The Ophanic Revelation

The Ophanic Revelation:
Angelic Science and the End of Time
by
Vincent Bridges and D ARLENE
Introduction:
Vincent Bridges and Terri Burns
Appendix A:
S. Robert Wilson
Illustrations:
D ARLENE
No part of this book may be reproduced in any form or by any means−electronic
or mechanical−including information storage and retrieval systems, without written
permission from the author and publisher. Reviewers may, however, quote brief passages
in a review.
Cover paintings, interior illustrations and book design © DARLENE
First English Edition, January 2011
© 2011 Aethyrea Books

Post Office Box 877
Mount Gilead, NC 27306
Published by Lulu.com
ISBN 978-1-257-08521-7
CONTENTS
PREFACE by Vincent Bridges
“Who are the Ophanim and Why are They Following me Around?” . . . . . . . . . . . 1
I. When Beautiful Minds Talk to Higher Intelligences
A Brief Historical Overview of the Ophanic Language
by Vincent Bridges and Terri Burns (2009). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
II. Symmetry and Sacred Alphabets

A look at the Nature of Sacred Language and Alphabets
by Vincent Bridges (1997) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
The Ophanic Alphabet

PART ONE: A rigorous Analysis of the Letterforms
by DARLENE (2009) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
The Ophanic Alphabet

PART TWO: A Search for their Meaning
by DARLENE (2009) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
III. Reading the Green Language of Light

An Examination of the Language of Light emitted and received by the DNA
by Vincent Bridges (2003) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Angels in the DNA: The Emerald Modem and Dr. Dee’s Ophanic Language
A Continuation of the Above by Vincent Bridges . . . . . . . . . . . . . . . . . . . . . . . . . 127
IV. Basic Ophanic Geometry

Sacred geometry required for the development of the Ophanic system
by Vincent Bridges (1997) and DARLENE (1996). . . . . . . . . . . . . . . . . . . . . . . . . . 141
V. The Seal of Ameth

DARLENE shares her original, handwritten “Studies in Enochian” manuscript
book in an in-depth examination of the basic seal of Ameth
by DARLENE and Vincent Bridges (1992). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
VI. The Complete Enochian Handbook

An Overview of the Components of the Ophanic system
by Vincent Bridges, illustrated by DARLENE (1996) . . . . . . . . . . . . . . . . . . . . . . . 185
APPENDIX A by S. Robert Wilson

“The Delian Problem and Transcendence in Theorem XX of John Dee’s
Hieroglyphic Monad” ©2010 S. Robert Wilson . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
THE GREEN WOMAN
© DARLENE 2009
“Then shall your eyes be opened to see and understand all such things
as have been written to you, and taught you from above.”
Preface
Who are the Ophanim
and why are they following me around?
An Autobiographical Preface
by Vincent Bridges
T WAS THE WINTER of 1979 and I was making my way to California to
I study “magick” when I made a detour through Sedona Arizona to meet

the man almost single-handedly responsible for saving the very approach
to magick I was about to study. I didn’t have an introduction, just an overheard
address to go on, and no good idea behind why I should, but there I was trudging
into the gloom of what promised to be a very cold night. I found the address,
rang the buzzer and waited.
A charming gnome of a man opened the door, invited me in, fed me, plied me
with brandy and let me sleep on his sofa. His kindness to a young stranger with
far more ego than wisdom was amazing and sincere. The reason I invented for my
visit, the origins of the Tarot Trumps, on which I had many strongly held and shal-
lowly thought out beliefs, we dispatched almost immediately. The conversation
then ranged from the Kabalah and Agrippa to Wilhelm Reich, Tesla and Stanislaw
Groff. As the conversation wound down, his gnome eyes glinted and he leaned
in to make his point. “The Tarot is fine, good practical Qabalah, (he managed to
pronounce the “q”) but if you’re looking for a real mystery, real “magick,” go for
the Enochian material.”
I knew roughly what he meant. I had read the books he had written and
edited concerning the Hermetic Order of the Golden Dawn and Aleister Crowley,
but Enochian had never appealed to me in the way all that vibrating in Hebrew
did. It seemed too strange, too alien somehow…
“Yes,” he said, “alien… I’ve often thought that if someone were to really study
the Enochian material, deeply all the way back to Dee and Kelley, with a modern
eye, then we might just be able to prove some variety of… I don’t know…
intelligence beyond the human…”
Perhaps it was a trigger, or just the stimulus of a challenge from someone
I admired, but the comment stuck with me. I paid attention to the “Enochian
material” in the training and initiations I received, read what was available and
came, eventually, to the conclusion that the whole of my magical training had
been aimed toward an understanding of the alien-esque Enochian. Along the
way, I moved back to North Carolina, settled in the witch haunted Uwharries, and
seriously turned my attention to making sense of my magical experiences and
training. After seven years, I had a leaner, stripped down, version of the Order’s
system, which I called, almost as a joke, the Fifth Way.
WHO ARE THE OPHANIM AND WHY ARE THEY FOLLOWING ME AROUND? 1
A decade after that wintry hike, I was back in Sedona. This time I was with
a hundred or so earnest New Agers. The Fifth Way had merged briefly with the
Melchizedians and we were on a mission “to anchor the Blue Light around the
planet,” starting with the red rocks of the Sedona desert. We spent the week out
on the vortex spots, working on our own internal processes and aiming toward
the big event of bringing in and grounding that mysterious Blue Light thing…
This particular week in November of 1989 happened to be a pivotal moment
in history, the fall of the Berlin Wall and the Velvet Revolution in soviet controlled
central Europe. It was a strange feeling to spend the day meditating and come
back to the motel and watch the events in Europe unfold live on TV. By Saturday,
the day of the big event, I had decided to do something different; I was going to
climb up on Bell Rock and do the entire sequence of the Enochian Calls or Keys.
The Calls are at the core of the material the angels dictated to Dr. John
Dee and Sir Edward Kelley, the perhaps misnamed the Enochian system. They
contained most of the translated angelic language, which Dee and Kelley never
called Enochian, but were convinced that Enoch spoke. The Calls are also Keys
in the sense that they open or unlock powerful structural components of the
universe. The first two activate a kind of control panel, using the central cross
that binds the elemental quadrants of the Great Table together, the next four the
elemental angles, and the last twelve the remaining sub-angles of the elemental
quadrants of the Table. In addition, there is a last Call or Key that unlocks the
thirty aethyrs or spirit levels.
So I found a good spot high up on Bell Rock and settled in to carefully do
all 48 Calls. It was quite an experience, and when I finished I found that I was
surround by a group of Japanese tourists who had been taking my picture. They
bowed and left and I slowly climbed down to where the group planned to collect
for the evening’s big event. I settled on a limb of the ancient juniper tree at the
rendezvous and waited.
About an hour before show time, our leader arrived in a state of complete
emotional collapse. His wife had announced that she was leaving him after
discovering that they were in fact both having an affair with the same man.
He turned the big event over to me, saving he was too devastated to do the
ritual. It was up to me to bring in, and anchor, the mysterious Blue Light of the
Melchizedek movement.
I agreed, and although the resulting ritual had its moments of comedy, it
was in my opinion very successful. Something energetic and dynamic on a very
large and intense scale was connected into the earth through the large red bell-
shaped rock in Sedona that week, as the Cold War ended, the Iron Curtain fell and
the Velvet Revolution swept the new Czech Republic. It’s a long way from Sedona
to Prague, but the arc of this story connects them directly.
In the next few years I traveled widely in Egypt, India, Nepal, Tibet and Eng-
land, following many of the peripheral threads of the larger pattern through
what seemed at times an endless tapestry of cosmic strangeness. Sufi saints on
the Nile, Shiva devotees in Kathmandu and Rishikesh swamis by the Ganges,
2 THE OPHANIC REVELATION PREFACE

Nyingma-pa caves, yak skin boats in the Yarlung Valley and 8th century immortal
masters born from a lotus, flowed together and blended into a new perspective.
We returned to Egypt in 1995, this time with a group of Fifth Way Adepts and
by that fall I was in England talking about an early version of the galactic align-
ment and its connection to raising the Djed at a conference near Oxford. I took
the opportunity to spend a few days in London at the British Museum getting
microfiche copies of every scrap of Dee’s manuscripts I could find.
During one long afternoon of waiting around the office of the manuscript
collection, the librarian took pity on me and opened the case containing Dr. Dee’s
scrying crystals. She allowed me to hold the small smoky quartz orb that was
apparently given to Dee directly by the angels. It was this crystal ball in which
Edward Kelley saw the angels dictating their language and magick seals from
large tables filled with letters. I was casually holding it in my hand, trying not
to hold it to my third eye, making an effort to be cool and nonchalant while
absorbing as much of whatever energy it contained as I could. Eventually my
files arrived, and the crystal went back in the case, and I stumbled back to my
Montague Street B&B and fell into a deep sleep.
A few months later, back in North Carolina, a conversation with my friend and
colleague Dan Winter sparked a sudden new rush of insight. By that summer we
had planned an expedition, back to Sedona of course, in which we would put
together the entire Enochian system, from the Holy Table to the Seal of Nalvage,
and then activate all 48 +1 of the Calls or Keys and see if we got a response. We
chose Bell Rock, where seven years before I had done the Calls and anchored that
Blue Light, and, thanks to an apparently accidental meeting with Nick Fiorenza,
we had our structure properly aligned along the galactic center/edge axis.
I vibrated all the names on the Holy Table, Lamen and Ring, the Seal of Ameth,
the Tablet of Union, the Elemental Tablets and then activated it all with the Calls.
As I continued on into the Call of the Aethyrs, which repeats 30 times with just
a minor change, I noticed several profound shifts occurring around me. I had
been vibrating the angelic language for several hours at that point and so was
very sensitive to the energy rushes and trills it gave off. But those were nothing
compared to the thickness and intensity of the Aethyric Calls as each layer of the
spirit zones were unlocked and opened, like a series of gates approaching infinity.
As I finished the Call of Silence, I became aware of a great rushing, non-physical
wind and looked up to see a large number of tornados, made of light and filled
with eyes, shimmering and dancing around the perimeter of Bell Rock.
After what seemed like forever, but was actually just an hour or so, the
tornados departed. One of us, who kept looking outward at the tornados, had
sunburn on her face, even though it was a quiet night with no wind. All of us were
exhausted by the experience, and yet strangely energized and mentally wound
up at the same time. The next day we had a lecture at a local new age center
and I remember trying to explain how angels were not beatific companions but
enormous plasma beings the size of nebulae. I don’t think I was able to convey
the full extent of the experience, but it must have been an impressive attempt.
Fast-forward thirteen years to 2009. Dan Winter and I are scheduled to
head up a six-day workshop on Alchemy in Prague, the first time we’ve worked
together in over a decade. Dan, with help from the insights gained in our angelic
working, has become an international new age headliner, touring the globe
giving lectures on his unique brand of mystical science. I’ve become an expert on
the mysterious French Alchemist Fulcanelli and almost by accident an authority
on the life of Nostradamus. But by a curious mixture of coincidence and karma,
Dan and I wind up in Prague, where, 420 years before, Dee and Kelley received
their final angelic communication, achieved, by some accounts, the transmuta-
tion of lead into gold and preached the approaching apocalypse to the Holy
Roman Emperor Rudolph II.
The conference was great, our collaboration extremely fruitful, and some-
where along the way I fell under the spell of Prague and the circle of my Enochian
obsession was complete. I can explain it no better than that; being on the spot
brought the whole of my understanding and work into a sharp, laser-like focus.
We closed the conference with a brief bit of Enochiana, the first two Calls in a
simple magical setting accompanied by harp music. It was amazingly powerful,
and in the days that followed a new idea took root and began to grow.
What if this strange series of conversations and informational downloads
were designed to come on line, so to speak, at this point? What if the entire
corpus of Dee and Kelley’s work could only be understood, or used, not 400 years
ago when it was received, but now, at this precise moment in time? And if we
accepted that premise, then what exactly was it meant to do?
I had postulated that the system functioned as kind of non-physical com-
puter or communication device, and that certainly seemed to be the case in
the Sedona working. The Ophanim appeared and what communication there
was, beyond the very experience of their appearance, focused on creating and
projecting the Tree of Life on the celestial sphere and aligning the Cube of Space
properly in space. Even the cosmic Djed raising in September 2002 had been part
of the larger vision from the “angels” in Sedona. Working from these clues, I had
already determined that the basic structure of the Great Table was aligned to
precessional motion, and could used as a way of marking the galactic alignment,
Fulcanelli’s season of catastrophe and the end point of the Mayan calendar, and
my new insight showed that this was no accident.
And so, the book you are about to read came into being. Based on work
that went back to the early days of the Fifth Way Mystery School, the notes
and written preparation for the Sedona working, as well as my articles on the
structure of DNA, divination and language, we also tried to break new ground, in
terms of telling a bit of the real history of the system and its reception, and with
my wife Darlene’s new work on the letter forms themselves and their connection
to the physics of vortices and the phonemes of DNA, the goal was to make this
book a sort of beginner’s handbook of the larger project for which the system
seems to be designed.
4 THE OPHANIC REVELATION PREFACE

That larger project appears to be nothing less than saving the planet from
destruction, or at least saving some our DNA from catastrophic mutations by
interacting directly with the “language,” the grammar and syntax, of DNA. The
impression I had in Prague in April of 2009 was that if a certain number of
people could be exposed to the Ophanic influence, be jolted by the energy of the
Calls, and then followed their intuition into a further exploration of the system,
we might, by 2012, be ready to consciously evoke the Princes or Governors of
the Aethyrs, those 91 little vortex swirls assigned to the surface of earth, and
somehow mitigate or diffuse the effects of the up-coming disaster.
Perhaps the best example of this basic premise can be found on the ground
in southern Bohemia, in the region around Trebon, where Kelley performed
at least one alchemical transmutation and where some of the most powerful
angelic communications occurred. At the same time these events were taking
place at the old castle at Majdalena, a whole movement of what can only be
called full-scale geomantic terra-forming sprang up in the Trebon region. One
of Dee and Rosenburg’s alchemical conspirators, and Kelley’s drinking and distill-
ing friend, Jakub Krčín, launched a program of landscape transformation that is
unparalleled in European history. What once were dark peat bogs, swamps, sand
dunes and pine forests became a lush and beautiful environment of canals, lakes,
small ponds and fisheries, with abundant space for wildlife and forests.
Krčin and his successors did their work so well that even today, four hundred
years later, the region is the only artificially created bio-zone recognized by
UNESCO as a protected biosphere reservation. The exact connection between
Krčin and Dee and Kelley has yet to be examined, but it is not inconceivable that
Krčin was influenced by Dee’s concept of angelic intelligence and its connection
to the land.
But even if the influence is entirely indirect and somewhat coincidental, the
connection of time and place remains. Something happened to the landscape
of Trebon, and perhaps our best answer is to say that the events so charged the
environment, with a residue of sentient angelic plasma, that change toward a
stable biosphere was inevitable.
And that, simply put, is the reason why we should be interested in these four
hundred year-old conversations with higher intelligence.
Section 1
When Beautiful Minds Talk

to Higher Intelligences
A Brief Historical Overview of the Ophanic Language
by Vincent M. Bridges and Terri Burns ©2009
INTRODUCTION
ELDOM DO WE FIND a precise date and location for the beginning of a
S magical tradition, but in the mid-1580’s, the original British agent 007,
Dr. John Dee, and his enigmatic scryer Sir Edward Kelley received one
of the most powerful yet mysterious systems of “angelic” magic ever known, what
has become commonly known as the “Enochian” language and system of magic.
Even critic and magician Donald Tyson, who thinks the “angels” conveyed their
language with the sinister intent of bringing on the Christian Apocalypse, calls Dr.
Dee’s angelic conversation diaries and transcription of the Enochian system “the
most remarkable artifact in the history of spirit communication.” 1
Conversing with angels to discover a secret control language of celestial
mechanics−and, apparently, succeeding−is without linguistic precedent,2 though
we may think of a few tales that are similar if more modern. For instance, today
universities hold week-long conferences on the recently discovered “lost” work
of India’s Srinivasa Ramanujan, a mathematical genius who filled notebooks with
pages of mathematical formulas and relationships whispered in his ear by the
Goddess Namagiri; high tech mathematicians aided with supercomputers still
can’t solve many of the theorems he proved by scribbling numbers on a paper
while his wife stuffed enough food in his mouth to keep him alive. Or we might
think of the case of “Beautiful Mind” economist and Nobel-prize winner John
Nash, who was famously asked, “How could you, a mathematician, believe that
extraterrestrials were sending you messages?” “Because the ideas I had about
supernatural beings came to me the same way my mathematical ideas did,” he
answered. “So I took them seriously.” 3
Who is to say, when beautiful minds talk to higher intelligences, whether
they are speaking to angels, extraterrestrials, a Goddess, or an intricate system
somehow extruded from the light emitted by their own DNA? The test should be
in the mathematical integrity of the system, rather than the mythology in which it
is dressed. Dee’s angels speak to us through a heavily Christian Hermetic tradition
of angel magic, which one can embrace if one chooses, or discard if one finds it
outdated, quaint, or discomfiting. Nevertheless, the integrity of the system holds
in a way unheard of among such phenomena. The angels came looking for Dr.
Dee, much as Michael Rene, the space visitor, sought out Sam Jaffe, the brilliant
6 THE OPHANIC REVELATION − Section 1

physicist, in the original “The Day the Earth Stood Still.” What they communicated
was a geometrical, symmetry-based, DNA-coded language pattern capable of
producing a rapid expansion of consciousness and an increase in symbol coher-
ent cognition. This unique language form also appears to have Sanskrit and
ancient Egyptian roots. Dr. Dee understood the information’s importance, but the
rest of the world, in the late 16th century, was very much not interested.
Dee and Kelley’s angelic work remained unpublished for almost fifty years
after Dee’s death in 1608. It wasn’t until two scholars on roughly opposite sides
in the English Civil War, Elias Ashmole and Meric Causubon, recovered and pub-
lished some of the manuscripts and diaries in the 1650s that anyone outside of
the immediate initiatory family circle even knew of the angelic conversations.
Aleister Crowley’s 1912 Liber Chanokh, or “A brief abstract of the symbolic repre-
sentation of the universe derived by Dr. John Dee through the scrying of Sir
Edward Kelley,” was the first published commentary on Enochian as a system.
Today, those who use or study the “Enochian” system include scholars of the
western mystery tradition, Shakespeareans, angelology aficionados, and practic-
ing ceremonial magicians, especially those involved in Renaissance magic or
those initiated into systems such as the Golden Dawn, Argentum Astrum, or
Ordo Templi Orientis, whose grade structures are based on systems that integrate
Kabalah, sacred geometry, and Egyptian and European mythology with some
components of the Enochian system.
Recently, the authors have also suggested how John Dee and Edward Kelley
may well have been the Hermetic teachers of William Shakespeare, with Shake-
speare himself present at some of their most dramatic workings.4 It comes as
no surprise that the greatest writer in English history may have been present at
the language’s inception. Just as the Hebrew letters and language create a self-
referencing focus for those who study Kabalah, so do the Angelic (or Enochian, or
Ophanic) language and letters form the centerpiece of Enochian communication,
which itself has very theatrical elements. 5
Yet despite wide present-day interest, explanations of Enochian and Eno-
chian magic that both place it in its historical, political and esoteric context and
look at the system in its entirety are few to none. A list and description of the
few books available follows this article, as well as our educated opinion about the
strengths and weaknesses of each.
As far as we know, the only time that the entirety of the Enochian system
has ever been assembled, up, and running was in Sedona in 1996; the Complete
Enochian Handbook used as a guide for that working appears later in this collec-
tion. It describes a complex multi-dimensional system that seems to function
like a fourth dimensional computer able to interface with our three-dimension
modes of processing light waves into images and pressure waves into sounds.
This working’s handbook describes the Holy Table, Lamens, Seal of Ameth,
Ring, Elemental Tablets, Tablet of Union, and Tablet of Nalvage as the
“communication hardware,” set up to run the programs given to Dee and
Kelley. The group in Sedona set up the hardware and “ran” the basic operating
INTRODUCTION 7
system software, vibrating all 49 Enochian keys and ensuring that all interior and
exterior aspects of the system matched perfectly so that 93 aethyrs resulted. The
hardware and operating system platform interface via phase-locks and shared
axes of symmetry between multidimensional geometric shapes and frequencies,
and respond in truly interactive ways.
If you have not begun to work with Enochian material, the above may sound
like so much incomprehensible jargon; if so, don’t worry about the terms for now.
But if you have had some limited experience with the work of John Dee or used
Enochian as part of some energetic practice, you probably notice components
listed above that are not used by the initiatory systems that employ but rarely
explain Enochian.
Part of the discussion following the above working is still posted on the
goldenmean.info sacred geometry site, including the call for an Ophanic mystery
school, that resulted, thirteen years later, in the Ophanic Revelation project now
underway. While the Enochian Handbook was geared for an advanced audience
of practicing magicians focused on single exhaustive all night working, it still
behooves students of Enochian to see how this group approached the material,
which is introduced thus:
The Ophanic Intelligences, the sentience of whirling Light,
gave Dr. Dee a powerful tool for leveraging reality. Imagine a
magick toolbox, small enough and portable enough to be scattered
throughout the galaxy. The toolbox contains ‘tools’ designed to build
a mechanism that functions as a combination radio set, life raft and
emergency medical instrument. Included along with the tools is a
DNA trigger coded 6 instruction sheet.
Learning the alphabetic waveforms of symmetry set coherent
sacred languages, 7 such Hebrew, Greek, Sanskrit, etc., creates a
stable psychic platform onto which the inter-locking non-local
dimensional structures of the Ophanic Language can be
downloaded. This ensures that the toolbox will be opened by
someone with the spiritual perspective to use it. The information was
originally given to Dee because he could understand and respect the
material.
Viewing the Enochian (or Ophanic, or Angelic) material through the lens of
modern breakthroughs in mathematics, physics, and cosmology, rather than via
Renaissance Hermetics, one point becomes immediately clear: the simple fact
that two men received material which their own time did not have the science or
mathematics to explain, but which our time period does, suggests some kind of
contact with a higher level of intelligence, from either within, without, or both.
It is crucially important to keep in mind that one of the major stumbling
blocks to understanding the Enochian material has been the failure to recognize
that John Dee already had in his repertoire certain concepts, like that of four
dimensional geometry, precessional astronomy, and a concept for the nature of

gravity, that we are accustomed to thinking were not described until many years
later. Because of the time Dee lived in, and because his work has not been well
understood until recently, it has remained “occulted,” or hidden from view, even
from those who would most like to understand it.
First, some comments on names and labels: Why is a language Dee refers
to as “Angelic” more often called “Enochian,” and is that the same thing as
“Ophanic”? And how can a language itself become a magical toolbox, let alone
something that can directly affect the earth and its immediate environment in
space?
Enochian, Angelic, or Ophanic?
HE TERM “Enochian” was never used by either John Dee or Edward Kelley to
T describe the language or system derived from it, though Dee was intensely
interested in finding a copy of the Biblical Book of Enoch, and many of the angelic
conversations concern Dee’s inquiries about an “Adamic” language and desire to
re-establish the wisdom of Enoch.8
John Dee most often called it “Angelicall,” the language he believed God used
to create the world. Commentators since have used the term “Enochian” to distin-
guish Dee’s “Angelical” from other “angelic” languages, noting the widespread
Judeo-Christian tradition that there was a divine language, spoken by the angels,
that matched the sacred numbering and ordering used in their creation story.
It is a language of light, in whichever of many contexts one understands “light,”
traceable to the “Fiat Lux” or “Let there be light” of Genesis.
Heinrich Cornelius Agrippa, whose 1510 work De Occulta Philosophia had
a major impact upon Renaissance Hermeticism, was one of many to write of a
Divine language and speculate about what “angelic” speech might be:
[But] what their speech or tongue is, is much doubted by many. For
many think that if they use any Idiome, it is Hebrew, because that was
the first of all, and came from heaven, and was before the confusion of
languages in Babylon, in which the Law was given by God the Father,
and the Gospell was preached by Christ the Son, and so many Oracles
were given to the Prophets by the Holy Ghost: and seeing all tongues
have, and do undergo various mutations, and corruptions, this alone
doth alwaies continue inviolated. 9
Agrippa, like many others, assumes a connection between letters, numbers,
and shapes, and assumes these can be used to calculate the names of “spirits:”
But because the letters of every tongue, as we shewed in the first
book, have in their number, order, and figure a Celestiall and Divine
originall, I shall easily grant this calculation concerning the names of
spirits to be made not only by Hebrew letters, but also by Chaldean, and
Arabick, Ægyptian, Greek, Latine, and any other.10
INTRODUCTION 9
Within Agrippa’s, and John Dee’s, heavily Abrahamic belief system, this original
language was used by the first man, Adam, to talk with God and the angels. Later
sacred languages, they thought, descended from this primary angelic speech. Some
Renaissance Kabbalists, both Jewish and Christian, thought the primary language
was Hebrew; modern students of the mystical Kabbalah, who believe that the “22
sounds and letters of the Hebrew alphabet are the foundation of all things,”11
ordering the first creation of earth and stars in the heavens, and represented by dif-
ferent occult symbols and gematria, will recognize the outline of this belief system
in modern esotericism. Gematria, the system of assigning numerical value to letters
in sacred alphabets, especially Hebrew and ancient Greek, is derived from both the
ancient Greek words for geometry, and grammar.
By the time Dee and Kelley began their angelic conversations, Dee was con-
vinced that Hebrew (or some proto-Hebrew that could be refined or even “cor-
rected” by Kabalistic study) was constructed by Adam after the Fall based on a
shadowy memory of an earlier language, which Dee termed “Angelicall,” or other
synonyms such as “First Language of God-Christ” or “Celestiall Speech.” In Renais-
sance Hermetic Christian belief, in common with all Abrahamic faiths, the Biblical
patriarch Enoch was the one known human who
also spoke this language.
Enoch, “Idris” in Islamic tradition, and associ-
ated with Tehuti, Thoth, and Hermes in multiple
magical traditions, was, within the belief systems
drawn upon by Dee, the lone human prophet
from whom the Angelic language was not
hidden. Dee believed that he and Edward Kelley
were the first to have this language revealed to
them since Enoch. Within Muslim tradition and
within the ancient and medieval alchemical tradi-
tion that passed into Christian Europe via Islam,
Enoch/Idris is also credited with the invention
of writing, grammar, geometry, arithmetic, and
astronomy, all of which were, both to those tradi-
tions and within the work of John Dee, intrinsi-
cally related pursuits.
For instance, Dee’s most famous work, the
Hieroglyphic Monad or Monas Hieroglyphica, 12 Squaring the circle through the
and a related much longer work, the Pro- pentagram is meant to symbol-
13 explicitly combine ize the harmonization of intu-
peudamata Aphoristica,
ition (pentagram) with reason
sacred languages and sacred geometry within an (square) or the idea that the infi-
alchemical system purporting to show the struc- nite (circle) communicates with
ture of physical reality and how it is placed within the human intelligence through
the larger cosmos; both make use of four dimen- laws of harmony.
sional mathematics and show an understanding
of gravitational forces 100 years before Newton.14

Studying the Hieroglyphic Monad, which in many ways is a helpful precursor
to studying Enochian magic, requires that a student be able to visualize complex
geometric structures and transform them, while adding layers of Pythagorean,
Kabalistic, and mythological correspondences that by Theorems XIII-XVI point the
careful student to ideas that would have been outright heretical in Dee’s time,
including advanced knowledge of the precession of the equinoxes that points
5,000 years backwards to the Age of Taurus, and very veiled references to ancient
mystery schools and their very sexualized concept of gnosis.15
The structure underlying Dee’s Monad can be three dimensionally repre-
sented as “Squaring the Circle in the Creation of Sacred Space,” and mapped to
both the Kabalistic Tree, the 5:6 ratio that relates phi to pi, and the spin direction
that grounds energy into matter or animates matter with energy. 16
By Theorem XVIII, Dee makes an ingenious green language play upon
“light”-in Latin lux, then written LVX-that suggests the INRI/LVX transformation
central to modern western esotericism.17 To Dee, understanding the concept of
light stood at the border between the inner and outer mysteries. Curiously, and
with prescient accuracy, it also stood between his concepts of three-dimensional
and four-dimensional geometry: by Theorem XX, he is outlining the use of
a hypercube for those who have eyes to see. The fact that Dee also uses a
hypercube in the Seal of Annael in his green-language laden Consecrated Little
Book of Black Venus18 is one of the ways we know Dee must be associated with
this work; notably, it is also “Annael” who appears in John Dee’s very first existing
angelic working, in 1581. Such a vision of an extended or unfolded hyper-cube in
three dimensions, essentially a cube with another cube on each of its six faces, by
Kelley on April 29th 1582 became the basis for the Angelic heptarchy controlling
the nature of time.19
According to Dee and Kelley’s angels, Enoch recorded the Liber Loagaeth
(Speech From God) for humanity. 20 Because Dee records that he and Kelley
are the first humans to whom the angels have revealed their language since
the time of Enoch, the language and the system it reflects are now most often
called “Enochian” (though there have been other Enochian scripts besides Dee
and Kelley’s, and these show not the slightest connection to the language here
discussed.)
Studying the elaborate symbolism within the different versions of the Book
of Enoch and related Biblical apocrypha such as the Book of Jubilees is beyond
the scope of this introduction, but those already knowledgeable in those texts
should easily see why Enoch, and by extension all things “Enochian,” are also
often associated with the measure of time and the prediction, timing, symbolism,
and understanding of the Hermetic understanding of the “Apocalypse.” To Her-
metic writers, “Apocalypse,” from Greek apocalepsis was on the one hand an
“unveiling,” simply the becoming public of all that was hidden, and on another a
pointer to a specific datable time period in the future when catastrophes might
occur, or humanity might usher in a Golden Age. 21
INTRODUCTION 11
That brings us to the term “Ophanic.” Perhaps this term is more metaphori-
cally correct, or packed with more layers of meaning, than “Angelic” or “Eno-
chian.” In any case, understanding it requires understanding what is known as
“the Green Language,” used by esotericists from Rabelais to Nostradamus to
Shakespeare to the 20th century alchemist Fulcanelli.22 As Renaissance writers
shifted to vernacular tongues like English, French, or Italian, such puns developed
to keep alive the packed symbolism and correspondences possible in sacred
languages like Hebrew, ancient Greek, or Latin. We might distinguish between a
“sacred language” and a particular writer’s “green language” as follows: the writer
employing an allusive set of green language references usually assumes that,
while perfect correspondences may be inscribed within sacred alphabets, such
perfection no longer exists in our commonly used vernacular languages. Because
of this, alchemical writers resorted to a complex web of symbols; beneath the
symbols, however, lays a deep skein of correspondences learned through the art
or theater of memory.
The term “Ophanic” is a modern-day equivalent of such green language pun-
ning, containing within its references a vague outline of the language’s alchemi-
cal keys. Dee would have associated his “angelic” language with the Ophanim, or
Auphanim, the choir of angels associated with the Sephiroth Chockmah, and by
extension, pun intended, with Da’at. In terms of the Kabalistic Four Worlds, the
Ophanim are associated with Briah, the Creative World, and the highest level the
human mind can comprehend.
In Hebrew, Ophanim/Auphanim means “wheels,” as in the wheels of the
chariot in the vision of Ezekiel so often referred to in modern esoterica, and have
great rims covered with “eyes,” (which can mean jewels or stars), and appear
again in the Revelation of St. John. Among other things, the Ophanim refer
us to the zodiacal Great Year, the Apocalypse, and the creation of individuated
knowledge from archetypal realms.
Choosing to Anglicize Hebrew as “Ophanim” rather than “Auphanim” also
makes a Dee-like green language play on both “Ophir,” the legendary Biblical city
renowned for its purity and abundance of gold; on “oph” the Hebrew collective
noun for birds or in this case the language of the birds, and of course the ancient
Greek word for serpent, contained in the 13th sign of the zodiac, Ophiuchus, the
serpent-bearer, whose alignment with the winter solstice sunrise marks the end
of the precessional round. Greek ophis can be a poet, serpent, or even metaphori-
cally an arrow, and together these puns show us the outlines of different direc-
tions the study of Enochian might take us. If Shakespeare was indeed the student
of Dee and Kelley, we might expect to find all of these meanings packed into the
name of Hamlet’s once-beloved Ophelia, whose name also is ancient Greek for
“indebtedness,” and ponder her appearance and death in a play named after the
mythological character, Hamlet or Amleth, who turns the cosmic mill of time in
Icelandic mythology.
John Dee did not use the term “Ophanic” to describe the language he was
transcribing any more than he called it Enochian, but he was a master of such

“green language,” and his more public works are full of such puns. The more
dangerous the idea, the more it is likely to be hidden under multiple meanings.
The further one progresses in understanding the Enochian system, the more
appropriate the term “Ophanic” seems. For our introductory purposes here, how-
ever, we’ll continue to use “Enochian,” since that is the word most commonly used
by modern writers.
Dee, Kelley and The Angels
HE ORIGIN of “Enochian” language, in modern times at least, again takes us
Tback to 1581 and the “close encounter” that John Dee, perhaps the most
learned man in Europe and the astrological advisor to Queen Elizabeth I, had
with an angel. 23
At least, that’s the legend: Dee was praying in the second-story chapel of his
Mortlake home when a sharp rapping and a sound like a screech owl drew him
to the curtained windows. Throwing aside the drapes, John Dee came face to face
with a shining being floating a full 12 feet off the ground. The being gestured
for Dee to open the window, and when he did, the shining figure handed him a
smoky quartz egg about the size of a small man’s fist. Dee took the quartz egg,
and the figure vanished.
In the mid-nineteenth century, as part of the same occult revival that brought
us Swedenborg, Madame Blavatsky, Theosophy, and the original Golden Dawn,
this legend became the centerpiece of Gustav Meyrink’s romantic historical
novel, The Angel of the West Window.24 It is easy, from a modern perspective,
to dismiss the “angel in the window” incident as a superstitious legend, but the
crystal still exists, on display in the Manuscript Room of the British Museum.
Dr. Dee kept careful records and made notes almost obsessively. We have
notes on the construction of his other scrying glasses, as these types of crystals
were known, but nothing, except the above incident, about the smoky quartz
egg. Even Dee’s first biographer, Meric Casaubon, who was anything but sympa-
thetic, simply reports the origin of the crystal without comment.
Not long after Dee recorded a “rapping” at his window25 and received the
crystal, he made the first existing notes of his conversations with angels, or at
least, beings he took to be angels. That first working, through the scrying of a
man with probably pseudonymous name “Barnabus Saul,” the Archangel Annael
appeared. Within a few more months, alchemist and scryer Edward Kelley would
arrive at his door, and the two would launch into seven years of magical workings
that took them from England to Cracow to Prague and Bohemia. These include
the mysterious “heptagonal” working, which took place in 1588 as the Spanish
Armada was sailing towards England, and perhaps gave birth to yet another
persistent legend, that Dee and Kelley’s magic helped create the storms that
turned back the Spanish Armada.
When scholars such as Dame Frances Yates write of William Shakespeare’s
Prospero being partially modeled on John Dee, its not hard to see The Tempest
as influenced by this legend: the Magus Prospero conjures a storm that wrecks
INTRODUCTION 13
the ship of his adversaries, and through the conjuring of spirits he has used to
protect his island, all manner of ills are set aright. Indeed, as one studies the
Angelic workings, it becomes difficult not to see the similarity between Ariel and
Uriel, Prospero’s angelic familiar and Dee’s angelic informant, and even Calaban,
Prospero’s other magical servant, has a name strongly suggestive of the Rulers of
the Heptarchy. More recent scholarship, including that of the authors,26 suggests
that William Shakespeare (under the spy pseudonym “Francis Garland”) may have
been present for Dee and Kelley’s Heptagonal working, as well as some of their
other continental adventures.
What were the circumstances that led John Dee−geographer, mathematician,
alchemist, and spy-to try to learn the workings of the universe from angels?
John Dee was born in 1527 and his formative years were colored by the
religious turmoil brought on by the Reformation. Dee’s family, through which
he would later claim distant kinship with Queen Elizabeth, probably arrived in
London in the wake of Henry Tudor’s coronation as Henry VII. By the time he went
up to Cambridge at fifteen, he was searching for a resolution to the problem of
religious authority, seeking a type of spiritual science that could supply insight
into the workings of nature by infusing the natural world with mystical meaning.
After studying at Cambridge and Louvain, Dee achieved the status of Renais-
sance celebrity in 1550 with a lecture on mathematics and the spiritual aspect
of number at the University of Paris. During the reign of Edward VI, Dee became
involved in the political maneuverings around the throne and by the summer of
1555 found himself in prison on an unspecified ecclesiastical charge. After Catholic
Queen Mary,“Bloody Mary,” and her followers displaced the “nine-day Queen”
Lady Jane Grey following the death of the boy King Edward, times were tough
for known Protestants, especially mathematicians and magicians, especially those
known to have cast horoscopes of the Queen. Dee spent several months in prison.
Over six hundred others went to the stake for witchcraft and heresy, perhaps even
Dee’s own father.
Dee survived the purge of 1555, as did his new patron, Queen Elizabeth I,
who asked him to pick an auspicious date for her coronation. Curiously, she also
gave his widowed mother an old house on the site of an ancient lake, a house
whose title a few years later would pass on to Dee. He settled in at this family
home, Mortlake, which would eventually house the largest library of its time in
all of Europe. Only the great national collections of the next century surpassed
it. The type of books he collected-everything from Hebrew grammars to clas-
sical mythology to Galenic and Paracelsan medical texts to works by Agrippa-
show him as Elizabeth I’s chief “intelligencer” and “philosopher” in that specific
Renaissance context where espionage meant everything from cryptography to
astrology to, in Dee’s case, talking to angels.
At the end of 1562, Dee departed for an intelligence-gathering expedition to
the continent. The easiest way to follow his trail is by noting the manuscripts he
collects. The first of these was the Stenographia of Abbot Trithemius, a bizarre
text written on multiple levels. . When Dee learned of the manuscript’s existence

in Antwerp, he apparently spent almost all of his money and exhausted the use
of different middlemen to obtain a draft. What appear to be the incantations that
fill the first two books of Stenographia are actually arduous encryption schemes,
but in the latter portion, Trithemius lays out a complex, but coherent, method in
which the magical images of cosmic forces are etched into wax to capture and
manipulate their energies. Thus the cryptography and the magic cover for each
other, and to this day scholars argue about which was a blind for which. In Books
I and II, Trithemius directed his magic encryption codes toward the goal of long-
distance communication via spirit messengers, a magical version of telepathic
communication. All this, of course, had immediate practical value for espionage.
Why pay couriers if the spirits can deliver communiqués more reliably?
As Peter French noted in his biography of Dee, “Trithemius’ goal in this work
is a form of telepathic communication that would be achieved by conveying the
human spirit, with the imprint of the sender’s thought, though the air to a recipi-
ent whose portrait the sender contemplates. The magic is implicitly a means of
knowing all that is going on in the world, and the angel-magic underlying the
Stenographia would have been far more significant to Dee than the treatise’s
outward concern with cryptography.”28
This was the beginning of Dee’s quest for the direct experience of his “Radical
Truths.” From Antwerp he departed to visit many of the great Hermetic thinkers
and libraries of his time. 29 In the winter of 1564, he wrote The Monas Hiero-
glyphica in one long twelve-day explosion of insight. In spite of its intentional
obscurity, the Monas Hieroglyphica became the Renaissance equivalent of a best
seller and attracted comment from the best minds of the next century and a
half. 30
At the center of the work is a talismanic diagram that resembles the astro-
logical symbol for Mercury, but with some significant changes. From this symbol,
Dee extrapolated a complex system of mystical geometry, which he thought
embodied the underlying unity, or monas, of the universe. However, having no
desire for a heresy charge, Dee left the application of this universal symbolism
rather vague.
His readers, who knew the code and could understand the meaning and
implied practical applications, made Dee’s work into one of the cornerstones of
Renaissance alchemy. They thought that Dee had discovered a universal symbol
that, when engraved in the psyche, would allow man to experience the Gnostic
revelation. This revelation, in which all knowledge - gnosis-was received, then
allowed one to operate as a lens or focus for spiritual activity. We can think of this
idea as the basic definition of a shaman or a magician.
After 1564, Dee published only mathematical and scientific works. His edition
of Euclid, with the “Mathematical Preface,” appeared in 1570, and in 1577 his
“Perfect Arte of Navigation” was published. Virtually nothing else appeared in
print in his lifetime. Apparently, during the 1570’s, his interest in the “Radical
Truths” came to outweigh everything else. Dee had achieved earthly fame and
had made significant contributions to the development of several hard sciences
INTRODUCTION 15
in his own time. Increasingly, it must have seemed that only non-local, non-
physical intelligences could answer Dee’s ever more complex questions.
From 1563 on, Dee had the tools and the basic understanding to embark
on an exploration of angelic communication, the idea that had led him to copy
Trithemius with such excitement. His notes, however, record only a few attempts,
done without much enthusiasm. That is, until the angel rapped on the window.
The logic of turning to supernatural forces for knowledge about the universe
seems strange to our modern scientific sensibilities. This is a category of experi-
ence that “science” has labeled subjective and therefore suspect. To Dee’s con-
temporaries it seemed less unusual. The possibility of acquiring knowledge by
revelation or inspiration was a vital component of the Renaissance paradigm. In
the “Mathematical Preface” to his edition of Euclid, Dee asserts that man “partici-
pates with Spirits, and Angels: and is made to the Image and Similitude of God.”
He also notes that there are powerful precedents for angelic communication:
the traditions of Enoch and Esdras, Abraham and Elijah and Moses, and “sundry
others thy good angels were sent (to) by thy disposition, to Instruct them.”
Dr. John Dee’s first serious attempt at angelic communication, on December
22, 1581, involved a man by the curious name of Barnabus Saul, one of Dee’s
servants, who acted as a medium or seer. Apparently, he was a better footman
than a medium, for after a few sessions we hear little more about him. By March
1582, however, Dee’s seer had located him. His diary reads:
Mortlake: In the Name of Jesus Christ, Amen. In the year 1582, on the
10th day of March, before noon, Saturday.
One Mr. Edward Talbot came to my house and he being willing and
desirous to see or show some thing in spiritual practice. . .
So begin Dee’s notes of his first scrying session with his new seer, Edward
“Talbot” Kelley. At first, Dee was suspicious of the younger man, and rightly so.
Kelley appeared unannounced, offering a fake name−he might have been a
spy seeking information on Dee’s spirit conjurations−and even when identified
proved to have an unsavory reputation. Dee must have resolved his doubts,
because on an early spring morning roughly a year after Dee’s first angelic visita-
tion, they sat down for a trial run with the scrying stone. It is hard not to be
impressed by the vivid quality of the quickly written notes of the proceedings.
Kelley fell to his knees before Dee’s desk and began to pray over the stone;
surprised, Dee took Kelley and the stone into his chapel, or oratory.
Within a quarter of an hour, Kelley began to see an angelic shape in the crys-
tal. This being identified itself as the Archangel Uriel, accompanied by Raphael
and Michael. Dee was hooked by this immediate success, and so began a long
strange relationship between these two men and the angels. For the next seven
years, they conducted almost daily sessions. Dee of course wrote everything
down in his “Spiritual Diaries,” and reading them becomes after a while an exer-
cise in applied surrealism. As an example of a dialogue with the deep uncon-
scious Other, they are unparalleled. 31

