The company that sponsored this was Weyerhaeuser Timber Co. Their work took place from the late 1800′s to 1930′s as technology improved so too did their harvesting methods. These trees were so large that you could live in their trunk, dwarf teams of horses and men and still inspire awe hundreds of years later. Below is a collection of photographs sampled from Darius Kinsey’s archive.

While it is indeed a testament to man’s ingenuity and will it is also a testament to his lack of foresight a lesson our fellow humans still have yet to learn.

• Photo Archives of Darius Kinsey
• Cathedral Grove-Big Trees Pictures and Politics
• Douglas Fir of Oregon
• Kinsey Photo Archive

As I read more I found myself naturally questioning the stories. With local myths that have the deceased being staked and decapitated I was left with my first question. How does a body decompose? I asked a good friend who studied forensic anthropology. When I compared the tales to our current burial methods, I found something shocking. One of three things occured with the dead. The first, insects, or rodents gnawed at the body. The body became bloated during decomposition. The second the body froze before burial, this was the Balkans an area not typically known for warmth. The freezing body would prolong the decaying process, and may account for some of the superstition. The third was the one I did not want to face. That was that there simply was not a reason for why a dead body would be smiling with blood on its mouth, scream when staked, and gush blood, save for a comatose person. These questions drove my curiosity to read the book further.

The more I read the more I found myself getting lost down the rabbit hole. Every fact presented I had to cross reference, and research. From secret orders to Vlad Dracul father of Vlad Tepes, and all my research led me to the same thought. What if vampires were real.

This is why I chose a vampire book in the sea of over developed ethnography. Because, knowing the origins of any belief will only empower me to make myself better. Should a vampire ever rear its ugly head then I will know the only thing I can do is run. Run, or stake it with a hawthorn wood stake, cut off its head and burn it. Because, the true Balkan Vampire, the one that predates, Bram Stoker, is not only a scary thought, but disturbing. Disturbing to know what one culture has kept close to its heart for so many centuries. This book separates fact from fiction and leaves the reader to decide for themselves Are vampires real and why would anyone want to be one?

Purchase or rent Kiss of the Butterfly by James Lyon on Amazon

Download PDF of Book of Aquarius
Purchase a Paperback

Note: If there is a large enough interest we will professionally typeset, and design the book. But for now we wanted to offer a low cost printed version.

JackDirt: Why don’t you start by telling us a little bit about yourself and your background.
Cody Seekins:I’m a 33 year old currently living in the D.C. Metro area. I have transited much in my life, starting as a military dependent of the U.S. Army, then later through independent explorations. I’ve lived in 7 U.S. States, Europe, and southeast Asia.

Having been raised to adapt to consistent cultural and geographic changes was in a sense a primer for the incredible altered states I later experienced through the use of psychedelics, primarily Lysergic Diethylamide. I became interested in how various realities assembled by consciousness could be mapped and interwoven through the painting process in time.

JD: Do you have any formal training or artistic background?
CS: My original serious investigation of the art began as a completely non formal experimentation. The intent from the beginning was to create the most complete work possible as it relates to fine art and fine consciousness. Originally this meant a shedding of formal assumptions in order to gain access to the pathological character of energies overlooked from a mundane frame. One example included a painting session where I entered into an exquisite immediacy, upon which time an arc of static shock struck my painting arm from the television set 2 feet away. I was so vacant of ego at the time, the direct energetic jolt of my nerves managed to place that stroke firmly on the canvas. There are of course an infinitude of gradients between that kind of application and the formal academic systems for rendering. Once I was satisfied that I could reliably reach for altered states for the art, I looked to build the rational foundation just as firmly. I pursued and gained my BA in Studio Art from Wichita State University, and currently I’m working on my Master’s in Fine Art Painting from the Academy of Art in San Francisco. Basically I am balancing the abandon of an abstract expressionist’s wet dream with the almost schizoid redundancy of still life referentialism so that, perhaps in a five years, I can begin a supreme series of intensive shamanic pieces from which I can materialize metaphysical phenomena and polish it to hyper realist perfection.

JD: What are your inspirations?
CS: In essence the prime inspiration is to find within the process of creating an artwork a novel or heightened state of awareness, and to allow that condition to revolutionize the approach. You could say this is meta to any particular visual subject. I do; however, have several archetypes which I find myself returning to as a personal meditation. This would include reflections on eastern mystical iconographies, coming of age male youth, androgyny, and various birds from the parrot family.

