The books are divided as follows:
1 Goetia: this means “sorcery” in Greek. When people refer to The Lemegeton, this is often what is meant. It includes a list and analysis of the 72 most influential demons, many of whom were deities, not demons, at the time of King Solomon. According to legend, King Solomon imprisoned these particular 72 inside a sealed brass cauldron and threw them into the ocean’s depths. Eventually the cauldron washed ashore. It was discovered and opened in the expectation that it would contain treasure, or at least the equivalent of obliging genies in the bottle. Instead, the spirits escaped and are now loose in the world, more troublesome than ever. They can only be controlled by the methods described in this book. The Goetia was translated into English in a collaboration between Aleister Crowley and S. L. MacGregor Mathers, before their eventual falling out.
2 Theurgia Goetia: describes directional spirits and what to do with them.
3 Art Pauline: includes information on planetary hours and governing and guardian angels, as well as instructions on determining your own angels.
4 Art Almadel, also sometimes spelled Almandel: who needs dangerous, troublesome demons? This book includes instructions for summoning angels and convincing them to provide your heart’s desire. The age and origin of this book is unknown. The earliest known reference to The Almadel occurs approximately 1500. Its title isn’t as mysterious as those of some other grimoires: an almadel is a wax square upon which one may inscribe sigils. The handbook reveals how to create almadels.
There is also a fifth book, well, two of them, that are sometimes considered part and parcel of The Lemegeton package. The two fifth books are not identical and have different names. If you purchase a “complete” Lemegeton, it may contain only the four books listed above; it may contain the four books plus one of the following titles or it may substitute one of the following for one of the above:
Artem Novem: this includes rituals and prayers that it claims are necessary to consecrate the tools used in the other books
Ars Notoria or The Magical Art of Solomon: also attributed to Solomon
The Little Albert or Les Secrets Merveilleux de la Magie Naturelle et Cabalistique du Petit Albert
This is also known as The Book of Secrets, the same nickname given to The Great Albert (as opposed to the grimoire True Black Magic, which is also known as The Secret of Secrets.) Like The Great Albert, this one is attributed to theologian, saint, and magician Albertus Magnus, although whether some or any of it was actually authored by him is subject to debate. The manuscript originally circulated in various handwritten versions. It was later printed and standardized, reputedly first published in 1651 in Lyon. The Little Albert was banned by the Inquisition.
The Magus by Francis Barrett
Written in 1801 in England, this is considered a primary source for modern ceremonial or high ritual magic. For a long time it was very rare and sought after, although always very controversial. The Magus evokes strong reactions. Many consider it a masterwork; others consider it an act of theft. Is it a compilation or did Barrett claim to be author?
Francis Barrett was a British chemistry professor. He also taught private classes in the magical arts. He translated many occult texts previously unavailable in English.
The Magus is unusual as a grimoire written in English, which may or may not have contributed to the hostility toward it. Those who favor the book believe that Barrett compiled it in an attempt to stimulate the survival and growth of ceremonial magic, which he perceived as endangered.
The Magus is divided into sections, the last being a series of biographical sketches of various magical masters. It is somewhat out of character with the rest of book and there have been allegations that this section was added by the printer as “padding.” (Adding insult to injury, some consider this the best part of the book.)
The Munich Manual of Demonic Magic
This book, written in Latin and dating from the fifteenth century, offers instructions for conjuring and dismissing demons using magic circles and words of power. Roman Catholic ritual is heavily incorporated although hardly in an approved, orthodox manner. Spells are included to obtain a woman’s love when other methods aren’t working, to attain invisibility, and to cause enmity between people who currently like each other.
Mystery of the Long Lost 8th, 9th and 10th Books of Moses
The Mystery of the Long Lost 8th, 9th and 10th Books of Moses is not a medieval grimoire but is based upon the traditions of the genre. It was first published in 1945. Its author and compiler, Henri Gamache, was a mysterious, albeit highly influential folkloric-scholar He collected the material for The 8th, 9th and 10th Books from medieval Arabic, Aramaic, and Coptic grimoires. Gamache’s work doesn’t evoke the same passions as does The Sixth and Seventh Books of Moses (see page 129)—it is considered neither diabolical nor inauthentic. The general consensus is that Gamache’s work is based on genuine sources.
Henri Gamache’s book consists of three parts. The first two include his analyses of Moses, whom Gamache describes as “the great voodoo man of the bible” and of how and why these magical texts were lost. (Basically these two parts are Gamache’s explanations of why conventional wisdom regarding the Bible is wrong.) Gamache links ancient Egyptian and Jewish magic and spiritual traditions to those of sub-Saharan tribal Africa.
The third part is called Curiosa or 44 Secrets to Universal Power and contains various seals, nostrums, and sigils.
Rather than commanding and compelling demons, the focus is upon “practical magic” such as “seals for love between a man and his wife” or “seal for whoever wisheth for a woman and her father will not give her.”
The Picatrix or the Ghayat al-Hakim (“The Aim of the Wise” or “The Goal of the Wise”)
The Picatrix is highly unusual because it is a survival of an Arabic book of magic in Europe. Because it was translated into Latin at an early stage, The Picatrix remained accessible to Europeans when almost all other Arabic metaphysical knowledge was not.
