The Grimoire of Armadel
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the Grimoire of Armadel
There was a problem filtering reviews right now. Please try again later. I love the Angelic sigils in this book. They spoke very loudly and deeply to me the moment I saw them. After working with them, I believe they are linked to the different personality types of the spirits, and the specific insights they teach, which I find very enlightening and refreshing.
This is not an instruction book on magick, nor is it something you want to dabble with if you don't know what you're doing. It is rather short, and non descriptive of the operation. As speculated by many others, it could possibly be either incomplete, or just 1 volume of a much bigger work that never got translated, or even found for that matter. However, I also think it's possible that it could have been designed for the experienced practitioner who knows how to read between the lines.
Or perhaps even a personal grimoire of a magician who never thought it would ever actually be published for everyone to see centuries or more later. Ofcourse that is all just me playfully pondering something I find fascinating. I highly recommend this little gem for practitioners, or collectors of old grimoires. I love this text, but this edition doesn't do justice to the sigils, which are originally in color and segmented, so it is impossible to tell where the colors stop and start in this black ink edition.
Also, no attempt to really tease out the incredible connections to other grimoire manuscripts.
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Seems like a very lazy reprint. If you want it for the content, it's an OK copy. But another weird thing about it is that the page order is wrong, almost reverse of other versions. I have decided to quote a paragraph or two to share what I have discovered. We can hopefully anticipate the eventual discovery and publishing of a more fresh translation from a currently unknown German version.
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However, few have ever gazed upon the sigils and characters found in the Grimoire of Armadel and not marveled at them, even though the ritual lore to activate them is extremely sparse, and there seems to be no way to actually use any of the sigils and characters without recourse to other materials. The Grimoire Armadel probably has its origins in the late 17th to early 18th century, and represents the last flowering of this tradition. Eventually, the grimoire was discovered languishing in that manuscript collection over a century later by Mathers, who immediately saw its value and translated it.
Who originally owned the manuscript, how was it produced and where did it come from? These questions will never be answered. This should not devalue the importance of this book, since it can be reasonably shown to be part of a historical context that occurred at the height of the great age of grimoires.
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Where the 16th century established the foundation of the tradition of ceremonial magick, the 17th century saw it become refined and developed into a form that we would recognize today. Most of the grimoire manuscripts that exist in libraries in the present era are from the 18th century or later, when such books were copied and translated as a sort of clandestine industry for wealthy collectors and amateur practitioners.
An examination of the Grimoire of Armadel shows that it suffers from some disorganization, since the chapters follow no observable order. In fact the title page in the original manuscript is at the end instead of the beginning, leading some to speculate that perhaps the book was written from back to front. However, the order of chapters for the first two chapter groups is not important, since each of them can stand alone with their associated spirit name and sigil, offering revelations and visions with their use that are unique and distinct. Most of the chapters are concerned with highly obscure Old Testament mysteries, but there are some New Testament mysteries presented as well.
It has been said that this grimoire is somehow more Christian than other grimoires, but I find that opinion to be superficial, since there are many grimoires that are Christian based, such as the Ars Notaria, Liber Juratus, Arbatel, Grimoire of Pope Honorius and numerous others. The infusion of Qabbalistic concepts into this grimoire would show that it had a blending of Jewish and Christian elements, but like many of the grimoires from that time it was produced by and for Christian ceremonial magicians.
One could also assume that the would-be practitioner engaged in special rites of purification, atonement, and receiving the sacraments of the Mass, although this is not specifically stated. The array of spirits found in this grimoire demonstrates the varied mixture of traditions that were plumbed to fashion it.
There are also spirits associated with the Hebrew letters, from Aleph to Tet for the numbers 1through 9 and two previously unknown archangels. In addition, sigil characters are found for five infernal princes, Mephistopheles spelled Hemostopile , and two possibly unidentified goetic demons for a total of eight altogether.
The operator is instructed to steadfastly refuse to be seduced or deceived by the infernal spirits, seeking only to achieve the knowledge associated with the sigil characters. It is interesting to note that the archangels listed in the first book also number eight, and they may have been used in conjunction with the eight demonic spirits, functioning as a type of magickal controlling device. In all, there are thirty-seven spirits, not including the three groups of spirits associated with the Paths of Wisdom, which would then combine to make the mystic number of Five demon princes listed in the grimoire may have been culled from the Grimoire of Pope Honorius, which was a German grimoire dated from the early 17th century.
Mephistopheles would also fit into the context of German grimoires, most notably, the Faustian branch. The demons Brufor and Laune are of unknown derivation, but Brufor could possibly be Brulefer, which was a demon found in the Grimoirum Verum.
