The Framework of Thaumaturgy




The Framework of Thaumaturgy

Joseph Jéan Coleridge (April 23, 2011)

When I was a young boy, I saw my father getting apprehended by men in black who lurked in the shadows. They told me my father had a brilliant mind, and that they wanted to introduce him to a veiled world of innumerable sciences, so that he may study without the restrictions of the law.

As it turned out, these laws were not the statutes of society, but the very principles of governing reality—the empirical foundations upon which our understanding of the natural world rests. Incomprehensible, unknown sciences lurk in every corner of the supernatural world, and every anomaly is a frontier to a new branch of science.

I thought I never would be able to see my father again. My mother held me close by her side telling me everything was going to be alright. She told me my father got a new contract with the government to work in a security company. To cheer me up, she took me to a circus visiting in our town—a seemingly ordinary outing that would alter the course of my life forever.

In that circus, I saw a magician clad in a tailored black suit and a silk top hat perched on his head. He wielded a wand with flair and took every step with an air of grandiose showmanship. With a mere flick, he conjured flowers from his palm, and, prompted by the gleeful chants of children shouting "abracadabra!" he took out a squirrel, a bunny, and a cat from his top hat. Having been raised as a sceptic by my father, I approached the spectacle cautiously, yet there was an enigmatic quality to his wonderworking that left me intrigued.

His presence exuded the aura of a true sorcerer, a man elevated to the status of a king among magicians, possessing an essence akin to that of a demigod. Yet, he chose the guise of a mere charlatan, a circus performer indifferent to fame, glory, or change, finding joy in the awe and wonder of children.

I used to gaze at him in awe, my eyes silently understanding the elements that set him apart from the carnival's other impostors. He possessed the rare ability to manipulate the forces of nature, crafting truly spectacular shows while maintaining the façade of a humble magician.

After his mesmerising performance, he approached me with a warm smile, offering a deep bow. "Joseph, was it?"

I nodded.

"It's an honour to have your father serve with us in our humble little security firm." The magician said as he kneeled to my height to look me in the eye. "He's now journeying through a new world, one you're not supposed to be a part of. But I see it in your eyes a light that would one day surpass your father's brilliance."

"Are you a real magician?"

The magician gave a faint chuckle and took his silk tophat off, tipping it to his chest. "Would you like to see this new world your father and I have come to? I believe you'll find the journey quite enchanting."


Thaumaturgy… What a funny word, no? Many people would claim that the upper echelons only use the word thaumaturgy because it sounds more sophisticated and mentioning magic would hurt their pride. Well, they're not exactly wrong, but there is a stark difference in how we use the term magic now.

Magic, in its broadest sense, encompasses a realm of supernatural phenomena and practises that go beyond the bounds of the natural world, at least to how it's understood conventionally. It includes the path of deities, psychics, reality benders, anomalies, and thaumaturges. Thaumaturgy, therefore, refers to the method by which we humans, as powerless and insignificant as we are, engage with and harness these extraordinary phenomena.

As the thaumaturge Aleister Crowley puts it: "Magic is the science and art of causing change to occur in conformity with will". It's important to note that this definition is not rigid, as the scientific understanding of the supernatural is something we have yet to attain. And hopefully, something we never will.

In this guide to the mystical arts of the thaumaturge, I aim to enlighten you, dear readers, about the enchanting realm of magic—inspired by the teachings of my esteemed predecessor, the great magician Theodore Benjamin.

Enochian Magic

To speak the language of the divine


Sigillum Dei (seal of God, "Seal of Truth")

Composer: John Dee (1527 – 1609), Edward Kelley (1555 – 1598)

Instruments: The Holy Table, the Seven Planetary Talismans, the Sigillum dei Aemeth

Key: Formal, human, and spiritual science, linguistics

Catalogue: Mysteriorum Libri Quinque and Liber Logaeth

Style: Renaissance Divination, Linguistics

Movements: The Magick of Enoch, The Mystical Heptarchy, The Forty-Eight Angelic Keys, Earthly Knowledge, Aid & Victory, The Angels of the Four Quarters

A constructed language created by Dr. John Dee and Edward Kelley to approximate the language of angels. Central to the practise is the invocation and command of various angelic and spiritual entities. The system would be used to harness the energies and wisdom of these entities for transformative and practical purposes.

