value.
Obviously it is not and cannot be taken as the sum and sub-stance
of magical training: but it is a powerful and beneficial
THΕ ROUSING OF THΕ CITADELS
29
foundation to magick (see Book III, Chapter VIII). It refreshes
and invigorates the psyche and stimulates the Centers them-selves:
it accustoms them to participation in organized work as distinct
from the random needs of ordinary life. In this exercise, which is
performed essentially within the astral level of the psyche, the
interaction which naturally results from the correspondence of the
levels is intensified by the use, in visualization, of appropriate
colours.
The Centers should be conceived of as spherical concentrations
of light and energy (as is found to be most satisfactory in magical
training) approximately five centimeters in diameter. The Corona
Flammae is above the crown of the head; the Uncia Coeli projects
in a hemisphere from the brow. The Flos Abysmi is completely
external to the throat; the Orbis Solis projects from the breast in a
hemisphere; the Cornua Lunae, broadly speaking, projects in a
hemisphere; the midpoint of the Instita Splendens is between the
insteps, hemisphere above and hemisphere below ground. These,
the Positions Potent of the Centers of Actίvίty, are in no
circumstances to be varied.
The student of these volumes who intends to follow the
Aurum Solis system in its entirety should, from the outset, employ
the following Sub Rosa Nigra Words of Power in connection with
the Rousing, in place of the Hebrew Divine Names: —
For the Corona Flammae — EN TO PAN
For the Uncίa Coeli — TURANA
For the Flos Abysmi — DESTAPHITON
For the Orbis Solίs — ONOPHIS
For the Cornua Lunae — IAO
For the Instita Splendens — BΑTH-ΜΕΝΙΝ-
HEKASTOU

In order to achieve sound proficiency in the 1st Formula, the
student should develop the technique methodically and carefully in
accordance with the following plan of practice. The student should
consider his work critically. In the polish-
28
30
MYSTERIA MAGICA
ing of the exercise he should prefer, before proceeding to a further
stage of its development, to continue with the stage in hand if he
feels the slightest doubt as to his performance. First stage of
practice
The student should use the text of the Rousing as given
above, building the Centers in white light only, and forcefully
vibrating the Words of Power (whether Hebrew or Sub Rosa
Nigra). To achieve smooth performance of the Caduceus the
student may, in this initial stage of practice, repeat the sequence
xiii, xiv and xν several times (not exceeding five) to conclude the
Rousing.
After a minimum of three weeks of regular practice, the
student may proceed to the following:
Second stage of practice
Instead of visualizing the Centers of Activity in luminous
whiteness as hitherto, the student should now visualize them
in color:
Corona Flammae — Intense brilliance, like burning
magnesium. Uncia Coeli — glimmering
soft dove-grey.
Flos Abysms — billowing intense mid-purple.
Orbίs Solis — pulsating radiant yellow.
Cornua Lunae — pure lavender, radiant and fast-
swirling.
Instita Splendens — seven prismatic colors, swirling
lazily and shimmering.
The colors for the Crown, Brow and Throat Centers are
drawn from the Atziluthic or Radical Scale (see Book III, Chapter
VIII), the color for the Heart Center from the Briatic or Prismatic
Scale, the color for the Genital Center from the Yetziratic or
Contίngent Scale, and the colors for the Feet Center from the
Assiatic or Iconic Scale; the whole series of colors thus
betokening the correspondences of the Centers according to the
pattern of the Composite Tree (see Book III, Chapter III).
In this 1st Formula, the shaft connecting the Centers
THE ROUSING OF THΕ CITADELS
31
remains, at every stage, in white light.
After a minimum of three weeks of regular practice, the
student may proceed to the following:
Third stage of practice
When the student has opened the doorways of interior power
by his continuing work, so that he is aware of the real and potent
formulation of the Centers in his practice, he should expand the
formula to incorporate a threefold vibration of each Name of
Power. In this, the Rhythmic Breath, visualization and vibration are
to be correlated in the following manner (the pause at the top and
bottom of the breath is taken for granted):
Inhale— formulating the Corona Flammae.
Exhale— vibrating the Name of Power.
Inhale— strengthening the Corona. Exhale—
vibrating the Name of Power. Inhale—
strengthening the Corona. Exhale— vibrating
the Name of Power.
Inhale— drawing down the shaft of brilliance rapidly
and formulating the Uncia Coeli. Exhale—
vibrating the Word of Power.
Inhale— strengthening formulation of Uncia Coeli.
Exhale—vibrating the Name of Power.
Inhale— strengthening Uncia Coeli.
Exhale— vibrating Name of Power.
This expanded pattern is employed for each successive
Center, and the Rousing is concluded with the Caduceus in the
normal manner.
After a minimum of eight weeks of practice, the student may
proceed to the final necessary development of the Rousing. Final
stage of practice
While formulating or strengthening each Center, at each
inhalation let the student inweave with his work a reflection upon
the essential cosmic principle to which the Center is referred. But
on each exhalation, whίle the Center is dynamic
32
MYSTERIA MAGICA
and radiant, he must charge it with only the stark utterance, the
vibration of the Name of Power.
When this stage has been reached successfully, the Rousing
of the Citadels can be considered an efficient instrument for its
purpose: continued use can but enhance its benefits.

