The Toadman by Nigel Pennick

Society of Esoteric Endeavour  2012.  130 pages.  Illustrated (some full-color).
Duodecimo (Twelvemo) square/landscape (6.5" x 7.5").

Copies No. 1-33: Half-leather, coloured endpapers and a doublure panel of hand marbled paper.

Copies No. 34-150: Quarter-leather, standard marbled paper endpapers.

As of this writing all copies are SOLD OUT.

I've had numerous requests to review this title, so here it is, dear readers -- The Toadman.  Since its release The Toadman has garnered a fair amount of buzz among certain circles, all of it warranted.  The Toadman's author, Nigel Pennick, is no stranger to folk magic traditions.  He has written a impressive number of books with topics ranging from geomancy to runic languages, and from sacred geometry to animal guising.  The subject matter of The Toadman is a controversial one, particularly in modern times.  Pennick is quick to point out in the book's introduction that he is apposed to animal cruelty stating, "The author and publisher totally disapprove of any and all cruelty to animals and respectfully request the reader not perform any of the cruel activities described in this book."  He continues to add that that tile is for historical exploration only.

No, that's not a cigar...

On this point Mr. Pennick and I are in complete agreement.  Poor treatment of animals may have been an accepted norm in earlier times, but it is totally unacceptable now.  While it certainly makes for a fascinating study, it is nonetheless an outmoded practice that has no place in contemporary society.  Considering the wide variety of alternative practices available to folk magic practitioners today (not to mention virtually endless proxy devices) such practices are unjustifiable.  Animal cruelty is the tell-tale sign of dysfunctional children, not magicians.

This brings up the larger subject: sacrifice.  Please allow me a slight digression:  As a meat-eater, I would be a hypocrite were I to state opposition to the slaughter of animals for human use.  However, I believe this must be done in a humane way and one where the entire animal is used (as apposed to killing an animal solely for its dorsal fin or gallbladder).  Recently a conjure man in the American south became the subject of intense controversy after he burned a rooster alive as part of a Palo ceremony (or so he claimed) and cited religious freedom as a defense.  Other  traditions dealing with spirit veneration, like Santeria, Vodou, and Hmong ancestor worship are known to sacrifice chickens too.  However, it is done quickly and humanely (likely better and more respectfully than most chicken slaughterhouses).  After the ceremony the chicken is usually eaten.    This is entirely different than intentionally causing severe pain and suffering, as in the aforementioned conjure man's case.

This kind of thinking, that is, the ritualistic use of intense pain, is similar in many ways to the beliefs of the Kanaima witch-doctors of the Amazon.  For the Kanaima, pain and suffering is inflicted as an offering.  Those unfortunate people who become victims of the Kanaima experience an unimaginably painful death.  Their rites make the Toad Bone rite look like child's play.  My response is this: does the world really need more pain?  For more on this subject I would highly recommend the books Dark Shaman: Kanaima and the Poetics of Violent Death and In Darkness and Sorcery: The Anthropology of Assault Sorcery and Witchcraft in Amazonia, both by Neil L. Whitehead.  Sadly, Professor Whitehead passed away just last month.  He will be missed.

Back to the book...

The Toadman mentions various folkloric and medicinal uses for the toad bone and toad stone in Toadmanry.  The author also explains how Toadmanry had much in common with other rural fraternities, like the Society of the Horseman's Word.  However, the book deals with far more than just physical uses for toads; it also explains in-depth how toads were used symbolically, particularly in alchemy.  The toad was believed to symbolize the First Matter.  Toads were also meant to represent the black phase of purification, also know as Caput Corvi (Crow's Head).

Pennick also touches upon how toads played a part in shape-shifting lore. Witches were sometimes believed to have the ability to turn into toads or have toads that served as their 'familiars'.  The author examines a general belief associating toads with diabolical powers or representing sickness (warts) and impurity.

The book concludes with a number of appendices.  These include a discussion of the potential origin of the Toad Bone rite and the exploration of other toad rites from around the world including Obeah, Gypsy magic, and Hoodoo.  The Toadman is heavily footnoted throughout.  Pennick, ever the scholar, also provides an extensive bibliography.

