Ouroboros - Fullmetal Alchemist Wiki - Wikia Ouroboros refers to the ancient mystical symbol representing a dragon devouring its own tail. It represents the eternal cycle of life and death. The circular affinity suggests the eternal cycle of life death or death and birth that happens to each life born. The head of the dragon represents life, while the tail as it is being bitten represents the end of life, the circular motion shows the perpetual cycle of life and death as the dragon consumes its tail. Before learning of their identities as Homunculi, Edward referred to the individuals behind the odd circumstances in Amestris as "Members of the Ouroboros". Locations of Ouroboros tattoos Edit In all versions of the story: Edit Lust's Ouroboros is located on her upper sternum, just above her breasts. In the manga and 2009 anime: Wrath's Ouroboros is located on his left eye (same as Pride in the 2003 anime). In the 2003 anime only: Trivia
theomagica - On Crossing the Abyss The experience of Crossing the Abyss is triggered by a liminal rite and results in a series of liminal experiences in our everyday lives. It describes nothing other than the actual process of crossing the Abyss, i.e. the passing over the visionary threshold that lies between creation and divinity - as well as hopefully a safe return of the practitioner into creation. The term is not specific to a particular rite or tradition of magic but describes an underlying pattern of human existence: When we cross from creation to divinity we are stripped bare of all created forms that we hold as part of our own being: our body, our ego, our memories, our mind, etc. What passes through to the other side of the threshold is the individualised spark of divinity that we carry within ourselves. Rather than the crossing itself, it’s the process of re-integration into the world of creation upon one’s return that can be the even more problematic and painful experience. It was a pretty full on year.
Alchemy Index Sacred-texts home Esoteric Buy CD-ROM Buy Books on Alchemy Although the alchemists' fundamental goal of elemental transmutation was flawed, on a deeper level the work of alchemy (cloaked in allegorical images) also represented the transformation of the soul. Modern science has accomplished the transmutation of elements using means that the alchemists never dreamed of. The Hermetic Museum: Volume I Volume II tr. by Arthur Edward Waite A completely new scan of this key collection of Alchemical tracts. Alchemy Rediscovered and Restored by A. Collectanea Chemica ed. by A. Triumphal Chariot of Antimony by Basil Valentine Golden Chain of Homer Emerald Tablet of Hermes Glory of the World The Six Keys of Eudoxus Freher's Process in the Philosophical Work The Golden Tractate of Hermes Trismegistus The Hermetic Arcanum Hortulanus' Commentary on the Emerald Tablet The Stone of the Philosophers by Edward Kelly Mary the Prophetess An Alchemical Mass The Mirror of Alchemy On the Philadelphian Gold A.E.
Key to Evocation: Zodiacal Decans I have previously published this article on the e-zine, Rending the Veil, and I thought that it would be useful to post it here for my readers to examine, just in case they didn’t catch it. This article represents the core principle that I use in establishing the hierarchical structure and methodology of performing theurgy and goetic evocation. Matrix of Possibilities There are many ways to perform the operation of theurgy and the evocation of spirits. Ever since I first examined the Goetia of the Lemegeton, or Lesser Key of Solomon, I have been fascinated by those entities called Goetic Demons, but found the methodologies for invoking them to be too abbreviated and incomplete to be entirely useful to me. However, when I first read Aleister Crowley’s Book of Thoth and also studied Israel Regardie’s The Golden Dawn (specifically, Book T) there seemed to be a new structure implied that might associate the Tarot, Astrology, Qabbalah and the hierarchy of Spirits into one unified system.
Quareia The methods, information and techniques in the course enable the magician to engage any form of magic and work with it appropriately with the full knowledge of how that magic works, why it works and what is behind it. The curriculum of Quareia goes into great practical and technical depth of all magical technique, and for the most part is magical education that does not appear in any books, anywhere. This is the training that is normally behind closed doors. The training is rooted in ancient magical traditions from a modern perspective, and is designed in absolute detail to ensure a complete and balanced training. The construction and presentation of the course, and the fact that it is free and will remain free, ensures that anyone who wishes to commit the time, focus and energy to the work will be able to do it. It will not be hijacked, will not become commercial, and will not become something exclusive. No Quareia student can buy their way to adept- ship, and there are no shortcuts.
