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9/29/2021

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Quartz: Breath of the Dragon
There are many different varieties of quartz, several of which are semi-precious gemstones. Since antiquity, varieties of quartz have been the most commonly used minerals in the making of jewellery and hard-stone carvings, while in the metaphysical world quartz crystals are the supreme gift of Mother Earth. Even the smallest piece is imbued with powerful properties that enable the bearer to cross the boundaries between the worlds; while archaeologists are finding more and more evidence that quartz played an important part in the ritual and burial customs of our Megalithic and Paleolithic ancestors

It is the quartz element of granite that reconnects us with the spirit within the landscape. As an accomplished occultist and having a doctorate in Geology, one of the Coven’s founders, Mériém Clay-Egerton, was fascinated by the fact that for millennia, humanity and quartz had interacted with each other. She wrote that our ancestors having recognised the qualities of quartz was evident from the studies of its usage, not region by region, but over the entire area of the British Isles and other parts of the world: “Everywhere one looks there are clear distinct traces. To people who know its potential, it was clearly no accidental employment of any material to hand. It was sought out for use. Why?”

Quartz is the most common constituent of rock, she went on to explain, a basic silicate dioxide having three molecules arranged in either a right or left-handed spiral form, which has the power
of polarising light in more than one direction: “When light enters a crystal it splits into two beams, due to the differing speeds of the light’s velocity being refracted back from the different vibration of the crystal’s lattices, and their own individual refracting indices. In certain circumstances, the crystals can act as ‘windows’ to ultra-violet and infra-red wavelengths. In
addition to these scientific points, we may also hear quartz crystals hum or ‘sing’. We can also see quartz crystals displaying piezoelectric effects.”

These are scientific terms for what our ancestors knew: “Burial chambers with quartz kerb-stones were commonplace, as were the pits used for inhumations, which were sprinkled with quartz chippings, both whole and broken. There is a school of thought that these were used to either keep the individuals concerned safely at rest, or to permit the living to contact spirit
entities when they were in a correctly attuned state.”

On a metaphysical level, Mériém wrote: “Standing stones (some of which are made of quartz - others may contain a high percentage of it), are accepted by psychics [and magical practitioners] as being able to act as conductors of ‘earth-force’, such as that encountered at nodal points for energy lines. If they are acting like natural ‘acupuncture needles’, then it is not surprising that they should be as pure a substance as possible and with natural powers of their own. Many circles in the south-west of England appear to have been originally constructed with a central point; other phases being tacked on afterwards. A quartz stone, or stones with high quartz content, will often appear in such a prominent position, having superseded the original wooden post.” A new study reveals how Stonehenge has stood the test of time so successfully: The quartz crystals that make up the sarsens form an interlocking structure that makes the boulders nearly indestructible.

And much closer to home: “Nowadays, we protect our water with chemicals to make it fit for us to drink, but in ancient times folk made offerings to the guardians of holy wells. Some were simple things, others were valuable objects that had been ceremoniously broken; it is strange how often white stones, and quartz in particular, figured highly on the list of offerings. As the wells were quite often used in fertility and healing rites, then I suppose we should naturally expect quartz to be a frequent gift. Today, crystal healing is still practised; and quartz plain or coloured, is one of the principal stones used – yet another relic of our past.”

In truth, as Dr Clay-Egerton asserted some forty years ago, the use of quartz in prehistoric stone-working traditions was a worldwide phenomenon. For archaeologists, however, quartz analysis presented significant challenges with the result that it was often misidentified, or ignored, or only cursorily analysed. Indeed, well into the 20th-century, quartz artefacts were routinely discarded during excavations. Nevertheless, quartz was an integral part of traditional British Old Craft teaching all those years ago and, despite the contemporary pagan penchant for crystals, for us nothing was allowed to displace quartz from being the most valuable stone for witchcraft.

On a final note: quartz is solid silica and if it did not crystallize when it solidified it is known as flint, and everyone knows that two flints struck together will produce a spark. What is not generally known is that all quartz pebbles will do the same and often produce bigger and better sparks. Clear quartz, or rock crystal, will produce an orange spark if two pieces are
struck together in a darkened room, accompanied by the smell of burning … and this can be viewed as magical fire from the very Earth itself. Despite all the gems of the world, for the magical practitioner, natural quartz should remain the most precious gift of all.

