Suitable Jewelry for Magic, Spirits, and Forces

As many of my readers and followers on Twitter and Facebook are aware, one of the most important things I craft for my personal practice are pieces of jewelry I wear in honor of the spirits or as talismans of particular forces.  This goes far beyond the lamens used in conjuration or Solomonic rings, but include what I’ve come to call carcanets, beaded necklaces and bracelets with colors, stones, and metals that resonate well with a particular spirit.  I started making them to have simple wearable talismans of planetary and elemental forces that wouldn’t attract too much attention or be too bulky to carry around, but I ended up making more for some of my gods and spirits, and then more for other people based on custom needs.  On Facebook, The Professor from the blog Traif Banquet noted that she’s seen me make many different types of carcanets and was interested in how I pick the colors and patterns for each, and how I consecrate them and use them in ritual work.  Of course, I was headed to a theme park that day to support the local LGBT community, so it wasn’t quite the time for such a discussion then and there, but I decided to oblige anyway and write a fuller explanation of what exactly I do.

So, what is a carcanet?  Physically speaking, a carcanet is ritual talismanic jewelry made from beads that sometimes incorporate precious and semi-precious stone or metal or wood or bone, sometimes religious items like saint medallions or crosses, and sometimes other items that is worn to derive the blessing, presence, and aid of a particular spiritual force or entity.  I make mine from artificial twine and seed beads and make them into necklaces and bracelets, though there’s nothing saying you have to use the same materials I do.  I use artificial twine because it’s sturdy and resistant to breaking, though elastic cord or leather can be useful too on occasion.  Each carcanet is attuned and consecrated to a particular force or spirit, and the colors, materials, and patterns on the carcanet indicate exactly what that attunement is and to whom or to what it’s consecrated by or under.

For instance, consider my Sash of Powers, something I made a while back for use in standard Western ceremonial work, which contains representations of all the forces used in Western ceremonial magic based on the Golden Dawn and Agrippan materia.  This is worn across one shoulder and drapes down to the opposite hip, since it’s far too long to wear as a necklace or bracelet.  Among other forces, the Sash of Powers contains the 24 forces that we use in mathesis and, for that matter, most of the Western mystery tradition, and the colors I use for this tend are those I tend to use in most of my work:

Sash of Powers

  • Four elements: I use the system of flashing colors that the Golden Dawn instituted.  Thus, I use red (primary) and green (secondary) for Fire, yellow and purple for Air, and blue and orange for Water.  They didn’t really have flashing colors for Earth that I can find, instead using the “muddled” colors associated with the sephirah Malkuth (black, citrine, olive, russet), so instead I use black (primary) and white (secondary).
  • Spirit: I’ve never really considered this an element proper (as my mathesis stuff shows), though it can be considered an element or a planet or any other force based on the need.  Because of this, it’s hard to give a color for pure Spirit; I tend to use pure white, clear, pearlescent, or rainbow for Spirit.  If we consider Spirit to be the realm of the fixed stars (i.e. Chokmah), then some combination of silver, clear grey, or light blue might work; if we consider it pure divinity (i.e. Kether), then white and clear would work.
  • Seven planets: I use the system of Queen and King scales of the Golden Dawn, so black and crimson for Saturn, blue and purple for Jupiter, red and orange for Mars, and so forth.
  • Twelve signs of the Zodiac: I never liked the scales of the Four Worlds the Golden Dawn uses for the paths of the Tree of Life, from which we can get  colors for the twelve Zodiac signs.  Instead, I use a combination of the Queen scale of the Golden Dawn for the ruling planet of the sign as well as the colors that Agrippa gives for the sign (book I, chapter 49).  Thus, as an example, consider Aries and Libra.  Agrippa gives white as the color for both these signs, while the corresponding Queen scale of the ruling planets are red for Aries ruled by Mars and green for Libra ruled by Venus.  Thus, Aries has red and white, and Libra has green and white as its colors.  I tend to differentiate the Agrippan zodiacal colors from the Queen scale planetary colors by using a slightly brighter, more reflective, or metallic variant (so a reflective clear red instead of a flat red), but it’s not necessary.

Of course, the Sash also has a few other things marked on it, including the 12 Banners of the Names of God and the 16 geomantic figures, but those aren’t forces, per se.  These are less colors to be used with forces and more representations of more complex things that can vary.  Geomantic figures, being ultimately related to the Earth, use white and black as the colors of the element of Earth (with a white bead noting an active line and a black bead a passive line in a geomantic figure); I used white, yellow-gold, black, and brown to represent the four letters of the Tetragrammaton put in their different permutations, but I’m not sure that it matters for this how or which colors to use.