An example of the full and perfect use of the 1st Formula
of the Clavis Rei Primae now follows; in this instance the Sub
Rosa Nigra Words of Power have been employed:

Inhale— Visualizing the Corona Flammae as a sphere
of
intense
brilliance,
like
burning
magnesium, and reflecting upon the cosmic
principle to which the Corona is referred.
Exhale— vibrating EN TO PAN.
Inhale— strengthening the Corona and reflecting.
Exhale— vibrating ΕΝ TO PAN.
Inhale— strengthening the Corona and reflecting.
Exhale— vibrating ΕΝ TO PAN.

Inhale— drawing down the shaft of brilliance from the
Corona, formulating the Uncia Coeli as a
sphere of glimmering dove-grey, and
reflecting upon the cosmic principle to
which the Uncia Coeli is referred.
Exhale— vibrating TURANA.
Inhale— strengthening the Uncia Coeli and reflecting.
Exhale— vibrating TURANA.
Inhale— strenthening the Uncia Coeli and reflecting.
Exhale— vibrating TURANA.

Inhale— maintaining awareness of the Corona and
Uncia Coeli, drawing down the shaft of
brilliance from the Uncia Coeli, formu-
THE ROUSING OF THE CITADELS
33
lating the Flos Abysmi as a sphere of
billowing intense mid-purple, and reflecting
upon the cosmic principle to which the Flos
Abysmi is referred.
Exhale—vibrating DESTAPHITON.
Inhale— strengthening the Flos Abysmi and reflecting.
Exhale— vibrating DESTAPHITON.
Inhale— strengthening the Flos Abysmi and reflecting.
Exhale— vibrating DESTAPHITON.


The procedure is continued through to the Instita Wen-
dens, with the appropriate color visualizations and reflections, and
the Rousing is concluded with the Caduceus in the normal manner.
ΥΠ
CLA VIS REI PRIMAΕ
(2nd Formula)

i.
Assume the Wand Posture.
~. Visualize the Corona Flammae as an intense pulsating
sphere of whίte brίlliance
(rather like burning
magnesium).
Inhale. As the breath is drawn in, a shaft of brilliance
desends from the Corona to the breast, where it
expands into a sphere of radiant golden yellow lίgh t.
iv.
Exhale. As the breath is released, the shaft of brilliance
descends from the Orbis Solis to the feet, where it
expands into a sphere of whiteness, radiant but less
brilliant than the Kether.
v.
Inhale. As the breath is drawn in, a reflux charge of
intense rose-gold flame
rises from the Instita
Splendens and passes into the Orbis Solis.
vi.
Exhale. The light rests.
vii.
The sequence iii through vi is repeated five or six times.
viii.
Concentrate on the Orbis Solis. The central solar-
nucleus remains quite distinct as a blazing and vibrant
inner sun, but emits a powerful radiance which steadily
grows until the total sphere of sensation is charged with
golden yellow light. (See note D below).
35
36
MYSTERIA MAGICA
Notes:
A) Wand Posture and Rhythmic Breath are maintained
throughout this work, but a strict correlation of breath to
visualization is necessary only for the repeated sequence iii through
vi.
B) The Sequence iii through vi is repeated five or six times
without a break; thus iii, iv,v, vi, iii, iv,v, vi, iii, iv, v, vi, and so on. If
the student finds it necessary to re-affirm the Corona Flammae for
the re-commencement of the sequence, this should be done during
the pause at the bottom of the breath in vi.
C) When proceeding from vii (the repetitions of the sequence) to
vι ι i, several full breaths may be interposed after the exhalation in vi;
or viii may be begun immediately after the final exhalation in vi.
This is entirely a matter for personal
preference.
D)
In step vΙιi, the light radiated by the Orbis Solis forms a
three-dimensional ovoid, conceived of as being co-extensive with
the aura. While the attention is directed to the Orbis Solis and its
radiated light, the student should gradual l y lose awareness of the
Kether and Malkuth centres.

