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This manuscript is a grimoire, a manual of practical magic, a sorcerers handbook. It is a composite grimoire drawn from a number of different sources. It is not the sort of grimoire which has a complete method of calling up a set register of spirits, like the Goetia, nor does it have a wide range of pentacles or talismans like the Key of Solomon. It is however quite special as it was also was a practising Cunning man's grimoire, a very interesting blend of learned and local village magic. It also contains a lot of critical astrological information (including its own set of astrological tables) which are an important part of magic, but which dont feature to a large extent in other grimoires. It goes way beyond Planetary days and hours, to detailed aspects of timing and also contains magical operations connected with the 28 Mansions of the Moon and image magic, which were usually absent from Solomonic grimoires. The 28 Mansions of the Moon belong to a different magical tradition which owes its origins to Arabic and Indian roots, rather than the Greek roots of Solomonic magic. This manuscript literally stands at the crossroads of several different magical streams.

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Michael Constantine Psellus (1018-1178 C.E) was one of the most notable writers and philosophers of the Byzantine era. The Byzantine domain was effectively the eastern Greek speaking part of the Roman Empire centred on Byzantium (Constantinople, modern Istanbul) which split off from the Latin West in 364 C.E. Its intellectual legacies helped lay the foundations for the Italian Renaissance. It was the fall of Constantinople in 1453 that released a tide of Greek reading scholars into Western Europe, particularly Venice. With them came much of the magical and Hermetic knowledge which the Greeks in their turn had inherited from the Egyptians. The Key of Solomon was one such text. It is therefore essential to the understanding of such magical texts that one understands exactly how the Byzantines understood the nature of daemons. Psellus forms the bridge between the ancient world, Byzantine Greek, and the grimoire conception of the nature of daemons. Hailing from Constantinople, Psellus' career was an illustrious and practical one, serving as a political advisor to a succession of emperors, playing a decisive role in the transition of power between various monarchs. He became the leading professor at the newly founded University of Constantinople, bearing the honorary title, 'Consul of the Philosophers'. He was the driving force behind the university curriculum reform designed to emphasise the Greek classics, especially Homeric literature. Psellus is credited with the shift from Aristotelian thought to the Platonist tradition, and was adept in politics, astronomy, medicine, music, theology, jurisprudence, physics, grammar and history.

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Sepher Raziel (also called Liber Salomonis) is not the same as the Hebrew Sepher Raziel ha-Melakh. It is a full grimoire in the Solomonic tradition from a 1564 century English manuscript, derived from Latin sources. As such it is one of the earliest grimoires produced in this series. It begins with directions for making the parchment, pen and ink of Art, required to write the names. It contains seven separate Treatises: 1 - Liber Clavis which is concerned with astrology and its correct use in magic, something long forgotten by modern astrologers, with the precise interactions between planets, Signs and Houses; 2 - The Ala outlines in four sections the magical virtues of stones, herbs and beasts, and words; 3 - The Tractatus Thymiamatus explains why incense is essential to magical operations, and the effect of various incenses on the spirits, with a list of the key perfumes and suffumigations. An Appendix gives the modern and botanical names; 4 - The Treatise of Times gives details of the correct hours of the day and night for each operation, with associated angels and the proper names of the Sun, Moon and planets to be used in each season. This is something left out of almost all other grimoires; 5 - The Treatise on Purity explains the exact preparations, and the reasons for ritual purity; 6 - Samaim is a treatise on the seven Heavens, with the names of their angels; 7 - The Book of Virtues and Miracles is a treatise on the Semiforas, the names of God, and how they are to be used in invocation to produce miraculous results.

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The Ars Notoria is a mediaeval grimoire which was widely distributed and very popular in the 13th-16th century, but virtually unknown until recently. Version B (MS Bibliothèque Nationale Lat. 9336.) is a commentary on the Method which has never been published in English before. The present text is a reorganisation of that commentary into subject order without the loss of any practical detail. All the notae and the full invocations/orations are included, but most of the Latin prayers have been omitted as they do not contribute to the methods effectiveness. The Ars Notoria is still very relevant in the 21st century because it contains detailed techniques to enable the practitioner to absorb whole subjects very rapidly, and to understand very complex subjects on first reading, as well as remembering whatever has been read. Like many magic manuscripts this work was attributed to famous individuals including Solomon (who reputedly received the book directly from God via the angel Pamphilius), which was translated into Greek by the magician Apollonius of Tyana, along with input from Euclid of Thebes, the father of Honorius of Thebes the author of The Sworn Book of Honorius (Liber Juratus) and Mani, the prophet. Solomonic grimoires are concerned with the evocation of spirits or demons, but the Ars Notoria stands alone as angel magic concerned only with memory and the ability to understand and absorb whole subjects rapidly, making it a veritable student's grimoire, a key to obtaining knowledge rapidly. Despite its popularity and enduring history the Ars Notoria has never been printed in its complete form. After its early Latin appearance there was only one incomplete English translation by Robert Turner in 1657, and that omitted the most vital component for its operation, the notae, a set of complex pictorial illustrations, without which the system just does not work. It also abbreviated most of the orations/invocations. The present edition contains all the notae matched with all the complete invocations/orations, and instructions for their use.

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This is the highpoint of calligraphic Victorian grimoires, full colour throughout. A very significant magical text with lots of detail not normally found in a grimoire

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An analysis of the methods of Solomonic magic from the 7th to the 19th century as found in the Hygromanteia and Key of Solomon. This volume is about the methods of magic used in 7th century Egyptian Alexandria and how they have been passed via the Greek grimoires of Byzantium (the Hygromanteia), to the manuscripts of the Latin Clavicula Salomonis and its English incarnation as the Key of Solomon. Jewish techniques like the use of pentacles, oil and water skrying were added along the way, but Solomonic magic (despite its name) remained basically a classical Greek form of magic. Amazingly, this transmission has involved very few changes: the 'technology' of magic has remained firmly intact. The emphasis is upon specific magical techniques such as the invocation of the gods, the binding of demons, the use of the four demon Kings, the construction of a circle and lamen (for protection of the magician). The requirements of purity, sexual abstinence, and fasting have changed little in the last 2000 years. The concrete reasons for that are explained. The difference between amulets, talismans and phylacteries or lamens is outlined along with their methods of construction. Examples of magical circles have been taken from many sources and their construction and development traced out. Practical considerations such as choice of incense, the timing of the cutting of the wand, utilisation of rings and statues, use of the Table of Evocation, or the acquisition of a familiar spirit are explained. The structure of a Solomonic evocation puts into perspective the reasons for each step, the use of thwarting angels, achieving invisibility, sacrifice, love magic, treasure finding, and the binding, imprisoning and licensing of spirits. The facing directions and timing of evocations have always been crucial, and these too have remained consistent. By examining the way these same methods were used again and again in the various periods, minor omissions in magical practice can be observed and repaired. This book is thus a follow-on from Techniques of Graeco-Egyptian Magic. This volume investigates precise methods used by magicians from the magicians' own handbooks rather than from the opinions of theologians, historians, anthropologists or legislators. The emphasis is on what magicians did and why. Tools used by magicians in 7th century Alexandria, 15th century Constantinople and 19th century London are very much the same. Detailed comparisons are made chapter by chapter with 70 illustrations of magical equipment like the wand, the sword, wax and clay images and magical gems, drawn from a wide range of manuscripts and reproduced with detailed analysis. Literally hundreds of manuscripts in libraries across Europe have been read and checked to ensure this is the most detailed analysis of Solomonic magic, from the inside, ever penned.

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