At this first session, the Archangel Uriel revealed his sigil, a rather stylized
energy signature, and gave preliminary instructions for a powerful talisman called
the Sigil of Truth. Fashioned of wax, it was used in all future sessions as the
base for the scrying crystal. This seal or sigil is at first glance similar to earlier
ones by Agrippa and Reuchlin, but the version the spirits produced for Dee and
Kelley is more detailed and aesthetically satisfying. Designed as an embedded
heptagram/heptagon with a pentagram in the center, the Sigil of Truth theoreti-
cally acted as a template or pattern buffer for truthful communication.
The Sigil of Truth also functioned as a geometric foundation on which the
rest of the angelic system grew. Around the outer edge of the Sigil is a series of
letters and numbers. From these, the angels derived a series of great elemental
names, which were said to describe the forces ruling each elemental tablet. The
names of the angelic beings within the heptagon/heptagram were transmitted in
the form of letters arranged in squares. These squares were then read in different
directions to produce even more angelic names. Today this gives us the impres-
sion of a vast fractal universe in which the nature of the intelligence consulted
depends on the symmetry angle of your approach.32
On March 26, Kelley was shown a great book with the leaves also filled with
squares. For the next 13 months, Dee and Kelley struggled to copy the contents
of this angelic volume, despite interruptions and interference from the spirits.
The records of these sessions are full of odd material, elemental distractions and
strangely accurate prophesies. Some times the spirits wouldn’t appear at all. This
behavior suggests that the spirits were of several types, with differing agendas,
and that they had other things to do than wait for Dee and Kelley to show up
for their lessons.
The vision of the book marked the first appearance of material concerned
with the angelic language. Since the Mayan origin point for this evolutionary
cycle, 3113 BC, there have been more than seven thousand natural languages
recorded. Human ingenuity has created perhaps another thousand, mostly for
religious and magical uses. But we have no record of any language stranger than
the one that emerged from these scrying sessions. Dee and Kelley’s Angelic or
Enochian language is unique. Even now, it is impossible tell if it is a natural or
invented language, or whether it is, indeed, the language of the shining angelic
beings.
The alphabet appeared first; twenty-one special characters each with its own
title. The titles are odd, with little relationship between title and the phonetic
value of the character, and were dictated in three groups of seven totaling 64
characters in all, which suggests another magical square arrangement. As alluded
to earlier, it also suggests the I Ching, the codons of DNA and the Tzolkin calendar
of the ancient Mayans. As an added bit of strangeness, twenty-one is exactly the
number of symbols needed to transcribe phonetic English without confusion.
These characters were then used to dictate the first texts in the angelic
language. On Good Friday, March 29, 1583, the angels began with a slow deliber-
ate method - the angel spelled each word, letter by letter, and then Dee wrote
INTRODUCTION 17
out the English and read it back−to fill in a large 49 x 49 square, where each
square was a word and each line a text. After two lines of text, Dee expressed a
desire for a simpler method. Annoyed at the request, the angel departed. By the
following Tuesday, when the session reconvened, the angels were prepared with
a completed square from which Kelley could read off the text. Kelley however had
not memorized the letters given the previous week.
Annoyed again, the angel intervened:
A voyce - Read.
E.K. - I cannot.
<Dee>- You should haue lerned the characters perfectly and
theyr names, that you mowght now haue redily named them to
me as you shold see them.
A voyce - Say what thow thinkest. (Dee- he sayd so to E.K.)
E.K. - My hed is on fire.
A voyce - What thow thinkest, euery word that speak.
E.K. - I can read all, now, most perfectly, and in the Third row
this I see to be red.
Palce duxma ge na dem oh elog. . .
(Sloane MS 3188, April 2, 1583)
What happened here? The angel said “What thou thinkest, every word, that
speak,” and Kelley miraculously began to read. Kelley’s “my head is on fire” com-
ment suggests something very strange happened that afternoon. Did the angels,
those non-earthly, non-local intelligences, force Kelley’s consciousness into reso-
nance with a language pattern coded into our very DNA?
The texts that Kelley generated from the tables shown to him by the angels
resemble the vast literary mandalas of Tibet, and like them are full of phonetic
patterning, repetition, rhyme and alliteration. This type of verbal patterning is
not found in normal speech, but is characteristic of poetry and magical charms
as well as “speaking in tongues,” or glossolalia, that is language produced under
trance conditions. There is no question that Kelley was in some kind of trance
during these sessions: Dee notes many occasions indicative of a deep trance state
on Kelley’s part. However, this does not mean that the “language” produced in
these sessions was meaningless gibberish. The phonetic patterning is also similar
to verb tense and other grammatical drills. Perhaps Kelley, with the help of these
“angels,” was constructing in a trance state, the linguistic links his unconscious
needed in order to receive a more complete form of the angelic language, one
that developed from these original text-filled squares.
The squares of the Liber Logaeth, or the “Book of the Speech from God” as
Kelley and Dee called the great book of his vision, did indeed form the basis
of a new series of 49 invocations dictated in the spring of 1584, while Dee and
Kelley were in Cracow, Poland. Unfortunately, the details of how this version of

the Enochian language developed from the squares is very unclear. All we can be
sure of is that it was generated somehow out of the previous tables and squares,
and this time a translation was provided right from the start.
With these translations, we begin to find a real language emerging. The
grammar and syntax are similar to English, perhaps because of Kelley’s uncon-
scious linguistic processes, but vocabulary elements, roots and prefixes and
case endings, are not directly derivable from English, Greek, Latin or Hebrew.
Some words suggest Sanskrit and ancient Egyptian roots, languages completely
unknown to either Dee or Kelley.
In fact, in the earliest sessions on the Sigil of Truth, we find that the name of
the elemental king of fire, generated by following a symbolic pattern around the
letters and numbers on the rim of the seal, is a perfectly good phonetic render-
ing of an ancient Egyptian phrase. Following the pattern, which was dictated sev-
eral years after the Sigil itself, we produce the name Oheooaaatan, pronounced
Uh-heh uh-ah-ah ah-ton.
In hieroglyphic Egyptian that becomes uha uhah aton, the very phrase in one
of Ra-Harakte’s titles, translated as “the penetrating and destructive power of the
sun’s disk,” from which Amenhotep III took the word Aton and turned it into a
new definition of divinity. Before we dismiss this as a coincidence, we should
note that the elemental king of earth, derived by the same method, renders
as Tha-ha-oo-teh, or simply Tehuti, or Thoth to the Greeks. This is simply astonish-
ing. Phonetic Egyptian did not even exist as a concept during the Renaissance.
Athanius Kircher declared in the 17th century that all hieroglyphs were symbolic
rather than phonetic, and no one thought otherwise until Champollion in the
early 19th century. Where did Dee and Kelley get these Egyptian words and
phrases?
We are left with a deep mystery.
Hard as they worked to produce this mountain of magickal material, Dee
and Kelley seem never to have done anything with it. Kelley must have used
some formulas given to him by the spirits in his alchemical workings, but beyond
that no further contact was undertaken until that of Elias Ashmole-- a founding
member of the Royal Society, antiquarian book collector, alchemist, and Rosicru-
cian brother in all but name--in the next century.
Ashmole, Casaubon and Rudd: The Hermetic Revolution and Beyond
N 1614, six years after John Dee’s death, a publicly printed text appeared of
I an anonymous manuscript that had been circulating among Europe’s intel-
ligentsia for several years. It was called “The Declaration of the Worthy Order of
the Rosy Cross.” Known by its first two Latin words, Fama Fraternitatis, it revealed
the purported existence of a brotherhood founded by one Christian Rosenkreuz,
who allegedly lived in the fourteenth and fifteenth centuries. The Fama tells of
his search for occult knowledge, which led him to the Middle East-Palestine, Syria,
Egypt, North Africa, and Spain-before returning to Germany to found his secret
brotherhood. One hundred and twenty years after Christian Rosenkreuz’s death
INTRODUCTION 19
at the advanced age of 106, one of the brethren discovered his tomb and his
uncorrupted body. This was the signal for the Brotherhood to emerge and spread
their message, hence the publication of the Fama.
Their message, of course, was nothing less than the dawn of a new Golden
Age. The Fama informs us that the Brotherhood possessed the keys to a secret
knowledge capable of transforming society and ushering in a new era, one in
which “the world shall awake out of her heavy and drowsy sleep, and with an
open heart, bare-headed and bare-footed, shall merrily and joyfully meet the
new arising Sun.” This quote is taken from the next Rosicrucian production, the
Confessio Fraternitatis, a restatement of the basic themes, but with a more direct
emphasis on its revolutionary implications. It also goes to the core of the alchemi-
cal mystery.
The Rosicrucians were alchemists, but the Fama and the Confessio are both
highly critical of the “puffer” type of alchemical worker who sits in his lab and
actually attempts to get the mineral gold out of boiling lead. The Fama talks
of “ungodly and accursed gold-making, whereby under the colour of it many
runagates and roguish people do use great villainies, and cozen and abuse the
credit which is given them.” The Fama implies that the Rosicrucians could make
gold but found the higher spiritual alchemy to be more important. Higher spiri-
tual alchemy related to the coming Golden Age and how to prepare for it. That,
seemingly, was the intent behind the publication of the first two Rosicrucian
documents−to prepare the world for the new era that was dawning.
The third volume, however, was very different. The Chymical Wedding of Chris-
tian Rosenkreutz appeared publicly in 1616, the year Shakespeare died, and is the
only Rosicrucian document to be linked with an author.
Johann Valentin Andreae, a Protestant minister from Germany, claimed late
in life that he wrote The Chymical Wedding in 1601, though the attribution is
extremely somewhat suspect, as he would have been just fifteen at the time. The
Wedding is full of complex occult imagery and surreal metaphors and describes
Christian Rosenkreutz’s experiences as he observes a royal wedding. It is hardly
the stuff of adolescent fantasies. John Dee’s Monad glyph appears prominently
in the margins of the Chymical Wedding; and the Wedding’s story-within-a-story
serves as a gloss for the message of the whole, much like the play-within-a-play
in some works of Shakespeare.
Like many alchemical works, the Wedding is filled with ciphers and green
language. No less a mind than Leibniz, who along with Newton invented calculus,
solved one of the ciphers. In the Wedding, the king announces: “My name contains
five and fifty, and yet hath only eight letters.” Leibniz correctly unraveled one
layer of this mystery by using a simple Latin gematria, where A = 1, B = 2, and so
on, to arrive at the answer of “ALCHIMIA.”
We must consider The Chymical Wedding as an initiatory text, much like Wol-
fram’s Parzival or Fulcanelli’s Le Mystère des Cathédrales, which cannot be under-
stood without the aid of an esoteric gloss. However, no explication appeared and
after this strange work, the original Rosicrucians fell silent. It is not known if they

did indeed respond to any of the many thinkers, such as Leibniz, who sprang to
their defense. We can assume that if they did, the secret was kept, because the
movement continued.
Francis Yates labeled the entire era “The Rosicrucian Enlightenment,” but the
authors prefer the term “Hermetic Revolution” for the era in European history
from the defeat of the Spanish Armada in 1588 until the beginning of the Thirty
Years War at the Battle of White Mountain in Bohemia in 1620. In this light, the
fundamentalist (in the modern sense of reactionary conservatism) movements
of the Counter-Reformation and the Puritan regicide in England can be seen as
reactions to the Hermetic Revolution. Similarly, it is possible to see such diverse
concepts as the Elizabethan theater and Shakespeare’s plays as part of the same
alchemical current as the Rosicrucian movement. At the center of this Hermetic
Revolution stands the work of Dr. John Dee, particularly the Monas Hieroglyphica.
When Dr. Dee returned to England in 1589, Sir Edward Kelley remained in
Bohemia to continue his alchemical research. This initial split, between alchemical
application and angelic communication, would create almost insurmountable
problems for those in the next generation who tried to understand the signifi-
cance of Dee and Kelley’s work.
Elias Ashmole, following the alchemical trail, rediscovered the importance
of Kelley’s alchemical works and their connections to Dee and perhaps in a dis-
guised manner to William Shakespeare34 and published his findings in Theatrum
Chemicum Britannicum in 1652, while Meric Casaubon, in publishing A True and
Faithful Relation of What Passed for Many Years between Dr. John Dee and Some
Spirits in 1659 as something of a rebuttal to Ashmole’s comments, inadvertently
exposed the true depth of Dee and Kelley’s work, even as he tried to demonize
it. But the bifurcation is real, alchemical on one side and angelic/demonic on
the other, and this double vision is the major point of both understanding and
confusion in evaluating the Ophanic communication as a whole.
Without these two publications, it is likely that Dee and Kelley’s work would
have faded into complete obscurity. That at least was Asmole’s motivation: “For
I think it not fit to suffer such Eminent lights longer to lie in Obscurity, without
bringing them forth to the view of the World.” For Casaubon, the intent is very
different. He paints Ashmole’s “eminent lights” as deluded fools and worse, a
charlatan or demon possessed in the case of Kelley. We can perhaps see this
wide divergence of view as indicative of the political and cultural wars that
accompanied the English Civil War and its Cromwellian aftermath, making the
odd case that Dee’s significance to the Elizabethan era had become something
of propaganda issue.
This strongly suggests that some kind of tradition surrounding Dee and
Kelley’s angelic workings had survived the intervening decades. Elias Ashmole
briefly corresponded with Arthur Dee, John Dee’s son and a participant as a
child in the angelic workings in Trebona, and even published a book by him
the year before the Theatrum Chemicum Britannium.35 Ashmole appears to have
had access to information that did not survive, independent sources if you will,
INTRODUCTION 21
and some of those included connections to Kelley’s surviving relatives as well as
Dee’s. He had an alchemical “initiator,” William Backhouse, who he said revealed
to him the secret of the philosopher’s stone, and also passed on to him many
manuscripts. He also had access to the early angelic sessions after 1662 when
they were discovered in a secret drawer of a cedar wood chest once owned by
Dr. Dee. The finder, a Mr. Wales, traded them to Ashmole for a copy of his book
on the Order of the Garter. This material led Ashmole to attempt his own angelic
communication in the 1670s.
Beneath the shadowy surface of Rosicrucian, proto-masons and other occult
societies, we can see the outlines of the early Enochian tradition developing. But
the core of that tradition remained underground, partly obscured by a mysteri-
ous “Dr. Rudd.” Some 20th century Dee scholars, Frances Yates included, specu-
lated that this “Dr. Rudd,” whose work is copied by a later copyist called “Peter
Smart,” might have been Thomas Rudd, who published an edition of Dee’s Math-
ematical Preface to Euclid in 1651. Whoever Rudd was, he had to have a connec-
tion to some initiatory circle connected to the family of Dee or Kelley, though
recent research has cast doubts on this being his real name.36 If the name itself
is a pseudonym, consider the many green language puns pointed to by the name
Rudd- it suggests “red” or “ruddiness,” the act of spawning, even a “rudder,” but
most tellingly a Rudde or Roode was an old word for a Cross, and might well
suggest the “light of the cross” or LVX of Dee’s Hieroglyphic Monad.
“Dr. Rudd” represents the survival of a magical connection from Dee’s era,
through the Rosicrucians and into the era of Ashmole and physicist Robert Boyle.
In 1660, Ashmole and Boyle were founding members of the Royal Society, which
itself grew out of an “Invisible College” referred to by Boyle in 1646. Incidentally,
one of the most unexpected accounts of Edward Kelley’s alchemical work, to
modern minds anyway, is the story told by none other than Robert Boyle, who
claimed in 1670 that he had heard the story of the grand transmutation from
Kelley’s own kin, and spent a fair amount of time trying to produce something
similar on his own. Even Isaac Newton was not immune to the lure of alchemy,
and, as he was familiar with Ashmole’s work, certainly knew of Dee and Kelley.
By the early 18th century, some Enochian material was circulating in manu-
script form among what would soon become Freemasonry. And thereby hangs a
curious story, one that connects many obscure threads and leads back to Dee’s
involvement in the Elizabethan theatre and forward to the Hermetic revival of the
19th century’s occult societies, including the Golden Dawn.
Smart, Byrom and Falkner: The Tradition Splinters
REEMASONRY formally started in England in 1717 with the public
F announcement of the Four Lodges at the Apple Tree Tavern in London
on June 24, Saint John’s Day. Something like these “lodges” had existed at least
since the mid fourteenth century as craft guilds. These Freemasons were differ-
ent, however. They weren’t actually working, operative masons but middle-class
members of a secret society gone public. As early as the1640s, around the same

time as Boyle’s reference to an “Invisible College,” Elias Ashmolejoined some
kind of speculative Masonic group. Some of the early founders of official English
Freemasonry, such as Dr. James Anderson and John Theophilus Desaguliers, had
Rosicrucian connections and sympathies and exerted an enormous influence on
the early lodges. In the next twenty years, similar lodges were organized publicly
all over the British Isles.37
The movement spread to the Continent, even as far as Russia, but it took
the oration of Chevalier Andrew Michael Ramsay, given at the Paris Grand Lodge
on March 21, 1737, to put the new movement into perspective. According to
Chevalier Ramsay, the Freemasons came not from the literal medieval guilds of
cathedral builders but from the kings and nobles of the Crusades. They were
not actual builders, but those who had taken vows to restore the Temple in
Jerusalem. These “Templars” formed an intimate link with the Knights of Saint
John of Jerusalem.38 The Chevalier Ramsay also announced that the Order was
derived from the mysteries of Isis, Ceres, and Diana, an interesting claim in light of
Fulcanelli’s comments in Le Mystere on Isis and the Black Madonnas of the Gothic
cathedrals, and even more fascinating when we turn to the obvious goddess
worship references in John Dee’s Enochian visions and even in Shakespeare’s
plays. 39
At about the same time that the Chevalier Ramsay was trying to define
Freemasonry, an English Brother, John Byrom, poet and inventor of a form of
phonetic shorthand, and member in good standing of a lodge that met at The
Swan Tavern in Long Acre, came into possession of an odd collection of esoteric
manuscripts. Like the Chevalier, Byrom was a Jacobite sympathizer, a supporter of
the Stuart restoration to the throne.40 In the early eighteenth century in the north
of England this was a dangerous position to hold. The nine “Manchester Martyrs,”
which contained at least one of Byrom’s friends, were hanged, drawn and quar-
tered for treason for their part in the 1745 uprising of the young pretender,
“Bonnie” Prince Charles Stuart. Byrom survived, perhaps with his life purchased
by friends’ silence. 41
The origin of Byrom’s collection is unclear. All that can be said is that some-
time between 1732, the latest dated piece in the collection, and the disaster of
1745 the papers became part of Byrom’s library. They were listed in the catalogue
of the family library in the mid-19th century as miscellaneous geometric and
architectural drawings. At some time after that they disappeared from the library,
turning up later in a cupboard only to be forgotten again until a Manchester
music teacher, Joy Hancox, decided to write a biography of John Byrom in the
late 20th century. 42 The family entrusted her with the remaining pieces of the
collection, 516 separate pieces of paper and card stock covered, some on both
sides, with enigmatic geometrical diagrams. Even though some of the diagrams
had writing on them, there was not a single explanatory note.
A few were dated, the latest being 1732, and a few others had what appeared
to be brief, cryptic instructions or commentaries. Some sheets had initials on
them of recognizable people and some even had a name or two mentioned.
INTRODUCTION 23
These included George Ripley, Robert Fludd, Jacob Boehme, Michael Mair and
Heinrich Khunrath, a roll call of scholars, mystics, scientists and Rosicrucian phi-
losophers. One curious mention was Matthew Gwinne, an Elizabethan professor
of medicine and a contemporary of John Dee and Shakespeare. One or two
sheets mentioned the Royal Society, of which Byrom was a member and a few
contained biblical references, including the measurements of the Ark of the
Covenant. One very small drawing depicted an English acrostic featuring the
word “Cabalists.”
Given just these clues, the obvious Kabalistic nature of some of the drawings,
and Byrom’s involvement with Freemasonry and Jacobinism, it is not too radical
a supposition that Byrom should have been given the collection by the remnants
of some secret society, perhaps for safe keeping. We have no evidence, beyond
Hancox’s wishful thinking, that Byrom himself ever formed a working group
around these papers, or that they were ever part of a collection within the Royal
Society. But the collection itself does indeed appear to be the teaching and
demonstration diagrams of a magical society, one that apparently existed from
the 1590s to the early 1730s.
What do these drawings have to do with Enochian? Their focus seems to be
sacred geometry and Kabbalah in architecture. The seeming split between sacred
geometry and angelic languages exists just as palpably as the one between Dee
and Kelley’s physical alchemy and angelic communication. The deep geometric
understanding is what supports the latter and allows it to operate.
Fortunately, this is not the only example of the survival of archives of such
a secret group, and the others relate more directly to angelic magic. In the
Harleian manuscript collection in the British Museum there is a collection of
alchemical and magical texts copied between 1699 and 1714 by one Peter Smart,
self-described Master of Arts of London.43 Among these manuscripts are several
relating directly to Dr, John Dee’s Enochian workings and angelic magic as well
as a collection of alchemical and Rosicrucian material, also containing fragments
of Dee’s work, entitled The Rosie Crucian Secrets. This work was examined by E.
Langford Garstin, a member of an early twentieth century esoteric and magickal
group, 44 who commented: “There is a mass of evidence in favour of the sup-
position that as early as Dee’s time there was in existence a secret fraternity...
(and) that this society may even have been, and probably was, a branch of the
Rosicrucian Brotherhood…” 45
Could the Byrom collection also once have been part of Peter Smart’s copy-
ing project? Could it have been part of the originals from which Master Smart
worked? Such complex geometric diagrams would have been almost impossible
to copy in the early eighteenth century without considerable skill as a draftsman;
the documents Smart is copying are ones that would need geometric “support”
to ever make sense magically or mathematically.
The texts, those that wound up in the British Museum, could be copied, but
the drawings were truly irreplaceable, the core of the secrets. Given the close
proximity of the dates−Smart’s work on Dee and the Rosicrucians was done

between 1712 and 1714 just twenty years before the collection most likely came
into Byrom’s possession−it seems very probable that they are in fact connected.
Byrom himself, in his journals, gives us a very significant clue on this point:
Thursday 1 May 1735− I went to Sam’s coffee house at one o’clock,
called upon Mr. Charles Houghton by the way, found Dixon and Graham
there, we to Mr. ____ in Bartholomew Close, where he showed me his
engine for cutting and working Egyptian pebbles, and the collection of
nine figures and papers of Rose about the cabalistic alchemy etc. very
extraordinary, and many curiosities, which I think to call some day to
look at, Jacob Behmen’s three principles; there we parted and I came to
Abingdon’s.46
In an earlier entry, back in January, Byrom identified Mr. ____, a rather mysteri-
ous member of the Royal Society. Falkner was proposed for membership by two
of Byrom’s friends, Martin Folkes and Sir Hans Sloane, and Sloane at least had
access to Byrom’s collection, as he inserted fifteen plates in his copy of a 1618
Rosicrucian manual that are reproductions of some of the diagrams in the collec-
tion. From this contemporary example, we can see that it was understood that
the Rosicrucian material, particularly perhaps the alchemical material, was meant
to accompany the geometric diagrams. When we understand that to Dee and
Kelley the alchemical and angelic could not be separated, as some later writers
have tried to separate it, then our circle becomes complete.
Also, from Byrom’s comments above, we can identify some of Mr. Falkner’s
collection of esoteric papers. The “nine figures” can only be “Dr. Rudd’s Nine Hyer-
achies of Angels” from the collection of manuscripts copied by Peter Smart. This
suggests that the “papers of Rose about the cabalistic alchemy” might in fact
be “The Rosie Crucian Secrets,” the only manuscript copied by Smart that could
considered “cabalistic alchemy.” Byrom’s separate mention of “Jacob Behmen’s
(sic) three principles” suggests he was looking at a diagram, and, as we will see
below, there is one important diagram in Byrom’s collection that does depict
Boehme’s three principles.47
It is quite likely then that all six manuscripts in the Harley collection copied by
Peter Smart were together and in the possession of Mr. Falkner that May evening
in 1735, along with a seventh folio containing the diagrams that would become
the Byrom collection. Byrom apparently saw three of the seven that evening,
and soon thereafter he was entrusted with at least one of the volumes, the one
containing the all-important geometric diagrams. The other manuscripts would,
within half a century, end up in the manuscript collection of the newly formed
British Museum, while Byrom’s collection vanished into his private library.
Scholars, such as Frances Yates and Adam Mclean, have examined the Harley
Collection manuscripts and concluded that they were important texts from the
early history of Rosicrucianism. Indeed, one of the manuscripts in the complete
collection is a copy of The Chymical Wedding with marginal notes by “Dr. Rudd”
commenting on the use of Dee’s Monad. Yates suggests that “Dr. Rudd” was part
INTRODUCTION 25
of a group around Arthur Dee, John Dee’s son, whose esoteric pursuits were more
alchemical. 48
This family connection is made even more probable by the specifically Eno-
chian material contained in the manuscripts. Some of this material, in the Angelic
Magic manuscript that also contains Rudd’s “Nine Hyerachies,” suggests that
Rudd had access to information that was unavailable in the published sources
of his time. Dee’s son would seem a likely source for this material. Adam Mclean,
in his introduction to The Treatise on Angel Magic, comments: “The Rudd Treatise
was never meant to be published. It was rather a private commonplace book or
reference book for a group or order of occultists working closely with Dr. Rudd.”
He goes on to say: “The existence of this manuscript indicates the continuity of
an occult system of Angel Magic, stretching from the workings of John Dee and
Edward Kelley in the late sixteenth century into the early eighteenth century.” 49
According to Joy Hancox’s work, some of the drawings in Byrom’s collection
date to Dee’s era, so it appears that all of these threads lead back to Dr. Dee and
the origins of the Rosicrucian movement. If the whole current contained in the
manuscripts leads back through Dr. Rudd and the Rosicrucians to Dr. Dee, then
we might have an answer to the question of why John Byrom was entrusted
with what was arguably the most important of the manuscripts, the geometric
diagrams. Byrom’s family was related by marriage to Arthur Dee’s family. Perhaps
it was felt that the diagrams contained secrets that could only kept by a family
member.
Whatever secret fraternity, going back perhaps to Dee and the original Rosi-
crucians, was dissolving or in transition in the 1720s and 1730s, the nexus point
seemed to be Mr. Falkner and his curious collection of alchemical, Rosicrucian
and Kabalistic manuscripts. How he came by the manuscripts, whether he was a
member of the same group, a collector, or even Peter Smart himself, is unknown.
All we can say is that Mr. Falkner lurches in and out of obscurity just to pass
on the collection of manuscripts, and he has a green-language name just as
interesting as “Rudd.”
Indeed, the mysterious Mr. Falkner had already come to the attention of the
authors during an epic investigation into the French twentieth century alchemist
mentioned above, Fulcanelli.50 At one point, we found ourselves searching for
anyone interested in “Kabalistic alchemy,” which we had discovered was the
secret to Fulcanelli’s view of alchemy, and anyone with a similar name, Fulk, Falk,
and so on, and whose death was suspicious or unrecorded. Out popped Mr.
Falkner, recommended to the Royal Society as a mathematician and a student
of “Kabalistic alchemy,” and who disappeared after 1748 leaving no will, court
records or notice of death. Curiously enough, the first datable mention Fulcanelli
makes to events he observed in Paris is the late 1740s.51 Two obvious allusions
of Fulk, Falk, Falkner, and Fulcanelli are to “Vulcan,” the Roman god of fires and
volcanoes and a blacksmith, thus implicitly associated with alchemy, and to a
“falcon,” perhaps the falcon-headed Egyptian God Horus (in ancient Greek Horos)
whose very name means “falcon.”

It was quite odd, when we started this examination, to find the same untrace-
able “Mr. Falkner” involved with Rosicrucian alchemical papers and the origin
of the Byrom collection. This was made stranger still by the odd connection of
the name to the curious case of the Golden Dawn’s Cipher Manuscript, through
William Wynn Westcott’s “Dr. Falk,” 52 and to the con that exposed the order, “M.
Theos Horos.” As we will see below in the section on the Golden Dawn, the
origin of the Cipher Manuscript is an important link in reconnecting the various
fragments of this splintered tradition.
Could some part of the Golden Dawn’s Cipher Manuscripts have contained
the name Dr. Falk? Fred Hockley, one supposed source for the manuscript, copied
Dr. Rudd’s work on the Nine Hierarchies, mentioned by Byrom as being part of
Dr. Falkner’s collection. If so, it is possible that William Westcott, whose story we’ll
relate in the next section, simply confused the two, the 18th century Kabalistic
alchemist with the 19th century one of the same or similar name. Since it is likely
that up to that point, the early 18th century, the collection, the alchemical and
angelic works along with the geometric diagrams, were together, then perhaps
the core of the Cipher manuscripts was also part of the same collection. The Rosie
Crucian Secrets seems to be the missing explanatory text of Byrom’s collection,
even though it would take an advanced initiate, possibly even someone familiar
with the contents of the Cipher Manuscripts, to understand the interconnections,
and no such initiated explanation of these connections survives.
Fortunately, in the work of Fulcanelli, particularly Le Mystere, we have such an
initiated explanation. While Fucanelli does not supply us with the same geomet-
ric diagrams, his guided tours, in Le Mystere, of certain Gothic cathedrals and two
private houses in Bourges carefully builds up a kind of Kabalistic alchemy that
refers, indirectly to the same information contained in the Cipher manuscripts
and The Rosie Crucian Secrets. Fulcanelli claims that this understanding of alchemy
is the ancient Hermetic tradition, translated into the images and structures of
Gothic architecture and based, as we can see from the ground plan of Notre
Dame de Paris, on the geometry of the Kabalistic Tree of Life. The addition of the
Hendaye chapter in the second edition of Le Mystere ties the subject together
with larger cosmological events to produce a view that can only be described
as “astro-alchemical.” This point of view could also be considered apocalyptic,
and that is indeed one key point on which both Fulcanelli and Dr. Dee agree:
alchemy and the timing of the apocalypse are inter-connected, and the point of
intersection is the ancient geometry of the Kabbalah.53
Fulcanelli does not directly address angelic magic any more than the Byrom
manuscripts do, but he gives the most extant initiated explanation for the
alchemical “support structure” needed to give power to the Ophanic language.
Fulcanelli’s Gothic Tree of Life floor plan provides the most direct link to
the Byrom collection. There are several drawings in the collection based on the
Tree of Life pattern that apparently depict the ground plan of King’s College
Chapel, Cambridge, one the last great Gothic structures built in England. The
most interesting of these drawings is double sided, with the front face showing
INTRODUCTION 27
a hexagram enclosing three circles from which a central triangle emerges. This
depicts Boehme’s three principles, and was probably the drawing that Mr. Falkner
explained to Byrom, back in May of 1735.
Drawn on this diagram, and perhaps also showing through from the reverse,
is a classical Tree of Life diagram. The reverse has the same Tree of Life pattern,
with a more detailed depiction of its internal geometry, highlighting the solar,
Tiferet-centered cube at the heart of the Tree. This drawing matches the work
done independently by Nigel Pennick in his book Mysteries of King’s College on the
ground plan of King’s College Chapel, and takes it a step further.54 Combined with
the geometry on the front side of the drawing, it demonstrates how this figure
is also related to the larger Cube of Space in which, according to the Bahir, the
Tree of Life is projected.
These are very sophisticated Kabalistic ideas, and their clear and direct inclu-
sion in the ground plan of King’s College Chapel provides powerful support for
Fulcanelli’s argument. The drawing from the Byrom Collection allows us to see
another level of interconnections. Certainly any group in the mid-eighteenth
century interested in Freemasonry and Rosicrucianism would find the idea of
Hermetic architecture extremely compelling. Fulcanelli, as the last representative
of the tradition, supplied the template against which we can measure the history
of alchemy, and, by comparison, we gain an even greater understanding of the
esoteric material in the Byrom collection.
To Byrom, it must have seemed that Falkner’s collection of manuscripts was
the esoteric mother lode. We can be sure he returned to view these curiosities
once again, even if no mention survives in his journal. During his lifetime, Byrom
carefully preserved the collection of geometric diagrams with which he had been
entrusted, and he must have felt honored to be part of a tradition going back to
Dr. John Dee. We can’t be sure how much Byrom knew concerning the use and
meaning of the diagrams, or even if he understood their importance, but he did
ensure their survival.
The Hermetic Order of the Golden Dawn: The Fragments Reunited
AISY ADAMS was a simple shop girl, very middle class and just sixteen,
D when she met the Madame Swami and her husband in the summer of
1901. She went to one of their Order of Theocratic Unity lectures and immedi-
ately fell in love with M. Theos Horos, the exalted master of the Order, even
though he already had a wife, the somewhat older Madame Horos. That of
course did not stop the psychically endowed M. Horos from spotting the love-
sick teenager and moving in to take advantage of her devotion. An assignation
resulted, and a month or so later, a tearful Daisy confronted M. Horos with her
doubts that a real Spiritual Master would act as such a cad. M. Horos responded,
being in fact not a Spiritual Master, or even a gentleman, by raping her in front
of a witness. Daisy reported the assault, and M. Horos, real name Frank Jackson of
Newark New Jersey, was arrested.

The British tabloid press, even more virulent then than now, seized on the
story with a vengeance. It had all the elements of a good Edwardian melodrama:
innocence despoiled, sex, deception and plenty of Svengali-esque mesmerism
and the “di-ah-bolical.” However, this was not Du Maurier’s fiction, or the work
of some east European medium, but a case of a good middle class girl ruined
by evil, sexually depraved occultists. The English public was scandalized, and
followed the trial daily in the press.
And so, early in November 1901, the general public first learned of the exis-
tence of an occult society called The Golden Dawn. During the trial, The Solicitor
General for the prosecution read aloud passages from something purporting to
be “The Neophyte Ritual” and ridiculed it as blasphemy at the very least. The
jury agreed with the prosecution, and the reading public cheered when, just
before Christmas, Frank “M. Horos” Jackson received a sentence of 15 years penal
servitude. His wife, Mde “Horos” Jackson, was sentenced to seven years for her role
in the whole affair. Justice seemed to be served, except to those who belonged
to the real Golden Dawn.
For over a decade, esoteric students in England had known, though letters
in various occult journals, of the existence of a group of adepts, Hermetic and
Rosicrucian, who called themselves in English the Order of the Golden Dawn, or
Die Goldene Dammerung, in the strange German of the original group. Founded in
1888, the Golden Dawn was indeed the very model of a modern esoteric society,
admitting female adepts on an equal footing with males for instance. The late
Victorian era was the golden age of odd cults and fringe spirituality, from Spiritu-
alism and Theosophy to revivals of Rosicrucianism, Freemasonry and Renaissance
magic. The original Golden Dawn group floated up from this fermenting ideologi-
cal mass, attracted at first by the almost lost and long discredited philosophy of
Hermeticism, and then crystallizing, as in a supersaturated solution, around the
seed germ of a mysterious cipher manuscript.
The Golden Dawn presented itself as an esoteric society, which Dion Fortune,
herself a member of a Golden Dawn fragment, would describe much later as a
society “wherein a secret wisdom unknown to the generality of mankind might
be learnt, and to which admission was obtained by means of an initiation in
which tests and ritual played their part.” 55 They used a sophisticated Kabalistic
initiatory system built on multiple mythic and geometric correspondences, and
related each grade to an Enochian elemental tablet based on those of Dee and
Kelley. The secret wisdom at the core of the Golden Dawn, however, was of
uncertain origin, and the group’s warrant to use such material was even more
suspect. In the end, this would prove to be the fatal flaw that led to the group’s
demise.
The Golden Dawn’s membership included some famous, although decidedly
odd, members of the Edwardian intelligentsia, from Florence Farr Emery, actress
and friend of Bernard Shaw; novelists Arthur Machen and Algernon Blackwood;
and the Irish poet William Butler Yeats; to William Wynn Westcott, coroner of the
City of London; Annie Horniman, tea heiress and patron of Yeats’ Irish Theatre;
INTRODUCTION 29
Mina Bergson Mathers, sister of philosopher Henri Bergson and darling of the late
pre-Raphaelite painters; and her husband, Samuel Liddell “MacGregor” Mathers,
a quirky translator of ancient grimoires and student of the esoteric mysteries. At
its height in the late 1890s, the order had over 300 names on its membership
roles, and lodges in London, Paris, Edinburgh and New York. Imagine the shock
and dismay these members felt as their inner rituals and secrets were displayed
in court and ridiculed in the tabloids during the Horos trial. Some completely
panicked and destroyed all evidence of their involvement, some simply resigned,
while the more resolute began to look for a way to disassociate themselves from
the fiasco. 56
And, as if to add injury to the insult, in the January 1902 issue of the journal
Light, Mathers, then Outer Head of the Order, explained how the felonious Horos
couple came into possession of their knowledge of the Golden Dawn and a copy
of the Neophyte Ritual. Simply put, he was duped and they stole the manuscripts.
This had been known in various circles within the Golden Dawn for some time.
Mathers had originally introduced Mde Horos as “Fraulein Sprengel,” the adept
who supposedly chartered the original Die Goldene Dammerung, at a February
1900 meeting of his Alpha et Omega lodge in Paris. This charade had apparently
not lasted the evening, and in a fit of anger, Mathers alerted the entire group
that Sprengel, in all her forms, was a fake created by Westcott. These revelations,
followed by the Horos affair, completely undermined Mathers’ authority and the
Golden Dawn began to splinter into factions and spin-offs. In June of 1902,
what remained of the group officially changed its name, becoming the Hermetic
Society of the Morgenrothe. 58
How Mde Horos fooled Mathers goes to the heart of the mystery behind the
founding of the Golden Dawn, the origin of those cipher manuscripts. Curiously
enough, instead of being just a strange footnote to a Victorian true crime tale, the
origins of the Golden Dawn’s cipher manuscripts point to evidence of an almost
continuous line of initiates and scholars going directly back to the group around
Dr. John Dee, including, perhaps, William Shakespeare.
Arthur Machen, in his 1923 autobiography Things Near and Far, gives a simple
and succinct version of the Golden Dawn’s origin myth:
A gentleman interested in occult studies was looking round the shelves
of a second-hand bookshop where the works that attracted him could
sometimes be found. He was examining a particular volume−I forget
whether its title was given−when he found between the leaves a few
pages of dim manuscript, written in a character which was strange to
him. The gentleman bought the book, and when he got home eagerly
examined the manuscript. It was in cipher; he could make nothing of it.
But on the manuscript−or, perhaps on a separate slip laid next to it−was
the address of a person in Germany. The curious investigator of secret
things and hidden counsels wrote to this address, obtained full particu-
lars, the true manner of reading the cipher and, as I conjecture, a sort of
commission and jurisdiction from the Unknown Heads in Germany to

administer the mysteries in England… I like the story; but there is not
an atom of truth in it… The Cipher Manuscript was written on paper
that bore the watermark of 1809 in ink that had a faded appearance.
But it contained information that could not possibly have been known
to any living being until twenty years later. It was, no doubt, a forgery
of the early ‘eighties. Its originators must have had some knowledge of
Freemasonry; but so ingeniously was this occult fraud “put upon the
market” that, to the best of my belief, the flotation remains a mystery
to this day. 59
The occult “gentleman” of Machen’s version was William Wynn Westcott,
a well-known figure in esoteric circles, including the Societas Rosicruciana in
Anglia (SRIA), Anna Kingsford’s Hermetic Society and the Esoteric Section of Bla-
vatsky’s Theosophical Society, where he was considered an authority on Alchemy
and Hermetic Philosophy. Born in 1848 and orphaned at an early age, Westcott’s
childhood was somewhat Dickinsian. He was adopted by an uncle who was
a doctor, studied at Kingston Grammar School and went on to graduate with
a bachelor’s degree in medicine from the University of London. He spent a
few years in practice with his uncle, and in 1875 joined a Masonic lodge in
Crewkerne. In 1880, he joined the SRIA, whose membership was limited to
Master Masons, and where he eventually became Supreme Magus.
After his uncle-mentor’s death in 1879, Westcott took a year off to study
and do research on the Kabbalah. After joining the SRIA, he moved to London
and 1881 became Deputy Coroner for North-East London. Over the next few
years Westcott joined the Theosophical Society and then in 1884 followed Anna
Kingsford and moved to the Hermetic Society. He remained very active in the
SRIA and the Freemasons, writing articles for both groups’ archives and journals,
and eventually becoming Worshipful Master of the Quatuor Coronati, the pre-
mier Lodge of Masonic Research. He also played a role in the founding of the
Esoteric Section of the Theosophical Society. And somewhere in this period,
between joining the Masonic Research Lodge in 1886 and the founding of the
Esoteric Section in 1888, Westcott made the discovery that would eventually
provide him with a dubious kind of immortality.
Westcott always claimed that the Reverend A. F. A. Woodford, an elderly
Masonic scholar, gave him the Cipher Manuscript just before he conveniently
died. It is possible that Westcott received the mysterious manuscript as part of
Masonic historian Kenneth Mackenzie’s papers for a Swedenborgian rite, as R. A.
Gilbert contends.60 Mackenzie had published a Rosicrucian grade structure very
similar to that of the Golden Dawn in 1877, taken from an even earlier German
text of 1781. The concept of initiation on the pattern of the sephira of the Tree
of Life seems to have been part of the Rosicrucian tradition, and since two of the
founders of the Golden Dawn were high-ranking members of the SRIA, such a
pattern would have seemed the obvious choice.
But the Cipher Manuscripts were much more than a simple grade structure.
They contained a practical system of initiation that drew upon the entire corpus
INTRODUCTION 31
of the western tradition, from Egyptian motifs, the Chaldean Oracles and the
mysteries of Eleusis and Samothrace to the Kabbalah, the Tarot and the Enochian
tablets of Dr. John Dee. That this grand synthesis worked at all is amazing; noth-
ing like it existed, although echoes of the rites of almost every western secret
society of the preceding three hundred years can be found within it. And some of
its elements were truly revolutionary.
The original Cipher Manuscripts, as shown to the Inner Order in the 1890s,
were 56 loose folio sheets, 7 ¼” by 6 ¼”, written by quill in brown ink on paper,
some of which is watermarked 1809. Most of these that have survived seem to
be by the same hand and quill, with minor exceptions. The Cipher itself is from
the Abbot Johann Trithemius’s Polygraphiae et Universelle Escriture Cabalistique,
published in Paris in 1561, which was a favorite of many 16th and 17th century
Alchemists. Recall that Dr John Dee spent a month in the winter of 1561 copying
Trithemius’ work on Angelic Magick and considered his copy of the Polygraphiae
to be the equivalent of a state secret. Westcott also had access to Trithemius
and would have had no difficulty transcribing the Cipher Manuscripts, in either
direction.
Westcott’s toughest critics, including Mathers, agreed that Westcott found
something, but what that something was has been lost to history. Eventually a
committee of the Golden Dawn’s descendent, The Stella Matutina, found in 1914
that the whole of the Cipher Manuscripts were no older than the mid-1860s,
based on their use of Egyptian ideas unknown before Champollion. This made
the purported age, the first decades of the 19th century, of the Manuscripts
extremely unlikely and therefore undermined the last vestige of the Order’s
authority. The remnants of the original group folded soon after.
However, even if Westcott, or someone before him, put the Cipher Manuscripts
together, the question remains: where did the information and the very practical
integration of ideas and initiations contained in the manuscripts originate? The
Enochian elements obviously go back to Dr. Dee, so who combined them with
Kabbalistic psychology, the Tarot Trumps as psychic initiatory doorways, the virtu-
ally unique use of the pentagram as a magical gesture and so on?
Let us suppose that Westcott found and transcribed some document that
contained, roughly, the material in the Cipher Manuscripts. Imagine his surprise
and excitement, and his desire to share his discovery. Something that momen-
tous couldn’t be kept secret for long and sometime in 1887, Westcott showed
his discovery to a rising young member of the Hermetic Society, S. L. Mathers,
not yet “MacGregor,” who immediately grasped their importance. Together they
approached Dr W. R. Woodman, the Supreme Magus of the SRIA, of which Mathers
was also a member, and by the spring of 1888, the group was initiating members.
We will perhaps never know whether “Fraulein Sprengel’s” contact informa-
tion was already part of the package when Westcott presented it to Mathers.
If it was, it must have struck him as very odd. The material in the manuscripts
suggests 18th century Rosicrucianism, while the paper points to the early 19th,
yet if the information is that old, why should it have an address of accommoda-

