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the Secret Temple

Construction of a Personal Teniph and Magical instruments in

the Western Esoteric Tradition

ROBERT WANG

S A M U E L WEISER N E W YORK

First published in 1980

Samuel Weiser, Inc. 740 Broadway New York, N.Y. 10003

© Robert Wang 1980

ISBN 0-87728-490-3

Printed in the U.S.A. by Noble Offset Printers, Inc. New York, N.Y. 10003

CONTENTS

1. Preface, 1

PART I The Instruments 2. The Lotus Wand, 11 3. The Rose Cross Lamen, 19 4. The Sword, 29 5. The Fire Wand, 33 6. The Water Cup, 37 7. The Air Dagger, 41 8. The Earth Pentacle, 43

PART II The Temple 9. The Temple, 51

10. The Altar, 55 11. The Lamp, 58 12. The Censer, 59 13. The Cross and Triangle, 61 14. The Pillars, 63 15. The Temple Diagram, 73 16. The Banners of the East and West, 79 17. The Enochian Tablets, 83 18. Robes, 89

Notes on Consecration, 91 Recommended Reading, 91

Dedicated to Israel Regardie, who has shed Light on the Path,

for all of us.

Ackn owledgmen ts

Thanks are due to Timothy Miles, whose advice has greatly in­fluenced the form and content of this book. Moreover, a large measure of appreciation is owed to Donald Weiser and to my editor, Gale Courey , both of whose kind suppor t , en­couragement, and always wise criticism, makes authorship a pleasant task.

1 / Preface

This is a practical book. It is intended for those who feel a natural inclination toward ritual, and who are willing to expend the special effort required to produce a full set of magical in­struments and a personal Temple. The very act of developing the Wands, Cup, Tablets, etc., is a devotional one which may lead the student to an inner mainstream. It is a form of sacrifice.

The instruments and Temple described herein are those specified by the Hermetic Order of the Golden Dawn. They are, however, based on principles which have not varied over the centuries. Particular to the Golden Dawn is its emphasis on the four Elements, symbolized by the Wand, Cup, Dagger and Pentacle. These instruments represent the component parts of the personality, as is also represented by the five-pointed star of Pentagram. In this figure the fifth point is that of Spirit.

Those who ascribe to the methods taught by Aleister Crowley will experience few difficulties in adapting the mater­ials in this book to his ritual practices, all of which grew from the practices of the Order of the Golden Dawn. Crowley was not very explicit, in his writings, about these instruments. In his Equinox, Magick in Theory and Practice and Magick Without Tears he discussed the subject without mention of the inscrip­tions to be placed on the instruments. But for those who possess the practical keys of the Golden Dawn, Crowley's work pro­vides a dimension of insight which is unique.

THE SECRET TEMPLE / 2

His most useful advice is given in a letter to a friend, published in Magick Without Tears:

Let us consider what one can do with an ordinary house. . .

First of all, it is of immense advantage to have a room specially consecrated to the Work, never used for any other purpose, and never entered by any person other than yourself, unless it were another Initiate, either for inspection or in case you were working together.

The aura accumulates with the regularity and fre­quency of Use.

The first point is the Banishing: Everything is to be removed from the room which is not absolutely necessary to the Work. . .The walls should be 'self-coloured,' a neutral tint-green, grey or blue grey? — and entirely bare, unless you put up in the proper quarters, the proper designs, such as the 'Watch Towers. ' . . . Next, your Circle. The floor ought to be 'Earth' green; but white will serve, or black (A Masonic carpet is not at all bad.) . . .The Altar must fit exactly the square of Tiphareth; it is best made as a cupboard; of oak or acacia, by preference. It can then be used to hold reserves of incense and other requisites.

Note that the height of the Altar has to suit your convenience. It is consequently in direct relation with your own stature; in proportion it is a double cube. This then determines the size of your circle; in fact the entire apparatus and furniture is a geometrical function of yourself. . . .Next, the Lamp. This may be of silver, or silver-gilt (to represent the Path of Gimel) and is to be hung from the ceiling exactly above the centre of the Altar. There are plenty of old church lamps which serve very well. The light is to be from a wick in a floating cork in a glass of olive oil. . . It is really desirable to make this as near the 'ever burning Lamp of the Rosicru-cians' as possible; it is not a drawback that this implies frequent attention.

Now for the Weapons!

