The Sacrificial Universe by David Chaim Smith

Fulgur Ltd. 2012. 120 pages. Small folio. Black and white illustrations.

Available in two editions:

Standard edition:  Cloth-bound hardcover with dust-jacket. Limited to 800 copies.

Deluxe edition:  Quarter-bound leather hardcover with dust-jacket and slipcase.  Limited to 88 copies.  Sold out at publisher.

"The entire lower world was created in the likeness of the higher world. All that exists in the higher world appears like an image in this lower world; yet all this is but One." -- The Book of Zohar

Fulgur Ltd. has a unique (and crucial) role in the occult publishing industry. While most esoteric publishers focus primarily on beliefs, techniques, formulae, and philosophies of various traditions (from ancient and contemporary) -- essentially creating 'how to' books --  Fulgur Ltd. takes a far more abstract approach to the way it presents magical practice. To date, the publisher's primary focus is publishing works which explore and celebrate the esoteric in art (primarily visual art). They have published books featuring esoteric artists such as Orryelle Defenestrate-Bascule, Barry William Hale, and of course, Austin Osman Spare. This approach has recently blossomed into a full esoteric art exhibition titled "I:MAGE" held last May in London.

In 2012, Fulgur Ltd. added David Chaim Smith to their talented lineup and published The Sacrificial Universe. It is an utterly fascinating book containing artwork reminiscent of symbolic alchemical illustrations. Smith's work also appears to pay homage to the celestial, and often cryptic, artwork of Dionysus Andreas Freher (1649-1728) which accompanies the mystical texts of Jakob Boehme. Each image is like a window into the inner mechanisms of the universe, revealing how all things are possibly interconnected.

The book contains 30 full-page plates, five folding triptychs, and a quadriptych. The artwork contained within The Sacrificial Universe is stunningly unique, yet I think it is fair to compare it to Smith's style a few artists in particular. It has biomorphic/biomechanic aspects reminiscent of H.R. Giger, the structure and spiritual depth of Dionysus Andreas Freher's works (as aforementioned), and has the textual elements and diagrammatical presentation and function of the "magical machines" of Paul Laffoley. One of the most curious and paradoxical aspects of Smith's art is that he uses physical matter: organs, Alchemist's flasks, roots, horns, and other amorphous and organic forms to illustrate highly spiritual non-material principles.

The Sacrificial Universe is not written for the beginner. The book presents a highly complex Kabbalistic philosophy (or an exceedingly simple one depending on one's understanding). Those with little understanding of Qabalah (however one chooses to spell it) may have difficulty following his logic and conclusions -- but that is part of the beauty of art; even with little understanding of Qabalah one may still be able to intuitively glean esoteric understanding by Smith's remarkable artwork. Various elements and form may resonate with some readers on an instinctual or unconscious level. That said, readers will benefit greatly by having a basic understanding of Hebrew, as nearly all of Smith's works incorporate Hebrew letters into their design and structure. Thus, each piece is essentially a coded cipher loaded with many potential layers of meaning.

The book is divided into three parts:

Part One

1. The Birth of the Sacrificial Language
2. The Heart of the Matter
3. Sacred Geometry of the Serpent's Crown
4. An Ocean of Copulating Reflections
5. Mysteries of the Double Hexagram
6. The Nine Keys

Part Two

1. Penetration of the Dream Membrane
2. The Magical Language of Biomorphism
3. The All-Burning Prayer of Cognizance 

Part Three

1. The Gnosimic Verses
2. Three Seals
3. Three Aspects of Gnosis in Six Manners of Investigation
4. The Heart Adorned with the Serpent's Crown
5. A Blazing Mirror of Itself
6. Commentary on the Stages of Ideational Contemplation
7. Funeral for the Empire of Witness

This is not 'New Age' Qabalism. Smith has stated that his primary influences are Medieval Qabalistic (Kabbalistic) sources such as The Book of Zohar, The Book of Contemplation, and The Fountain of Wisdom. This makes for some heavy reading. I'll be honest and admit that a few parts were a bit beyond my understanding. I do not fault the author; he does his best to explain highly complex concepts as best he can, rather, Smith helped me discover the gaps I have in my understanding of advanced Qabalistic thought. This is not a book to be hastily devoured. I suspect it will require a great deal of study, pondering, and revisiting from serious readers as the book slowly reveals its secrets over time.  Each image is worthy of hours of contemplation.

Fulgur Ltd. has built a solid reputation for printing very high-quality books; The Sacrificial Universe exemplifies their high standards. The Deluxe version of the book is quarter-bound in beautiful, dark gray, morocco with gray cloth boards. It includes a hand-written limitation number and is signed by the author. The title is blocked in red on the spine. The cover contains a Qabalistic device (also blocked in red -- one of Smith's diagrams) which stands out nicely against the dark gray background. The book includes custom endpapers and red head/tail bands. Artwork and text is printed on heavy paper with a matte finish. Page ends are finished in silver foil lending the book a lavish look. A sturdy slipcase in matching gray cloth is also provided.

