Altar and Ritual Framework for Manifestation

After lots of talks with the angels and figuring out how exactly to accomplish something magically, I think I’ve finally settled into a pattern for a manifestation ritual using my magician’s altar, properly called a Table of Manifestation.  Because, you know, it manifests shit.  Fr. Rufus Opus has described the magician’s altar as their terminal to access the cosmos and put in requests or commands to it to magically alter it.  He put up his now well-known Altar Glyph to describe the schematics of such an altar:

Frater Rufus Opus' Altar Glyph

For background on why the altar is set up the way it is, I suggest reading up Cornelius Agrippa’s Scale of Four (book II, chapter 7).  The altar layout, representing our perception and vantage point outwards from the whole cosmos, is primarily designed according to the elements, the building blocks of the world we happen to find ourselves in.  Thus, the things that are fiery are placed in the East, airy in the West, watery in the North, and earthy in the South.  From the inside outwards, we have things under our direct control, things we choose to let loose or bind in the cosmos (this is represented by the four demon princes of the elements, which I hide wrapped up in black silk under my altar and left alone; the surface of the altar uses the central point as the ritual focus space).  Outside that we have the four archangelic kings and the legions of forces/forces themselves that the magician will call upon to bring something into manifestation.  Beyond that we have the four elemental tools, our means to work with both the terrestrial elements and the celestial planets, which allow us to work throughout the cosmos.  Beyond those we have representations of the seven planetary forces, each aligned according to their element, which act as pumps or sources for those forces to pull from.  Beyond that we have…well, really, anything else.  A consecrated candle or lamp is helpful to have, positioned to the East to represent the Infinite Light and Source of All.

Consecrating the Ring of Solomon

This picture illustrates my altar layout, set up for consecrating my magic ring of Solomon a while back.  In the middle is the ritual focus, which is here the ring to be consecrated put atop a Kamea of the Sun as given by Agrippa (book II, chapter 22).  Closest to the focus are four amethyst crystals, each a different Platonic solid, which I use as representations of the four archangelic kings and their forces (tetrahedron/d4 for Michael, octahedron/d8 for Raphael, icosahedron/d20 for Gabriel, cube/d6 for Auriel), each aligned to their proper elemental direction.  Just beyond those I have my four elemental weapons: the Wand of Fire in the East, the Sword of Air in the West, the Cup of Water in the North, and the Disc of Earth in the South.  Outside those I have the seven planetary talismans, again each aligned according to their elemental direction: Mars and the Sun in the East, Jupiter and Venus in the West, Saturn and Mercury in the North, and the Moon in the South.  At the edge of the altar I have my consecrated candle (set in the East) and incense burner, and nearby I have other tools and supplies as needed.

So, I had all these fancy tools lying around on this table I got from Ikea a while back, but…well, never really used them.  Sure, it serves as a display and storehouse for all the energy and forces I work with where I can use or draw on them as necessary, but mostly it sits there gathering dust.  Sure, I use it as a focus to charge stuff I consecrate, but I never really used it in ritual.  It took a lot of figuring out for me about what to use the elemental weapons for; perhaps it’s because of my lack of modern neopagan training or because the old grimoires never really used this set of tools, but I never really got into the habit of using them.  It’s only through continued talks with the angels who have instructed me in their symbolism as well as their ritual use that I got into the habit of using them in ritual, and I’ve finally pieced together how to use them all coherently in a ritual for manifestation.

I feel like this is about as basic and introductory a topic I can get to, but honestly, it (embarrassingly) took me a while to get to this point to even write about this much.  To help prevent other magicians and newbies to magic from getting stuck on how to use that fancy altar with all them tools, here’s a framework I ended up using to manifest or alter something using the magician’s altar.  Influences from this come mostly from the Trithemius ritual of conjuration, as well as elements from the Clavicula Solomonis and other rituals here and there.  Essentially, the ritual framework describes a kind of shortened conjuration but without a crystal, concentrating the force of some sphere or other onto a ritual focus to effect change instead of just a mere chat with an angel or other spirit.

