Gary St. M. Nottingham - Ars Theurgia Goetia: Being an Account of the Arte and Praxis of the Conjuration of some of the Spirits of Solomon
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ARSTHEURGIA GOETIA
BEING AN ACCOUNT AND RENDITION OF THE ARTE AND PRAXIS OF THECONJURATION OF SOME OF THE SPIRITS OF SOLOMON
FOUNDATIONS OF PRACTICALSORCERY
VOLUME IV
GarySt. M. Nottingham
Publishedby Avalonia
Published by Avalonia
BM Avalonia
London
WC1N 3XX
England, UK
ARS THEURGIA GOETIA
Copyright Gary St. Michael Nottingham
All artwork and illustrations arecopyright of Frances Mary Nottingham
Beltane 2012
First Edition 2012.
Revised edition, 2015.
This KindleEdition, April 2015
All rights reserved.
Design by Satori, for Avalonia.
British Library Cataloguing in PublicationData. A catalogue record for this book is available from the British Library.
All rights reserved. No part of thispublication may be reproduced or utilised in any form or by any means,electronic or mechanical, including photocopying, microfilm, recording, or byany information storage and retrieval system, or used in another book, withoutwritten permission from the author.
TABLE OFCONTENTS
About theAuthor
Gary St. M. Nottinghams commitment to the study and practiceof the alchemical arte, ritual magic, grimoires and spirit conjuration meansthat he can often be found peering at bubbling flasks or a shewstone orotherwise engaged in deepening his knowledge and understanding of suchmatters. His practices also draw on the work of the 17th-centuryastrologer William Lilly and the arte of horary astrology.
Gary was raised in south Shropshire, where, during hismid-teens, he became involved with a small Coven, thereby gaining an excellentgrounding in a wide selection of magical practices. Following theconjuration of a spirit, and asking it for help that manifested when leastexpected, he subsequently became involved with a group of practisingalchemists. He has a background in horticulture, enjoys spending time inthe garden and playing chess. He organised the legendary Ludlow EsotericConference (2004-2008), helped produce Verdelet occult magazine, hastaught many free day workshops on basic occult skills and is a popular speakerat esoteric conferences.
The seven volumes of Foundations of Practical Sorceryare an unabridged collection of Garys much sought-after previously publishedwork, updated and made available to a wider readership at last.
Foundations ofPractical Sorcery
We live in an age where we are awash with information on allsubjects, and to this the magical artes are no exception. Whilst the student ofmagic can easily access all manner of electronic files there is nothing quitelike a book.
A book can not only be picked up and read, but will, in manyinstances, over time, become a friend, guide and teacher who has assisted thereader on their journey throughout their life. Quite simply books canchange lives and this is why those who have been in positions of power throughthe centuries have tried, and often failed, to keep knowledge out of the handsof everyday folk. This is perhaps primarily because they feared the powerof the book to cause change, and change is what the seven books in theFoundations of Practical Sorcery series will cause.
Today the magical artes have never been so accessible,although that doesnt mean the demands that the arte makes upon thepractitioner have been lessened in any way. While the arte is, in principle,for all, not everyone will have the self-discipline, the will and theimagination to succeed therein. However for those who do have these basicattributes or are prepared to acquire them there is much to be gained from thepractice of magic in all levels of life. For many people their ingress into thearte will be by books, and the exploration of and working with the informationthey contain. There is nothing like experience even if your magic provesless successful than hoped for: there is no such thing as failure inmagic, because every experience will, at the very least, teach the practitionersomething, even if its just to try harder next time!
Of course some will have access to a magical group and theknowledge and collective experience to be found therein; but for many this willnot be the case. Magical groups regardless of hue by and large have muchto commend them, but not all of them do. I have in the past beenapproached by people who have gone through a coven system yet then been led toask me to help them practice and study magic. It seemed their coven didnot in fact practice the arte; which left me wondering what was it that theydid do. I am aware of similar approaches made to other magicalpractitioners, which has left me concluding that some magical groups and covenscan actually be detrimental to an individuals magical development andunderstanding - although this is certainly not the case with all by any means.
Foundations of Practical Sorcery goes some way to rectifyingthis deficit in any students magical life. They offer clearmagical instruction and accounts of magical acts to be performed, thus makingthe arte easily accessible. The methods and techniques presented are all basedupon my own personal knowledge and experience which goes back over forty years,methods and techniques that have worked successfully for me and will do so forany reader who applies them accordingly.
In many ways I was fortunate, during the autumn of 1972, tomeet a magical practitioner who taught me much regarding the arte, generouslyaffording me the run of their magical library as well. Having been schooledextensively in magical knowledge from my mid teen years I consider myself tohave been extremely fortunate and lucky to have had many experiences not easilyavailable to many people. Thus the present Foundations of Practical Sorceryseries is the distillation of four decades of successful magicalworkings.
Each of the seven volumes gives a clear account andrendition of one or another area of magical instruction that I have receivedand have been taught. They are presented to the reader in a clear andworkable style which will provide them with a concise and firm foundation,allowing the serious magical student to explore the Western Magical Tradition,the inheritance of us all.
Gary St. M.Nottingham, February 2015
CHAPTER ONE
This work is an interpretation of the sealsof the second part of the Solomonic grimoire cycle, Theurgia-Goetia.Surprisingly Theurgia Goetia is little known; but it does offeruseful ingress into the arte of angelic conjuration. This is a work that isconcerned with a mixture of spirits, whom are considered to be both good andbad, and it is clearly influenced by the Steganographia of the latefifteenth century abbot Trithemius; who was highly influential on the magicalcareers of both Agrippa and Paracelsus.
Whether either of these two highlyinfluential sixteenth century occultists was responsible for this work is notknown; but they were certainly the right people in the right place at the righttime. In some respects this is a work that is a ritualised version of the Steganographia,and what is different in its approach to other works of the various grimoirecycles is its insistence on the cardinal points to evoke the angelic spirits.
As can be seen by the texts each spirit hasa direction from which it is evoked into the shewstone of the arte that isplaced upon the altar. Yet unlike other grimoires the spirits involved all seemto have much the same office to perform. The spirits are considered to be of anairy nature and who wander at will throughout creation. Because of their airynature they are deemed to be more easily accessible if their evocation takesplace in an upstairs room, as opposed to being conjured at ground level.Whether this is something to take note of I will leave to others to decide forthemselves.
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