Initiation Into Hermetics
Magical Animation of Pictures
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| 2. Magical Animation of Pictures The magical animation of pictures also belongs to the four methods concerning the creation of elementaries. In cults, the pictures, images of saints, statues and the like are very often told to emanate an exceedingly strong magic power producing miraculous effects on the bodies, spirits and souls of their worshippers. The blessed silence, calmness and the religious ambiance that meets visitors in churches and places of pilgrimage certainly is known to everybody, and there is no need to go into detail about it. All the healings in places of pilgrimage, that have even been substantiated in part scientifically but have not been completely explained, can be imputed to the animation of pictures and statues. The strange atmosphere surrounding these objects causes their emanation, which however was first created by the attention or adoration of thousands of admirers and believers. This kind of animation of images and statues of saints is positively unconscious. But from the magical standpoint, there also exists a conscious animation of pictures and the like, for which I will quote a very useful and practical instruction. As mentioned at the beginning of this chapter, the conscious magical animation of pictures belongs to that kind of methods of creating elementaries where it does not mater at all whether an ordinary picture or image of a saint has been selected for the purpose of animation. The synthesis is and always remains the same; emanation and its purpose only undergo change. The main thing to know is not to animate portraits of persons who are still alive. As the result of the sympathetic connection through their bodies, souls and minds, one could eventually do severe damage to the person in question by creating images linked to an invisible, secret bond of sympathy with the original. No should portraits be animated that could produce sexual appetites or improper motives, for example women in the nude and so on. In these cases the magician would incur the danger of thereby producing an elementary that might become a vampire, an incubus or a succubus for himself. Never create elementaries interested in invoking sexual sensations or feelings. These precautionary measures should be observed by anybody who is engaged in the animation of portraits that I will describe in the following practice If you select an oil painting in order to animate it, you don’t directly have to use a fluid condenser, although it would contribute to intensifying the quick creation of an elementary. Cut a piece of blotting paper or cardboard to the size of the painting in the frame, moisten it with a fluid condenser and let the paper dry. As soon as this little expedient has been prepared, open the rear part of the painting and put the paper directly upon the backside of the painting. It does not matter whether the painting has been done on canvas or any other material. Now put a piece of standard paper or cardboard over it and fix it with nails or adhesive tape. To prevent any dust from entering it. The painting thus has been prepared for animation. You can hand it on the wall or leave it standing on the table in front of you. Now form the mental body with the help of your imagination so that it has to correspond exactly to the form and size of the selected painting. In case you have a painting in front of you that represents only part of the figure in question, you have got to make up the missing part in your mind. If the picture in question happens to be smaller than normal size, for example a small snapshot, you will have to consider this mater as well during your work. The rest of the process is the same as quoted in the second method concerning the creation of elementaries where a wax figure is used. Provided you transferred the imagination of the mental body into the painting, now transfer the respective properties of the spirit such as will, intellect, feeling and consciousness into it with your imagination. After that, imagine the covering of the mental body. In this covering you have to concentrate on the faculties, the sphere of activity and so forth, in short, all that seems desirable to you. If the elementary in question was selected for the use of other people, you must not project the elements through your body, but you have to take the elements directly from the universe. But if the portrait is destined to serve your own purposes, you had better perform the projection of the elements through your own body. This has to be done with one single element, but you may as well transfer all four elements and even the akasa principle into the portrait. If you are working with all four elements, you have to operate the projection exactly as if you were creating a complete human being. As soon as you have projected the elements into your astral body and given a certain density to the portrait, call it into being. This kind of calling into being is the same as described in method 2 with respect to the wax-loam figure. The kind of decomposition also can be the same, provided you have not prepared an individual method more suitable for you. The magician will do well not to leave the elementary in the picture after frequent repetitions, but to keep it possibly in the wall behind the portrait. When the magician has animated his painting, he may allow it to emanate from the portrait and utilize it for his purpose in the manner previously described. But if he left the elementary in the portrait, it could be condensed to such a degree that it might be spotted by persons who are not initiated. Therefore beware of boasting of things like that; better to keep the practice strictly secret in order not to get ill-reputed as a black magician or a sorcerer. Statues, busts, etc. might be animated in the same manner, but in this case it would be necessary to manage the condenser somehow into the interior of the bust, or, if that is not possible, to spread it over the exterior of the bust and let it dry. In the light of some examples I have now disclosed a very important chapter of practical magic on account of which every magician can work out many other methods. I found it opportune to quote these four methods only, the application of which will certainly be clear to everybody. It has to be said in advance that any scholar who has not been working scrupulously through all the previous Steps will never succeed in creating a correct elementary, perfect in every direction. With this note I am terminating Step VII of this manual. |