As a result of this current resurgence of academic interest, there is a certain pride and satisfaction in knowing that the ‘old-fashioned’ teachings of traditional British Old Craft are now being validated by contemporary scientists and archaeologists, who are beginning to understand that the ancients’ obsession with quartz crystals was more than just a passing fancy. It was Aleister Crowley who maintained that magic was an amalgam of art and science and those Old Crafters of my generation were fortunate indeed, that our founder was a doctor of geology, with more than a passing interest in archaeology, anthropology and ‘earth mysteries’. This meant that we also had a thorough grounding in these subjects and were encouraged to investigate further for information and knowledge … a practice that is maintained within the Coven to the present day.

‘Thanks, Mériém …’

Quartz: Breath of the Dragon is the sixth in the ignotus press Arcanum series. ISBN: 9781803021829 : Type Paperback : Pages: 104 : Published: 17 September 2021: Price
£6.85 : Order direct from https://www.feedaread.com/books/Quartz-Breath-of-the-Dragon-9781803021829.aspx

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Treasure House of Images

9/11/2021

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The concept of magic is communicated by a whole host of signs and imagery – where nothing is as it seems. The magical world is concealed behind a veil of analogy and allegory; similes and metaphor; sigils and symbols; praxis and motif; illusion and allusion; myth and legend – all of which is a complicated shorthand for the techniques of magic and its practices. Because no matter what rosy-tinted view we have of our Craft ancestors, they were not the composers and compilers of the infamous grimoires and magical texts that have come down to us as such.

They ‘knew’ things, of course, but few of them would have known how to record this knowledge for posterity and Craft remained an oral tradition for hundreds – if not thousands - of years. If we turn to Jung, however, we find that the history of symbolism shows everything can assume some symbolic significance, providing we understand the context in which it is presented.

‘Man, with his symbols - making for propensity, unconsciously transforms objects or forms into symbols (thereby endowing them with a great psychological importance) and expresses them in both his religion and his visual art. The intertwined history of religion and art, reaching back to prehistoric times, is the record that our ancestors have left of the symbols that were meaningful to them.’ [Symbolism in the Visual Arts]

There are four recurring motifs that illustrate the presence and nature of symbolism in the craft of the witch – these are the symbols of the stone, the animal, the circle/spiral and the cross. Each of these has had an enduring psychological significance from the earliest expressions of human consciousness to the most sophisticated forms of 20th-century art, wrote Swiss psychoanalyst Aniela Jaffé. And yet, if we do not hold the key to unlocking this means of communication, then the way will remain closed …

We know from our forays into ancient history that uneven stones – like the black meteoric stones known as baitulia – were early objects of cult worship in ancient Greece and were recorded from the earliest times. Some of those archaic Greek writers recall these stones were invested with divine and animated by it. Once anointed they even worked miracles on behalf of their supplicants and had a highly symbolic meaning for various ancient and primitive societies. In fact, their use may be regarded as a primaeval representation of sculpture – ‘a first attempt to invest the stone with more expressive power than chance and nature could give it’, according to Professor David Freedberg in his remarkably enlightening writing on the subject: The Power of Images.

Many people cannot refrain from picking up stones of a slightly unusual colour or shape and keeping them, without knowing why they do this. It is as if the stones hold a living mystery that fascinates us. Men have collected stones since the beginning of time and have apparently assumed that certain ones were the containers of the life force with all its mystery. In many prehistoric stone-sanctuaries, the ‘deity’ is represented not by a single stone but by a great many unhewn stones, arranged in distinct patterns. The geometrical stone alignments at Carnac in Brittany, the stone circles at Stonehenge and the Ring of Brodgar on Orkney are famous examples. Arrangements of rough natural stones also play a significant part in the highly sophisticated rock gardens of Zen Buddhism: although apparently haphazard, the stones in the Ryoanji temple in Japan are arranged to express a most refined spirituality. Or the stone labyrinths of Scandinavia.

‘Very early in history, men began trying to express what they felt to be the soul or spirit of a rock by working it into a recognisable form. In many cases, the form was a more or less approximation to the human figure – the ancient menhirs with their crude outlines of faces, or the hermae that developed out of boundary stones in ancient Greece, or the many of the stone idols with human features. The animation of the stone must be explained as the projection of a more or less distinct content of the unconscious into the stone.’ [Man and His Symbols]

David Freeberg reminds us that when the Greek traveller, Pausanius visited the well-known site of Pharai in Achaia, where about thirty square stones were worshipped as gods, he reflected that ‘in more ancient times, unworked stones were worshipped by all the Greeks, instead of images of the Gods’. It was Pausanius who provided us with the fullest range of references to these unworked stones (or argoi lithoi as they were called), and the baitulia, those meteoric stones, which fell from heaven – both of them classes of objects unformed by human hand and yet given divine status.