The sections are as follows:


Introduction
Frog and Toad Symbolism in Alchemy
Shape-Shifting as a Toad, Toad as a Familiar
Traditional Medicine and Toadmanry
The Bone
Secret Uses of the Bone
Rural Fraternities: Toadmen and Horsemen
Horse Stopping
The Word, The Whisper and the Devil
"Have you seen the Devil"
The Travails of Toadmanry
Putting the Toad on Someone

Appendices
1. Bones in the Shoemakers Legendarium
2. The Miller's Word
3. Some Toadmanry in Obeah, Hoodoo and Conjur
4. Other Bone magic and English Horse Skull Performances
5. Speculation upon some Roots of Toadmanry
6. The Examination of John Walsh

Footnotes
Bibliography
Credits

The copy reviewed here is one of the 33 half-leather editions.  The publisher offered an optional slipcase or slipcase and chemise combo.  The latter is exhibited here.  The book is bound in half-toadskin.  Australian Cane toad was used, as it is a destructive and invasive species on that continent.  For those wondering what toad-leather feels like:  It is very pliant, soft, and far thinner and delicate than standard leather.  Its characteristic warty texture begs to be touched and understood, like some kind of witch-Braille.  It is relatively odorless -- just a hint of a leathery scent. Boards are covered in rich hunter green linen.  A burgundy goatskin label with title and author blocked in gold adorns the cover.  The spine has a similar goatskin label.  The goatskin provides a smoother surface for the title, as the toadskin is highly textured with warts.  Each book is blind blocked with a little toad device somewhere on the book (each copy is different).  This copy happens to have two (note one right above cover title in photo).

The book opens to fuchia endpapers and a doublure panel of hand marbled paper made by Anne Muir Marbling Ltd.  Incredible stuff.  The marbled coloring has an appropriately batrachian color scheme consisting of three shades of green, fuschia, and umber beautifully brought together in a pattern resembling pond scum or clusters of frog's eggs.  The paper is an ivory color with evident texture not unlike some watercolor paper.  The texture is nice; however, I feel the paper may be a bit too absorbent to handle heavy full-color images.  The ink tends to give these pages a slight ripple.  There is no bleeding evident, though the image resolution appears somewhat soft.  Still, the use of full-color is appreciated.  Ivory head and tail bands blend seamlessly with the pages and thus do not distract from the man attraction, the toadskin binding.

The slipcase (optional) is wrapped with matching hunter green linen and matching hand marbled paper.  The interior is fully lined with soft burgundy felt to lessen surface abrasion as the book is slid in and out.  The chemise (also optional) is an unusual but very welcome additional feature.  It is shaped somewhat like a clam shell.  Its construction is the inverse of the book.  Instead of sporting a toadskin binding and goatskin label, it has just the opposite, a goatskin binding and toadskin label.  The title is blind blocked upon the toadskin.  It's a bit hard to read due to the warty texture of the leather, but still a nice touch.  The chemise also includes a blind blocked toad device randomly stamped on its surface.  The inside of the chemise is lined with matching marbled paper and burgundy felt along the seam to protect the toadskin binding of the book.  When held inside the protective chemise and slipcase, The Toadman is completely protected from all sides.

The Toadman is an absolute treasure.  It is perhaps one of the most uniquely bound contemporary books I've had the pleasure to hold.  It is no wonder it has been met with such enthusiasm.  It is the most unusual presentation of Toadmanry lore since the extremely limited Grimoire of the Golden Toad by Andrew D. Chumbley.  The Toadman is both a stunning object d'art and the last word on toad magic.  Thanks to Nigel Pennick and Ben Furnee at The Society of Esoteric Endeavour for creating such a delightful oddity, a book fit for a cabinet of curiosities.

The Red Church or The Art of Pennsylvania German Braucherei by C.R. Bilardi

Pendraig Publishing  548 pages.  Black & white illustrations.  Octavo.  2009

Standard Edition:  Trade Paperback

Special Edition:  Hardcover, limited to 100 copies.  Includes personalized himmelsbrief.

The Red Church or The Art of Pennsylvania German Braucherei: The Traditional Blessed Healing Art for the Good of Man and Beast is a massive collection of charms (both verbal and written), prayers, formulae, herbal lore, folk medicine nostrums, and other magical operations that fall within the Pennsylvania German charming tradition known as Braucherei (pronounced BROW-ker-eye; meaning, to try).  It is also commonly called 'Pow-Wow' from the Algonquin word 'Pau Wau' which was used to describe medicine men or spiritual leaders.  The Red Church is one of the most comprehensive collections of Braucherei practices ever assembled and is arguably the most important book the tradition has seen since Lee Gandee's 1971 autobiographical classic Strange Experience: The Secrets of a Hexenmeister.

