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 Almadel of Solomon:

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Stacey/Cirrius
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PostSubject: Almadel of Solomon:   Sun Sep 27, 2009 4:57 pm

The fourth book of the Lemegeton is perhaps my favorite. Weiser’s Goetia includes the following blurb: “The Fourth Book, called Ars Almadel Salomonis, or the Art Almadel of Solomon, concerneth those Spirits which be set over the Quaternary of the Altitudes. These two last mentioned Books, the Art Pauline and the Art Almadel, do relate unto Good Spirits alone, whose knowledge is to be obtained through seeking unto the Divine. These two Books be also classed together under the Name of the First and Second Parts of the Book Theurgia Of Solomon.” The four “altitudes” alluded to above are simply the four cardinal directions, though they are considered as stacked one on top of the other in this instance. It either originates from, or reflects, the Qabalistic tradition of the Four Worlds of creation that exist between the earth and the throne of God. Each world is populated with good spirits (Angels) who can be summoned by the text of the Almadel for a diverse array of benefits.

The magick itself is worked via a fascinating piece of magickal apparatus called an “Almadel.” This is a square tablet of white wax, with holy names and characters written upon it with a consecrated pen. Its main feature is a large hexagram, which covers most of the surface of the tablet, and a triangle in the center of this (reminding one of the triangle used in the Goetia). As a final feature, four holes are drilled through the tablet- one in each corner. When this work is done, more wax is used (specifically more of the same wax from which the tablet was made) to fashion four candles; each with a small shelf-like protrusion of wax (called a “foot”), presumably, half-way up the length of the candle. The four candles are placed in candlesticks, and positioned in a square pattern with the “feet” all facing inward. The Almadel itself is then placed between the candles, so that it rests on the “feet” (taking care they do not block the four holes) and is thus elevated well above the surface of the table or altar. The final components are a small golden or silver talisman which rests in the center of the Almadel, and an earthen censor placed on the table directly underneath.

No less than four Almadels must be made- including the four candles and the earthen censor (but not the metal talisman)- so there is one of a different color for each of the four altitudes:

Note; The golden seal will serve and is to be used in the operation of all the Altitudes. The color of the Almadel belonging to the first Chora is lily white. To the second Chora a perfect red rose color; The third Chora is to be a green mixed with a white silver collour. The Fourth Chora is to be a black mixed with a little green of a sad color &c
These four colors are alchemical in their symbolism, rather than the common elemental colors of yellow, red, blue, and black or green of modern magickal systems. Once you have chosen which Angels (and thus which Altitude) you wish to work with, you set up the Almadel, light the candles, and burn mastic in the censor. The smoke will rise against the bottom of the wax tablet, and is thus forced to some degree through the four holes. It is within this smoke, and upon the Almadel and its golden talisman, that the Angel(s) in question will manifest.

This text has had a profound, and yet little-known, effect on modern magick. It was never adopted directly into our modern magickal systems by men such as S. L. Mathers or Gerald Gardner. Instead, it had its effect upon Dr. John Dee in the late sixteenth century. The equipment described by the Angels for his Enochian system of magick seem to have been derived largely from the Almadel tradition. However, since I will be explaining the Dee Diaries later in this chapter, I will save the comparisons for then.
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