Preface / 3

The Wand. Let this be simple, straight and slim! Have you an Almond or Witch Hazel in your garden . . .? If so, cut (with the magic knife. . .) a bough, as nearly straight as possible, about two feet long. Peel it, rub it constantly with Oil of Abramelin. . .and keep wrapped in scarlet silk. Constantly I wrote, and meant it; rub it, when saying your mantra, to the rhythm of that same.

. . .The Cup. There are plenty of chalices to be bought. It should be of silver. . .

The Szoord. The ideal form is that shown in the Ace of Swords in the Tarot. At all events, let the blade be straight, and the hilt a simple cross.

. . . The Disk. This ought to be of pure gold, with your own Pantacle, designed by yourself after pro­longed study, graved thereupon. While getting ready for this any plain circle of gold will serve your turn. Quite flat, of course. If you want a good simple design to go on interim, try the Rosy Cross or the Unicursal Hex­agram.

So much for the Weapons! Now, as your per­sonal accoutrements, Robe, Lamen, Sandals and the like, The Book of the Law has most thoughtfully sim­plified matters for us. 'I charge you earnestly to come before me in a simple robe, and covered with a rich head-dress.' (AL, 1:61) The Robe may well be in the form of a Tau Cross . . . The best head-dress is the Nemyss . . . you can easily make one yourself out of silk; broad black and white stripes is a pleasing design. Avoid 'artistic' complexities.

I feel moved to add a line of caution and encour­agement . . .

Just as soon as you start seriously to prepare a place for magical Work, the world goes more cockeyed than it is already. Don't be surprised if you find that six weeks intense shopping all over London fails to provide you with some simple requisite that normally you could buy in ten minutes. Perhaps your fires simply refuse to burn, even when liberally dosed with petrol and phos­phorus, with a handful of Chlorate of Potash thrown in

THE SECRET TEMPLE / 4

just to show there is no ill feeling! When you have almost decided that you had better make up your mind to do without something that seems really quite unob­tainable — say, a sixty caret diamond which would look so well on the head-dress — a perfect stranger comes along and makes you a present of one. Or, a long series of quite unreasonable obstacles or silly accidents interfere with your plans: or, the worst difficulty in your way is incomprehensibly removed by some extraordinary 'freak of chance.'

In a word, you seem to have strolled into a world where, well, it might be going too far to say that the Law of Cause and Effect is suspended; but at least the Law of Probability seems to be playing practical jokes on you.

This means that your manoeuvres have some­how attracted the notice of the Astral Plane: your new neighbours (May I call them?) are taking an interest in the lastest Tenderfoot, some to welcome, they do all they can to help you to settle down, others indignant or apprehensive at this disturbance of routine. This is where your Banishings and Invocations come to the rescue. Of course, I am not here referring to the ap­proach to Sanctuaries which of necessity are closely' guarded, but merely to the recognition of a new-comer to that part of the world in general.

Of course all these miracles are very naughty of you; they mean that your magical power has sprung a few small leaks; at least, the water is oozing between some planks not sealed as Hermetically as they should be. But oh — and this is naughtier still — it is blessed, blessed comfort that they happen, that chance, coinci­dence, and all the rest will simply not explain it all away, that your new vision of life is not a dream, but part and parcel of Experience for evermore, as real as any other manifestation of Reality through sense such as is common to all men.

Crowley did not deviate from the Golden Dawn methods (in which he was instructed by Alan Bennett) until he had

Preface / 5

thoroughly mastered them. These methods are both safe and sound, when followed to the letter, and are ideal for personal development. The manufacture of these instruments and Tem­ple is an exceptionally strong way to approach the western esoteric Path. The reason is that the Golden Dawn, as opposed to most other systems, offers a totally structured 'course of stu­dies.' Yet this is a method from which one may branch out free­ly once its principles have been understood.

While it is generally agreed that the most efficacious tools for ritual are those created by the student himself, not everyone is an artist or craftsman. Few today could follow the strict early directions stating that one must forge his own sword from solid steel! The important principle is that we do as much as we can, because the instruments become charged as they are made. The more effort expended, the more energy is attached to each piece.

Many of these materials, such as the Sword, Dagger and Cup, can be purchased ready to paint. One assumes true owner­ship of an instrument by painting it with the appropriate God Names and Sigils, and by its consecration. Those who lack time or skill are advised to commission their instruments from pro­fessional craftsmen, and then paint each piece as specified herein. We are required only to do our best, and are assured that the Gods will meet us half way.

