evocation table

evocation table

Sunday, July 20, 2014

The Shaman Experience


 I decided to spend the 4th of July a bit differently than I had in the past. It was one of the rare times where id did not see or hear a single firework, did not hear our nation’s national anthem or the “ohhh” and “ahhhs” of a multitude of people as bright explosions of color occurred overhead. Instead I arrived in Florissant with my best friend and his family members to attend a rare ceremony. A woman by the name of Maile Lama, was going to perform a traditional Healing and Divining Ceremony. Maile Lama is a Shaman of Nepal and had never had a formal education but was instead trained as a shaman since she was around eight years old. This woman was not an outsider curious to learn shamanism after being raised in a modern civilization, she was born into the culture and tradition she practiced. As far a “pure” magician and seer, completely immersed in a tradition this was as close as anyone could get and rare opportunity for me.
We arrived far up in the mountains in the early evening with light rain coming down. After warm greetings and introductions from the host and several other attendees, we made our way up to the top of a hill where a large fire circle was built and places to sit. Maile Lama sat next to her translator and another assistant awaiting the rest of the gathering. The shaman woman who looked to be in her early 60’s or late 50’s was introduced by the translator and the nights proceedings were explained. Before long, Maile Lama began to drum and the drumming lasted for quite a time. I kept my senses open to absorb everything I could from senses, to opening my inner vision to see if I could catch glimpses of her ancestors and helpers spirits as she called them to joint eh circle. Before long the drumming had me in deep trance and I lost track of time and what I was even doing. I saw wisps of light move around the circle, the rains and the winds seemed to calm down and I could feel the thrum of the ceremonial drum from the earth beneath me and extend through my body. From what my sense were able to communicate to my intellect, it seemed that the drumming and chanting formed a perfect cord of frequency extending beyond time and distance to link directly to her ancestors, spirits and god-forms who had helped them to bring them into that space and time in no subtle way. The rhythm, the words, the motions, the mind of the shaman all linked from, her to the energies she contacted and desired to bring into that space. IT was a language that the surrounding forests and rocks knew, it was a pattern of energy agreeable and familiar yet unique. My instincts told me there was no part of the ceremony simply for sensation or show. Each ingredient seem to bring about the desired effects in the most harmonious way possible.


The ceremony reached a climax where Maile Lama, chanted and danced around the fire pit with very intentional practiced movements. As soon as the drumming ceased the entire atmosphere seemed to hum with the same harmonious frequency, ...as if a sandbox, made with chaotic images and sculptures were shaken till all that remained was uniform smooth, and an undisturbed level of sand. Everyone seemed to mirror this same feeling as I came gently out of the deep drumming trance and looked around. At some point in the midst of the ceremony the shaman invited those in need or want of healing to come forward, one at a time. For each individual healing she seemed to move intrinsically to the correct spaces and the person responded in turn. IT was very involved and intricate, taking several minutes to complete. Her use of the ritual implements, drum, ash, incense, water, all familiar in many respects and fascinating to me. Even though I didn’t feel like I had any major health concerns at the time, I went up to receive a healing nonetheless and experience what I could. Closing my eyes and opening my senses I could feel the motions and touch of the ritual daggers, drum and ash, all making my inner sight and senses tingle and at some points I even got senses of vertigo as things seem to realign within me. I felt “lighter” afterwards with a sense of peace and very thankful for the entire experience. Offerings and prayers were made to the fire before the final closing ceremonies and the entire event wrapped up perfectly as the night deepened. All in all a very interesting and worthwhile experience for me and I was grateful for the opportunity.

Friday, December 6, 2013

The “WIZARD’S” HAT




"And now we come to treat of the Consecrations which, men ought to make upon all instruments and things necessary to be used in this Art: and the virtue of this Consecration most chiefly consists in two things; to wit, in the power of the person consecrating, and by the virtue of the prayer by which the Consecration is made. For in the person consecrating, there is required holiness of Life, and power of sanctifying: both which are acquired by Dignification and Initiation. And that the person himself should with a firm and undoubted faith believe the virtue, power, and efficacie hereof. And then in the Prayer itself by which this Consecration is made, there is required the like holiness; which either solely consisteth in the prayer itself, as, if it be by divine inspiration ordained to this purpose, such as we have in many places of the holy Bible; or that it be hereunto instituted through the power of the Holy Spirit, in the ordination of the Church. Otherwise there is in the Prayer a Sanctimony, which is not only by itself, but by the commemoration of holy things; as, the commemoration of holy Scriptures, Histories, Works, Miracles, Effects, Graces, Promises, Sacraments and Sacramental things, and the like. Which things, by a certain similitude, do seem properly or improperly to appertain to the thing consecrated."    -Agrippa’s Fourth Book of Occult Philosophy