JD: A large aspect of your art is Shamanic Revivalism, can you briefly describe what Shamanic Revivalism is? Can you share this process of gaining mystical insight for your paintings?
CS: Shamanic Revivalism is a call for a return of mystical frames of awareness into synthesis with our contemporary society, on a personal level, and as a more respected and understood facet of our culture at large. The process for gaining mystical insight into my own paintings happens in a number of ways. Entheogens played a strong role in the original catalyst for such creative states. At this point creating a sacred or clear mental and physical space to work within; building the environmental frame to be conducive to the creative process, can enable a mystical consciousness. I find that basic aspects of taking care of oneself are important; proper rest, good nutrition, cessation of alcohol or any type of sedative. Consciously cultivating the mimetic character of our environment is helpful as well, such as reducing our video hypnosis and superficial distraction on the consumer industry’s fishhooks. Considering all received information and being suspect of all assumptions has been a key for shifting cognitive modes. Ultimately, it boils down to a kind of psychic discipline, that, with or without the use of a psychedelic sacrament, allows for expanded awareness.

JD: Your latest piece Budgie Sattva I, features a Budgie (parakeet) in deep meditation, perched upon a dorje. Can you describe the thought process behind this piece and the symbolism?
CS: The Budgie has been a profound spiritual archetype for me over the course of my life. I have, on a number of occasions, experienced truly supernatural synchronicities with these birds. These began when I was 12 years old, after a pet budgie bonded to me, and has continued in many forms after her death. I am not exaggerating when I say I believe some kind of meta-budgie consciousness, perhaps even the transcendental love of my deceased pet, has continued to interact with me in various ways. The Budgie possesses an amazing social capacity for affection, perhaps the most distilled and pure expression of unconditional love I have ever had the benefit of knowing. This is the reason for the reference to the heart chakra at the top of the painting. The dorje as a symbol of the cessation of violence, was included as it relates to the great sense of peace the parakeet provides. The title Budgie-Sattva 1 is given because the Budgie has served to help clear the “dust” from my eyes by her example, in the same way a Bodhisattva refrains from enlightenment out of compassion to help others come closer to it.

JD: Some of your pieces, appear as abstract landscapes, such as Transmigration, and Atmospheric Leviathan, can you explain these pieces and the ideas behind them?
CS: These are fairly abstract conceptually as well. Transmigration pretty much built itself, and I was fortunate to be along for the ride. It was a very expressive psychedelic work which incorporates qualities from landscape, modernist art, as well as a multitude of cosmological frames. Loosely speaking, these works indicated a new phase in my development, a kind of apotheosis in art making. They also represent the first works which start to bring into solidarity the shamanic and formal approach of art making in my oeuvre. Atmospheric Leviathan is referenced from Transmigration; essentially a re-contextualization of the original channel. This is why it lacks the same high energy. I have a very strong interest in seeing how the shift of consciousness produces from the one fundamental map a whole new transform.

JD: Copley’s Dreamer is reminiscent of 1800′s portraits, except there are a few subtle aspects they seem other worldly. What was your inspiration for this portrait, did you do any research to achieve insight into old portraits.
CS:There was a period of time when I gave homage to painters of the Baroque and Romanticist eras. The painting which appropriates Copley’s portrait of the young man was a kind of painter’s allusion. Classical works from the Renaissance, Baroque, and Romanticist periods affected me through some kind of osmosis; as a boy I lived for 3 years in Italy, and another two years in Germany. During that time my exposure to classical artworks seeded my process. Literally, my art process is part of a European lineage. My Mother began taking oil painting classes from a Neopolitan master when I was 10, and though it would be over a decade before I picked up the brush, I am certain the familiarity of the media is what led me to adopt it in the first place.

JD: Your piece cupid is reminiscent of traditional paintings of aphrodite. Can you explain this piece in greater detail as well as what your underlying motivation for it may have been?
CS:Similar to the Copley piece, but much more involved, the piece is a surrealist metamorphosis of a William Adolphe Bouguereau oil painting titled “Cupidon”. The motivation was to create an extraordinary rendition of a piece which would tie together the psychedelic, formal, art historical, and the archetype of androgynous youth, into one piece. I spent about 6 months on this piece, and you might say it is my first serious attempt at a Gesamptkunstwerk or “complete work”.