The original language constructed by the two scientists was based on the phonology and grammar of English and Latin. Over time, the language has evolved, giving rise to multiple dialects and semantics tailored for various purposes. The Enochian language's adaptability has solidified its status as the primary linguistic medium employed by Western thaumaturgists for spellcasting and incantations.

The Liber Logaetharranges the practise of the magic into 5 movements, known as the Mysteriorum Libri Quinque (Five Books of Mystery).

I: The Magick of Enoch
An introduction to the celestial language known as Angelical, forming the bedrock of Enochian magic.

II: The Mystical Heptarchy
A deeper analysis of Angelical. It introduces the Thirty Æthyrs and presents the metaphysical planes that serve as conduits for practitioners to interact with angelic beings.

III The Forty-Eight Angelic Keys
An outline for the significance of temples, emphasising sacred geometry and symbolism as vehicles for spiritual transformation.

IV: Earthly Knowledge, Aid & Victory
An exploration of the symbolism of Elemental Tablets and Watchtowers, shedding light on the interplay between metaphysical constructs and natural forces.

V: The Angels of the Four Quarters
The practical applications of Enochian; showcasing rituals and ceremonies grounded in the Angelical language and its symbolism.

Solomonic Magic

To gain an audience of fallen angels


The Circle of Solomon and Triangle of Solomon

Composer: King Solomon (970 – 931 BC), Anonymous

Instruments: Pentacle, a triangle of art, candles, incense, sigils

Key: Human and spiritual science, ritualistic divination

Catalogue: The Lesser Key of Solomon

Style: Grimoire, Ritualistic contract

Movements: Ars Goetia, Ars Theurgia Goetia, Ars Paulina, Ars Almadel, Ars Notoria


A ritualistic thaumaturgy based on the pseudepigraphical grimoire attributed to King Solomon. The art seeks to conjure, invoke, and constrain the spirits of the dead and demons to compel them to do the operator's will. It also describes how to find stolen items, become invisible, gain favour and love, and more.

Although commonly practised, Solomonic magic is a forbidden magical art for its malevolent nature, and the consultation of demons is widely considered to be an unforgivable sin that bars practitioners from full salvation.

The movements of the art is as follows:

I: Ars Goetia
Focuses on the evocation of 72 demons, providing sigils and descriptions of each demon along with their abilities.

II: Ars Theurgia Goetia
Describes a system of spirits that are less malicious than those in the first book, often referred to as spirits of the Shem HaMephorash angels.

III: Ars Paulina
Provides instructions for the invocation of angels of the hours of the day and night.

IV: Ars Almadel
Involves the use of a wax tablet and focuses on the invocation of angels for various purposes.

V: Ars Notoria
A collection of prayers and invocations designed to enhance the practitioner's memory and learning abilities.

Elemental Divination

To foretell fate through nature


John William Waterhouse - The Crystal Ball

Composer: Empedocles (444 – 443 BC), Muhammad ibn Khutlukh al Mawsuli (13th century), Martin Anton Delrio (1551 – 1608)

Instruments: Geomantic instrument, crystal ball

Key: Natural science, classical elementalism

Catalogue: Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers (Encyclopedia, or a Systematic Dictionary of the Sciences, Arts, and Crafts)

Style: Classical divination

Movements: Geomancy, hydromancy, aeromancy, pyromancy

Elemental divination is a form of prophesy and insight through rituals involving the 4 classical elements as described by the Greek philosopher Empedocles. Those being: earth, water, air, and fire. As these elements are proposed to be the fundamental building blocks of all matter, they have sacred meaning among seers.

These arts are outlawed by the church under the Artes Prohibitae as they are believed to be an art passed down by demons such as the watcher Araqiel from Enochian literature, or the angels Harut and Marut from Islamic theology. This ban was later rectified when elemental divination was recategorised under natural science.

Geomancy is an ancient form of divination wherein questions are answered by casting sand, stone, or dirt on the ground. The practitioner interprets the resulting shapes using tables of geomantic figures to gain insights and guidance.

