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About the Author Rob Chapman is a professional Mystery Entertainer and a magician in every sense of the word. Having worked with and studied the occult sciences for around twenty five years. In another lifetime before this one he was a musician. An interest he still holds. Rob has run workshops and retreats on aspects of Shamanism, Druidry, Magick, for over ten years. Other Books by Rob include. The Arts Notorious Lyfr Cytrawl a Awn Remote – Acaan Discover more at: www.walkwithwonder.co.uk 2
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Rob Chapman February 2012 All Rights Reserved. Reproduction of any part of this manuscript in any format is only permitted with written permission from the Author. Warning! Should you choose to share this. Three occurrences shall you suffer. Each worse than the previous…. Tempt not fate!
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I am Mosheh Thy Prophet, unto Whom Thou didst commit Thy Mysteries, the Ceremonies of Ishrael. Thou didst produce the moist and the dry, and that which nourisheth all created Life. Hear Thou Me, for I am the Angel of Paphrõ Osorronophris This is Thy True Name, handed down to the Prophets of Ishrael.
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From Mal Corvus Witchcraft & Folklore artefact private collection owned by Malcolm Lidbury
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To the Lady Rowena, ne’r was a lady more loving, beautiful and enchanting. Blessed Be!
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Contents. Introduction Concerning the Spirits of the Brazen Vessel The Telling Preperation The Rite After Thoughts Resources Twenty One of the Seventy Two Spirits Of the Brazen Vessel A final Word
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Introduction My earliest experiments with the occult at around the age of twelve were with the lesser Key of Solomon, the Goetia. Indeed there are a few hidden places that even now if you were to visit you can still see the trace remains of symbols and circles adorning the concrete on which they were painted those many years ago, I have for may years returned to the Goetic Arts as a source of inspiration. It has taken a lot of soul searching to create a routine for performance based around this ancient magick. My reasons are my own, but I will share them as the Goetia is not a trifle curio of medieval magic to be toyed with at a bizarrist will. The symbols and ceremonies of the Goetia represent an inner journey, an unlocking of all that is bad and good within us, through ritual and evocation. Some will say that such things are nonsense yet there very workings underpin so much of therapeutic practice today. To seek the self made perfect one must banish and control all demons, as did Solomon when he locked them away within the brazen vessel. Be sure that when working this rite that you are of sound mind and that those you choose to volunteer are well chosen. Some keys open doors we never wished to glance through.
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It has been a great pleasure in bringing this routine together. Yes it needs some props making, indeed it also takes a lot of nerve to perform it. This could be made part of an evening of bizarre magic, or performed on its own for small groups. Do not under estimate the ability of this routine to unnerve some people, because of this I know some of you will read it and never use it. Also I say read between the lines, the essence of this routine can be applied to other situations, routines with great results. I will not spell out for you how as it is said that we have to suffer to learn and so it is down to you to go on that journey and the experience the failures and success that it contains. For now I will leave it at that. Do take heed and use this routine wisely. For some magics are real… Walk with Wonder Rob Chapman October 2012 – at the house of magick.
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Concerning the Spirits of the Brazen Vessel Solomon the King of Israel, according to a well-known legend, shut up in a brass vessel seventy-two spirits and cast the vessel into a deep lake. When the vessel was discovered by the Babylonians, it was supposed to contain a great treasure and was accordingly broken open. The spirits who were thus set at liberty, together with their legions, returned to their former places. All that is except Belial, who entered into a certain image, and gave oracles to the people of the country in return for sacrifices and divine honours, by which there is corrupt Kabalistic authority for concluding that demons were assuaged and sustained. Within these pages of this accursed book, thou shalt find ways of Goetic Theurgy that once again these spirits may speak to us.
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The Telling The Magus introduces himself, giving a little background and expressing what a pleasure it is to be sharing this extraordinary evening with everyone. He tells the tale of King Solomon and the Spirits of the Brazen Vessel letting people know that tonight they will be attempting to make contact with at least one of these spirits. Upon a table are a number of objects, a brass vessel, a bowl of water and what looks like a triangular picture frame covered in a black cloth. On another table is but a glass and a candle. Before we go any further we need to awaken our higher aspects. For this way when we connect with the spirits later we will have the protection of the divine within.