The master of the art should have a crown made of virgin paper… -The Key of Solomon

The other materials are a scepter or sword; a miter or cap, a long white robe of linen, with shoes and other clothes for this purpose. – The Lemgeton (Goetia)


The “WIZARD’S” HAT

"How dare she!!"
I decided to add another section for magical tool/vestment creation. Due in part to a continued observance to Solomonic ritual magick and those who are interested in pursuing it in a more traditional way, and also as an enjoy jib toward a newly acquired magical acquaintance who just LOVES “overdressed over ego'ed wannabe powerful magicians!!” ;-)


HISTORY:

The mitre (/ˈmaɪtər/; Greek: μίτρα, "headband" or "turban"), also spelled miter, is a type of headgear now known as the traditional, ceremonial head-dress of bishops and certain abbots in the Roman Catholic Church, as well as in the Anglican Communion, some Lutheran churches, and also bishops and certain other clergy in the Eastern Orthodox churches, Eastern Catholic Churches and the Oriental Orthodox Churches. The Metropolitan of the Malankara Mar Thoma Syrian Church also wears a mitre during important ceremonies such as the Episcopal Consecration.”
“The word μίτρα, mítra, (or, in its Ionic form, μίτρη, mítrē) first appears in Greek and signifies either of several garments: a kind of waist girdle worn under a cuirass, as mentioned in Homer's Iliad; a headband used by women for their hair; a sort of formal Babylonian head dress, as mentioned by Herodotus (Histories 1.195 and 7.90). The former two meanings have been etymologically connected with the word μίτος, mítos, "thread", but the connection is tenuous at best; the latter word is probably a loan from Old Persian.
The priestly mitre or turban (Hebrew mitznefet מִצְנֶפֶת) was the head covering worn by the Jewish High Priest when he served in the Tabernacle and the Temple in Jerusalem.
The Hebrew word mitznefet (מִצְנֶפֶת) has been translated as "mitre" (KJV) or "headdress". It was most likely a "turban", as the word comes from the root "to wrap".
The turban worn by the High Priest was much larger than the head coverings of the priests and wound so that it formed a broad, flat-topped turban, resembling the blossom of a flower. The head covering of the priests was different, being wound so that it formed a cone-shaped turban, and called a migbahat.
The priestly crown (Hebrew tzitz צִיץ "blossom" "flower") was attached to the turban by means of two sets of blue cords: one going over the top of the head and the other around the sides of the head at the level of the ears (Exodus 39:31).
The camelaucum (Greek: καμιλαύκιον, kamilaukion), the headdress both the mitre and the Papal tiara stem from, was originally a cap used by officials of the Imperial Byzantine court. "The tiara [from which the mitre originates] probably developed from the Phrygian cap, or frigium, a conical cap worn in the Graeco-Roman world. In the 10th century the tiara was pictured on papal coins."
Worn by a bishop, the mitre is depicted for the first time in two miniatures of the beginning of the eleventh century. The first written mention of it is found in a Bull of Pope Leo IX in the year 1049. By 1150 the use had spread to bishops throughout the West; by the 14th century the tiara was decorated with three crowns.
In its modern form in Western Christianity, the mitre is a tall folding cap, consisting of two similar parts (the front and back) rising to a peak and sewn together at the sides. Two short lappets always hang down from the back.

In the Catholic Church, the right to wear the mitre is confined by Canon law to bishops and to abbots, as it appears in the ceremony of consecration of a bishop and blessing of an abbot. Cardinals are now normally supposed to be bishops (since the time of Pope John XXIII), but even cardinals who are not bishops and who have been given special permission by the pope to decline consecration as bishops may wear the mitre. Other prelates have been granted the use of the mitre by special privilege, but this is no longer done, except in the case of an Ordinary of a Personal Ordinariate (even if he is a priest only). Former distinctions between "mitred abbots" and "non-mitred abbots" have been abolished.
The most typical mitre in the Eastern Orthodox and Byzantine Catholic churches is based on the closed Imperial crown of the late Byzantine Empire. Therefore, it too is ultimately based on the older καμιλαύκιον although it diverged from the secular headdress at a much later date, after it had already undergone further development. The crown form was not used by bishops until after the fall of Constantinople (1453).