Author Chris Bilardi, a recently ordained Pastor of the Lutheran Orthodox Church, begins the book with a thorough history of the tradition and the rural culture in which it developed.  Bilardi isn't just a historian, he's also a Braucherei practitioner, known as a Braucher or Pow-Wow Doctor (more sorcerous types are sometimes called Hexenmeisters).  His stated goal is to preserve this rather obscure folk magic tradition and dispel misconceptions that have arisen in recent years.

One such misconception is the tenancy for some to erroneously link Braucherei to Pagan traditions.  He believes the Paganizing of Pow-Wow by modern revisionists obscures the tradition's basic tenets and threatens its historical authenticity.  There is a legitimate Germanic Pagan practice found in Pennsylvania called Urglaawe (pronounced OOR-glawe-veh; meaning,  primal faith), but it is distinctly different from Braucherei, as Braucherei is essentially a Christian folk magic system.

It is true that there has always been plenty of cross-pollination within folk magic traditions, and some Braucherei charms can be traced far enough back in European history to possibly have Pagan roots, but the tradition itself and its core belief structure are solidly Christian.  Brauchers believe that their power does not originate within them; rather, they are conduits of Divine force.  This is why when asked if they can help or heal someone they simply respond, "I can try", as ultimately it is not up to them; it is up to the Divine.

It's understandable why Bilardi is protective of Braucherei's heritage considering it nearly disappeared completely during the early 20th century due to the highly sensationalized 'Hex Murder' case in 1928.  What remained went underground.  Fortunately it is still holding on here and there and even beyond Pennsylvania with known Brauchers practicing quietly in Kentucky and Wisconsin.

Like most folk magic traditions, Braucherei utilizes concepts of 'contagous magic' and 'sympathetic magic', much like its southern counterpart: Hoodoo.  It is also the Yankee cousin of English Cunning-craft, though Braucherei is exclusively a protective and healing tradition.  You will never find a Braucher willing to hex or harm, as they feel they will lose their ability if abused or used for ill.  They are the antithesis of the malevolent witch.  Brauchers are summoned to heal injuries and alleviate sickness (including animals), break hexes, protect homes and property, and charm items to increase their potency -- all done at no charge.  An example of the latter is a charm to make firearms shoot straight and always find their mark.

 Another well-known Braucherei charm is the himmelsbrief, or 'heaven's letter'.  It is a long written charm which is said to have been originally composed by God.  Different versions exist.  The most famous is the 'Magdeburg Letter' which reportedly fell from the sky in 1783.  It is believed that a himmelsbrief hung in one's home will protect the household from danger and sinister forces.  If carried in a pocket it will protect the owner from harm.  Bilardi  provides examples of himmelsbriefs and also includes diagrams of talismans, reduction spells like the ABAXACATABAX charm, and magic squares like the ubiquitous SATOR.

Himmelsbrief circa 1850s.
 Part of the Balkan collection.

Notably absent in The Red Church are the iconic barn stars or 'hex signs' of the Pennsylvania Germans.  This is a somewhat controversial topic among Brauchers and historians.  Some feel hex signs were used to focus and localize the powers of sacred geometry.  They may have been used as protective wards or 'painted prayers' to encourage fair weather for crops.  Chris Bilardi does not believe they had a specific magical intent, but were instead  just simple barn decorations.

'Triple Protection' Hex Sign 
created by legendary Braucher, Lee Gandee 

I respectfully disagree (in part) with Mr. Bilardi on this one point.  While I'm certainly not a Pennsylvania historian, considering the known Hermetic influences in the state's early history, I think it is fair to assume that some early hex signs were used for magical purposes.  It's also likely they were copied by the uninitiated and reduced to a type of folk art by those who were ignorant of their original purpose and symbolic meaning.  Regardless, even if hex signs did not originally have magical intent, the point may be a moot one, as hex signs certainly are used magically now.  Braucher Lee Gandee used them for magical purposes over 50 years ago.  Nor are they  going unnoticed by today's practitioners, including those who follow the Urglaawe path, as can be seen at the hex sign site Zaubereigarten.

