Solomonic magic is pretty much the foundation of occultism, modern witchcraft, and ceremonial magic west of India and China, encompassing Europe, the Middle East, and now the Americas.
What you will discover within the pages of this book I’m sharing, you’re going to find to be the keystones of Persian magic and witchcraft, the magical practices of Muslim-influenced Southeast Asian countries, the Golden Dawn (though many of their correspondences differ), hoodoo, Wicca, and maybe even the traditions you’ve inherited and have been wondering where those traditions might have come from.
If you’re serious about your occult studies, then I hope you’ll add this text to your library and read through it cover to cover at least once.
From my vantage point, this book is essential reading, even if for no other reason than to take it apart to realize once and for all this is not for you. That, too, is invaluable. Whether you want to strengthen the connection to these roots or you want to sever ties with the roots altogether and grow anew, either choice calls for an examination of this text.
The images from historically significant grimoires, the essence of the ritual instructions provided, and the methodology behind the crafting of seals, devising the magical scripts, and even how to prepare for ritual can help to inspire your own creativity, offering sparks and revelations for how to do Craft your way.
If you’re a total beginner, then please do not try out any of these rituals or operations on your own. Plus, the instructions are pretty clear that most of these conjurations should never be performed solitary.
At the beginner and intermediate level, a light read of this text is going to be the best introduction to ceremonial magic, witchcraft, and occultism west of the Indies you can get.
This should be your orientation manual into the Craft and the beginner steps for realizing your Great Work. Levi even says as much, which is why in a course I was putting together focused on Levi, I ended up having to back-track and start first with the Key of Solomon.
If you’re a tarot reader, passing references will tickle your interest, like all the instructions on wrapping your tools with black silk. Some of the imagery in the RWS tarot, such as the iconic hand offering from the cloud in the Four of Cups, with the card corresponding astrologically to the Moon in Cancer (under Golden Dawn), and then seeing the Pentacles of the Moon.
So what is this text or book I’m referring to?
It’s mainly the Clavicula Salomonis or Key of Solomon (1312), working off the MacGregor Mathers translation from 1889. I cross-referenced the Mathers translation with the Clavicules du Roi Salomon and the Grimoire of Abognazar, both mid 17th-century-ish. Let me just tell you, I never would have thought I’d ever end up using the Latin and French I learned as a kid.
Then I started an adventure of connect-the-dots through several different grimoires on Renaissance magic, so this text is also synthesized with the infamous 16th century Tractatis de Nigromatia, Sibly’s 1704 Occult Sciences, the Arbatel de magia veterum better known by its short title, The Arbatel (1575), the Clavicula Salomonis de secretis, purportedly circa 200 AD, all of Cornelius Agrippa’s De Occulta Philosophia books (1567, 1581), the Heptameron, the Hygromanteia, the Grimoire du Pape Honorious (1760), the Robert Turner translation of the Archidoxis magicae (1531), and the Petit Albert (1706).
This treatise is informative at the beginner initiate level, the intermediate level where you’re looking for something to help you advance your craft, and also a serviceable tome for the advanced practitioner.
Also, you can call me nuts, but I believe that how this book has been put together and all that it is by its very nature, assembled in this way empowers a copy of this book to become a Teacher of the Craft to its possessor. I know. I’m nuts. That and laughably superstitious?
I’ve synthesized the correspondence tables found in many different Solomonic texts and general texts on magic from the Renaissance. Here’s the thing.
No two Big Name Occult Authors can ever seem to agree on the elemental correspondences. Which archangel, season, direction, etc. correspond with which of the four elements? Unless one grimoire clearly is copying from a predecessor grimoire, there are too many discrepancies and conflicts that the only conclusion I come away with is, “To each their own.”
Nonetheless, I’ve included as many different systems of correspondence tables from grimoires dated before the 18th century in reference to Solomonic magic so you have everything you need to know for working with planetary spirits and conjuring angels. Who I sourced a particular set of correspondences from will be provided in the caption above or below the given table of information. Just be mindful that they don’t all match each other, so give the whole text a read-through at least once, do some thinking on your own, and decide for yourself how you want to approach the differing correspondence systems.
My approach here was to include all the prevailing ones and let you figure out what you want to do with them.
“Okay, But I’m Not Christian… Or Jewish… Or Muslim… Or…”
A big chunk of this book is the psalms, from both the KJV and the Latin Vulgate, because I’ve included the full verses of all psalms referenced in the Clavicula Salomonis that the instructions in the grimoire say you need as part of the rituals.
