I spent the last week of May in New York City with my godfather, assisting with a new round of initiations and training in Quimbanda. After I had returned and sufficiently rested, I decided that the following Friday I would endeavor to complete my Circle for the Tuba Veneris.
The grimoire states that the Circle can be made from many different materials, from being drawn on the ground with chalk, charcoal, and paint, scratched into the dirt with a sword or staff, to painted on parchment or virgin paper. My main goal with mine was durability. I wanted to be able to roll and carry it to wherever I choose to perform the ritual, be it an abandoned building or the same forest I had buried my tools in previously. That way, I also wouldn’t have to redraw it every time I wanted to conjure the demons. On the day I poured the six wax seals, I took a large sheet of canvas and, with the help of a trusted friend, cut it to a six foot diameter circle as per the grimoire’s instructions.
The chapter also states that the inner circles can be drawn “two or three fingers in from the first”, but my hands are definitely on the smaller side so I decided to go with four inches each. With my friend’s help we painted the three rings in black. The divine Names, however, have to be written in colour (elsewhere in the grimoire the colours of Venus are given to be green and red) in the days and hours of Venus. I chose to paint them all in green, so as soon as it was the afternoon Venus hour last Friday, I sprung to work. In order to keep the spacing of the letters even so that they would actually wrap all the way around, I used the crosses that divide the names as goal posts.
I had only just finished going over each of the letters again when the Venus hour ended, so I waited for the evening one to consecrate the Circle with the incense. Finally, I folded it up and placed it with my Seal, Book, the six wax seals of the demons, and my first Horn. I’m really quite pleased with how it turned out.
With the Circle complete, I am technically finished with all the preparations for the Tuba Veneris. What remains is the second bull’s horn which I had just received in the mail shortly after I returned from my flight. A friend and witch who tends to a farm had procured for me a bull’s horn that had been severed during the day and hour of Venus and graciously sold it to me. My previous horn had been severed on a Friday, but the person who sold it to me could not say what the exact time was—only that it was shortly after noon. Given that I can be completely certain about the second Horn, I intend to wait until the next Friday new moon (which is in August) to engrave and consecrate it, just to cover all my bases. Either way, I may well eventually perform the operation with both Horns to test if the spirits manifest equally, but for now I intend to follow the advice of my spirits and be patient. There is much magical work to be done in the meanwhile.
My work with the Tuba Veneris continues to unravel in interesting ways. A few days ago, a friend who recently became aware that I was pursuing the operation messaged me, saying that he could procure for me a bull’s horn that fits the requirements of the grimoire exactly. Ecstatic, I agreed, and it should be in my hands within a few weeks. This will give me an opportunity to test how well the spirits manifest physically in different rituals. Before I engrave, consecrate, and bury it, I intend to once more bathe it in the seven Venusian herbs my Zmaj had recommended to stir the bull spirit, especially as it had such a potent effect with the last horn. The next Friday new moon is in late August, so that is when I will be consecrating it. I will likely attempt the full operation before then once the Circle is complete, and then try again with the new horn in September.
With that said, my next order of business was to create the six seals of the spirits. To borrow Teresa Burns and Nancy Turner’s translation, the grimoire states:
One takes green Wax, to which one mixes soot, makes from this round pieces and, with steel instruments, cuts into them the Seal of that Spirit one wishes to invoke. Let these Seals be consecrated with smoke in the same way as the others aforementioned in the time, by the day and in the hour of Venus, but do not bury them: rather, preserve them for the Work.
– “How to Make the Seals of the Spirits”
As we can see, the consecration with smoke has to be carried out in the usual times of Venus, but there is no such recommendation for the actual construction of their physical forms. I decided I would make and carve them in the day and hour of Venus anyway, especially since I had the time. I filled a spare can with green candles and soot, placing it within a larger pot of water to double boil on the stove. As I waited for them to melt in the Venus hour, I set up my silicone molds in which I would pour the wax. Once the candles had turned into a dark green liquid, I fished out the wicks with a plastic fork and retrieved the can, carefully pouring the wax into the silicone. They fully dried and hardened in the Venus hour as well, and I gently carved them with a tiny steel pin.