One important point to consider is the extent to which these instruments are a means to an end. It is all too easy to become absorbed in the beauty and minutae of the tools, to the extent that they acquire false importance. A plow is of no intrin­sic significance except as it facilitates the tilling of the soil from which new life will emerge. The Magical Instruments are impor­tant in that they, too, facilitate a process leading to new life. But they are not essential; they are helpful. As Crowley said: "All sense and faculties must share in the work, such at least is the dictum of Western Ceremonial Magic. And so we find the magi­cian placing stone upon stone in the construction of his Temple. That is to say, placing pantacle upon pantacle, and safeguarding his one idea by means of swords, daggers, wands, rings, per­fumes, suffumigations, robes, talismans, crowns, magic squares and astrological charts, and a thousand other symbols of things, ideas and states, all reflecting the one idea; so that he may build

THE SECRET TEMPLE / 6

up a mighty mound, and from it eventually leap over the great wall which stands before him as a partition between two worlds."

Unfortunately, some may believe that the construction of a Temple, and the traditional instruments of the magician will confer instant enlightenment and power of some sort. It may be supposed that this is a relatively painless way to effect entry into the Inner Worlds, which is not at all true. The Magical Path is as slow and arduous as the Meditational Path.

Western ritual is admittedly theatrical. There is, in fact, something very flambuoyant about the creation and use of the magical instruments. But this is as it should be. Ritual and its ac­coutrements offer a special focus of attention, drawing us in­ward. An easterner may sit silently on the ground and invoke the forces of nature with enviable simplicity. We, on the other hand, must contend with an energetic environment working against inner tranquility. Ritual helps us to transcend the weighty dynamism of our culture. As one assumes the gold-edged white robe, feels the slight weight of the Rose-Cross Lamen around his neck, and begins to work with the tools of traditional esoteric science, there is a feeling that one stands bet­ween two worlds. It is as profound a feeling as that of a priest preparing for the Christian Eucharist. And, of course, that is the point: by preparing our instruments and Temple, we may, in a lesser way, ordain ourselves into the priesthood of the Great Work.

Ideally, one would belong to an Order, where the pre­paration of these materials is part of the initiation of Tiphareth. Yet far too many of today's so-called "Orders" (including some established by very great occultists of the past) are of suspect in­tegrity. Suffice it to say that if one is intended to work with a truly enlightened group, it will find him. As the aphorism states: When the student is ready, the master appears.

Individual work is more difficult, but it is possible today thanks to publications of teachers in the Golden Dawn tradition such as Israel Regardie, Aleister Crowley, Dion Fortune, Paul Foster Case, Gareth Knight and W.E. Butler. Regardie's work, The Golden Dawn, is the primary source book for the system in which these instruments are used, and must be considered a life-

Preface / 7

time study. Moreover, this present book may make little sense to those completely unfamiliar with Regardie's Golden Dawn.

Minimal Requirements There are many people who can afford neither the time

nor the money for instrument construction, but who wish to pursue magic in some way. For those a 'stripped-down' version is possible, requiring little effort and virtually no craft skills. Such instruments are unlikely to have the vitality of a more sophisticated set, but they will allow ritual work to be per­formed.

The basic instruments are: The Wand of the Magician, The Fire Wand, The Water Cup, The Air Dagger and The Earth Tentacle.

THE WAND OF THE MAGICIAN This may be a piece of 3/4 inch dowel rod, approxi­

mately twelve inches long. It should be painted gold.

THE FIRE W A N D This may be a piece of 1/2 or 3/4 inch dowel rod, ten

inches long, painted bright red.

THE WATER CUP Any metal cup painted blue, or any blue glass cup would

be appropriate.

THE AIR DAGGER Any knife or letter opener can be used, although a cross

piece at the hilt is desirable. The knife is painted bright yellow.

THE EARTH PENTACLE This is a simple round wooden disc, approximately four

inches in diameter, painted black. Hobby shops, hardware and lumber dealers often sell wooden circles of plywood.

The assembly and painting of these simple instruments requires about four hours, and little cost. The suggestion is made here to counter a common belief that magical tools are all but impossible to produce. In fact, one makes a commitment to

THE SECRET TEMPLE / 8

the system according to his own needs. One who is highly spiritually developed may not need to expend the effort to pro­duce an elaborate set of instruments, although most people will find that pouring great energy into this work is invaluable in forming a link with the inner currents established by the Golden Dawn. There is, in this, something of being willing to sweep out the Temple before one is permitted to sacrifice at the altar.