tion at a hotel in Germany? Surely such an address would not be useful for
over seventy years? Yet Fraulein Sprengel was apparently contacted through The
Hotel Marquardt in Stuttgart. Even on the surface, this seems very odd.
Her answer, supposedly to Westcott’s original inquiry, was equally as odd:
26 Nov/87
Dear Brother Sapere Aude,
I have long since left the place where you sent my letter but I did
get your letter in the end after a long time. I was very pleased to hear
the secret papers described by you have once more come to light. These
papers were lost years ago by the esteemed Abbe Constant and then
came into the possession of two Englishmen who applied for permission
to use them.
This was granted to the Society No. 2 of Hermanubis but we never
heard whether anything useful was done there.
After you have managed to make a thorough examination of
the papers and have understood them, it is within my competence to
promote you and I appoint you to the 7 = 4 of the Second Order of the
G. D. in England, L’Aube Doree in France Die Goldene Dammerung in
Germany.
You will now start a new Society (No) 3 and choose two learned
persons in order to make up the first three masters and when you have
appointed three more as 5 = 6 Adepts you can be independent.
Hermetic science is almost extinct in our own day and age, we
ourselves are very few here but we are very zealous and earnest and
possess considerable strength.
However, we are very cautious and do not entrust any letters to
the post so can send you few communications and can be of little assis-
tance,
Please write to me again and kindly seal the letter you send
addressed to me, enclosing it in an envelope which is addressed to the
Lodge of Light, Love and Life, the address of which you know.
I remain in love,
Sap. Dom. Ast. 7 = 4
My secretary “In Utroque Fidelis” usually writes on my behalf.
The contradictions in this letter, along with the fact that no original existed,
only a copy in Westcott’s handwriting, are so glaring and obvious that one won-
ders how anyone, even at the time, took it seriously. Miraculously, given the odd
mailing address, Fraulein Sprengel receives a letter from some earnest sounding
fellow in England, who relates a tale about how he came into possession of a
mysterious coded manuscript with her name and address in it, and she immedi-
ately, no questions asked, grants him degrees and positions in a new Order?
This is so odd as to be shocking, and, to make it even stranger, she apparently
changes her mind in mid sentence, going from “after you have managed to make
INTRODUCTION 33
a thorough examination,” to “I appoint you” without skipping a beat. Here, rather
than initiation or even understanding, the key is the literal possession of the
manuscripts. It all seems rather ineptly crafted to give the impression that every-
thing required for initiation and attainment can be found in the manuscripts
themselves, no transmitting body of Adepts required.
From the date of the letter, we can see that it arrived at a critical juncture
in the formation of the group. Westcott approached Mathers perhaps as early as
August of 1887, and by October, they had Woodman on board and Mathers was
fleshing out the work already done by Westcott on turning the Cipher Manuscript’s
text into workable group initiations. All that was needed was the authority to
use the material, and that, very conveniently, arrived with Fraulein Sprengel’s
November letter.
Why did Westcott feel the need for such an elaborate charade? It may be
as simple as unwillingness on Westcott’s part to admit ignorance. He had found
something of great importance, but he knew nothing about it except whose
papers it had turned up among, and he was reluctant to admit even that for
reasons of his own. This posed an insurmountable obstacle because the very
nature of an esoteric society implied an authoritative source, a body of adepts
who had, and could transmit, the experience of gnosis. To Westcott, the Cipher
Manuscripts couldn’t be simply an odd fragment of a plan for an Order that no
one had worked; no, by its very nature it had to be a connection to the real
masters, those who actually guarded the secret wisdom. The Golden Dawn, Die
Goldene Dammerung, and perhaps Fraulein Sprengel herself, might have been
Westcott’s creation, but the core of the initiatory tradition came from somewhere,
someone had put the different threads contained in the manuscripts into a
coherent whole.
Modern researchers have focused on the two Englishmen mentioned by
Westcott/ Sprengel in her letter. They have identified these as Kenneth Mackenzie
and Fred Hockley. Mackenzie, as we mentioned above, has many connections
to the substance of the Cipher text, from the use of similar diagrams to the
published grade structure itself. Fred Hockley was less an author than a collector
of rare manuscripts, including copies of the Harley Collection’s manuscripts of Dr.
Rudd and John Dee, and spent years engaged in experiments concerning physical
alchemy. Both were influenced by and had met Eliphas Lévi, the Abbe Constant
mentioned by Fraulein Sprengel. Lévi’s view of the Tarot’s relationship to the
Hebrew alphabet, with some significant changes, is a keystone of the Cipher text,
which maps the 22 cards of the Tarot’s major arcana to the alchemical changes
represented by the 22 paths on the Tree of Life There is even some evidence that,
as the good Fraulein suggested, Mackenzie and Hockley attempted to start their
own Order, the Society of Eight, around the ritual basics of the Cipher text, but
that it never got off the ground.
That Westcott mentions this so directly in his Fraulein Sprengel letter shows
that he knew, roughly, where the Cipher manuscripts or something like them
originated. Why he didn’t just say that directly is a mystery. However, no matter

what his reasons for the cover-up, he must have wondered, how did Mackenzie
and Hockley come by the information? Certainly, there must have been some
Lodge, like the Love, Light and Life of Fraulein Sprengel, which transmitted the
information, the initiatory current, to Mackenzie and Hockley. And so Westcott
invented the connection in which he believed so strongly, to a living and practic-
ing group of adepts, in order to bootstrap such a group into existence.
So where did the information come from? Early on, before Westcott got
too invested in the Fraulein story, he tossed out the suggestion that the group
responsible for the original Hermanubis Temple was the group around Dr. Johann
Falk, a prominent Jewish Freemason who lived in London circa 1810, the era
suggested by the watermarks. As we’ve already seen, this name is very sugges-
tive. Dr. Falk’s London group, from what little we know of it, mainly through
Kenneth Mackenzie, appears to have been a mystical group working with a kind
of Kabalistic alchemical symbolism. As we noted earlier, this also points to a
curious connection with a previous Dr. Falk or Falkner, the origin point for Byrom’s
collection.
Yet this early 19th century group, even if it existed, could only have con-
tributed the Kabbalistic components. If Lévi influenced Mackenzie and Hockley
added the Tarot component, as seems likely, then where did the Enochian, and
the odd fragments of ancient mystery schools, come from? No matter how we
slice, or more accurately peel it, we are left with an irreducible core of initiatory
symbolism that points to a Renaissance, and with the addition of the Enochian, a
specifically Elizabethan, source.
Perhaps the manuscripts that Falkner showed Byrom on Beltane of 1735
contained an embryonic version of the Cipher Manuscript, one that formed the
basis of an initiatory practice based on the Enochian Elemental Tablets with
allusions to several ancient mysteries schools and glosses from the Christian Kab-
balah. It is possible that this document was discovered by Hockley and passed
to Westcott, who reworked it into the subsequent Fraulein Sprengel version. Or
perhaps Mathers discovered it among the British Museum’s manuscript collec-
tion, stole it, and then helped Westcott fabricate an origin story to cover his tracks.
It is likely that we will never know for certain, but we can say that at the core
of the Golden Dawn, and therefore at the origin point of modern magic, is a direct
connection back to at least the school of Dee’s family and students, if not directly
to Dee and Kelley. In the Golden Dawn’s version, the Enochian system is the
backbone, the core reference point, around which the vast panoply of esoteric
arts and practices coalesce into a unitary whole. It is the Enochian material that
gives the Golden Dawn its weight and spiritual gravitas, and without it the initia-
tory system becomes just another form of Kabbalistic Freemasonry. Whether or
not initiates of that system ever consciously realize it, what makes the initiations
work is the correctly-integrated three-dimensional Kabbalah-based path work-
ings phase-locked with an Enochian tablet, until one reaches the Adeptus Minor
ritual and the genius of the system seems to vanish into the same thin air from
which it came.
INTRODUCTION 35
So how did Mde Horos fool Mathers into thinking she was indeed Fraulein
Sprengel? The answer supplies another odd loop in the strange story of the
Cipher Manuscripts, one that just might explain the oddly prescient Egyptian
usages, as well as the origins of the secret chiefs.
The Egyptian Connection
NTIL THE EARLY 19th century, when the European tomb robbers and tour-
Uists arrived, Luxor, or al-Uqsar, Arabic for “the Palaces,” was a sleepy backwa-
ter town in the province of Qena. For the previous six hundred years, it’s one
claim to fame had been the tomb and teaching school of the Shi’a shayik
Abu al-Haggag, built amid the ruined foundations of the ancient Temple to
Amun, Mut and Khonsu. With the European influx came awareness of the ancient
monuments and temples, and, as they were looted, the new town of Luxor
grew fat from serving the needs of archaeologists and the idle rich tourists.
By the late 19th century, it was the chief town of the region, and as tourism
increased−Thomas Cook & Son added it to their itinerary in 1896−it became the
fashionable spot to spend a Victorian winter.
In the mid 1800s, a series of meetings occurred in Luxor that would have
far reaching consequences for the development of the western tradition. The
contact began in 1838 when an adventurer, linguist, archaeologist, engineer
and artist named Achille-Constant-Theodore Emile Prisse d’Avennes, a French-
man descended from the English noble family Price of Avens, arrived in Luxor.
D’Avennes spoke perfect Arabic, having lived in Egypt for a decade before set-
tling in Upper Egypt, and was a keen student of both the hieroglyphic language
and Islamic mysticism. At Luxor, the quixotic Frenchman would find a connection
between the two.
Champollian had just published his study of hieroglyphics a few years before,
but, while d’Avennes had certainly studied Champollian’s work, his subsequent
mastery of the ancient Egyptian language went far beyond it. Karl Rickard Lep-
sius, the Prussian archaeologist who competed with d’Avennes for temple loot,
commented that d’Avennes had the greatest grasp of hieroglyphs of any man
living. Coming from the “German Champollian,” whose later discovery of the
Canopus Tablet confirmed Champollian’s readings, this was high praise indeed.
So where did d’Avennes learn his hieroglyphs? That answer will take us back
hundreds of years to the origin of the local Sufi order before we return to the
twentieth century and the Golden Dawn, because d’Avennes apparently gained
his knowledge of hieroglyphs, and of a particular initiatory system, from the Sufis
who occupied the ancient temple of Amun, Mut and Khonsu, which we will refer
to it as Luxor Temple.
In d’Avennes day, the small village of al-Uqsar clustered around Luxor Temple,
and the center of the village, and its claim to fame, was the mosque and tomb
of Abu al-Haggag built within the temple’s forecourt; its 12th century minaret
standing solidly on the base of an ancient pillar. The al-Haggagis are a seemingly
out-of-place Shi’a group in a Sunni country, and by tradition they retained a

direct understanding of the ancient Egyptian language, as well as continuing
Luxor’s oldest festival, the Procession of the Boat.
Yusuf Abu al-Haggag, the founder of the zawiyah, or mystery school, at Luxor,
was a descendent of the Caliph Ali born in Baghdad around 1150. Around the
age of forty, al-Haggag moved with his grown sons to Mecca, partly out of disgust
with the politics of his era, and partly in search of the secret wisdom. The Fatimid
dynasty had been overthrown in 1171, and a new wave of Sunnism was sweep-
ing Islam. In Syria, these pressures had already created a split within the Shi’a
community with the rise of the Ismaili and Nizari factions. This would lead to
the Assassins, and the brief Ismaili state in Syria, and eventually to the near extinc-
tion of the movement. The more traditionally minded Shi’a elders of the Hall of
Wisdom at Al Azhar mosque decided on a different approach.
They looked for a young man of the family of the prophet with no strong
family ties and a deep understanding of the Koran and its mysteries. Abu al-
Haggag apparently fit the description perfectly. On the advice of the local Shi’a
elders, he moved to Egypt, settling in Luxor in 1193. A few years later, he was
summoned to Cairo by the Sultan al-Aziz. Al-Haggag managed to turn down the
Sultan’s offer of an official post, and soon thereafter began a series of studies with
the greatest Sufi masters of the age in Alexandria.
One of these was the head of the Madyani Sufi order, Abd al-Razzaq al-Jazuli.
The Madyani were even then a curious type of Sufi order, one that traced it roots
to a pre-Islamic mysticism, specifically that of Egypt. One of its founders was the
mysterious al-Misir, the Egyptian, who claimed knowledge of hieroglyphics and
demonstrated it in the 8th century. The Madyani also included the radical mystic
al-Mansur. Al-Jazuli stood at the head of a long line of mystical masters, and when
al-Haggag became his student, the two currents, Shi’a secret wisdom and ancient
Egyptian sacred science, blended into one.
Al-Haggag returned to Luxor and founded his zawiyah, or mystery school, in
the ruins of the ancient Temple. He died in 1243, at the age of 93, and was buried in
his mosque. Long before his death, he was acclaimed as one of the greatest Shaiyks
of Upper Egypt, and his mulid, or feast day, 14 Sha’ban, became an Islamic version
of the ancient Opet Festival. A boat, symbolizing the vehicle that conveys the secret
wisdom, is paraded through the streets, from the mosque at the Luxor Temple
to the even more ancient ceremonial center at Karnak and back. By the early
19th century, when Egypt was “discovered” by Europe, the al-Haggagis were the
custodians not only of the ancient traditions, but also of the temples themselves.
D’Avennes lived in Luxor and studied with the al-Haggagis for six years before
he returned to France and published his influential Atlas of the History of Egyp-
tian Art. During the 1850s and 1860s, D’Avennes continued to explore his interest
in mysticism, becoming friends with the French Rosicrucians, including Eliphas
Levi, and the Gothic revivalists Victor Hugo and Eugene Violette-le-Duc and fellow
African explorer Antonie d’Abbadie, later president of the French Royal Academy
of Science. By 1858, when he returned to Egypt, d’Avennes was at the forefront of
what would become the “occult revival” of the 1880s and 1890s.
INTRODUCTION 37
This time, d’Avennes was documenting Arabic culture, including the Al Azhar
mosque in Cairo. This work, The Monuments of Cairo from the 8th to the 18th
Centuries, supplied many of the missing links between the European Gothic style
of the 12th century and the Cairo mosques, from vaulted arches to the use of
stained glass. After a brief trip up river in 1860 to visit Abu Simbel and Luxor,
where d’Avennes was initiated as a full member of the al-Haggagis under his
local name of Idris Efiendi, d’Avennes returned to France.64
“Idris,” remember, is the Islamic version of Enoch, and equivalent to Tehuti,
Thoth, and Hermes is other mythological and magical systems. “Efiendi,” some-
times “Effendi” or “Efendi,” is an Arabic and Turkish title and term of respect
sometimes even used for the Prophet Mohammed, and from the 15th century on
usually means a well-mannered and well-educated aristocratic male friend. In this
case, we have someone taking a name that seems to mean “respected friend of
Idris or Enoch.” Sometimes “Idris Efiendi” went by the name “Idris Bey,” Bey being
another title which also means a well-educated man with a position. “Bey” after
one’s name shows respect (much like “Mr.” or “Sir” before one’s name in English),
and can also be used to show courtesy by one’s peers.
In France, as Idris Efiendi, or Idris Bey, d’Avennes began to spread the idea
of a new kind of initiation based on the neophyte and nine-grade plan of the
Ismaili Shi-a. This never openly appeared as a working “lodge,” but the outline
for such an initiatory scheme apparently passed from d’Avennes to Eliphas Levi
and on to Fred Hockley and eventually to Westcott and Mathers. The similarity
between the initiatory outline of the Ismaili Shi-a and that of the Golden Dawn
is rather uncanny.65
And thereby hangs a curious mystery. When S. L. “MacGregor” Mathers met
Madame Blavatsky in 1887, he asked her about her sources, in fact the name
of her Egyptian contact. She must have responded correctly, which must have
impressed Mathers enough that he decided to take seriously W. W. Westcott’s
scheme to start a magickal society. How could Blavatsky have known the answer?
And why did that answer move Mathers to help start the Golden Dawn?
Tracing the history that led Helena Petrovna Blavatsky from Russia through
India to Egypt, Europe, and beyond, and to authoring her famous tome Isis
Unveiled and founding the movement of Theosophy, is a tale not for the weak
of heart, and is far too complex and full of blinds to recount here. By the time
Madame Blavatsky washed ashore in Egypt in the winter of 1871, she’d survived
twenty-three years of adventures that included everything from escaping from a
brutal husband to intrigues in Istanbul and Paris, circus riding and belly dancing,
and perhaps even a trip to Lhadak or Nepal. In Cairo, Helena met a few ex-patriots
and began the forerunner of the Theosophical Society, the Cairo Spiritism Society,
which quickly became a haven for con men and fortune-tellers of all kinds.
In the fall of 1871, as her society was falling apart from the weight of its own
criminal incompetence, Helena met a real initiate. She would later refer to him
as Tuitit Bey. “Tuitit” was a mis-transliteration of the name of the Egyptian god
Tehuti, who by now we also know in Greek as Thoth, and equated with Hermes,

Enoch, and Idris. This individual, another “Idris Bey” or “Idris Efiendi,” provided her
with her first experience of the “hidden masters,” a reasonable explanation of the
“hidden imams” of the Ismaili Shi’a, and supplied her with the basic theme of Isis
Unveiled, the secret of Egyptian sacred science and its expression in the cult of
the Great Mother, Isis.
By the summer of 1872, she was back in Russia, on her way to Paris. There,
in 1873, she met a follower and fellow initiate of the “masters” in Egypt. He told
her to drop everything and head to America. She did, found her life-long esoteric
colleague Colonel Henry Steel Olcott, wrote Isis Unveiled, founded the Theosophical
Society and began the journey that led, after 16 years, to her encounter with a young
MacGregor Mathers and his question. She replied, in all probability,“Idris Bey.”
This of course just happened to be a name associated with the Cipher Man-
uscript’s ritual structure from Hockley and Levi, kept secret and hidden by West-
cott’s improbable forgeries. Madame Blavatsky knew, and Mathers was shocked
and deeply impressed. Somehow, Mathers must have thought, there was a con-
nection; the idea of a secret society of hidden masters was true.
And perhaps there was in fact such a society. D’Avennes, one Idris Bey, could
have been both the contact to Hockley and Levi, as well as Madame Blavatsky’s
Paris initiate, but the original “Idris” Bey in Cairo had to be a different individual.
Curiously enough, it was Rene Guenon, much later on, who revealed the con-
nection. Following this clue, we find that there really was a western Hermetic
Brotherhood of Luxor, with connections to both the early Golden Dawn, Madame
Blavasky’s Theosophy, and other movements ranging as far afield as African-
American seer Pascal Beverly Randolph’s particular brand of reconstituted Rosi-
crucianism.66
The leader and key teacher of the Hermetic Brotherhood of Luxor was one
“Max Theon,” apparently born Maximillian Bimstein, a Russian Jew whose family
migrated to Egypt in the 1840s. It was Bimstein, who also used the name Idris,
who befriended Madame Blavatsky in 1871, and later as Theon started an esoteric
current that would influence everyone from the Golden Dawn to Guenon and
Julius Evola, and even perhaps the mysterious alchemist Fulcanelli. And it was an
“Idris” whom Aleister Crowley would consult in March of 1904.
It was also almost certainly the name that Mde Horos used as a password,
by correctly guessing the exchange between Blavatsky and Mathers. Given that
Max Theon was deeply involved in English spiritualism through his wife, whose
brother wrote on various esoteric subjects under the pseudonym Arthur Avalon,
and his connections to both Blavatsky and one of the Golden Dawn’s founders,
the Rev. Woodman, it is just possible that Mde Horos learned enough insider
information to impress and dupe Mathers. A successful medium needed far
reaching sources of information and gossip in order to function effectively, and
Mde Horos could be both shrewd and resourceful when needed.
Westcott kept the charade going during the early years of the order’s exis-
tence. Fraulein Sprengel wrote again in January 1888, giving Westcott permission
to sign her motto as required. Two weeks later another short note supposedly
INTRODUCTION 39
arrived giving Westcott exclusive access and began a pattern of promising extra
material that never seemed to materialize. The next letter is dated in September,
and offers the information needed to complete the Adept grades, 5 = 6 and
above. Over a year later, in October 1889, she writes to congratulate the group
on having the required number of adepts to achieve independent status. In
December of that year, she writes again to give official 7 = 4 status to the
three Chiefs, Westcott, Mathers and Woodman. The next letter, dated August
1890, came from an unidentified member of the Order, announcing that Fraulein
Sprengel had died. Also, it seemed that Soror SDA, Sprengel’s Order motto initials,
had no permission from the other Chiefs of the Order to charter the English
group, and they were now on their own. It seemed, at the time, a very convenient
solution; however it left the door open for a convincing con artist such as
Madame Horos.
Anglo-Irish poet, playwright and folklorist William Butler Yeats, who joined
the Order a few months before Fraulein Sprengel’s announced death, supplied a
suitable myth for the founding of the Order: “Then an old woman came, leaning
on a stick, and, sitting close to them, took up the thought where they had
dropped it. Having expounded the whole principle of spiritual alchemy, and bid
them found the Order of the Alchemical Rose, she passed from among them, and
when they would have followed was nowhere to be seen.”
Like many others, W.B. Yeats came to the Order through the Hermetic Society
and the Esoteric Section of the Theosophical Society. He was looking for magic,
something as real and overpowering as the music he found in ancient poetry, but
more direct and precise. In S. L. MacGregor Mathers he found his Magus. Mathers
cut an eccentric figure, dressing in kilts and tartan shawls. Yeats first encountered
him in the British Museum Reading room in 1889. Mathers had but two fields
of research, Yeats commented later, those being “magic and the theory of war.”
Even in that, Mathers was odd, being a vegetarian and an anti-vivesectionist. He’d
arrived on the esoteric scene in 1885, after his mother’s death, published a small
work on infantry tactics, and joined Anna Kingsford’s Hermetic Society where he
found one of the major influences of his life. Kingsford’s Hermetic philosophy
would supply the underpinning for Mathers’ magical worldview, and to great
degree, that of the Golden Dawn. The equality of male and female adepts is
directly attributable to Kingsford’s influence, for instance. Kingsford, another of
the eccentric characters of 19th century occultism, considered herself the reincar-
nation of Mary Magdalene.
A year earlier, in 1888, just as the Golden Dawn was taking shape, the young
art student Mina Bergson also encountered Mathers. She was studying Egyptian
art, sketching the statues in the British Museum, when she encountered what
appeared to a ghost from some older time, Mathers in kilt and shawl. Intrigued,
they became friends, and soon Mina was one of the early members of the Golden
Dawn, along with her art school friend, tea heiress Annie Horniman. In the Order,
Mina would put her artistic skills to use making and designing the instruments
and tools. Her greatest contribution may be her color scales based on the differ-

ent paths and sephira of the Tree. With Mathers, Mina found her soul mate and life
partner, and together they were truly impressive.
W. B. Yeats gives a vivid glimpse of this in an essay, “Magic,” published in 1901.
The fall after his initiation into the Outer Order in the spring of 1890, Yeats and
a friend visited the newly married Mina and MacGregor at Stent Lodge, Forrest
Hills for an example of real magick. Mathers sat on a raised dias or platform and
with what Yeats described as a “wooden mace” spelled out the letters of words
from a large multi-colored and lettered tablet. “Almost at once,” Yeats reported,
“my imagination began to move of itself and to bring before me vivid images
that, though never too vivid to be imagination, as I had always understood it,
had yet a motion of their own, a life I could not change or shape.” The tablet was
undoubtedly one of the Elemental Tablets of the Enochian system, with Mathers
invoking various components and intelligences.
This and other experiences with Mathers convinced Yeats that “images well
up before the mind’s eye from a deeper source than conscious or unconscious
memory.” He came to think of a magical order as an organic being that had a
life of its own, and of the Order’s rituals as a kind of ideal, or sacred theater.
Yeats absorbed these ideas from Mathers, who transformed the bare bones of the
Cipher Manuscript into the moving ritual theatre of the Order’s grade rituals. In
1899, Mathers himself produced a very direct form of ritual theatre with his public
production of the Rites of Isis at the Theatre Bodinere in Paris. However, it was
the London group that began to push the connections and boundaries between
magic and the theatre.
In July of 1890, Florence Farr Emery, an up and coming actress on the London
stage, joined the Order. In the next few years, Florence’s contacts in the theatrical
world, Annie Horniman’s money and Yeats’ talent combined, producing in 1894
the landmark season at the Avenue Theatre in London, with plays by both Yeats
and G. B. Shaw. These three, Farr, Yeats and Horniman, continued to work together
on various theatrical productions throughout the 1890s, and Yeats and Horniman
continued their theatrical projects for another decade after the Golden Dawn’s
official demise. It is not too much of a leap to speculate that exposure to the
ritual context of the Order produced the theatrical aesthetic that informed Yeats
in particular, but also Horniman and Farr as well.
All three of these adepts of the Order were shaken to the core by the revela-
tion of Westcott’s duplicity. He had been forced out of the Order by the City of
London in 1897, but was still involved in various ways. Mathers’ accusations made
public what most had suspected for a while. The results, including the Horos trial,
were devastating. The fatal flaw of the fabricated adept came back to haunt the
group, eventually casting doubt on the entire Cipher Manuscript, and therefore on
the current it encompassed.
INTRODUCTION 41
Aleister Crowley: The Beast and Modern Enochian
N 1904, Edward Alexander “Aleister” Crowley and his new bride, the former
IRose Edith Kelley arrived in Cairo on an extended honeymoon. The young
Crowley, still shy of 30 and in the midst of a Saturn return, was already an
accomplished Alpinist, a celebrated, in some circles at least, minor poet and a
veteran of several occult societies. Little did he and Rose suspect, as they checked
into the second floor corner room at Shepherd’s Hotel in the heart of downtown
Cairo that they were about to make magical history and inaugurate a 93-year
period that would serve as the prologue to the Apocalypse.69
To give the reader an idea of how fast the change occurred, in just over a
decade, the world would be at war and Shepherd’s Hotel would become British
Imperial headquarters, a vital link in the chain of command between London and
Delhi. The suite of rooms occupied by the Crowleys became part of the offices
of the Arab Bureau, a semi-secret group of spies and plotters that included T. E.
Lawrence. Out of the Arab Bureau’s manipulation would come in time most of
the complications found today in the Middle East, including the nation of Israel
and the royal families of Jordan, Saudi Arabia and the deposed royal family of
Iraq. But of course, that’s just another coincidence…
For the first month or so, it must have been great fun for “Eddie,” as Rose
insisted on calling Crowley, who posed as a Persian nobleman and went in search
of Arabic instruction from the masters at Al Ahazr mosque. Rose wandered the
markets in Khan il Khalili and visited the chic set who lived on houseboats and
in new French-looking mansions over in Giza. They played golf at Helwan, and
decorated their new flat in the fashionable European section of Cairo, a few
blocks north and east of the Boulak Museum and a short walk from the terrace
restaurant at Shepherd’s where Cairo society met for lunch.
Rose and “Eddie” were young Edwardians loose in Cairo for the season after
a lengthy honeymoon that had already included a stay in Egypt the previous
fall, as well as Paris, Naples, and Ceylon. They were young, English and rich, the
world was their playground, and, as Crowley commented, their “marriage was an
uninterrupted sexual debauch” until the strange events began in Cairo. But, by
early March, Rose was three months pregnant and things had changed.
The previous November’s whirlwind tour of Egypt had been wonderful, full
of excitement and flash. The best hotels and romantic excursions such as riding
the Pullman to Aswan and on by camel to Abu Simbel, where, at the end of
the known world, the great Pharaoh still looks down on the barbarians in awe
inspiring solemnity. And then, as a special treat, “Eddie” arranged for them to
spend the night of November 22nd/23rd in the Great Pyramid. It was terribly
romantic, even if a little silly when “Eddie” began to chant and read poems, and
Rose was sure to her dying day that this was the moment when she conceived.
Two days later, they were on the train to Port Said, bound for India and on to
China.
In Bombay, Rose broke it to “Eddie” that she was pregnant. He replied, “right-o
then, let’s go kill something for a month or two and then if you’re right, it’ll be

back to doctors and nurses.” And off they went to Ceylon, now Sri Lanka. By mid
January, it was obvious she was right, and so they headed back to Cairo. The
Crowleys rented a new flat, moved out of Shepherd’s on March 14th, and Rose
settled in to nest.
But “Eddie,” who had continued his playboy lifestyle, suddenly decided it was
time for a little magickal sex play, ala last November’s memorable evening in the
pyramid. On the evening of March 16th, he tried the same invocation and found
that Rose was suddenly very upset by the whole thing. She fell into a trance and
kept repeating: “They are waiting for you…”
This was not the result Crowley was looking for; he wanted her to see the
sylphs and was annoyed when she didn’t. The next day, he tried again with similar
results. Crowley said later that his intent was to entertain her, that showing her
the sylphs was like going to the cinema or the music hall. It didn’t work, and on
the 17th Rose was even more distressed, insisting that “They” were waiting, and
adding that “it was all about the Child, all about Osiris…”
So just what was it Crowley was evoking that produced this reaction? He
evoked what he called sylphs or the elementals of Air, but these “elementals”
were actually the “angelic” beings that inhabit the Air quadrants of the Enochian
Tablets, which is actually something quite different. To evoke them, one must
use various calls or keys in the Enochian language received by John Dee and
Edward Kelley more than three hundred years before. These calls have profoundly
apocalyptic language and context and their use in such a way, and at such a
time and in such a place, is in fact a request to “higher intelligence” to supply
information on that apocalypse, specifically in unveiling the time and timing of
the end of a Great Cycle. And this, seemingly, is just what the “angels” proceeded
to do…
This is an important point to keep in mind, and it helps make sense of what
happened later. On the night of November 22nd/23rd 1903, Crowley vibrated
Enochian in the King’s Chamber, producing amazing results. The chamber was
filled with an odd violet blue light that grew bright enough for Crowley to read
the invocations without the aid of an electric torch. And Rose conceived a child…
“It’s all about the Child…” Rose had responded to the invocations in March.
Perhaps it was for Rose, but Crowley wanted to know what was going on. He
invoked Thoth, and received a more coherent response. Rose announced that it
was Horus who was waiting, that Crowley had offended him and he should be
invoked in a new way as the sun. While Crowley protested that he found this
absurd, in truth Rose had struck a nerve. Crowley had offended Horus.
Not only had Crowley never invoked him, but also just four years before,
Crowley had been involved in the messy break-up of the Hermetic Order of the
Golden Dawn discussed earlier. Crowley had at first sided with Mathers in the
dispute, but they soon had a falling out and were on the verge of all out psychic
warfare by 1904. Mathers identified himself with Horus, the Horus the Elder of
Upper Egypt, the war god who slew the serpent of chaos. To be in conflict with
Mathers would indeed be an offence to Horus.
INTRODUCTION 43
To Crowley the psychic and psychological ramifications went even deeper,70
as Mathers was something of a replacement father figure. Young Alex, as his
family called him, had had a troubled relationship with his father and had never
gotten over his father’s death just when he was hitting adolescence and needed
a father figure most. Mathers, in his own quirky way, had filled a missing father
role for young Crowley. Now, as happens to most fathers and sons, it was time
for Crowley to rebel and find his own way. On the verge of becoming a father
himself, and perhaps denying it subconsciously, this reference to the complex
emotions around Horus was guaranteed to grab Crowley’s attention.
Crowley took Rose’s advice seriously and on March 20th attained spectacular
results after a disappointing first try on the 19th. This ritual was outlined by Rose
and filled in by Crowley following her suggestions. It was indeed a new way, as it
was quite emotional in tone, much closer to the devotional style of bhakti yoga
than the crisp and commanding postures of ceremonial magic. In it can be found,
in embryo, most of the motifs and metaphors that would blossom forth in a few
weeks as the Book of the Law.
Perhaps Rose, with her shrewd womanly intuition and keen emotional intel-
ligence, simply devised a powerful and effective way to keep her dear “Eddie”
at home and focused on her and at the same time exorcise some of his own
internal fears and guilt about fatherhood. Or perhaps the invocations in the Great
Pyramid had indeed made contact with some sort of “higher intelligence” who
did indeed have a message for anyone who would, or could, listen.
The ritual brought amazing results. Here’s how Crowley summed it up in his
small diary, The Book of Results: “20: Revealed that the Equinox of the Gods is
come, Horus taking the throne of the east and all rituals, etc. being abrogated.
20: (contd.) Great Success in midnight invocation. I am to formulate a new link
of an order with the Solar Force.” In another diary, he recorded: “Hoori (Horus)
now Hpnt (Hierophant), “ another reference to the changing of the officers of the
Golden Dawn on each equinox. Now, Horus is the Hierophant of the Age, not
just the season. 71
*Alignment of Calls and Grades

FIRST CALL - Tablet of Union
SECOND CALL - The File of Spirit in the Tablet of Spirit (four letter name composed of first
letters of elemental names)
E − the Root of the Powers of Air.
H − the Root of the Powers of Water.
N − the Root of the Powers of Earth.
B − the Root of the Powers of Fire.
THIRD CALL - Exarp; the whole Tablet of Air - GRADE OF 2 Degree = 9 Square (Air)
FOURTH CALL - Hcoma; the whole tablet of Water - GRADE OF 3 Degree = 8 Square (water)
FIFTH CALL - Nanta; the whole tablet of Earth - GRADE OF 1 Degree = 10 Square (earth)
SIXTH CALL - Bitom; the whole tablet of Fire - GRADE OF 4 Degree = 7 Square (fire)

Crowley wrote these notes in the early morning hours of the vernal equinox,
March 21st, 1904. Clearly Crowley’s reference to the Equinox of the Gods referred
to both the events of that equinox, and the larger Great Year of precession. His
successful invocation of Horus had inspired in him a new understanding of the
coming precessional shift in the zodiacal age. Just as Pisces had been the age
of Jesus/Osiris, the Dying God, the new age was to be one of the Crowned and
Conquering Child, the New Horus.
One other curiosity must be noted. On the morning of March 17th, 1904,
Cairo experienced a beautiful annular eclipse of the sun. As the sun rose that
morning the eclipse was already in progress. Venus, the morning star in Aquarius,
faded briefly and then reappeared as the eclipse strengthened. The effect was
that of a beautiful ring of fire, bulging slightly toward the silvery glow of a morn-
ing star that refused to fade. This strange portent in the dawn sky was discussed
in the local papers, including the Cairo edition of the London Times, on March
18th and 19th. Crowley could not have missed the news articles even if he had
missed the event itself.
And so, by the 21st of March, Crowley was hooked. He had smacked the
Tar Baby and was on his way to the briar patch. For the next 43 years, the rest
of his life, Crowley lived in the shadow of what happened in those next few
weeks. He followed the will-o-wisps whispers of the illuminati elves down a long
twisted path toward a kind of reverse sainthood, in which his most perverse
jokes would become religious movements and his most profound philosophical
musing would become fuel for the ranting of disaffected and overindulgent
occultists the world over.
Crowley learned his Enochian from the Golden Dawn, which must have once
included the Calls and the basics of Enochian magic as part of the Adeptus Minor
curriculum. Westcott and Mathers’ greatest achievement, turning the very rudi-
mentary text of the Cipher Manuscript into a grand synthetic initiatory system,
very likely continued on in some form we have lost. Although the Golden Dawn’s
origins are clouded by the Cipher Manuscript’s fraud, there can be no doubt that
Westcott and Mathers built on the work begun by Rudd and Ashmole and took
it much further. Ashmole recovered and reverse engineered the basics of the
angelic connection from Dee’s diary notes on the early sessions; Rudd, or the
magical circle he represents, saw the Enochian material as another and perhaps
more powerful form of Renaissance magic, with Dee as the new Agrippa.
All of this material−in fact, all the materials we’ve discussed here save the
Byrom manuscripts and the writing of Fulcanelli−was available to Mathers and
Westcott in the British Museum. They picked carefully among the manuscripts
and extracted a portion of the Angelic system that seemed most intelligible
to them. This worked rather well, until the aspirant reached a certain point in
their studies. And that point invariably seems to be where language and sacred
geometry overlap, and one must consciously conceptualize how to evoke four
dimensions into three.
The reason Mathers and Westcott never explained any of this to their stu-
dents, much less left written records of it, is easy to determine. Higher dimen-
INTRODUCTION 45
sional geometry, even the idea of mathematical dimensions, was just than at the
forefront of theoretical science, and Mathers and Westcott simply didn’t have the
information. Their knowledge of classical sacred geometry, even the concepts in
the Monas Hieroglyphica, was as profound as that of any occultist of the day,
but ultimately they were hindered by their lack of understanding. They would
have both needed to have understood concepts that Dee could only express
via metaphor, and be able to consciously create such complex inter-dimensional
spaces themselves, and be able to explain how to do so to their students. The lan-
guage explaining how to do this simply didn’t exist, any more than anyone could
speculate at how Enochian letters corresponded to DNA codons. So Westcott,
Mathers, and the original Golden Dawn were able to go so far and no further.
An example of this can be found in three core components of the Golden
Dawn system, the Supreme Ritual of the Pentagram, the Analysis of the Key Word
and the Rending of the Veil. Each of these practices draws upon Enochian or in
the case of the Key Word, on the Monas, and do so in a way that anticipates the
next dimensional elaboration. What these elaborations were, and how they might
connect to other components in Dee and Kelley’s work, were never developed.
As a result, the Golden Dawn system seems to flounder in a morass of faux Rosi-
crucianism. Indeed some modern spin-offs, such as the Builders of the Adytum of
Paul Foster Case, dispense with the Enochian component altogether.
Crowley, who breezed through the Order’s curriculum at the same age that
Dee became a celebrity at the University of Paris, had the advantage of a Cam-
bridge education and an interest in mathematics and languages. He apparently
found most of the Order’s information rather unexceptional, as most of it was
available in published sources, but was fascinated by the Enochian material. The
London temple, led at that point by Florence Farr Emery, refused to initiate him
into the Second or Inner Order, the R.R. et A.C., composed of those who had
passed the Outer Order’s initiations and examinations.
Crowley appealed to Mathers in Paris, who initiated him into the Adeptus
Minor Grade over the night January 16th/17th, 1900. When he returned to
London and asked for the Order papers appropriate to his new Grade, the rift
between Mathers and the London group split wide open. In the midst of this,
Mde Horos made her odd appearance at a meeting in Paris, and by mid-February,
Mathers was in full reactionary mode. He was convinced that Westcott had set
him up somehow−who else knew the code word?−so he spilled the truth about
the Cipher Manuscript’s fraud to the faithful, with predictably disastrous results.
The London adepts called for an investigation; Mathers sneered back that he
was above such things, and by the end of March he was removed as Chief and
expelled from the Order. Crowley did receive his Adeptus Minor papers and initia-
tion from Mathers, and as the Order fell apart, Crowley headed off to Mexico to do
a little mountain climbing and Enochian magic. His limited success encouraged
him, and he kept the Enochian material in mind as he worked on the basics of
both ceremonial magic and Theravaden Buddhism. And so, by the time Crowley
met and married Rose Kelley in 1903, he had acquired an impressive set of skills
and awareness, including a degree of competency in Enochian.
It is likely that the techniques used by Crowley in the Great Pyramid in
November of 1903 and in March of 1904 were similar if not exactly the same as
those used by Mathers to induce those unbidden images described by Yeats. In
this case, however, the unbidden images that came to Rose Crowley were those
of the Book of the Law, a prophetic precursor to the Apocalypse announcing the
arrival of a new precessional era called the Age of Horus. In many ways, the angelic
communication of the Book of the Law resembles the best of Dee and Kelley’s
sessions, and, given the apocalyptic tone of both works, should be considered as
part of the same current of awareness. Much the same can be said of Yeats’ The
Vision, which is another large prophetic pattern inspired at least in part by Yeats
studies of the Enochian material.
Crowley also demonstrated his mastery of the basic Enochian language in
the additional conjurations he added to his edition of Mathers’ Goetia, or Lesser
Key of Solomon, a medieval grimoire in the style of Agrippa. He includes addi-
tional words and extended meanings, suggestions of a deep linguistic under-
standing of the material, while rewording portions of the Calls for specific
purposes. By the time Crowley and Victor Neuburg explored the Aethyrs in 1909
in Algeria, published as “The Vision and the Voice” in a supplement to The Equinox
#5, Crowley’s understanding of the Enochian material had reached new levels. In
a direct sense, he had rediscovered the dimensional component missing from the
Golden Dawn material.
He describes the key to this understanding in “A Brief Abstract Of The Symbolic
Representation Of The Universe Derived By Doctor John Dee Through The Skrying Of
Sir Edward Kelly, part one,” published in #7 of the Equinox. He describes how “[t]he
Shew-stone, a crystal which Dee alleged to have been brought to him by angels,
was then placed upon this table, and the principal result of the ceremonial skry-
ing of Sir Edward Kelly is the obtaining of the following diagrams… He symbol-
ized the Fourth-Dimensional Universe in two dimensions as a square surrounded
by 30 concentric circles (the 30 AEthyrs or Aires) whose radii increased in a
geometrical proportion. The sides of the square are the four Great Watchtowers,
which are attributed to the elements…”
Unfortunately, the two articles in the 1912 Equinox represent the apogee of
Crowley’s understanding of the Enochian material. In part two, from the fall edi-
tion of the Equinox, Crowley sketches out how the elemental calls should be used
within the grade rituals of the outer order. Whether this was Crowley’s addition,
or part of the procedure from the original temple work, is unclear. Most of these
articles follow the Order teachings, but more simply and directly, and show a
greater degree of comprehension of the original Enochian material. However,
the inclusion of the elemental calls within the basic grade rituals suggests that
the Golden Dawn was meant to be an Enochian initiatory group, and reinforces
the connections to Dee and the group that continued his work. It also suggests
that this may have been similar to the original Golden Dawn’s Adeptus Minor
initiations, and begs the question of where exactly Mathers and Westcott got this
information.
Crowley’s version of the connections between the first six calls* or keys and
INTRODUCTION 47
a grade structure suggests that he, or whoever showed it to him, understood
clearly the pentagonal stacking require to create a dodecahedron and higher 4D
shapes from the geometric interaction between Hebrew and Enochian. Did he,
or did Mathers and Westcott, understand that? Or was Crowley bright enough,
and energized by Ophanic intelligence enough, that he could make sense of and
rework something they had located but did not understand?
In a typical version of the abbreviated grade rituals, which are really discrete
energetic shapes, 20 knocks are given at the end in a specific pattern, 1 - 333 -
1- 333, to crystallize the energetic structure created by the practice. It does so
because the dodecahedron formed by the 12 pentagrams of the complete pen-
tagram ritual is also the basic structure of an icosahedron, transforming 12 pen-
tagonal faces into 20 triangles in the same hemispheric pattern as the knocks.
As this is the number of squares on the Tablet of Union’s 4 x 5 pattern grid,
and all of these calls operate through the Spirit file of the Tablet of Union, the
isoca-dodecahedronal shape is completely appropriate.
But there is one further step implied here. Five overlapping dodeca-iscosahe-
drons, aligned so that their interior cubes match, produce the complex and self-
referencing 4D twenty-four cell shape, a sort of hyper-polytope that embeds all
the other three and four dimensional regular solids within it. As this structure had
yet to be described mathematically at the turn of the 20th century, we can only
wonder at its inclusion here. This suggests that the Enochian material possesses a
complex mathematical structure inherent to it, forming a significant mathemati-
cal core of higher intelligence. Because this step is inherent in the geometry itself,
one wonders if it came from part of the lost spirit diaries of Dee, or if Crowley, like
Dee, could visualize 4D geometric shapes with this uncanny an accuracy.
The material published in the Equinox caused one last dispute with Mathers,
who sued because of the secret information it revealed. And there the Enochian
corpus remained until Israel Regardie, formerly Crowley’s secretary and student
and latterly a member of the Stella Matutina, a Golden Dawn splinter group,
published the complete papers of the disbanded Order in his four-volume The
Golden Dawn in 1936. These included all the Order rituals and Enochian material
used through the 5=6 grade. Unfortunately, by the time Regardie joined the
Order, the material had been worked over and the Enochian ignored to the
point that much of its original coherence had been lost. The grade rituals used
Enochian, but not the Calls suggested in Crowley’s article, and certainly not the
complex use of the Supreme Pentagram Ritual and its dodecahedron structure.
Even Crowley’s use of the calls in the A: A: and O.T.O. grade rituals did not use
the complex structure outlined in the 1912 Equinox article. Perhaps even Crowley
didn’t completely understand their significance.
But someone did. We’re really left with only two plausible explanations: that
Crowley understood material then withdrew it, an action which scarcely matches
his flamboyant persona, or that he almost but not quite was able to make sense
of information that was much older, directly from Dee and Kelley, and is now lost,
perhaps part of the papers Mina Mathers destroyed after her husband’s death.