Also included are lunar, planetary, zodiacal, and qabalistic charts to assist in magical timing.  A complete Braucherei herbal is provided to instruct the reader on the proper use of magical and medicinal plants.  New World practitioners will welcome this, as all the plants are native to North America (or long since naturalized).  It is a pharmacopeia of indigenous alternative medicine.

Chris Bilardi is nothing if not thorough.  The Red Church includes four Appendices: Glossary of Terms, Use of the Psalms and Names of God from Scripture, Pennsylvania German & Standard German Pronunciation Guide (PA German is its own dialect), and Table of Planetary Hours.  He also includes a lengthy Bibliography and extensive Index.

Physically the book is rather ordinary and what one would normally expect from a standard hardcover.  It has slate blue cloth boards.  Title and author are gilt-stamped on spine.  A cream-colored dust-jacket sports the title in blackletter script and includes a heart with tulip design in the fraktur style of the Pennsylvania Germans.  The back includes an image of a distelfink perched on a branch representing 'good luck'.  While the jacket may seem somewhat lackluster and monotone, it perfectly reflects the humble yet artful spirit of the Pennsylvania Germans.  It should be noted that the cover of the hardback differs from the trade paperback.

I'm puzzled why the title is printed uncomfortably close to the top edge of the dust-jacket on both the spine and cover, leaving almost no margin.  It's a rather unfortunate placement and aesthetically unappealing.  I can only assume it was an overlooked mistake.  Other unfortunate oversights include several typos and the chart for the Zodiac Influences is rather blurry (at least in my copy).  These are easily avoidable (if not obvious) mistakes that should have been caught by Pendraig Press' editors.  Even so, at a cover price of $46 The Red Church is a steal, minor flaws or no.

The book includes a tipped in bookplate with a Bible verse handwritten by Chris Bilardi, "And the light shineth in darkness; and the darkness comprehended it not." (John 1:5 KJV)  Others may vary.  What makes this book special and truly talismanic is that it also includes a himmelsbrief designed by the author.  It comes enclosed in a red envelope bearing the owner's name.

Braucherei books themselves are often considered physical talismans.  The tradition's most famous charm book (other than the Bible) is The Long Lost Friend by John George Hohman that famously includes the magical statement:

 "Whoever carries this book with him, is safe from all his enemies, visible or invisible; and whoever has this book with him cannot die without the holy corpse of Jesus Christ, nor drowned in any water, nor burn up in any fire, nor can any unjust sentence be passed upon him. So help me."

The Red Church continues this time-honored tradition by including 'The Binding and Blessing':

"Whoever takes possession of this book is bound to do good alone, to the glory of God and for all the well-being of Man and Beast.  No part of this work of mercy shall be abused.  All who make proper use of the contents of this book shall be blessed and held in Adonai's protective hands, safe from enemies seen and unseen, and from all malign witchcraft.

Anyone who abuses this work shall be bound: this book and its contents shall be forever closed and sealed to him."

Thus the book itself acts as a protective ward for those worthy of its blessing.  Brauchers take these magical declarations very seriously.

Readers will notice the frequent mention and use of the color 'red', the book's title being the most obvious.  Bilardi writes:

"Red is the most common color used in Braucherei; it is also the most mentioned color in Braucherei charms and prayers.  The symbolism is very plain and obvious, if dual: red is heat; therefore, it is also 'fire' and 'life' and 'blood' ... In Christian symbolism it is the color of redemption ... it can either impart an action and energy, or it can be used as a sympathetic 'sponge' to remove a condition..."  

It is not too difficult to notice the alchemical symbolism at work here, most notably the intense focus on the perfected rubedo phase.  Undercurrents of Western Esotericism should not be surprising, as some theorize that Braucherei is a folk magic manifestation of Rosicrucianism -- magic come full circle, as it were.  Indeed Pennsylvania has a long and colorful early history of resident alchemists, qabbalists, and astrologers, such as George de Benneville, Johann Gotfried Seelig, and Johannes Kelpius, the latter two were part of the Mystics of the Wissahickson who, if not formally, certainly had Rosicrucian leanings.