E) Νο Words of Power are employed with the 2nd Formula of the
Clavis Rei Primae.
N. B. The 1st and 2nd Formulae of the Clavis Rei Primae are both
fundamental techniques for energisation. The 1st Formula is usually
employed where the purpose is to emphasize the unity or the
communication of the different levels within an individual (or,
occasionally, of individuals in a grοuρ). The 2nd Formula is a rapid
method for the energisation of the operator, and is usually
employed in promotion of a magical working. These are broad
generalisations, however, and the uses of both formulae will be
most clearly gathered from a careful
CLAVIS REI PRIMAE
37
study of their contextual occurrence in the present volume.
It is here taken for granted that the student will, before
undertaking the 2nd Formula, have practiced the 1st Formula Clavis
Rei Primae so as to have made of it an efficient instrument for his
magical use. As such, it should at this stage form a regular par t of his
personal curriculum. Proficiency in the Rousing is essential for his
ability to use with full force this important three-center technique
of the 2nd Formula upon the frequent occasions when this is
required in workings.
VIII
THE ORANTE FORMULA
The Orante Formula is a method for effecting a projection of
power upon a person, substance, or object. The Orante
Formula is a development of the Second Formula of the Clavis
Rei Primae, but its name orante derives from the primary
Gesture which is associated with it.
The Orante Gesture:— the arms are raised forwards, with
elbows flexed; the arms come to rest at a position in which the
upper arm is approximately horizontal, the forearm raised to
about 45° above horizontal; the hands are raised in a natural
manner so that the palms are directed forwards and towards
the object or person to receive the projection, the fingers are not
separated.* Having taken the Orante Gesture, projection may
be undertaken from this position if suitable: or any adaptation
of the posture may be made, which will bring the palms into a
more effective relationship with the subject of the projection.
When a materium which is to receive projection is upon the
Bomos, for example, the hands may be lowered and brought
closer together so that the palms are just above the materium.
There is no hard and fast rule about this, but symmetry is
essential: both palms should be focused upon the subject. In
any instance the body also may be
• It ίs to be remarked that the radίation of power will be from the centres of the palms,
where secondary Centres of Activity reside, and not from the fingertips; the transmission of
power from the finger-tips ίs a technique for other purposes, and generally by direct
contact.
39
inclined, and either foot advanced, as the student feels to be
right: all should be achieved in one graceful change from the
Orante Gesture, but the Orante Gesture is invariably taken first
no matter what modification may be adopted for projection.
Projection having been effected, any variations notwith-
standing, the projection posture is invariably dismissed by
crossing the wrists upon the breast, fmgertιps touching the
collarbone. The left wrist passes outside the right, to seal off
the outgoing current and to symbolize the end of the action.
The head is not bowed as in the Calyx. If it is borne in mind
that the right hand and arm are regarded as active, the left
hand and arm as passive, it will be easy to recall which arm
passes outside.

The Orante Formula

i.
Assume the Wand Posture.
11.
Visualize the Corona as an intense pulsating sphere of
whίte brίlliance.
Inhale. As the breath is drawn in, a shaft of brilliance
descends from Corona to Orbis Solis, where it
expands into a sphere of golden yellow light.
iv.
Exhale. As the breath is released, the shaft of
brilliance descends from the breast to the feet, where
it expands into a sphere of whiteness.
v.
Inhale. As the breath is drawn in, a charge of
intense rose-gold flame rises from the Instita
Splendens and passes into the Orbis Solis.
vi.