Some of John Dee’s spirit diaries, including those from very critical times, are
missing, so that’s a tantalizing possibility. For instance, Dee in his personal diary
repeatedly refers to a “Heptagonal” working, but the spirit records of exactly what
that working entailed are missing, as is some of the earlier Enochian corpus. If Dee
and Kelley, together or separately, initiated students, as we think they did, then
what was the process those students went through?
It is possible that the ritual components added by Crowley to the first six
calls were part of the same material that became the Cipher Manuscript, and that
it was shown only to those in the Second Order who showed promise and had
understood the pentagonal basis of the Portal Ritual. These components, along
with the Enochian Calls, build upon the Portal structure and appear to be the key
to the magical transition to Adeptus Minor; in fact, they appear to be initiations
into the sub-grades of Adeptus Minor. Only someone who had grounded the
Outer Order experience through such a Call stacking procedure, in effect building
a 24 cell 4D structure in the astral light, could understand the higher orders of
complexities in the complete Enochian system.
Somewhere along the way, amidst all the schisms and splintering, this aspect
of the Second Order was forgotten or discarded. Crowley received his Second
Order papers directly from Mathers, and so may have inadvertently preserved a
key component of the original system.
Modern work on the Enochian corpus tends to fall in three categories, those
using the redacted Golden dawn of Regardie and the Stella Matutina, those using
Crowley’s versions and interpretations, and those who go back to the source,
Dee and Kelley’s original material. Following this article, we’ve listed some of the
major recent works on the topic. All of these are useful, in their own way, but
the originalists, scholars and magicians alike, have had the most profound effect
on Enochian studies. We now have a more complete picture of the history and
background of Dee and Kelley’s work, as well as how it survived and transformed
through contact with Rosicrucian and Freemasonic sources. We can also apply
advanced mathematical concepts, as well as metaphors from computer science,
to actually describe, for the first time, the details of the Angelic Science given to
Dee and Kelley over four hundred years ago.
But perhaps that is what the Ophanic beings had in mind all along. In a key
session on 23rd May, 1587, Dee and Kelley received the following message:
Green Woman: Then shall your eyes be opened to see and understand
all such things as have been written to you, and taught you from above.
But beware ye take heed, that you dwell within yourselves, and keep the
secrets of God, until the time come that you shall be bid SPEAK: for then
shall the spirit of God be mighty upon you; so that it shall be said of you,
“Lo were not these the sorcers, and as such accounted vagabonds?”
Perhaps only now have the Ophanim bid us to speak on this subject, and
maybe only now can such speech be understood. Let us hope, for the sake of all
mankind, that it is not too late.
INTRODUCTION 49
NOTES
1 Tyson, xi.
2 For a detailed discussion of this, see Laycock, “Introduction.”
3
Nasar, page 1.
4 See Bridges and Burns, “Shakespeare and Dr. Dee; “ Burns, “Francis Garland, William
Shakespeare, and John Dee’s Green Language;” Burns, “William Shakespeare, Spy, and
a Visit to Trebona.”
5 Ibid. Also, see Harkness.
6 Bridges has shown how the 64 codons of DNA, which have elsewhere (Yan’s DNA
and the I Ching: The Tao of Life) been related to the 63 I Ching hexagrams, also
correspond to the 64 squares of the 8 x 8 grid that is the “alphabet packet” of
letters/ titles. For more on this, see his article “Angels in the DNA,” later in
this collection; this is also available in the Journal of the Western Mystery Tradition at
http://www.jwmt.org/v2n15/dna.html.
7 For more on this subject, see Bridges, “Symmetry & Sacred Waveform Alphabets.”
8 See James, “The Magick of Enoch,” in The Enochian Magick of Dr. John Dee, for a
thorough transcription of these angelic conversations.
9 Agrippa, De Occulta Philosophia, Book I chapter 23.
10 Ibid.
11 Regardie, page 150. These words are part of the Zelator initiation ritual.
12
Understanding of the Monad or Monas has been hampered by continual poor transla
tions. A new one underway is available at: http://www.jwmt.org/v2n13/partial.html;
the Latin original is available at: http://www.billheidrick.com/Orpd/Dee/JDMH.pdf.
The best in-print translation is by Josten; the esoteric commentary in Hamilton-Jones’
translation is more useful than his poor translation.
13
An English translation is available in by Shumaker in John Dee on Astronomy, how
ever it ignored virtually all esoteric aspects of the work. This attitude has been
recently criticized by Clucas in his introduction to John Dee: Interdisciplinary Studies
in English Renaissance Thought.
14 Some of the best scholars on Dee would disagree with this statement because,
largely due to poor translations, they do not understand the work. .
15 See Burns and Moore.
16 Also available: http://www.jwmt.org/v2n13/square.html
17 Burns and Moore, op. cit.
18 See discussion in Bridges and Burns, “Olympic Spirits, the Cult of the Dark Goddess,
and the Seal of Ameth,” in The Consecrated Little Book of Black Venus.
19 This extremely complex idea can be found in Dee’s Heptarchia Mystica, though under
standing for most likely requires an esoteric gloss. If one exists in print, the authors
are unaware of it.
20 For a thorough discussion and relevant angelic conversations, see James.
21 That Dee and his circle believed they could be living on the brink of a Golden Age has
been discussed by many writers; for the first in modern times, see Yates, Occult
Philosophy in the Elizabethan Age and Rosicrucian Enlightenment.
22 See Bridges’ “Reading the Green Language of Light” later in this collection; this essay
is also available in The Journal of the Western Mystery Tradition, http://www.jwmt.org/

v1n4/readlight.html. Also see Weidner and Bridges.
23 Much of the next several paragraphs are adapted from Bridges’ 1996 article, “Dr. Dee
Meets the E.T.s.”

24 Interestingly, several of Meyrink’s works, including The Golem, draw on the alchemical
history of Prague, where Dee and Kelley brought their Enochian work to the attention
of Holy Roman Emperor Rudolf II.
25 What Dee actually records is this: “8 Mar. It was the 8 day being Wednesday hora
noctis [at night] . . . the strange noise in my chamber of knocking, and the voice, ten
times repeated, somewhat like the shrich of an owl, but more longly drawn, and more
softly, as it were in my chamber.” For obvious reasons-Dee’s diary was hardly private
and it wouldn’t do to record angels at the window, or even the receipt of valuable
but secret objects from other humans-he leaves no other direct record, though the
angels in later conversation imply they have given him the crystal. The source of the
“angel in the window” legend, like many surrounding Dee and Kelley, are as lost as
most of the names of the underground tradition from which they spring.
26 See note four, above.
27 In the early 1580’s Dee listed over 4000 thousand volumes, 3000 printed books and
over 1000 in manuscript. The libraries of Oxford and Cambridge together numbered
less than a quarter of that total. Mortlake acted as the Elizabethan equivalent of a
university research center, and it was said that the library contained the whole of
Renaissance thought. For more on Dee’s library collection, see Roberts.
28
French, page 37.
29
Our main evidence for this comes from follow the track of his book and manuscript
collecting. For a further discussion, see Bridges and Burns, “Olympic Spirits.”
30
Some non-Hermetic modern scholars would dispute this statement. As is often the
problem when non-esotericists research esoteric texts, this is usually because they’re
looking for a modern direct text reference rather than the Monad glyph, or even
more likely, a similar cluster of symbols used in a similar way.
31
As of yet, there’s no complete in-print version, though the reader can get a good
idea by combining James, Fenton, and Causabon. The original manuscripts are
available on-line at: http://www.themagickalreview.org/enochian/mss/sloane_3188/
32
Three and even four dimensions are implied by the 2D pattern. Symmetry angles are
meant as alignment vectors: however you approach the pattern, across dimensions,
it looks different, has different words, depending essentially on the symmetry of your
approach vector, the symmetry angle or the angle at which “symmetry” is perceived.
33 We’ll leave it to the reader to unlock the many, many green language puns in his
name alone. This story reappears, in different form, almost 300 years later in the
R.R. et. A.C.’s Adeptus Minor ritual. In that ritual, the “light” of the LVX/INRI analysis
of the keyword, traceable directly to Dee, is part of what symbolically opens the
Vault of Christian Rosenkreutz. See Burns and Moore.
34 See Burns, “Trebona.”
35 Ashmole originally published Arthur Dee’s Fasculus Chemicus using the editorial
pseudonym “James Hasolle;” it has recently been reedited by Abraham, whose
Alchemical Dictionary is indispensible for understanding both this and Ashmole’s
Theatricum. Yet the timing is curious of Ashmole’s publication is curious, ibid.
36 For a fascinating discussion of this, see Harms on-line discussion, parts 1-7.
37 Hancock and Bauval, pp. 344 -351.
38 Ibid.
39 Butler, among others.
40 The Stuart Pretenders, both Young and Old, were to have a tremendous, although
indirect, influence on the course of Freemasonry and occultism. Their involvement
made the idea of “secret masters” popular. The concept entered Freemasonry with the
INTRODUCTION 51
Strict Observance of Baron von Hund und Alten-Grotkau, who once met a mysterious
grand master and was told to wait for further instructions. He waited for the rest
of his life, but, since the unknown grand master was actually Prince Charles Edward
Stuart, the Pretender to the throne of England whose cause was crippled forever at
the Battle of Culloden Moor, we can understand the lapse. This Strict Observance to
an “unknown master,” however, would continue to influence Western occultism down
to Theosophy and the Hermetic Order of the Golden Dawn in the late 19th century.
41 Hancox, pp. 8-9.
42 Ibid.
43
Mclean, “Introduction,” pp. 9-17.
44 The Alpha et Omega Lodge in Paris, a continuation of the Hermetic Order of the
Golden Dawn founded by MacGregor and Mina Mathers in the mid 1890s. Garstin
joined in 1920, after Mathers’ death, but remained on good terms with Soror Vestigia,
Mina Mathers, until her death.
45 Garstin, introduction to The Rosie Crucian Secrets, page 12.
46 Hancox, op. cit. p. 38.
47 Ibid. (Figures 5 and 6, facing page 265.)
48 See Yates, The Rosicrucian Enlightenment and The Occult Philosophy in the Eliza-
bethan Age.
49 Mclean, op. cit. page 16.
50 For one culmination of that investigation, see Weidner and Bridges.
51 Bridges, “Fulcanelli and the Secrets of Rennes-le-Chateau,” part one, page 57.
52 Kuntz, page 15.
53 Weidner and Bridges, see chapters 11 and 12.
54 See Pennick.
55 Fortune, p. 2.
56 See Gilbert, The Golden Dawn, Twilight of the Magicians.
57 By now we’re used to expecting green language puns in pseudonyms, and “Fraulein
Sprengel” is no exception.
58 Gilbert, Golden Dawn, op. cit., and Kuntz, op. cit.
59 Machen, pp. 152-153.
60 Gilbert, in Kuntz, op. cit. p. 21.
61 Ibid, pp. 21- 23.
62 By this time, most assume the “alchemical transformations” strived for are personal
spiritual ones rather than those concerning either the alchemy of precessional ages
or physical alchemy, though that makes the references to physical alchemy in the
Golden Dawn knowledge lectures, and to precessional astronomy in its grade initia-
tions (especially from Theosophus on) rather curious.
63 Lepsius.
64 Siliotti, pp. 266 -281.
65 As far as we know, this has never been discussed in print, for several reasons that
should be obvious.
66 Burns, “Pascal Beverly Randolph’s Eulis!”
67 Godwin, page 9.
68 Yeats, page 215.
69 See Crowley, The Law Is For All, Confessions and the Equinox.
70 Much of this section appears in expanded version in Bridges series “Crowley’s Egg.”
71 See The Law Is For All, Confessions and the Equinox.

Section 2
SYMMETRY and SACRED
WAVEFORM ALPHABETS:
coherence, consciousness and the kabbalah
by Vincent M. Bridges ©1997
“One of the greatest scientific achievements imaginable
would be the discovery of an explicit relationship
between the waveform alphabets of quantum theory
and certain human states of consciousness.”
Nick Herbert, Quantum Reality
T
HE WORKS OF such modern day Kabbalists as Stan Tenen, in Light in The
Meeting Tent and J.J. Hurtak’s Keys of Enoch suggest that we have indeed
found the pivotal point where consciousness, quantum mechanics and
the Kabbalah intersect. The question then becomes: Is that point the origin of the
alphabet?
Although humanity has spawned thousands of languages, fewer than a dozen
instances of the invention of writing are recorded in human history. Most of these
occurred in or around the ancient Near East. Cuneiform script in Sumer, Proto-Elamite
in Caanan, and hieroglyphs in Egypt appeared roughly at the same time, around
3000 BC. Cretan pictoglyphs and the Indus Valley scripts are dated to around 2000
BC. Hittite hieroglyphs and Chinese pictograms developed between 1700 and 1500
BC, as did the Semitic alphabet which would eventually become, with the Chinese
alphabet, the form by which all living languages are written.
The Semitic alphabet developed, according to the best archeological evidence, in
the turquoise and gold mines of Sinai just after 1700 BC. Hieratic or cursive Egyptian
phonetic letters were applied to a proto-Semitic language. We can easily read the
Semitic word “b’lat,” the goddess, in hieratic characters on the quarry walls at Serabit
El-Khadem in the Sinai. Similar developments occurred over the next two hundred
years throughout ancient Caanan. By 1400 BC, roughly the time of the Exodus of
Moses, these trends had merged into a form that scholars call the Caananite Linear
alphabet. From this developed all other alphabetic scripts, from Latin Gothic to Old
Hebrew and Imperial Aramaic, from Cyrillic to Kufic to Sanskrit and Amharic.
Logically, if any ancient alphabet could be called sacred, it must surely be that
original alphabetic source. Tradition would also suggest that the origin of this sacred
alphabet, the moment when the “flame letters” were revealed, involved the conjunc-
tion of Egyptian and Semitic sources in the Sinai. Working the mines where proto-
sinatic inscriptions appear were the Midianites of the Bible, the people with whom
Moses lived while in exile from Egypt. They were a Bedouin sort of people, pre-
Yahweh Hebrews who worshipped a nameless God on a mountain top. It was while
tending his flocks on the sacred mountain that Moses, the Egyptian prince, encoun-
tered the Burning Bush. Moses, of course, eventually returned to the Midianites’
sacred mountain with a vast horde of wandering Semitic refugees to receive God’s
commandments; carved, we are told, by the divine appendage on slabs of stone.
SYMMETRY AND SACRED WAVEFORM ALPHABETS 53
The first sentence of GENESIS in Hebrew, read from right to left.
This experience, this direct, face-to-face encounter with divinity, was the culmina-
tion of the Exodus. If any moment could be said to have been infused with divine
meaning, in an alphabetic sense, surely this was the moment. Tradition also holds that
Moses was the author of that first sentence in Genesis, which Stan Tenen, in 1968,
deciphered as a geometric description of a universal dissipative structure, the torus.
Since the development of our original source alphabet, Caananite Linear, is con-
temporary with the Exodus from Egypt, we might postulate a connection. From this,
we might also postulate that the alphabet’s success derives in part from its divine
origin. If the Kabbalists and Stan Tenen are correct, then it should be possible to
imbue and encode an ordinary word, such as “mustard seed,” with a host of spiritual,
and perhaps even scientific meanings. This ability would surely help the spread and
acceptance of such an alphabet.
Something of the sort seems in fact to have happened. Languages and scripts
as far apart as Ethioptic, Tibetan and Arabic all have a “kabbalistic” tradition because
of the sound/shape/symbol quality of the alphabet itself. Since all of these sacred
alphabets were originally derived from a Caananite Linear source, we can speculate
that the source of the concept is also the source of the alphabet.
Stan Tenen’s great idea suggests that this is the case. However, his examination of
alphabet forms has a large flaw. He starts with an Aramaic Hebrew script from about
300 BC. This is a thousand years, or so, after the divine infusion on Sinai, and far down
the language tree from Caananite Linear. Old Hebrew, the script of the Old Testament
period, roughly 1000 BC through the sixth century BC, is much closer to the original
source alphabet than Hebrew Aramaic, which derived from Phoenician and Imperial
Aramaic, or Persian, sources.
But Tenen’s research suggests that his spiral strip also creates other alphabets,
such as Greek, which are not related to the Aramaic branch. If this is true, we must
look even earlier. Caananite Linear, origin of Old Hebrew, Greek and Aramaic, is the
only possible source. However, Mr. Tenen has never, to my knowledge, examined this
alphabet. If a single divinely inspired source, using a spiral strip off of a torus defined
by tetrahedral symmetry, generated the “sacred” alphabet shapes, then the obvious
place, according to archeology, linguistics and tradition, to look for verification would
be the original alphabetic source.
This lack, in my opinion, weakens Tenen’s premise, and, until such work is done,
the theory must remain in the realm of speculation. As for the “waveform alphabets
of quantum theory,” Tenen has had remarkably little to say. By his own admission, his
original models were too imprecise to achieve any kind of mathematical rigor. While
the Kabbalists have always attributed certain states of consciousness to certain letters,
Tenen’s work does little toward relating these letter-shape states-of-consciousness
with any portion of quantum theory. He does suggest that there are connections,
spinors as symmetry sets are mentioned at one point, but nothing is developed
beyond that level.
And yet, the mystery remains. Like some fascinatingly unfinished jigsaw puzzle,
Tenen’s work suggests more than it reveals. But he does give us an important clue.
In the tenth and eleventh century AD, the city of Troyes in France was home to
a group of Jewish mystics. As Babylon declined as the center of the Diaspora, Islamic
Spain became the focus of Judaism. This effervescence spilled over into southern
France where the authority of the Church of Rome and its dislike for the Jews held
little sway. In the latter half of the eleventh century, this community of scholars
and mystics introduced a new elegant form of the Hebrew alphabet known as the
Nachmanides-Rashi letters.
In his pamphlet “The Meru Project,” Stan Tenen notes that the Hebrew alphabet
that most closely resembles his geometrically derived models is this Sephardic script.
The true significance of Mr. Tenen’s research may be his discovery that these specific
letterforms of Hebrew are based on precise geometrical models. The unification of
quantum mechanics and consciousness may not point so much to the origin of the
alphabet as to the origin of the Kabbalah.
The core text of the Kabbalah, the Sepher Yetsirah, achieved its final form in
the late eleventh century in southern France. Long thought to be the work of the
school of Isaac the Blind, modern scholars have found traces of third century Gnostic
thought as well as evidence of a ninth century reworking. The mystical scholars who
assembled this traditional wisdom into its written form also adopted the use of
the Nachmanides-Rashi letterforms. These Kabbalists were mathematicians as well.
It is not beyond possibility that they had decoded the torus shape inherent in the
arrangement of letters in the first verse of Genesis, and the outline of its tagin
delineated spiral. From this realization might have come the “shadows on the meeting
tent” idea expressed in the Sepher Yetsirah, and later elaborated by Abraham Abulafia.
From this perspective, the letterforms could easily have been generated by the
rabbis of Troyes from the same sort of mechanical model Stan Tenen developed
eight centuries later. All this becomes even more interesting when we remember
another famous citizen of Troyes in the late twelfth century. The medieval poet who
introduced the Grail Myth, Chretien de Troyes, wrote just a century after the earliest
manuscripts of the Sepher Yetsirah.
The Grail Myth, as begun by Chretien, is an elaborate blend of Celtic myth, Chris-
tian chivalry and Gnostic experience. Women serve the sacrament from a “graal” that
provides for all needs, except that of healing the wounded king and the wasted land.
For that, a question, “Whom does the Graal Serve?” must be asked. Both Chretien
and later Wolfram von Eschenbach, whose Parzival claims to be the real story that
Chretien only partly understood, reported that the tale originally came from one
Guyot, or Kyot, of Provence. Wolfram also claims that Kyot heard it from Flegantis, a
Jewish astrologer from Spain. Wolfram’s grail, unlike Chretien’s large shallow bowl, is
a stone fallen from heaven. It spells out the names of those called to its service and
otherwise communicates through miraculous means.
Perhaps what we have at the core of the Grail Myth is a glimpse of the language
generating “stone” or tetrahedron of the mystics of Troyes. The possibility is a fascinat-
ing one that invites further research. If the geometrical models that Mr. Tenen redis-
covered were first invented in the eleventh century, then where does that leave us?

We have answered only part of the puzzle. The medi-
eval Kabbalists may have invented the letterforms from a
geometric model, but that model came from the text of
Genesis, dating roughly to the sixth century BC. While the
mystery remains, we have gained valuable knowledge
about the nature of a “sacred alphabet.”
So then, how can we define this concept of “sacred
alphabet?”
First, it must do more than just spell words.
The shape/sound/symbol coherence of the alphabets
descended from the Caananite Linear allows languages
as dissimilar as Hebrew and Tibetan to develop “kabbal-
ist” symbologies. This can be seen at a glance by com-
Power of Ten Emblem from
paring a medieval Kabbalistic talisman, embedding the
Tibetan Kalachakra
entire Tree of Life into one symbol using the first letter of
each Sephiroth, with the Tibetan Kalachakra “Power of Ten” emblem.
Next, this symbological ability must reflect mathematical and geometric pro-
cesses in the greater universe. In other words, a sacred alphabet also describes a
cosmology. The alphabetic symbolism of the Sepher Yetsirah implies a sort of cook-
book of creation. The Kalachakra system embraces all fields of knowledge, allowing
ontology to recapitulate cosmogony.
A truly sacred alphabet may just be the quantum states which forms the shells/
shapes of the atoms expressed in a sound/shape form that resonates with the atomic
structure. These “letters” are then primal wave-guides for space/time coherence. Their
expression collapses probability’s infinite wavefront into one hologramic reality. The
building blocks of God, indeed…
To understand this, we must look at two vastly different sacred alphabets, Egyp-
tian hieroglyphics and Dr. Dee’s Ophanic script.
Hieroglyphs developed suddenly in Egypt just after 3100 BC. They appeared
almost of a piece, with little or no developmental states. Old Kingdom Egyptian, as
a language, is full of sophisticated ideas and strange, ritualistic concepts, things that
would suggest a long period of evolution. But the alphabet in which these ideas are
written appeared and reached its ultimate perfection in the course of a few hundred
years. It would remain in use, though it would evolve into other forms, for the next
two thousand years.
An Old Kingdom Pharaoh, visiting a Ptolemaic temple, could have read his
descendant’s name from his cartouche, though he may not have been able to pro-
nounce it. This continuity suggests that hieroglyphs served the sacred function of
embedding symbolism extremely well. By this measure, they might be the most
successful sacred alphabet in human history.
Perhaps the best way to see this is by examining the spelling of the name of the Neter,
or god, Ptah. As the creator god of Memphis, Ptah symbolized the cosmic process brought
down to human scale. Atum-Ra, the Sun God of Heliopolis, represented the creative force
of the universe and Tehuti, or Thoth of Hermopolis, represented the actualizing of that
creative force into the patterns of nature, into space/time itself. Ptah then shows how
these forces shape the nature and being of man. We can think of Ptah as the architect of
humanity, the DNA doctor braiding intelligence into simple Handy Monkey genes.

Esoteric Egyptology has long equated Ptah with
the ratio known as Phi. Simply superimposing the
glyphs that spell P -T - H can show this relationship.
The glyph for P is a square; T is a semi-circle. Overlay
these and you have the basis for the geometric deriva-
tion of the Phi proportions. Add the H, a cotton twist
resembling a braid, and space appears for the develop-
ment of the pentagram/pentagon from the Phi rect-
angle. This recursive nest of Phi ratios has often been
thought of as relating directly to the human condition
as a glyph symbolic of self-reflexive intelligence.
Add the determinative that indicates the divine
condition and you have spelled a description of the
force that embues life with consciousness.
Egyptian hieroglyphs seem designed to convey
a direct experience of the essence of the word. Read-
ing the name Ptah in elegant old Kingdom glyphs
imparts a wealth of understanding at a level far
deeper than just the intellectual. In a very real sense,
you could never know who “Ptah” was, until you
could read his Name. This ability to impart a direct
experience of sacred realities makes the Egyptian
hieroglyphic alphabet almost unique among human
alphabets. Learning ancient Egyptian was perhaps as
mind expanding as learning Martian was in Stranger
in a Strange Land.
The spiritual core of Egyptian religion was the
power of “words” to shape the texture of reality.
Pharaohs, such as the Sixth Dynasty’s Unas, went to
great lengths to inscribe whole texts on the inside
of their tombs. The royal Ka could then read these
words of power and re-shape death into immortality
among the stars. By the Middle Kingdom, common-
ers were using some of these same texts in their cof-
fins and tombs. Hieroglyphs remained the royal and
preferred alphabet, but a more fluid form emerged.
This hieratic script was an attempt to reduce
the hieroglyphic symbols to a form that could be
swiftly rendered by a brush-like pen. Its more fluid
motion of stroke abstracted the concrete images
of Old Kingdom hieroglyphs into form-suggestive
curves. Eventually, hieratic developed into Demotic
and then the Greek influenced Coptic. The last
hieroglyphic writing dates from the early fifth century AD.
By the seventh century, when the Arabs swept in from the desert with the
hot breath of Allah behind them, knowledge of hieroglyphics had gone under-
ground. And so we, humanity, lost touch with our most successful sacred alphabet.
The Semitic alphabet forms, such as Greek and Arabic, allowed for a kind of
symbol/shape/sound embeddedness, as described in the Sepher Yetsirah. But even
this lacks the depth and immediacy of the hieroglyphs. Something important had
been lost.
That “something” can best be seen by noting an attempt to fill the vacuum of
its absence. Eleven hundred years after the last hieroglyphic inscription, Dr. John
Dee, Queen Elizabeth I’s court astrologer and the foremost scientist of his age,
received a new language from the angels. This language, so powerful that it was
THE RELATIONSHIP BETWEEN DNA, OPHANIC LETTERS,

MAYAN TZOLKIN AND THE 8 X 8 MAGIC SQUARE
52 57 14 49 53 41 11 33 55 25 9 17 50 9 16 1
G G A U U A G U
C A C C A C A G
U A U A C A G U
N O X L O R G P
61 58 3 50 60 42 6 34 58 26 8 18 63 10 1 2
A C C A C C C A
U U U G G U C A
A C A G A U C A
F N P S N A A A
4 59 62 51 5 43 59 35 7 27 57 19 2 11 64 3
G U C A U A U G
U A C U U C U G
G U A G G C U G
A C A G N P L V
13 60 51 52 12 44 54 36 10 28 56 20 15 12 49 4
A U A U A G U C
A G G G G A C A
C C U A A U U C
M E L E A H O E
20 61 46 53 21 45 43 37 23 29 41 21 18 13 48 5
A U G C G G G C
A C G A U U C C
U A C A U A G G
G P M R U T R H
29 62 35 54 28 46 38 38 26 30 40 22 31 14 33 6
C G C G G U C A
U G A G C G A A
G U G A A G U U
I H E D R A U G
36 63 30 55 37 47 27 39 39 31 25 23 34 15 32 7
U G A G C A U U
C A C U C G A A
C C C C U C A G
S V D R M L N E
45 64 19 56 44 48 22 40 42 32 24 24 47 16 17 8
C U G G A U C C
G U A C U U G G
U A A G C C G C
G A D U A G G D
DNA Code by Dr. Martin Schönberger; 8 x 8 Magic Square by Ben Franklin (Each line adds to 260/ any four of eight adds to
130/diagonals add to 260 +/- 32) ; Mayan Tzolkin by Jose Arguëlles

dictated backward to prevent setting off unforeseen consequences, was to be
written in a new script, which was also miraculously delivered.
Dee records that a faint yellow outline appeared on his page, which he then filled
in with black to produce his letters. These letters are unusual on several counts. First,
they are not exactly unique. They resemble several other magical scripts, such as the
“theban” alphabet, in use for hundreds of years by occultists and alchemists.
However, there are a few differences, such as the name or label of each letter.
These were not given as phonetic renderings, but as collections of other letters
conveying a larger symbolic meaning. But the truly unusual thing about these letters
are that they exhibit a wave-guide function. Dowsers have found that each letter
displays a particular vibrational pattern. This suggests that, like the hieroglyphs, there
is a direct energy exchange of some sort happening when words are written in this
alphabet.
Dee and Kelley received these letter/names in an eight by eight grid pattern,
which can be overlaid with the hexagrams of the I Ching, the center of the Mayan
Tzolkin and the codons of human DNA. The pattern this produces causes us to
look for deeper implications. This much coherence across scales can hardly be un-
intelligent.
The Ophanic alphabet and language received by Dee and Kelley represents an
attempt by something, be it the collective unconscious or the angelic logoi, to re-
invest human language with this direct experience of symbolic coherence. That it
failed in the sixteenth century is not surprising; that we should still reject the concept
is unfortunate.
As superficial information, both internal and external, explodes in volume, some
way must be found to sort for meaning and value. A sacred alphabet of quantum
consciousness could give us that all-important center point of understanding neces-
sary to braid order out of chaos.
To close the loop, let me just note that Dee’s Ophanic
language not only exhibits advanced geometry, some of it
not discovered until the nineteenth and twentieth centuries,
but it also contains echoes of ancient Egyptian. The name
for a ruler of the element of fire on the Seal of Truth, a key
component in the Ophanic system, is spelled out in letter
number combinations as Oheoo-ah-atan. This just happens
to be a reasonably good phonetic rendering of a New King-
dom Egyptian phrase: “strong, wounding (is) the heat of the
sun.” Not only is this appropriate to a being of fire, but the
phrase would later be used in Akhnaton’s hymns in praise
of the Aton.
Ophanic, like Egyptian, shows us that it is symbolic density that defines a sacred
alphabet. The ultimate sacred alphabet would be infinitely dense and interrelated.
One glyph, like a Phi spiral in 3D, unfolds the logos of creation, read instantaneously
by the Mind of all. We smaller fragments of Mind see only elements and galaxies,
like scattered letters and snatches of phrases, and stumble over our ABC’s like the
kindergartners we are. I’m ready to read the text of the universe’s one song.

Section 2
THE OPHANIC ALPHABET
PART ONE:
A Rigorous Analysis of the Ophanic Letter Forms
by DARLENE ©2009
“Reasons must be given for the shapes of the letters,
for their position, for their place in the order of the
alphabet …, for their numerical value.”
John Dee, in his preface
to the Monas Hieroglyphica1
DESIGNED MY FIRST Enochian type font in 1995, having been introduced
I to the Ophanic system three years earlier. At that time, the only version
of the letters available to me came from the Golden Dawn. As a life-long
practitioner of calligraphic writing with a formal education in type design, I’ve
a working knowledge of letterform design. Good typographers learn to become
finely attuned to the subtle nuisances of shape and the overall visual rhythm
and texture created when different letters are juxtaposed together on a page.
Developing a sensitivity to the cadence of the patterns created by the dark
strokes of the letter shapes and the negative counter spaces they produce, will
add an extra dimension to the study of all alphabetic characters.
Thirteen years ago, to produce what was then called The Complete Enochian
Handbook, I needed to create an electronic version of the Ophanic letters for
use on the computer. I was glad for the opportunity to create the Enochian
letters because I couldn’t shake the suspicion that something was “not right”
with the GD model. To judge which letter features were intended and which
ones accidental, I relied on my background in font design. I also approached my
reinterpretation the Ophanic alphabet intuitively—as an artist sensitive to how
letters become a dance of pattern and form. Now, as I revisit the Ophanic system
in 2009, I finally have the time and resources to formally analyze this 21-letter
alphabet.
In Part One of this article, I briefly review the history of the letterforms, create
an in-depth, comparative study of key forms, and apply the results to the design
of a new typeface. I dedicate my efforts herein to every intrepid soul who has
sought to uncover the secrets of this non-ordinary alphabet.
The first recorded, little-known script Enochian alphabet (Sloane MS 3188-64r)

The first hurtle to overcome is the fact that ABOVE & BELOW: The very next
Ophanic was not originally a written language. page of Sloane MS 3188-64v
Supposedly conceived of light, this reflected lumi- contains the two examples of
“cursive” shown here.
nosity could never possess the usual properties of
written alphabetic forms. Even so, the Cambridge- TO OF E T A E: Forty pages
later, a more formalized ver-
educated Dr. John Dee was accomplished in cal- sion of the alphabet was ren-
ligraphy and was his cohort, Edward Kelley. Both dered by John Dee in his diary
would have drawn upon their background knowl- (Sloane 3188-104r).
edge, as I have, to help them document an alpha-
bet that had never before been physically recorded
by pen. Yet, deciphering the qualities of the alpha-
bet through the use of the pen is still a sound
starting point. But first, let’s examine the source
material.
Our primary sources consist of the hand-writ-
ten diaries of Dr. John Dee housed within the Brit-
ish Museum.2 There are precious few examples of
the Enochian alphabet recorded by Dee and Kelley.
Although scant, what there is to find is fascinating.
Actually documented are two different forms
of the Enochian / Ophanic alphabet. The earliest
recorded forms (sometimes referred to as the “cur-
sive” form of Enochian) first appears in Dee’s diary,
Quinti Libri Mysteriorum in an entry dated March
26, 1583. In fact, all the so-called cursive forms
within Dee’s diary shown on this and the previous
page were recorded on the same date and all rep-
resent the earliest written record of the Ophanic
alphabet. These particular renderings are not con-
sidered to be the alphabet’s final form but a lot of
information can be generated through their study.
To draw” and “to write” represent two distinc-
tive ways of using the pen as a tool. It’s important
to realise the action of using a pen to fill in letters
is very different from using a pen to write letters.
Depending upon the way a broad-edged pen is
held and moved upon the surface of paper or animal skin, it’s possible to discern
the sequence of the strokes.
Like drawn forms, all written letters have characteristic signature qualities.
Written forms tend to preserve the influence of the pen. Perhaps this is one
THE OPHANIC ALPHABET PART 1 61

reason why the first Ophanic letters within John Dee’s diaries are considered to
be “cursive” in nature. Much insight can be gleaned by determining how a letter
was formed. When a letter is written, for instance, it’s possible to establish the
direction and sequence of the strokes by noting which areas of the characters
have a build-up of ink. The ink will naturally be thicker in places where the strokes
branch off of the main stem. The speed of the writing can also be determined.
Because hand-written forms tend to vary a lot, calligraphers and font des-
giners require a healthy sampling of each character. The best way to analyze
hand-written manuscript forms involves extracting from 25 to 50 single letter
examples. Having a variety of the same letter helps determine the intent of
the script. Determining which features best represent the nature of the script
depends upon the designer’s knowledge, experience and aesthetic eye.
Having so few original samples of the Ophanic letters to draw from is important
because the intent of each letter stroke may not quite reveal itself.
In drawn forms, it’s not always easy to ascertain a main stroke from a second-
ary stroke, the way a stroke branches from a stem, the pertinent angles or even
the speed in which a letter was produced. A cursory glance tells me that although
the script was conceived to be read from right to left, they were actually penned
left to right.
Angelic communication was possible through the use of a skrying crystal.
Within this crystal, Dee’s partner, the alchemist Edward Kelley, saw the forms of
21 letters being written by an angel. However, Kelley was unable to reproduce
the characters as shown. The angel solved the problem using a novel solution.
The following entry in Dee’s diary (see above) immediately precedes the alphabet
records how the angel exacted a more precise recording of the letter forms:

From Ms. Sloane
3189 57r
But it is to be noted that when E.K. could not aptly imitate the form of the
characters or letters as they were shewed, that then they appeared drawn
on his paper with a light yellow colour, which he drew the black upon; and
so the yellow colour disappearing, there remained only the shape of the
letter in black… (Sloane 3188-104r)
Before they faded from the page, Kelley carefully traced the contours of the
letters with his pen. However, this is not the only example of the Ophanic alphabet
produced during this time. In Liber Logaeth, Kelley made his own version of the
Enochian letters (above), thus producing what’s considered to be Ophanic’s “per-
fected” script.
Regarding the letterforms themselves, about a month later (April 28, 1583), Dee
records a conversation with the Angel Il:
Dee: And first I think that those letters of our Adamical alphabet have a
due peculiar unchangeable proportion of their forms, and likewise that
their order is also mystical.
Il: These letters represent the creation of man, and therefore they must
be in proportion. They represent the workmanship wherewithal the soul
of man was made like unto his creator.
This is important and explains the reason we need to discover the true essence
of this angelic alphabet. Not only are there differences between the letter forms
recorded thus far, there are considerable differences between the forms of the
letters used in the Golden Dawn literature as well as those devised by Aleister
Crowley in the early 20th century. In the next section, I evaluate four versions
of the Ophanic alphabet. I have not adjusted the letters to compensate for the
distortions which inevitably occur when enlargements are drastic. Each letter’s
features, including imperfections, are greatly amplified. We must take into account
how enlargements tend to make thin strokes thicker than intended.
To study the above-mentioned versions of the alphabet, my comparative anal-
ysis adopts the font designer’s standard criteria. First, I determine each letter’s
height to width ratio by means of the square. I use the width of the widest
stroke and measure it against the height of the letter. I also found it useful to
determine the major angles of the letters, establish the way secondary strokes
branch from the main stem and compare how rounded forms and their negative
counter shapes relate to the circle. I also attempt to determine the probable stroke
sequence of the cursive forms.

FONT DESIGN ANALYSIS OF FOUR CHARACTERS
by DARLENE, Typographer and Designer of Fonts MY EXPERTISE IN THIS AREA: I received my
MFA in Graphic Design from Indiana Uni-
Design Parameters which comprise the distinguishing versity in 1987. My graduate work centered
on understanding the parameters for
characteristics of all letter forms, fonts, or type designs: designing typefaces. I also had the priviledge
of studying with Hermann Zapf, one of the
• The ratio between the height of the letter to its width pre-eminent type designers of the 20th-
• Where the letter's thins and thicknesses fall century.
My MFA thesis, "The Facets of Type Design,"
• The shape of the counters documented the problems involved in the
design of typefaces and how different
There are many other parameters to consider when designers approached these problems. In
designing letters, but the following simple analysis using addition, I have written two books on the
subject of letter form design including: "Type
the above criteria should be enough for anyone to and Calligraphy: A Brief Survey of the Historical
conclude that in no way could these four letters be Relationship" (1987) and "A Visual Approach
to Islamic Calligraphy" (1985). I have also
confused with each other. They are ALL completely designed several typefaces.
different...
© 1994 S. Tenen
These characters have very

little in common with each
other. Each one has a
different height to width
ratio, the counter shapes
are all different, and the
thicks and thins of each
© 1993 S. Tenen & J. Fournier letter fall in different
places. The only similarity
is that all the letters begin
with a thick stroke at the
bottom. Yet, even these are
different: two are curved,
one is straight, and one is
angled near 45 degrees.
© 1992 S. Tenen
© 1989 D. Winter
© 1997 DARLENE
In 1997, my expertise was called upon when I had to prepare a document for
U.S. Federal Court (above). In it, I compared the relationships between the same
Hebrew character belonging to four separate “font” sets. In the arena of font
design, my examination concluded that no copy-right infringements occurred.
The criteria I adopted to evaluate four different versions of the Ophanic alphabet
is similar to the “Font Design Analysis of Four Characters” court document:
1) the ratio between the height of the letters to their width,
2) the relationship between each letter’s thick and thin strokes
3) the shape of the counters.