Of course, I don’t make carcanets and the like for just pure forces.  The major focus of what I make nowadays is for individual spirits, gods, saints, and the like, and that’s where creativity and research really come into play.  Unfortunately, most of the Western tradition (especially books like the Lemegeton) focus on the use of certain kinds of metals or woods and less on colors than I’d like, so I have to branch out and be a little more innovative to figure out what colors go with what spirit.  However, the way I tend to settle on colors follows a pattern:

  1. Traditions of the spirits takes precedence; if there’s a body of lore or worship built up around something, I’ll likely start with those colors, if not just use those colors.  For instance, it’s tradition that Saint Cyprian of Antioch’s colors are generally perceived to be black, purple, white, and red, so nearly all my Saint Cyprian gear has black, purple, and white on it (red I tend to reserve for specific workings or subsume it into purple, perhaps settling on a compromise of wine or dark red).  The archangels of Christianity often have their own color symbolism, especially in icons from the Orthodox tradition, so I might use the colors most commonly seen on their robes or in their icons, like light blue and pink for Sealtiel.
  2. Association with the forces described above can play a role in deciding colors.  For instance, I work with Hephaistos, the blacksmith god of the Greeks, except there’s so little known about Hephaistos’ cult back in the day that I have no tradition to go on.  However, Agrippa in his scale of 12 (book II, chapter 15) helpfully gives an association between the 12 Olympian gods (including Hestia and excluding Dionysus) and the 12 signs of the Zodiac.  There, Hephaistos is associated with the zodiac sign of Libra, and my colors for Libra are white and green, so good colors to use for Hephaistos can include white and green, as well.
  3. Asking the spirit themselves for colors they like can also work well.  This generally requires being in tune and in good standing with the spirit to get that kind of information about, and it might require divination or light trancework to get a good set of colors that works well, but overall asking the spirit themselves for what colors they like can be hugely helpful.  However, no two people may arrive at the same colors for the same spirit, based on their relationship with them.  For instance, my Hermes altar uses orange as the primary color (since I started off conflating the god Hermes with the planet Mercury, which isn’t too hard a leap to make), but my ritual necklace I have for him uses bone-white, brown, light blue, and gold beads based on a color scheme he gave me.
  4. Syncretism of different traditions can be informative as well.  If it’s alright with the spirit, looking at other traditions not native to them can help me pick what colors to use.  Going back to Hephaistos, I asked if it was alright if I looked at another tradition with a huge repertoire of color symbolism: Santeria.  The elekes and collares of Santeria are color-coded necklaces that indicate which orisha one has received, and although the ATR I’m in (yes, I’m an initiate in one) doesn’t have colors of its own, our spirits in that ATR are happy with using the same colors as Santeria (since they’re basically cousins of each other, much as how Roman and Greek gods are mythological cousins).  In Santeria, the blacksmith god Ogun has the colors black and green, so with the permission of Hephaistos, I also use black and green for some of my works in conjunction with white and green derived from Hephaistos’ association with the zodiac sign of Libra.  This can be tricky, however, and you need people on both sides to agree that the use of another traditions’ colors is alright, especially if you happen to live in an area with a large number of that other tradition who might confuse you for one of them.

As a rule, I like to have at least two colors on the carcanet.  To be honest, this keeps the thing from being visually boring; I dislike having a single solid color unless it’s required for a spiritual purpose, kind of like the Santerian orisha Obatala having his eleke being pure white.  That said, most spirits tend to have a multitude of powers, fields, strengths, and things they rule over; the different colors I use reflect those different responsibilities and dominions.  Too many colors can be confusing, however; I usually stick between two and four colors per carcanet, but sometimes more if there’s a specific need for it or if the spirit itself is associated with having many colors.

Beyond the colors of beads themselves, most of my carcanets and the like often make use of precious and semi-precious stone and metal beads, and those are much better attested in the Western traditions generally.  Of course, color symbolism is important in picking these, too, as well as the specific resonances of the stones or metals or whatnot.  For instance, red stones tend to be ruled by Mars in general, though carnelian, ruby, and fire agate all have slightly different feels that may make them better for some forces or spirits instead of others.  The minerals and chemicals within the stones themselves, too, can be important, which can link them together with metals.  For instance, one of my favorite green stones is malachite, which contains a high amount of copper that gives it its bright green color.  Copper and green are both associated with Venus, which makes this an excellent Cytherean/Venereal stone suitable for the planetary force as well as the goddess Aphrodite.