It was a rough ride, by the way, so you’re welcome, especially with the psalms and working between the KJV and Vulgate, where the numbering is all off, so I need to keep a Latin-English dictionary on hand. Although I learned a little Latin back in my school days, at this age, I’m most certainly not fluent. It’s basically enough to spot the roots and guess what word is what, but then I need to verify with a dictionary.
As if that’s not enough of religions for you, every aspect of the craft expounded upon herein is explicitly steeped in Abrahamic mythos, with a lot of Hebrew, Kabbalistic references, and, well, I mean, the whole thing is about interacting with angels, so there’s that…
I know some of you are now like wait a minute, hold up, no thank you, because I’m not into all that Bible stuff. So this text sounds like it’s definitely not for me. I’m a witch.
For any of you practicing occultists, pagans, and witches who are starting to back away, I’ve printed on the title page a quote from Eliphas Levi:
When, in the course of this Work, we make use of the consecrated terms God, Heaven, and Hell, let it be thoroughly understood, once for all, that our meaning is as far removed from that which the profane attach to them as initiation is distant from vulgar thought. God, for us, is the AZOT of the sages, the efficient and final principle of the Great Work.
AZOT, or Azoth, is the Great Solvent of the Universe. It is the life giver and the light bringer, a Divine Panacea and the Source we each intuitively, unconsciously seek our return to. In a lot of occult texts, you may see calls or references to The Bornless One or The Endless One. That’s the AZOT, a principle of infinity. In my speak, it’s the Tao.
“Uh… You forgot the Goetia.”
Yeah. Sorta. There is some content folded into this book from the Goetia (and so you’re still going to see those references and citations), namely the instructions from that text on defense and protection from demonic forces, but you’re right, the seals for demon summoning or how to petition them and well basically, everything that the Goetia is, is noticeably missing from a book purporting to be a collection of techniques in Solomonic magic.
In this particular text, I wanted to focus on angels and planetary spirits. Nevertheless, it’s hard to cover Solomonic magic without getting into necromancy and demonology, so there are still a few cursory references to those branches of the Work.
Initially when putting this book together, I did include an entire chapter pulled straight out of the Goetia, but I then decided to delete it and present this book, availed for free, without the straight-up-demonology chapters.
Skim or read the text only. Don’t try any of it out, unless you’re an advanced practitioner who has had years upon years of ritual and practical experience.
If you’re part of a coven and you want to work through something in here as a group with your coven mates, then yeah, that’s totally cool, but please make sure at least one person in your group really knows what the fuck they’re doing.
The Magical Scripts
So the seals are drawn with letters from various magical scripts, which you’ll find in Agrippa’s works. This text download includes appendices with the various magical alphabets used in the Solomon seals, i.e., the Malachim, the Celestial Script, and the Transitus Fluvii.
Let me tell you, all of it made my head hurt. Just how many made-up cryptic “magical alphabets” do we need, guys? And why switch back and forth between multiple “magical alphabets” not just within the pages of one grimoire, but even within the emblems inscribed on a single seal? Argh! (Actually, after getting through multiple texts, reading the biographies of their authors in tandem, I think I have at least a speculation as to why that is…)
Why Did This Happen?
This text is a prerequisite for a Fundamentals course I’m putting together as we speak, which should be ready some time next year, or maybe the year after that, I don’t know.
In that course, I’m going to deep-dive into the Key of Solomon and really walk you through what to get out of the text and not only why you should adapt it for your own Path, but how to methodically adapt it for your Path. Even if you never, ever follow anything in this book and wouldn’t want to anyway, what are some important takeaway points notwithstanding? That’s what I want to cover in that Fundamentals course.
So for those of you interested in taking that future course, we’re going to get into very practical operations of how to work with the Key of Solomon and all these other referenced and cited grimoires. As you can see from the above image of the syllabus, the course is structured after Eliphas Levi’s Transcendental Magic. The full text plus my annotations for it will be made available as part of the deliverables when you enroll.
In the Fundamentals course, you’ll be getting the editable DOC file of this book, because you’ll be expected to edit the entire thing until it’s unrecognizable from the original and contains all of your own workings. And that will be your first grimoire (assuming you’re a total witch beginner).
Since I decided to make the Clavicula Salomonis a prerequisite, I started assembling the text to be made available as part of the course contents. Not to mention I’ve already been working on a lot of this when I was crafting the Spirit Keeper’s Tarot.
The undertaking then ballooned into what I’m giving the public free access to now.
By the way, those who will be taking the Fundamentals course will also get a file folder of images for all of the seals found in the book and templates for recreating those seals.