Exhale. The light rests.
vii.
The sequence iιι through vi is repeated five or six
times, as in the Second Formula of the Clavis Reι
Primae.
viιι. Retaining awareness of the three Centres, the arms are
raised in the Orante Gesture (if suitable the posture
is then modified), and on an outgoing breath the
power of the Orbis Solis is felt as being
impelled up the arms and out from the centre of the
palms towards the subject of the projection; the eyes
are likewise focused upon the subject. Beams of clear
golden yellow light from the palms of the hands are
to be visualized as converging upon the subject.
ix.
The projection posture is dismissed.
x.
The Wand Posture is resumed, and steps ~ through
vii are consciously and deliberately repeated.
xi.
The Formula is concluded with the radiation of light
from the central solar-nucleus, as in step viii of the
2nd Formula of the Clavis Re! Prιmae.
Notes:
A)
The sole use of the Orante Formula is to effect a concen-
tration or projection of power upon a person, object or
substance.
B)
The Formula is a catalyst, and after a substance has
received projection a period of latency occurs before the result
manifests. The duration of this "fermentation" depends both
upon the nature of the materium and upon the type of the
operation.
C)
Projection by the Orante Formula is extremely powerful,
and transmission of energy need only be maintained for the
space of one outgoing breath.
D) Whatever the dedication and purpose of a rite in which
this Formula is employed, at the actual moment of projection a
materium is to be charged purely and simply with an
irradiation of golden yellow light. Nothing more. To appreciate
this it is necessary to understand that there are two types of
projection of power, differing considerably in method, though
not in fundamental principle. These are termed by us
"alchemical projection" and "magical projection." Alchemical
projection employs a powerfully concentrated inner concept,
40
MYSTERIA MAGICA
THE ORANΤΕ FORMULA
41
42
MYSTERIA MAGICA
whether of perfect integration orof a specific natural force: and
with the act of projection this inner concept is spontaeously
impressed upon the materium. This type of projection is not
limited to alchemical work proper, but is frequently found in
folk-magick and in other of the less formal types of magick,
even of High Magick (which can be very informal indeed.)
Examples of alchemical projection are given in Book II, Chapter
II. Magical projection is achieved in a different way. The act of
projection takes place only after the astral substance of the
materium has been conditioned by the rite: projection in this
case is of dynamic force unconditioned by any concept of the
specific effect to be produced. The Orante Formula is of this
latter type of projection.
E) In a rite of transubstantiation the elements must be
projected upon seperately. After projecting upon the first
element, dismiss the projection posture as taught, and assume
the Wand Posture. Repeat step viii of the Orante Formula,
projecting upon the second element. Dismiss the projection
posture and continue in the normal manner through x and xi.
IX
BANISHING & INVOKING
The banishing and the invocation of various types of force are
essential functions in magical works generally. Both banishing
and invocation can be brought about in a number of ways, but
the use of a distinctive sign, itself both potent and harmonious to
the working, is frequently desirable not only to give weight to
the act of banishing or invoking, but also to signal the moment
of operation. Such a sign is chosen according to the type of
force to which it is applied: the pentagram for any of the Four
Elements and Spirit, the Heptagram for planetary and zodiacal
forces.
The Pentagram
(The Solomonίc Seal)