A natural artist or craftsman may spend years producing a beautiful and highly sophisticated set of instruments which is personally appropriate. And again, these tools should be the best we can do. They become extensions of ourselves which are consecrated and, although they may be seen, must never be touched by another.

Part I / The Instruments

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3 / The Rose Cross Lamen

This is the second of the instruments to be constructed, and from it are derived the Sigils painted on the other pieces. It is a symbol which synthesizes all of the concepts of Rosicrucian phi­losophy.

At the center is the Five-Petaled Rose on a golden cross. This represents the Qabalistic principle of the four Elements which are controlled, balanced and activated by a fifth: Fire (Yod), Water (Heh), Air (Vau) and Earth (Heh final) describe the constituent parts of the Personality, ruled by the Higher Self of Tiphareth to which the gold cross is ascribed.

The Rose also stands for the entire manifest Universe. At the highest level of the Tree of Life, Kether is the four Pri­mordial Elements (unexpressed), set toward manifestation by the power of the Unmanifest above the Tree. This principle is explained fully in Regardie's Golden Dawn and in The Qabalistic Tarot* by Robert Wang.

The twenty-two Hebrew letters around the cross are ar­ranged according to the text of the Sepher Yetzirah: the three in­ner letters are the maternals, from which all the other letters (i.e., forces of the Universe) are derived. The middle circle con­tains the simple letters, related to the seven ancient planets. The outermost circle contains the double letters which are the signs of the Zodiac. In all, the letters are the twenty-two mystical Paths on the Tree of Life.

*Qabalistic Tarot. Samuel Weiser, Inc. New York, 1980.

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THE SECRET TEMPLE / 22

Cutting Out the Cross While the Rose Cross Lamen can be cut from heavy card­

board, 1/8 inch plywood is preferable. This should be a hard­wood, such as birch, which has a perfectly flat and smooth sur­face. Soft building plywood may form ridges when sanded, and should not be used.

1) Sand the board lightly, front and back, and coat with gesso. In all cases where wood is used, both sides should be sealed to avoid the possibility of warping.

2) When the gesso is dry, sand, apply a second coat and sand again. Sanding should always be done with a sanding block, or with sandpaper wrapped around a flat piece of wood.

3) Draw an outline of the Cross on the board. 4) With a coping saw, or an electric jig saw if one is avail­

able, cut around the outline of the Cross. A jig saw will keep the edges at a sharp right angle. But, if this is being cut by hand, care must be taken to maintain the straight cut of the blade. Ac­cidental over-cutting is no disaster; errors are easily corrected.

5) After cutting there may be some small gaps in the sides of the plywood. These can be filled with one or more coats of gesso. Serious gaps or over-cuts must be filled with plastic wood.

6) Coat the sides with gesso. Because of the absorbancy of the end grain, several coats may be required to completely seal the edges.

7) Sand the edges of the Cross.

Painting the Cross As with the other wooden instruments, acrylic paints are

recommended. A very effective metallic gold paint is also avail­able in artist's acrylic.

There is one media problem, however, which should be considered: All paints tend to cure after a time, and new paint applied over very old paint may not adhere properly. Thus it is best that no more than a few days elapse between painting the undercolors and the symbols. If paint has been allowed to cure for some time, it should be sanded and repainted prior to adding the details.

The Rose Cross Lamen / 23

The most exacting work can be done by those who are comfortable using a ruling pen. The Pentagrams and Hexagram can be drawn with great precision, using this tool and water thinned paint (thick paint will not flow from the pen), although two coats may be required for each line. The same technique can be applied to any straight line on the Cross, such as the divi­sions of the four Elemental colors on the lower arm.

Admittedly, the use of a ruling pen is difficult, but the more accurately the lines are drawn, the more impressive the overall effect. A pair of dividers is also useful fo.- establishing spacing on the areas around the circle, and for precise divisions of the Pentagrams and Hexagram.

8) With compass and ruler, draw the major sections of the Cross. Eliminate the Pentagrams, Hebrew letters and other details which are to be overpainted on a color background.

9) Apply all of the background colors, including the petals of the Rose.