The Eastern mitre is made in the shape of a bulbous crown, completely enclosed, and the material is of brocade, damask or cloth of gold. It may also be embroidered, and is often richly decorated with jewels. There are normally four icons attached to the mitre (often of Christ, the Theotokos, John the Baptist and the Cross), which the bishop may kiss before he puts it on. Eastern mitres are usually gold, but other liturgical colours may be used.

The mitre is topped by a cross, either made out of metal and standing upright, or embroidered in cloth and lying flat on the top. In Greek practice, the mitres of all bishops are topped with a standing cross. The same is true in the Russian tradition. Mitres awarded to priests will have the cross lying flat. Sometimes, instead of the flat cross, the mitre may have an icon on the top.
Elaborately embroidered Eastern Orthodox mitre, 1715.

As an item of Imperial regalia, along with other such items as the sakkos (Imperial dalmatic) and epigonation, the mitre came to signify the temporal authority of bishops (especially that of the Patriarch of Constantinople) within the administration of the Rum millet (i.e., the Christian community) of the Ottoman Empire. The mitre is removed at certain solemn moments during the Divine Liturgy and other services, usually being removed and replaced by the protodeacon.
The use of the mitre is a prerogative of bishops, but it may be awarded to archpriests, protopresbyters and archimandrites. The priestly mitre is not surmounted by a cross, and is awarded at the discretion of a synod of bishops.”



The Solomonic Magus cap, mitre or crown.

The KoS and Lemegeton calls for a head piece to be worn during magical evocation. Such ritual attire is noted elsewhere but you get your most detailed instructions in the KoS:

Besides this, the master of the art should have a crown made of virgin paper, upon the which should be written these four names:&mdash JEHOVA, in front; ADONAI behind; EL on the right; and GIBOR on the left. These names should be written with the ink and pen of the art, whereof we shall speak in the proper chapter. The disciples should also each have a crown of virgin paper whereon these divine symbols should be marked in scarlet. 


       Note:  “Aub24 and K288. EL GIBOR is Hebrew for "mighty God". For some reason Mathers silently departs from the manuscripts, reading: "YOD, HE, VAU, HE, in front; ADONAI behind; EL on the right; and ELOHIM on the left." Ad. 10862 reads, "inscribe these four names: Adonaÿ, Jeova, Il, Gabor." Ad. 36674: "...AGAA; AGAY; AGALTHA* [In Marg: *Aglatha]; AGLAOTH." –JHP
 

The Goetia just mentions a cap or miter which can be your standard linen Catholic Miter (mitra simplex), Jewish turban miter, or probably any significant clerical headdress of the western granted that it’s white and should be of a similar material composition as the robe.
A great way to utilize the holy names from the KoS and personal headdress style is to choose a portion of white linen or silk material (possibly the same that was used to make your robe) and attach (sew) the parchment crown to the base of the material.

So to create this magical headpiece vestment you would want to first select a piece of parchment and consecrate it towards its use. Measure the circumference of your head and allow a small bit of extra space and get an idea of where you would like the crown/miter to sit on your head. You can experiment a bit with this by using regular paper cut into strips to get it right before cutting the parchment. Once you have the length, space out the holy names to your liking so they evenly reflect the front, back, and two sides of your head. I use the red cinnabar ink that is useed for magick sigils and holy names for my BOS separated by black crosses with the black ink. This forms a nice little “magic circle” directly around your most centered and important magical tool. You’ll obviously want a bit of extra material so you can attach (sew) the parchment together making small holes and perhaps using a bit of white or red silk thread. However…if your adding the silk or linen headdress piece, don’t sew it together quite yet.

The next part will be to decide what sort of magician or wizard hat you want to have. The classical cone shape is easiest and can be seen with good examples of the “conjures” found in Esoteric Archives and included in the front of Peterson’s Lemegeton book. It’s your classical wizard’s hat with the conical shape and buffer brim near the forehead. There are two basic ways to make this one: 1. Simply cut out a triangle with the base measuring just past (enough to sew) the measurement of the length of your crown parchment. The length can be about any you desire, although I think it looks silly if it is too tall. About 5 to 7 inches is plenty and will give it more height than you can initially tell. Once you have this, simply fold the fabric in two and stitch up one side of the length. 2. Cut two pieces of fabric the base of which measures half the length of your original parchment and sew up the two sides of the length.




