43
MYSTERIA MAGICA
In the A.S. system, when the pentagram is used in
invocation, it is traced clockwise commencing from the point
attributed to the force to be invoked, the appropriate Divine
Name being vibrated meanwhile. When used in banishing, the
pentagram is traced anticlockwise from the point attributed to
the force to be banished, the appropriate Divine Name again
being vibrated. Any pentagram thus traced is referred to as an
invoking (or banishing) pentagram of the Element in
question. The attributions of the points of the pentagram are
shown on the diagram above.*
Because of the great potency of the pentagram, it is a
rule to introduce a stabilising factor into banishings and
invocations in which this sign is traced: thus the pentagram of
an Element is always preceded by a pentagram, banishing or
invoking as the case may be, of Spirit. The Divine Name to be
vibrated while tracing the pentagram of Spirit will depend
upon the Element in question, as shown below.
The Hebrew Divine Names employed with the penta-
grams are: —
 when preceding  οr  , HYHA (ΑΗΙΗ)
 when preceding  or  ALGA (AG LA)
SYHLA ( A LH IM )
HVHy ( I HVH )
LA ( A L )
 YNDA ( ADN I )
The Greek Divine Names employed with the pentagrams are:
when preceding οr , ΑΘΑΝΑΤΟΣ (ATHANATOS)
 when preceding  or , ΙΣΧYΡΟΣ (ISCHVROS)
 ΘΕΟΣ (ΤΗΕΟS)
 ΣEΛΑΗ ΓΕΝΕΤΗΣ (SELAE GENETES)
 ΠΑΓΚΡΑΤΗΣ (PANKRATES)
 ΚYΡIΟΣ (ΚΥRΙOS)
BANISHING & INVOKING
45
The Enochian Divine Names employed with the penta-
grams are: —
 when preceding  . ΒΙΤΟΜ
 when preceding , EXARP
 when preceding  . HCOMA
 when preceding  ΝΑΝΤΑ
 OΙΡΤΕAA PDOCE
 ORO I BAH AOZPI
 MPH ARSL GAΙO L
 MOR D I A L HCTGA
When invoking Elemental Spirits (Elementals, properly so
called) by means of the pentagram, the appropriate Kerubic sign
is used to represent the power of the Angelic Ruler of the
Element. The sign is traced in the centre of the figure, after the
second (the elemental) pentagram has been described.
should be used for the Spirits of Air, A for the Spirits of
Fire, pir for the Spirits of Water, 5 for those of Ear t h. The
Kerubic sign is not employed in the banishing of Elementals.
(See Appendix D.)
When invoking or banishing, it is usual to trace the
pentagrams in the air while facing the quar t er associated with
the Element in question. If however pentagrams are traced
over an object with an intention of invoking or banishing
which is limited to that object, a circle must first be traced
above the object, and then the pentagrams traced within the
circle: the Divine Names being vibrated meanwhile, as usual.*
For invocation, trace the circle deosil : for banishing, trace it
widdershins.f
Theoretically, apentagramispotent throughout the whole
range of its Element of attribution in the Yetziratic World.
* Note that in the Rites of the Wards the use of the pentagram Ίs special and distinctίve:
each pair of Divine Names being linked to one pentagram only, but in connection with the
banishing gesture Cerνus.
t Concerning the widdershins circle, see Principles of Cer emonial.
44
BANISHING & INVOKING
47
Zodiacal forces. To invoke, trace the presigillum corre-
sponding to the sign of the working, then trace clockwise about
it the heptagram of the planet which rules that sign (cf. Vol. III,
Ch. V): meanwhile vibrating the applicable Divine Name. To
banish, trace the presigillum, then trace the heptagram anti-
clockwise, with vibration of the Divine Name.*
Το limit planetary or zodiacal invocations or banishing to a
specific object, first describe above that object a deosil circle for
invocation, or a widdershins circle for banishing: then within
that circle, trace presigillum and heptagram, with vibration of
the Divine Name.
Theoretically, a heptagram is potent throughout the whole
range of its sign of attribution in the Yetziratic World.
Planetary or sephirothic forces. Το invoke, first trace the
presigillum* of the planet of the working, then, about it, trace
the heptagram clockwise from the point attributed to the
planet, meanwhile vibrating the appropriate Divine Name. To
banish, trace the presigillum of the planet, then, about it, trace
the heptagram anti-clockwise from the point attributed to the
planet, meanwhile vibrating the appropriate Divine Name. For
Malkuth (Earth as planet, not as element), trace the presigillum
, then, about it, the heptagram of Saturn but using the Divine
Name appropriate to the Sphere o: M'dkuth.
* See the paper Sigils, where the presigilla are shown.
* The signs
   employed with pentagrams, are on no account to be replaced with
pτesίgillα.

MYSTERIA MAGICA
The Heptagram

46
48
MYSTERIA MAGICA
1 Kether
Yechidah

2 Chokmah Chiah
Spirit
Higher Self
3 Binah
Neshamah
4 Chesed

5 Geburah
Psyche
6 Tiphareth Ruach
Soul
7 Netzach
Lower Self
8 Hod

9 Yesod
Nephesh

10 Malkuth
Physical body

MAGICK OF THE PSYCHE
Part Π
Man
Χ
IDENTIFYING WITH GOD FORCES

In present-day occult working several techniques exist by which
identification with God-forces may be achieved. The procedure
here given is traditional to the A.S.
This work takes time to complete, but the emphasis
throughout is upon the individual character of the chosen deity.
If the earlier parts of the work are fulfilled to the highest degree,
the fiηαl phase will culminate in a profound mystical experience.
N.B. For this work, a deity is not to be chosen from the
Voudoun pantheons. The Loa are only to be approached
through the cult methods traditionally associated with them.