10) When the background colors are dry, add the details in colors which are as flashing as possible. Technically, this means using two colors which are exactly opposite each other. The opposite of red is green. The opposite of orange is blue, etc. Some experimentation with color mixing will be necessary before the best result is achieved. This is particularly the case with the Hebrew letters and their background colors.

11) Paint the back of the Cross with a white ground and black symbols. Here, for the first time, we encounter the Motto which is painted on each of the instruments. The principle is the same as that of an individual who enters a monastic order and takes a symbolic new name. The magical motto expresses an in­tention, and each student chooses one according to his or her temperament.

Following are some mottos of original members of the Golden Dawn, which should be considered as samples, only. While most of these are in Latin, a motto can be in any language.

S'Rioghail Ma Dhream (Royal is My Tribe) S.L. MacGregor Mathers

Vestigia Nulla Restrorsum (No Traces Behind) Mrs. Mathers

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The Magical Sword is used in all instances where great force in invocation, evocation or banishing is required. It is an instru­ment relating to the fifth Sephira, Geburah (Strength) on the Tree of Life. Thus, the Pentagram, or five pointed star is one of its key symbols.

The assumption will be made that very few readers of this book are blacksmiths, and that those who are will require no instruction on forging their own sword from solid metals. Most of us find it necessary to purchase a sword, and paint it ac­cording to the traditional directions.

The Golden Dawn text states that: "Any convenient sword will do." However, this suggestion was made at a time when swords actually were conveniently available, being often required for Victorian ceremonial use. Swords available today in antique shops, most of which are from the nineteenth cen­tury, tend to be overly ornate and of little use because they offer no room for painted inscriptions. Thus, the student is advised to purchase a modern sword designed specifically for ritual use from an occult or Masonic supply house. Such swords are usually far less expensive than antiques.

Choose a sword which is not too heavy, preferably one with a wooden handle and a simple cross bar of brass. The latter should be fairly wide, to allow for the painting of symbols, God Names and sigils.

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THE SECRET TEMPLE / 34

refused to be discouraged, and who were intended to follow the ritual Path, found guidance in understanding what is and what is not actually important.

1) With a coping saw, cut a carefully-braced 1 inch by 10 inch dowel rod in half lengthwise. This is best done with a small vice, an inexpensive piece of equipment which is a must for con­structing these instruments, at least for those who do not con­sider the sudden removal of a finger a significant part of their magical training.

2) Take a piece of steel wire 1/16 inch in diameter by 10-1/8" long, and repeatedly move a strong magnet across it in one direction, until it becomes sufficiently magnetic that it will pick up a pin. The end which attracts the pin will go at the con­ical end of the wand.

3) Cut a slight groove in both pieces of the rod, so that the wire will fit into it.

4) Insert the wire so that it extends 1/16 inch at each end. 5) Apply a very thick glue, such as Hideskin, to both

pieces of the wand. This heavy glue will compensate for the wood lost in cutting the rod apart.

6) Push the two pieces together lightly, so that some glue is squeezed out, and the original cylindrical form of the rod is restored.

7) Allow the wand to dry overnight. 8) Fill gaps with plastic wood and /o r gesso, allow to dry

thoroughly and sand. 9) Measure the sections of the Wand, marking them with

pencil. A rolled piece of cardboard will serve here, as it did on the Lotus Wand.

10) With a wood rasp, files, knives, etc., carve the con­ical end piece. Then cut away the three main sections, leaving four bands.

There are, obviously, a number of ways in which this wand could be made. It could be made in two main pieces: the conical end being carved separately and glued to a 3/4 inch shaft, with subsidiary bands of cardboard or other material glued around the outside. It could also be cut on a lathe.

11) Smooth the wand first with a heavy, then with a fine sandpaper.

The Fire Wand / 35

12) Apply two coats of gesso, sanding lightly between each coat.

13) Color the red parts of the wand using artist's acrylic paint.

14) Color the yellow bands and the Yods on the endpiece (Do not paint the bits of steel which extend from either end). Acrylic yellow tends to be very transparent, and any streaks of red underneath will show through. If there are any smeared areas of red, coat these with white acrylic and then two coats of yellow.

15) Paint the God Names and Motto in a very bright flashing green.

16) When the paint has cured completely, apply acrylic varnish.

