 rossed
keys
michael cecchetelli
/
rouge edition unlimited paperback edition
£15 plus postage
Crossed
Keys is a chimeric binding of both The Black Dragon
and the Enchiridion of Pope Leo III in a fresh translation by
grimoire magician Michael Cecchetelli who was compelled to undertake this
work in unorthodox circumstances.
They
are complementary grimoires, spanning the very earliest example of the
genre to the late bibliotheque bleue period.
Together they comprise a wealth of spells, spirits, lore, talismans and
psalm magic, with their head in the highest heavens and their feet in
the deepest hells.
This is the first time they have been bound into one volume.
Extensively footnoted, the seals
corrected re-drawn and restored, with excerpts and workings from the translator's
magical record, this is a well armed and practical text which throws light
on the Grimorium Verum, Red Dragon and Grand Grimoire.
It is a vigorous text, designed to be put to use.
The Black Dragon draws heavily on the 1760 (1810) Grimoire
of Honorius, which is significantly different to the 1670 edition
and the earlier 13th century Sworn Book of Honorius (Liber Juratus)
which is an ancestor in title alone. The spirits referenced are therefore
those we find in the Grimorium Verum and the seals have been
corrected in line with the research of Jake Stratton-Kent as presented
in The True Grimoire, (Scarlet Imprint 2009). The original seals
are reproduced for comparison.
In common with many of the Bibliotheque bleue texts The Black Dragon
is a pastiche, but one which is clearly more than the sum of its parts.
The illuminating preface to the text is not found in any other grimoire
sources and evinces that this was the compiled book of a working magician
drawing on the available material of the day.
The operating system bears similarities with that of the Red Dragon
but the cleft stick is replaced with the stang. Yet this is no simple
treasure hunting manual. The magician is promised the power to subjugate
all the infernal forces, - quite a formidable boast.
We find many other elements of cunning craft in these pages including
the toad bone, black cat bone, horse secrets and traditional spells for
good and ill. The black hen and main de gloire are present and there is
a notable use of an unusual form of the magic mirror.
It is a fascinating collection of miscellany which though seeming late,
cut-up and corrupt has benefited from a fresh translation to be revealed
as a text in and of itself.
In contrast The Enchiridion of Pope Leo III is an early grimoire
and a work of nominally Christian magic. Legend suggests that it was presented
by Pope Leo III to Charlemagne and was responsible for his worldly success.
A suitably disputed date of 1523 is given to its production.
The Enchiridion is referred to repeatedly in The Black Dragon
and elsewhere in the grimoire tradition where the penitential psalms are
required. It is important for us to understand the mindset of The
Enchiridion if we are to understand the grimoires.
This text was much in vogue in the court of Louis XIV and the circle of
Madame de Montespan in the affair of the poisons. It continues to circulate
in the French speaking world today, which speaks of its enduring virtue.
Through the use of talismans, psalms, orisons and efficacious charms the
reader is able to triumph over a multitude of ills. This is the magic
of the Old Religion of Europe, that is, Catholicism.
Though the more diabolically inclined of our readers may be righteously
appalled at the pious nature of the language, this is an important part
of our magical heritage. The methods employed are those of paganism, and
the liturgical approach suggests creative uses of our own holy texts rather
than being yoked to those of Christianity.
In illicit combination with The Black Dragon, we have delivered
up a bastard with papal blood in its veins, which promises to place in
your hands the keys to both heaven and hell.
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