Another version you can use is almost like the chef’s hat or turban where it puffs out on the sides. This one can be a bit more complicated to sew in order for it to look nice, but the best way I’ve found is to cut several small triangles together so that they form a natural dome around the top and once that is done, sew the top together. Don’t forget to turn the fabric “inside out” so that the proper shape can be seen with the rough sewn edges hidden in the inside of the hat.
Once the basic pattern for the linen or silk is sewn, you’ll want to attach it to the parchment crown in two ways. First, you’ll want to sew or otherwise attach the crown with a small part of the fabric of the hat showing at the bottom. Next, you’ll want to sew the top fabric part together, do one more check on how it will fit on your head, mark it and then sew the fabric and crown “ring” together. The last part will be to sew or attach the small piece of fabric around at the very bottom part of the sharp parchment crown to create a soft buffer.

 










There! Your basic Solomonic magical hat is complete! If you so desire, you can also attach lappets or strips of material 2-3 inches wide and roughly a foot long on the back. To do this you would want to sew them directly to the parchment and material if possible. Tassels can be added on the end for the complete fancy show. As most of you have seen, I added the All Seeing Eye to my first miter and also the planetary and astrological sign symbols to my lappets on the underside, and additional Hexagrams of Solomon to the backs. All personal touches and not needed. I advise consecrating the magical hat when it’s completed in addition to anointing the forehead before serious magical operations as these further sacraments will only further the “fire in the head” that is generated by the ceremonial magician.

Thursday, November 21, 2013

Stepping into Spirit with Keys in Hand












When your entire being is dedicated to the work of conversing with beings your conscious mind attempts to convince you do not exist, your impassioned -Will- breaks through the mental murk into silence. Here you will behold divine consciousness brought to form. Here you will entreat yourself with angels seen through Gateways of a clear stone, within a circle of unshakable truth...

I'm quite familiar with Joseph C. Lisiewski's work having read ‘Ceremonial Magic and the Power of Evocation’ several times through during the course of pursuing traditional methods of evoking the Goetia demons. I also have the sequel 'Howlings' along with his books on Kabbalah, etc. he definitely does some ground breaking work and has set the tone for the veritable practice of ceremonial magic. Many of his axioms and findings have rung true in my own work with some exceptions... His strict adherence to pseudo-religious dogma and ideals in some instances have created some of the backlash he speaks about not only after magic ritual but in his professional and personal life as well in my opinion.
 The author has a determined albeit narrow acceptance of how "things should (or will) work". In some ways he is the polar extreme to the fluffy "new angers" who have no real experience or know how in magical matters to begin with. I continue to have "mixed" feelings on his works but appreciate his efforts overall and acknowledge the genuine account of experience which seems to coincide with my own.

It's difficult to find occult books which relate -actual- successful experience working with the grimoires which is why I decided to begin writing. However, excellent and organized works on grimoires are abundant these days with authors like Stephen Skinner and Dave Rankine, Joseph Petterson, Aaron Leitch's "Secrets of the Magickal Grimoires" is a great primer for actually working these historic texts. If you want to read about actual accounts of those who have practiced historical ritual magic, I also suggest reading John King’s Imperial Arts for the Lemegeton’s Goetia, works by Frater MC, and Jake Stratton-Kent for intelligent relation through discerning experimentation. Each author had a differing philosophy and take on ceremonial magic as a whole, but each has valuable insight.

There are many novice magicians who are hoping to simply encounter a spirit or experience one genuinely and are drawn to ritual/grimoiric magic to accomplish this for them. (This was my initial motivation) Although possible, I believe one can and rather should experience the spiritual and/or divine prior to attempting conjuration. There are a few ways to achieve this but each is a locked door that can only be opened under specific circumstances suitable to the mind of the magician.

The dynamic interaction with spirits that are ‘physically’ apparent and audible, etc. is a major metal/emotional/spiritual shock to most adults who have continually structured their reality paradigm (most likely to counter these types of experiences). As a Psychology student and Hypnotherapist, the event is simply not supported well by most individuals and the mind will immediately construct an alternative to such a blatant occurrence. Not only that but I am convinced of a spiritual “moderator” who is able to determine just who and to what degree these spiritual events can actually be witnessed.

Many if not most will never experience what Lisiewski describes even if they follow his instructions to a tee because of these factors that he fails to mention or is simply unaware of. You can only “Subjectively Synthesize” yourself so much. Some simply do not have the capacity/aptitude to behold spiritual phenomena to the degree he describes (Their psyche cannot or will not support such an event). I know this due to my own experiences of trying to include others in events that confused and bewildered them and for which they were unable to process mentally/emotionally. It’s simply not time for some minds to be awakened to the worlds behind the veil.