1
In this, which is one of the nost noble usages of High
Magick, the student must as a preliminary make a serious
study of the deity which is to be the subject and centre of his
operation; of the deity in itself, according to its own nature; of
the deity in context of its native pantheon, and in relation to
other deities thereof; of the deity furthermore in context of the
Qabalah, and in relation to the Sephiroth.

2
This preliminary study accomplished so that he is familiar
with every aspect which may have a bearing upon his work, the
student must begin the operation itself by undertaking
steadfastly the cult of the deity. He will establish
51
52
MYSTERIA MAGICA
his own personal shrine of that deity, equipping the shrine with
everything within his power to associate it with both traditional
and magical woηΡhip of the deity. The student shall devise
words and modes of woηΡhip for the deity, introducing
traditional forms where possible or suitable; these words and
modes he may if he desires vary, according to hour or day or
season, so that this worship shall be always a living reality to
him. For he must in full reality woηΡhip, he must meditate, he
must adore, he must praise, so as to grow continually in love
and in understanding of the divine being about whom this work
revolves.
3
When he has grown in his cult, the student will regularly,
at the conclusion of his worship, assume the god-form of his
deity (that is to say, he will imagine himself to be enveloped in
the form characteristic of his deity).* He will learn to feel at ease
therein; but he will keep silence while the god-form is
maintained. This technique, as his love and understanding of
the deity increase, will gather increased meaning and richness
for the woηΡhipper.
Whenever he can,
the woηhipper will visit historίc
shrines, or sites of shrines, of his deity; there he will worship,
always performing at least some act of adoration, spending
some time in meditation, and assuming in silence the god-form.
In the use of the forms of wοηhiρ which he has
compiled, the student will give heed continually to their
suitability to the deity. Should he find as he advances in
undeηΡtanding and in perceptivity that they fail in that respect,
he will amend them. He will make of his cult as it were a
mirror of the deific force, so that he may find reflected there
all that he has gathered by study and by meditation of the
nature of his god; and through the continual interchange,
• Assumption of god-form is concluded by re-centring upon the magical personality,
while the god-formulation is allowed to fade from the consciousness.
IDENTIFYING WITH GOD-FORCES
53
the cult influencing the student and his furtherwork influencing
the cult, an increasing affmity with the divine force will be
built up.

4
As a principal effect of these practices, the student will
develop an awareness, which is a completely objective certainty,
of the numinous power of his deity. This awareness is a clear
sign of the progress of the operation towards success; but still it
does not suffice to indicate that the student should proceed to
the fmal phase of the operation. Indeed, the student should
postpone the final phase as long as he can, acquiring greater
knowledge, giving augmented worship, developing more
profound love for the deity, while the power of the god, at once
radiant and magnetic, encompasses him and draws him
strongly and yet more strongly, onward irresistibly. For it is no
light thing, and no small thing, to seek, as the fmal phase of the
operation will do, the uniting of consciousness with a living force
of godhead. In developing a relationship with any divine power
the operator receives in proportion as he gives; when a deity is
approached in the exalted and intensely magical mode which is
required by this work, progressively higher levels of the psyche
become engaged in reciprocity with the deity.

5
The final phase of the operation will take place when the
previous work has been brought to reality and when the bond
between god and devotee has become such as to compel the
culmination.
The place may be the personal shrine; equally it may be a
traditional shrine of the deity, some historic focal point of that
worship; or again in certain circumstances it may be a place
which by its natural features and its beauty powerfully brings
to the cultist a conviction that his deity is here.
54
MYSTERIA MAGICA
Το actuate the climax of the work the operator proceeds
with the Deific Formula—which combines the Formula of the
Triple Vibration with the technique of assumption of god-form
—employing therewith the name of his deity.
The Deific Formula

i.
The operator makes adoration of his deity.
~.
He states his intention of uniting his consciousness
with his deity.
111. He assumes the Wand Posture and establishes the
Rhythmic Breath.
iv.

He visualizes the Corona Flammae as an
intense pulsating sphere of white brilliance.
v.

On an exhalation he vibrates the name οf the
God.
vi.
As he inhales he visualizes a shaft of brilliance
descending from the Corona to the breast, where it
expands into a sphere of radiant golden yellow light.
vii.
He exhales, vibrating for the second time the name
of the God; while doing so, he visualizes the shaft of
brilliance descending from the Orbis Solis to the feet,
where it expands into a sphere of whiteness.
viιι. As he inhales he visualizes a charge of intense rose-gold
f lame rising from the I