Associated Numeric Value: 1
Elemental Attribution: AIR
Hebrew Letter Correspondence: ALEPH
Greek Letter Correspondence: ALPHA UN
COMPARATIVE VISUAL LETTER ANALYSIS UN is a most unusual letter
UN - Edward Kelley version as compared to the rest of
Main stroke rendered March 26, 1583
starts at 45o The lower (47o) portion of main
the alphabetic forms. It is
Both secondary
stroke is only 1/4 longer than
the top (137o)
geometrical in form, leans
strokes align. Secondary strokes are 1/2 the at an extreme angle and has
length of main stroke.
LETTER HEIGHT =
Width of thinnest stroke
a uniform thickness.
3 WIDTHS
When all samples are
Main stroke UN - John Dee version
starts at 37 o rendered March 26, 1583 compared, the length,
Upper (135o) and lower (43o )
Bottom cross stroke
portions of stroke nearly equal proportion and relationship
falls inside & aligns
with the top stroke. but the upper is slightly longer. of the components vary. In
Secondary strokes are 1/2 the
length of main stroke. the earliest versions, the
LETTER HEIGHT =
4 WIDTHS Width of thinnest stroke strokes all seem to match in
Main stroke UN – Golden Dawn version length but the modern ver-
starts at 20 o The top stroke angled at 130o sions shorten the top main
Bottom cross stroke Bottom portion of main stroke stroke and the secondary
further to the left over twice as long as the top
than top stroke. and is angled at 60o stroke while lengthening
LETTER HEIGHT =
the bottom of the main
5 2/3 WIDTHS
stroke.
Main stroke UN – Crowley version
starts at 50 o from Gems of the Equinox
Unlike Un’s cursive form
Bottom cross stroke
The top stroke angled at 135o (below left) Dee produced
falls inside aligning The bottom portion of main stroke his main stroke first with the
with top stroke. is is angled 50o and is 1 3/4 times
longer than the top . uppermost stroke being
LETTER HEIGHT =
6 WIDTHS Width of thinnest stroke produced second.
3 CURSIVE FORMS OF UN Height / width ratio is close to Phi.
UN is formed of 3 strokes. Beginning at the top

1 right, the 1st stroke starts flat, then swings to
2 the left at a 45o angle.The main stroke starts
over to the left, slightly lower than the first
stroke. It’s perpendicular to and covers up the
3 bottom of the top stroke then abruptly changes
direction creating a right angle.The 3rd stroke
begins across from the main stroke’s angle change, ending
just beyond it.
When this letter is written left to right,it is formed as described
above. But when written from right to left, the main stroke (2)
is created first.
45o
90o
All from Dee’s Journal entry of March 26, 1583
AT RIGHT: To reveal UN’s basic structure, the mono-weighted version,

based on Kelley’s May 6th 1583 alphabet, was created by locating the
central axis of each stroke and averaging the thicks & thins.
© 2009 DARLENE

Planetary Attribution: MERCURY
Hebrew Letter Correspondence: BETH
Greek Letter Correspondence: BETA PA
COMPARATIVE VISUAL LETTER ANALYSIS The basic letter compo-
Letter begins 0 o to the PA - Edward Kelley version
baseline & ends at 68o
higher
rendered March 26, 1583 nents of PA include a
Letter tapers to Oval counter shape rotated 30 o straight line touching the
the baseline at an
angle of 62 o Slight, but definite curve.
baseline at an angle–like
LETTER HEIGHT = Width of thinnest stroke
a V–met by a scalloped
3.1 WIDTHS second stroke whose
PA - John Dee version
Letter begins at
a 90 o angle
lower
rendered March 26, 1583
upper portion is looks like
Letter meets baseline Oval counter shape is smaller and a backwards “c.”
at an angle of unrotated
60 owithout an
Curve is more pronounced.
The size of the nearly
appreciable taper.
LETTER HEIGHT =
closed oval counter varies
2.4 WIDTHS greatly in all examples.
Letter begins at a higher PA – Golden Dawn version The cursive versions are
36 o angle. Form not fully round, giving
counter an undefined shape.
all much wider.
Stroke does not
taper and meets No curve.
Crowley’s version most
baseline at 60 o
resembles a crook and
LETTER HEIGHT =
4.67 WIDTHS flail (Egyptian symbol of
Letter begins at 0 o to
tops align
PA – Crowley version rulership) which could
from Gems of the Equinox
baseline & ends at 90o
Oval counter shape is smaller,
explain why he chose to
Letter tapers to the
baseline at an
unrotated, and contained within
upper third of letter.
straighten the bottom
angle of 70 o No curve. part of the second stroke.
LETTER HEIGHT = Width of thinnest stroke is a hair.
6 WIDTHS
3 CURSIVE FORMS OF PA Letter’s height to width ratio is

Angled
UN is formed of 3 strokes. Beginning at the top very close to square (1.1 : 1)
right, the 1st stroke starts flat and swings to the
left at a 45o angle. The main stroke starts over to
1 2 the left, slightly lower than the 1st stroke. It is per-
pendicular to and covers up the bottom of the 45o
Letter is twice
top stroke then abruptly changes direction as wide as it
creating a right angle.The 3rd stroke begins just is tall.
across from the main stroke’s angle change,

ending just beyond it. When this letter is written left to right,
it is formed as described above. But when written from right
to left, the main stroke (2) is created first. 57o
Angled
Flat Top
AT RIGHT: To reveal PA’s basic structure, the mono-weighted version based on Kelley’s May 6th 1583 alphabet, was
created by tracing the central axis of each stroke and averaging the weight between thicks & thins.
© 2009 DARLENE

Planetary Attribution: JUPITER
Hebrew Letter Correspondence: KAPH
Greek Letter Correspondence: KAPPA VEH
VEH is very similar to a
COMPARATIVE VISUAL LETTER ANALYSIS capital K. As shown, Dee
VEH - Edward Kelley version drew two examples of
Bump suggests lower rendered March 26, 1583
secondary stroke VEH. The main difference
originated from this Width of thinnest stroke
position off the between them is in the
main stem. A stroke extends to the right
from the lower diagonal. manner the secondary
LETTER HEIGHT = strokes connect to the
2 WIDTHS
Flat top
stem, either separately or
VEH - John Dee version
Secondary strokes rendered March 26, 1583
together. Dee’s bottom
connect with stem
independently. Both examples: wing-like stroke letter was most likely
Secondary strokes meet comes from the bottom diagonal
and extends to the right.
created first. If it was ro-
each other & connect
to stem in one unit. Small, narrow counter spaces. tated so that the straight
LETTER HEIGHT =
2 WIDTHS
Width of thinnest stroke stroke is horizontal, it
would appear
Flat top VEH – Golden Dawn version
as if the letter
The letter has no Horizontal bar loses its wing-like
connector and quality and extends upward from was blooming.
appears as 2
separate units.
middle.
The modern versions
Well-defined, circular counter
spaces vary greatly. The second-
LETTER HEIGHT =
2.6 WIDTHS
Width of thinnest stroke ary strokes don’t connect
Flat top VEH – Crowley version
to the stem. The diagonal
from Gems of the Equinox properties of the earlier
The letter has no
connector and Both circular forms connect in letters are replaced by
middle with horizontal extension.
appears as 2
separate units. curves which have be-
Open, circular curves with
large, spacious counters come so pronounced, the
LETTER HEIGHT =
4 WIDTHS Width of thinnest stroke character resembles the
numeral 13.
The letter is much taller than it is wide.
3 CURSIVE FORMS OF VEH
The cursive letter VEH looks very much like a
1 2
capital letter K with a horizontal beak emer-
3 ging from the upper diagonal like a hook.
Another difference between these and the
non-cursive forms is that the secondary
strokes don’t curl tightly inward.
All strokes touch. The lower diagonal extends
much further than the top and the stroke
undulates as it is pulled to the right.
All from Dee’s journal entry of March 26, 1583.
AT RIGHT: To reveal VEH’s basic structure, the mono-weighted version,

based on Kelley’s May 6th 1583 alphabet, was created by tracing the
central axis of each stroke and averaging the thicks and thins.
© 2009 DARLENE

Planetary Attribution: VENUS
Hebrew Letter Correspondence: DALETH
Greek Letter Correspondence: DELTA GAL
GAL is a most peculiar
COMPARATIVE VISUAL LETTER ANALYSIS character. Its main stroke is
The top part of
GAL - Edward Kelley version curved like a backwards “C”
stroke is longer
Top stroke curves downward.
unlike the wider cursives
than its bottom.
Oval counter shape is 9 o off vertical which tend to be flatter.
Width of thinnest stroke In the earliest versions,
LETTER HEIGHT =
3 WIDTHS Stroke is uncurved and terminates the secondary strokes
at 40 o with a serif.
depart from the main stem,
GAL - John Dee version
rendered March 26, 1583 much like a small “k” does:
The top part of Oval counter shape is 9 o off vertical the top stroke is curved one
stroke is longer than
its bottom Stroke is uncurved and terminates
way and the bottom is
LETTER HEIGHT =
at 60o without a serif. straighter. However, in the
3 WIDTHS
modern versions, both
Top & bottom of GAL – Golden Dawn version
secondary strokes are
main stroke
curve inward.
curved towards each other
The letter & counter shapes are
The upper and more square-like than curved. like a “c.” The relationship,
lower strokes align
with each other. Width of thinnest stroke
in Crowley’s version, of the
LETTER HEIGHT =
Stroke is curved and
secondary strokes to the
4+ WIDTHS terminates without a serif. main stroke creates a vesica
GAL – Crowley version pisces.
Top and bottom
Top stroke curved with 50° serif
Also, in the earlier ver-
portions of the
curve align. Counter shape’s oval is open and sions, the bottom curve of
completely upright.
the main stem is shorter
LETTER HEIGHT =
6 WIDTHS Stroke is curved and
than the top. The bottom
terminates at 90o with serif. arc aligns with the upper
one in the later versions.
3 CURSIVE FORMS OF GAL Straight
2 GAL seems to be created in two different

1 ways. In the example to the right, the
thicker main stroke is created first, then
followed by an s-like stroke beginning at 80o
3 the upper right, moving toward the stem,
then terminating into a thin curve. The
stroke sequence of the other examples
differ. A backwards c shape is created first,
Only curved followed by a straight upper stroke, then a short,
at bottom
beard-like stroke at the baseline.
AT RIGHT: This mono-weighted version, based on Kelley’s May 6th

1583 alphabet, reveals GAL’s basic structure. It was created by locating
the central axis of each stroke, then averaging the thicks and thins.
© 2009 DARLENE Letter’s height to width ratio is 1.25 : 1

Zodiacal Attribution: AQUARIUS
Hebrew Letter Correspondence: HEH
Greek Letter Correspondence: EPSILON GRAPH
COMPARATIVE VISUAL LETTER ANALYSIS GRAPH is very simple in
GRAPH - Edward Kelley version
form, essentially being the
Top part of main
stroke is slightly rendered March 26, 1583 top and right side of a square
shorter than the
bottom part. 85o angle between although they are all under
horizontal and vertical
a square in width.This is the
LETTER HEIGHT =
most obvious in Crowley’s
Letter terminates in a serif.
2.67 WIDTHS version, in which the vertical
Upper & lower serif GRAPH - John Dee version
and horizontal strokes are
Top part of main
87o angle between
both weighted the same.The
stroke is slightly
longer than the horizontal and vertical same can be said for the
bottom part. Width of thinnest stroke Golden Dawn version. How-
LETTER HEIGHT = Letter terminates in a serif that ever, the Kelley and Dee
2+ WIDTHS pulls mainly to the right
letters taper to their
GRAPH – Golden Dawn version
The bottom portion
narrowest point at the upper
100o angle between
of main stroke is 1/3
horizontal and vertical right hand corner of the
times longer than
the top horizontal.
letter so they rather appear
LETTER HEIGHT =
like the arabic numeral 7.
5.67 WIDTHS Letter terminates at 0 o The cursive forms of Graph
The top portion of GRAPH – Crowley version are all much wider, some
main stroke is from Gems of the Equinox
shorter by 1/4
examples are almost twice as
than its vertical. Single Serif
90o angle between wide as they are tall.We note
pulls down
that two of the non-cursive
LETTER HEIGHT = forms are also weighted
6 WIDTHS
equally.
3 CURSIVE FORMS OF GRAPH Letter’s Height to width ratio is 1.25 : 1
Very thin
GRAPH is an extremely wide, single stroked
letter. Beginning at the top left, the stroke first
1 80o
hikes left and upward before swinging to the
right.When the stroke changes direction to
produce the vertical stem, it becomes (or re-
mains) thick.The bottom serif structure is
created by rocking the pen back and forth, left to right,
across the bottom of the letter.
Very thick
horizontal
All fromDee’s Journal entry datedMarch 26 1583
AT RIGHT: To reveal GRAPH’s basic structure, the mono-weighted version based on Kelley’s May 6th 1583 alphabet,
was created by tracing the central axis of each stroke. In this case, averaging the weight between thick and thin
strokes decreased the horizontal / vertical angle from 85 o to 80 .o
© 2009 DARLENE

Planetary Attribution: VENUS
Hebrew Letter Correspondence: TAU
Greek Letter Correspondence: DELTA OR
COMPARATIVE VISUAL LETTER ANALYSIS The diagonal quality of
OR - Edward Kelley version
OR is its most notable
Uncurved top stroke
connects with the rendered March 26, 1583 feature.
diagonal main stem Letter angled 60 o to the baseline.
at a 15o angle. Each example varies in
Top stroke shorter than bottom
stroke which hooks downward. the way the top and main
LETTER HEIGHT =
3.7 WIDTHS
Width of thinnest stroke strokes meet. The Golden
Letter terminates at a 22o angle. Dawn’s version merges
OR - John Dee version
Top stroke connects
directly with the
rendered March 26, 1583 the horizontal stroke on
diagonal main stem
at a 15o angle.
Letter angled 65 o to the baseline. the left with the top
Minimal space between strokes
. stroke on the right.
LETTER HEIGHT =
3.58 WIDTHS
Also, the modern ex-
Letter terminates at a 29o angle.
amples lose the hook on
Top stroke starts 1/3rd OR – Golden Dawn version
from the top, way over
the bottom right-hand
Letter angled 65 o to the baseline.
to the left, bows upward
and becomes top right
stroke while making them
Minimal space between strokes
secondary stroke. the same size and parallel
LETTER HEIGHT = to each other.
4+ WIDTHS Letter terminates indistinctly
.
Strangely, Kelley’s
Top stroke is straight, OR – Crowley version
version is the only one
parallel to baseline
and starts 1/4th from Letter angled 50 o to the baseline.
whose main stroke in-
the top at a 45o angle.
.
Generous space between strokes
volves a curve making the
LETTER HEIGHT = Width of thinnest stroke is a hair
letter character appear
6 WIDTHS Letter terminates at a 45o angle. like a figure in motion.
3 CURSIVE FORMS OF OR Height to width ratio is Phi

In these cursive examples, OR looks like a
script capital F and seems to have been
created the same way. The pen swings up
2 and slides to the right before changing
1 direction and pulling down diagonally.
Another change of direction occurs at the
bottom of the stroke. Then the pen is lifted
and a second stroke is created to the right
of the stem, above and parallel to the
bottom of the first stroke.
AT RIGHT: To reveal OR’s basic structure, the mono-weighted version

based on Kelley’s May 6th 1583 alphabet, was created by tracing the
central axis of each stroke and averaging the letter weights.
© 2009 DARLENE

Planetary Attribution: MOON
Hebrew Letter Correspondence: GIMEL
Greek Letter Correspondence: GAMMA GED
COMPARATIVE VISUAL LETTER ANALYSIS
GED can first be regarded
Flat top GED - Edward Kelley version
rendered March 26, 1583 as a simple spiral. The
Stroke terminates at angle of 70 o character starts out flat,
Open, oval curve with
large counter.
very thick and tapers as it
moves down towards the
2 WIDTHS baseline. Then, as the
Almost Flat top GED - John Dee version
stroke swings back up-
Stem tapers slightly
& angles toward o o
Stroke terminates at angle of 80
ward, it thickens as it winds,
baseline at 110 o
Tight, circular curve with
creating a rounded form.
small counter Because of the spiral’s
LETTER HEIGHT =
1.75 WIDTHS Width of thinnest stroke thickness, the letter seems
Rounded top
GED – Golden Dawn version to be on the edge of
Longer main stem teetering backwards.
stays the same width
and angles toward
Stroke terminates at angle of 40 o The modern versions
baseline at 100 o Counter is small and circular
. lose the spiral nature of the
LETTER HEIGHT =
form, so the letter appears
4.67 WIDTHS
more like an unclosed “b,”
Flat top GED – Crowley version
Main stem is much from Gems of the Equinox that’s leftward-leaning.
longer, tapers, and Stroke terminates at angle of 90 o The cursive forms of Ged
stands nearly upright.
Open, circular curve with do not appear to have been
large, spacious counter space
LETTER HEIGHT = inspired by spiral forms.
4+ WIDTHS Width of thinnest stroke is a hairline.
Letter’s width to height ratio
is about 1: 1.125
1
3 CURSIVE FORMS OF GED
To create the cursive letter GED, the pen is placed
in the uppermost position at an angle of 20o. It
swings down in an arc then moves upward again
in one smooth motion. The length of the straight
vertical stroke vacilates between a “b” and a “u.”
The stroke’s direction is revealed by the spur made
by the pen at the end of the letter.
All from Dee’s Journal entry dated March 26 1583
AT RIGHT: To reveal GED’s basic structure, the mono-weighted version based

on Kelley’s May 6th 1583 alphabet, was created by tracing the central axis
of each stroke and the average weight between thicks and thins.
© 2009 DARLENE

Zodiacal Attribution: CANCER
Hebrew Letter Correspondence: CHETH
Greek Letter Correspondence: ETA NA
COMPARATIVE VISUAL LETTER ANALYSIS The extreme width of NA is
most evident in its earliest
NA - Edward Kelley version
Space between
rendered March 26, 1583 versions. Although the letter
bottom of middle Letter is 1 3/4 squares wide gets narrower with time, it
stroke and the Counter shapes are large, open,
baseline is 1/4 upright ovals. always retains symmetry. In
the letter’s height. Middle juncture twice as thick as all examples, if the curved
other parts of letter.
LETTER HEIGHT =
strokes were to be extended,
2.75 WIDTHS
NA - John Dee version
a heart-shape would result.
Space between rendered March 26, 1583 The Golden Dawn version
bottom of middle .
stroke and baseline Letter is over 1 1/2 squares wide appears to be of a single
is opening up. Counter shapes are circular
. weight and contains the
Width of all terminations match smallest counters.
LETTER HEIGHT = Width of thinnest stroke The thicks and thins of
2.9 WIDTHS
NA – Golden Dawn version
Crowley’s apple-shaped NA
Space between are opposite of the early
bottom of middle Letter is close to square
.
stroke and baseline versions. The thins of the
is pronounced. Counter shapes are circular
and smaller Kelley/Dee NA are clearly at
Twice as thick at point where
arches join in middle.
the top. But in Crowley’s
LETTER HEIGHT =
version, the top is defined
4 WIDTHS
by the thickest part of the
NA – Crowley version
Thick horizontal bar
placed where arches
from Gems of the Equinox letter. In Crowley’s example,
join in middle. Letter is under a square wide
. two strokes arch from the
Counter shapes are large, open,
upright ovals. center of a thick horizontal
bar. Visually, this compen-
LETTER HEIGHT =
6 WIDTHS
Width of thinnest stroke is a hair. sates for the thinness of the
verticals.
3 CURSIVE FORMS OF NA Letter is 1 3/4 squares in width.
In these cursive examples, NA-HATH appears

remarkably consistent. All of these letters are
exceedingly wide. The example at right is three
times as wide as it is high. All letters seem to
be made in one stroke, moving from left to right.
ABOVE: To reveal NA’s basic structure, the

mono-weighted version based on Kelley’s
May 6th 1583 alphabet, was created by
tracing the central axis of each stroke and
All from Dee’s Journal entry of March 26, 1583 averaging the weight between thicks and
thins.
© 2009 DARLENE

Zodiacal Attribution: VIRGO
Hebrew Letter Correspondence: YOD
Greek Letter Correspondence: IOTA GON
GON looks like an upright “Z”.
COMPARATIVE VISUAL LETTER ANALYSIS Both strokes are weighted the
GON - Edward Kelley version same in the modern versions.
The ratio between the rendered March 26, 1583
top and bottom But the Kelley/Dee letters
horizontals is 1.33:1 87oangle between
horizontal and vertical taper to their narrowest point
Letter terminates at a 90o angle
in the middle of the horizontal
LETTER HEIGHT =
stem.
2.66 WIDTHS
The cursive forms of Gon
Upper & GON - John Dee version
lower serif rendered March 26, 1583
are all much wider: some are
87o angle between twice as wide as they are tall.
The ratio between the
top and bottom
horizontal and vertical Most of the other versions are
horizontals is 1.25:1 close to the width of a square.
LETTER HEIGHT = Letter terminates at a 67o angle The bottom horizontal is
2+ WIDTHS
shorter than the top stroke
GON – Golden Dawn version except in the Golden Dawn’s
The upper portion of Vertical part of stem leans
at an angle of 100o angle
version. Curiously, if turned
main stroke is shorter
than the bottom upside-down, the GD letter
horizontal. better approximates the other
Letter terminates with
LETTER HEIGHT = indistinct round serif examples...
4.58 WIDTHS
GON is accompanied by a
GON – Crowley version dot in some cases although
The top portion of fromGems of the Equinox
main stroke two
90o angle between
not in the modern forms. A
times longer than
lower horizontal.
Serif pulls
only in
horizontal and vertical dot is included after one of
downward
direction.
Width of thinnest stroke the cursive forms.
LETTER HEIGHT = Letter terminates at 0o
6 WIDTHS
Upside-down
3 CURSIVE FORMS OF GON Letter’s height to width ratio is square (1:1)

The extremely wide GON is a single stroked
1
letter that has a long horizontal. Beginning
at the left, the stroke first hikes left and up- very thick 80 °
ward before swinging to the right. When
1 the stroke changes direction to produce the
vertical stem, it becomes (or remains) thick.
2 The bottom serif structure can be completed
by either a hook-like curve or it can terminate like a“z.”
Most of the examples are close in weight except the last
1 one which appears to be made in two strokes.
Bottom
stroke is 1/3rd
the length of
All from Dee’s journal entry of March 26, 1583. top stroke.
AT RIGHT: To reveal GON’s basic structure, the mono-weighted version based on Kelley’s May 6th 1583 alphabet,
was created by tracing the central axis of each stroke. In this case, averaging the weight between thicks and thins
decreased the horizontal / vertical angle from 85 degrees to 80 degrees.
© 2009 DARLENE

Zodiacal Attribution: LIBRA
Hebrew Letter Correspondence: LAMED
Greek Letter Correspondence: LAMDA UR
UR is a backwards rocking C
balanced by two secondary
UR - Edward Kelley version
Left side is angled
13° rendered March 26, 1583
strokes of similar angle and
backwards by 10o
Right side of letter is angled size. They pull away from the
Secondary strokes
are not parallel to backwards 17 o left side of the main circular
the baseline. Letter’s bowl is circular. stem at the middle.
LETTER HEIGHT = Width of thinnest stroke The leaning nature of UR
3.75 WIDTHS 28°
is a integral part of the Kelley
Narrower letter is UR - John Dee version
angled backwards 6° rendered March 26, 1583 and Dee letters. Crowley
on left 105 o
Tight, oval curve
clearly thought this was a
Secondary strokes
are not parallel to Right side of letter is angled mistake and made his letter
baseline. backwards 21 o upright. But consider: as calli-
LETTER HEIGHT =
4 WIDTHS 29°
Width of thinnest stroke graphers, both men were
Left side of wider
perfectly capable of making
UR – Golden Dawn version
letter is almost
3°
this letter upright if they so
upright at 105 o
The curve is circular and letter is desired. So there had to be a
Vertical strokes are more upright
close together and reason for the lean of the
Right side of letter is angled
close to parallel.
backwards 95 o
letter and for the angle of the
9°
LETTER HEIGHT =
secondary strokes.
5+ WIDTHS
The earlier versions are
UR – Crowley version much more hefty than their
Letter is upright. 0°
thin modern counterparts.
Secondary strokes Large, open bowl
are short & parallel. As they move upright, the
Right side of letter is angled
upright at 90o twin cross strokes get smaller,
LETTER HEIGHT = 0° Width of thinnest stroke closer together, and move
6 WIDTHS
parallel to the baseline.
3 CURSIVE FORMS OF UR Width is slightly over square. 105 o
The letter is formed of 3 strokes. Beginning
1
at the top, the 1st stroke starts at 45o and
goes straight down. When the bottom is
2 reached, the angle flattens, then pulls to
the right.The upper horizontal bar is teased
3 from the stem about a third of the way
from the top. The bottom bar is slightly
shorter. 70o
70o
AT RIGHT: To reveal UR’s basic structure, this mono-weighted version, based on Kelley’s May 6th
© 2009 DARLENE 1583 alphabet, was created by finding the central axis of each stroke and averaging the thicknesses.

Elemental Attribution: WATER
Hebrew Letter Correspondence: MEM
Greek Letter Correspondence: MU TAL
TAL looks like a rounded Celtic
COMPARATIVE VISUAL LETTER ANALYSIS capital “E.” Like UR, in the
TAL - Edward Kelley version earliest versions, the letter is
The letter slants Stroke begins at 125 o
backwards slanting. Both the
backwards at an
Top circular counter shape
Golden Dawn and Crowley’s
angle of 110 o
smaller than bottom. versions remove the skew.
LETTER HEIGHT =
Stroke terminates at 92o To compensate, Crowley
4+ WIDTHS Width of thinnest stroke extended the end of his bot-
TAL - John Dee version tom stroke drastically to the
right, giving it the appearance
The letter slants Only top counter is circular. of laning without actually
backwards at an
angle of 120o Width of thinnest stroke leaning.TAL’s bottom stroke is
LETTER HEIGHT = Stroke terminates at 78o
a secondary one and pulls off
4.75 WIDTHS the top. This describes the
TAL – Golden Dawn version major difference between TAL
Both counter shapes are circular and DON.
The letter leans
slightly forward.
with the top circle being smaller. The upper shape in all ex-
Width of thinnest stroke amples looks like a small “c”
LETTER HEIGHT = and are always smaller than
Stroke terminates at 110o
4+ WIDTHS the “c” shape underneath it.
TAL – Crowley version The lower curve of the modern
versions are all based on a
Top and bottom Top stroke curved with 50o serif
portions of the circle. while the earliest
curves align. Both counter shapes are circular
with the top circle being smaller. versions are eliptical. Crowley
LETTER HEIGHT = Stroke terminates at 90o tend to make his counter
5.9 WIDTHS
Width of thinnest stroke shapes are open and spacious.
3 CURSIVE FORMS OF TAL

1
The top example corresponds to the first TAL, Width is less
shown at lower left. The two scallops of this than 3/4 of a
rather wide letter looks like a gull flying upside- square.
down. It’s a one-stroke letter made with two
motions.The next example adds a horizontal
element to the first scallop while shortening
the second.The end of the curve in the final
example at right is squared off so that the letter looks like
stair steps.
114 o
AT RIGHT: To reveal TAL’s basic structure, the mono-weighted version based on Kelley’s May 6th 1583
alphabet, was created by locating the central axis of each stroke and averaging the thicks and thins.
© 2009 DARLENE

Elemental Attribution: SCORPIO
Hebrew Letter Correspondence: NUN
Greek Letter Correspondence: NU DRUX
DRUX looks like a backwards
“c” with a thick, slightly curved
DRUX - Edward Kelley version
diagonal line crossing the
The letter slants to middle of the main stem’s
The stem is long, curved, crosses
the right 88o
the first stroke at 20o and ends curve. Both ends of the prim-
flat at a 140o angle.
ary circular stroke are thick.
LETTER HEIGHT = The horizontal secondary
4.33 WIDTHS Width of thinnest stroke
stroke crosses the first stroke
DRUX - John Dee version midway, at its thinnest point.
The letter slants to The stem is long, curved, crosses

The diagonal line takes up
the right 85 o the first stroke at 20o and tapers
to a point.
half of the counter space
Medium-sized oval, closed.
within the Kelley letter but
LETTER HEIGHT = Width of thinnest stroke less than one quarter in the
4.75 WIDTHS
Crowley version.
DRUX – Golden Dawn version Curiously, the Kelley version
The stem is long, curved, crosses of this letter’s stroke is also
The letter slants to the first stroke at 15 o and ends the longest while Crowley’s
the left 95o flat at a 110 o angle.
Large and squarish but not open.
example is the shortest.
LETTER HEIGHT = Another tremendous differ-
6 WIDTHS Width of thinnest stroke
ence regards the nature of
DRUX – Crowley version
the negative space. Crowley’s
The top and
bottom align.
version is by far the most
The stem is short, crosses the
curve at 20o and tapers to a point
spacious, open and much
less claustrophobic than the
Large and open but not circular.
LETTER HEIGHT = corresponding counters of
6 WIDTHS Width of thinnest stroke
all the other versions.
3 CURSIVE FORMS OF DRUX Width is a little more than 3/4 of a square.
1 The cursive forms of DRUX either look like a trident

on its side, a funny bird print, or a Celtic-styled “E”
turned backwards.
2 This horizontal bar aligns with the first
stroke but extends beyond the curve of the stem.
The horizontal bar of the letter shown at right is
not as long and doesn’t extend as far as in the other two 37 o
examples. The line in the non-cursive versions line curve
upward.
AT RIGHT: To reveal DRUX’s basic structure, the mono-weighted version based on Kelley’s May 6th 1583 alphabet,
was created by finding the central axis of each stroke and averaging the thicks & thins of the letter.
© 2009 DARLENE

Zodiacal Attribution: CAPRICORN
Hebrew Letter Correspondence: AIN
Greek Letter Correspondence: OMICRON MED
Stem begins at a MED - Edward Kelley version
MED is a two-stroked letter.
0oangle and tapers rendered March 26, 1583 At the top, the first stroke
to a point. Curve on both stems is sedate. begins thickly and tapers as
Inner curve of top Stroke terminates at a 100oangle
stroke angles at 81o
Inner curve of lower stroke
it moves towards the base-
angles at 36o line. The second stroke is of
LETTER HEIGHT =
2.5 WIDTHS Width of thinnest stroke a similar shape and seems to
Stem begins at a MED - John Dee version be rocking upon the base-
0 oangle and tapers rendered March 26, 1583 line. There is a “spark gap”
to a point. Curve on both stems is gentle.
between these two sister
Inner curve of top Stroke terminates at angle of 100o
stroke angles at 83o
Inner curve of lower stroke
components.
LETTER HEIGHT =
angles at 29o The curve and angles of
2.9 WIDTHS Width of thinnest stroke the modern versions depart
MED – Golden Dawn version
from the early examples. The
Stem stays the
same weight GD’s second stroke is very
throughout . much smaller and curves
Inner curve of top Curves bend in opposite directions
stroke angles at103o with lower stroke arching. towards the baseline instead
LETTER HEIGHT =
of away. Also, the angle of its
Stroke terminates as circular form.
5.25 WIDTHS first stroke bends further
Stem begins at a MED – Crowley version
forward, more to the left than
0oangle and tapers from Gems of the Equinox any of the other examples.
to a point. Width of thinnest stroke Crowley manipulated the
Inner curve of top Both stems are shallow “S” curves.
stroke angles at 68o curves of his MED into very
Stroke terminates at angle of 90 o subtle “S” shaped forms.
LETTER HEIGHT = Inner curve of lower stroke
5 WIDTHS angles at 20o
3 CURSIVE FORMS OF MED Letter’s width is two thirds of a square.

MED looks like a lowercase italic “y”
turned at an angle.To create MED, the
1 pen is placed in the upper most position
2
at a 30 o angle. It moves slightly to the
right before swinging downward. The
second stroke starts over to the right
about half way down and pulls to the
left moving just beyond the end of the first stroke, 70o
at least in two examples. The example to the right
seems to have been made differently as explained.
25o
AT RIGHT: To reveal MED’s basic structure, the mono-weighted version based on Kelley’s May 6th 1583 alphabet,
was created by tracing the central axis of each stroke and averaging the weight between thicks and thins.
© 2009 DARLENE

Planetary Attribution: MARS
Hebrew Letter Correspondence: PE
Greek Letter Correspondence: RHO MALS
MALS looks like a Greek
MALS - Edward Kelley version Omega. The early versions
The thickest parts
appear at the rendered March 26, 1583 represent MALS as a very
beginning and the
end of the letter.
Letter is about 1 2/3 squares wide. wide letter with compara-
Counter shape is circular. tively small circular counters.
LETTER HEIGHT =
Letter terminates at a 90 angle. With time, the letter narrows.
2.25 WIDTHS Width of thinnest stroke And as the horizontal strokes
MALS - John Dee version shorten, the counter shapes
The thickest part
appears at the
rendered March 26, 1583 become larger and more
Letter is about 1 3/4 squares wide.
beginning and the pronounced.
end of the letter. Counter is smaller and circular.
Horizontals make up most of the
The thickest areas of MALS’
LETTER HEIGHT =
letter’s width. early versions are its hori-
2.75 WIDTHS Width of thinnest stroke zonals.The horizontal stroke
MALS – Golden Dawn version of the Golden Dawn version
There is a uniform Letter is close to square. is less than half the length of
thickness through Counter shape is oval and large. the Kelley and Dee letters.
out the letter.
Horizontal strokes have been The same is true regarding
LETTER HEIGHT =
greatly shortened. the Crowley example. How-
4.4 WIDTHS Width of thinnest stroke ever, the thickest part of
MALS – Crowley version
Crowley’s letter appears at
The thickest part from Gems of the Equinox the middle of the top curve.
of the letter is at
the top of the
Letter is 2/5 of a square in width. Crowley still retains the thin
arch. Counter shape has properties of
both circle and oval. to thick flaredserif but his
A hairline defines the width of the round counter space domin-
LETTER HEIGHT =
6 WIDTHS
thinnest stroke. ates and defines the letter
shape, and becomes its most
3 CURSIVE FORMS OF MALS prominent feature.
MALS is not as wide in the cursive
examples, but every one of these one- Letter is
1 stroked letters is still wider than one over 2
square. With all but one exception, squares
these letters were written from left to in
right. However, in the example below, the width.
existence of a spur may indicate that the
letter was written from right to left. Spurs
are created during pen lifts.
Spur ABOVE: To reveal MALS’s basic structure,
the mono-weighted version based on
Kelley’s May 6th 1583 alphabet, was
created by finding the central axis of each
stroke and averaging the letter weights.
© 2009 DARLENE

Zodiacal Attribution: ARIES
Hebrew Letter Correspondence: TZADDI
Greek Letter Correspondence: GAMMA GER
COMPARATIVE VISUAL LETTER ANALYSIS The U-like GER is a wide and
Inside counter
GER - Edward Kelley version symmetrical letter. Crowley’s
space is a tall
rectangular Letter is 1 1/2 squares wide. GER is the narrowest; the
Tall
shape. Outside of letter is tapered at widest is from the Golden
an angle of 108o
.
Thickest part of letter.
Dawn’s.
LETTER HEIGHT =
Width of thinnest stroke The GD version is also the
3.5 WIDTHS
only example of a single
GER - John Dee version
Triangular-shaped
rendered March 26, 1583 weight. In Crowley’s version,
serif is angled at 46 o Wide Letter is 1 2/3 squares wide. the verticals are thin and
Outside of letter is tapered at a
slight angle of 95o horizontals are thick, where-
LETTER HEIGHT =
as the thins of the Kelley/
3 WIDTHS Width of thinnest stroke Dee GER are clearly towards
GER – Golden Dawn version the top of the vertical
No serif. Letter is 1 3/4 squares wide. strokes.
Stroke angles 7o backward. A key feature of the early
All strokes weighted the same. versions is its diagonal ta-
LETTER HEIGHT = Width of thinnest stroke per. The GD’s version does
4.5 WIDTHS
not taper, but leans to the
GER – Crowley version
Triangular-shaped from Gems of the Equinox left at a seven degree angle.
serif is angled at 43 o
Letter is under a square wide. Being very straight and
Very tall Stroke is 90o upright.
Bottom angled at 47o without a hint of an angle,
Width of the thinnest stroke.
Crowley’s GER bears little
LETTER HEIGHT = Bottom stroke thicker
10.5 WIDTHS than sides. resemblance to the early
versions.
3 CURSIVE FORMS OF GER
With the exception of width, all examples of
the GER cursives appear remarkably consist-
ent. The example at right is twice as wide as it
1
is high. The bottom middle example is a little
over a square and a half. The final
example is just shy of a square and a half. Width
All letters are produced in one stroke, ratio is
moving left to right. But in the last mentioned example, 1 : 1.5
there’s a hesitation where the first vertical meets the baseline
suggesting the bottom begins with a second stroke coming
from the left.
ABOVE: To reveal GER’s basic structure, this mono-

weighted version, based on Kelley’s May 6th 1583 alphabet,
was created by tracing the central axis of each stroke and
All from Dee’s Journal entry of March 26, 1583 averaging the angle and weight between thicks and thins.
© 2009 DARLENE

Zodiacal Attribution: PISCES
Hebrew Letter Correspondence: QOPH
Greek Letter Correspondence: RHO DON
COMPARATIVE VISUAL LETTER ANALYSIS DON looks like a rounded,
Letter gets thicker as DON - Edward Kelley version Celtic-style capital “E.” The
it moves towards rendered March 26, 1583
very narrow Kelley letter is
baseline. Counter shapes are circular.
Letter extends to the
about half the width of a
Hooking downward, middle stroke
left 74 o terminates at 17o square, whereas the Golden
LETTER HEIGHT =
Stroke terminates at 57o Dawn version is much closer
4 + WIDTHS Width of thinnest stroke to a square’s width.
Counter shapes DON - John Dee version Kelley and Dee’s version
not circular. rendered March 26, 1583
of Don makes the middle
Letter extends to
the left 67o
Hooking downward, middle stroke
terminates at 30o
stroke a part of the second,
or lower, “c” shape. The top
LETTER HEIGHT =
curve is a branch off the
Stroke terminates at 48o
4 WIDTHS lower C and defines the
Bottom counter DON – Golden Dawn version major difference between
shape is circular Don (R) and Tal (M).
& larger than top. Width of thinnest stroke
However, the GD version
Letter extends to the
left 75 o Middle stroke turns upward. and cursive examples create
LETTER HEIGHT =
Terminus hooks downward. the middle stroke as a part
7 WIDTHS of the top “c” shape. Note, the
Both counters are DON – Crowley version left side of Crowley’s R is per-
circular with the top
circle being smaller &
from Gems of the Equinox fectly straight, but the right
terminating at 45o Width of thinnest stroke side slants backwards at a
The top and bottom
align.
Middle stroke is almost 3/4 of a
circle and terminates at 0 o
115 degree angle. The middle
stroke is definately a part of
LETTER HEIGHT = Stroke terminates at 90o
.
6 WIDTHS the lower curve.
3 CURSIVE FORMS OF DON
2 The cursive forms of DON look like two “c’s,” Width is 1/2
stacked on top of each other. of a square.
1 The bottom stroke, a simple arc, is created
first.The top stroke is another but smaller “c”
and starts far enough to the right that it covers
the top of the stroke created first. So shallow is
the second stroke of the example below, it
appears as if there is only one “c.”
AT RIGHT: To reveal DON’s basic structure, the mono-weighted version based on Kelley’s May 6th 1583 alphabet, was
created by tracing the central axis of each stroke and the average weight between thicks and thins.
© 2009 DARLENE

Planetary Attribution: SOL
Hebrew Letter Correspondence: RESH
Greek Letter Correspondence: SIGMA FAM
COMPARATIVE VISUAL LETTER ANALYSIS FAM is created in one stroke.
UR - Edward Kelley version However, in the Golden
Letter begins at a rendered March 26, 1583
90oangle to the Width of thinnest stroke Dawn’s version, two strokes
baseline. Curved stroke angles about comprise this character.
120 otowards baseline, making
the letter wider. Crowley dutifully connects
LETTER HEIGHT = Letter terminates at a 50o angle. the vertical and horizontal
3+ WIDTHS
UR - John Dee version
strokes but only by the width
The top stroke
is narrow: half as
rendered March 26, 1583 of a hairline, essentially
long as it is high. Width of thinnest stroke
“having his cake and eating
Curved stroke angles about 115o
towards baseline, narrowing the it too.”
letter.
LETTER HEIGHT = Letter terminates at a 50o angle.
Worthy of note is the curve
3.58 WIDTHS of the top stroke. With the
Top stroke has an
upward bow.
UR – Golden Dawn version cursive examples, the stroke
The angle to the Gap between strokes. curves downward whereas
baseline is 35o Width of thinnest stroke
The top stroke’s
in the non-cursive examples,
Curved stroke angles about 85o
ratio is 1:1.58 towards baseline making the they bow upward. Again,
.
letter very narrow
LETTER HEIGHT =
5.5 WIDTHS
Crowley gets around the
Letter terminates at a 45o angle.
issue by having the top of the
Top stroke is UR – Crowley version
essentially from Gems of the Equinox letter curve slightly in both
straight.
A hairline defines the width of the directions.
The angle to the thinnest stroke.
baseline is 90 o Curved stroke angles about 110o
LETTER HEIGHT = towards baseline making for a
6 WIDTHS wider letter .
Letter terminates at a 90 oangle.
3 CURSIVE FORMS OF FAM Letter’s height to width ratio is 1.1 : 1

1 In these examples, FAM is definately a
single stroked letter. The beginning of the
stroke is revealed in the character at the right Stroke pulls
to the right
by a tiny feature created by the way the pen as it ends.
loops up and around before moving to the
right, then downward. Unlike the non-cursive 90° 72 °
forms whose top stroke is straight or curved
slightly upward, the curve of these forms are concave,
making the form somewhat resemble a weak question
mark. All vertical strokes terminate slightly to the right.
50 °
Wide Narrow
AT RIGHT: To reveal FAM’s basic structure, the mono-weighted version based on Kelley’s May 6th 1583 alphabet,
was created by tracing the central axis of each stroke and the average angles & weight between thicks and thins.
© 2009 DARLENE

Elemental Attribution: FIRE
Hebrew Letter Correspondence: SHIN
Greek Letter Correspondence: TAU GISG
COMPARATIVE VISUAL LETTER ANALYSIS GISG is the simplest letter of
GISG - Edward Kelley version the alphabet to produce and
Letter angles to
the right 30o.
rather looks like either a claw
Angle of terminus is Stroke curves downward
100 o. and tapers to a point. or the tooth of an animal.
This one-stroke diagonal
3.75 WIDTHS letter is curved and tapers
GISG - John Dee version upward at an angle that
Letter angles to
the right 40o. rendered March 26, 1583 varies between 30o and 50o.
Angle of terminus is Stroke curves downward The flatter the angle, the
100o. and tapers to a point. wider the letter.
LETTER HEIGHT =
4 WIDTHS
Width of thinnest stroke Kelley’s letter has the
greatest degree of variance
GISG – Golden Dawn version between the thickest and the
Letter angles to
the right 40o. thinnest portions of the
Stroke is rather straight and
Angle of terminus is tapers slightly. stroke. The length of Kelley’s
100o.
letter is also the shortest.
LETTER HEIGHT =
5+ WIDTHS Crowley’s letter displays
the least amount of drastic
GISG – Crowley version
Letter angles to
the right 50 o.
from Gems of the Equinox weight variance.
Stroke curves downward
Angle of terminus is and tapers to a point.
130o.
LETTER HEIGHT = Width of thinnest stroke is that of

6 WIDTHS a hairline. The height of the letter is roughly
equal to its width.
3 CURSIVE FORMS OF GISG

The cursive forms of GISG look like a
1 horizontal squiggle or a very shallow
wall hook.
This letter has no diagonal compon-
ents. It is essentially a horizontal bar
followed by a hook in the shape of a
shallow “u.” The only similarity between
GISA’s cursive form and its non-cursive form is that 40o
the terminus tends to taper to a point.
All from Dee’s Journal entry of March 26,1583
AT RIGHT: To reveal GISG’s basic structure, the mono-weighted version based on Kelley’s May 6th 1583 alphabet,
was created by tracing the central axis of each stroke and averaging the angle and the weight between thicks & thins.
© 2009 DARLENE

Zodiacal Attribution: LEO
Hebrew Letter Correspondence: TETH
Greek Letter Correspondence: UPSILON VAU
COMPARATIVE VISUAL LETTER ANALYSIS VAU looks like a two-storied
Stem begins at a VAU - Edward Kelley version lowercase “a” with the bottom
70 o angle. rendered March 26, 1583
Width of thinnest stroke loop missing. VAU is a very
Bottom stroke
extends further left Stem branches from visual center. narrow letter. Dee’s version is
than top stroke. Letter bottoms merge to
create a closed shape.
the shortest and the widest.
LETTER HEIGHT =
3.66 WIDTHS Stroke terminates at angle of 65o The other three versions have
Stem begins at a VAU - John Dee version
a straight component to their
90o angle. rendered March 26, 1583 main stem before their
Top stroke nside. Curve is loose and short.
Second stroke Stem branches from visual center.
curves arch left and upward.
pulls from stem at Bottom of strokes don’t close The secondary strokes of
an angle of 28 o up the white space.
LETTER HEIGHT = Artifact of pen moving to the right. every example branch off the
3.25 WIDTHS Width of thinnest stroke main stem around the center.
Rounded top
VAU – Golden Dawn version The Golden Dawn’s second-
Stem branches off above middle.
ary stroke terminates with a
Bottom stroke is
tucked in and Width of thinnest stroke squiggle and is the only case
has a foot.
Counter’s arch is circular and where the upper stroke
LETTER HEIGHT = opened up.
5+ WIDTHS Stroke terminates at angle of .0o extends further left than the
bottom. The rest meet the
Stem begins at VAU – Crowley version
a 90 oangle from Gems of the Equinox baseline with serifs of trem-
Top stroke is
Width of thinnest stroke endous thickness, at a 0o
tucked inside. Stem branches lower than middle
but arches above it. angle and their bottom
Open, circular curve with
large, spacious counter. strokes fall further left than
LETTER HEIGHT =
4 WIDTHS Stroke terminates at angle of 0o the top.
3 CURSIVE FORMS OF VAU
To create VAU, the pen is placed in the up- The width of the letter is a little over
1 half of a square.
permost position at a 30o angle. It swings
2 down in an arc, making a backwards “c.”
3 Teased out of the stem, 2/3rds the way up,
is the short top secondary stoke. The 3rd
stroke begins where the curve of the stem
starts moving to the left. The bottom left
example looks like an “a” with the counter missing.
The example below may have been made with two
strokes as shown.
Missing
All from Dee’s Journal entry of March 26, 1583.
AT RIGHT: To reveal VAU’s basic structure, the mono-weighted version based on Kelley’s May 6th 1583 alphabet,
was created by tracing the central axis of each stroke and averaging the angles/weight between thicks and thins.
© 2009 DARLENE

Zodiacal Attribution: SAGITTARIUS
Hebrew Letter Correspondence: SAMEKH
Greek Letter Correspondence: CHI PAL
Like the GRAPH character,
The top portion of PAL - Edward Kelley version PAL is very simple in form,
the main stroke is looking like the top and left
3/4s shorter than Extreme thin to thick taper.
the bottom part. Letter terminates at 90 o side of a square (although
without serif
Dot
85o angle between under a square in width).
LETTER HEIGHT =
horizontal and vertical Because the vertical and
horizontal strokes in Crowley
Made with 2 strokes. PAL - John Dee version and the Golden Dawn
Top part of main
versions are weighted the
Letter terminates at 90 o with a
stroke is slightly serif that pulls downward. same, they lose the dynamic
longer than the
bottom part.
Dot tucked
in further 87 oangle between horizontal balance of the extreme taper
and vertical inherent within the earlier
LETTER HEIGHT =
forms. The Golden Dawn’s
Rounded form made
with one stroke.
PAL – Golden Dawn version PAL character is the only
Bottom part of main Rounded stroke approximates a example that rounds corner
stroke is longer than 95 oangle between horizontal
than top horizontal No Dot and vertical. of the letter.
by about a third. Width of thinnest stroke The occurance of the dot
LETTER HEIGHT = Letter terminates at 0o with a was no accident. Although
5.125 WIDTHS bone-like serif.
the latter versions lose this
The top portion of PAL – Crowley version dot, it was carefully tucked
main stroke is from Gems of the Equinox
shorter by 1/4 into place by both Kelly and
than the vertical. Letter terminates at 9 0 o with a
No Dot serif that pulls down only. Dee in their earliest render-
Letter terminates
at 0o with a serif.
90oangle between ings, including the cursive
versions.
6 WIDTHS
3 CURSIVE FORMS OF PAL

2
At first glance, PAL looks like a capital F
before one notices the third stroke is not
87o
a stroke at all: it is a dot. The vertical
stroke’s serif form is first made by curv-
ing the stroke slightly before pulling the
pen straight down. The example to the
right contains a bottom serif. The top
stroke is made by replacing the pen where the first
stroke started and pulling to the right. None of the Dot is centered
top strokes of the cursives terminate in a serif. The under top stroke and
is the same distance
Angled termination third stroke, the dot, is just a dab of the pen. from the right as it is
shows pen angle. from the top.
All from Dee’s Journal entry of March 26, 1583.
AT RIGHT: To reveal PAL’s basic structure, the mono-weighted version based on Kelley’s May 6th 1583 alphabet,
was created by tracing the central axis of each stroke. In this case, averaging the weight between thicks and thins
decreased the horizontal / vertical angle from 85 degrees to 80 degrees.
© 2009 DARLENE

Zodiacal Attribution: GEMINI
Hebrew Letter Correspondence: ZAIN
Greek Letter Correspondence: ZETA CEPH
CEPH looks like capital “P”
Strokes align but CEPH - Edward Kelley version with an exuberant mane. Dee
don’t extend
beyond serif.
rendered March 26, 1583 and Crowley’s letters both
Large squared off inner counter.
Ill-defined inner
share a relationship between
space Stem crosses below visual center. their counter shapes and the
LETTER HEIGHT = Width of thinnest stroke nature of the secondary
3.75 WIDTHS Stroke terminates at angle of 10o stroke. Their horizontal
CEPH - John Dee version
Very well defined rendered March 26, 1583
strokes extend as far to the
inner space
Modest inner counter. left as the stroke curves to
Top stroke
extends further the right. Dee’s letter is egg-
than lower one. Stem crosses below visual center.
like and Crowley’s rounder.
LETTER HEIGHT = The second counter of the
4 WIDTHS Stroke terminates at angle of 0o
CEPH – Golden Dawn version

Kelly letter seems happen
Short rounded top
stance. The Golden Dawn
The horizontal Counter is oval and modest.
elements of letter version looks like a fairly
are diminished. Branch meets stem at visual center.
standard “P” and eliminates
Width of thinnest stroke the counter shape altogether.
LETTER HEIGHT =
4.6 WIDTHS Stroke terminates roundly.
The main vertical strokes
Stem begins & ends
at a 90oangle.
CEPH – Crowley version vary quite a bit in thickness.
Strokes align. Egg-shaped counter space.
Compared to the wide stem
of the Golden Dawn version,
Stroke crosses stem below center.
Crowley’s looks rather spiky,
LETTER HEIGHT =
5 WIDTHS Stroke terminates at angle of 0o
like the pupil of a cat’s eye.
3 CURSIVE FORMS OF CEPH

Width of letter is two thirds of a square.
1 CEPH, is a backwards “4” with a hook. To
2 create CEPH, the pen is placed in the up-
permost position at a 30o angle, then it
swings straight down.The second stroke
begins over to the right and, starting at
the same 30o angle, curves over and down
beore becoming a line pushing off to the
left extending beyond the vertical stroke. Most of the
samples are fairly wide.
All from Dee’s Journal entry of March 26, 1583,
AT RIGHT: To reveal CEPH’s basic structure, the mono-weighted version, based on Kelley’s May 6th 1583 alphabet, was
created by tracing the central axis of each stroke & averaging the curves, angles & weight between thicks and thins.
© 2009 DARLENE

One Final Comparison
hen devising his version of the

WOphanic alphabet (right) why did
Crowley make his thin strokes so thin?
Obviously, Crowley was not
inspired by the pen-forms analyzed on
the preceding pages. But there is an
answer and it appears 40 pages after Kel-
ley’s “perfected” script. The striking simi-
larities between Crowley’s alphabet and
the letters appearing on this page sug-
gest that Crowley preferred this particular
style of Kelley’s Ophanic letters.
The below example is from Edward
Kelley’s Loagath (Sloane Ms 3189 97v). To
achieve the fineness of the thin strokes,
Kelley used a different writing implement
than the one he’d used earlier. The sharp-
ness of the strokes suggest pencil, or a
crow quill instead of a broad-edged pen.
The better letter clarity helps reveal the
intent of the stroke, if not its sequence.
On the following page, I compare Crow-
ley’s Ophanic letters
side by side with
multiple instances
of the same charac-
ters within the man-
uscript (left) already
described.
The original
size relationships of
each character have
been maintained. It
should be easy to
notice what charac-
teristics have been
retained and which
ones altered.
Some ms examples of
the letter “P.” The last
one is uncharacteristi-
cally squared off.