Before even getting anything together, make sure you have an actual intent, goal, and method to accomplish something you want to change.  It’s all well and good to ask the angels for good shit, but it’s better to state clearly what exactly you want from the cosmos, for what purpose you want it, and in what way you plan to obtain or otherwise accomplish what you want.  As always in magic, the more specific you make your request, the more exact and refined your result will be.  It helps to do some prior divination or chatting with the angels or spirits you’ll be working with to make sure your magical plan of attack is solid, as well as making sure any physical activity or material means you want to back up with magic are going to work as well.  When you have that done, figure out the time in which to perform the ritual.  Figuring out the planetary hour and day best associated with the intent and goal is awesome, as is finding a suitable election, or you might just use the phase of the Moon (waxing or waning, full or new) or the direction in which the clock hands move (both up, both down, etc.).  Once you have the basics done, you’ve got a plan.

As with any ritual, start with preparation.  Make sure your altar’s in good order with all the supplies you need at hand (charcoal, lighter, holy water, incense, etc.).  Put on your magical garments and talismans, along with the requisite prayers if needed, as well as prepare yourself with aspersion or ablution with holy water.  You might also consider energetically linking the tools on the table to the central focus, a la Jarandhel’s notion of a crystal grid, to tie everything more closely in practice.  Do whatever energy work, quarter-calling, sevenths-calling, banishing and balancing ritual, or whatever you like to do to get yourself in the proper mindset.  Most importantly, pray.  Pray for guidance, pray for holiness, pray for strength, pray for protection, pray for wisdom, but pray.  You might also call on the help of your HGA, patron gods, supernatural assistants, or similar to empower yourself and make more effective the ritual you’re about to perform.  I generally do all the preparation just before the ritual begins, in the closing minutes of the planetary hour prior to when I want to do my ritual.  As for the actual intent or thing to manifest, the use of a sigil, talisman, figurine, or other stand-in is often helpful; I typically create a sigil with my desire or will and use that.

Once you’re sufficiently prepared and once the appointed time has come, light the candle and consecrate the flame to officially begin the ritual.  Take up the wand, sword, or whatever other tool of intent you prefer up to and including your dominant hand and trace out a circle around your working area, blessing and consecrating the area for the work.  This could be around the altar if it’s free-standing or around a Circle of Art if you’re working within one, with the tool pointed downward at the ground, or around the perimeter of the room if the altar’s not free-standing or if you’d like to use more space than allowed in a Circle, with the tool pointed upward towards the conjunction of the ceiling and walls.  Light the incense and consecrate it, waiting a few seconds to let the incense smoke rise up and fill the space a bit.  I generally wait until I can distinctly smell it for a few seconds before continuing unless I’m in a huge rush.

Now it’s time to call the spirits you’ll be working with.  If you have something specific to consecrate under a particular force, call up the spirits associated with that force; e.g., for solar spirits, you might choose Michael, Nakhiel, and Sorath, along with the aid or blessing of any solar patron deities, familiars, or allies you might have.  If you want to effect some significant change in the cosmos, you might do well to call up all seven planets and all four elements.  Agrippa lists several types of spirits for both the planets and elements and don’t appear to match up immediately, but after talking with both kinds of angels and with Rufus Opus a bit, here’s what I’ve figured out:

