I have often written on the circumstance created by the ignorance of Alchemy among sorceri. Here I would like to point out a proof of the importance of this knowledge extant in one of the popular grimoires in use in our age. I will not comment here on those of the more obvious points, such as the instruction in many grimoires to make SOLID mercury artifacts, or the instruction in certain so-called keys of solomon of the process to create solic mercury plates. Here I will be focusing on Antimony, the aptly named Triumphal Chariot.
Antimony is heavily used in modern technology but almost completely unknown to the average person, it was also the kohl of Egyptian cosmetic fame. It's quite toxic and is also found with several other toxic minerals. Brother Bartlett interestingly points out that some consider these impurities to be a clue towards the etymology of Antimony, supposing that its root was anti-monos, being latin for "not alone". 1
The glyph for Antimony is,
and being the planetary metal of Tellus is thus this is the planetary glyph for Tellus. This is often ignored by pseudo-astrologists, who ignore also the influence of astrological magic and Alkhemi on their arte. This sadly extends to sorcery of many stripes. Anyone even slightly familiar with grimoire literature can tell you that a saturnine charm be made of lead, or a venusian charm be made of copper. Ask this same person what would be the most appropriate material to be used in the artefaction of a Tellusic charm, and they may not even recognize the name Tellus, no less be able to answer your question. This to me seems quite an important and rather large gaping hole.
I have often stressed that as sorcery depends on material bases, the potionary artes should be a priority for all sorceri. "… it is more efficacious not to neglect any thing that conduceth to it." 2
Goetic sorcery and all forms of nigromancy including nekromancy and nekyomancy heavily involve fire traditions, of which Alkhemi is sovereign. Nicholaj de Mattos Frisvold is perhaps the most concise commentator on this point and his works on quimbanda must be consulted in this regard by the serious student.
Further relevant to the topic at hand, the traditions Mr. Frisvold operates and comments on have quite a high standard as to the perfection necessary when choosing materials and preparing them for the creation of artefacts. Most notably in the context of Verum', Quimbanda.
Jake Stratton Kent, Writing from a more "euro-centric" perspective is also a prominent commentator on the subject. In his Geosophia he continually relates fire traditions to goetic work, and rightly notes the symbolism of volcanos, the importance of Hekate, and one of her most notable followers -especially from the alkhemists point of view- Empedokles, both a goen and alkhemist. Stratton Kent also emphasizes the importance of the Cabiri/Dactyls, who to the reading of an alkhemist can be what, other than alkhemists?
In another of Stratton Kents highly recommended works The True Grimoire, a compilation edition of Grimorium Verum, he illustrates further the connection between Hekate/Astarot and the nekromantic/fire spirits of Quimbanda and the Grimorium Verum.
In The True Grimoire there is clearly found the survival of many older traditions not evident in most so-called keys of solomon; This is in fact the main thrust of Stratton Kents commentary. However, while this is all peripherally relevant, the proof of application of alchemical proces to sorceral charms occurs in The True Grimoire.
The basic charm format given in "The Second Part: Of Natural And Supernatural Secrets" is
It is quite obvious that the main framework of this is the glyph of Antimony. I have emphasized elsewhere that Antimony salts are by far the optimum material for grounding/seating natures in charms. Considering that half the purpose of material bases is the grounding of effects it is hard to believe that the Antimony glyphs inclusion in the charm format given in Verum' is not intentionally drawing on this.
That the remainder of the charm is inscribed INSIDE the Antimony glyph seems to further emphasize this symbolism of grounding the spell work on and in Tellus. This may not be sufficient to prove my conclusion from a historians point of view, yet i daresay that considering Mr Stratton Kents comments in the introduction to Geosophia, he would agree with me that in some instances such so-called proof is not the first concern of sorceri.
In his notes Jake Stratton Kent discusses the symbol that we have identified as the Antimony glyph. I am mostly in agreement with him that as all works are mediated by Luna and Sol, the upper "star" is most likely to be the symbol of the planetary nature incorporated into the work at hand, through the mediating influence of Luna and Sol, to Tellus. However it appears that the Antimony connection was lost on him. As I've noted elsewhere, it is telling that even visionaries such as Jake Stratton Kent, in the vanguard of sorcerys second diaspora in the english speaking world have completely overlooked the Alkhemi connection so prevalent in our field of work. Worse, even sorceri who have a half decent claim for the title of potioneer, such as Draja Mickaharic, completely overlook Antimony.
Antimony is the grounding agent par excellence in the material bases of sorcery. Antimony is referred to as the Triumphal Charriot because it is possessed of a penetrating fire that will deliver other planetary medicines powerfully into the targeted tissues. From a sorceral perspective the epithet is justified in that the same fire carries the work of the spell et al. into the targeted material or what have you. The use of the glyph of Antimony as the body of a charm format is elegant and a well suited integration of Alkhemical symbolism in sorcery (much unlike the blathering mystical nonsense most "occultists" subject alchemical symbolism to) and its presence in The True Grimoire illustrates the perseverance of the connection between sorcery and Alkhemi. Not surprising as it has been well shown my Mr. Stratton Kent that Verum' preserves much that is degraded in other popular grimoires.
As a side note of interest, Antimony is used as an agent in painting stealth planes and other equipment due to its ability to absorb, rather than deflect, radar. Though i have not yet begun my experimentation in this area, certain uses immediately suggest themselves such as cloaking charms for avoiding targeted effects or for clients looking not to be located. Though i must make this VERY adamant warning: antimony is POISONOUS, and since its not something you simply find a handful of in the kitchen cabinet, i doubt anyone will be playing with it without a little research, I woud be in the wrong to not point out the obvious: Do not use antimony in blow powders, pemba, or on the exterior surfaces of any artefacts!!!!!!!!
Finally, I have not in this small paper covered any of my ideas or experience on the application of alchemical knowledge and spagyric proces in sorceral work, this will follow as time permits.
-Nipha
1. Robert Allen Bartlett- See both Real Alchemy (2007) and Way of the Crucible (2008)
2. Agrippa, pg.94 Fourth Book of Occult Philosophy (ed. By Donal Tyson)
3. Further reading: Jake Stratton Kent- “The True Grimoire”, “Gesosphia Vol. 1 & 2”
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