The symbols to be painted on the Fire wand are:

I) THE G O D NAME: YHVH TZABAOTH II) THE ARCHANGEL: MICHAEL III) THE ANGEL: ARAL IV) THE KING: SERAPH V) THE RIVER OF PARADISE RELATING TO FIRE:

PISON VI) THE CARDINAL POINT (SOUTH): DAROM VII) THE HEBREW NAME OF THE ELEMENT: AESCH VIII) THE M O T T O

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Part II / The Temple

9 / The Temple

It might be safe to guess that in the Victorian era more of those pursuing esoteric ritual had their own private Temples than do today. Houses were large, and the late nineteenth century archi­tectural aesthetic dictated that living space have a certain bee­hive quality. So to find an unused room and lay claim to it may not have been such a luxury.

Today apartment living and houses of two or three care­fully-planned bedrooms is the norm. And to consecrate an en­tire room for ritual and meditative purposes may be all but im­possible. Those who can prepare such an individual space can count themselves very fortunate. Those who cannot must exer­cise ingenuity: some may have an Altar which sits incon­spicuously disguised in the corner of a livingroom. Others may choose to build an elaborate cabinet which closes off when not in use.

For the person living alone, or with a spouse who is either sympathatic or shares these convictions, finding space may be the primary difficulty. But for those with curious chil­dren or fundamentalist Christian relatives, the less that is ob­vious, the better.

There are four possibilities, here offered in order of their respective worth:

1) Set aside a separate room. Only the student should enter this room, or those who are sharing meditative and ritual

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THE SECRET TEMPLE / 56

2) Drill screw holes, and gouge areas for counter-sinking (insetting of the screw head). Then assemble the pieces with screws and wood glue.

3) Attach the door with hinges and a small latch. 4) Attach wheels on flat plates to the bottom. 5) Fill the counter-sunk screw holes with plastic wood,

patch as necessary and sand when dry. 6) Apply undercoat, then one or more coats of black

enamel.

Altar Coverings It is not necessary that the Altar be covered, but a cloth

of some sort will make it significantly more attractive. Moreover, a student who has no Altar may find an Altar cloth, whether simple or elaborate, very useful.

The more the Temple, whether a permanent room or en­tirely portable, is set apart, the more effective it becomes. And the student who lavishes attention on the preparation of a cloth will find that it lights up the environment whenever it is un­folded and spread onto the simplest table. The cloth, in effect, becomes the Altar.

The Banners of the East and West, to be presently con­sidered, are a difficult craft project, even for those with con­siderable sewing experience. Such is not the case with an Altar cloth, which can be nothing more than a large black square with hemmed edges. The most ornate borders of gold are available by the yard in fabric stores, and are quite inexpensive and easily applied by hand or by machine.

The Altar illustrated in color has two coverings, both of which are simple black material with stock border decorations applied. The Rose of Five Petals, surrounded by the emblems of the Four Kerubim, is hand-embroidered and represents one indi­vidual approach to the Altar covering. A black cloth with no decoration whatsoever is acceptable, but the more attention to detail, the more there is a psychological separation from daily life, and the more attention is directed to the inner realities which the Temple represents.

It must never be forgotten, however, that no matter how beautiful the instruments and the Temple we create, they are

1

The Altar / 57

merely a means to an end. We mold these things from dust, and, like us, they will return to the dust from which they were created. They served us for a split second in eternity.

11 / The Lamp

Traditionally, an oil lamp burns above the Altar as a sign of the Illuminating Divine presence. Such a lamp is an extremely basic device, consisting of nothing more than a shallow bowl filled with oil and a wick. A piece of heavy string will serve as a wick, and olive oil can be burned.

The lamp pictured in the color illustration is a Temple lamp, made in France. The small cup which hangs beneath it collects oil which drips slightly over the lip. Such lamps are still being manufactured.

1

12 / The Censer

Incense is extremely important to ritual, and two forms of in­cense holders are required. The first is a dish filled with sand, used to hold sticks of incense for rituals such as that of the Rose Cross. The second is the censor, a part of the Temple furniture which hangs in the West or north-west corner of the altar.

A piece of self-starting charcoal, sold in church supply stores, is placed in the censer, ignited, and incense such as frankincense dropped on top of it. It should be added that very little charcoal is required, particularly in a small space. Large charcoal blocks intended for church use should be broken into small pieces. Naturally, care should be taken in the use of char­coal since it releases dangerous carbon monoxide; adequate ventilation must always be provided.