  1. Divine force, or the force in the qabbalistic world Atziluth, also associated with the divine Intellect or the element of Fire.  Among the planets, this is the aspect or emanation of God as represented by the godnames of the sephiroth.  Among the elements, however, which are all in the sephirah Malkuth, they’re all kinda lumped together; due to their distant, material nature, the four elements are part of the same divine force.
  2. Mental force, or the force in the qabbalistic world Briah, also associated with the mental abstractions and ideals and the element of Air.  Among the planets, these are the planetary angels.  There is no corollary between this and the elements, since the elements are too low in manifestation to reach this high up in the cosmos.
  3. Guiding force, or the force in the qabbalistic world Yetzirah, also associated with production, feeling, and desire and the element of Water.   These forces indicate how things should be directed and manifested in the world, the design that fulfills the requirements given to the mental force above.  Among the planets, these are the planetary intelligences; among the elements, they are the elemental archangelic kings.
  4. Active force, or the force in the qabbalistic world Assiah, also associated with the concrete force as controlled and effective as well as the element of Earth.  These are like the personified or belegioned forces themselves as opposed to the directing rules or guides; it’s like the charge in a battery instead of the wires that connect it to a radio, which indicate how that charge should flow.  Among the planets, these are the planetary spirits, and among the elements they are the elemental rulers.  Any familiar spirits, elemental or planetary allies, or angels from the forces’ respective choirs are also members of the active force.
  5. Manifesting force, or the force that actually pops up and does stuff in the material world.  These are spirits that actually do and create stuff on this plane with the four elements, the building blocks of this world that the other forces have to manifest through; because of this, there are no planetary forces that fulfill this role, since they’re too abstract and unformed to manifest directly in Malkuth.  Instead, these spirits are strictly elemental, specifically the elemental princes (Oriens, Paymon, etc.), who are close to goetic demons, but are so close to manifested reality that they can directly manifest things on behalf of the higher forces that guide them.  The demonic princes (Samael, Mahazael, etc.) do this too, but in ways that are shitfully terribad (ergo, don’t call on them).

Once you call up the relevant spirits for the forces you want to work with, thank them for their presence, since it always pays to be polite.  Once you get everyone together, the process is fairly straightforward:

  1. Declare your charge to the cosmos and to the spirits present.  Clearly, authoritatively, meaningfully, and wholeheartedly proclaim what you want the spirits gathered to help you achieve and attain in the cosmos, what needs changing or removing or adding to the cosmos, and how you want the manifested thing to take form and effect in your life and reality.  If you have an object, sigil, or figure that represents your intent, display it to the four corners, to the heavens, and to the earth, then place it in the focus of the altar.
  2. With the Wand, call on the divine forces present to turn your Will into cosmic Law.  Proclaim your intent and desired goal, establish your will as something the cosmos, universe, and world shall fulfill, and call on the blessing of the divine force and the assistance of the guiding forces to assist you.  Take up the Wand, point at the ritual focus, and have the Infinite Light begin to manifest around the focus and intent-object (if any).
  3. With the Sword, call on the mental forces present to turn your Reason into cosmic Design.  Straighten the path between divine intent and manifest reality, cut out all obstacles or impediments to manifestation, sharpen your stated will into implementable method, and call on the assistance of the mental force to reverberate the cosmos with your desire and plan.  Take up the Sword, cut the area around the ritual focus, and penetrate into the ritual focus area with the point to let the Light begin to fill the focus.
  4. With the Cup, call on the guiding forces present to turn your Emotion into cosmic Direction.  Pour out your need, fill the world with your desire, and guide the flow of forces you call upon to fill up and take form within the cosmos, calling on the assistance of the guiding forces to direct, guide, and flow the force called upon into manifested reality.  Take up the Cup, make a pouring gesture with it around in a clockwise pattern closing in on the ritual focus, filling the focus with the force you desire and taking form in the manner you desire.
  5. With the Disc, call on the active and manifesting forces present to turn your Reality into cosmic Manifestation.  Actualize your desire, manifest your goal, and have what you desire and will be made concrete, real, physical, material, and effective in all the stated ways, calling on the assistance of the active and manifesting forces to bring the desired goal into manifestation.  Take up the Disc and lower it down onto the ritual focus, pressing the form into concrete, hard shape and seeing it as real as the Disc itself.
  6. Finalize your charge to the cosmos and to the spirits present.  Reiterate your will, intent, desire, and goal to the spirits, proclaim it sealed and finished, and declare your work finished by the authority, power, strength, wisdom, and Light within you and within your manifested intent.  Charge the intent-object by suffumigating it in the incense while repeating any prayers, intoning any mantras or sacred sounds, or visualizing force flowing in and strengthening the intent and manifestation as you find necessary.  Focus the Light from the candle and the Light within yourself onto the ritual focus, supercharging it as bright as the Infinite Light itself, and sending it off as a discrete entity into the cosmos.  Declare the work done using a Great Amen, “So Mote It Be”, “Thus have I spoken/thus are the words”, or similar closing, final statement.