You’ll see that quite a few of these printed in the book as-is are… um… will induce the giggles. These big-wig occultists of all time weren’t always artsy…
You’ll see quite the range of variation among grimoires and occultists on how to draw these seals, which I think is the point. I emphasize a critical line from the Key by placing it again on the title page of this book:
For he who is the possessor of this Key, and who availeth himself hereof according to the ordinances herein contained, will not only be able to reduce the magical arts herein unto their proposed end, but will, even if he findeth certain errors herein, be able to correct them.
So in the Fundamentals course, you won’t be using any of the seals as-is (unless you want to).
In the meantime, and this is even to those who have no interest in taking that course, enjoy the download. And if you want a physical paperback copy in the A5 trim size (5.83″ x 8.3″), I’ve got direct links to Lulu for that, too. See below.
Book Cover Design Options
Zip File, 5.91 MB
There are four images for the book cover design, front and back. You can mix and match as you like. Choose whichever one you want for the front cover and choose whichever one you want for the back cover. Or you can use the same image file for both front and back.
You’ll notice there no titles on the covers. That’s just how I like my sacred texts, and yes, I would most certainly count the collective body of this text as an empowered sigil of some sort. Scroll through the pages and maybe you’ll intuit the same.
The E-Book (Interior Pages Only)
PDF, 52.9 MB
The document file is formatted at standard A5 trim size, or 5.83″ x 8.3″ with mirror margins so you can bind the book.
There’s a table of contents for your convenience. Basically, the text is Book I and Book II of Clavicula Salomonis, though in Book II, Mathers left out the “Astrological Images” chapter in his translation. I added it back in, including the original text, plus extra sections culled from Agrippa’s works, The Arbatel on the Seven Olympic Spirits, correspondences for the Seven Babylonian Rulers, the Seals of the Seven Archangels to Their Planets from The Heptameron (1567), planetary seals from the Petit Albert grimoire, Zodiac Seals from the Archidoxis magicae by Paracelsus (1541), and then info on the Twelve Talismanic Rings found in the Grimoire of Abognazar (Kings of King Solomon).
Then there are several appendices for your reference, including what’s pretty much the full text of The Arbatel (its 49 Aphorisms).
“This 560 page text is…free?”
Well, the digital version of it, yes.
Predictably, the question that someone will ask is, why is this free?
I’m not even exaggerating here– to acquire a polished, beautifully-presented, researched book of this size, scope, and nature would usually cost a small fortune, and therefore only accessible to the elite. Even for myself, to obtain scans, facsimiles, and decipher some of these medieval grimoires required a lot of work, resources, and time that not many people have or are willing to divert from their regular lives to invest in such an undertaking. Since I can, I did, and now I’m hoping to share that work with those who can’t, but want.
Yes, all of these texts and even their English translations have long been in the public domain and many are free online, but sifting through them all and making heads and tails of them still requires time and resources that present a barrier of entry for too many.
Plus, I know you. =) You’re going to pay it forward. =)
Really, though, it’s because for folks like us, this is considered a sacred text. And as a sacred text to folks like us, should be shared by one to another from the heart.
BUY A PHYSICAL COPY
The e-book is given to you, along with the cover designs, for free download, so even if you’re on a shoestring budget, you can still get access to this incredible (well, I happen to think it’s pretty incredible…) text and not have to spend a penny.
But it’s a big book. Plus, the way I’ve put it together, I hope a physical copy of the text is in and of itself a charmed book with its own sentience and therefore in and of itself, becomes one of your Great Teachers guiding you along your craft. May it inspire you. May it always direct you to see the page you need to see to awaken the insight you were hoping for.
The cost for the printed paperback is $16.77. For full disclosure, $12.75 goes to Lulu, not me. You’re paying Lulu for the service of printing you a paperback-bound physical copy of the text. $3.22 goes to me. Think of the three dollars as a tip. You’re tipping me for my labor (the very, very exhausting amount of labor…) that went into putting this together for you. Real talk here: my morning coffee costs more than that, so you’re not even buying me coffee! =P
I’ve uploaded the book to Lulu.com, a print-on-demand publishing site, so you can order a physical paperback copy of the book. It’s formatted at A5 trim size, so it’s pretty handy.
And here’s an alternative option. Same book, but with the black cover design instead of the white one.
I am so very, very excited to be sharing this with you. I put so much of myself into doing my best so that something like this can be made accessible.
Please help me get the word out and share this with anyone like us who might be interested in adding such a tome to their personal occult library.
Crafty Crafty Stuff
Keep on the look-out for future practical blog posts and/or videos on how I adapt what’s given in this text for my own personal workings. After all, I don’t have the stomach to use blood of bat or go around plucking feathers off virgin roosters, so what are my dupes and are those dupes effective? Stay tuned! =)