Goetia undefined Goetia(see also: Abramelin the Mage, Magick) Article by David Claiborne(C) Copyright 2000 All rights reserved Goetia (Latin, "howling") is a word used to describe a class of magick which emphasizes the summoning or calling forth of lesser spirits and demons to visible appearance, with the intention of binding the spirits to perform the magician's will. Like many magickal traditions, the roots of Goetia are difficult to pinpoint. According to tradition, the Goetia was founded by King Solomon. Goetic magick, like most medieval magick, is extremely ceremonial and often calls for strict observance of many details. The interaction between the magician and the summoned spirits in Goetic magick is quite unique. Common methods of control include threats, particularly in the form of the vibration of divine names, which tells the demon or spirit that the magician speaks with the authority and power of the god whose name he intoning. Library Links Off-Site Links The Rite of Goetia
LEMEGETON, Part 1: Goetia The 9th spirit in order is Paimon; a great king, & very Obedient to Lucifer, he appeareth in ye forme of a man, sitting one a dromedary, wh a Crowne most glorious on his head. Three [There] goeth before him a host of spirits like men with Trumpets and well sounding Cymballs, and all other sorts of musicall Instruments &c. he hath a great voice, and roareth at his first comming, and his speech [voice] is such as ye Magician cannot well understand, unless he compelleth him. [102r] The 10th spirit is Buer, a great president and appereth in that is his shape when ye is there, he teacheth Phylosophy [both] Morall & Naturall, & ye Logicall arts, & ye vertues of all hearbes & plants, & healeth all distempers in Man, & giveth (familiars) good familiars, he governeth over 50 Legions of spirits and this is his seale of obediance wch you must weare when you call him to apperance. The 12th spirit is Sitri, he is a great prince & appeareth at first with a Leopards face, and wings as a griffin. [103r]
Atalanta fugiens emblems 41 - 45 The Alchemy web site on Levity.com Go to emblems 46 - 50 . Go to Atalanta page. Emblem XLI. Epigraph 41: Adonis is killed by a Boar, to whom Venus hasting, tinges the Roses with her Blood. Discourse 41: Some of the Mythologists, when they would explain the Allegory of Adonis, say that He is the Sun, and that the Boar by whom he is slain is the Winter season, Hairy with Frost. Dionysus, Sol and Adonis are the same. And Orpheus: Adonis Honoured by a Various name, Author of Buds thou art both Maid and Boy. Now all these things cannot be understood of the Celestial Sun, but may be understood of the Philosophical one: For this expresses both Sexes, whereas that does not, and so these Mythologists attribute the same thing to Dionysus and Sol, as they do to Adonis; and on the contrary and so likewise, to Osiris. But Adonis is slain by the Boar, ( that is, by the sharpness of Vinegar, or dissolving water, which hath terrible teeth like a Boar ) and has his members loosened and cut off. Emblem XLII.
Esoteric Physics, Multi-Dimensional Perception and Spiritual Insights: Thoughts on Alchemy Voarchadumia, ars distincta ab Archimia et Sophia is the title of a work published by Giovanni Agostino Pantheo in 1530 in which the author attempts to create some order amongst various interpretations of the methods and aims of Alchemy. In 1518, Pantheo published Ars transmutationis metallicae and he was perhaps the first to relate the Alchemical Work (Cabalisticum archimicae artis magisterium) to the Kabbalah, by introducing the Hebrew names of the Tetragrammaton and Gematria into his treatises. With the term Voarchadumia he firmly specifies the difference between Alchemy, aterm which refers to the ignorant and fraudulent and Archemy (from archè = principle and mia = one, therefore ‘the principle of unity’) namely, the True Art of the Transmutation of Metals and the Elixir of Life. The myth arising around this Rosicrucian Order with its bizarre name, talks of a document known as the Protocol of the Elders of Caldeirão, of Atlantean origins which is kept in the pyramids of Giza.
AGRICOLA, GEORG (1494 � 1555) University of Illinois at Urbana-Champaign Rare Book Room Exhibit AGRICOLA, GEORG (1494 1555).De Re Metallica. Basel, 1556. FIRST EDITION of the mining classic, and one of the first technological books of modern times. Dibner, Heralds, 88; DSB; Norman Library of Science, 20;