After this, you’re pretty much done.  Ask for any follow-up advice or directions, thank the spirits for their presence and aid, bid them farewell, and give them leave to depart.  Afterward, make any thanksgiving prayers to the Infinite Source, to your patrons or HGA or supernatural assistants, and to any spirits of the cosmos you may find helpful or meaningful.  Put out the candle, remove the ring and ritual garb, and clean up.  You’re done.  Let the intent-object stay in the altar focus for however long you desire, or keep it in a place that can be easily accessed or viewed until the intent is manifested according to your desire.

This is a framework for a ritual, not a ritual itself, since the ritual specification can change depending on what exactly needs to happen; e.g., for consecration of an object under a planetary force, you might do away with calling on the elemental spirits and the use of the Disc entirely, or any of the elemental tools, perhaps using the planetary talisman instead as your tool to channel the force of the planet desired.  The prayers and calls needed for the ritual can also change drastically, but the links I’ve provided above give good grimoire examples of what you might use.  All told, for manifesting things in the cosmos, the above framework is pretty solid, if I do say so myself.

The studious or observant magician will notice that, although I’ve included the forces of the elements and the planets, I haven’t mentioned the sphere of the fixed stars and their forces.  This isn’t because I don’t think they’re worthless, but it’s because I don’t have experience of working with them yet.  In the future, I may begin doing just that, perhaps including the angels of the zodiac signs or the lunar mansions as the guiding forces and Raziel/Iophiel (depending on which text you’re reading) as the mental force, but I haven’t gotten there yet.  Still, the use of the fixed stars isn’t absolutely necessary, though I’m sure it helps; calling on the aid of the planets or elements is quite enough, and enough pagans and more simple magicians than me get by fine with just the four elements, so YMMV.

Earth, Moon, and Stars

Cornelius Agrippa in his Three Books of Occult Philosophy (book I, chapter 8; book II, chapter 7) relates the four elements to the celestial objects, namely the planets, mostly because magicians like to figure out what can stand in for what in different contexts.  According to Agrippa, Earth is the element that basically allows all of Creation to be created (book I, chapter 5):

Now the Basis, and foundation of all the Elements, is the Earth, for that is the object, subject, and receptacle of all Celestiall rayes, and influencies; in it are contained the seeds, and Seminall vertues of all things; and therefore it is said to be Animall, Vegetable, and Minerall. It being made fruitfull by the other Elements, and the Heavens, brings forth all things of it self; It receives the abundance of all things, and is, as it were the first fountain, from whence all things spring, it is the Center, foundation, and mother of all things…It is the first matter of our Creation, and the truest Medicine that can restore, and preserve us.

Agrippa makes a connection between Earth and the Moon and the fixed stars, indicating how the element of Earth can be reflected in the skies.  I mentioned this briefly before, focusing mostly on the connection between elemental Earth and planetary Moon:

…the heaven of the Moon is the closest to Earth, making it the most dense of the seven planets.  As the most dense planet, it’s the last stop for an Idea coming from the sphere of the Prime Mover through the stars and the other planets to finally come into form; this is the sphere where something actually takes a materialized shape, even if it’s only illusory and ephemeral.  This is also shown since, as the fastest moving planet and the lowest rung on the ladder, it collects the rays and forces of all the other planets and influences above it, focusing them like a lens onto the Earth…Like the element of Earth, which takes form and receives the influences of the other elements, the Moon takes form and receives the influences of the other planets.