JD: Alternately, breakfast of cherubs references more pop culture and carries a different weight than your more traditional pieces. Could you explain this piece, and what do you imagine the rest of the cherubs day to be like?
CS: This piece is kind of a postmodern pop surrealist piece which illustrates the “breakfast” of many modern teens–the paraphenalia, if you will, of our contemporary cupids or cherubim. It specifically updates the concept and eliminates the haze of Rococo censorship or romanticism associated with cherubs even in the common mindset of mainstream culture. As far as this cherub’s day beyond breakfast, I’d imagine it would consist of forays into experimental sex and chemical use. These cherubs have dirt underneath their fingernails.

JD: What is your favorite piece and why?
CS: Hard to say, because each part of my overall body of works has a special and generally unique function. Transmigration is definitely a favorite, as is the cupid painting, and Budgie-Sattva I and II. I choose these because they each represent the best example from different periods of development. They are the core of a particular creative strain. Cupid represents the hybridity of the classical and psychedelic, Transmigration was the purest expression of consistent Zen-like states expressing themselves fluidly in the moment, and the Budgie paintings mark my transition into a new popular paradigm, combining portraiture, mysticism, and the coming of age process as it relates to conditions of karma and transcendence.

JD: Do you have any upcoming shows, work, or prints for sale you would like to promote?
CS: Original works for sale are available for purchase on CodySeekins.com. Prints or commissions can be negotiated on a case-by-case inquiry also by contacting me through the site. I often show at the Hive Gallery in Los Angeles in various thematic or group shows, and will be a Featured Artist of the Hive in October 2011. My website has a very complete blog as well as a newsletter users can sign onto for any press information related to shows, works in progress, completed works, and other projects or topics of note.

JD: I just want to thank Cody again for taking the time to share with us his work and allow us glimpse into his mind and soul. If you are curious about Cody and want to see or learn more I highly encourage you to go to his site and see his shows if you can!

Hypnotic Suggestion, NLP, Mind Control
Perhaps the most well known instance of invisibility is convincing others through hypnosis. Derren Brown demonstrates exactly that in his series Trick of the Mind.

This is an expertly executed instance of mind control. Derren spent a tremendous amount of time to find someone suggestive enough to believe this routine. If you are trying to find a practical application for invisibility this would require some fore thought and research to find a subject.

Hoodoo
A grisly technique for achieving invisibility has its roots in old style hoodoo. “Cook the body of a black cat in boiling water with white seeds and wood from the willow until the meat is loosened from the bones. Strain the bones in a linen cloth and, in front of the mirror, place the bones, one by one in your mouth, until you find that you have the magic to make you become invisible. Keep the bone with the magic property and, if you want to go somewhere without being seen, place the bone in your mouth.”

The exact approach with a black cat varies, sometimes it may only be a toe bone and other methods vary as well where as you place each bone under your tongue. So whenever you want to be invisible you may simply put the bone in your mouth.

Meditation and Focus
Another method involves an intense regiment of focus and concentration through varying meditation techniques. The technique is as follows.

• Sit somewhere you can feel relaxed
• Close your eyes
• Imagine what it might feel like to be invisible
• Picture yourself living out your invisible fantasies
• After about five minutes of this, concentrate on one part of your body – a fingertip is a good choice – and will it to become invisible. See it in your mind’s eye as it slowly becomes transparent, revealing what is behind it.
• Once it is invisible in your mind, hold that thought for as long as possible. You may find your mind begins to wander. If it does, don’t worry, relax. Wait a while, and try again.
• To begin with you may only be able to hold that thought for a few seconds, or perhaps a minute at most. Keep practising. You’ll need to be able to hold that thought uppermost in your mind for at least FIVE minutes before continuing on to stage 2. Distractions are, unfortunately, inevitable, but with enough practise, you’ll find you are able to ignore them.
• Keep repeating this exercise for at least three weeks. If you still haven’t reached five minutes, stick with it – it will happen. Some people have taken two or more months to achieve this, but everyone who has stuck with it has made it to five minutes.
• The best way to time yourself is to glance at a clock before you begin to concentrate. When your mind begins to wander – however slight it may be – open your eyes again and check the clock. You may be surprised how long you kept that thought going.

