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Has proved to be the most sought after set of books on magic and alchemy ever published. Powerful work and considered so dangerous that for many years, rare copies could only be found in certain libraries, locked away from the general public and from those who would use (or misuse) its power. Original set first published in 1801. by author who spent many years of study before releasing them. Includes rare illustrations from original sources. Covers natural magic, amulets and charms, potions, precious stones, candles, alchemy, the philosophers stone, transmutation, the four elements, numbers, and the planets.
IN this Work, which we have written chiefly for the information of those who are curious and indefatigable in their enquiries into occult knowledge, we have, at a vast labour and expence, both of time and charges, collected whatsoever can be deemed curious and rare, in regard to the subject of our speculations in Natural Magic--the Cabala--Celestial and Cere-monial Magic--Alchymy--and Magnetism; and have divided it into two Books, sub-divided into Parts: to which we have added a third Book, containing a biographical account of the lives of those great men who were famous and renowned for their knowledge; shewing upon whose authority this Science of Magic is founded, and upon what principles.
Like Runes, The Theban Oracle is a unique and singular writing system, or more appropriately, an alphabet-codex that is based on the ancient magical writings devised by the 14th century magi, Honorius of Thebes. It was later utilized as an oracle by such masters of the occult sciences as Henry Cornelius Agrippa, Petrus de Abano and Dr. John Dee among other medieval and renaissance contemporaries of high magick. The Theban code-writing system appeared to go dormant until 1801, when Englishman Francis Barrett brought this and other esoteric aspects of magick back into vogue. It was later re-discovered by Gerald Gardner in the 1930s, where it caught on in select covens and metaphysical circles.
The Magus, first published in 1801, is a concise compendium on the western magical tradition and one of the primary sources for the study of ceremonial magic. The book contains a fascinating array of information drawn together by author Francis Barrett from several sources, such as Cornelius Agrippa's Three Books of Occult Philosophy. Areas explored include natural magic, alchemy, talismanic magic, cabalistic and ceremonial magic, as well as biographies of important figures such as Albertus Magnus, Roger Bacon and John Dee. Notable are the author's illustrations, derived from ancient and magical texts. This book remains much sought after by modern readers for the important source material it provides, and it continues to be drawn on heavily for information on many areas of occult philosophy.
DIVDIVThis illuminating book reveals the surprising extent to which great and lesser knownthinkers of the Age of Enlightenment embraced the spiritual, the magical, and the occult./div/div
Trithemius is best known for his hidden writing- the infamous Steganographia, but his other works, including this short grimoire on the use of crystals in summoning celestial spirits, are no less potent. Through the use of a simple wand, pedestal, lamen, and a polished and clear crystal, Trithemius states that it is possible to manifest and converse with celestial forces and to constrain them through the use of simple invocation and prayer.
All three books of Francis Barrett's superb compendium of occult thought are presented in this single volume, complete with the original charts and illustrations. Commencing with Magic, we are offered a comprehensive accounts of its capabilities and the tools needed for its use. Natural magic is defined, as are the many philters and potions which may be created and imbued with its essence. Various historical examples of magicians who had, for good or ill, gained public notice for their practices are given. The later chapters meanwhile concern the properties of magical stones such as the legendary Philosophers Stone, and the arcane arts of combining creatures of nature, and the sometimes monstrous results. The Magus itself is termed the Celestial Intelligencer; beginning with a basic account of the four elements, we traverse each in more detail before delving into the more esoteric practices. The symbolism of numbers and of the astronomical bodies of the heavens are detailed, sometimes with charts.
Here, Elkins argues that alchemists and painters have similar relationships to the substances they work with. Both try to transform the substance, while seeking to transform their own experience.