This uniquely American grimoire is a folk magic tour de force.  My hope is that it will ensure that Braucherei remains a living tradition for at least a few more generations.  Perhaps The Red Church will be as important to the tradition as the Pow-Wow classic Long Lost Friend was over 150 years ago.

It should also be noted that Dan Harms, author and mastermind behind the wonderful blog Papers Falling from an Attic Window, has a highly anticipated 'Definitive Edition' of Long Lost Friend in the works.  I met Mr. Harms briefly in Providence, RI back in '99.  He was friendly and extremely knowledgeable in his area.  I am very much looking forward to reading his research on Long Lost Friend.

Beautifully restored Long Lost Friend by JRR Bookworks

Note*  For those interested in learning more about the history of Braucherei (Pow-Wow) beyond this book (particularly from an academic perspective), I would highly recommend Powwowing Among the Pennsylvania Dutch: A Traditional Medical Practice in the Modern World by David W. Kriebel (2007) and Pennsylvania Dutch: Folk Spirituality by the late Richard E. Wentz (1993) who, sadly, just passed on September 25h.

As my readers have probably noticed by now, this blog doesn't play favorites; esoteric Christian theurgical texts are reviewed right along side diabolical tracts of infernal pacts.  Whether rustic charm books about toad-bone rites or Freemasonic treatises on sacred geometry, I hope everyone finds something of interest or perhaps a new path worthy of further exploration.  Thanks again.

B. Balkan

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.

Magic Secrets attributed to Guidon (Translated from Norman French by Philippe Pissier)

The Society of Esoteric Endeavour  2011 (Orig. circa 1670).   88 pages.  Illustrated (some colored).  Decimo-octavo (Eighteenmo).

Paperback, limited to 180 copies.

Magic Secrets is a collection of Norman folk-magic charms and remedies alleged recorded by a 17th century Cunning Man.  The book states that it was originally published in 1670, though dates and authors were often exaggerated or fabricated in the grimoire tradition to imbue them with an air of authority or legitimacy.  Its first known appearance was in the appendix of The Grimoire of Pope Honorious.   In many ways it is perhaps a precursor to other small charm books, such as the Romanus Buchlein (1788) and Johann Georg Hohman's Long Lost Friend (1820).  Like RB and LLF, Magic Secrets includes practical charms for the protection of livestock, charming of firearms, blood-stopping, reducing fevers, and instructions for creating protective wards and talismans.  The vast majority of the book's charms are related to animal husbandry, such as charms for protecting sheep, or healing horses.  This follows an earlier publication from The Society of Esoteric Endeavour, Society of the Horseman's Word, a book of equine charms detailing the practices of the legendary Scottish 'Horse Whisperers'.  Magic Secrets also includes anonymous commentary discussing the history of the book and background of some of the charms.

The charms in Magic Secrets are largely written from a Christian perspective and often call upon the favor of Christ and angels.  Considering the time and place of origin, this is hardly surprising.  However, like many European grimoires, the book occasionally walks a fine line between piety and blasphemy.  Blasphemous passages are written in Latin, presumably to hide their true meaning from others when spoken, as it would have certainly raised a few eyebrows, if not a few pyres.  Sudden heretical statements, intended to deliver a shock, were occasionally used as a magical healing technique to perhaps scare or chase away unwanted malign spirits.  One might compare it to wearing frightful masks to scare away evil spirits, especially on Halloween.

'The Peddler'  17th century France

As much as I love the recent wave of beautiful and fine-bound talismanic books, it is also refreshing to see a publisher willing to pay homage to the inexpensive, paperback, occult books that were circulated around Europe for hundreds of years, such as the Bibliotheque Bleu books.  These were the spell books of the common folk.  Even the illiterate valued these works, as they would often infer their own meaning from the book's printed symbols and diagrams or feign understanding when in front of clients.  These books are as much a part of occult history as the expensive, leather, tomes treasured by the educated and wealthy.  It should also be mentioned that Scarlet Imprint and Hadean Press have also continued this tradition by publishing inexpensive, paperback, occult works in their Bibliotheque Rouge and Guides to the Underworld series, respectively.  This flies in the face of those who claim specialty occult publishers only market to high-end collectors.  In the end, it's the content that matters.  It is my opinion is that a combination of both approaches best ensures the survival of the material.  Paperbacks (and even e-books) reach a far wider audience, keeping traditions alive, while sturdy bindings can almost guarantee a book's survival for generations, that is, barring any future book-burning crazes.  Unfortunately history is filled with many, and magical grimoires in particular have proven to be especially susceptible to the torches of zealots. 