• Before beginning this exercise, make sure you have eaten nothing for at least one hour, and drunk nothing but water in the same time period.
• Put yourself in the same relaxing situation you used for stage 1.
• Starting with the tips of your toes, and working slowly up the entire length of your body, imagine yourself becoming transparent.
• While you do this, repeat the word “invisible” in your head.
• If you do this correctly, you should take about five minutes to reach the top of your head. By now you’ll be subconsciously aware of how long it takes for five minutes to pass, and you’ll be surprised at how accurate you can be. In total, you’ll think of the word “invisible” about 60 times during those five minutes.
• Repeat this exercise 12 times, and try to do it every day for at least two weeks – a month works well in my experience. Yes, it’s a full hour each day, which may seem a lot, but dedication is one thing you’ll need if you’re to achieve what most people can only dream about. And if you can’t manage this stage, you’ll really struggle later.
• Be aware that if anything distracts you from the exercise that you’ll need to start over again – a full hour is required, no less. So make sure you unplug the phone and perhaps put on some relaxing music – anything that will help you keep your mind on what you’re doing, not on the things around you. If you do choose to have music on, make sure it’s something you’re familiar with – anything new or unusual will easily catch your attention.

• For the first ten minutes you should repeat a couple of full body sweeps as described in stage 2. Keep the word “invisible” repeating in your mind, and visualize as totally as possible each part of your body becoming transparent.
• For the remainder of the hour, you will have a new exercise to

Kundalini and Chakra Focus
This involves a series of meditations and visualizations while channeling ones energy to the correct focal points to have an end result of invisibility.

Now in your own time close your eyes and take a couple of deep breaths feel the chest rise and fall and relax.

Then visualize the base chakra. At the base of chakra there is a well of energy this well is known as the jewel of the lotus within the jewel there is a light golden energy. Visualize that this golden energy is trickling out of the jewel and spreading out into the chakra. As the chakra spins see the chakra becoming golden in colour with its light radiant energy. Feel that energy.

Now focus on the second chakra and do the same, see the jewel at the centre and see this radiant energy trickling out into the 2nd chakra fill it with its radiant energy.

Then move on to the 3rd chakra and do the same for this chakra and the other chakra’s till all seven chakra’s are filled with the radiant golden light of kundalini energy

Now once you have reached the seventh chakra see the seven chakra’s and feel this light golden energy continually flowing into the chakra’s till it starts to over flow into the physical body and move that energy through your physical body and out into the auric field till you reach the seventh layer of the auric field.

The visualize that the golden clouds are forming in the auric field and instruct the clouds the change form their natural golden colour to a black colour when ever you focus your mind on being invisible and to return to the natural colour when you focus your mind on being visible. do this now.

Now that we have created the photonic cloak of invisibility it time to see how you went open your eyes and focus on the mirror in front of you see your reflection and as you watch focus your mind on the photonic clouds and feel them changing from their natural golden colour to black.

Now as you do this see and feel your reflection vanishing in front of you and once you have vanished hold it there for a moment.

After a couple of minutes focus your mind on the photonic clouds again and feel them returning to their natural golden colour. As you do this see your reflection reappearing in front of the mirror.

The Rose Cross Ritual
A tradition passed on through the Rosicrucians and their methods adapted to modern day occult techniques by the Golden Dawn. When complete the ritual boasts a perception filter where you become ignored by all those around you; thus rendering you invisible.

Light a stick of incense. Go to the South East corner of the room. Make a large cross and circle and holding the point of the incense in the center vibrate the word Yeheshuah.

With arm outstretched on a level with the centre of the cross, and holding the incense stick, go to the South West corner and make a similar cross, repeating the Word.

Go to the North West corner and repeat the cross and the Word.

Go to the North East corner and repeat the cross and the Word.

Complete your circle by returning to the South East corner and bringing the point of the incense to the central point of the first cross which you should imagine astrally there.

Holding the stick on high, go to the centre of the room, walking diagonally across the room towards the North West corner. In the centre of the room, above your head, trace the cross and circle and vibrate the Name.

Holding the stick on high, go to the North West and bring the point of the stick down to the centre of the astral cross there.

Turn towards the South East and retrace your steps there, but now, holding the incense stick directed across the floor. In the centre of the room, make the cross and circle towards the floor, as it were, under your feet, and vibrate the Name.

Complete this circle by returning to the South East and bringing the point of the stick again to the centre of the Cross, then move with arm outstretched to S.W. corner.

From the centre of this cross, and, raising stick before, walk diagonally across the room towards the North East corner. In the centre of the room, pick up again the cross above your head previously made, vibrating the Name. It is not necessary to make another cross.

Bring the stick to the centre of the North East cross and return to the South West, incense stick down, and pausing in the centre of the room to link up with the cross under your feet.

Return to the South West and rest the point of the incense a moment in the centre of the cross there. Holding the stick out, retrace your circle to the North West, link on to the N.W. Cross — proceed to the N.E. cross and complete your circle by returning to the S.E., and the centre of the first cross.