After some of the more intense encounters, my rational, conscious mind tried to debate and conform my memory of the experience into a more acceptable framework of its constructed reality. I had to meditate often to cease the battle for acceptance going on in my own head.

My experience is such that I can state now that what Lisiewski describes and explains many times does in fact exist and occur. Yet, I also know from not only schooling but from conversations with spirits directly that not everyone perceives them (the spirits) the same way. No matter what the ritual, things still filter through the levels of human consciousness, perception, and frameworks of comprehension.

From the altar space is cast the inner reflection of the divine soul in hope, union, communion, and awareness..... This space, for you my lord, my ascendant, my mind, and heart to the heavens. Let Thy light and mind show the wonders upon this place, ...and by this grace be with me always.

The secret does truly lie with the K&C with your HGA.
 Nephilim Press will also be publishing my personal experience and take on this matter soon. I hope you who decide to purchase this work will enjoy the revelations shared by me as well as several other great magicians. Without going too far into the subject matter that the book contains, I believe true union and conversation may only occur through a very dynamic and precise magico-religious shock which initiates a dissolving of the ego, and mental perception of reality and self, that allows true awareness of that which is not created in/by the restring mind.

Some of these major locked doors I alluded to previously can only be unlocked in this fashion. Many do not come to opening their eyes to the spiritual after a rather traumatic and intense event which shifted their awareness, and dissolved long held patterns of acceptability. There is no smooth road to this for anyone wishing to step into the unknown.
The purely psychological model concerning the ‘reality’ of spirits was popular for quite some time. Although I understand completely their reasoning behind this theory my experience has shown me otherwise even when I began evocation and ritual magic from this standpoint myself.

Spiritual beings are completely distinct from human consciousness although, human consciousness, and compression are the filters used to perceive them. They have their own motivations, machinations and purposes. Many exhibit knowledge and traits that people do not have (even collectively) and are not simply, "psychological" aspects of the deep human unconscious.

Like I mentioned, I tried to adhere to this school of thought when I began in my teens, but one I was forced to abandon after evoking a spirit to complete manifestation......I realized that my personal psychology was desperately trying to accept and comprehend the reality of the situation, rather than formulate it. I was also completely aware that the actual being before me was beyond my comprehension and complete understanding. I find people of the purely psychological side of the fence have never undergone this type of experience before.

I get rather amused at those who associate the Goetia spirits to "personifications of human dark or instinctive psychological, etc. natures". The demons are aware and well-disposed if not 'versed' in these aspects of humanity but they go quite beyond that. Their abilities and knowledge transcends anything that has to do with any of these simple ideals. Such as causing earthquakes, storms, and other such phenomena.
They definitely affect and move within those passionate and exploitative aspects of humanity however. That’s how spirits and such typically work with us...magic and influence works on each subtle level through the astrally dynamic.

Fairly recently I heard ceremonial magic, ritual magic, and evocation/invocation defined as "artistic self-analysis".
Psychology was my major in college. I’m a certified hypnotherapist and spent a lot of time in the psychotherapy field. I definitely see how psychology relates in trying to decode magical workings but does not determine them by any means, just as they do not determine the machinations of the spirits.
Our interactions with formless-consciousness (entities/spirits) are always colored by our culture, language, mind, concept perception and framework of reality acceptances which we possess in the mind. Spirits tap into this and relate in ways our minds can actually accept and at least semi-comprehend.
No spirit needs to “look” like anything but they are themselves as real as anything else beyond perception……the psychological aspects placed on them aren’t necessarily false imaginings per say but they aren’t complete either. This is the reason magicians utilize ‘road-maps’ in order to work with the relative or apparent “chaos” of the spiritual world since it is so different than what physical humans perceive it as. These "road-maps" of course, are the tried and tested methods and/or 'traditions'.

Certain spirits, angels, ancestors, guiding spirits etc, can actually...fine tune (attune) our perceptions and abilities to perceive and converse with them better. Thus we are able to integrate their gifts (shared knowledge) so that we can actually see, comprehend, and do things we were unable to previously. Often, I didn't notice all I was learning or being gifted with till afterward.