In Europe ‘holy’ stones wrapped in bark and hidden in caves have been found in many places; as a focus of divine power, they were probably kept there by people of the Stone Age. At the present time, some Australian aborigines believe that their dead ancestors continue to exist in stones as virtuous and divine powers, and that if they rub these stones, the power increases (like charging them with electricity) for the benefit of both the living and the dead. Even those of us in modern society still have the urge to possess certain stones. We bring them home and place them around the house or garden as symbols of people or happy times, and imbue them with a sense of person or place. Jung says that this animation of the stone can be explained as the projection of a more or less distinct content of the unconscious into the stone.

Animal images go back to the Ice Age and were discovered on the walls of caves in France and Spain at the end of the 19th-century, but it was not until early in the 20th-century that archaeologists began to realise their extreme importance and to inquire into their meaning. Even today, a strange magic seems to haunt the caves that contain these rock paintings and according to art historian Herbert Kühn, inhabitants of the areas in Africa, Spain, France and Scandinavia where such paintings are found, could not be induced to go near the caves. A kind of religious awe, or perhaps a fear of spirits hovering among the rocks, held them back. Which goes to prove that the caves with the animal paintings have always instinctively felt like what they originally were – religious places. The numen of the place have outlived the centuries and kept the profane away.

These pictures suggest a hunting magic like that still practiced by hunting tribes in Africa. A form of sympathetic magic, which is based on the ‘reality’ of a double represented in the picture. The underlying psychological fact is a strong identification between a living being and its image, which is considered to be the being’s soul. Some of the most interesting figures in the caves are those of semi-humans in animal disguise. In the Trois Freres caves in France, a man wrapped in an animal hide is playing a primitive flute. In the same cave is a dancing human with antlers, a horse’s head and bear’s paws and dominating a grouping of several hundred animals that Jung has described as a ‘bush soul’ (or second soul) that is incarnate in a wild animal or tree, with which an individual has some kind of psychic identity.

In the course of time, these disguises were superseded in many places by animal and/or demon masks and played an important part in the folk arts – such as the magnificently expressive masks of the ancient Japanese Noh drama which is still performed in modern Japan. The symbolic function of the mask is the same as that of the original animal disguise, according to Aniela Jaffé in Symbols in the Visual Arts, and that the animal motif is usually symbolic of man’s primitive and instinctual nature. A large number of myths are concerned with a primal animal, which must be sacrificed in the cause of fertility or even creation. One example of this is the sacrifice of a bull by the Persian sun-god Mithras, from which sprang the earth with all its wealth and fruitfulness.

‘The boundless profusion of animal symbolism in the religion and art of all times does not merely emphasise the importance of the symbol; it shows how vital it is for men to integrate into their lives the symbol’s psychic content – instinct.’ [Man and His Symbols]

The magical symbol of the animal is that which represents its most laudable characteristics and elevates it above all others – like the four beasts of venery: the hart, hare, boar and wolf – which distinguishes them from the ‘five beasts of the chase’ – the buck, does, fox, martin and roe. These images were allegorically used in artworks from the Middle Ages onwards in much the same way as the cave-art in prehistoric times.

Circles and spirals are some of the oldest images to be found in prehistoric rock art in the British Isles. A circle represents evolution as a process of transformation from death to birth, ending and beginning; a circle represents eternity and in many customs and spiritual beliefs represents the Divine life-force. The meaning of shapes and symbols meets us when and where we are ready to listen and learn. However, understanding the foundations of what a circle represents may invite investigation to explore the deeper meaning symbolism of the circle in our own life.

Circles, unlike every other shape in our reality, are not linear. There is no corner, edge, or ending to mark where one line ends and another one begins. This is important when looking at the broader symbolic meaning because this holds a lot of interpretations regarding the role that a circle plays in shaping our world. Circles hold and contain energy so that cycles of growth can exist within them. Just like a clock moving through time in a circular motion, we feel a sense that there is a beginning and end to the day; yet, time never begins or ends, it just keeps moving in a circle. Looking at the cosmos, we can see that everything moves in circles, and is shaped in spheres without beginning or end. No naturally occurring straight lines exist in space. Our entire Universe shifts and forms in the shape of a circle.