I made sure that the seals would be on the thicker side, especially as the method by which the demons may be compelled if they are unruly involves stamping them with the heated copper Seal of Venus. They were consecrated at night in the Venus hour and are now waiting with the rest of my tools for their eventual use.
Since I will be consecrating the second horn on the next new moon, my next immediate goal with the Tuba Veneris is to construct the final piece of the ritual: the Circle. I have procured a large canvas cloth which I have already trimmed into a six foot diameter circle. On one of the following Fridays, I will paint the inner circles in black and write out the sacred names in green.
The Faustian genre of early modern literary ritual magic is a particular passion of mine, and has long been my preferred family of early modern magical texts. Staying true to the tradition of pseudonymous authors, these texts present a fascinating family of ritual magic approaches and methodologies, with surprising variety in technique. As such, I will be regularly reviewing texts relating to Faust, and the “Faustian Tradition”—whether those texts are translations of primary source material, academic monographs and studies on the figure of Faust, or analysis of the literary tradition and folklore that sprung from him. Today, I will be looking at the fascinating Doctor Faust’s Mightiest Sea Spirit, published by Enodia Press.
This book is a great example of what I love about the Faustian genre. Each of the selected texts that are translated within the book has about it a unique feel, and an explicit purpose that Nicolás Álvarez, the translator, brings together with impressive zeal.
The binding of the book is excellent. I’m not a professional binder (though I’d love to learn the art one day) and I generally tend not to be too hung up on the editions of my texts. But there is something to be said about a beautiful production and this book certainly fulfills that criteria. The deep blue colour contrasts nicely with the silver lettering on the spine of the book, as well as the silver magic circle from one of the translations on the front cover. I’m not always keen on the choices Enodia makes when it comes to the images they affix to the front covers of their publications, however this particular one is beautiful and elegant. The design choices make for an attractive book, and the quality of the binding is more than satisfactory.
As for the contents of the book, we begin with Nicolás’ introduction in which he briefly details the history of the texts he has translated while also touching on the general history and character of the Faustian tradition. Where the introduction shines, however, is in its commentary regarding Sea Spirits and Early Modern German demonology, as well as their connection with spirits from other texts, particularly the devils of Weyer’s Pseudomonarchia Daemonum. Nicolás shows his broad knowledge of ritual magic texts here, carefully drawing connections and ties between shared literary lineages without being overzealous in doing so, as some modern authors are wont to do.
The next part of the introduction features an assessment of the ritual itself contained in the Meergeist. It begins by discussing the faculty of imagination in early modern magical practice, citing Dr. Elizabeth Butler (author of Ritual Magic and Fortunes of Faust) on the fascinating influence of the imagination as it pertains to our text. He then summarizes the theories of a number of early modern and medieval occult authors and natural philosophers on the role of imagination as a spiritual faculty. While I don’t necessarily fully agree with the conclusions that Nicolás reaches here as far as imagination being the chief faculty by which spirit contact occurs, he backs up his argument with primary source material and presents his perspective with erudition.
Once the “Inner Ritual” has been discussed the author moves on to the “Outer Ritual”, or the part of the procedure which would be more familiar to readers of early modern magical texts. The analysis of the ritual is concrete, referencing what about it is unique while also drawing parallels to other magical texts.
After the introduction, the main translation of the Meergeist is given, and it is here that the real bounty of the book begins. The text provides instructions for the conjuration of Lucifer and a number of his chief demonic vassals, in order that the magician may coerce him to bring treasure from out of the sea and into his hands. Where the ritual diverges from the standard procedures of its genres is in the literal dialogue between the magician and the spirit. This moment is somewhat reminiscent of the Greek Magical Papyri spells in which the God brings other spirits to feast and converse with the magician. In a similar manner, the magician converses with Lucifer and his Officers, making his demands. I won’t spoil the dialogue itself, but it was certainly a fascinating read. Not only that, but the descriptions of the vision evoke a sense of infernal beauty and terror. It reads almost like a horror novel, as a seven headed serpent is described to “arise to taste the constant demeanor of he who requests treasures,”while brimstone burns against the backdrop of a ghostly ship manifesting.