The angle of Crowley’s letter “A” exactly matches the first 2 examples. The first three of Kelley’s letters
suggest a there is meant to be a tapering from top (thick) to bottom (thinner).
As previously noted, the lengths of the horizontal and vertical stokes of Kelley’s letter “E” are nearly
equal whereas in Crowley’s version, the top is much shorter.
Both curves of Kelley’s letter “S” is more prominent than in Crowley’s version.
The top stroke of all of Kelley’s “O” letters are vertical and consistently point towards the center of the
bottom stroke. None of the bottom strokes curve in the way Crowley’s does.
The biggest difference between these two styles is in the length of the two secondary horizontal strokes..
The letter GON

Although Crowley’s letter “G” has a longer stem, the shape of the bowls are
very close. Also, Kelley’s letter is much wider. (above left) is aeth-
estically pleasing.
NOTE: In Kelley’s
alphabet, he used
a double stroke to
define the thick
This is the only example where Crowley’s letter is wider than Kelley’s. The strokes, often not
length of the secondary stroke of the letter “N” is considerable. filling them in.
This is apparent
in many instances
and should esta-
blish how inten-
tional the thicker
strokes are.
Both Crowley’s letter “B” and “U” closely approximate Kelley’s versions.
© 2009 DARLENE
A New Ophanic Font Design Emerges
hen I designed my unnamed Enochian font in 1995, I did not have
Wthe benefit of the comparative analysis produced here. Upon review, I
needed to update it. My font redesign occurred precisely fifteen years after it was
originally conceived. In my comparison below, the proportional relationships of
many of the letters have been tweaked or adjusted. The letters requiring major
rennovations were C/K, M, O, R and S. The C/K character is linked in the center: it
is not two separate forms.
The lower curve of the “O”
needed to bow upward adjust-
ing the way the upper and
lower strokes meet. Likewise,
the two strokes of the “S”
should connect in the middle.
The major difference
between the M and R regards
which stroke is primary and
which one is the tributary. The
primary stroke of the M is the
top one whereas the primary
stroke of the R is at the bottom.
The backwards angle seems to
also be a strong component of
the M. Whenever I forced the M
Comparison of two font designs created 15 years apart. character to be more upright, it
began to resemble the R, so I
adjusted the angle until it felt
right energetically.
The analysis resulted in
the emergence of a couple
of new type fonts: Ophanic
and Ophanic Lineal. Part Two
will examine the next step in
our indepth investigation: dis-
Above: Ophanic Lineal, a sans-serif Enochian typeface. covering the deeper meaning
Below: The Ophanic typefont created December,2009. implicit within these unusual
alphabetic letterforms.
1 Josten, C.H. 1964. “A Translation
of John Dee’s ‘Monas Hieroglyphica’
(Antwerp, 1564), with an Introduction
and Annotations.” Ambix 12:84-221.
2 Peterson, Joseph. (2003).John Dee’s
Five Books of Mystery, Boston, MA:
Weiser Books. Liber Mysteriorum Quin-
Ophanic and Ophanic Lineal typefonts are commer- tas and Liber Loagaeth is available on-
cially available at: www.kagi.com/ophanicfonts line at: http://www.themagickalreview.org/
enochian/mss/sloane_3188/

Section 2
THE OPHANIC ALPHABET

PART TWO:
A Search For Their Meaning
by DARLENE ©2009
“And in the naked light I saw
Ten thousand people, maybe more.
People talking without speaking,
People hearing without listening,
People writing songs that voices never shared
And no one dared
Disturb the sound of silence.”
Simon & Garfunkel, The Sound of Silence
OW THAT WE have poked, prodded and measured several different ver-

N sions of the Ophanic alphabet, we’re learning to become more sensitive
to the impact simple changes and subtle nuiances can have upon a
letterform. But what does it all mean?
Ten years before I encountered Ophanic, I became deeply interested in the
art and different mark-marking techniques of indigenous peoples. My eye for
graphics attracted me to their unusual aesthetic sensibilities and made me want
to understand their patterns and symbols more deeply. But gaining knowledge
through books, marauding museum collections, and listening to the Native elders
can only take one so far. When there was nothing more to glean using this
methodology, the only thing left open was for me to learn by doing. So I applied
myself to the actual hands-on crafting of objects.
To use one’s fingers to work intimately with symbols_carving them, painting
them, beading them_taps into one’s right brain processes. First of all, working
with the hands slows one down. While it takes only seconds to reproduce a
symbol with a writing implement, it takes many untold hours to duplicate the
form by beading it. As one slows down, something amazing begins to happen.
One’s creative activity starts to syncopate with the rhythm of larger cycles, broad-
ening the awareness and allowing one to tap into something basic and universal.
I found myself surrendering to a natural desire to sing while I worked and slowly
realised I was weaving the song, and therefore intention, into what I was creating.
It dawned on me that any everyday object (such as a bowl) imbued with song
and purpose during its creation could also serve another important function.
On a subtle but vital level, the use and proliferation of important clan symbols
will effectively reinforce the group mind or the tribal identity. Thus, I uncovered

many intriguing correlations between the creation of an object, its symbology
and probable spiritual affiliations.
My artistic pre-disposition to work with symbols naturally brings a deeply-
rooted intuitive sensitivity to my study of the Ophanic letterforms. To understand
the nature of the Ophanic letters, I immersed myself within them, adopting the
same approach I’d described above. As before, it’s important to become familiar
with the constituent shapes of Ophanic by working with them in context. As I
painted the Ophanic letters and embroidered them with gold thread on red cloth
for the Holy Table, the insights I received were spacial in nature.
Using spacial relationships as a guide, it would be a useful exercise to exam-
ine the meaning of shape and form from a classical geometric perspective. One
excellent way to derive meaning is to separate the letters into their constituent
parts and reduce these shapes into their basic geometric seed forms.
Deriving Meaning Through Classical Geometry
HE FOUNDATION of geometry is the universal expression of shape. Geo-

T metric structures create our world through their quantity, structure, space,
pattern and form. Sacred geometry is a mathematically precise dynamic that
organizes matter to take coherent form in space. The study of sacred geometry
teaches one to appreciate proportional relationships and allows one to inquire
about the spatial dynamic of each of the parts to the whole.
Different geometric shapes give rise to unique vibrational resonances and
patterns within the greater whole. As in geometry, we begin with the point as one
of the simplest geometric concepts. With no length or width a point specifies an
exact location within a given space. Consisting of neither volume, area, length,
nor any other higher dimensional analogue, a point is a 0-dimen-
sional object, symbolized by a small dot. The dot represents the
beginning, the origin point, the center from which everything is
measured. A dot comprises part of the Enochian letters X (X) e Y
(Y).
A straight line connects two points via the shortest path,
extending forever in both directions. A line segment, however,
comprises part of a line between two points. The Ophanic charac-
ters that employ the use of a long horizontal straight line are: C
(C), E (E), I (I), Y (Y) and Q (Q). Symbolically, a horizontal line
implies the horizon which is associated with open possibilities,
fresh opportunities and new beginnings.
A straight vertical line carries with it the connotation of ascen-
sion and strength. Moving upward towards heaven, Enochian let-
ters with vertical stems are: E (E), I (I), Q (Q), Y (Y) and Z (Z). Like
a tree, a column, or human spine reaching in both directions down
to the ground and up to the sky, a vertical line symbolizes life and
growth. Within of his tome Monas Hieroglyphica, John Dee wrote
(Theorem II):

“The circle without a straight line cannot be artificially created, nor
a straight line without a point. Consequently, everything, properly,
began from the point and the monad. And whatever is strived for
by the periphery of the circle, no matter how big it is, can in no way
succeed without the ministry of the central point.” 1
Our “line” category would also include the Enochian letters
with straight components oriented upon a diagonal, like A (A),
B (B), F (F), parts of L (L) and D (D).
Through association, these letters anticipate the first
geometric figure: the triangle. Straight Enochian letters like E
(E), Q (Q) and Y (Y) that have both horizontal and vertical
elements which connect at right angles also have three points:
the beginning point, the ending point and the point of
intersection in the middle. Even though the third side would
be invisible, the form suggests the geometric figure of a
right triangle. Three points also suggest the three-dimensional
concept of a plane in space. Inherent within the triangle is the
numerical symbolism of three, the nature of which expresses
itself in the concept of the triad, or trinity-past/present/future;
man/woman/child; thesis/synthesis/antithesis; virgin/mother/
crone, mind/ body/ spirit; etc… and can be understood as a
key to creativity, versatility and expression.
When two lines intersect at an angle of 90° and share
a common point, the figure of a cross is created. The cross
connotes balance_the connection between heaven and earth,
male and female, positive and negative and other polar
opposites. According to Dee, the “Cross is the hieroglyphic
sign of perfection.” A (A) and N (N) are the two Enochian
letters which include elements composing an equilateral cross.
In Theorem XVI within his Monas Hieroglyphica, Dee wrote: II):
“At this point in the discussion of our proposition we must phi-
losophize a little concerning the CROSS. Although our CROSS is
composed of two straight lines (as we said), and the lines are of
equal length, they do not divide each other into equal lengths. But
in the mystical arrangement of our cross we wanted to have both
equal and unequal parts, to affirm that in the power of two lines
divided in this manner is hidden also (because they are equal in
size) the virtue of an equilateral CROSS. For, a certain JUSTICE of
NATURE very generally requires that a CROSS is to be drawn with
equal straight lines, and in the dividing of the lines cross-ways
[that is, in the form of an ‘X’] its lines ought to be equal to begin
with.”

As described above, Dee dissected the cross into two units. The letters con-
forming to the way Dee divided the cross is the Latin L (L) and the Enochian E
(E), both equal and opposite.
Traditionally, the cross is a 4-sided orientation in space and represents the
four basic forces of spin in the universe. We may also call the active forces
which move outward, “yang,” and the receptive force drawing inwards, “yin.” Femi-
nine energy is both receptive and active, the latter within the former. Masculine
energy is both active and receptive. When the cross is placed within a circle, it
becomes the traditional symbol for earth.
Following are Dee’s comments regarding the cross and the four elements
(Theorem VII):
“The elements that are removed from their natural seats and whose homoge-
neous parts are scattered, will teach experimenters that the elements naturally
return to their places by means of straight lines. Thus it will not be absurd
[to say] that the secret of the FOUR ELEMENTS (into which all elementary
things can in the end be dissolved) is affirmed by means of 4 straight lines
that expand from a single and indivisible point into 4 opposite directions. Here
you will carefully note what the Geometers teach: a LINE is produced from
the FLOWING OF A POINT. And using this same principle, we point out that
this is also the case in our mechanical magic, because the lines indicating our
elements are produced by the continuous fall of DROPS (which are like physical
points) [moving] as though they are FLOWING.”
Also symbolizing the earth, stability, and foundation is the square. The Ophanic
letter form closest to the square, or at least the letter enclosing space with un-
curved lines on three sides, would be Q (Q).
The circle is an ancient and universal symbol for oneness,
wholeness, unity, completion and sacred space. The strokes and
counter spaces of many Enochian letters−B (B), G (G), D (D), H (H),
L (L), M (M), N (N), P (V), R (R), Z (Z)−are circular in nature. Dee
relates the nature of the circle to that of the sun and has this to
say about the line and the circle (Theorem I):
“By means of the straight line and the circle, the first and sim-
plest production and representation of things was made in the
light, as were non-existent things and those that are hidden
behind the veil of Nature.”
Dee relates the semi-circle to the moon (Theorem IV):
“Although the semi-circle of the moon is above the Sun, as it
were, and comes first, nevertheless the Moon regards the SUN
as lord and king; the Moon even seems to rejoice over the sun’s
form and vicinity, since the Moon, in one way, emulates the
size of the Sun’s radius (or so it appears to the ordinary person)
and in another way the moon constantly turns its light toward

the Sun. And finally, the Moon so desires to be filled by the
SUN’S rays, that it, so to speak, transforms into the Sun and dis-
appears completely from the sky, until it appears again after
a few days in the form of a little horn, exactly as we have
depicted it. ”
Lastly, there are curved elements that can best be described
as Arcs. An arc is a portion of the circumference of a circle. Those
Enochian letters composed primarily of arcs are O (O), T (T), S (S)
but arcs also appear in B (B), C (C), D (D), F (F), M (M), N (N), R (R)
and U (U).
The arc represents an unfolding of that which is hidden or the
promise of something greater. For instance, a rainbow is a colored
arc. As symbols, arcs have traditionally been classified as either
ascending or descending. The descending
arc (downward or shadowy arc) represents an involution of spirit
whereas the ascending arc (upward or luminous arc) represents an
evolution of spirit. We must remember, spirit and matter are funda-
mentally one essence only at different developmental stages. For
our purposes here, the arc in context defines the state of develop-
ment at hand.
Arcs could also be considered a part of the spiral, our final geo-
metric figure. Among the many Ophanic letters that have many spi-
ral-shaped components to their letters are G, H, M, R. Spirals are
associated with the cycles of time and nature. The spiral shows up
in the pattern of seeds in a sunflower, in the growing tips of ferns,
in the pattern that leaves grow on a stem, in the shape of a nautilus
shell, and, as a helix, the shape of the DNA molecule. As a symbol,
the spiral represents a spiritual journey, the evolutionary process of
growing and learning.
Thus, every one of our 21 Ophanic letters contain some reflection
of the basic building blocks of the universe. Meaning can be derived
from reading the symbols together. For instance, the letter B (B) read
from right to left can be interpreted thus: the sphere of the Moon
(semi-circle) descends into the physical (arc) to express itself dynami-
cally (diagonal line). Put another way, the unconscious processes
represented by the moon manifests itself through creative expres-
sion. Likewise, it’s possible to discern the story hidden within the
component parts of the rest of the alphabet.

Moving Beyond the Point, Line and Cross
easuring the Ophanic letters against classic geometric canons got us

M much further along in our journey of discovery. But there are other ways
to cultivate meaning besides chopping up the Ophanic letters. If we regard the
letters as a collective of interrelated units, it’s possible to uncover the relation-
ships between number, proportion, pattern and geometry.
The angel Raphael introduced the Ophanic alphabet in a very spe-
cific, but peculiar order. Dee reports (in Quinti Libri Mysteriorum) that
after dictating the letters by name, that “there cam two lines and parted
the 21 letters into 3 partes, eche being of 7.” In other words, moving
right to left, the angel divided the letters into 3 rows containing 7 letters
each. Raphael then pronounces: “The Number, O most perfect, One and
Threefold, Glory be to you.”
The importance of this particular sequence has been the subject of much
speculation. However, easy answers have not been forthcoming, even up to the
present time. In 2007, Martin Findell, associated with the English Department
of Nottingham University, tried his hand at deciphering the mystery and noted
the following:
The division of the alphabet into three produces another notewor-
thy feature which might be the result of deliberate organisation.
Within each group of 7 letters there is one which occupies the same
ordinal position in both the Roman and angelic alphabets. These
are D (group 1, position 4), I (group 2, position 2), and U (group 3,
position 5). These three letters together spell the Latin word diu “by
day; for a long time”. If the pattern is intentional, diu could perhaps
be a reference to the coming of the day of redemption after long
ages of mankind’s suffering; though this connection is tenuous at
best. A more promising alternative would be to construe the “station-
ary” letters as D and the Roman numeral IV – D being the fourth
letter not only of the Roman and angelic alphabets, but also of the
Greek and Hebrew; and, of course, Roman D is homophonous with
the philosopher’s name.” 3
But after pursuing several areas of inquiry, Findell ultimately gives up:
“Entertaining as it is to speculate that these letters (DIU) form a
key to the ordering of the alphabet, I have had no success in identify-
ing any way to use this hypothetical key to link the 7-letter groups
either to one another or to their corresponding groups in the Roman
alphabet. If the patterns identified here are genuinely involved in the
construction of the angelic alphabet (and I doubt that this is the
case), I am forced to admit defeat, at least for the time being, in my
efforts to determine the method used.” 4

The author then concludes that the alphabet, having emerged from Kelley’s
subconscious, would bear striking similarities to other known alphabets without
possessing any coherent structure of its own and that there is no meaning to
be deciphered. My own conclusion is simply that we have not yet discovered
the pattern.
KEYBOARD with Equal Temperament
The Magic Seven
HATEVER the Ophanic

Wpattern may be, it promin-
ently involves the number seven.
Associated with the number
seven are many interesting
things: the 7 days in a week, the 7
planets in astrology, the 7 metals
of alchemy said to be governed
by 7 angelic intelligences; and,
of course, the 7 deadly sins. One
becomes extremely sensitive to
sevens when working the system.
Regarding patterns and rec-
ognition, I have an oblique, non-linear way of discovering and wading through
information. Whenever I use a search engine, I get better results by doing image
searches because I’m a visual thinker with a powerful spatial sensitivity towards
how shapes fit together. Should a thumb-nail image appear close to what I’m
“seeing” in my mind’s eye, or “feeling” internally, I can more quickly locate the
object of my inquiry.
During the writing of this article, I ran across an image (redrawn above) which
gave me pause. I’d seen images of piano keys before, but for the first time,
certain numbers popped out as meaningful. I recognized the numbers 5, 7, and
12 as essentially Ophanic in pattern. Suddenly, it occurred to me that our three
groups of seven letters could simply be indicating the levels of three octaves.
Since I know next to nothing about reading musical notations, I had to quickly
familiarize myself with the basics.
The best explanation I found of how the number 7 relates to an octave (8) in
music came from Douglas Hofstadter’s Metamagical Themas:
“On a piano there are twelve notes (some black, some white) from any note to the
corresponding note one octave away. Playing them all in order creates a chromatic
scale, as contracted with the more familiar diatonic scales (usually major or minor).
These latter involve only seven notes apiece (the 8th note being the octave itself). The
seven intervals between the successive notes of a diatonic scale are not all equal. Some
are twice as large as others, yet to the ear there is a perfect intuitive logic to it. Rather
paradoxically, in fact, most people can sing a major scale without any trouble, uneven
intervals notwithstanding, but few can sing a chromatic scale accurately, even though

it “ought” to be much more straightforward-or so it would seem, since all its intervals
are exactly the same size. The chromatic scale is so called because the extra notes
it introduces to fill-up the gaps in a diatonic scale have a special kind of “bite” or
sharpness to them that adds color or piquancy to a piece. For that reason, a piece
filled with notes other than the seven notes belonging to the key it is in is said to be
chromatic.” 5
An octave comprises seven fundamental notes: do-re-mi-fa-sol-la-ti. The
eighth note, do, is a repeat of the first but with the pitch frequency doubled.
It is also the first note of the second octave. Accordingly, the eighth note of
the second octave − again, do − is the first note of the third. Comparing the
musical notes on the diatonic scale, to the letter arrangements, each row of
letters represents one octave. The letters in each column and row bear a unique
relationship to one another in terms of their mathematical properties.
Some appealing arithmetic principles correlate with the geometric arrange-
ment of our three septenaries. William S. Burkle refers to this arrangment as the
“3 X 7 tableaux” and illustrates a number of interesting mathematical phenom-
ena. For instance, when the numeric any two vertically adjacent numbers in any
given row are subtracted, the difference equals seven. When the values of first
and last numbers in each row are subtracted from the central number in that
same row, the difference is always three. Furthermore, the numbers in the center
row will have a value equal to the mean of the two numbers immediately
above and below. He cites many more examples of this strange interactive influ-
ence between the geometric arrangement of the numbers and simple arith-
metic. If John
Dee knew about
the mathemati-
cal properties of
the 3 x 7
tableaux, he
would have
appreciated
their simple ele-
gance.
But what is
more fas-
cinating is that Burkle also includes the relationship of the musical tones to the
3 x 7 tableaux. Apparently, this ground has already been covered by Paul Foster
Case and the Golden Dawn, but only in relationship to the Tarot trumps. Since
the pattern alone is of primary interest, this model will suit our purposes well.
But before we proceed, let’s first consider the 3/7/12 system of modal music as it
pertained to music in the 15th century:
“We complete our assessment ... by investigating the other world-
wide esoteric system available to the Renaissance Magi that was

operated via a 3/7/12 model. I am referring here to the 3/7/12 system
of modal music, which the Renaissance magi took great interest in
for healing purposes. To be brief, the “three” (as in Mother Letters)
are the three genera of the Greek musical Modes, the chromatic, the
enharmonic, and the diatonic. The “seven” is the seven notes that
make up any scale, octave to octave. The twelve is the number of
intervals of division available within the octave, from which a scale
is selected. Twelve is the number of mathematical zones or slices
into which the octave is divided, seven of which will be picked to
make up the notes in the scale. So twelve represents the number of
mathematical decisions that have to be made to define an octave,
any octave, out of the infinite glissando of rising and falling notes
available in nature.” 7
TONAL CORRESPONDENCES OF OPHANIC LETTERS USING THE 3 X 7 TABLEAUX

This 3/7/12 idea turns out to be common between the Hebrew, the Greek,
and the Hindu canons of music. 8 The model of tonal correspondences I bor-
rowed to correlate the Ophanic letters with musical tones originated from Alan
Bennett (1872-1923). Initiated in 1894, Alan Bennett was a member of the Her-
metic Order of the Golden Dawn and also a friend, mentor and associate of
Aleister Crowley. Robert Wang, creator of the Golden Dawn Tarot Deck and the
Jungian Tarot Deck and one-time secretary to Israel Regardie, said he’d gleaned
the information himself from one of Bennett’s notebooks.9
Music is vibrational physics sensed through the ear/brain combination and
has existed in written form as far back as the ancient Sumerians. The old fre-
quency for middle C seems to have been about 256 hertz, a doubling of 128,
which is 64 doubled, which is 32 and so on. Physics describes “Harmonics” as
proportional frequencies at inversely proportional amplitudes. If we play an “A”
(440hz), harmonically we will not only hear the 440hz tone, but also an overtone
of 880hz at half the volume (first harmonic), a 1320hz tone at a third the volume
(second harmonic), a 1760hz tone at a quarter of the volume (third harmonic),
etc., until the frequencies get too high or the volume gets too low to be detected
by the ear.
All objects have a frequency or set of frequencies with which they naturally
resonate. When an object is forced into resonance, whether struck, plucked,
strummed or otherwise disturbed, it vibrates at one of its natural frequencies
in such a manner that a standing wave is formed within the object. The
standing wave pattern represents the harmonic frequencies established within
that object. Everything to know about a quantum system can be discovered
through the calculation and analysis of its wave function. The model of Quantum
mechanics is merely another way of to describe the harmonic structure of space.
What if each Ophanic letter can be associated with one or more standing waves?
Standing Waves form Platonic Solids
N AN EXPERIMENT conducted by the students of Buckminster Fuller (b. 1895
I – d. 1983) and his protege Dr. Hans Jenny (b. 1904 – d. 1972), a spherical
balloon was dipped in dye and pulsed with pure sine wave sound frequencies
resulting in a small number of evenly-distanced nodes connected by thin lines
which formed across the surface of the sphere. Jenny’s work marked the begin-
ning of the science of modal phenomena or Cymatics, the study of visible sound
and the patterns made by certain sound frequencies vibrating on the surface of
a plate, diaphragm, or membrane.
In 3D standing waves, a structure corresponding to the platonic solids is
formed for each standing wave modality. A tetrahedron is formed from four evenly
spaced nodes. Six evenly spaced nodes form an octahedron while eight evenly
spaced nodes form a cube. Twelve evenly spaced nodes form the icosahedron
and twenty evenly spaced nodes form the dodecahedron. Within an atom, the
basic building block of matter, the platonic solids are not formed by particles, but
by electromagnetic waves in a vacuum. People interested in the subject are en-

couraged to refer to Jenny’s 1967 book, CYMATICS, A Study of Wave Phenomena. 10
Light is a wave form, a frequency which operates in the same spectrum as
sound, but only at a much higher vibrational rate. The DNA of all living things
emit photons. All living plants and animals possess a faint bio-luminescent glow
in the small and compartmentalized spectrum of visible light from infrared to
ultraviolet. Scientists, such as Mitsuo Hiramatsu of the Central Research Labora-
tory at Hamamatsu Photonics in Japan, theorize the light “is a kind of chemilumi-
nescence,” a luminescence based on chemical reactions, such as those that make
fireflies glow.11
In 1988 by Dr. David Deamer collaborated on a project to measure the
vibrational frequencies of the four DNA base molecules to translate them into
sound. Deciphering DNA frequencies into sound has lead to unusual insights into
the harmonic fabric of DNA. In her abstract, “The Infrared Frequencies of DNA
Bases as Science and Art,” Susan Alexjander writes:
“The questions of ‘translating’ light into sound is more a philosophical
one. Sound sped up can of course never be light, since the former depends
upon molecules to push around while the second derives from electro-
magnetic radiation. One could argue that what is important here is not
so much the medium but the ratios involved; the relationships between
frequencies. The ears can detect about 10 octaves of sound, while the
eyes can only perceive a little over one octave of light, or color. An octave
in light is the same ratio as an octave in sound... 2:1. A perfect fifth, or
a relationship of 3:2 is the same proportion in light as sound (and can
be continued into the world of geometry, architecture, movements of the
planets and so forth; anywhere there is a periodic or regular vibration).
By discovering patterns of ratios in light, we are simply translating into a
sound medium to “hear” what information they might contain and how
they relate to each other. It could also be argued that both light and
sound refer back to a common archetype which, as yet, is unknown to us,
not unlike cousins who relate back to a common relative.
Again, four base molecules were measured: adenine, cytosine, gua-
nine and thymine. Each base molecule after being subjected to light
yielded about 15 or 18 frequencies; 60 in all.” 12
We will return later to exactly how the Ophanic letters relate to the above-
mentioned 60 frequencies detectable within our DNA. Suffice to say, the relation-
ship is profound.

Dimensional Portals
HUS FAR we’ve examined Ophanic against the classic geometric canons
T and considered the meaning behind their arrangement on a 3 x 7 grid
which pointed to a possible relationship with musical scales and octaves. We have
assigned tonal equivalents to the letters giving us such things as wave-length,
vibration, frequency and harmonics to mull over. We’ve discovered that the stand-
ing waves produced by sound will create the platonic solids and noted the heal-
ing possibilities of translating light-emitting DNA into sound. Let’s now revisit the
Ophanic letters and view them more dynamically; as 3-D objects moving freely
in space.
One of the primary things noticed when encountering the Ophanic let-
terforms is the relationship between the thick and the thin strokes. Why do the
thick strokes appear as they do? Could the thick/thin ratio be indicating spatial
relationships with the thick strokes being closer to the viewer and the thin
strokes further away? So could this be indicating that the letters are somehow
moving in and out of space?
Or perhaps the Ophanic alphabet is more akin to being shadows of different
flows of energy. The clue for this thought is suggested by the existence of the 16
x16 grid (refer to Section 6 of this book) which includes four different symmetry
sets, or four different vantages of the 8x8 grid.
We begin with the simplest letter: T. In 2-D, it is a three-
sided shape containing three points. Essentially, it’s a triangle.
The 3-D representation of a triangle is a tetrahedron, but
if the surface of the solid is curved, a cone is produced.
The cone has a flat round base and its sharp, pointy end is
called the vertex or apex. Mathematical equations defining Apex
conic structures usually imply the existence of the cone’s
reflection through the apex: the double cone. The double
cone is familiar to us because it is usually the model shown
to represents Einstein’s concept of Spacetime. Base
John Dee himself was very familiar with three-dimen-
sional conic structures and referred to them in his Monas Hieroglyphica, a treatise
written 12 years before he encountered the Ophanic beings. In their discussion
of Dee’s Theorem VI in a 2007 article published in Journal of the Western Mystery
Tradition, Burns and Moore elucidate Dee’s understanding of geometry as applied
to letterforms:
“Dee invites us to visualize the cross in terms of conic sections.
First Dee asks us to picture a diagonal passing through a rectilinear
cross; basically, a third line running through the point where these
two intersect. His references to “V” and light also suggest the shape
of a cone, if one imagines this in three dimensions. Then he tells us
five (V) is a circular number, alluding to the circle as one of the four
conic sections. If one makes the diagonal an axis for two cones shar-

Plane intersecting Cone through Vertex Plane intersecting Cone
PARABOLA
HYPERBOLE
CIRCLE
ELLIPSE
POINT LINE CROSS
THE SEVEN FIGURES CREATED BY A PLANE INTERSECTING A DOUBLE CONE.
ing the same vertex, or point, and let that

point be the intersection of the lines of the
cross, we now have two cones and a plane.
The plane can intersect the cones in one
of seven ways, and makes one of seven
figures: a circle, an ellipse, a parabola, a
hyperbola, a point, a line, or a cross:
If the plane is running through the
vertex, as Dee describes, then we can have
only a point, line, or cross. 13
Why wouldn’t it be second-nature for Dee
to apply higher 3-D geometries to the form and
structure of the letter shapes presented to him
by the angels? In the model of Spacetime, the
So far, the study of this angelic alphabet double cone centered at each
has always been from a limited human-centric event is called a Light Cone. The
upper cone, known as the future
point of view. Instead, let’s choose to take the
light cone, represents the future
long view and see things from the much
history of a light-flash emitted
broader angelic perspective. If we suspend dis- at an event. The lower cone,
belief and become open to the thought that the past light-cone, represents
Ophanic is honestly an angelic language, we all directions from which light-
quickly move out of our depth and comfort flashes can be received at that
zone. It’s useless to debate whether or not event. Every event in Spacetime
Ophanic is “natural” (it is not) and just asking has a double-cone attached to it
this question completely misses the point. where the apex corresponds to
Could there be such a thing as a powerful, the event itself.
non-physical, symbolic logos existing simultane-
ously in all dimensions of time and space? Simply acknowledging the very exis-
tence of a vibratory language stretches the definition, as well as the possibilities
and ultimate purpose of a sacred language.

What a daunting task it would be for an angelic being to translate 4-D
information into a 2-D alphabet simple enough to be understood by human
beings existing within the dense gravity-well of physical reality. Ophanic is so
unique, it ‘s in a category by itself and therefore must be examined using criteria
beyond 2-D that opens up some fascinating areas of study.
Along with visualizing Ophanic letters as 3-D shapes, what if we broaden
our point of view to include movement? Adding the energy of rotation to a
cone will produce a form that spins, like a tornado. The T shape, for example,
can be perceived as a shadow of one spinning 3-D funnel shape. The letter O is
composed of two non-touching spinning vortices. If all the letters are actually
dynamically moving forms whirling in space, the only thing we would be able to
perceive in 2-D would be their cast shadows. These shapes would change if the
shadows of the whirling forms were viewed from different angles. Their specific
orientation in space (or position on paper in 2-D) seem to be an important factor.
The reason to introduce the science of how energy flows in an article about
letters is because the Ophanic alphabet is an integral part of the geometrical
structure that creates a bridge between the “zones” or dimensions. We at least
owe it to ourselves to investigate this aspect. The shape of energy is the only
thing that could pass through the gap between the physical and non-physical.
Waves and frequency also play their part. When examining the letter shapes, it
would be well to keep in mind the dynamics of energy’s movement.
A “spiral” and a “helix” are often confused but represent different objects.
A spiral defines a flat, planar curve that emanates from a central fixed point,
its curve progressively getting farther away as it revolves around the point, like
Energetic Model of a Spinning Tornado

3-D DOUGHNUT CONFIGURATION 4-D
4-D 4-D 4-D

3-D
oscillation
3-D
doughnut
hole
the grooves on a record disc. Conversely, a helix is a three-

dimensional coil that runs along the surface of a cylinder, like
the threads on a pipe or a telephone cord. A cross between
a spiral and a helix is known as a “Conic Helix.” An example
of a conic helix is the tapered spring used in remote controls
to hold and make contact with batteries. In nature, the ten-
drils emerging from the vines of grapes or squash define this
shape. A conic helix also happens to be the shape that best
describes how energy spins in a vortex.
Using the model of a spinning tornado as guide, the
general movement of the energy swirls upward towards
the wide part of the funnel. Some of the letters seem to pos- Conic Helix
sess multiple-vortices, something not unknown to tornados.
There are multi-vortex tornadoes that contain two or more
small, intense sub-vortices circulating around the center of
a larger tornado complex. There are also satellite tornados,
weaker tornados that form very near a large, strong tornado
but are contained within the same meso-cyclone. Although
satellite tornados appear to “orbit” the larger tornado (creat-
ing the appearance of one, large multi-vortex tornado), they
actually have a distinct funnel, much smaller than the main
funnel. 14 The energetic properties of a vortex are phenom-
enal. As can be seen in the illustration at left, a toroidal shape is created by the
way the energy of a vortex moves. It seems as if the Torus is our best 3-D model to
understand the primal structure of the universe.
A Torus is a flexible doughnut-shaped vortex of energy that is constantly
turning itself inside out. Just like a rotating smoke ring, the Torus is a self-organiz-
ing and self-sustaining sphere of energy constantly spinning out from its center.
The illustration at the top of this page shows that a 3-D oscillating vortex ring
creates standing waves.
Likewise, the energy movement of subatomic particles—such as the illustra-
tion of an electromagnetic model (next page) of the electron—can also be
The electromagnetic model of the
electron is toroidal.
described as toroidal. These tiny toroidal loops of energy continually unfold

outward from their centers and then fold back inward in rapid succession.
Although the energy waves of subatomic particles appear to be traveling along a
linear path, they are actually concentric waves of larger loops of energy. The elec-
tromagnetic model of the electron (above) shows only a portion of its electric
and magnetic lines of force but still indicates the energetics of even the smallest
of particles are basically toroidal.
The letter that most resembles a Torus Vortex would be the symmetrical
letter H (H). However, the essential structure of the 3-D letter would be revealed
only when sliced in half with its bottom partially cored. The letter’s energetics are
definitely centrally focused.
As mentioned earlier, one of the most distinctive features of the Ophanic
alphabet is its thick, bugle-shaped serifs. Without exception, each letter begins
and ends thickly. Thinking in terms of sound, perhaps the fat terminals indicate
the some of the different tonal qualities already mentioned. From this point
onward, the serifs are referred to as energy portals, or flows. The following study
reduces the Ophanic letters into conical projections. The differences between the
letters reflect the many ways different cones connect and interact with each other.
The flow mechanics of the Ophanic alphabet involve Helixes, Conic Helixes,
and Toroidal Vortices. For the sake of simplicity, each cone’s flow properties are
basically described as flowing in one direction, like water spiraling through a pipe.
However, it must be understood that the complete energetics are as complex as
our model of a spinning tornado. For instance, when tilted properly, the simplest
form would represent the probable energetics of the Ophanic letter form T (T).
Single Vortex curves are secondary strokes which start from a single point
somewhere within the main stroke. Vortex Pairs are essentially two cones con-
nected by the main stem. There are several types: pairs which connect gently
through a curve, pairs connecting through a straight path and pairs that connect
at right angles. The inference is that the energy flow (and resulting sound?)
would differ depending upon the letter’s specific structural properties, such as
shape and angle. There are also letters containing Conic Helixes that pierce and
interpenetrate the main channel, changing the flow properties and, most likely,
the tonal qualities.

STUDY: OPHANIC LETTER COMPONENTS
VIEWED AS CONICAL PROJECTIONS
1. Single Vortex. The energy of a cone (a wide letter part tapering to a point)
flows in one direction, This implies a bridging from one state to another. Below,
the conical form of the letters “T” and “O” are shown revolving one half a turn
laterally in space.
2. Mitigating Energy. Often other vortex cones interpenetrate a main vortex

cone. Whenever this happens, the larger flow of energy is affected. The secondary
strokes of the letters “C,”“F,”“A,”“L,”“N,” and “Z” are presented below with their
original size relationships maintained.
Part of Veh - C/K Conic View Part of Or - F Conic View Part of Or - F Conic View
Part of Or - F Conic View Part of Un - A Conic View Part of Un - A Conic View
Part of Drux - N Conic View Part of Un - A Conic View
Part of Ceph - Z Conic View
Part of Ur - L Conic View Part of Ur - L Conic View
The letter parts above (in black) are shown from the place they emerge from the stem.
The conical forms are shown beginning from a place, unseen, in the middle of the stroke from
which it branches.

3. Single Vortex Curves. These curved letter parts are shown from the places
they emerge from the stem but the conical views begin from an unseen point
within the main stroke.
Part of Van - U/V Part of Pa - B Part of Veh - C Part of Veh - C Part of Tal - M Part of Don - R
and Conic View and Conic View and Conic View and Conic View and Conic View and Conic View
4. Vortex Pair. When one stroke connects two cones, the letter contains a
“vortex pair.” When the pair connect through a curve, there are dual flows of
energy moving concurrently, spinning both clockwise and counter-clockwise
and maintaining a very dynamic balance. The effect of two cones connecting
smoothly through a curve would be similar to a U-shaped magnet.
Part of Ur - L Conic View Part of Van - U/N Conic View Part of Ged - G/ J Conic View
Part of Ceph - Z Conic View
Part of Drux - N Conic View Part of Gal - D Conic View
Part of Tal - M Conic View
Part of Conic
Na - H Conic View Gal - D View Part of Don - R Conic View
5. Abrupt Directional Changes. In the case of two cones connecting at

right angles, the energetic would be very different than vortex pairs connecting
through smooth curves. With the sudden change of direction, the stress would
be concentrated at the corner. For instance, could the “S” be an example of a
collapsed “E?”
Graph - E .
Conic View Gon - I/Y Conic View Pal - X Conic View
Fam - S Conic View Ger - Q Conic View Part of Un - A Conic View
Mals - P Conic View Part of Pa - B Conic View
6. Simple Vortex Pair. The two examples below represent a Simple Vortex Pair
that connect through a straight path.
Part of Or - F Cylindrical View Part of Veh - CK Cylindrical View
NOTES ABOUT THE CONIC FLOWS OF VORTEX PAIRS:
A LTHOUGH the letters have been depicted as open, hollow structures,

the straight and curved central structures of each Vortex Pair should be
regarded as essentially helical in nature.
Each conic flow is associated with its own a
helix / conic helix. Helixes within all Vortex pairs move
in opposite directions and interpenetrate one other.
The thinness of each letter’s stem depends upon the
depth of this interpenetration.
Although we’ve used the model of a spinning
tornado as a guide, most of the letters are not
oriented in space with the apex at the bottom.
The conic flows most approximating a real tornado
would be the upper part of the letter “O” (O) and,
perhaps, the left part of the letter “B” (B).