Spiritually, the circle represents a supernatural motion that keeps things moving continuously. A circle represents the Divine that keeps everything moving through spiritual law and order; on a smaller scale, a circle represents our own individual spiritual force that keeps us evolving. Symbolically, a circle represents the completion of cycles, transition, potential, and a movement that never ends towards self-realization. A circle protects against chaos and unpredictability, and invites an element of ‘trusting the Universe’. It symbolizes the natural order and progression that inspires us to keep going.

The spiral and triple spiral motif is a Neolithic symbol in Europe and the so-called Celtic triple spiral is in fact a pre-Celtic symbol. It is etched into the rock of a stone lozenge near the main entrance of the prehistoric Newgrange monument and carved at least 2,500 years before the Celts reached Ireland but has long since been incorporated into Celtic culture. This triskelion symbol, consisting of three interlocked spirals or three bent human legs, appears in many early cultures, including Mycenaean vessels; on coinage in Lycia, Pamphylia and Pisidia; as well as on the heraldic emblem on warriors’ shields depicted on Greek pottery.

Spirals can be found throughout pre-Columbian art in Latin and Central America. The more than 1,400 petroglyphs (rock engravings) in Las Plazuelas, Guanajuato Mexico, predominantly depict spirals, dot figures and scale models. In Colombia, monkey, frog and lizard-like figures depicted in petroglyphs or as gold offering frequently includes spirals, for example on the palms of hands. In Lower Central America spirals along with circles, wavy lines, crosses and points are universal petroglyphs characters. Spirals can also be found among the Nazca Lines in the coastal desert of Peru, dating from 200 BC to 500 AD; the geoglyphs number in the thousands and depict animals, plants and geometric motifs, including spirals.

We see that when one end of the spiral is reached, it is found to be the beginning of another. Try to follow the thread with the tip of a pencil and you will find that it is almost impossible to keep to an unbroken line. Within Qabalistic teaching, the spiral is the metaphor for magical knowledge because as soon as we think we’ve mastered the subject, we discovered another thread that pulls us deeper into another labyrinth – and out the other side onto another path. Each level of consciousness, each sephirah has its own spiral and the ‘wisdom’ comes when we understand that we could spend an entire lifetime investigating the different levels of Malkuth, for example, and still not come to the end of our studies.

The triskele gained popularity in its use within the Celtic culture from 500BC onwards. This archaic symbol is one of the most convoluted to decipher as symbolists believe it is reflective of many areas of culture from the time. Firstly, the triskele can be thought to represent motion as all three arms are positioned to make it appear as though it was moving outwards from its centre. Movement, or motion, is believed to signify energies, in particular within this symbol the motion of action, cycles, progress, revolution and competition. Secondly, and the more challenging area for symbolists, is the precise significance of the three arms of the triskele. These differences can be dependent on the era, culture, mythology and history, which is why there are so many variations of opinion as to what these three extensions in the triple spiral symbol mean.

Some of these connotations include the obvious: life-death-rebirth, spirit-mind-body, mother-father-child, past-present-future, power-intellect-love and creation-preservation-destruction to name but a few. It’s also been proposed that through the combination of these two areas we gain one meaning of the Celtic triskele. It is also believed to represent the idea of forward motion to reach understanding and to represent the three Celtic worlds; the spiritual, the present and the celestial. Like the ancient Trinity-knot, the number three holds a special symbolism within the triskele.

The ‘cross’ is possibly the most confusing of all Craft symbols, simply because it has become inextricably entwined with our persecutors! Nevertheless, the cross used within esoteric practice is much older, being the four-armed, heraldic, Greek or Minoan cross found in many ancient cultures predating Christianity. It is often interpreted as representing either the four seasons, four winds, four elements, or some other equal aspect of physical nature. Or, quaternity – an image with a four-fold structure, usually square or circular and symmetrical – psychologically it points to the idea of wholeness.

Archaeologist, Arthur Evans refers to the images of the Minoan cross being used in many cultures as the most simple representation of a star and concluded that the ‘geared object’ featured on excavated plaques is a combination of a morning star within the disc of the sun. He also claimed that the smaller object is a symbol for the goddess as the queen of the under-world and as the stars of the night; in combination with the crescent, the cross is then an evening star.