Once I have the colors figured out, then it’s time to figure out the patterns.  The most straightforward and simple pattern, assuming two colors, is to alternate the colors of beads one by one (so red, black, red, black, red, black…).  Personally, I hate this system, and I try to stay away from it as much as I can.  I generally figure out patterns based on numbers sacred to the spirit.  For instance, Saint Cyprian’s sacred number is 9, so the patterns I use tend to involve 9 in some way; one such carcanet I made for him has nine black beads, three wine beads, one white bead, one clear bead, one white bead, and three more wine beads for a “set” of 18, or 2 × 9, and I’ll repeat this as many times as necessary to get a carcanet of suitable length.  My mathesis carcanet (yes, I even made one for that) has ten white beads followed by one gold bead, since 10 and 1 are sacred numbers in mathesis and Pythagoreanism.  My Venus carcanet has two sets of seven green beads separated by a tiger’s eye bead, two sets of seven gold beads separated by a green aventurine bead, and a set of 14 (2 × 7) beads that alternate green and gold.  Making the patterns can be tricky, but usually I have a good idea in my head before I launch into stringing the beads.  On occasion, I’ll decide a few sets into the carcanet that the pattern isn’t good and I’ll start over, but they’re generally close to what I had in mind.

Of course, crafting the carcanets and the like is only half the process; the other half is consecration.  Just like how the colors and patterns may change based on the purpose, the means of consecrating the carcanet will also change.  Generally speaking, however, consecration falls into two different methods.  Both methods first start off with ritually washing the carcanet off in holy water to cleanse and prepare it for future blessing, and both tend to involve anointing with oil and suffumigation in incense, but beyond that, they’re different:

  • Force carcanet consecration: A carcanet that’s a talisman of a force (e.g. Water, Mercury, or Taurus) is consecrated by conjuring the angel associated with the force (e.g. Gabriel, Raphael or Asmodel, respectively) at an appropriate time, generally during an appropriate planetary day and hour or when the zodiac sign in question is rising or culminating during the waxing moon.  I’ll charge the angel in the appropriate godname and office to consecrate, sanctify, dedicate, bless, and empower the carcanet to serve for me a powerful talisman and connection and link to the force in question, that it may radiate the same force into my sphere that I may call upon and direct it at will and in my need.  I’ll suffumigate it in the incense burning for the conjuration and anoint it with an appropriate oil if desired and if I have one.  You know, the usual.  After the conjuration, I’ll set the carcanet on top of the lamen of the angel wrapped around a candle to continue and complete the charge of the carcanet.  Once the candle burns out, I’ll often (but not always) conjure the angel again and thank them for helping me consecrate the carcanet, charging them to seal the power into the carcanet and make it a powerful tool and instrument for my work.  This completes (and, usually, overdoes) the consecration.
  • Spirit carcanet consecration: A carcanet that’s dedicated in the honor and blessing of a spirit, on the other hand, takes a slightly different route.  Instead of turning the carcanet into a simple talisman, it becomes more of a devotional offering to be worn in the honor and service of a particular spirit.  Yes, it still accomplishes the result of bringing the blessings of a particular force into my life, but this way it’s less that it’s being filled with a particular power or motion and more that it’s bringing the attention and blessings of a particular spirit.  In this way, I’ll go up to the spirit, make offerings to them at a time good or convenient for them, and formally dedicate the carcanet as an offering to them to be worn in their honor and devotion.  I’ll often anoint the carcanet in oil or their offering drink (wine or water, usually), drape the carcanet on the image or statue of the spirit or wrap it around a prepared candle, and I’ll ask that they consecrate, sanctify, dedicate, yada yada the carcanet to their own blessings and purpose.  After leaving the carcanet on their altar or shrine for a week, I’ll make another offering to them thanking them for the carcanet’s blessings and wear it during certain times to obtain their blessing and in their honor as a kind of votive action.