The Picatrix was apparently composed in Andalusia in approximately 1000 CE at a time when most of what is now Spain was under Muslim rule. Although the book is attributed to the Andalusian mathematician al-Majriti who died c. 1005, there is little indication that this attribution is any more reliable than those of other grimoires. Some believe that the book was actually composed and/or compiled in the twelfth century. The book now popularly known as The Picatrix was translated into Latin in 1256 for the Castilian king Alfonso the Wise.
The Picatrix is substantially larger than other grimoires. It is a compendium of four books and may offer the most complete magical system of any grimoire. It is mainly a compilation of astral, sympathetic, and talismanic magic, grounded in Arabic and classical magic, with reference made to Hermes Trismegistus. Among the stated aims of the book’s spells are the acquisition of love and longevity, healing, escape from captivity, and gaining control over one’s enemies.
Although it was always rare, it was also highly influential. Latin, French, Spanish, and German translations are available. The first two books of The Picatrix were finally translated from Arabic into English in 2002 and published by Ouroborus Press.
See HALL OF FAME: Ficino; Trithemius.
The Red Dragon
If you’ve read The Grand Grimoire, you’ve read The Red Dragon. Some versions of The Grand Grimoire (or The Red Dragon) are in fact published as The Grand Grimoire or The Red Dragon, although each may also be published independently. Confused? Apparently that’s what a publisher wanted. The Red Dragon is believed by many to be nothing more than a retitled, slightly different version of the earlier Grand Grimoire. Allegedly when a publisher wished to sell a new grimoire but lacked a new manuscript, the new title was simply tacked onto a version of the old book. An alternative explanation suggests that The Grand Grimoire was retitled to sound similar to The Black Pullet, which was then considered more stylish and nouveau than diabolical older texts like The Grand Grimoire, which had earned an evil reputation. (A certain cynicism may be at play here. It’s been long rumored that a good percentage of those who purchase grimoires do so because they want to own something notorious and diabolical, not because they ever plan to put the book into practice or even have the capacity to read it.) The Red Dragon was published in 1822, although information contained in the text claims that it was really written in 1522. Again, who knows?
The Sacred Book of Abramelin the Mage
Aleister Crowley described this book as both the best and most dangerous book ever written. Dion Fortune claimed Abramelin’s magical system was the most potent and complete.
The Sacred Book of Abramelin the Mage may best exemplify the mysteries, frustration, and beauty of the medieval grimoire genre. The grimoire was allegedly written by the magician Abraham ben Simeon in 1458 for his son, although whether the book itself was actually authored in 1458 or whether the date indicates when a copy was made of an earlier work is unclear. According to the story given in the grimoire, Abraham, a magician and Kabalah master from Wurzberg, spent years traveling through Europe, the Middle East, and Egypt in search of mystic wisdom before meeting his teacher, a Jewish magician in Egypt called Abrahamelim or Abra-Melin. Abra-Melin taught Abraham a magical system which he now allegedly sets down on paper for his son.
Three surviving manuscripts of this work exist, each one written in a different language: French, German, and Hebrew. They are all slightly different; it’s unclear which is oldest. S. L. MacGregor Mathers first translated The Sacred Magic into English in 1900, using the fifteenth-century French manuscript.
Whether the story that explains the grimoire is true has been subject of deep, heated debate. There is no documentation that either Abraham, his son or the mysterious Abra-Melin ever existed, although there is also no proof that they didn’t. A number of Christian references and themes in the work have lead some to believe that the author was a Christian and that the work is a forgery attributed to a Jewish magician either as defamation of character (the stereotype of the Jewish magician encouraged diabolical associations) or because in certain circles, Jewish magic was perceived as glamorous and mysterious, similar to the manner in which Egyptian magical traditions are still perceived. Others believe that later Christian interpolations were added to a book that is at heart exactly what it claims to be. Traditional Kabalah scholars have also studied this work to debate its authenticity. No consensus has been reached. No less an authority than the Kabalah master Gershom Scholem changed his mind about The Sacred Book of Abramelin several times. (By contrast, there is general consensus among Kabalah scholars that the grimoire known as The Sixth and Seventh Books of Moses has no basis in true Kabalah or ancient Jewish magic.)
The Sacred Book of Abramelin the Mage is not just a collection of seals, spells or rituals but an entire magical system. Think you’ll bring the book home and knock off some spells this weekend? Think again. Abramelin’s system involves months of purification. The book had tremendous influence over ceremonial magic. Once the system has been learned and the practitioner initiated, it promises mastery of the invocation of benevolent and malevolent spirits for material purposes, including acquiring romance and treasure, raising armies from thin air, and magically traveling through air or underwater. (Regardless of who actually wrote this text, this was centuries before submarines or airplanes.) The system is based on a series of magic squares, however the book makes it clear that the system won’t work for anyone who is not an initiate.