Relationship is a key concept here with many magicians having their own beliefs about what is deemed as “appropriate” or most beneficial.
Working with the Almadel angels, seemed to naturally open up my ability to actually call other angels and spirits into crystals, etc better so I could see and hear them better where I couldn’t before, as well as do this for others...I’m pretty sure they (the angels) did this for me even without me consciously realizing it.
After one of our evocations, my scryer who is not a ceremonial magician, reflected on how he perceived the magic within the magical circle and during the operation. He said, “Once you begin the ceremony, you seem to create some sort of a vacuum, where the very atmosphere changes and whatever you invoke rushes to the circle, in an instant. It’s amazing!" He also spoke about how the structure and timing seems to get everything aligned and working toward the intended purpose. This made me smile, as like with many things, when you've been doing it for a while, you tend to forget just how incredible ritual magic is and how well it can work under the right circumstances. Once certain actions “click” on the spiritual as well as physical side of things, the incredible phenomena will be obviously apparent.

As I've stated several times now, its been quite enjoyable getting feedback and outside perspective from someone who is not integrated into the mechanics of Western Ceremonial Magick. The magic works whether you believe it will or not or even know what it’s about...

Without acquiring this link or some sort of ‘Spiritual ambassador’, it’s practically impossible to truly be let into the “club behind the veil’. It’s the reason why many if not most people can go about oblivious to an sign of the spiritual, intelligence…pattern, and design. If we find the correct way to ‘ask’, certain spirits can help us find the correct way to ‘see’. Its training the eye to see the 3D picture from a mess of dots...only, in reality, the dots are there to assist, if you ask

The work continues with new lessons and completely amazing achievements through the celestial powers... There is an extension of soul through which the angelic powers clear the way for clearer realization of full and destined potentiality.
I’ve been asked the question: “When angels or spirits, speak to you, what does it sound like? Do you hear them in your mind or are they actually speaking aloud?”

My response is that it seems to be all of the above and will sometimes seem to alternate without warning. 


Indeed the most confusing aspect of hearing spirits (when reflecting on it afterward) is the sense of distance/location when they are speaking. More often than not, when the spirit has either appeared or made it’s presences known, I will hear them in a way comparable to wearing high-grade earphones where no other sound, acoustics of the room, or any other factor seem to affect their voice. At times it sounds as if they are speaking directly into my ear. At other times their voices sound faint and removed as if they were a long way off though appearing right in front of me. Angels especially seem to communicate running words, visions, sensations and images together in a seamless and rather perfect way.

After a successful evocation, I am often confronted with the realization that my limited capacity to understand what was communicated to me is hindering me to comprehend the larger picture. Conversing with intelligences that definitely have higher methods of exchange seem to break things down in order for human (conscious) comprehension. Luckily, I believe human beings (at least certain ones) are able to tune into a wide variety of communication methods depending on their capacity and frequency in exposure. As a combined variable, the disembodied intelligences or powers can assist the mage greatly to bridge this chasm of dimensional communication. Exactly how and in which ways, or under what circumstances this is decided, I’m not completely sure of. It is not solely based on “attitude” or extreme piety/humility though I can say that. I have conducted evocations in sour moods where I practically expected to fail, all to have the spirit (usually angel) surprise me with a remarkable visit that seemed rather ..undeserved.

Friday, October 11, 2013



Nephilim Press has released the fine, vellum bound edition of
Gateways Through Stone and Circle.

This hand bound, fine edition book is bound in full Imperial Vellum by master bookbinder Joel Radcliff at Ars Obscura Bookbinding in Seattle Washington. This edition is limited to only 20 hand numbered copies at a price of $350 per copy. To purchase your copy please send an email to frank@nephilimpress.com and we will confirm availability and send you an invoice.
Vellum is parchment made from calf skin, as opposed to that from other animals. The term is sometimes used with a more general meaning referring to finer-quality parchments made from a variety of animal skins. It is generally smooth and durable, although there are great variations depending on preparation and the quality of the skin (there will be slight imperfections in the skin left over from the scraping of the hide, this is normal). The manufacture involves the cleaning, bleaching, stretching on a frame, and scraping of the skin with a crescent shaped knife. To create tension, scraping is alternated with wetting and drying.

Place Marker Ribbon

There is also a maroon place marker ribbon inserted in the book. Hand Marbled Endpapers

This edition also has hand marbled maroon and gold end papers with gold flake particles that sparkle brilliantly in the light.

Leather Skiver
A blood red leather skiver is affixed to the spine and stamped with gold foil. The spine itself has raised bands with gold foil outlines.