The connection between the terrestrial sphere of Earth and the celestial sphere of the fixed stars is a little more difficult for me to rationalize.  I suppose I’ve been going on the notion that, just as Earth is the most stable and immovable of the elements, so too are the fixed stars the most stable and immovable of the celestial objects referenced in magic.  After all, they don’t really move much (at an extremely slow rate, not counting the negligible effect the motion of the fixed stars have to each other), especially compared to the otherwise rapid motion of the wandering stars (a.k.a. planets).  Beyond that, I never really thought about it much.  I’ve got some other work before I get up and running with the sphere of the fixed stars, so I haven’t actually gone up to call Iophiel (or Raziel, depending on the text).

Recently, I was chatting with Auriel, the archangelic king of the sphere of Earth, and after the usual friendly chat, catching up over a glass of wine in a circle, and empowerment of myself and my sphere with the element of Earth, we sat down and started talking about what Earth is really like at length and in depth.  As usual, “as above so below” is a good rule to go by, and Auriel instructed me to take a look at the Tree of Life a little more closely, especially between the sephiroth of Malkuth and Kether.  For one, everything in the sphere of the Earth, the sephirah of Malkuth, has at least a little Earth in it; that’s why the elemental colors of Malkuth are “dim” or murky, to show that they’re not the pure elements in their ideal form.  Malkuth is the physical, material universe, the one that modern atheistic scientism holds is the only thing that exists.  On the other hand, Kether is unmanifest infinity, divinely simple in that everything that is, was, will be, isn’t, was never, can never, and may be is all One Thing.

Without Earth, nothing can have a material basis; it’s the only element that can’t combine on its own with itself, but can combine with itself through the use of other elements that it’s blended with.  Earth, for instance, can offer a basis for Fire to burn, a course for Air to flow over, or a container for Water to fill, but Earth cannot do anything with Earth on its own.  Because of this, it’s more than just convenience that everything on Earth is at least partially made of Earth, both sharing the same name.  Earth is the most malleable of elements, and takes the influence from everything above it.  Earth is the key to manifestation; without it, much like in the geomantic figure Cauda Draconis, everything passes away from and nothing can be brought into material reality.  Without Earth, the bottom drops out quite literally.

The highest sephirah is Kether, the Crown, which is basically the starting point for infinity from finite existence, the place where finite reality stops having an end and starts having no end and no limit at all.  Though it has the qabbalistic path number of one, and though I don’t have much experience to talk about it, I feel like this is somewhat misleading.  Although one is computationally the root of all numbers, Kether includes all things that exist as well as all things that don’t exist.  In that sense, Kether might be better termed i or something.  Things don’t really start to begin the process of manifestation until an Idea from the Infinite Mind, a Ray from the Infinite Light passes through the second sephirah called Chokmah, the sphere of the fixed stars.  There, something finally makes the jump from “possibility of manifestation” to “manifesting”, where things actually start to legitimately make the claim of existing.  The fall from grace, the first step of the Fool is just the first step in the Chain of Manifestation, but it’s still progress all the same.

The sphere of the fixed stars allows only rays of light that come from the sphere of the Prime Mover; these rays pass through the darkness of the Fool’s cliff and are filtered through the stars in constellations or particular regions of the sky, and appear to us down on Earth as starlight.  Without that filter to provide form, infinite possibility could never be whittled down to probable possibility.  It is this pure Light, filtered through the eighth sphere, that can take on shape or form or purpose later on based on its Idea above.  The fixed stars take on the influence and nature of the Light above it and pass it down into the world as the beginning of Creation.