Raphael Patai, scholar of esoterica, was fluent in Hebrew, German, and French and so was able to read all three surviving manuscripts and compare them. Based upon these comparisons, he felt that at heart, the story presented in the manuscript was plausible and the magical system authentic, although later interpolations had obviously been made. His fascinating analysis of the three manuscripts is found in his book The Jewish Alchemists (Princeton University Press, 1994).
See HALL OF FAME: Aleister Crowley; Dion Fortune; S. L. MacGregor Mathers.
The Secret of Secrets or True Black Magic
According to this manuscript’s claims, it was allegedly discovered in Jerusalem at the Sepulcher of Solomon (yes, this one is attributed to him too.) Allegedly translated from Hebrew, it seems to have first been published in Rome in 1750. The book contains 45 talismans and some instructions on how to use them. Arthur Waite identified The Secret of Secrets as an adaptation of The Key of Solomon. It is truly very similar although more malicious in tone. It was considered a diabolical, dangerous text, although this may have been a deliberately cultivated image—as demonstrated by its alternative title.
The Sixth and Seventh Books of Moses
Like the Mystery of the Long Lost 8th, 9th and 10th Books of Moses, the grimoire known as The Sixth and Seventh Books of Moses is based on the premise that the Ten Commandments were only part of the message transmitted on Mount Sinai. The Ten Commandments and the first five books of Moses (the first five books of the Old Testament) were the public information transmitted to Moses. God also gave Moses secret information.
This concept is based on some ancient Jewish mystical traditions that suggest that esoteric knowledge was also simultaneously transmitted. This knowledge is dangerous and so is not readily circulated. (Until recently, study of Kabalah was restricted to men who were over 40 years of age and married. It was considered too dangerous for anyone else.) However, the specific backstory of The Sixth and Seventh Books as revealed in its own introduction does not come from Jewish tradition.
According to the introduction, the material in the grimoire was allegedly first divinely revealed to Moses on Mount Sinai. It was then transmitted secretly, generation to generation, until it reached King Solomon, who used the material to command spirits. (In essence, through this story, The Sixth and Seventh Books is making a competitive claim for The Key of Solomon’s glory.) Following King Solomon’s death, the material allegedly went underground for centuries but was then “discovered” in 330 by the Roman Emperor Constantine. Constantine retained the tradition of secrecy; however the secrets had now passed out of Jewish hands, coinciding with Rome’s acceptance of Christianity as the state religion, and would eventually become the personal property of the popes. Eventually Pope Sylvester, another pope reputed to be a magician, had the material translated but commanded that it be kept secret and never made public under threat of excommunication. No secret stays hidden for ever; people had long whispered of these secrets, stolen glances at these manuscripts. Or so they said. In 1520, a copy of the translated book allegedly reached the Holy Roman Emperor, who finally broke with tradition and permitted publication.
To some extent, this is the conspiracy theory grimoire. Beyond whatever else, the story reveals fears of hidden knowledge, Jewish, and/or Vatican conspiracies.
So what’s in these sixth and seventh books? The Sixth Book contains magic seals; the Seventh contains magic tables. The core of the book is an anthology of woodcuts allegedly copied from old manuscripts as well as incantations for summoning, commanding, and dismissing spirits. The book seems originally to have been written in some combination of German, Hebrew, and Latin, although this may be because different versions have been cobbled together. Christian and Jewish spiritual traditions are intermingled, not necessarily comfortably. A German edition was first published in Stuttgart in 1849 and attributed to Johann Scheibel (1736–1809) although scholars believe the material dates back to the fourteenth century. The first English translation was published in 1880 in New York by Wehman Brothers.
The Sixth and Seventh Books of Moses evokes passionate responses. There are scholars of ancient Jewish magic who absolutely detest this book. Various amulets and talismans are purported in the text to derive from ancient Egyptian and Jewish sources; some Kabalah scholars believe that some of the seals are authentic, or at least based on authentic tradition. However, the text seems to have been written (or incredibly strongly amended) by a Christian author(s) with little direct knowledge of ancient Semitic magic or the nuances of Hebrew or Aramaic. Although the book claims to derive from sacred texts like the Talmud and assorted Kabalistic works, it bears little or no resemblance to them. (Because the average reader has no knowledge of these topics, they are not in the position to judge authenticity but are likely to take it at face value.) Some believe that The Sixth and Seventh Books of Moses is a medieval forgery used to implicate Jews as sorcerers, leaving them vulnerable en masse to legal persecution as witches.
The Sixth and Seventh Books of Moses contains some interesting magical seals that contain recognizable Hebrew letters as well as those of an unknown script. Portions of the manuscript were allegedly translated from Cuthan-Samaritan, a mysterious language about which little is known other than it has allegedly been extinct since the twelfth century.
The Sixth and Seventh Books of Moses became particularly popular in German magical traditions. It was transported to the Western Hemisphere by German immigrants where it remains a (controversial) part of the Pow-Wow canon. It is also favored by various African Diaspora traditions including Obeah and Vodou.
However, The Sixth and Seventh Books of Moses earned its fame and notoriety as perhaps the most diabolized of all the grimoires, evoking particularly strong reactions from those opposed to the practice of magic. It developed an extremely malevolent European reputation, although this may be partly responsible for the book’s popularity.