In the practise of hydromancy, water serves as a scrying medium, enabling the practitioner to perceive illusionary images within it. Crystal balls are commonly employed for this purpose, offering a mystical window into the realms of divination.

Aeromancy, a method of divination, involves the tossing of sand, dirt, or seeds into the air. By studying and interpreting the intricate patterns formed in the dust cloud or the settling of the seeds, practitioners seek to unravel hidden insights and messages.

Pyromancy, the ancient art of divination through flames, entails discerning signs and patterns from the dancing tongues of fire. This practise is often entwined with offerings to deities, bridging both Abrahamic and Pagan traditions in the pursuit of spiritual guidance.

Western Astrology

Divination through the movement of the cosmos


The Zodiac Man

Composer: n/a

Instruments: Astrological charts, calculators, clocks, telescopes

Key: Formal and natural science, formal divination

Catalogue: Tetrabiblos, De Stella Nova in Pede Serpentarii, Liber Planetis et Mundi Climatibus, Centiloquium, etc.

Style: Astronomical divination

Movements: n/a

Astrology in its broadest sense is divination through the observation of the sky. Western astrology is founded on the movements and relative positions of celestial bodies such as the Sun, Moon, and planets, which are analysed by their movement through the signs of the zodiac and by their geometric aspects.

A central principle of astrology is integration within the cosmos. The individual, Earth, and its environment are viewed as a single organism, all parts of which are correlated with each other. At the heart of astrology is the metaphysical principle that mathematical relationships express qualities or 'tones' of energy that manifest in numbers, visual angles, shapes, and sounds – all connected within a pattern of proportion.

Astrology stands as one of the oldest and most enduring intersections of science and mysticism, representing a time-honoured method of divination that has maintained remarkable continuity among practitioners of formal science.

Classical Necromancy (Séance)

To summon the presence of the dead


Séance conducted by John Beattie (1872)

Composer: Secret clergy organisations of the late middle ages to Renaissance, Paschal Beverly Randolph (1825 – 1875)

Instruments: Objects associated with the deceased, nightshade plants such as black henbane, jimson weed, belladonna, and/or mandrakes

Key: Natural and spirit science, mediumship

Catalogue: Munich Manual of Demonic Magic

Style: Spirit mediumship

Movements: [REDACTED]


Classical necromancy, or Séance, is the practise of magic involving communication with the dead by summoning their spirits as apparitions or visions for divination.

Early forms of Western necromancy required the help of demons from the Ars Goetia and thus were considered malevolent magic by the Catholic Church, only practised by secret clergy circles with access. The practise of necromancy was often dangerous and left practitioners vulnerable to malevolent influences, so they needed several incantations of protection and small sacrifices such as animal meat to repay the spirit.

The timeframe was usually limited to the twelve months following the death of the physical body; once this period elapsed, necromancers would evoke the deceased's ghostly spirit instead. This short timeframe can be expanded to several decades with the modern art of Séance, which is safer and requires less paraphernalia and rituals at the cost of limited communication.

Performance Magic

To create wonder in the stage


Zan Zig performing with rabbit and roses. (1899)

Composer: Jean Eugène Robert-Houdin (1805 – 1871), Professor Hoffmann (1839 – 1919)

Instruments: n/a

Key: Natural and human science, performance art

Catalogue: Modern Magic: A Practical Treatise On The Art Of Conjuring

Style: Illusion, entertainment

Movements: n/a

Performance magic, also known as Entertainment Magic is a performance art in which audiences are entertained by tricks, effects, or illusions of impossible feats through natural and supernatural means. It is an art practised by thaumaturges and charlatans alike in service of showmanship.

Magicians can exploit the intricacies of human perception, adept at concealing objects or conjuring illusions that transcend reality. They project onto the audience a temporary effect similar to psychotropic drugs such as viderics in short bursts—an effect used by thaumaturges to posture grandeur and intimidation.

The instruments and movements of performance magic are kept secret and are often crafted individually or passed down through apprenticeship. As a result, every thaumaturge adhering to the principles of performance magic possesses their own unique set of skills.


To sculpt spirits and give them form


Bangladeshi girl depicting the spirit she sculpted.