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Asking all to place their hands together the Magus calls out. “Thee we invoke the Bornless One. Thou art man made perfect that no man has head at any time, you are he whom the winds fear. Hear us and make all subject onto us that every spell, scourge and protection of the Vast One be made obedient onto us.” He then asks the people assembled to start to repeat in their minds “ I invoke thee.” Explaining that as they do this they well start to feel a change in their consciousness that as that power starts to pour down upon us this will affect each person differently. For some they will feel calm, for others maybe a slight giddiness and for others they will discover that the power now holds them tight, so tight that there prayerful hands will not separate, that they are bound together by the power of the Bornless One. The Magus asks for those who feel the power to let themselves be known. Three people are chosen to come up to assist. The Magus shows a number of papers with symbols and names of spirits upon them. They are folded and placed
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in a bag and one of the spectators selects a slip, the identity of the spirit is kept secret and the slip sealed in an envelope and placed in view of the audience. The Magus now goes over to the mysterious covered object, pulling away the cloth he reveals a triangular mirror with strange words written upon its frame. “Behold the triangle of Art. For many years occultists believed that it was a symbol to be drawn upon the ground, but through my studies I discovered that it is a mirror to be made. When such a mirror is made a spirit will inhabit the magic glass and that spirit will then be of service to the magus. This I discovered quite by accident at a séance where the mirror was present. The spirits that night seemed to be acting differently, it was only when asked to manifest their presence in some way that the mirror tipped over and the association was made. To continue we need to see if the spirit of this mirror is with us. “ The Magus brings the table with glass and candle to the front and in line with the mirror. Instructing the volunteers in the ways of glass moving they stand in position as the Magus calls to the spirit of the mirror to let all assembled know that it is present. The glass starts to move, the spirit is with us.
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After a little while the glass moving is ended and the table moved aside. The Magus thanks two of his volunteers and asks them to return to their seats. One of them with the envelope. A chair is set up facing the mirror. The Magus introduces… “In all acts of magic when it comes to Spirit work we need our medium. I now ask of you to sit down in front of the mirror. And gaze through the candle flame, deep into the mirror, almost like you are trying to see what lies behind it. Once seated we will ask the spirit of the mirror reach forth and connect with you. You will find you have a deep connection to the mirror and that the longer you gaze there on the harder it will be to look away or move. “ All lights are extinguished accept the candle by the mirror all are asked to remain quiet. The volunteer sits and faces the mirror. The Magus talks to them and they slowly discover that they are unable to move their gaze; the mirror has indeed fixated them. Focusing now on the medium the Magus builds the connection to the mirror, the volunteer discovers that they are no longer able to move their body as the spirit of the mirror connects with them.
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Once the connection is established the Magus explains that we will now call upon the spirits of the brazen, that our medium will see, get impressions of and also even hear the name of the Spirit. He also lets the medium know that they may experience feelings of discomfort, possible touches, even a fear and desire to get up and break the connection but they will find themselves unable to move until the Magus releases them. The Magus calls to the spirits of the Brazen Vessel, asking one of them to join us through the mirror. To make that link with us and be with us. The magus tells the spectator that even though they are immobile they can still talk and asks them to start describing any feelings, sounds, impressions they are getting. The volunteer starts to tell the audience what they are seeing, what they are feeling. At some point they struggle, the Magus asks them to really focus in now on how they see the spirit, what they look like. Eventually culminating in a name being given. Shortly after this point that Magus commands the spirit depart, threatening to seal him up as did Solomon in the Brazen Vessel. The spirit departs and the volunteer is slowly able to move again. The mirror is covered
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Once the volunteer is settled and refreshed, the Magus thanks all for attending, talks about the experience and then remembers the envelope that one of the volunteers has. The Volunteer in the audience is asked to stand, open the envelope and read out the details on the paper. The Name of the Spirit, the description given all match that which the medium had given.
The Magus thanks everyone and wishes them a good night,
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The Preparation The Spirits. At the back of this book you will find the symbols names and a brief description of twenty one of the spirits of the brazen vessel. These can be copied from the book, or if you go online you will be able to download them from various sites, some of which I will mention at the end of the book. You will need to have twenty of them made up that are different, and a duplicate of one of the spirits. Throughout this routine we shall use the spirit Sitri as the forced spirit. These will be used for a billet switch. Now I know it is not for everyone, but the way I work this is with a little pre show work. As the guests arrive I will mingle and chat. I am looking to find someone who will respond well to the suggestive aspects of this routine. I use a small ring binder notepad and make it into a forcing pad by writing the names of various spirits on every other page and the spirit I wish to force on the others, I will include a small description of the spirit. A small hand held pad which flips over at the top is perfect.