The similarities between Kether and Chokmah, or the spheres of the Prime Mover and the fixed stars, with Yesod and Malkuth, or the spheres of the Moon and the Earth, now become apparent.  The Moon and Infinite Light both provide an imagined substance to be manifested in the realm beneath it; the Earth supplies a concrete, manifested form based on the imaged and astral form from the Moon, while the fixed stars supply a viable, manifesting Idea based on the unbound and divine Idea from the Source.  The difference between King and Kingdom lies in where and how things come to be.  Just as the fixed stars provide realization for an idea to manifest something at the beginning, Earth provides substance for form to manifest something at the end.  It’s this ability to turn undefined, vague things into clear(er), specific things that relates the fixed stars to the Earth.

At least, that’s my opinion for now.  Though much can be said of the stars and planets and elements in writing, especially in terms of theory and cosmology, working with magic is still a mystery: it requires working with and experience to really grok the whole shebang.  But I’ll go with Auriel’s guidance for now.

The Golden Chain of Homer

A while back, I was flipping through one of my books on symbols (Symbols: Encyclopedia of Western Signs and Ideograms by Carl G. Liungman, an essential reference for anyone who works with or has work involving symbols and signs).  Though it spans all kinds of graphical symbols, it has a pretty large index of alchemical and occult symbols, which pleases me to no end.  Towards the back, I found this rather interesting symbol:

Golden Chain of Homer

This is called the Catena Aurea Homeri, or the Golden Chain of Homer.  It comes from a Renaissance alchemical text of the same name, edited by Anton Josef Kirchweger.  The text is a simple, almost modern introduction to the processes of alchemy (the first part can be found online), the intent of which is to produce the Quintessence:

From the sky it comes,
To the sky it rises,
and down to Earth it must come again,
eternally changing.

The Golden Chain of Homer is a symbolic representation of the process to make Quintessnce, also called the Philsopher’s Stone, or the completion of the Great Work (alchemical, theurgical, or otherwise, it’s all the same in the end).  In other words, it provides a From the top of the Chain to the bottom,

  1. A cross over a circle combined, set over a circle with a point in it.  The cross over a circle is the traditional symbol for Earth (as is the quartered circle), representing the precedence of matter (cross) over spirit (circle).  This is placed over the symbol for the Sun, the source of all light and Light, the representative of God in the planets.  Matter takes place over God, a confusion of process and manifestation.  Chaos.
  2. A circle with a line connecting its top vertex to its center.  The line represents the active, divine spirit descending from God into matter, but the process is incomplete.  Vital essence without a basis, pure Mercury.  Spiritual form needing though yet without body.
  3. A circle with a line passing through its vertical diameter.  The process of spirit has completed penetrating matter.  This is also the alchemical symbol for niter, also called nitrogen in modern chemistry, an essential vital substance that descends in the air from spirit.  This is spirit that has a body.  The masculine essence, light, the Logos, the active agent, also called Sulfur.
  4. A circle with a line passing through its horizontal diameter.  Spirit, having fully penetrated matter, now starts to become penetrated by matter. This symbol is also the alchemical symbol for salt, the essence of stability and solidity, the pure matter used in alchemical processes.  The female essence, darkness, the Anima Mundi, the passive agent.
  5. A quartered circle, also called the Sun Cross or Sun Wheel.  Matter has become totally permeated by spirit, and spirit by matter.  Niter and salt united.  Life in its totality and the union of material and spiritual forces.  Mankind.  The primary substance of all things that are manifested.  The prime material that can be worked in any direction for any purpose, the basis for Azoth.
  6. A circle with a line passing through its horizontal diameter and a line from its top vertex to its center.  Life, having become the complete union of matter and spirit, of salt and niter, now begins retracting itself from matter in its entirety.  The animal world that mankind separates himself from and rises above.  Volatile forces.
  7. A circle with a line passing through its horizontal diameter and a vertical line passing through the horizontal line not connected to the outer circle.  The rise of mankind to higher states of spirituality, not grounded by matter though still a part of it.  The plant world that mankind separates himself though makes use of.
  8. A circle with a line passing through its horizontal diameter and a line from its bottom vertex to its center.  The attainment of the Great Work, or of eternal life, by mankind, allowing himself to abide within the world of matter though not being a part of it anymore.  Freedom from material darkness.  The mineral world that mankind separates himself though rests upon.
  9. A circle with a line from its bottom vertex to its center.  Mankind begins the process of returning to his primordial state and reunion with God, retracting himself from the world of matter entirely, leaving behind the spheres of manifestation to return to the divine Source.  Pure spiritual essence, broken down into its most basic state, extracted from chaos.  Spiritual form without need for a body.
  10. A circle with a point in it, set over a cross under a circle combined.  This represents God (Sun, circle with central point) set over matter (circle and cross, but inverted to show Venus); matter has become completely at peace and subject to the rule of spirit, a state of divine love between Above and Below.  The return of mankind to God, the conjunction and reunion with the divine Source, the goal of the wise, the Quintessence, the Stone of the Philosophers.