Now that I think about it, the methods for consecrating them for a force via an angelic conjuration and for a spirit by dedication aren’t that different; it’s just two variations of the same idea, really.  Plus, depending on the carcanet and spirit/force it’s consecrated under, I may maintain its power in different ways, sometimes by anointing it with oil or “feeding” it with other sundry liquids, sometimes by praying over it, sometimes by letting it sit out in sunlight or moonlight.  It all depends.  The carcanet is a general ritual tool that, even though the material basis looks the same being made out of twine and glass, its spiritual essence and use may vary wildly.

Speaking of, how are these things used?  It’s pretty simple: you wear them.  That’s it.  I’ll often say a short blessing or invocation of the spirit or force to which a carcanet is dedicated or consecrated under when I don one, and I’ll say a prayer of thanks and blessing when I remove one, but that’s about it.  Seed beads are often too small for my big fingers to manipulate, so I don’t bother with using them as prayer tools but rather as part of spiritual regalia, armor, and connection when I need it.  On occasion, I’ll make a chaplet or set of prayer beads large enough to be worn, and in those cases the carcanet doubles as a prayer instrument, but this is the exception and not the norm for me; such prayer carcanets tend to use stone and metal beads more than seed beads, so the way I make them tends to differ a little bit since my options are usually more limited.

And yes, if you’re interested, I do take custom commissions for carcanets and can make them to your specifications or based on my own interactions with the gods and spirits.  If you like, contact me or send me a message through my Etsy shop and we can hash something out.

Virtues of Labradorite

Despite my primary focus relying on “high magic” or theurgy, which is supposed to be divested from the use of natural or physical objects, material tools and the materials those tools are made from fill many important roles in my work.  For instance, the use of specific herbs, oils, or incenses for rituals, or the consecration of knives or wands using specific liquids or treatments.  Specific stones and gems are important, too, and can not only significantly empower a ritual but can be consecrated tools in their own right.  For instance, I have a handful of large citrine points I use as focuses or pseudo-wands for solar work, especially when I work with the Headless Rite.  The ability of a particular substance to affect the world around it is called its virtue, or its occult or “magical” characteristics that lend it power.  The discussion of virtues is the primary focus of Cornelius Agrippa’s First Book of Occult Philosophy, in which he discusses “Natural Magic”, and from which much modern Western occult literature follows.

Of the stones I like (and there are some I don’t), labradorite is among my favorite.  It’s a feldspar mineral, and so retains all the occult virtues of feldspar, which also includes sunstone, amazonite, and others.  Labradorite specifically has a particular blend of sodium and calcium that has it lie between pure albite (sodium-based without calcium) and anthorite (calcium-based without sodium).  It ranges in color from dark grey to pale grey, sometimes with a brown or dark olive coloration, but it has an interesting optical property called labradorescence, where the fine layers of growth in the stone allow for a kind of metallic iridescence ranging in color from deep blue to green, red, purple, and yellow.  The iridescent qualities, however, rely on a particular angle of reflection; labradorite may appear dull and boring until tilted just so.  Labradorite was officially discovered by the West in 1770 in Labrador in northeastern Canada, but has also been discovered in Finland, Russia, Madagascar, and other places around the world, and occurs among the artifacts of native peoples.  As a type of feldspar, it has many commercial uses of the same including road paving and ceramic integrity, but has also been used as a gemstone since its discovery due to its interesting optical beauty.  Particularly iridescent or gem-quality labradorite is known as the variant spectrolite, with Ylämaa, Finland being the most well-known centers of this variant.  Darker variants of labradorite are also called black moonstone.

Adularescence

Due to its relatively recent discovery, there isn’t that much reliable knowledge on labradorite as it applies to magic, especially in Hermetic work.  As such, Scott Cunningham’s Encyclopedia of Crystal, Gem & Metal Magic lacks an entry on the stone.  According to the fluffy new-agey yet highly thorough Love is in the Earth by Melody, the general mineral feldspar is said to have the following attributes [sic]:

This mineral assists one in detaching from the old, encouraging unconventional and exciting methods to attains ones goals.  It provides for support in issues of self-awareness and self-love, for with realization of love one can become united with all aspects of the world.

It has been found as a constituent of moon rock and provides for a connection with inter-galactic intelligence.  Feldpsar also enables one to access the communicative forces of this intelligence.

It assists one in locating that which has been mis-placed and in discovering and understanding previously unidentified messages from both within and without of the self.

It can be used in the treatment of disorders associated with the skin and muscular structure.

In her entry on labradorite, Melody has this to say [sic]:

In addition to the properties listed in the FELDSPAR section of this book, this mineral protects ones aura, and helps to keep the aura clear, balanced, protected, and free from energy leaks.  It assists in the alignment of the subtle bodies, enhancing the connection between the physical and ethereal realms.