It might be mentioned, parenthetically, that one au­thority believes some of Eliphas Levi's visions to have been the result of carbon monoxide poisoning, which is certainly pos­sible. The least that can be stated with scientific certainly is that burning vast amounts of charcoal in a small, unventilated, space may lead the occult student to a longer out of the body ex­perience than had been planned.

An elaborate censor can be purchased at a church supply store, although it is likely to be quite expensive. And the un­fortunate fact is that most of the liturgical brass being produced today is of poor quality metal work, and execrable design. One

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14 / The Pillars

Traditionally the Pillars stood at the doorway of the mysteries in the ancient Temple of Solomon. They represent the dualities of the earthly condition, brought into balance by the candidate who stands between them.

One is white and the other black. Both are crowned with a red triangle and pyramid having a light with a hidden source. The black Pillar is painted with white Egyptian figures, a black lotus and a black cube at its base. The white Pillar is painted with black Egyptian figures, a black lotus, and also rests on a black cube.

This describes the perfect Golden Dawn column. Those shown in the color illustration, however, are a simplified ver­sion having neither the base, inner light, nor hieroglyphic in­scriptions. The Pillars may be either the most complex pieces of furniture in the Temple, or the most simple.

A Pillar may be nothing more than an upright piece of wood, round or square, on a flat base. It may be as small as two or three feet if space presents a problem.

The Complete Golden Dawn Pillars From the standpoint of Temple construction, Americans

have one special advantage, resulting from their countrymen's mania for destroying old buildings. In every major city nine­teenth century row houses, with wood porches, are either being

THE SECRET TEMPLE • 64

systematically razed or renovated to exclude the porch. This means that piles of large wooden pillars are usually available in salvage yards, and at virtually give-away prices. The columns illustrated here began life on a Victorian porch in Baltimore.

Such pillars can be constructed, but that is a tedious and costly task. Of course, if a Temple is to be constructed for the use of an occult Order, cost may be less of a consideration, and designs should be turned over to a master cabinet-maker. A Temple for group work should come as close to the ideal as pos­sible.

If old pillars are located, a number of potential problems exist. First, a great many such pillars have been stored in outside yards, and are badly rotted. These should be avoided. It will also be discovered that most of these pillars are made of hard­wood strips, grooved together, and nailed to a porch base. Not only are they extremely heavy, but there is a likelihood that there will be a number of dangerously protruding, or slightly hidden, rusty nails. Carry a pair of pliers into a scrap yard, and expect to have to pull out some nails before transporting the old pillars.

The greatest difficulty is that old pillars generally have many decades of paint on them, invariably chipping off. Clean­ing this paint to bare wood requires a large amount of heavy du­ty paint remover, and many hours. Moreover, the solvents re­quired to handle such caked paint are extremely toxic and volatile, so work should be done out of doors if at all possible.

The most practical solution is to take the pillars to a company which specializes in removing paint from old furniture where they can be dipped or sprayed with solvent.

Beginning with clean columns, whether renovated, or built new:

1) With 3/4 or 1" birch plywood, construct two cubes (leave the bottoms open) and attach the columns securely. If using new columns, work with several very long screws and an industrial-weight epoxy cement. Older columns may be more difficult to attach, because of the unevenness of the bases, and because deterioration of the wood may have occurred. Some in­genuity will certainly be required.

2) Once the Pillars have been securely attached to the bases, fill any gaps with plastic wood. If the holes are par-

The Pillars / 65

ticularly large, build up the filler, allowing several days of dry­ing between each coat. Plastic wood may appear to be com­pletely dry but, if applied in thick coats, may shrink dis-asterously over a period of weeks.

3) Sand the Pillars, first with a rough, and then with a smooth paper.

4) Build the triangular capitals with their tetrahedronal tops. The triangles should be cut from one inch pine, while the tetrahedrons can be constructed from thin plywood or very heavy cardboard and paper tape. If plywood is used, the sharp edges should be filled with plastic wood or gesso modeling paste, and smoothed with files and sandpaper when thoroughly dry. The process may have to be repeated several times to pro­duce a perfect tetrahedronal form.

If desired, a small lightbulb can be incorporated into the capital, but care must be taken that there is no great build up of heat, which could present a fire hazard.

5) Coat the Pillars with a white priming paint. 6) Carefully measure, and draw the Lotuses at the bot­

tom of each Pillar. 7) With enamel, paint one column black, and the other

white. 8) Paint the Lotus flowers in the opposite color. Small

brushes will be required for accurate outlines. 9) Paint the bases black, and the capitals red. 10) Paint the hieroglyphic designs as given in the follow­

ing pages, black on the white Pillar and white on the black Pillar.