The Wonder and Triumph of “One and Threefold”
W ERE IT NOT for one important consideration, skeptics might have been
tempted to dismiss this entire line of inquiry. But the truth—the undeni-
able proof of its correctness—can be observed in Raphael’s triumphant words
given in Latin after dividing the letters into three groupings of seven. Let us recall
what Dee recorded:
“Then he lay down before it: and there cam two lines and
parted the 21 letters into 3 partes, eche being of 7. He sayd,
Numerus o perfectissimus, Unus et Trinus. Gloria tibi, Amen. “
The translated Latin reads: “The number, O most perfect, One and Threefold.
Glory be to you.” 15 In the diagram below, notice that within the first column
corresponding to the first line, there are three letters containing five cones, one
letter containing four cones and three letters containing 2 cones, totalling seven.
The second and third lines likewise contain the one and three pattern, thus
providing us with the following: line one, 3 - 1 - 3; line two, 1 - 3 - 3; and line
three, 3 - 3 - 1.
Because the pattern could just as easily have involved 2s, 4s or 5s, I contend
this ”one and threefold” pattern referred to above is Raphael’s way to indicate we
are on the right track.
1st LINE 2nd LINE 3rd LINE TOTAL # OF FLOWS

Letters with 5 CONES:
4 CONES:
3 CONES:
2 CONES:
1 CONE:
letters: flows
Line 1
2 5 5 4 2 5 2 = 25
Line 2
3 2 2 4 3 2 3 = 19
Line 3
1 2 3 3 3 2 2 = 16
The number of the Ophanic alphabet’s flared terminals is enumerated above at sixty.
Instead of calling the forms “serifs,” they are referred to as “flows” to remind us of the
energetics inherently involved.
If this is the case, it would only follow that sixty, being the total number of
flows, would also be significant. And so it is. Let’s recall another earlier discussion
in which “sixty” was found to be the number of frequencies that happen to be
detectable within our DNA.
By comparing all 60 pitches, we can find all of the precise ratios found in
the first 16 harmonics of the overtone series: octaves, P5th, P4ths, Major and
minor thirds, Major and minor 2nds and 7ths; even a ‘flat’ seventh. According
to Susan Alexjander: “Mathematically, the odds of this happening at random are
almost non-existent.”16 This information is made more phenomenal in consider-
ation of discoveries directly connecting the substance of DNA with the syntax
of language.
Language Reflects the Syntax of DNA
N THEIR ground-breaking book, “Vernetzte Intelligenz,” two German scien-
I tists cite the work of the Russian biophysicist and molecular biologist Pjotr
Garjajev and his colleagues who explored the vibrational behavior of DNA by
modulating certain frequency patterns (sound) onto a laser-like ray and discov-
ered it influenced DNA frequency and thus the genetic information itself. Their
conclusion: “Living chromosomes function just like a holographic computer using
endogenous DNA laser radiation.” The authors, Fosar and Bludorf, go on to say
that according to their findings:
“...our DNA is not only responsible for the construction of our body
but also serves as data storage and communication. The Russian
linguists found that the genetic code -especially in the apparent
“useless” 90%- follows the same rules as all our human languages.
To this end they compared the rules of syntax (the way in which
words are put together to form phrases and sentences), semantics
(the study of meaning in language forms) and the basic rules of
grammar. They found that the alkalines of our DNA follow a regular
grammar and do have set rules just like our languages. Therefore,
human languages did not appear coincidentally but are a reflection
of our inherent DNA.” 17
If the proper frequencies of sound are used, the DNA substance (in living
tissue, not in vitro) will always react to language-modulated laser rays and even
to radio waves. Or one can simply use words and sentences of the human lan-
guage directly since the basic structure of DNA-alkaline pairs and language is of
the same structure and no DNA decoding is necessary. They’ve effectively proven
that its entirely normal and natural for our DNA to react to language.
“
No one knows how sound, the raw stuff of creation, impacts our
being; our consciousness. Mysteriously, we decode meanings which
come to us through sonic carrier waves, perceiving these waves as a
full-body experience not only through the ears but directly through
the bones, tissue and matter of the body. The body mass feels sound

as pressure. We know that the body is constantly piezoelectric, trans-
lating pressure into electrical signals, such as the way in which the
inner ears send signals to the brain. Sound, therefore, impacts the
many realms of the molecular world directly and somehow finds its
way to the parts of us that make meanings.” 18
Part Two’s search for meaning lead us directly to the understanding that a
profound relationship exists between the Ophanic alphabet, the geometry of
sound/music, and DNA. When investigating how DNA connects with music, Dr.
Larry Dossey claims there is no reason in principle why DNA needs to only be
described using the terminology of organic chemistry:
“It could be described using many symbols, even musical notes. If
we were imaginative enough to think musically as well as alphabeti-
cally, this just might permit us to hear the music of the body. This ex-
perience could provide us with nobler visions of the body, and might
allow us at long last to escape the tyranny of machine thinking.” 19
The Whirling Ones
ROM THE latter half of September until the end of 2009, as a part of
Fmy quest to comprehend the fuller implications of the Ophanic letters, I
submerged myself wholly into the depths of a prolonged creative expedition.
Only a few days into the New Year, I return from the holidays with a more
detached perspective.
As more objectivity returns to balance out the subjective parts of my expe-
rience, I conclude this article. In Part One, I objectively analyzed the physical
characteristics of the alphabet. However, in Part Two I approached the subject
matter differently and am aware of having been guided. How many times did
I just “happen” to run across the very threads I needed to arrive at a dynamic
glimpse of the truth? Throughout the entire creative process, I received many
hints in the form of numbers, signs and symbols. All I needed to do was to
remain centered enough to notice and follow the guidance of synchronicity.
Because Part Two was written at the same time breakthroughs were taking place,
it becomes an accurate record of one artist’s creative process.
After reaching the stage of envisioning the letters as conical projections, I
began to recall my collective experience of the Ophanic beings that I shared with
a handful of other people on an Arizona mountain in 1996. Comparing notes
afterward, everyone agreed these Higher Dimensional Intelligences appeared as
individual whirling tornados descending from the sky on a luminous corridor
best described as “Jacob’s ladder.” Like transparent spinning energy tops covered
with thousands of eyes, they spun up and down the brilliance stretching down
from the heavens into our circle. They were not scary, but awesome and beautiful
and too numerous to count.
Already being familiar with the “Whirling Ones” made me confident I could
recognize their energetic signature on a visceral level if I could but reconnect

with them intuitively. This informed my decision to approach the meaning of
the Ophanic letters with the sensitivities and sensibilities of an artist. If I was less
open in my approach, I may not have covered as much ground. Luckily, the cre-
ative process allowed me to skip gently along spiral pathways where my atten-
tion would be pulled towards certain key nodes or intersection points. In those
places, I would linger long enough to obtain momentary but insightful glimpses
of the hidden relationships existing between seemingly unrelated concepts.
It was easy to regard the Ophanic alphabet as 3-D energy shapes in constant
spin and flux. In meditation, I could “see/feel” parts of the letters dynamically
moving in and out of physical reality. The energy seemed to emanate from the
thinnest parts and disperse towards the thick parts. With no visible source, I
imagined the energy originating and emerging from a different dimension to
interpenetrate the fabric of our reality at the thinnest points within the main
stem. Then I began to think in terms of sound. Since the inherent geometry of
sound is a vibrational frequency which effects our reality, why couldn’t sound act
as a catalyst, a conduit that moves information from one phase into another?
We have already glimpsed how our world, the whole fabric of our reality
in this dimension, is created by sound. The geometry of sound expresses itself
through waves of energy. Energy waves, constant or at least standing in the
same place for a little while, builds forms and shapes. Soon I wondered what
types of sounds could be produced by each letter. Perhaps the “F” (F) is actually a
peculiar type of flute capable of five different tones, the “G” (G) a strange type of
clarinet and the “P” (P) a resonant drum. The problem: I only had the vision but
did not know the science. My solution entailed locating images resembling what
I “saw” within my mind’s eye and allowing synchronicity to help me find them. If
this describes lateral thinking, Part Two is ripe with examples.
For the purposes of this article, figuring out all the specifics is not as critical
as the general sweep of the information. Whatever the exact correlations may
end up being, it’s initially enough for me to understand that probable relation-
ships exist without having to specifically define them. Intimated are interesting
affiliations between such diverse things as: sound and vibration as universal
building blocks; bonds between harmonics, sacred geometry and symbols; how
our DNA resonates with 60 specific frequencies; spinning toroidal structures
casting shadows that form an alphabet symbolic of the way DNA responds to
syntax; letter sound combinations that promise to trigger the next stage of evolu-
tion locked within the human genome, etc… Sound engineers, musicians or
those with discerning ears are invited and encouraged to continue the work that
unlocks the door to understanding the correlations between the Ophanic letters
and their correspondences with the tonal harmonics of DNA.
In closing, the best way I can describe the whole of my experience over the
last three months is as a “spiral journey informed by intuition.” The intuitive clues
I chased moved me quickly across vast distances, progressing me ever closer and
inward to experience minute glimpses of the Truth. As I ponder the beauty of
trusting the process, another Truth emerges.

Recognizing the Vital Role of the Ophanic Artist
suddenly realize just how indispensable “the Artist” archetype actually is to
Iour Ophanic work. The Artist archetype embodies the passion to express
a dimension of life that exists just beyond the five senses. Artists hold within
themselves (or have access to) the unknown quotient capable of bridging two
or more worlds. Through their artistic endeavors, spiritually attuned artists serve
as “Openers of the Way” by supplying the creative spark that crosses the gap
from one state of being to another. The role of the artist as a spiritual bridge also
explains how and why art can be transcendent.
Artists born with the necessary inner resources to discern subtle energies
need to be honored for cultivating their sixth sense. Within the Ophanic context,
painters, poets, and musicians easily portray “The Artist” archetype but this
archetype can also extend to physicists, mathematicians, magicians, dowsers,
architects, singers, shamans, linguists, dancers—or anyone especially sensitive to
stimuli beyond the reach of linear thinking. People who think laterally/spatially
are also more likely to possess the “unknown quotient” mentioned above.
How staggering it is to fully grasp the extent of
the awesome power locked within each human being.
The potential for self-healing as well as planetary heal-
ing is phenomenal. But even more phenomenal is that
we’ve been given a direct means to communicate on
a fractal level with the intelligence of our own DNA.
And this is happening at a key moment in time, just as
the Earth completes its 26,000 year cycle.
Judging from many ancient petroglyphs found within every corner of the
world, it would seem that from very early on, humans have always held an unique
relationship with this higher form of consciousness.
Perhaps this logos is the very one mentioned in the biblical text of John (1:1):
“In the beginning was the Word, and the Word was
with God, and the Word was God.”
Slightly rephrased, we could say:
“In the beginning was the Word. And with the Word came sound. And
through Sound came form.”
Or to be more precise:
“In the beginning was the Word, and the Word was
with DNA and the Word was DNA.”
We have the means to affect our future in a positive way. All we need to
do is to understand and communicate with the awesome God fractal contained
within each of us.
“The Ophanic Alphabet: A Search for Meaning.” was originally published in the Journal of the
Western Mystery Tradition Journal of the Western Mystery Tradition 2.18 (2010).

NOTES
1 All Latin translations from the Hieroglyphic Monad used in this article are from Nancy
Turner and Terri Burns’“A Translation of Theorems 1-17 of John Dee’s Monas Hiero
glyphica” as published in Journal of the Western Mystery Tradition, Vol. 2, No. 13.
2 Petersen, Joseph H., Ed. (2003) John Dee’s Five Books of Mystery. Weiser Books. Boston,
MA. p. 270. (ISBN 1-57863-178-5)
3 Findell, Martin. “The ‘Book of Enoch,’ the Angelic Alphabet and the ‘Real Cabbala’ in the
Angelic Conferences of John Dee (1527-1608/9).” The Henry Sweet Society Bulletin, #48,
page 15.
4 Ibid, p. 16.
5 Hofstadter, Douglas. (1985) Metamagical Themas: Questing for the Essence of Mind and
Pattern, Basic Books: NY, p. 174.
6
Burkle, William S. Arithmetic and Geometric Arguments for the Perfection of the Number of
Cards in the Major Arcanum of the Tarot.
7
Payne-Towler, Christine. (2006). Music and Magic Among the Renaissance Magi.
(http://www.tarotarkletters.com/2006/06/world_server.html) Another good resource
on the math and ratios of modal construction, 3/7/12 patterning, and the implications
of music theory on esoteric alphabets, see Alain Danielou’s Music And The Power Of
Sound; The Influence of Tuning and Interval on Consciousness. Inner Traditions: Rochester,
VT, 1995. (ISBN: 0-89281-336-9)
8
McClain, Ernest G. (1985) The Myth Of Invariance: the Origin of the Gods, Mathematics and
Music from the Rg Veda to Plato, Red Wheel/ Samuel Weiser Publishing. York Beach, ME.
(ISBN 0-89254-012-5)
9 Wang, Robert. (1983). The Quabalistic Tarot. Samuel Weiser Publishing. York Beach, ME.
p. 264. (ISBN: 0-87728-520-9).
10 Jenny, Hans (1967). CYMATICS, A Study of Wave Phenomena. (ISBN: 1-888-13807-6)
11 Nakamura, Kimitsugu and Mitsuo Hiramatsu. (2005). “Ultra-weak photon emission from
human hand: Influence of temperature and oxygen concentration on emission.” Journal
of Photochemistry and Photobiology B: Biology, Volume 80, Issue 2, 1 August 2005, pp.
156-160.
12 Alexjander, Susan. (1999) “The Infrared Frequencies of DNA Bases, as Science and Art.”
IEEE Engineering In Medicine and Biology magazine. (www.oursounduniverse.com/
articles/IEEE.html)
13 Burns, T & Moore, JA (2007), “The Hieroglyphic Monad of John Dee Theorems I-XVII:
A guide to the Outer Mysteries.” Journal of the Western Mystery Tradition, vol. 2, no. 13.
(http://www.jwmt.org/v2n13/signs.html)
14 Dmitriev, A.N., Dyatlov, V.L., Merculov, V.I. Electrogravidynamic Concept of Tornadoes.
15
Petersen, op cit.
16 Alexjander, op cit.

17 Fosar, Grazyna and Bludorf, Franz (2001) “Vernetzte Intelligenz: Die Natur geht online”
Omega-Verlag, Dusseldorf, 2001. (ISBN: 3-930243-23-7) Book is only available in
German but excerpts of book have been translated into English on the website
http://www.bethcoleman.net/intelligenz.html and the authors’ website is:
http://www.fosar-bludorf.com
18
Alexjander, op cit.
19 Dossey. L. (1993) “The Body As A Melody: Is Dna Musical?” Magical Blend. March/April. #38.
pp. 47-50, 52, 78 (online: http://www.rebprotocol.net/Sep2008
Dossey%20THE%20BODY%20AS%20A%20MELODY%20IS%20DNA%20MUSICAL%207pp.pdf )

Section 3
READING THE GREEN LANGUAGE OF LIGHT
PART ONE
IVINATION is one of man’s oldest spiritual technologies, its origins lost
D in the shift from Neolithic hunter-gatherers to settled agriculturalists.

As the shaman developed into the priest, divination, along with all
forms of spiritism, became codified into mythology. From a framework of mythic
events and divination−literally readings of the divine−came language, which
evolved over time into written forms based on the original symbolic elements. In
turn, these symbolic elements became the focus of divinatory practices of their
own, creating sub-sets of meaning within common words and phrases. From this
intentional ambiguity arose the possibility of an initiate’s language, a language of
the birds, or, as it was expressed by the medieval initiates, the Green Language.
Although we can point to the Green Language in works as diverse as Mid-
summer Night’s Dream and The Chymical Wedding of Christian Rosencruz, Nos-
tradamus’ quatrains, 18th century alchemical texts and surrealist manifestos, few
authors have bothered to explain it. One who did was Fulcanelli, the enigmatic
20th century alchemist and philosopher, in his masterpiece The Mystery of the
Cathedrals, published in Paris in 1926. 1 Here we have an authentic, although
mysterious, voice of authority; one that was both master of the Green Language
itself, and a master of the subjects usually hidden within it.
Fulcanelli’s main point, the key to unraveling the larger mystery of alchemy
and the cathedrals, lies in an understanding of what he calls the “phonetic law”
of the “spoken cabala,” or the “Language of the Birds.” This punning, multi-lingual
word play can be used to reveal unusual and, according to Fulcanelli, meaningful
associations between ideas. “What unsuspected marvels we should find, if we
knew how to dissect words, to strip them of their barks and liberate the spirit,
the divine light, which is within,” Fulcanelli writes. He claims that in our day this
is the natural language of the outsiders, the outlaws and heretics at the fringes
of society.
It was also the “green language” of the Freemasons (“All the Initiates
expressed themselves in cant,” Fulcanelli reminds us) who built the art gothique
of the cathedrals. Ultimately the “art cot,” or the “art of light,” is derived from
the Language of the Birds, which seems to be a sort of Ur-language taught
by both Jesus and the ancients. It is also mentioned in the Sufi text, entitled
“The Conference of the Birds,” by Attar the Chemist. In de Tassey’s French transla-
tion of this work, which Fulcanelli references, the “conference” of the title is
translated as “language.” De Tassey goes on to explain the complex linguistic
metaphor beneath the simple fable. Fulcanelli uses the same method to decode
the alchemical meaning of the cathedrals.
READING THE GREEN LANGUAGE OF LIGHT 115
Fulcanelli also claims that Rabelais’ Gargantua and Pantagruel is “a
novel in cant,” that is, written in the secret language. Offhandedly, he
throws in Tiresias, the Greek seer who revealed to mortals the secrets of
Olympus. Tiresias was taught the language of the birds by Athena, the goddess
of wisdom. Just as casually, Fulcanelli mentions the similarity between gothic and
goetic, suggesting that gothic art is a magic art.
Emphasizing the phonetic connection to argot, cant or slang, Fulcanelli then
links it to the Argonauts, of the quest for the Golden Fleece, by insisting that the
crew of the Argo spoke the Green Language as it sailed “towards the felicitous
shores of Colchos.” He suggests that the language of this quest is the foundation
of all initiation - “All Initiates expressed themselves in cant.” In the same sentence
he links this idea with the Court of Miracles of the troubadour poet Villon and the
artists who built the cathedrals, implying that these groups were somehow the
same nautes, or sailors, as the Argonauts. 2
By any standard of comparison, this is an unusual collection of allusions and
assertions, even for a hermetic author. Fulcanelli seems to be telling us, as plainly
as possible, that the medium is the message. The argot is the art of light, the core
of a Gnostic philosophy expounded so eloquently by Fulcanelli in the paragraph
that follows immediately after the art of light statement. “Language,” Fulcanelli
tells us in that passage, “the instrument of the spirit, has a life of its own−even
though it is only a reflection of the universal Idea.” This Gnostic meta-linguistic
mysticism is the core it seems of illumination itself.
From the work of modern molecular biologists Fritz-Albert Popp and Mae-
Wan Ho, we know that DNA emits a weak form of coherent light that has been
demonstrated to work like a communication system between cells and even be-
tween larger organisms.3 In this sense, the art of light is indeed the instrument of
the spirit. It is nothing less than the mechanism, the framework so to speak, that
allows Mind to exist in the universe. The language of light emitted and received by
the DNA may be the original of all languages, the ultimate language of initiation.
Fulcanelli clearly understood this, as he shows when he states that argot, the
initiation of the Argonauts, is but “one of the forms derived from The Language
of the Birds.” This Ur-language, Fulcanelli insists, is the common language of initia-
tion and illumination behind cultural expressions as different as the Christian, the
Inca, the medieval troubadours and the ancient Greeks. And traces of it can be
found in the dialects of Picardy and Provence, and most important of all, in the
language of the Gypsies.
These are stunning assertions. Fulcanelli informs us that the western cabala
used by the troubadours and the builders of the cathedrals is based on the
language of the Argonauts and the quest for the Golden Fleece. Which in turn is
but one application of a vast Ur-language of symbols, derived perhaps from the
DNA itself, that unite the global cultures of mankind, from the Inca to the ancient
Greeks. And, to top it off, he told us that traces of it can be found in the language
of the Gypsies, a fairly obvious reference to the Tarot, long held to be a Gypsy
invention. Is he telling us that the Green Language, which is heard according to

David Ovason only by those “who have clothed themselves in the skin of the
dragon,” 4 is simply a symbolic approximation of the information, transmitted by
weak laser pulses, coming from our DNA?
According to the work of anthropologist Jeremy Narby, this Ur-language of
light is a “forest television” of images in which “DNA is a snaked shaped master
of transformation that lives in water and is extremely long and small, single and
double. Just like the cosmic serpent.” 5 His assessment agrees with Ovason’s com-
ments that only one who has the skin of the dragon, or has become one with the
cosmic serpent of DNA, can understand this symbolic language of light.
Could it be possible, by looking at the structure of DNA, to reconstruct this
dragon’s speech, this green language of light’s syntax, grammar and vocabulary?
And could it be, as Fulcanelli suggests, that fragments of that original language
of light can be found in the divinatory systems used by all nautes, shaman and
initiates?
PART TWO
The basics of heredity have been
known since Gregor Mendel’s experiments
with peas, but the discovery of DNA as the
carrier of genetic information revolution-
ized our understanding of life itself. Fifty
years later, we are on the verge of a
genetic revolution with the possibility
of clones, genetic disease eradication in
the womb and perhaps someday soon,
designer humans. An inspiration hit James
Watson as he walked down a spiral stair-
case, and in his mind’s eye he saw the
structure of DNA as a double helix. 6
Deoxyribonucleic acid, DNA, is a chain
like molecule of great length, 1.3 meters,
and high molecular weight in a double
strand twisted like that spiral staircase that
inspired Watson; a double helix with plus and minus strands. The strand itself
consists of two chains of alternating acids and sugars in a simple building block
like system. The strands are joined at regular intervals by rungs made of a pair
of bases. There are four bases, thymine, always paired with adenine, and cystine,
always paired with guanine. Thus, A, T, C, G are “letters” paired with T, A, G, C and
because of the structure they fit together perfectly, like the teeth of a zipper. 7
These base pairs form “words” that are instructions to build an amino acid
compound. There are 64 such “words” and one or more of these words represent
the instruction and information necessary to create one of the 22 amino acids
used to create the protein structure of a living body. The sum of all these code
words and amino acid sentences forms the blueprint for a specific entity, includ-
ing elements that determine the individual’s fate. And the strands with all this

information are present in every undifferentiated cell nucleus, a script or book
with significance, expression, meaning, all the hallmarks of life itself. 8
In 1968, Marie-Louise von Franz, a disciple of Carl Jung, published an essay
in an anthology of psychology articles entitled “Symbol des Unus Mundus”. As
an aside in her essay about alchemical symbolism, Dr. von Franz speculated that
there might be some structural link between the I Ching and the recently discov-
ered DNA code. 9 A year later, a physician, Dr. Martin Schonberger published
a small article in an obscure German medical magazine, Zeitschrift fur Allgemei-
nmedizin - Der Landarzt, No. 16/1969, in which he presented “the astonishing
parallels between the natural science of the I Ching and the latest discoveries of
nuclear genetics.”
Dr. Schonberger’s comparisons can be summarized as: 1) Both the DNA and
the I Ching are based on polarity, yin and yang in the case of the I Ching, up and
down symmetry in the case of DNA’s double helix; 2) Four “letters” are available,
A,T,C,G in the case of DNA, resting yin, moving yin, resting yang and moving yang
in the I Ching, which are grouped in pairs; 3) Three of these words form either a
code for protein synthesis or a trigram; 4) The direction in which the codes are
read is strictly determined in both; 5) There are 64 of these triplets or double
trigrams, from which all creation, in the case of DNA, and fate in the case of the I
Ching, are derived; 6) Two of these triplets have names, beginning and end. In the
DNA they serve as punctuation between code sequences. In the I Ching, we have
hexagrams # 63 and #64, which serve the same purpose.
Dr. von Franz, a Jungian psychoanalyst, was the first to notice the similarity,
64 units made of three out of four possible components, between the two but
it took the practical mysticism of a working physician to elaborate the essential
question: “Is there only one spirit whose manifestation (= information) must of
necessity find its expression in the 64 words of the genetic code on one hand and
the 64 possible states and developments of the I Ching on the other?” 10
Soon after Dr. Schonberger’s article was published, Fritz Albert Popp began
his groundbreaking work on bio-photon emission and communication by the
DNA. As soon as Dr. Schonberger learned of Dr. Popp’s early work, he wrote to him
and asked his opinion. “Since information and matter cross in the genetic code,
it may be expected that evolution has selected the most favorable, i.e. the surest,
and at the same time most economical, principle,” Dr. Popp wrote back. “The only
solution to the problem is to seek understanding of DNA… as you have done,
from the information theory angle.” 11
Following this advice, Schonberger elaborated his article into a small book,
The I Ching and The Genetic Code: The Hidden Key to Life, published in Germany
in 1973. For the second edition in 1977, Popp himself added a short afterward
in which he restated the essential question: “Is there a connection between this
substantiated reflection of biological evolution and the purpose, the indication
and the meaning of Life?” This question, as Popp notes, “focuses our curiosity on
the phase-border between the syntax and semantics of the DNA structure.”
In other words, if the I Ching is an accurate analogy for the syntax of the
genetic code, then what does that imply about fate, free will and a host of
other religious and spiritual issues? Even if we can read this “encyclopaedia of
biological evolution,” by means of a “hidden key to life,” as has been done by the
human genome project, what does that imply about human evolution? Could a
genetic I Ching, as suggested by Schonberger, function as a “periodic system of
the spiritual element” for the evolution of forms of ever-greater complexity and
self-awareness? 12
PART THREE
O BEGIN to answer these crucial questions, we must first look at the origins
T of the I Ching. There have been hominids we would recognize as human in
China for over five hundred thousand years. About eight thousand years ago, the
rudiments of civilization appeared. A few thousand years later, around 3,000 BCE,
a sort of proto-culture developed in the upper Yangtse valley. Like so many of the
proto-cultures which formed around the planet within a few hundreds years of
that date, the ancient Chinese culture centered on an Immortal.13
At the dawn of time, Fu Hsi, the primordial culture-bringer who invented the
calendar, writing and the organization of society and whose name literally means
Embodied Wisdom, tried to explain the workings of I, a word usually translated
as “change.” To do this, we are told in the Great Commentary supposedly written
by Confucius, he “observed the phenomena of the heavens and gazed down to
observe the contours of the earth.” He also observed his own internal processes
and their reflections in nature and then “went beyond this to take ideas from
other things. Thus he invented the eight trigrams in order to comprehend the vir-
tues of spiritual beings and represent the conditions of all things of creation.”14
In one version of the legend, Fu Hsi sees the eight trigrams, or primal group-
ings of broken and unbroken lines, on the back of a turtle, which gives us a clue
as to how the oracle was originally practiced. The eight trigrams describe the
major concepts of the ancient Chinese eco-philosophy which all refer back to
the central image of the I, or, as an early Chou author defined it, “Change: that
is the unchangeable.” The word began as a pictogram of the cosmic lizard or
dragon, and meant the “fixed,” or the “straight,” in the sense of the cosmic and
unchanging axis of the universe. Applied to the idea of “time,” the world axis
came to denote “change” in order to describe the perceived evolution of patterns
and rhythms.15
These patterns were conceived as the cold dark yielding forces of Yin and
the hot bright expansive forces of Yang, both of which are but fluctuations in
the Chi. These fluctuations give rise to the five elements−metal, wood, water, fire
and earth −whose interactions in turn produce all things. These eight concepts
are symbolized by the eight primal trigrams: the trigrams Heaven and Earth
represent Yang and Yin, while the trigram Thunder represents the Chi. The other
five,−Lake, Fire, Wind, Water and Mountain−convey the essence of the five ele-
ments, metal, fire, wood, water and earth.
Fu Hsi’s realization of the eight trigrams produces first of all a gnomic or
geometric view of the universe’s expansion, from first cause to the reality event
horizon symbolized by the 64 hexagrams. The One becomes two, Yin and Yang,

which in turn produces four, the directions, then eight, the trigrams, and then on
to 64, the hexagrams. This was thought of as the primal linear order, of both the
trigrams and their resulting hexagrams. This can also be seen as the primal binary
matrix, a sort of master set of off/on switches by which life unfolds through time
by means of change.16
The number 64 is unusual in several ways. There are 64 codons, of three
nucleotide units each, used by DNA and RNA to specify the amino acids needed
for protein synthesis. We can think of these codons as a taxonomy, a complete
and self-referencing group of symbols, that describes the possibilities of biologi-
cal evolution. Interestingly enough, evidence from anthropology also suggests
that 64 is the maximum number of entities that can be contained in one folkloric
unit. From this it follows that the maximum level of cultural complexity is also
controlled by the law of 2 to the 6th power, or 64. This connection between the
evolution of proteins from DNA and the development of cultural complexity from
archetypal experience forms the basis of the I Ching.17
While there are other ways to organize the trigrams and therefore the hexa-
grams, the primal linear order seems to represent some basic structure of life
itself. Fu Hsi, the Embodied Wisdom, seems to have been telling us that the
wisdom is also encoded within all of us. Indeed, the archaic pictogram for the
oracle resembles nothing so much as a way to align the I, or cosmic center, with
the unfolded spirals of DNA derived life.
However, as the text attributed to Confucius noted, Fu Hsi went beyond the
code of life. He also gave us a way to understand how our DNA fits within the
larger patterns of celestial alignments and temporal development. The logical
way to turn the linear, binary order of the trigrams into a circular pattern is to
match pairs of opposites. This produces the primal or celestial arrangement, which
represents the larger patterns of time and change. We can in fact align this primal
pattern to the four corners of the universe, the so-called galactic solstices and
equinoxes, and thereby derive the quality of time for each trigram’s age or era.
The trigrams used to mark these large periods of time, the slow changes of
the ages, can also be arranged to show the yearly cycle of natural and ecological
change. This temporal arrangement begins in the spring with the appearance of
the Chi trigram, Thunder, and then proceeds to develop the Chi through the year
to perfection in the late winter, earth trigram Mountain, or Keeping Still, from
which the Chi re-emerges in the spring.
Therefore Fu Hsi’s revelation provides us with a way to understand the evolu-
tion of the life codes, our DNA, within the organization of the space/time matrix
from which reality is formed. Each arrangement of trigrams can be used to gener-
ate a sequence of the 64 hexagrams, which describes the changes, or relation-
ships, within that level of reality. Thus, the linear or binary sequence describes
the diversity of life produced through the action of tRNA, the celestial sequence
describes the quality of time as the evolution of the results of action, what the
Hindus call karma, and the temporal sequence describes the unfolding of the life
force, the Chi, through the year and the landscape. By referring to all three, a total
picture of reality emerges.18
PART FOUR
’HE I Ching is the oldest book in the world; its basic structure developed
Tin pre-history. Confucius, in his Great Commentary, credited the pre-historic
Three August Ones and the Five August Emperors with ordering the world
according to its precepts. From the Chou Li, or Book of Chou Rites dating from
around 1000 BCE, we learn that the Book of the I was only one of three prophetic
or divinatory books known to the ancient Chinese. The Li Chi, one of the Five
Classics, informs us that turtle shells were in common usage in divination using
a system derived from Fu Hsi’s trigrams. All that we can really know of its origins
is that by the 12th century BCE, the oracle had taken its basic form of 64 binary
hexagrams.19
Apparently, up to this point, no recognized interpretations of the patterns
existed. Each practitioner was free to interpret the patterns of the hexagrams in
their own way. However, around the middle of the 12th century BCE, the late
Shang dynasty deposed and imprisoned one of their dependents, King Wen.
While in prison, King Wen turned his attention to writing descriptions, or judg-
ments, on the 64 hexagrams. By careful use of the ideas revealed in his study,
King Wen was able to affect his release and the re-instatement of his kingdom.
Perhaps for this reason, his judgments have ever since been seen as definitive.
King Wen passed his knowledge on to his son, Tan, the Prince of Chou,
founder of the Chou dynasty that eventually overthrew the Shang. The Prince of
Chou is credited with having passed on the wisdom of his father in his judgments
on the lines of the 64 hexagrams. These 384 descriptions form a unified field
of understanding where all three perspectives on the eight trigrams and their
subsequent sequences of hexagrams can be explored. 20
Imagine that a being from an advanced culture gave you a toy designed to
both entertain you and instruct you in the workings of our reality matrix. The toy
works like this: at any moment, you can freeze the flow of time into a very small
slice which not only tells you the nature of the moment, but why you chose it,
the ramifications of having chosen it, and three other co-ordinates of change that
create the moment and the choice.
Essentially, the I Ching, the gift of Fu Hsi, is such a toy. Any means of random
selection can be used−counting yarrow stalks, tossing coins or a binary computer
program−to provide the hexagram, which marks the quality of that moment.
This hexagram is then interpreted by various methods and then related to other
hexagrams to provide an inclusive and holistic perspective on the evolution of
that moment in time. The value of such knowledge, however, comes from our
ability to make use of it.
And this, perhaps, was the genius of King Wen. In addition to writing the
enigmatic judgments, King Wen also designed a way to structure the hexagrams
in pairs so that the increment of change between the pairs described the rhyth-
mic structure of that elusive quality the now or the ever-changing present. This
discovery animated the larger structures described by Fu Hsi’s trigrams so that

time or change was rendered interactive. King Wen’s arrangement became the
standard sequence used in most versions of the I Ching, and for millennia was
the preferred way to consult the oracle. It survived because it worked. Through
the King Wen arrangement, it was possible to have a dialogue with this ancient
source of wisdom.
How this actually worked was a mystery until recently. Carl Jung’s study of the
I Ching led to his theory of synchronicity as an acausal connecting principle, but
he was unable to see how the flow of archetypes formed meaningful structures
in an acausal manner. Synchronicity could be defined as a psychological event,
the projection of meaning onto a background of randomness, but Jung left unan-
swered the question of meaning itself. Does this temporal universe inhabited by
biological entities truly have a “meaning?” 21
Perhaps not a meaning, but at least a “destiny.” One of the commentaries
on the I Ching attributed to Confucius tells us that “the future likewise develops
in accordance with the fixed laws, according to calculable numbers… This is
the thought on which the Book of Changes is based.” Another even older com-
mentary informs us that “counting that which is going into the past depends
on the forward movement. Knowing that which is to come depends on the
backward movement. This is why the Book of Changes has backward moving
numbers.” Clearly the early commentators and interpreters saw the I Ching as
something vastly more significant than a simple oracle.22
But what exactly? This question was answered by a couple of the century’s
most brilliant minds. The McKenna brothers, Terence and Dennis, in their ground-
breaking work The Invisible Landscape postulated that the King Wen arrangement
contained just such a backward and forward flowing pattern of numbers, and
that these numbers could be used to construct an interface with similar vital
holons, or holistic hierarchies, in the organization of space/time.
The McKennas demonstrated this by overlaying the 384 lines of the 64 hexa-
grams (6 x 64 = 384) on the 13 month lunar calendar (13 X 29.53 days = 383.89
days). They then used these basic units to develop a temporal lock with the
solar/sunspot cycle, the Zodiacal Ages, and the length of the Great Year of pre-
cessional motion. With the same increment, 64, they found it was possible to
assemble a 26 step model of space/time from the size/age of the universe down
to Planck’s Constant. In this view, the I Ching is a fractal model of all that is, was, or
will be. It is also hologramic, in that the piece, the I Ching, contains the information
of the whole, the evolving universe.
Applying this realization to the structure of the King Wen arrangement pro-
duces a model of the holonic nature of evolution. If we think of the time from the
emergence of life on earth to the immediate future, roughly 1.3 billion years, as
one increment and then begin to divide that by 64, some interesting time periods
are highlighted. Our first division, one 64th of 1.3 billion years, brings us to the
high point of the mammals, 18 million years ago. The next division by 64 brings us
to 275,000 BCE, the dawn of Homo Sapiens. Dividing again by 64 brings us to the
high point of the ancient cultures such as the Egyptian around 2300 BCE. Another
division brings us to the mid 20th century and the last 67 + years of the cycle.
According to this view, all of biological and cosmological time is approaching
a point of concrescence in the near future. The McKenna brothers went looking
for possible dates for this concrescence and decided that the helical rising of
the winter solstice sunrise in 2012 matched the requirements. It would certainly
be an event of cosmological significance that could serve as a symbol of the
concrescence itself. The McKennas found that this date also matched the wave
form derived from King Wen’s arrangement with historical events. The end of
World War II and the atomic bomb, for instance, fell on 1945, the year of the last
division, the beginning of the last 67 + years of biological and galactic evolution
which completes the vast hexagram of time which began 72.25 billion years ago.
All of the information, “novelty” as the McKennas called it, that was generated
in the course of the previous billions of years from the formation of the earth
to the present is compressed and recapitulated in the last 67 + years. Therefore
we can apply the same scale of division, creating a new hexagramic hierarchy, to
this 67 + year period. Within this time period, there are 64 groups of 384 days,
which cover three major and six minor sunspot cycles. When the wave front of
concrescence is applied to the time period, we find that the first node falls on
the beginning of the last 384 day cycle. The McKennas suggested that this node
marked a shift in “novelty” or information density, equal to that which occurred in
1945 CE, 2300 BCE, 275,000 BCE and so on.
The next node on the concrescence wave happens six days before the shift
point and again represents the same kind of acceleration in “novelty.” The first
trigram is completed at the next node, 135 minutes from ground zero, and
represents another level of acceleration. Novelty continues to speed up at the
next node, 127 seconds, and again at the next, 1.98 seconds, and then for the final
time at .003 seconds when it accelerates to its maximum. The pattern then inverts
and novelty decreases by the same incremental pattern with which it increased.
Another round has begun.23
The implications of this are staggering if considered from the perspective
of the universe’s meaning or destiny. Perhaps sentient life developed out of the
primal matrix just to be aware of this all-important wave of information accelera-
tion as it reaches concrescence. Perhaps the true value of the I Ching is to help
us understand the transformational possibilities of living in a moment of rapidly
accelerating time.
PART FIVE
NTERESTINGLY enough, the Taoist alchemists of the Sung Dynasty (960 -
I 1127 CE) seemed to understand the concept of alchemical time and the
transformative process at the heart of King Wen’s arrangement. In a curious
mandala entitled “The Cauldron, Furnace, Medicines and Firing Process,” the King
Wen sequence is used to describe the alchemical process. “The science of the
gold pill (alchemy),” as Liu I-ming, the foremost Taoist scholar of the 19th century,
tells us in his commentary on the mandala, “has the Heaven and the Earth for its
cauldron and furnace, Water and Fire for its medicinal ingredients; the other sixty
hexagrams, beginning with Difficulty and Darkness, are the firing process. . . The
science of the gold pill (alchemy) is not outside the Tao of transformation, the Tao
of transformation is not outside the Tao of evolution of yin and yang, of heaven
and earth, sun and moon.” 24
This alchemical mandala, with its circle of sixty hexagrams, is the informa-
tional link between eastern and western systems of divination and magical phi-
losophy. Its four outer hexagrams suggest the pattern of the Kabalistic cross -
“Between the heights (heaven) and the depths (Earth), between Justice (Fire) and
Mercy (Water), I am centered” - while the circle of sixty hexagrams represents the
union of the microcosm, 5 the pentagram, and the macrocosm, 6 the hexagram,
[5 x 6 = 30, 6 x 6 = 36, 5 x 12 (6 + 6) = 60, 6 x 10 (5 + 5) = 60 and 12 + 60 = 72]
in the ratio of 5:6, or 10:12.
This numerical relationship corresponds in the double helix of DNA to the
point where counting by triplets and turns merge. Two triplets, six base pairs,
contain a half turn of the DNA helix, or five base pairs. Therefore, three whole
turns, or six half turns, contains ten triplets, 30 base pairs or 60 amino acids, with
in a framework of 12 triplets, 36 base pairs and 72 amino acids. These ratios,
5:6 and 10:12 form a common period where turns, structure, and information,
triplets, coincide, echoing the overlap between mind, the microcosm, and matter,
the macrocosm and the relationship between the Tree of Life, three turns and ten
triplets of the helix, and the zodiac of six half turns and 12 triplets25
Both the 60 hexagram cycle and the 64 hexagram cycle are related to time.
The ancient Chinese calendar was based on the Chang, or Metonic cycle of 19
years solar years. This the time period in which the sun and moon go through
their permutations before returning to the starting point. In astrology, this is
marked by the head and tail of the dragon, markers used to note the main event
of the Metonic cycle, the prediction of eclipses. If we divide our 60 hexagrams
or amino acids by the 19 years of the cycle, we find a close approximation of Pi,
3.15, a geometric marker of the cycle that is also reflected in the structure of DNA.
Nineteen turns, counted by triplets, brings us to the 64th triplet, completing the
cycle of the code. Nineteen turns of 64 triplets is 192 base pairs and 384 amino
acids, the total number of lines in the I Ching.26
If we count by lunar years of 384 days, 13 months times 29.6 days or 19 days
more than the solar year, then 64 of these “years” would merge the eclipse cycle,
the head and tail of the dragon, with the sun spot cycle, containing three major
cycles and six minor ones, which echoes the three turns and six half turns created
by ten triplets. This temporal unit, as we saw noted above, is the increment of
change, the wave front of the increasing novelty factor, by which evolution is
paced. It is no accident, given the light sensitive nature of DNA that eclipse cycles,
sunspot cycles and the informational structure of DNA should all be based on the
same ratios and proportions.
From this we can see that the structure of the I Ching and the DNA code
contains both local solar system time orchestrated by the permutations of sun,
moon, eclipses and sunspot cycles, and the larger cycles of precessional time.
Counting by turns and triplets reveals that a macrocosmic framework of preces-

sional numbers supports the microcosm. The movement of the spring equinox
backward through the zodiac due to the tilt of the earth’s axis is measured at
the rate of one degree every 72 years, therefore 12 triplets, 1 and 1/5th turns of
the helix equals 1/6 of a degree of precessional motion, or 12 years. Given that
there are billions of turns and millions of triplets in a single strand of DNA, then
the entire history of the universe, from beginning to end, could be coded into
our DNA. 27
From this perspective, the mythic Akashic Records are simply the coils of DNA
within every cell of your body, and they can be read by those who, in Ovason’s
phrase, “have clothed themselves in the skin of the dragon,” that is, only by
initiates who have learned the Green Language of Light. But, while the I Ching
provides us with an alphabet and a way to spell out meaningful “words,” the 64
codons, it fails to provide a grammar and syntax that would allow us to use these
“words” in sentences and metaphors, in other words, to turn the images into a
discrete form of communication.
For that piece of the puzzle, we must turn to the western mystery tradition
and a much newer psycho-technology, the Tarot and its Gnostic and Kabalistic
roots.
PART SIX
HILE KEEPING in mind that the label “Gnosticism” covers an enormous
W number of different and often contradictory belief systems, it is possible
to sort through its spiritual kaleidoscope and arrive at an overview of the basic
gnostic cosmology. Gnosticism’s main tenets contain both good and evil gods,
a dualism that is often the opposite of what we would usually expect. The real
force driving gnostic philosophy was its sophisticated and experiential vision of
the End of the World.28
According to the gnostic myth, at the creation of the world the spirit of
Light was imprisoned by the powers of Darkness. This light, the essence of God,
was trapped in human bodies as separate sparks of light, our souls. The gnostic
sects held that the goal of their knowledge was the path of return, or the ability
of the individual sparks to return to the original Light through the process of
redemption. According to the Gnostics, this world, and its history, are the works
of the evil Demiurge. This is the false god, or the evil one, who built this world as
a trap for souls, or the light.
As each soul is redeemed, it travels back to the shattered source of the
divine Light. The soul returns its own small spark of light to the main source,
which slowly, as more and more souls return to it, becomes whole again. Eventu-
ally, when all souls have returned, the physical universe, being now completely
without Light, will end. Given modern biology’s understanding of the light emit-
ting and information carrying ability of DNA, and the implications for the kind
of hologramic reality described by the Gnostics, then such eschatology of Light
gains a new and more scientific meaning. Therefore this “eschatology of Light”
synthesized from Egyptian, Persian and Hebrew elements can be seen as the
framework supporting the vast diversity of gnostic traditions. These traditions

included the new messianic form of Judaism that would become Christianity a
century or so late. 29
The key concept in this eschatology of light is the Tree of Life, Etz Chaim, as
described in the work of creation texts such as the Sepher Yetsirah. The Tree of Life
is a diagram that pictures reality as the intersection of four great realms, or levels
of abstraction. A geometric pattern crystallizes within the intersection planes like
a moiré pattern in a hologramic projection. Twenty-two paths, processes or states
of becoming connect ten localities, spheres or sephiroth. The entire diagram was
thought to describe the nature of creation, God’s artistic technique if you will. But
it’s true importance to the sages was its application to the human condition.30
As God is supposed to have made man in his image and likeness, then man
was thought to contain, in microcosm, the entire Tree of Life. Some medieval Kab-
balists used the concepts in the Sepher Yetsirah to create an artificial form of life,
as in the Golem legends of Prague and Warsaw. To the western esotericists, the
Tree of Life functioned much like the Kundalini diagrams of the Hindu mystics. By
mapping the internal power centers, and then projecting outward and aligning
them with the forces of nature, the magician sought to re-enact the process of
creation. And so become, like God, a co-creator of the universe.31
The sephiroth and the paths are arranged in a few basic patterns. The
top three localities, Kether, Chokmah and Binah, (Crown, Wisdom and Under-
standing) create a triangular motif that is then inverted and projected downward
through the pattern. The first inverted triangle, Chesed, Geburah, Tiphareth,
(Mercy, Strength and Beauty) is repeated by the third and last triangle, Netzach,
Hod and Yesod (Victory, Splendor and Foundation). The whole pattern is then
resolved by, and enfolded into, the last sephiroth, Malkuth (Kingdom).
Each of these triangular patterns represents one of the realms or levels of
abstraction. The repetition of the pattern also creates three columns or pillars
on the Tree. Facing the Tree, the three columns are Mercy, Transformation (note
this column connects Malkuth with Kether, heaven to earth), and Severity. These
repetitions of three can also be seen as the three persons of the trinity, the law
of threes, or thesis, antithesis and synthesis to the modern philosopher. They
can also be seen as the triplet code at the heart of transfer RNA, which creates
proteins according to the DNA’s blueprint, and the three turns formed of ten
triplets.
Indeed, the whole Tree of Life pattern echoes the structural components of
DNA and its processes that we found in the I Ching. The ten spheres are joined
together by the serpent like entwining of the 22 paths, for a total of 32 qualities
and their reflection, which of course matches the 64 protein synthesis code
words of t-RNA. The 22 letters of the paths correspond to the 20 amino acids
and the two punctuation marks formed by t-RNA. As these are formed of words
made of base pairs, we might think of them as possible sentence structures, or
varieties of syntax, that allow for the “metaphor” of a physical body to be “written”
or constructed. Even the 23 chromosomes that each individual passes on in
reproduction can be seen as the 22 paths of the Tree, with the addition of the
Malkuth, or earth element, that creates both gender and individuality. In essence,
the Kabbalah and the Tree Of Life are elegant and symbolic ways to express the
patterns found in the DNA. It is therefore no wonder that it was thought capable
of bestowing life on inanimate clay as in the Golem legends.
Understanding of this combination of mythic mathematics and DNA geom-
etry almost disappeared with fall of the ancient world. It survived in fragments,
and in the quotations of the ancients, until an almost unknown English scholar
named William Stirling wrote the first formal explication since Vitruvius in ancient
Rome. Published anonymously in 1897, his book, entitled The Canon: An Exposi-
tion of the Pagan Mystery Perpetuated in the Cabala as the Rule of All Art, 32 man-
aged, like Fulcanelli’s Mystery of the Cathedrals, to become influential in spite of its
obscurity. It inspired thinkers as diverse as the psychic archaeologist F. Bligh Bond
and the perennial Victorian bad-boy magician Aleister Crowley, who liberally
sprinkled his work with swipes from Stirling.
According to Keith Critchlow, a geometric philosopher and student of Buck-
minster Fuller’s, “the Canon is based on the objective fact that events and physical
changes which are perpetual are never the less completely governed by intrinsic
proportions, periodicities and measures.” As Critchlow notes, “it is to just such a
hidden intrinsic language that the author of this book (Stirling) has dedicated
himself.” 33
In his chapter on Rhetoric, one of the liberal arts surrounding Alchemy on the
base of Notre-Dame’s middle pillar, Stirling gives us a simple description of the
Great Tree of Life: “The process of creation may be expressed by inscribing the
cabalistic diagram in the upper hemisphere, so that the apex or crown reaches to
the Milky Way, while the tenth step will coincide with earth.” Stirling’s “cabalistic
diagram” is the ten-step pattern of unfoldment known to occultists as the Tree of
Life, and according to his explication, it is the basic pattern of the Canon itself.
He writes: “The doctrine of the Cabala was reduced to a geometric diagram,
in which ten steps were grouped according to a progressive scheme, so that the
emanations of the Spirit of the Elohim issues from the first step called the Crown,
and after passing through the whole figure is carried through the ninth step, and
finally reaches the tenth or last of the series.” This cabalistic diagram described
by Stirling, the Tree of Life, was first elucidated in the 2nd century Sepher Yetsirah,
and pictures reality as the intersection of levels of abstraction, again reminiscent
of the intersection of mind and matter, information and structure, that is the DNA
code.
Stirling tells us that “the ideas which the ancients connected… and com-
bined into this figure of ten progressive steps, appears to form the basis of all
their philosophy, religion, and art, and in it we have the nearest approach to a
direct revelation of the traditional science, or Gnosis, which was never communi-
cated except by myths and symbols.” From this we can see that the framework,
the Gnostic pattern, behind the universal language of symbolism, the Language
of the Birds and the Green Language, is this great word/world tree of DNA
geometry. It is also the Ladder of our western shamanic Gnosis.