A solar cross, consisting of an equilateral cross inside a circle is frequently found in the symbolism of many prehistoric cultures, particularly during the Neolithic to Bronze Age periods of European prehistory. The famous cross pattée is a type of equal-armed heraldic cross with arms that are narrow at the centre and often flared in a curve or straight-line shape, to be broader at the perimeter. The form appears very early in medieval art; as the red cross the Templars wore on their robes as a symbol of martyrdom, since to die in combat was considered a great honour that assured a place in heaven.

The cross-in-a-circle was interpreted as a solar symbol derived from the interpretation of the disc of the Sun as the wheel of the chariot of the Sun god. Karl Wieseler postulated a Gothic rune hvel represented the solar deity by the ‘wheel’ symbol of a cross-in-a-circle, reflected by the Gothic letter hwair. A wealth of symbolism in one, small shape …

When we begin to explore this impenetrable veil of symbolism we discover that very little in the natural, physical or metaphysical world is not matched with its own form of esoteric shorthand. Because of the complexity of magical jargon, a mark, sign, or word that indicates, signifies, or is understood as representing an idea, object, or relationship will be used instead of its ‘true’ meaning. Symbols allow witches to go beyond what is known or seen by creating linkages between otherwise very different concepts and experiences

It is an esoteric concept rather than an actual object and, like all esoteric symbols it represents knowledge, and the more knowledge we have the more of the symbol’s secrets we unlock. The amount of knowledge needed to understand esoteric symbolism, however, can border on staggering for the uninitiated, since the knowledge and science they represent is not taught outside of esoteric circles for a valid reason: because in almost every instance what people have been taught can be the exact opposite of the truth. And symbols and sigils, allegories and metaphors, are used as esoteric concepts because of the amount of encapsulated knowledge they represent which is not easily explainable to the layman.

Published by ignotus press uk : ISBN: 9781803021485Type: Paperback : Pages: 110 : Published: 10 September 2021 : Price £6.85 : Order direct from https://www.feedaread.com/books/Treasure-House-of-Images.aspx

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The Power of the Pendulum [Divination]

9/7/2021

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My fingers are best suited to cleidomancy and over the years I have experimented with numerous different types and sizes of pendulum made of different materials. Magically a pendulum is a weight suspended from a pivotal cord or chain so that it can swing freely; scientifically when a pendulum is displaced sideways from its resting, equilibrium position, it is subject to a restoring force due to gravity that will accelerate it back toward the equilibrium position. Generally speaking, a pendulum is a small weight on a cord or chain. And that’s all it is! It can be any weight, and it can be any sort of cord or chain. The pendulum itself is more often than not, an object only about ½ inch by 1 inch in size and the cord or string is about 8 inches long; the whole thing fitting easily in a small pocket or pouch.
Like dowsing with hazel twigs, from earliest times, pendulums have been used to locate water, gold, gems, and other valuable commodities – as well as missing items. In Europe early scientists and doctors would consult a pendulum for medical diagnosis to locate infections and weak areas of the body and to determine the gender of unborn infants. In the practice of radiesthesia, a pendulum is used today for medical diagnosis.
People also trust the pendulum enough to let it guide them through the most difficult times of their lives. For an extreme example, during WWII, a pendulum was used by Colonel Kenneth Merrylees to locate deeply buried bombs. He was employed by the Army to dowse water supplies for Allied troops at the front, and also worked as a bomb disposal expert back home, where he used his dowsing skills to find unexploded bombs with delayed-action fuses that had penetrated deep into the ground; famously locating one 500-pounder under the swimming pool at Buckingham Palace. Even the most hard-bitten sceptic is not going dismiss the Colonel’s remarkable abilities with his pendulum!
Another advocate of The Power of the Pendulum (published in 1976) was T.C. Lethbridge, an English archaeologist, parapsychologist, and explorer. A specialist in Anglo-Saxon archaeology, he served as honorary Keeper of Anglo-Saxon Antiquities at the Cambridge University Museum of Archaeology and Ethnology and over the course of his lifetime wrote twenty-four books on various subjects, becoming particularly well known for his dowsing and other experiments with a pendulum.
It is usual practice to first determine the response you will be using: (i.e. left-right, up-down); which will indicate ‘yes’ and which ‘no’ before proceeding to ask the pendulum specific questions. The pendulum may also be held over a pad or cloth with ‘yes’ and ‘no’ written on it, or perhaps other words written in a circle. The person holding the pendulum aims to hold it as steadily as possible over the center and its movements are believed to indicate answers to the questions. Repeatedly asking the same question should be avoided as pendulums have been known to become ratty and climb up the cord like a snake about to strike!
Quite simply, when held correctly, the pendulum reacts to very small nerve reactions in our fingers that are generated by our unconscious mind in response to a question. Different nerve reactions will be detected depending on what our subconscious mind knows. These reactions are transmitted to our fingers from the deep recesses of the mind and through our fingers to the cord holding the weight of the pendulum. These tiny nerve transmissions affect the cord and are then transmitted to the weight - causing it to move in some direction. So rid yourself of the myth that a pendulum is moved by some spirit, or by magic - it is moved by our subconscious mind …
… and yet! There is a certain amount of magic in the ability to interpret some of the reactions. I have found that the best results come from a pendulum with some quartz content since this is the mineral that ‘earths’ our magical abilities and makes the link with those chthonic energies that set the pendulum swinging … backwards and forwards for ‘yes’ … in a circle for ‘no’ … although others may use the opposite interpretation. We make sure we’re on the same wavelength by uttering a simple incantation like: ‘Adonai, please answer my questions. Swing backwards and forwards for ‘yes’ or in a circle for ‘no’. I thank you’.