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So page 1 may say Amon, page two Sitri, page three Barbatos, page four Sitri, page five Valefor page 6 Sitri etc. By cutting the repeated force page slightly shorter it means that when I flick through front to back I show different spirits, when back to front no matter where they stop they will choose the name of the spirit I wish to force. Once this is made up I will decorate the cover to make it look suitably strange. Once I have my chosen one I will ask them if they would mind helping out with the show. I show them the pad and point out the different names. Then I will tell them I am going to flick through and they are to say stop at any point. I will then proceed and once a page is selected tear out that page and give to the person to look after and ask them to remember as much details as possible. The other bit of preshow work is that once your volunteer has the piece of paper you give them the following instruction. “ I want you to remember these details, and later on when I invite you up I will ask you at one point to sit and look at something . Do not get up or move from the chair until I tell you the Spirit is gone! Is that clear, not until the spirit is gone.”
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Spirit Names part two. Once on stage you need to do a second force. You will have your volunteer from before the show and two others on stage. Ask the other two volunteers to take a look at the pieces of paper with the spirits names on. Ask them to fold them up and then to select one of them. You take this from them and place the slip into an envelope that is then sealed and handed to one of them to keep safe. Just before you take the slip you retrieve the duplicate one from the pocket that you had it ready in and use your favourite method for switching the billet. I personally will just use a false transfer with the other billet ready in the receiving hand. Simple and effective. You seal the duplicate, force spirit into the envelope. So you then have a spectator with an envelope and a spectator with a piece of paper, both saying the same name. This sets up a dual reality which gives a couple of possible finishes. To learn more about dual reality I would recommend the materials of Kenton Knepper. (See Bibliography for the books Kenton recommends.)
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Glass Moving. For this part you need a table with a very smooth finish and a glass. I use a wine glass that I obtained from the Isle of Glencoe Hotel. I had performed a séance there to test the theory that if something that is thought of, like a character in a book and enough energy invested into it then in theory it can exist on the astral plane. In which case we can contact that thought form entity. So I provided for 300 Harry Potter fans the Dumbledore Séance, and yes he did come though, hence the glass. For this part I can refer you to no better guide to glass moving than that covered by Paul Voodini in the Paranormal Entertainer. Whether you believe you are really contacting spirits, or whether you accept the psychological explanations the one thing is that it works, and is powerful. More on glass moving later.
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The Magic Mirror
The mirror is the part of this that you may need to spend a little time in construction with. If you take a look at the above image the mirror I use I was fortunate enough to discover in a charity shop. With a lick of pain and the application of the correct words it was good to go. You may be fortunate to find one in a shop, or you may discover one online. Alternatively you can either make one or get a frame maker to build the frame and get the
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glass or mirror cut for it. Mine is an equilateral triangle each side being two foot. This mirror has a normal mirrored glass in it. You could alternatively get a piece of clear glass cut for it and spray the one side with a matt black paint; this creates a wonderful surface to scry on. The words should be printed as in the picture. Tetragrammaton Anaphaxeton Primeumaton. For this part of the routine you will also need a few candles, I use either one or three. These sit in front of the mirror.
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Check List for Routine. Billets with spirit names + one duplicate Bowl/ bag for billets Force pad or your favourite spirit to force the spirit name pre show. Candles, at least one by the mirror. Chair Mirror. Table Glass Envelope. You can add into that a brass vessel, other magickal looking equipment. These are all trapping and can be great fun but are not needed.