Retrace the cross, but larger, and make a big circle, vibrating for the lower half Yeheshuah, and for the upper half Yehovashah.

Return to the centre of the room, and visualise the six crosses in a net-work around you.

Each technique has its own method of approach and each varies differently. None, of them are guaranteed ways to make you invisible to others but they certainly offer insight into the age old desire to disappear. Invisibility has been subject of many a fantasy and no doubt will continue to be. If you enjoyed these techniques and are interested in learning more take a peak at the links below.

• Spontaneous Human Invisibility
• How to become Invisible
• Invisibility
• Hoodoo Source
• The Rose Cross Ritual

It has been thought initially that the lamps may have been fed by underground source of petrolatum, oil and other naturally occuring fuels. While others such as Athanasius Kircher merely ascribed the lamps to be the trick of the devil trying to sway people the worship and praise of false Gods. But, even the bible gives mention to a perpetual lamp. In Exodus 27:20 “And you shall command the children of Israel, that they bring you pure oil olive beaten for the light, to cause the lamp to burn always.”

H.P. Blavatsky and Willy Schrodter also wrote a great deal on these perpetual lamps. Curiously both of them had a recipe for said perpetual lamps and Blavatsky even went as far as to decree “We may add that we have ourselves seen a lamp so prepared, and we are told that since it was first lighted on May 2, 1871, it has not gone out.” Now of course we have no way of knowing where this lamp may be and if it is still alight today but below you may find the recipe for such a lamp, as transcribed by Willy Schrodter.

Take:
1 1/2oz. flowers of sulphur
1 oz. burnt alum

and place them in a subliming pot after a thorough mixing. Place a similar pot mouth to mouth with this and seal the join well with potter’s cement. The pot with the mixture inside is set on a coal fire so that it becomes red hot for approximately one hour, and the sublimed fixed mass is taken out to be pulverized in a mortar. Half as much pure borax by weight is added to the resultant powder and the whole is then reduced to a similar powder in the mortar. This powder is placed in a shallow glass or porcelain basin and is covered with the most highly rectified spirit of wine (ethyl alcohol). The basin is now placed on hot ashes, held over a coal fire in a small caldron, and the spirit is allowed to evaporate slowly. When the mass runs thick like oil, a little of it is removed and laid on a red-hot sheet of copper. Now if the mass runs like wax without smoking, it is ready; but, if it still smokes, more spirit must be poured into the basin and evaporated as before, and the process is to be repeated until the samples no longer emit smoke when tested. The product is then ready.

A wick is now made, about 2 inches long and as thick as the piggest piece of quill. The material used is asbestos or white fibrous gypsum (steatite) bound with silk thread. The prepared mass is then placed in a strong glass made for the purpose, the wick is inserted and the preparation left standing for 24 hours in hot sand. The wick is the pulled up and a sufficiently large lamp chimney is made for it so that it is only slightly exposed at the top and the perepetually burning sulphur mass pours onto it, and the glass is placed in hot sand until the sulphur mass melts and collects around the wick. Finally, the lamp which has been prepared in this way is lit with a light and placed in a place where it will not be disturbed. It will then go on burning without ever going out.

Surprisingly, with the excpetion of the asbestos all of these items can still be purchased from a metal smithing or jewelery maker supplier. The science of it is not that completely unfounded. I should warn the reader though that if you plan to attempt this, inhaling, or handling asbestos has been known to cause mesothelioma and I will refer you to our terms of use.

The purpose of the perpetual lamp may have served as a two fold purpose, one to act as a ight for the deceased to walk through the valley of the shadow of death and the other as a testament to the importance of the deceased.

If you are interested in reading or learning more about these perpetual lamps I will refer you to my sources.

• A Rosicrucian Notebook: The Secret Sciences Used by Members of the Order
• Isis Unveiled (Volumes 1 and 2)

You better watch out, You better not cry,
Better not pout,
I’m telling you why:
Santa Claus is coming to town.
He’s making a list,
And checking it twice;
Gonna find out
Who’s naughty and nice.
Santa Claus is coming to town.
He sees you when you’re sleeping.
He knows when you’re awake.
He knows if you’ve been bad or good,
So be good for goodness sake!
Oh, you better watch out!
You better not cry.
Better not pout,
I’m telling you why:
Santa Claus is coming to town.
Santa Claus is coming to town!