Composer: Tibetan Buddhists, Annie Besant (1847 – 1933)

Instruments: n/a

Key: Spiritual science, ego

Catalogue: Thought-Forms: A Record of Clairvoyant Investigation, བར་དོ་ཐོས་གྲོལ (Bardo Thodol / the Tibetan Book of the Dead)

Style: Ego transfiguration, spirit mediumship

Movements: Meaning of colour, Three principles and three classes

The concept of tulpas has origins in the Buddhist nirmāṇakāya, in which the earthly bodies that a buddha manifests to teach those who have not attained nirvana. Since then, tulpamancy has developed independently of Buddhahood. The tulpamancer creates a separate ego with the Vajrayana's concept of the emanation body into the concepts of 'tulpa' and 'thoughtform'. Through the exercise of both spirit and mind, the thaumaturgist can create a spirit of his own through his spirituality.

This spirit is usually weaker than the human ego, and functions mainly as a separate ego to the user. Modern tulpamancers are more akin to philosophers and computer programmers, as they can form new spirits using careful meditation and logical inference. This spirit is then given an executive function similar to a computer code and can be used to transmit spiritual messages, craft incantation seals, and store forbidden knowledge.

If enough spirituality is fed to the tulpa, the spirit can gain true sapience separate from the user’s ego, becoming a contractual spirit; or the tulpa can be sealed into an item to create thaumaturgic instruments that perform magical abilities such as wands; the possible utilities for this art is limitless.

Fulu (符籙)

To invoke heaven through scripts


A Fulu charm

Composer: Classical Taoists of the Zhou dynasty

Instruments: Cinnabar ink or vermilion paste, special paper or fabric, candles, incense, concentration tools

Key: Human and spirit science, calligraphical incantation

Catalogue: 淮南子 (Book of Master Huainan), 三洞神符纪 (Records of the Divine Talismans of the Three Grottoes)

Style: Talisman echantment

Movements: n/a

Fulu (符籙), often referred to as Taoist magical symbols or talismanic scripts in English, holds a significant place in Daoist practise. Practitioners, collectively known as fúlù pài (符籙派), or 'the fulu sect,' form an informal group comprising priests from various Taoist schools.

The power of the talisman lies within the archaic symbols written on the parchment or coin called Fuwen (符文). They are archaic symbols exclusively decipherable by Daoist priests, their ancient craft passed down secretly from master to disciple. The symbols hold significant power over spirits, as they can invoke heaven to follow its instructions.

Fulu can often be found in documents and letters to aid in the salvation of souls from purgatory. By invoking heaven, the Fulu can thwart malevolent spirits and/or bring its user good fortune.

Mesmeric Clairvoyance

To see through the veil


Anatomical sketch of the effects of prolonged Mesmeric Clairvoyance.

Composer: Franz Mesmer (1734 - 1815), Marquis de Puységur (1751 - 1825), Hippolyte Baraduc (1850 - 1909)

Instruments: n/a

Key: Natural and spiritual science, clairvoyance

Catalogue: An Essay of Instruction on Animal Magnetism

Style: Estrasensory perception (ESP)

Movements: I. On the Mechanism of Animal Magnetism, II. M. de Puységur’s opinion on the cause of the magnetic action of man, III. Of the proceedings necessary to magnetize

Mesmeric Clairvoyance, or "Spirit Vision", as it's colloquially known, is a form of thaumaturgic art that gives practitioners the ability to perceive energy fields, auras, and spiritual entities.

Inspired by the German Doctor Franz Mesmer and his theory on Animal Magnetism, practitioners can see the existence of an invisible natural force (originally called the "Lebensmagnetismus", but now formally known as Celanturs) through the inhibition of anopticin filters and the conjoining of galvanic fluid with the practitioner’s spirituality, thereby enabling the observation of concealed presences. This process is akin to the effects elicited by various videric psychotropics.

The art was historically used by physiologists in the 18th and 19th centuries as a tool to diagnose patients through simple observation. Subsequently, the discipline underwent further refinement in the 1890s under the French physician Hippolyte Baraduc, who expanded the art's capabilities to encompass the visualization of auras.


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