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The Rite. The pre show work done as stated in preparation. I will break the routine into its individual sections. The protection: “Thee I invoke the Bornless One.” At the heart of it this is a suggestion test used in hypnosis. You are not going to get everyone with it, but enough will respond to kick off this routine with a suitably large helping of oddness. I will not go into the ins and outs of hypnotism. I would strongly recommend the work of the Head Hacking team for a sound grounding in the subject. I would use something along the following lines, after I had said the invocation I would continue as follows… “ Now I would like each and everyone of you to start repeating over in your minds I invoke thee. As you do this be aware of an energy, presence descending around you, it holds you and protects you. I am not asking you to believe this but to do this as it will work for you. You feel that energy holding you closer, it seems to focus at the tips of your fingers. You feel that so strong now that as
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you try and separate your hands you find that they are being held, the spirit of protection holding you fast. The more you try and separate them the more you know that you are protected and your hands stay stuck tight…” How does this work, I put it down myself to an unquestioning belief that it will. The suggestion will not register if you do not deliver it with absolute confidence. Once you have members of your audience select two random spectators and your pre show spectator to join you on the stage, up front. Instruct any others that you will release them, to take a deep breath and they will find that the energy releases them and they can now separate their hands. Selecting the Spirit The bulk of this part has been covered. You get one of your volunteers to check the papers to make sure that they are as you described. They are placed in a bowl/ bag and mixed up. The other (not preshow) spectator selects one, it is passed to you, you grab the envelope and whilst doing this perform your favourite billet switch. Placing the forced spirit billet in the envelope, what I will do is go to put it in, then as an afterthought get the spectator to sign the billet and put it in the envelope themselves. This later can be named as the signed billet
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that the spectator put in the envelope which draws all attention away from the fact that you ever touched it. Glass Moving. You uncover the magick mirror and explain about how there is a spirit connected to with it who will act as the keeper of the gate whilst we attempt to make contact with one of the spirits of the brazen vessel. To connect with the spirit we will use an old tried and tested method of communication. You bring forth the table, glass and candle. Dim the lighting. Placing it centre stage you ask each of your performers to stand around it. One either side and one at the back so as audience can see what is happening.. Instruct them to lightly place their fingers on the glass, to focus on the centre of the glass and picture in their minds a flow of energy coming down from above through their heads and down into the glass, asking the audience for their focus and energy, call out to the spirit of the mirror. Invite him to communicate with you through the glass, to move the glass, using everyone in the room’s energy. Now wait, the glass will move, you may need to add a little encouragement along the way. We are not after great lengths of communication. Encourage the glass to move and it will move, once it starts ask the spirit to build its
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strength and explore the table and when he is ready to work with us this night to move the glass to the candle. Once the glass has moved to the candle thank the spirit, asking him to return to the mirror. And allow your volunteers to lift their fingers. Remember this is not a huge demonstration of glass moving, it is used in this routine to push peoples mind more in the direction of the impossible. Bits of paper, chosen names can make people think tricks, a glass moving on a table brings up the possibility of this being real. Make sure that you get your volunteers to describe their experience re-affirming that they were not pushing it. Should the Glass not move try swapping peoples positions, swap over two of the volunteers keeping your pre-show volunteer, Or ask them to start moving it and instruct the spirit to stop the glass or go to the candle when he is ready to work with you. For more on glass moving again I return you to the work of Paul Voodini. Once you have completed this part of the routine send your two none preshow volunteers back to the audience making sure the one has the envelope.
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The Spirit in the Mirror Having told your audience that the volunteer left on stage is to be your medium. You sit them in front of the mirror, lighting the candle in front of the mirror, dim the lights more or completely turn them off depending on size of venue. This part is a mixture of suggestion, bringing into play your preshow work and basically working your volunteer. When you pre-showed your volunteer you gave them the instruction that at some point they would be seated and to not stand up until you tell the spirit to go. This is now the time to work this. They also have the name of a spirit that has apparently been chosen at random by them, the audience is not aware of this, but the audience are aware that there is a person amongst them holding an envelope that has an apparently freely chosen spirit named within it. So all is set or the revelation. We just need to play the scene a while. Once the spectator is seated gazing at the mirror you can continue as follows.
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“ Ladies and gentlemen I would ask you remain quiet throughout the next part of this evening, remember you are protected and that you are safe.
Addressing volunteer. I want you to gaze through the candle flame into the mirror, as though there is something important that you need to see hidden beyond the mirror, do not focus on the glass, but look to a point beyond it. As you do this you start to notice how the normal boundaries of your body and mind start o become blurred, the room about you seems to melt away and there is just you and the mirror. Looking deeper as you try to move you discover that you cannot stand up, that you are locked into the mirror, that no matter how much you may feel like you could that UNTIL THE SPIRIT IS GONE you are bound to the mirror and the chair. As you gaze deeper you start to notice in your minds eye images appearing as though within the mirror. I want you to start to describe what you are seeing.
Allow volunteer to talk.
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I am now going to call to the spirits of the brazen, although you may feel the need to look away you must hold that contact and indeed will find that your gaze is fixed. Know that you are safe and that you can do this, O spirits of the Brazen Vessel we call to you. Send forth now a representative, to appear in the mirror for us to see this evening.
Addressing spectator I want you to describe the images you see, (spectator does so, as they continue start to direct them towards images connected with the description of spirit forced on them. This may go as such.) You are now starting to experience the presence of the spirit, as you gaze into the mirror the spirit that you have in your mind starts to appear for you, you can describe the spirit. ( allow then to do so, keep re-affirming their descriptions, depending on how comfortable you are with this you can actually work you spectator up to quite a pitch.) Now I want you to focus on the name of the spirit as we ask it to fully let its presence known to us, it is like you have always known this name and carried it with you all the time.”
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( the last bit in bold is the instruction for the spectator to name the spirit that they selected before the show.)