It is said to represent the “temple of the stars”, assisting one in sustaining and maintaining, while providing for the understanding of the destiny one has chosen.  It brings the light of the other planetary beings to the soul of the user.  The labradorescence is a luminescence, derived from extra-terrestrial origin, which is enclosed in the mineral to bring the galactic evolved energies from other worlds to the Earth plane.

The energy of labradorite facilitates the transformation of intuition into intellectual thought such that one can implement the instructions provided.  It assists one to traverse changes, attracting strength and perseverance.  IT has been known as the matriarch of the subconscious mind, providing instructive sessions to the user concerning the implementation of inner messages and the utilization of same in the physical domain.  it can help to provide clarity to the inner sight, instilling a passionless peace of imperturbability via the annihilation of disturbing thoughts.

It also symbolizes the moon and helps one to advance, without constraint, through the cycles of progression, heralding the arrival of ascension.  It also symbolizes the sun, providing for vitality and for a sense of “self” during transitions, and promoting refinement of action and discernment in direction.

It unites the personal self with the understanding required to both realize and achieve the destiny of this life, relieving insecurity and apprehension, while enhancing faith and reliance in oneself and the absolute purity of the universal harmony.

It assists one in eliminating aspects of familiarity which obscures thought and blurs instinct, helping one with originality and precision, and bringing uniqueness without judgment to ones contemplative patterns.

It helps one to reflect and to facilitate transformations which are beneficial.  It also enhances patience and an inner knowing of “the right time”.

It allows for recognition that humanity represents the “Being of Light”, transcending the limitations of the past and the thoughts of the future, and embracing the infinite possibilities of the moment.  It helps one to both “be” and to proceed with the assurance that the light is always there, surrounding and pure.

Labradorite brings the commencement of the recognition of ones inherent and analytical and rational abilities.  It further promotes the synthesis of intellectual thought with the intuitive, mystical, and psychic wisdom.

It assists in inspiring one to introduce the teachings of other worlds to this world of love and light, bringing assimilation and illumination to further the advancement of humanity.

It can be used during radionic analysis; holding a sample and placing a sample on the witness or using a pendulum of this stone, the energy of the stone interferes with the energy of the user and points to the problem[s] involved.

It has been used in the treatment of disorders of the brain, to stimulate mental acuity, and to reduce anxiety and stress.  It can assist in digestion, regulation, and metabolism.  It has also been used to clarify the eyes.

Labradorite has an associated myth according to its Canadian origin.  A common version of this myth says:

According to an Eskimo legend, the Northern Lights were once imprisoned in the rocks along the Labrador coast, until one day an Eskimo warrior found them and freed most of the lights with a blow from his spear. Not all the lights could be freed from the stone however and for that reason we have today what is known as labradorite.

All this is well and good, but even with the nice Native American legend and the wealth(?) of Melody’s new age fluff, this doesn’t speak much about its virtues in Hermetic magic, though it is helpful.  The labradorescent light within the stones definitely has a varying and ephemeral quality not unlike the Aurora Borealis, formed from the interplay of the Sun and the magnetic sphere of the Earth.  This also ties labradorite in with the Roman goddess Aurora, or Dawn, who heralded the coming of the Sun with her many colors, or “rosy fingers” as is frequently seen in literature.  From the legends, then, we can already assign a celestial, nocturnal, and luminary quality to labradorite, a kind of interplay of the Sun and the Moon against the larger firmament of the stars.

Since labradorite was discovered well after Cornelius Agrippa’s time, and since he otherwise doesn’t mention feldspar in his tables of correspondence or discussion of virtues, it helps to look at the qualities of things Agrippa lists to figure out what forces labradorite might play best with.  For this, Agrippa might say that labradorite is lunary, solary, and mercurial based on the qualities of things he ascribes based on these planets:

  • Moon (book I, chapter 24): silver, white, or green things, crystals generally
  • Sun (book I, chapter 23): opal, rainbow quartz (Iris, or “Rainbow”), glittery things
  • Mercury (book I, chapter 29): things that are mixed, those which are of diverse colors or are mixed with yellow and green, things that change forms or appearances