Like the standard edition, the Deluxe edition comes with a dust-jacket which has a very interesting and unusual texture -- almost rubbery.  The cover sports one of Smith's illustrations. I have always found it perplexing why Fulgur includes dust jackets on their Deluxe and slip-cased books. Why cover up a beautifully bound leather book with a paper dust-jacket? A slip-case provides ample protection making a dust-jacket superfluous. Of course one can always remove the jacket, but most collectors prefer to keep their books 100% intact. Furthermore, dust-jackets can become easily worn or torn by sliding the book in and out of slipcases. In my opinion, clam-shell cases work much better for books with dust-jackets, as one lifts the book directly up and out rather than sliding and creating friction. To minimize wear, I have chosen to cover my dust-jacket with an archival jacket protector. I prefer Brodart's Just-A-Fold III jacket protectors. They are polyester, very durable, and are 100% acid free -- see photo directly below.

The Sacrificial Universe is a must-have for anyone who appreciates esoteric art regardless of one's path or area of study. Smith's art transcends cultural barriers through the use of sacred geometry, universal forms, and natural symbolism. His works are visual journeys that take the viewer on a kaleidoscopic and labyrinthine path of inner discovery and alchemical transformation. I am in awe of his talent and greatly look forward to his next book, The Blazing Dew of Stars, to be published soon by Fulgur Ltd.

The Occult Reliquary: Images & Artefacts of the Richel-Eldermans Collection edited by Daniel A. Schulke

Three Hands Press  2010  224 pages.  Illustrated: many full-color. Quarto.

Standard Edition: Scarlet cloth with dust jacket, limited to 700 copies.

Deluxe Edition: Quarter burgundy morocco over cloth boards with slipcase, limited to 250 copies.

Special Edition: Full scarlet morocco with slipcase, limited to 100 copies.

The Occult Reliquary was created in association with The Museum of Witchcraft in Boscastle, Cornwall.  It collects for the first time previously unpublished works of occult artwork relevant to the traditions of witchcraft, ceremonial magic, and Freemasonry.  Included works are part of the Richel-Edlermans collection, a significant collection donated to the Museum of Witchcraft by the late Bob Richel of Amsterdam.  Much of this collection (over 2000 pieces) could have been lost or divided up and scattered around the world if not for Richel's decision to contact The Museum of Witchcraft for preservation.

Within this large folio one will find diagrams and illustrations of charms, magic circles, fetishes, magical implements, talismans, herbs, and full-color photos of actual handcrafted pieces.  The age of the pieces ranges from antiquity to the mid 20th century.  They were originally collected by Richel's father-in-law, J.H.W Elderman (b. 1904), who Richel described as a "heks" (witch).  He was also a Magister in a lodge of the A:.A:. in The Hague.  It is not know if this refers to the 'Argentum Astrum' or the 'Ars Amatoria', as both magical orders are represented within the collection.

The editor made the wise decision to make The Occult Reliquary a mutus liber (silent book), or a book without commentary.  Limited footnotes, titles, and index numbers are given, but by and large viewers are forced to contemplate the images and arrive at their own meaning or surmise an object's intent.  As they say, a picture is worth a thousand words -- even more so when dealing with the esoteric.  The images are revelatory for those with eyes to see.

Many images have been executed using the detail of a draftsman, with some talismans shown from multiple perspectives to clarify their meaning, design, and method of use -- in some cases almost instructing the viewer.  The book is filled with illustrations of hag stones, witches knots, protective seals, divination tools, poppets, stangs,  mandrakes, alchemical apparatuses, and fertility charms.  It is a veritable cornucopia of occult symbolism and witch-lore.

Foreword is provided by Daniel A. Schulke.   Introduction is written by Graham King, curator of The Museum of Witchcraft.  The book concludes with an index providing description and medium of each image, of which there are over 275, and 130 in full color on glossy paper.  Back and white images (scanned from the originals) are sharp and printed on smooth & high-quality paper.

The Special Edition is bound in full morocco.  The leather has a gorgeous raspberry hue and is highly textured.  It is an absolute delight to hold and exudes the usual aroma of fine leather but with additional spicy notes of tonka bean.  The cover contains a gilt-stamped lunar enneagram device, and opens to black, leather-textured, end-papers.  The spine has four raised bands and is gilt-stamped with title and magic seals.  The book is finished with red & gold head/tail bands and a black, satin, ribbon bookmark, and comes housed in a sturdy slipcase covered in black linen.

Whether you're an Alchemist, Goetic magician, Freemason, Thelemite, Cunning Man, Rootworker, or Pennsylvania German Hexenmeister, you're likely to find something of great interest among these images.  Three Hands Press has done an amazing job and has treated the subject matter with the respect it deserves.    Please also remember that these precious and important images would have been lost if not for the efforts of The Museum of Witchcraft.  So, if you're looking for an important cause in which to donate to in this new year, please consider donating to The Museum of Witchcraft here, so that more irreplaceable works may be saved to further enrich our magical heritage.