These are vignettes from the seventeenth chapter of the Book of The Dead, illustrations intended to accompany the "Hymn to the Rising Sun," slightly modified by the Order for use on the columns. The illustrations here are traced exactly from a paper written by Brodie Innes, entitled 0°-0° Grade of Neophyte Side Lecture No. 2A, Appendix to the Lecture on the Pillars (Carr P. Collins, Jr. Collection, the Bridwell Library, S.M.U., Dallas, Texas). The lecture mentioned was a brief one by Mathers who, with Brodie Innes, founded the A-0 after the collapse of the Golden Dawn Isis-Urania Temple in 1900.

These vignettes are very complicated, and few may choose to make the effort of painting them on the Temple Pil-

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15 / The Temple Diagram

This diagram may be described as a complete "Ceremonial" Tree of Life. On each of the Sephira the appropriate God Names are painted in their opposite or flashing color, as is also found on the instruments. The principle of flashing colors is very basic to the Golden Dawn system. The Qabalah, of which the Tree of Life is the primary symbol, involves opposites, and the desire to bring those opposites into perfect balance. A force functions properly only when its opposite and balancing force is present. Thus the colors, which are the mundane aspects of the actual spiritual forces, are activated in the presence of their opposites.

The Sephiroth are painted in the colors of Briah, while the paths are painted in the colors of Atziluth providing a balance of masculine and feminine in the same symbol.

The following are the proper colors of the Sephiroth and Paths, the opposites of which can be easily derived from a color wheel, as has been previously noted. The full scales of color in the four worlds, as apparently developed by MacGregor Mathers, can be found in Regardie's Golden Dawn, and Crow­ley's 777.

SEPHIROTH: 1. White brilliance 2. Grey 3. Black

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16 / The Banners of the East and West

The Banners are a difficult craft project because of the sharp corners required on some pieces. Their preparation demands both sewing experience and a rather meticulous sense for detail.

Material for the Banners should be very thin. It is almost impossible to fold thick cottons or other fabrics into these pat­terns; they invariably appear lumpy and crude. The ideal fab­ric, from the standpoints of availability of colors, cost and ease of construction, are acetates intended as lining materials.

To some extent, this should be considered a "cut and paste" project. Iron-on seam binding should be used to hold the pieces firmly in place before they are overstitched. It is essential that the pieces be held completely flat before final sewing, if a machine is used. Otherwise fabrics may pull to one side or the other, creating uneven lines.

The following is a technique for sewing a cross. In the absence of iron-on seam binding, the panels should be basted ( large t e m p o r a r y s t i t ches) to the b a c k g r o u n d p a n e l .

1) Iron the fabric, and on the back of it draw a cross. A soft black pencil will generally show up, even on black fabrics. A white chalk pencil available at fabric stores may also be used. Lines must be measured carefully.

2) Cut around the outside of the Cross, leaving a border of approximately 3/8 inch.

3) Cut the corners and central angles as shown in the illustration.

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Notes on Consecration

Rituals of consecration for each of the instruments is given in The Golden Dawn, Volume Three. These are composite rituals, involving the use of the Pentagrams and Hexagrams, which should be studied very thoroughly before they are actually per­formed. The rituals presuppose familiarity with all Banishing rituals. Moreover, a student is advised to spend some time working with the exercise of the Middle Pillar, which will confer no small appreciat ion of the energies invoked in these ceremonies.

While it is not explicitly stated in the Golden Dawn documents, some consideration should be given to the astro­logical aspects under which the instruments are consecrated.

A ritual of consecration may be done repeatedly, thus adding to the potency of the instruments, and increasing under­standing of the nature of consecration in general. These Golden Dawn rituals seem to have been developed, partially, as an at­tempt to teach the methods of invocation. They are unsurpassed in that regard.

Finally, it should be noted that instruments are con­secrated through their repeated use.

Recommended Reading Israel Regardie, The Golden Dawn Israel Regardie, The Tree of Life Aleister Crowley, The Equinox (11 volumes) Aleister Crowley, Magick in Theory and Practice Aleister Crowley, Book 4 Aleister Crowley, Magick without Tears Aleister Crowley, 777 W.E. Butler, The Magician, His Training and Work W.E. Butler, Magic Francis Barrett, The Magus