Once the spectator reveals the name of the Spirit you can wrap up this section. Instruct the spirit to depart. Make sure that your spectator is ok, this is most important. To many magicians treat their volunteers as props, they are people, love them. The Final Revelation. Once you have your spectator cared for it is time to summarise the evening. Recap the tale of the Spirits of the Brazen Vessel. And reveal the final part of the routine. “ We have tonight reached beyond the veil, to try and see if the Spirits are more than just a take in an old grimoire. Out of the seventy two spirits we wanted to reach and make contact with just the one. I believe that we have been successful with that. I do not ask you to believe, just to know that what has happened, happened and that you have been part of an extraordinary experiment. Our wonderful medium revealed to us the name of a spirit, with some description as to its appearance. I ask our volunteer in the audience with the envelope to rejoin me
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on the stage with the envelope. Earlier on you signed and sealed your choice of spirit in the envelope, as of yet none of us have seen what is written. Please, open the envelope. Read aloud for us the slip inside.” The spectator reads the paper inside, the details and name match the very same spirit that the other volunteer had revealed through the mirror. Thank all you volunteers, your guests and bid them all a good night!
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Some Thoughts Outs – So what if the pre-show volunteer forgets the details of the spirit that they chose. I find they never completely forget, and so if they come up with one matching description and a name that sounds similar you still have a hit. If they remember some or all you have a great result. The audience go away believing that they have seen one of their own speak to ancient spirits and reveal the unknowable. The medium volunteer goes away not knowing how on earth the spirit they chose matched the other selection
If they forget completely then make more of what they are seeing in the mirror, use suggestion to manifest different reactions from your volunteer. Once that section is done you can let everyone know that before we started this you had the volunteer pick a spirit, what was the spirit they chose. They get their card and read the details, when the audience member
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reveals their choice you still have a pretty damn good finish to the evening. This routine has the potential to weird people out, if you can deal with that then enjoy it. If you are not feeling comfortable then maybe it is not for you, in which case you have still got ideas, tools and possibilities to take away from the routine which I hope you have great fun with. Until next time thank you for buying this booklet and Remember
All of this is necessary None of this is needed
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Resources The Greater Key of Solomon The Lesser Key of Solomon Both the above can be found at: www.sacred-texts.com A wonderful resource for books on the occult, philosophy and world religions. For Dual Reality and other great principals I cannot sing higher the praises of Kenton Knepper. Kenton recommends for covering Dual Reality, Multiple Reality the following of his releases: Wonder Words Q Thought Implantation. All are available at www.wonderwizards.com
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For Hypnosis I would strongly recommend visiting. www.headhacking.com The work of Anthony and the Head Hacking teams is inspirational and workable. For Glass moving and Paranormal Entertaining there is possibly none finer that Paul Voodini. Paul has been a great inspiration and his work is well worth exploring. Discover more of the world of Voodini www.readerofminds.co.uk
The greatest resource is your own imagination, if you can think it, you can do it.
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Twenty One Of the Seventy Two Spirits Of the Brazen Vessel There Sigils, Names And Description
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Agares
AGARES. East an old fair Man, riding upon a Crocodile, carrying a Goshawk upon his fist
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Vassago
Vassago A Mighty Prince Lost and Found Kind Nature
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Gamagin
Gamagin Appears as a Horse then turns into a Man.
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Marabas
Marabas A great Lion Hidden Secret
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Sitri
Sitri A Leopard with Eagle Winds Causes Love between men and women
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Valefor
Valefor A Lion with a Donkey Head
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Amon
Amon A Wolf with a Snakes Tail, Breathing Fire.
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Barbatos
Appears with troops, Singing Birds Barking Dogs Voices
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Paimon
Paimon A man on a Camel wearing a crown
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Buer
Buer Part Man Part Horse Sagittarius
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Beleth
Beleth Rides a Pale Horse Trumpets and instruments being played.
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Eligos
Eligos A kindly Knight. Carrying a Lance A serpent symbol
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Zepar
Zepar A Solder in Red Armour Causes Love
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Botis
Botis A great Snake Man with great teeth
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Bathin
Bathin A Strong Man With a Snake tail.
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Sallos
Sallos A gallant soldier Riding a Crocodile
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Purson
Purson A man with a lion face A viper in his hand A bear
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Marax
Marax A Bull With a man’s Face
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Ipos
Ipos An angel with a Lions Head Goose Feet A Hare’s tail.
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Aim
Aim A handsome man with three heads One a man One a serpent, one a calf
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Bune
Bune A dragon with three heads A Man, A Dog, An Eagle
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Shemhamphorash
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