Elements of Alchemy

Why am I talking about this out of nowhere?  Besides being an interesting alternative explanation of the Great Work from an alchemical perspective, almost like a chemical version of the Tree of Life, well…

Tattooing the Golden Chain of Homer

Okay, what they say about getting tattoos, “you can’t get just one”, is kinda true.  I started off with my caduceus and asclepian, and then due to timing I figured I may as well get this symbol engraved on my mortal coil.  My method of getting tattoos is that, as befits my Libran nature, I need to have balance: asymmetry here won’t cut it, so if I get a tattoo, it either needs to be centered (on the body’s midline) or balanced with something on the other side (caduceus on the left arm, asclepian on the right arm).  So, getting a large spine tattoo works pretty well for me.  That said, it hurt like a bitch; spine tattoos are notorious for being among the most painful, and the lower the tattoo went, the more painful it got.  It was actually more painful just off to the side of the spine than on the spine directly, but all the same, ouch.  (I don’t know why anyone would ever get a tramp stamp.)  Still, the tattoo was charged enough given my concentration and pain-focusing on it, which turned out really nicely.

Speaking of magic, I actually had a bit of help from the spirits for this.  The artist at Wild Style who tattooed the caduceus and asclepian on my arms had left, so I got a much more experienced tattoo artist with better machinery.  He had traced on the design from a stencil, and while I was lying on the bed waiting for him to finish preparing, I make a call out to my elemental and planetary allies to help me out with the impending pain and ordeal.  Out of nowhere, I get really anxious, uncommonly strong even for me, and just before he starts to turn on the tattoo gun, I get up and take a close look at the trace of the design on my back.  Turns out they had accidentally used the bottom half of the Chain for the top half (so that the chain went in stages 10-9-8-7-6-5-5-6-7-8-9-10 instead of the proper 1-2-3-4-5-6-7-8-9-10), which I immediately pointed out and had them retrace it.  It was an honest mistake on their part, and they didn’t catch that the chain wasn’t just a reflection.  But at least it was caught, and I wasn’t nearly as anxious after that.  Props to my spirit friends for making me check the design out again before it was made permanent; I burned a tableful of candles the next day to all the spheres and spirits I work with as thanks.

Still, the tattoo hurt.  Even though I was in experienced hands (Tony Scientific, awesome dude) with a new tattoo gun that was both faster and less painful than older guns, it was still two hours in one sitting.  I think this will be my last tattoo for a while, once it finishes healing and gets touched up next month.  All told, though, the design turned out pretty damn good, and I’m very pleased with it.  As a dedication of myself to the Great Work and to the completion of the cosmos that I’m working towards, I don’t think this could get much better.  (Also enjoy one of the few nearly-naked vanity shots I’ll ever willfully post on the Interwebs.)

Golden Chain of Homer Tattoo