That being said, the practicality of the ritual itself makes it difficult to perform. Numerous magicians are required to be present, wearing different coloured clothing. While this may be simple enough, the materia can easily pose a challenge. The operation requires three gallows’ chains and the nails from a breaking wheel (a torture device) that have “sliced through the skin of someone broken [on it]”. I am not someone who balks at hunting for rare materia in the slightest, but this particular requirement makes performing the operation difficult to say the least. Naturally, I’m sure one would be able to ask their spirit allies to facilitate their acquisition of these nails, both monetarily as well as in the practical search.
After the Meergeist, we move on to the translation of Darmstadt MS 831, or the Conjuration and Call of the Sea Spirit Quirumandani. This is my personal favourite part of the text, and it has never before been previously published. There is, according to the author, no information on this text that has been published so far, with the only mention of the spirit Quirumandani being a brief comment on a paper-strip in possession of the Herzogin Anna Amalia Bibliothek.
The actual ritual process of this text is fairly short and simplistic. A basic circle is given, and the ritual instructions are not overly complicated. Certainly it is a ritual that is more than doable, and I do intend to perform it at some point. The function of the operation is to obtain a Familiar Spirit who will protect and teach the magician. The nature of this spirit, or rather its attitude towards the conjurer, is never explicitly stated outside of the fact that it is a Spirit of the Sea who appears in the form of an old, grey man. But given that the spirit is told to protect the one who it pacts with, it seems at the very least ambivalent rather than outright malefic as many spirits of Faustian ritual magic texts tend to be.
There are many things which I love about this text, including the ritual techniques wherein the magician literally stands upon the spirits’ seals in order to subjugate him. The use of a sea shell, to which the spirit is bound, is also a fascinating technique and one I look forward to exploring in my own magical practice when I finally get to engage with this spirit. It also gives details of the particular method in which one makes the pact with the spirit, something that the Faustian genre of magical texts certainly does well. (Magia Naturalis also contains detailed descriptions of how the pacts are formed).
The next text that is translated for us is the Veritable Jesuit Coercion of Hell. This text is similar in nature to the Verus Jesuitarum Libellus (which may be found here on Esoteric Archives) in that it chiefly consists of a long conjuration to be performed in order to obtain treasure—in this case, from the sea. This relationship to the True Petition of the Jesuits is mentioned by Nicolás in the introduction to the translation. The author notes that the circle given in the English translation is his interpretation of a poorly drawn original; however the original circle is fortunately still given in Appendix II of the German version. It is a relatively straight-forward and brief text and feels somewhat out of place when compared with the unique elements of the others within the book. That said, I really am just so pleased that we are getting translations in the first place, and the simplicity of this ritual is an appeal in and of itself for those who prefer such ceremonies.
The final translation is the Arcanum Experientia Praetiosum. Due to the lack of connection to Sea Spirits or Sea Treasure this text is in the appendix rather than being its own chapter. However, its contents are a rare example of ritual magic dream incubation, much like the “Operation to bring three ladies” to your room in the Verum/Grimoire of Pope Honorious. As such, it is a welcome addition to the host of magical texts in the English language and an experiment I look forward to attempting.
There are two versions of this text, one with a specific spirit as the target and the other as a general operation. Both versions are thankfully provided, so as to give us a complete picture. The ritual method given is simple, and in the first the seal of the spirit is provided along with his number of legions and rank (prince) while the second is intended to be used with any spirit. The spirit is then conjured, and his seal hung from the window and lashed in order to subjugate him. The ritual implies, as Nicolás points out, that the spirits should then appear in the dreams of the magician following the successful operation.
The final part of the appendix is a transcript of the original German texts. This is valuable for those who can read the language (like a certain Sfinga can) though sadly I myself don’t speak it, so I cannot yet comment on this part of the book.
In conclusion, this text is an excellent addition to any magician’s bookshelf, and Enodia Press has done an outstanding job in bringing this to the wider occult community. This edition is limited to 500 copies and can be purchased on the Enodia Press website.