In order to be historically accurate, the book is issued in paper wraps and has a somewhat rough-hewn binding.  The cover is printed with a talismanic design and is waterproofed using an age-old method that involves rubbing the cover with beeswax and then burnishing it with a smooth stone, all done by hand of course.  The paper is intentionally designed to have a rustic look and feel, much like the charms contained within.  It is given a yap binding (an overlapping cover, often seen in older Bibles) and has clipped corners.  According to the publisher, "Hahnemahle Medieval Laid 130 gsm paper" was chosen, as it closely resembles 17th century paper created with the mould-made production method.  The linen texture of the paper is amazing.  It feels very organic, and is flecked with natural fibers.  Pages have a natural deckle edge at the top.  The majority of copies (copies 1-154) have uncut pages, leaving it up to the reader to slice open each page with a pen-knife.  Further adhering to tradition, the publisher chose to print Magic Secrets using lead type, an admirable but expensive decision.  Though the publisher uses impressive printing methods and materials, the overall presentation of the book is very practical, including its size; it can easily be carried in a jacket pocket.  This book isn't intended to be a show piece -- it's designed for use.

I have a tremendous respect for Ben Furnee, the mastermind behind The Society of Esoteric Endeavour's publications.  His love for books and remarkable attention to historical detail, no matter how humble, comes through in each binding.  When one holds one of his hand-bound books one also experiences his passion, conveyed powerfully through the the magic of the bookbinder's art.  But be warned: his enthusiasm is contagious.

Egyptian Secrets or White and Black Art For Man and Beast, attributed to Albertus Magnus

Egyptian Publishing Company.  208 pages.  Octavo.  1930  (Press and year not stated)

(Revisiting an old classic)

Hardcover with dust jacket.  Translated from the original German.

Egyptian Secrets is a classic among folk magick practitioners, especially among those who practice Hoodoo and Pennsylvania German Pow-wow, a.k.a. Braucherei.  Its charms and herbal remedies have been used for generations to stop blood, charm firearms, heal animals, break hexes and many other practical uses.  The majority of spells and charms included tend to focus on treating domesticated animals and curing minor personal ailments such as wart removal, ointments for burns, and treatments for gaut and jaundice.  Thus, the charms and remedies therein are interesting indicators, as they represent the needs and concerns of a mostly rural society at a time when doctors were very scarce, leaving many to fend for themselves.  In many ways it is comparable to the American folk magick grimiore, The Long Lost Friend, by John George Hohman.

The book itself consists of three parts.  No reason is given why the book is divided thus.  Each part contains seemingly random charms and remedies without following a pattern or theme.  Additionally, each section contains its own separate index.  Thus, if one needs to look up a particular charm one would need to check all three indexes.  This makes the book somewhat difficult to use efficiently, especially considering that, as in the case of blood-stopping, speedy retrieval of a charm would be essential.  One wonders at the logic of this.  At least the indexes list the charms alphabetically.  I suspect copies of Egyptian Secrets often contained many inserted bookmarks or dogeared pages to assist in locating particular charms.  Seventeen blank pages are included at the rear, presumably for notations.

Occult scholar, Joseph H. Peterson, has traced the history of Egyptian Secrets back to the early 18th century.  The book has no connection to the famous Dominican bishop Albertus Magnus (1193 - 1280).  His name was likely added for name recognition to boost sales, an early form of spurious celebrity endorsement or 'star power'.  The title is somewhat of a misnomer.  In this case 'Egyptian' refers to Gypsies (or the Roma).  This is due to the erroneous belief that Gypsies had an Egyptian origin.  Further, there is also little evidence that these charms are of Roma origin.

Physically the book is not terribly impressive and is printed rather cheaply, as is common of the era. The dust jacket sports a Faustian figure summoning or commanding imps (black & white).  The same image is printed on tan canvas boards.  Pages are medium weight pulp paper and have darkened significantly over time due to acid content, though they remain in fairly good condition.  I have treated each page with a de-acidification spray called Archival Mist from Preservation Technologies.  With a bit of luck, this will stop (or at least slow down) the book's deterioration.