New lamen set complete!

Recently I discussed my new style for lamens to be used in Trithemian-style conjurations, based on the description given in Agrippa’s “Fourth Book of Occult Philosophy”.  Although the style is largely the same, the latter is more preferred to my taste, being a little more balanced, seeming a little more “magical”, and working just as well as the old style.  Plus, I made the style, and that’s kinda cool.  Up until now, however, I’ve been using the old style of lamens, which I had printed out based on my designs on old-style kinda-translucent copy paper and lightly colored the lamens appropriately for the planetary angels.  They work, even though they’re not made of metal or something fancier.

This past week, during the week of the waxing Moon, I went ahead and printed out lamens for all the spirits I conjure using this new style, including the four Elemental Archangelic Kings and the seven Planteary Angels.  I used heavy faux-parchment cardstock to print them on, and for the planetary angels I also printed them out in their proper day and hour according to their ruling planet.  Like the old lamens, I colored the new ones as well, but this time I got kinda fancy:

  • For the planetary lamens, I lightly colored the ring of godnames and the central hexagon in the hexagram with the queen scale color of the planet, heavily colored the points of the names written in the Celestial script, the pentagrams, and the arms of the hexagram with the queen scale color, and colored in the space between the pentagrams and hexagrams with the king scale color of the planet.  This means black/crimson for Tzaphqiel of Saturn/Binah, blue/violet for Tzadqiel of Jupiter/Chesed, red/orange for Kammael of Mars/Geburah, yellow/rose for Michael of the Sun/Tiphareth, green/amber for Haniel of Venus/Netzach, orange/purple for Raphael of Mercury/Hod, and purple/dark blue for Gabriel of the Moon/Yesod.
  • For the elemental lamens, I swapped queen scale color with the traditional color associated with the element (red for Michael of Fire, blue for Gabriel of Water, yellow for Raphael of Air) and its flashing color for the king scale color (green, orange, purple, respectively).  For the Auriel of Earth lamen, I used the black-olive-citrine-russet color scheme and a light yellow background, since they’re also the colors of the element as well as the colors from the queen and king scales for Malkuth.
  • I also applied gold leaf to the edge of the lamen just as a nice touch to make them all fancy-like.  The gold leaf will be hidden when put in the lamen frame I use, but that’s no biggie.
Arranging the lamens in the same way as Fr. Rufus Opus’ Altar Glyph, here’s my new lamen set (also with a glimpse of the seals I’ve received for personal use from the four Archangels):

Information about the planetary or qabbalistic color scales mentioned above were taken from the Golden Dawn system (see here for a description), and the colors for the elements came from the colors of the Rosy Cross Lamen worn by Adepts of the Golden Dawn (see here for a picture).  The old and new styles of lamens themselves (uncolored, of course) can be found on the Designs page.

The spirits come all the same, and seem to be either the same strength or a little clearer, which makes sense since these colors applied to the lamens help make them more in tune with the force and spirit in question.  I may keep the old lamens, or I may burn them as offerings to the planets and forces I work with, but I’m very pleased with these new lamens.  Plus, the lamen design themselves double as talismans of that sphere and angel; a complex example can be seen on Fr. RO’s blog as a talisman for the angels and forces of Saturn, Jupiter, Virgo, and Capricorn.

Also, yes, I print out my lamens, and I use the graphics from the Magical Calendar for the planetary angelic lamens (but I draw in the seals for other spirits because, well, they don’t exist otherwise).  To be fair, I’ve also got the pattern, series of godnames, angelic names and spellings, and angelic sigils all in memory, and they’ve all been integrated into my sphere appropriately through initiation, alignment with their spheres, and repeated discussion.  If you do not have this done, try drawing out the lamens by hand first before using premade templates.  This functions as a very useful kind of “kinetic meditation”, as Fr. RO is fond of saying, and it’s not without purpose; the more you have this stuff in your mind, the more it’s in your sphere, and the more it’s in your sphere, the more you’re able to function.  It’s like learning a language: the more you use it, the better at it you become.

14 responses

  1. I wonder if you can do posts on how alchemy directly is practical to an individuals life. I deal with alchemy only on a superficial level, and would be interested to hear how an expert does this.

    • Unfortunately, I don’t do alchemy; theurgy is my big focus, with astrology treated like a middle child. I have a few friends who are into spagyrics and other fields of that Art, but it’s well beyond my grasp and practice for the moment.

  2. Those are terrific. You’re making me feel quite embarrassed by my paper seals on bits of embroidery floss for necklaces… now I’m going to have to paint them on wooden disks or metal, and edge them in gold or something crazy like that.

    I definitely like the business about coloring them, and I’m going to have to go that way myself. I can’t speak with certainty about whether it’s the color itself that matters, or the extra time that one puts in… but going the extra mile to make a seal or lamen particularly beautiful definitely raises the value of the work when the ritual meets the road.

  3. oooo pretty! lovely work and color combination there. I often feel that one fraction of magic is having items and implements that are aesthetically pleasing.

  4. Pingback: This Week, in Awesomeness | The Crossroads Companion

  5. Excellent work, thank you for sharing… you mention a lamen frame… any elaboration, or suggestions?

    • I didn’t use proper gold leaf for this; I used a gold leafing pen, which is a fancy marker with ink mixed with gold. For true gold leafing, you’d need to use a much more complicated process, similar to what I used for my ebony Wand of Art. Long story short, you’d need to apply a basecoat of a special paint called “bole” to make sure the surface being gilded is smooth (and to allow the gold leaf to pop out more as a color), then apply “size”, a special adhesive that dries slowly and in a particular way that allows gold to stick. There are many ways to do this, so you should google around for more information on traditional gilding methods.

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