Of these, the connections to Mercury and the Sun are probably the strongest, with the Moon being a little less likely.  Of course, all celestial forces are present in all sublunary things anyway (book I, chapter 30), but labradorite’s strongest connections might lie with Mercury and the Sun.  Peculiar to labradorite, however, we have definite nocturnal tendencies; the Northern Lights are primarily a nocturnal feature, and the darkness of labradorite combined with its bright luminescence is similar to those famed lights at night, or light shining in the darkness from otherwise hidden features.  Mercury is probably the strongest connection to go with, then, with the Sun and Moon playing equal parts in its virtue (or slightly unequal, biased towards the Sun).  If it is mercurial, however, it’s a kind of holy, celestial, or ouranic force of Mercury.  Given the variance in color with labradorescence, it might not be wrong to say that labradorite is definitely stellar, as in pertaining to the sphere of the fixed stars in addition to or instead of any one particular planet.

In addition to its almost-gaudy beautiful radiance, the magical feel, or aura or dweomer, of labradorite is what really hooks me.  It feels very cooling as far as stones go, like smooth, soft, light water or a thick cool mist that washes away filth.  It doesn’t have a strong centering aspect to its feel, but it is clarifying, sharpening the mind into precision.  It doesn’t feel slow or heavy, but it doesn’t seem to speed up the mind or jolt it into activity, either.  It’s not luxurious like stones of Venus or Jupiter, but it has a kind of safe and still feeling that I’ve associated with the Moon and Sun in the past.  It tastes (metaphorically speaking) clean and refreshing, more pleasant than unpleasant, again tastes which are lunar and solar.  It would seem like it would be a spiritual kind of ruby or carnelian; these stones are known for energizing and supercharging physical acts, while labradorite might be better for energizing or supercharging spiritual activity, more than star sapphire or other “celestial” or “spiritual” stones which seem only to draw upward.  Its varied colors do help in unifying various forces within the mind, certainly, and would seem to help act as a kind of “spiritual grounding” stone, in which one can ground “higher up”; use of labradorite in astral ritual would not be a bad thing, using it as an anchor for the physical body to link to the astral one.  Its iridescence that comes from within, normally hidden until turned just right towards the light, can be an indication that this stone can help bring out magical power, talent, or genius from within; again, this ties into supercharging spiritual activity, giving these things more light than would otherwise be known or seen.

During the last gem show that I go to every so often with some of my crafty occult friends, I kept getting distracted (as in past gem shows) with labradorite.  Its interesting appearance kept tricking me, leading me to inspect samples and beads over and over again until I realized that it was just the same stuff.  At the gem show before the last one, I ended up buying a labradorite orb about the size of a small orange, which is beautiful and dark with bright labradorescence showing, which will be good for meditation or scrying of specific entities.  At the most recent one, however, I decided to finally suck it up and got a few strands of labradorite beads that I fashioned into a mala, or prayer beads not unlike a rosary.

Labradorite Mala

A mala is a string of 108 beads, the number 108 assuming high importance in Hinduism, Buddhism, and other dharmic religions.  I’ve always liked malas, and have owned several in my life, but I’ve never crafted one myself before.  Using repetitions of prayers is helpful in my work, and I use Buddhist mantras, my magical motto, or other short prayers with these things.  My mala design uses 108 beads as the actual prayer counter beads, plus four extra beads: a large banded onyx bead plus three extra labradorite beads, with a black tassel and held together with black silk cord.  The four (or three plus one) beads assume different meanings, depending on tradition.  In Buddhism, the larger bead represents the guru or teacher, and the three smaller beads represent the Three Jewels of Buddhism (Buddha, Dharma, and Sangha).  For me, since I’m less Buddhist than other things, these extra beads can also refer to the three persons of the Triune God, plus the larger bead to represent the One God, or the One Thing or Whole of Hermeticism.  I used onyx since it’s a stone associated with Saturn, representing the firmament and black night sky against which all the stars shine and the celestial light is filtered through from the Divine Supernals down all the way to our sphere of the Earth.  Plus, onyx is a fairly heavy and dark stone, which can also represent the physical power and material result of prayer, magic, and meditation; in this sense, the three extra labradorite beads and onyx bead can also represent the Hebrew understanding of the elements, where the elements of Fire, Air, and Water are independent in their own right and Earth is a combination of the other three elements.

So, that’s my contribution to widening the scope of magical knowledge on this stone.  What about you, dear readers?  Have you used labradorite in your work for anything?  Are there any particular experiences or thoughts on this stone you’d like to share, or theories on how it might be used in rituals or talismanic magic?