The stories here in the United States of Saint Nicholas knowing if you are bad or good are little more than idle threats to get children to behave for a reward system. However, over in Eastern Europe this is not the case. The lyrics to Santa Claus is Coming Town, have quite the history. You may even learn why little kids need to behave. The far more sinister side of Christmas comes not in the threat of coal in the stocking but as a demon to whisk away the naughty children.

The Krampus (from Austria, Bavaria, Switzerland and Hungary) is a dark haired beast bound in shackles. The shackles implying he is under the control of Saint Nicholas and cannot harm the good boys and girls. Krampus is portrayed with large horns and a red tongue and sometimes a red face or forked tail like a devil. He carries with him a switch (bundle of twigs) and a basket upon his back. The Krampus follows Saint Nicholas doling out beatings to the naughty children and kidnapping the even more misbehaved kids in his basket to eat them later.

However, if the children have been good Krampus will leave candy or small toys in their shoes. Depending upon the tale it is also juxtapozed with the Krampus replacing the treats Saint Nick leaves with Coal.

In some parts of Austria the legend of the Krampus is still celebrated. Every year on December 5th the young men will dress up as the Krampus wearing wooden masks, animal furs, and carrying chains, whips, baskets, and swatches. They will run about Austria scaring children and goading them into being good boys and girls. Amazing craftsmanship is placed into these suits making Halloween costumes pale in comparison.

In the past there were news reports of young men actually carrying off a child and distributing beating him /her then throughout the rest of the day they terrorized kids by banging sticks on windows, and cars wherever they saw them.

The Krampus is not the only fiend to accompany Saint Nicholas on his Christmas journeys. In Switzerland there is Schmutzli, a soot faced bearded man dressed in black. Who like the Krampus carries a swatch and basket to punish children. In France there is Père Fouettard a butcher who accompanies Saint Nick and serves a similar purpose to Krampus and Schmutzli. In Germany you have Ruprecht who like Schmutzli leaves treats for good kids and beatings for the bad.

One thing that was consistent with Saint Nicholas and his dark follower was they were often accompanied by angels who carried a book of those naughty and nice. The angels protected the children from the dark follower and gave Saint Nicholas his knowledge of those who were good and bad.

I have no doubt though that if the Krampus were a world wide Christian tale celebrated on the Eve of Saint Nicolas then not only would we have many more kids scarred for life; but perhaps just maybe we’d have a few less spoiled brats.

• Winter Holiday Traditions in Salzburg
• Krampus Day
• Who travels with Saint Nicholas
• Schmutzli: the Swiss Santa’s sinister sidekick

Such is the case with the copy of the Picatrix that I recently acquired from Ouroboros Press. For those who do not know; the Picatrix is a fantastic resource on Astrological and Talismanic magic. While it is a bit of a dry read the information presented within is priceless. In a similar way to Agrippa’s Three Books of Occult Philosophy one may learn the appropriate way to summon the spirit of any of the stellar systems. However, if you are looking to use the book beyond a practical reference and resource you may have difficulty getting your hands on some of the ingredients required. Requests for rites are so outlandish that it makes you wonder how a spell or invocation could not work as is demonstrated in the final excerpt of the invocation of mars.

“Then you use the incense and then repeat the invocation as you are bowing and kneeling to him. When you are done, sacrifice a tiger or wildcat and burn him as we have mentioned before and eat its liver then all your requests will come true.”

Despite this there are gems of wisdom that don’t require the consumption of an animals liver. Some of them even seem to have a bit of basis in a more scientific approach. Such as this formula to get rid of fleas.

“There is also a charm that Kothamy said he tried for killing fleas is by taking colocynth seed with quicklime and the root of the Egyptian cucumber. Grind them and add some stinky red comfrey. Melt plenty of salt in water and soak the mixture in that water, then spray it around the beds and the house and you will never see any fleas again.”

While this volume of the Picatrix does not contain the complete works of Ghayat Al-Hakim it definitely has more than enough information and history to give you insights into the past. If you are bold enough to do the magic within then it provides you with all the proper knowledge needed to succeed in your summons.

If you are interested in picking up your own copy of the Picatrix then stop over at Ouroboros Press , and you may want to do it sooner than later since every book published at Ouroboros is a limited edition.

We decided to kick off the holidays with a new site design. Hope you enjoy it and excuse the mess while we tidy up. That, said should you find any thing majorly wrong please feel free to use the contact form to drop us a line. As always we thank you for your patronage; and have a safe and Happy Halloween.

Since you are here why not learn The Meaning of Halloween