My personal pendulum is a heavy crystal droplet from an old chandelier. Despite its name, ‘crystal’ is actually glass containing a minimum of twenty-four per cent lead. Not present in other types of glassware, the lead increases the sparkle and makes it easier to cut; the brilliance of lead crystal relies on the high reflective qualities caused by this lead content. Although these droplets are manufactured there is still enough lead content to link us with the earth and its magical correspondences. I also use a heavy pendulum because it takes more than a slight nervous reaction to set it swinging, and also for it to change from swinging backwards and forwards, to rotating in a circle without any detectable sensation of movement within the hand in response to my questions.

In addition, in alchemy lead is known as the silent metal. It is a law unto itself and in magic creates a space of silence; this is the perfect metal for ‘infinite space’ meditations, making an effective barrier against all forms of negative energy. Ruled by Saturn, the magical use of lead promotes contact with deep unconscious levels (both the underworld and Otherworld), deep meditation, banishing negativity breaking bad habits and addictions, protection, stability, grounding, solidity, perseverance, concentration and conservation.

The magical correspondences also include: the astrological houses of Capricorn and Aquarius; Chronos, the father of Time; the Universe in the Major Arcana; the colours black and blue-black; magical powers of malediction and death (since lead is highly toxic), alchemy and geomancy; perfumes – all dull and heavy odours including sulphur and asafoetida.

It is not surprising, therefore that a ‘crystal’ pendulum with its high lead content makes the perfect tool for divinatory work. For the record, my second choice would be a clear quartz crystal with bands of rutile since quartz (in all its forms) is the most magical mineral on the planet. Although in magical circles we are warned to ‘never haggle over a black egg’, a large droplet from a broken down chandelier can be obtained for a few pounds off e-Bay, while a decent sized quartz/rutile pendant could have set me back over £100.

Let’s face it, divination is both a skill and an arte but an individual’s proficiency depends on regular practice just as much as his or her natural abilities. Most witches do, of course, have a particular favourite divining tool, which acts as a prompt for tuning in to psychic forces and if you already have a favourite method, then there is absolutely no reason to change. Just as the good all-rounder is rare in any walk of life, so the witch who can divine by using every tool imaginable is a rare animal indeed! In addition, there are also different types of ‘tool’. For example, there now are hundreds of different Tarot packs to choose from and it won’t be until you find the design that ‘talks’ to you that you will excel in spontaneous tarot readings for yourself.

As with all elements of Craft the more we understand about the history and antecedents of our chosen divinatory method, the easier it becomes to instantly get onto our ‘contacts’ regardless of the technique we are using. It isn’t enough to buy a modern book off Amazon and slavishly follow the directions. We need to understand the history behind the system and to discover where it has travelled from to re-emerge in 21st century western esoteric writing. We need to re-connect with the ancient seers, shaman and augers of the ancient world

Pagan Portals: Divination by Melusine Draco is published by Moon Books ISBN 978 1 78535 858 6 : 82 pp : UK£6.99/US$10.95 : Available in paperback and e-book format. www.moon-books.net

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Treasure House of Images

The Power of the Pendulum [Divination]

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