The Grimoire of Armadel
Most of these demonic spirit names demonstrate an ultimate German context for the Grimoire Armadel. It would seem that these sigil characters are used to consecrate the altar and magickal tools with some kind of empowered chrism, but the directions are torturously obscure.
The rest of the sigils and sigil characters are associated with one or more spirit and some mystery or vision. Since all of the spirit names are taken from other magickal traditions, it would seem that a simple activation of this system would likely require the invocation of the spirit and the inclusion of the special sigil or sigil character, acting as a mechanism to aid the magician in acquiring some extended vision or specific occult knowledge.
Thus the operator would have been required to be knowledgeable and have in his possession copies of the Heptameron, the Arbatel and the four books of Occult Philosophy of Agrippa. The magician would very likely perform invocations of these spirits and have access to them before actually activating the sigils and sigil characters of this grimoire, although this is speculation on my part — the invocations may have been performed as part of the working.
The magician would also have been expected to know the Bible in a very intimate manner, perhaps indicating that possessing a printed copy of the Bible would also have been a requirement for this system of magick.
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This fact would have also determined the location of the source of the grimoire as Germany or possibly England or the Netherlands , since mainstream Catholics were forbidden from owning or reading the Bible, unless they were clerics or church doctors. The actual sequence of operational steps associated with this grimoire are somewhat difficult to fathom, since the layout of the chapters appears to be jumbled and out of sequence. However, since the title page is at the end of the manuscript instead of the beginning, one could consider this as a clue to the actual operational sequence of the grimoire.
As noted previously, a few critics have said that the order of the chapters is completely reversed, with the ending chapter actually the first chapter, and there is some merit to this speculation. The following sequence of chapters is based upon my own analysis and should not be considered the final word. Characters of Michael - basic preparations — fasting, initial prayers, special considerations. First Character - where the operator fuses himself into the working by applying his initials to a character that is produced on parchment and worn under his vestments near his heart, acting as a kind of phylactery.
Vision of Dust - Raphael and Pelech as Jesus — possible reference to the receiving of sacraments as a means of establishing a high degree of piety. Concerning the Paths of Wisdom — consecration of the temple, vestments and tools. These sigil characters are used to aid the magician in achieving the grace necessary to perform the work — extracted from the end of Book II 6.
Preparation of the Soul — parts 1 and 2 — consecration of the magick circle. One would have to borrow an example from some other grimoire, since there is no image of what that magick circle would look like. Conjurations — first and second, and the license to depart. In addition, there is a character sigil for the operation of Uriel Seraphim, which would seem to be the foundational operation for the working. This character sigil is found at the very beginning of the book, before the introduction — there is no accompanying text to reveal its purpose or use.
Perhaps this indicates that Uriel Seraphim is the key to this system of magick, and that the magician should invoke Uriel Seraphim using this combination of character sigils. There are also sigil characters representing the other seven archangels found in the first and second books yet the sigils are different than what is displayed in those books , so these would also be included.
It may be that this large array of sigil characters, with a triangle in the lower center, would have been possibly placed in the center of the magick circle, acting as a powerful protecting and empowering mechanism. There are also words of power or evocation placed on both sides of the triangle.
The one on the left uses the archangel name Michael, and the one on the right, Gabriel. Special notice can be given to the fact that the normal operational steps of constraining and binding the spirit are omitted. It is my opinion that since a classical invocation has already been performed, these steps would not be required to activate the sigil characters.
Another minor anomaly is that the name of the archangel Gabriel is shown in the grimoire three times.
Talking About Ritual Magick: Grimoire of Armadel - A Curious History and Enigmatic Use
The archangel Michael is shown twice, as is Zadkiel and Samael. Yet all of the sigils or characters used in the repetitions are different. If you do want further information, I found this blog post to be more enlightening than the introduction in the book itself. Ayla rated it really liked it May 03, Austin Case rated it really liked it Jun 07, Brian Mccall rated it liked it Dec 20, Mark Mirabello rated it liked it Apr 29, Mac rated it liked it Apr 25, Tonya rated it it was amazing Jun 23, Darren Mitton rated it it was amazing Oct 01, CameLia MihaeLa rated it it was amazing Aug 11, Ellie rated it really liked it Jun 17, Ianmiller rated it it was amazing Jul 10, David rated it it was ok Aug 25, Mina rated it did not like it May 29, Evelyn Esquivel rated it liked it Feb 10, Frater Lavatio rated it really liked it Sep 12, Albert rated it liked it Feb 10, Colter Davis rated it it was amazing Dec 31, H A rated it liked it Jul 28, Madeleine rated it really liked it Dec 28, Amanda La rated it did not like it Aug 23, Gblfxt rated it liked it Aug 16, Babalon rated it really liked it Apr 02, Aaron Meyer rated it liked it Jan 10,