PART SEVEN
INCE WE have been following the Gnostic footprints of the Green Lan-
Sguage, let us return to Fulcanelli and his most direct Gnostic symbol,
the enigmatic credence of Lallemant Mansion in Bourges described in Mystery
of the Cathedrals.[34] An architectural credence is a false door or window. This
immediately suggests the Egyptian false door used in tombs and the Islamic
mithrab or prayer niche. In Egyptian architecture, the false door allows the ‘Ka’,
or the spirit double that lies within all of us, access to the ‘Ka’ statue, the body’s
immortal form, hidden in a chamber behind the door. This is the doorway to the
Duat, or the astral realm of the light beings. The spirit, or light within us, lives in
this realm after the death of the body. This echoes the Gnostic “spark of light”
trying to find its way back to the great central light of the universe.
In Islam, the mithrab is the prayer doorway to Mecca and the inner mysteries
of Mohammed’s revelation. In many Sufi sects, the mithrab has the geometric
pattern of the Tree of Life, without Malkuth, inscribed in its niche. This is usually
coupled with the Light Verse from the Qu’ran−Sura 24, verse 35. To the Sufis,
this verse exemplifies the very idea of illumination. Idries Shah called the verse
“the essence of Sufism,” and goes on to suggests that it “conceals the nature of
the cognition of the extra dimensions of the human consciousness which comes
beyond the intellect.”
The mithrab/credence in Lallemant Mansion combines Islamic concepts with
the even deeper meaning of a door to the Duat from Egyptian cosmology. It has
three layers, as does the Egyptian false door. On the inner surface of the niche is
a letter rebus that, as we will see, distils the essence of the Sufi Light Verse. We are
also reminded of the Abbot Suger:
“Bright is the noble work, this work shining nobly/ Enlight-

ens the mind so that it may travel through the true lights/
To the True Light where Christ is the true door.”
In the niche of the credence at Lallemant are the letters RERE on one line,
followed by the letters, RER on the next. This is repeated twice more for a total of
six lines, hence doubling or crossing: two times three equals six. It looks like this:
RERE
RER
RERE
RER
RERE
RER
The repetition suggests a sequence with six lines, such as a hexagram of the I
Ching. If we take the RER to be a yin line and the RERE to be a yang line, then the
credence gives us the 64th hexagram of the I Ching: “Before Completion.” If we
flip the attribution so that RER is yang and RERE is yin, then we have hexagram

#63, “After Completion.” These hexagrams are composed of two trigrams, Li, flame
or light, and K’an, water or the abyss. Therefore we have the image of “fire over
water; the conditions before transition,” and “water over fire, the conditions after
transition,” as the sages described it in the text. This image suggests the Silver
Star of the Wise, rising from the depths of space to signal the completion of
the Great Work, and the symbol of both the prima materia and the completed
process, the cosmic serpent biting its own tail of DNA itself.
Jeremy Narby, in his book The Cosmic Serpent, describes DNA as “living in
water and emitting photons, like an aquatic dragon spitting fire.” 35 This certainly
matches the image of the two hexagrams we can make from the pattern on the
credence, and suggests that the I Ching and the DNA light language might be the
same thing, the same “text.” Researchers, such as Rattemeyer, Popp and Ho, con-
sider this bio-photon emission and absorption as a kind of “bio-communication
between cells and organisms,” and their work over the last 15 years suggest
that this language is used not merely on the cellular level but also as a com-
munication and organization mechanism in macro-organisms such as plankton
swarms.36 Narby presents startling evidence that shamanic states can function
as an access way to this internal flow of information in the form of symbols and
imagery.
As we saw above, the Tree of Life is also a way to organize the information
of the DNA. When viewed as a 3 dimensional object, the Tree of Life becomes a
37
prism-like crystal, which increases its resemblance to the liquid crystal of DNA.
We can see these two great information theories as emblematic of the eastern
and western approaches. The Ladder-like approach of the Tree of Life comple-
ments the language-like structure of the I Ching. What unites them is the end
result, the realization of the DNA/light, even in symbolic terms, from which they
originate.
Is there really a very sophisticated meme for transformation and gnosis that
runs through all religions and spiritual traditions? Is this tradition holding the
knowledge of our past for a release some time in the future? Could light, in the
form of weak laser pulses from our DNA, be the source of this information? Could
the pattern itself, represented by the yin/yang polarity of hexagrams #63 and #64,
reveal when understood the ultimate secrets of life, time and fate?
The answer to these questions, and the others we originally proposed
appears to be yes. It is possible to reconstruct the dragon’s speech, the green
language of light’s syntax, grammar and vocabulary, because fragments of that
original green language of light can be found in the divinatory systems used by
all nautes, shaman and initiates, from the archaic oracles of the I Ching to the
medievalism of the Kabbalah and the Tarot. By comparing these to the structure
and processes of DNA, we can assemble a complex of photo-linguistic meanings
that allow us to fulfill the ultimate goal of man’s spiritual yearnings, that of
reading the divine.

NOTES
1 Le Mystere des Cathedrales, Fulcanelli, 1926, J. Schmeit, Paris, 1st edition - 1957,
Jean-Jacques Pauvert, Paris, 2nd edition
2 Le Mystere des Cathedrales - 1971, Neville-Spearman, London, English translation of
2nd edition - 1986, Brotherhood of Life, New Mexico, 1st American edition, pg.
42 - 44.
3 “Biological organization, coherence and light emission from living organisms,”1993,
Mae-Wan Ho e Fritz-Albert Popp, in Thinking about Biology, W. D. Stein and F. J. Varela
eds., pp. 182 -213. Anche, “Biophoton emission: Experiemental background and theo-
retical approaches,” Fritz -Albert Popp, Qiao Gu e Ke-Hsueh Li, 1994, Modern Physcial
Letters B 8 (21-22): 1269 -1296.
4
The Nostradamus Code, Ovason, David, 1998, Arrow Books Limited, London.
5
The Cosmic Serpent, Jeremy Narby, 1998, Tarcher Putnam, New York.
6
The Double Helix, James D. Watson, 1968, New American library, New York.
7 The best single volume work on the early breakthroughs in DNA research remains
The Eighth day of Creation: The makers of the revolution in biology, Horace Freelan
Judson, 1979, Simon and Schuster, New York.
8
See Signs of Life : The Language and meanings of DNA, Rober Pollack, 1994, Houghton
Mifflin, New York, for an excellent overview of how DNA/RNA work as language and
transcription mechanism.
9
Dialog uber den menschen, W. Bitter ed., 1968, Klett Verlag, Stuttgart, pp 231 ff and
249 ff.
10 The I Ching and The Genetic Code: The Hidden Key to Life, Dr. Martin Schonberger, 1992,
Aurora Press, New Mexico.
11 Ibid.
12
Ibid.
13 The Horizon History of China, C. P. Fitzgerald, 1969, American Heritage, New York.
14 The I Ching, translated by Richard Wilhelm and Cary F. Baynes, 1950, Bollingen
Foundation, New York. ‘Shuo kua,’ Discussion of the trigrams, p 265.
15 A Dictionary of Chinese Symbols, Wolfram Eberhard, 1986, Routledge, London, pag. 217.
Anche The I Ching and The Genetic Code: The Hidden Key to Life, Dr. Martin Schonberger,
1992, Aurora Press, New Mexico, pg 131. E Chinese Characters, Dr. L Weiger, S. J., 1965,
Dover Publications, New York, pg 246.
16
The I Ching, translated by Richard Wilhelm and Cary F. Baynes, 1950, Bollingen
Foundation, New York. ‘Shuo kua,’ Discussion of the trigrams.
17 The Diversity of Life, Edward O. Wilson, 1992, Penguin, New York.
18
See Understanding The I Ching - The Wihelm Lectures on the Book of Changes, Helmut
and Richard Wilhelm, 1995, Princeton Univesity Press and Heaven, Earth and Man in
the Book of Changes, Helmut wilhelm, 1977, University of Washington Press for a
fuller picture of this integrated view of the I Ching.

19 Understanding The I Ching - The Wihelm Lectures on the Book of Changes, Helmut and
Richard Wilhelm, 1995, Princeton Univesity Press, pgs 16 -18.
20 Ibid.
21 The I Ching, translated by Richard Wilhelm and Cary F. Baynes, 1950, Bollingen
Foundation, New York, Foreword by C. G. Jung.
22
The I Ching, translated by Richard Wilhelm and Cary F. Baynes, 1950, Bollingen
Foundation, New York. ‘Shuo kua,’ Discussion of the trigrams.
23 The Invisible landscape: Mind, Hallucinogens and the I Ching, Terence e Dennis
McKenna,1993, Harper Collins, San Francisco.
24 The Taoist Classics, volume four, The Taoist I Ching with I Ching Mandalas, Thomas Cleary,
2000, Shambahala, Colorado, pgs 448-452.
25 The I Ching and The Genetic Code: The Hidden Key to Life, Dr. Martin Schonberger, 1992,
Aurora Press, New Mexico, Epilogue: I Ching and DNA − An Interdisciplinary Pheno-
menon, Frank Fiedler, Ph. D. pgs 147 - 152.
26 Ibid.
27 Ibid.
28 The Tree of Gnosis, Ioan P. Couliano, 1993, HarperCollins, San Francisco and The Secret
Teachings of Jesus: Four Gnostic Gospels, Marvin W. Meyer, 1986, Vintage Books,
New York
29 The Gnostic Gospels, Elaine Pagels, 1981, Vintage Books, New York and James M.
Robinson, (editor) - The Nag Hammadi Library, 1978, Harper & Row, New York
30 The Kabbalah Unveiled, S. L. MacGregor Mathers, 1991, Arkana, London and The
Universal Meaning Of The Kabbalah, Leo Schaya, 1971, London
31 Jewish Gnosis, Merkabah Mysticism and Talmudic Tradition, Gershom Sholem, 1960,
New York
32 The Canon - An Exposition of the Pagan Mystery Perpetuated in the Cabala as the Rule
of All the Arts, William Stirling, 1897, Elkins Matthews, London
33 Ibid. Introduction by Keith Critchlow.
34 Le Mystere des Cathedrales - 1971, Neville-Spearman, London, English translation of
2nd edition − 1986, Brotherhood of Life, New Mexico, 1st American edition, pg.
139 -162.
35
The Cosmic Serpent, Jeremy Narby, 1998, Tarcher Putnam, New York.
36 “Evidence of photon emission from DNA in living systems’, M. Rattenmayer, 1981,
Naturwissenschaften, 68 :572 - 573. Also ‘Recent advances in biophoton research and
its application’, Fritz-Albert Popp, et. Al. Eds. 1992, Singapore World Scientific.
37 The Anatomy of the Body of God, Frater Achad (Charles Stanfield Jones) 1969, Samuel
Wieser, New York, pg 57 - 69.

Section 3
ANGELS IN OUR DNA:

The Emerald Modem and
Dr. Dee’s Ophanic Language
“Language, the instrument of the spirit,
has a life of its own - even though it is only
a reflection of the universal Idea.”
Fulcanelli, Le Mystere des Cathedrals
N A PREVIOUS article for this journal1, I proposed that a type of meta-
I linguistic programming was at the core of mystical illumination. Our DNA

emits a weak form of coherent light that works like a communication
system between cells and even between larger organisms, forming the mecha-
nism, or framework, that allows Mind to exist in the universe. This language of
light emitted and received by the DNA may be the original of all languages,
and the ultimate language of initiation in that only one who has the skin of the
dragon, or has become one with the cosmic serpent of DNA, can understand this
symbolic language of light.
In that article, I examined two attempts to reconstruct this dragon’s speech,
this green language of light’s syntax, grammar and vocabulary: that of the
ancient Chinese I Ching and the more modern Tarot symbolism, based in part
on the Renaissance understanding of the Christian Kabbalah. As I noted in the
article, the I Ching provides us with an alphabet and a way to spell out meaningful
“words,” the 64 codons, 2 but it fails to provide a grammar and syntax that would
allow us to use these “words” in sentences and metaphors, in other words, to
turn the images into a discrete form of communication. The Tree of Life, of the
Kabbalah and the Tarot, is also a way to organize the information of the DNA. We
can see these two great information theories as emblematic of the eastern and
western approaches: The Ladder-like approach of the Tree of Life complements
the structural elements of the I Ching, and, by comparing these approaches to
the architecture and processes of DNA, we can assemble a complex of photo-
linguistic meanings that brings us closer to the ultimate goal of reading the
divine language.
However, even the most in-depth explication of these comparisons fails to
conclusively make the case for an innate connection between the DNA’s language
of light and the nature of language itself. For that, one would need a very unique
kind of experimental situation: one in which a small group with shamanic abilities
actually “projected” a language from the spirit realms. Fortunately, history pro-
vides us just such a situation: the Angelic communications of John Dee and
Edward Kelley.

John Dee was born in 1527 and his formative years were colored by the
religious turmoil brought on by the Reformation. Dee’s family, through which
he would later claim distant kinship with Queen Elizabeth, arrived in London in
the wake of Henry Tudor’s coronation as Henry VII. His father was a gentlemen’s
gentleman for Henry VIII, and John Dee’s character was molded in a climate of
religious protest and reaction. By the time he went up to Cambridge at fifteen,
he was searching for a resolution to the problem of religious authority, seeking a
type of spiritual science that could supply insight into the workings of nature by
infusing the natural world with mystical meaning.3
After studying at Cambridge and Louvain, Dee achieved the status of Renais-
sance celebrity in 1550 with a lecture on mathematics and the spiritual aspect
of number at the University of Paris. During the reign of Edward VI, Dee became
involved in the political maneuverings around the throne and by the summer
of 1555 found himself in prison on an unspecified ecclesiastical charge. Catholic
Mary, “Bloody Mary,” had succeeded the young Edward and times were tough
for Protestant mathematicians and magicians, especially for those known to have
cast horoscopes of the Queen. Dee spent three months in prison. His cellmate
went to the stake, as did over six hundred others, for witchcraft and heresy.
Dee survived his trial and lived to joke about it with his new patron, Queen
Elizabeth I, who was also accused in the plot. Soon after her coronation, he was
proclaimed the Royal Astrologer and given, specifically, freedom from ecclesiasti-
cal harassment. Dee settled in at his mother’s home, Mortlake, which would even-
tually house the largest library of its time in all of Europe. Only the great national
collections of the next century surpassed it. In the early 1580’s Dee listed over
four thousand volumes, three thousand printed books and over one thousand
in manuscript. The libraries of Oxford and Cambridge together numbered less
than a quarter of that total. Mortlake acted as the Elizabethan equivalent of a
university research center, and it was said that the library contained the whole
of Renaissance thought.
At the end of 1562, Dee departed on an expedition to the continent pro-
posed by Lord Burleigh, Queen Elizabeth’s chief minister, and Sir Francis Wals-
ingham, the head of Elizabeth’s intelligence service. The exact reason for this
intelligence-gathering venture remains unknown but in a previous article4, my
co-author Terri Burns and I speculated that Dee discovered during his travels
several critically important manuscripts; texts that would shape the rest of his life
and revive, through the resulting Rosicrucian movement, the esoteric traditions
of the west. One of those texts was the Steganographica of Trithemius, the Abbot
of Sponheim. He spent ten days copying a manuscript of this work and crowed
to Lord Burleigh about its value. The Steganographica appears to be a textbook
on codes and ciphers, all very valuable to spies and intelligence networks, but
is really a hermetic text on angelic communication. Designed so that the codes
and ciphers described in the first section of the book must be used to read the
second section on angelic magick, Trithemius’ masterpiece works like our modern
ANGELS IN OUR DNA 133

interactive games. The reader has absorbed the mind-set or worldview of the book
by the time the important information is reached.
In the winter of 1564, after almost a year of traveling and book buying,
Dee wrote the Monas Hieroglyphica in one long twelve-day explosion of insight.
In spite of its intentional obscurity, the Monas Hieroglyphica became the Renais-
sance equivalent of a best seller and attracted comment from the best minds of
the next century and a half. Dee had many agendas for his trip to the continent,
from espionage to book buying and publishing his own works, but after his
discovery of Trithemius, his focus seems to have shifted. Dr. John Dee, secret
agent and scholar, embarked on his search for the secret knowledge. The Monas
is proof enough that he found it, but we are left wondering just what was the
spark that kindled Dee’s flash of intuitive knowledge? In the article cited above,
we speculated that it was the nascent grasp of higher dimensional geometry
found in the seals of Anael in the Consecrated Little Book of Black Venus:
In a few months, this growing awareness would result in the Hiero-
glyphic Monad, and a few decades after, in the corpus of the Enochian
material. All of these works hinge upon an understanding of sacred
geometry, taken to an extraordinary level of insight. Dee gained that
insight through an understanding of, and perhaps an interaction with,
the structure of the Black Venus ritual. By visualizing the complex con-
cept of a cube within a cube, that also unfolds into six cubes attached to
the faces of a seventh cube, Dee had stumbled onto the key concept of
the mathematical 4th dimension. 5
After 1564, Dee published only mathematical and scientific works. His edition
of Euclid, with the “Mathematical Preface,” appeared in 1570, and in 1577 his
“Perfect Arte of Navigation” was published. Virtually nothing else appeared in
print in his lifetime. From 1563 on, Dee had the tools and the basic understanding
to embark on an exploration of angelic communication, the idea that had led
him to copy Trithemius with such excitement, but he lacked the enthusiasm. The
logic of turning to supernatural forces for knowledge about the universe seems
strange to our modern scientific sensibilities. This is a category of experience that
“science” has labeled subjective and therefore suspect. To Dee’s contemporaries
it seemed less unusual. The possibility of acquiring knowledge by revelation
or inspiration was a vital component of the Renaissance paradigm. In the “Math-
ematical Preface” to his edition of Euclid, Dee asserts that man “participates with
Spirits, and Angels: and is made to the Image and Similitude of God.” He also
notes that there are powerful precedents for angelic communication, the tradi-
tions of Enoch and Esdras, Abraham and Elijah and Moses, and “sundry others thy
good angels were sent (to) by thy disposition, to Instruct them.” 6
During the spring of 1581, John Dee had his enthusiasm reawakened by
a close encounter with just such an angel. He was praying in the chapel of
his Mortlake home when a sharp rapping sound drew him to the curtained
windows. Throwing aside the drapes, John Dee came face to face with a shining

being floating a full 12 feet off the ground. The being gestured for Dee to open
the window, and when he did, the shining figure handed him a smoky quartz
egg. Dee took the egg, and the figure vanished.
It is easy, from a modern perspective, to dismiss this incident as a supersti-
tious legend, but the crystal still exists, on display in the Manuscript Room of the
British Museum. Dr. Dee kept careful records and made notes almost obsessively.
We have notes on the construction of his other scrying glasses, as these types
of crystals were known, but nothing, except the above incident, about the smoky
quartz egg. Even Dee’s first biographer, Meric Causabon, who was anything but
sympathetic, simply reports the origin of the crystal without comment.
John Dee’s encounter with the angel was the defining moment in his life. As
if he had been waiting for just such a sign, some token of divine favor perhaps,
Dee launched into a search for a way to use the quartz egg as a means of
communication with the shining angelic beings. His first serious attempt, on
December 22, 1581, involved a man by the curious name of Barnabus Saul, one
of Dee’s servants, who acted as a medium or seer. Apparently, he was a better
footman than a medium, for after a few sessions we hear no more about him.
By March 1582, however, Dee’s seer had located him.
“Mortlake: In the Name of Jesus Christ, Amen. In the year 1582, on the
10th day of March, before noon, Saturday.
“One Mr. Edward Talbot came to my house and he being willing and
desirous to see or show some thing in spiritual practice. . .”
So begins Dee’s notes of his first scrying session with his new seer, Edward
“Talbot” Kelly. At first, Dee was suspicious of the young man, and rightly so. He
appeared virtually unannounced, offering a fake name−he might have been a
spy seeking information on Dee’s spirit conjurations−and even when identified
proved to have an unsavory reputation. Dee soon resolved his doubts however;
and so, on an early spring morning roughly a year after Dee’s angelic visitation,
they sat down to a trial run with the scrying stone. It is hard not to be impressed
by the vivid quality of the quickly written notes of the proceedings. Kelly fell to
his knees before Dee’s desk and began to pray over the stone; surprised, Dee took
Kelly and the stone into his chapel, or oratory.
Within a quarter of an hour, Kelly began to see an angelic shape in the crystal.
This being identified itself as the Archangel Uriel, accompanied by Raphael and
Michael. Dee was hooked by this immediate success; and so began a long strange
relationship between these two men and the angels. For the next seven years,
they conducted almost daily sessions. Dee of course wrote everything down
in his “Spiritual Diaries,” and reading them becomes after a while an exercise
in applied surrealism. As an example of a dialogue with the deep unconscious
Other, they are unparalleled.
At this first session, the Archangel Uriel revealed his sigil, a rather stylized
energy signature, and gave preliminary instructions for a powerful talisman
called the Sigil of Truth. Fashioned of wax, it was to be used in all future sessions

as the base for the scrying crystal. This seal or sigil is at first glance similar to
earlier ones by Aggripa and Reuchlin, but the version the spirits produced for Dee
and Kelly is more detailed and aesthetically satisfying. Designed as an embedded
heptagram/heptagon with a pentagram in the center, the Sigil of Truth theoreti-
cally acted as a template or pattern buffer for truthful communication.
The Sigil of Truth also functioned as a geometric foundation on which the
rest of the angelic system grew7 Around the outer edge of the Sigil is a series of
letters and numbers. From these, the angels derived a series of great elemental
names, which were said to describe the forces ruling each elemental tablet. The
names of the angelic beings within the heptagon/heptagram were transmitted
in the form of letters arranged in squares. These squares were then read in differ-
ent directions to produce even more angelic names. This gives the impression of
a vast fractal universe in which the nature of the intelligence consulted depends
on the angle of symmetry of your approach.
On March 26, 1583, Kelly was shown a great book with the leaves filled
with squares. For the next 13 months, Dee and Kelly struggled to copy the
contents of this angelic volume, despite interruptions and interference from the
spirits. The vision of the book marked the first appearance of material concerned
with the angelic language. There have been recorded something like seven thou-
sand natural languages in human history. Human ingenuity has created perhaps
another thousand languages, mostly for religious and magickal uses.8 But we
have no record of any language stranger than the one that emerged from these
scrying sessions: Dee and Kelly’s Angelic or Enochian language is unique.
The alphabet appeared first; twenty-one special characters each with its own
title. The titles are odd, with little relationship between title and the phonetic
value of the character.
Dee and Kelly were instructed to draw the characters they saw in an eight
by eight square held up by the angel Ave. A faint yellow outline of an alphabetic
character appeared on the page in front of Dee, which he then filled in with
ink. The characters were somewhat similar to several magickal scripts, including
that described by Pantheus in his Voarchadumia, but more refined. They are also
vaguely reminiscent of Ethiopian characters.
The titles of the twenty-one letters emerged in three groups of seven; twenty
characters spell seven titles in the first group, twenty-one in the second and
twenty-three in the third, for a total of 64 characters. Since each letter is asym-
metrical, the complete group of twenty-one forms three variations on the seven-
fold symmetry set. Only eighteen letters are used to spell out the titles of the
letters; the three left out letters, B, Q, and Z, one from each of the three symmetry
groups, are the “mother” letters used to mark the three directions of space. The
missing or hidden 22nd letter, corresponding to the Greek Theta, forms one of the
points of the tetrahedron, formed as in the Hebrew language. These characters or
letters were then used to dictate the first texts in the angelic language.
On Good Friday, March 29, 1583, the angels began with a slow deliberate
method−the angel spelled each word, letter by letter, and then Dee wrote out

the English and read it back−to fill in a large 49 x 49 square, where each square
was a word and each line a text. After two lines of text, Dee expressed a desire
for a simpler method. Annoyed at the request, the angel departed. By the fol-
lowing Tuesday, when the session reconvened, the angels were prepared with a
completed square from which Kelly could read off the text. Kelly however had not
memorized the letters given the previous week.
Annoyed again, the angel intervened.
A voyce -- Read.
E.K. -- I cannot.
<Dee>: You should haue lerned the characters perfectly and theyr names,
that you mowght now haue redily named them to me as you shold see
them.
A voyce -- Say what thow thinkest. (Dee- he sayd so to E.K.)
E.K. My hed is on fire.
A voyce -- What thow thinkest, euery word that speak.
E.K. I can read all, now, most perfectly, and in the Third row this I see to
be red. Palce duxma ge na dem oh elog. . .
(Sloane MS 3188, April 2, 1583)
What happened here? The angel said “What thou thinkest, every word, that
speak,” and Kelly miraculously began to read. Perhaps he had notes hidden from
Dee, but that “My head is on fire” comment suggests something very strange hap-
pened that afternoon. Did the angels, those non-earthly, non-local intelligences,
force Kelly’s consciousness into resonance with a language pattern coded into
our very DNA? Or are these non-local intelligences actually a projection from
the DNA?
The answer seems to be yes to both. The tables shown to Kelley by the angels
resemble the vast literary mandalas of Tibet, and like them are full of phonetic
patterning, repetition, rhyme and alliteration. This type of verbal patterning is not
found in normal speech, but is characteristic of poetry and magickal charms as
well as “speaking in tongues,” or glossolalia, that is language produced under
trance conditions.
There is no question that Kelly was in some kind of trance during these
sessions. Dee notes many occasions indicative of a deep trance state on Kelly’s
part. However, this does not mean that the “language” produced in these sessions
was meaningless gibberish. The phonetic patterning is also similar to verb tense
and other grammatical drills. Perhaps Kelly was constructing, in a trance state,
the linguistic links his unconscious needed in order to receive a more complete
form of the angelic language, one that developed from these original text-filled
squares.
The squares of the Liber Logaeth, or the “Book of the Speech from God” as
Kelly called the great book of his vision, did indeed form the basis of a new series
of 49 invocations or Calls dictated in the spring of 1584, while Dee and Kelly were
in Cracow, Poland. Unfortunately, the details of how this version of the Enochian

language developed from the squares is very unclear. All we can be sure of is that
it was generated somehow out of the previous tables and squares, and this time
a translation was provided right from the start. With these translations, we begin
to find a real language emerging. The Keys or Calls contain the purest example
of the Ophanic Language that we have, and they provide a literary structure,
the grammar and syntax of a real language. These are similar to English, perhaps
because of Kelly’s unconscious linguistic processes, but vocabulary elements,
roots and prefixes and case endings, are not directly derivable from English,
Greek, Latin or Hebrew. Some words suggest Sanskrit and ancient Egyptian roots,
languages completely unknown to either Dee or Kelly.
The sessions continued until 1589, when Dee returned to England. They
produced a vast quantity of material, including the Elemental Tablets ruled by
the Great Kings named on the rim of the Sigil of Truth. Kelly remained in Europe
and died in 1595 while trying to make his escape after a failed alchemical career.
Dee survived until 1608.
And that, in a somewhat abbreviated form, is the story of our experiential
situation. Dee and Kelley tapped into something deep within the structure of
Mind, “the Speech of God” indeed, and perhaps even the original language matrix.
In their work with the angels, we see an almost perfect example of “language”
extruding itself into consciousness. The uniqueness of the experiment can be
found in its growth and progression from an alphabetic matrix, through a transi-
tional period of fractal-like chaos until finally resolving into a formal language in
which complex ideas can be expressed. All of which makes it the best test case
possible for our thesis.
At the beginning of the angelic sessions, Dee and Kelley received information
on how to produce a seal of “truth” based on the idea of organization by means of
seven-fold symmetry. This symmetry organization continued into the alphabetic
grid, with it’s grouping of the letter titles, producing an eight by eight, 64 square,
grid and a 21/22 letter/title pattern within it. This approach combines both the
component “codons’ or alphabetic packets, the 64 codons, of three nucleotide
units each, used by DNA and RNA to specify the amino acids needed for protein
synthesis, as well as the ladder-like phrasing of the letter/titles, which correspond
to the 20 amino acids and the two punctuation marks formed by t-RNA. As
these are formed of words made of base pairs, we might think of them as pos-
sible sentence structures, or varieties of syntax, that allow for the “metaphor”
of a physical body to be “written” or constructed. Like the Kabbalah/Tarot, the
Ophanic language has the same possibility of syntax and grammar, one that
matches innately with the structure of RNA/DNA.
Ophanic also exhibits a triplet-like three-fold quality with its three groups of
seven letter/titles, which functions like the triplet code at the heart of transfer
RNA, which creates proteins according to the DNA’s blueprint. 9 As we saw in the
earlier analysis of the I Ching10, each ordering of trigrams/triplets can be used to
generate a sequence of the 64 hexagrams/codons, which describes the changes,
or relationships, within that level of reality. Thus, the linear or binary sequence

describes the diversity of life produced through the action of tRNA, the celestial
sequence describes the quality of time as the evolution of the results of action,
what the Hindus call karma, and the temporal sequence describes the unfolding
of the life force, the Chi, through the year and the landscape. By referring to all
three, a total picture of reality emerges.
One can read the Ophanic alphabetic matrix in the same way: three different
organizational patterns with the addition of a fourth to include all corners of
the grid. This results in a 4 by 4, or 16 different symmetry sets or patterns. Each
pattern, or way of reading the letter titles, produces 32 different sub-domains,
that is eight “names” or frequency signatures in each of the four directions. This
gives us a grand total of 512, or eight cubed, individual symmetry set domains.
(For illustrations, refer to Part VI: Complete Ophanic Handbook.)
The 16-cell 4D figure, a 4D octahedron, or a pyramid within a pyramid, has the
same relationship to the hyper-cube as a 3D octahedron has to a cube. Just as
the vertices of the octahedron form the faces of the cube, so do the vertices
of the 16-cell hyper-octahedron form the cells of the hyper-cube. Each of the
basic sixteen symmetry patterns of the 64 square Ophanic alphabetic structure
forms a cell of the 4D octahedron. The eight patterns formed on the horizontal or
the vertical are the eight surface faces that show in a 3D octahedron. The eight
diagonal patterns form the inside cells of the 4D octahedron. Within each cell,
the 32 sub-domains form the faces of the 4D figure; the 16 directions and the
eight categories of sub-domain form the 24 edges of the 16-cell figure. The eight
vertices are formed by the same ranking as the categories of sub-domain, that
is either eight across, eight down, eight names with one to eight letters, etc. (For
illustrations, refer to Part iV: Basic Ophanic Geometry.)
If we think of the three I Ching sequences as being biological/linear, temporal/
karmic and local/chi flow, then the additions of a fourth ordering pattern takes us
to a new level, one that be seen as that of the DNA intelligence/communication,
or basically that of a higher dimensional quality. The Ophanic alphabetic grid
takes the I Ching’s realization of a gnomic or geometric view of the universe’s
expansion from first cause to the reality event horizon symbolized by the 64
hexagrams, into new territory, 4D space.
In a very basic and direct way, Ophanic positively answers our original ques-
tion: Does the experiential situation conclusively make the case for an innate con-
nection between the DNA’s language of light and the nature of language itself?
It seems that there really is a very sophisticated meme for transformation and
gnosis that runs through all religions and spiritual traditions, all sacred languages,
and the source of that meme can be found in the form of weak laser pulses from
our DNA. Could the pattern itself, represented by the yin/yang polarity of the
64 hexagrams/codons and the syntax of the 22 amino acids, reveal the ultimate
secrets of life, time and fate?
It indeed is possible to think of the Ophanic 4D octahedron alphabetic grid
as a seed containing all possible DNA derived probability waves; in other words, a
model of the literal matrix of creation.

NOTES
1 Bridges, Vincent - “Reading the Green Language of Light,” Journal of the Western Mystery
Tradition, No. 4, Vol. 1. Vernal Equinox 2003.

2 Crick defined the codon as “a group of bases that code for one amino acid. In simple
codes a codon is a fixed number of consecutive bases, e.g., in a ‘triplet’ code it is

three consecutive bases, but it is possible to conceive codes in which, for example,
some codons consist of two bases and others of three. Again it is not certain that the
bases making up a codonare adjacent on the polynucleotide chain.” For more on the
molecular structure of nucleic acids, see Watson & Crick, especially The Double Helix
50th anniversary collection.
3 For more on Dee’s biography, see French or Woolley; for Dee’s own account, see Fenton.
4 Burns and Bridges 121-134; earlier version available: http://jwmt.org/v2n13/book.html
5 Ibid. 157-161.
6 Dee, “Preface,” available: http://www.gutenberg.org/ebooks/22062
7 For a more detailed analysis of this process, see Crowley Liber LXXXIV vel chanokh.
Available: http://www.hermetic.com/crowley/libers/liber084.pdf. For a modern
transcription of Dee’s original notes, see Peterson.
8 Hulse.
9
Unfortunately few since Crowley have attempted to map out the sacred geometry
in any comprehensive way, and much of the mathematics used to describe symmetry
angles did not exists in Crowley’s time. Since understanding the subject at all requires,
for most, other initiatory knowledge in sacred languages such as Hebrew, see the build-
ing blocks presented by Regardie and others in the bibliography. Also note Crowley’s
discussion of the I Ching in Liber trigrammaton: Sub figura XXVII; Available on-line
http://lib.oto-usa.org/libri/liber0027.html. For recent comparisons
between the I-Ching and DNA, see Yan or Walter.
10 Bridges, op. cit.

Section 4
BASIC OPHANIC GEOMETRY
by Vincent Bridges ©1997
Illustrated by DARLENE ©1994-2009
FIVE PLATONIC SOLIDS
Tetrahedron Octahedron Cube Icosahedron Dodecahedron
Five Platonic Solids: tetrahedron, octahedron, cube, dodecahedron and

icosahedron, organized in a single, tetrahedron, and two duals, cube/octahedron
and dodecahedron/icosahedron, or mutually defining forms. That's in 3D, of
course. In 4D, we find six regular solids, two pairs of duals and two self-duals,
or self-defining forms.
Three Views of Dual Interpenetrating Tetrahedrons
Dodecahedron/Icosahedron Duals Icosa-dodecahedron
The Octahedron shown with its edges

divided in the golden section so that
the points for any face of the octahedron
form an equalateral triangle. The 12
points of division are the vertices of a
regular icosahedron.
BASIC OPHANIC GEOMETRY 141

Our singular solid, the tetrahedron, is the basic 3D minimal form, as the triangle
is in 2D. Its stability comes from the fact that its center of gravity is defined by
diagonals of the center point of the edges, making it non-dual, or a unique
boundary forming the sharp demarcation between 2D and 3D. All higher forms
and dimensions seem to emerge from this singular seed of form.
One tetrahedron One tetrahedron Tetrahedron as Viewed edge-on

shown in in a two-fold
perspective symmetry.
One cube One tetrahedron

in cube
Viewed face-on Viewed in an
in a three-fold alternate 3-fold
Both symmetry. symmetry.
Tetrahedra
in cube
Two tetrahedra will fit The tetrahedron has 2, 3
inside one cube. 3-fold symmetry.
SPACE: THE FINAL FRONTIER

THE POINT is a THE LINE is aseparation
To understand the concept of movement through space is to single monad. between two monads
understand the relationship between the point, the line, the
plane and the solid.
There are three basic steps to turn thought into matter (shown
right): the Point (0 dimensions) becomes a Line (1st dimension), THE PLANE forms THE SOLID has four
line into Plane (2nd dimension), and Plane into a Solid (3rd three monads monads in contact
dimension). with each other.
MINIMAL MOVEMENT MEDIAL MOVEMENT MAXIMUM MOVEMENT
POINT BECOMES LINE POINT BECOMES LINE POINT BECOMES LINE
LA LINEA DIVENTA PIANO LINE MOVES TO BECOME LINE MOVES IN A

LINE BECOMES PLANE CIRCLE
SQUARE
THE TETRAHEDRON CUBE SPHERE

FIRST PRIMAL SOLID Considered to be the “perfect” space.

THE TETRAHEDRON IS A BUILDINGBLOCK
Regular truncation of the tetrahedron only produces more, smaller tetrahedrons.
New forms emerge by adding tetras and allowing them to merge. Two tetras
form an interlocking star-like pattern that can be truncated to form the next
Platonic solid, the octahedron.
The octahedron duals into the cube, point to face, and the cube spins into the
dodecahedron, which stellates into its dual, the icosahedron. 3D emerges from
the tetra, but what of 4D?
THE FIVE CUBES WITHIN A DODECAHEDRON
©1996 DARLENE
THE OCTAHEDRON
DUALS INTO
A CUBE.
It also emerges from the
tetra. If we take five tetra-
hedrons and merge
them according to their
bilateral symmetry we
form the 3D shadow of a
pentatope, the simplest
4D figure.
Cube Octahedron
Cubottaedro Cubealand
Dentro Octahedron
Cubo duals
e all’Ottaedro

Each of the penetope’s five dimensional
faces is a regular tetrahedron. If we think
of these five tetrahedrons and their
merge symmetry as two loops of five
plane faces, then the folding and un-
folding of the pentatope through 3D
space forms a Moebius strip. This creates
the pentatope's self referencing duality.
THE PENTATOPE The shadow of this self-referencing in 2D
is a pentagram inscribed in a pentagon.
Just as the tetra acts as a boundary form between 2D and 3D, the pentatope
acts a boundary between 3D and 4D. Except the boundary between 3 and 4D
is permeable, by the self-referencing Phi ratio pentagram, whereas the boundary
between 2D and 3D is singular and non-permeable.
Visualize each part in

3-D as ten different
interpenetrating
Tetrahedra.
©1997 DARLENE
THE FIVE TETRAHEDRA WITHIN THE PENTAGRAM AND THEIR

REVERSED REFLECTION CREATE A MOEBIUS STRIP WITH CENTRAL
PENTAGRAM AS SWITCH POINT.

The Pentagram is
the Perfect Fractal
The geometric property of the
pentagram is to endlessly
replicate smaller and larger
versions of itself.
Five-fold symmetry is also
nature's preferred structure.
The pentagram self-replicates

at a phi ratio.
Top view of Icosahedron

showing Phi is inherent to it..
The phi (ø) ratio permeates

the pentagram. Each part
relates to all others and to the The relationship between 10 Top view of Icosahedron
whole in a visual expression nested phi spirals and the showing Phi is inherent to it.
of the golden mean. pentagon.
©1996/2009 DARLENE

THE ICOSAHEDRON AND PHI (Ø)
Edges: 30
Faces: 20
Vertices: 12
Length: Ø
Top View Side View #1 Side view #2 Tilted view
THE SACRED GEOMETRY OF THE ICOSAHEDRON
Start with a Connect opposite From the mid-point, With the mid-point
hexagon hexagonal apexes. left, divide the hori- as center and radius,
inside a circle. zontal line in half and draw arc to connect
draw a line to the top with horizontal line.
of the circle.
Through Phi (Ø) the

icosahedron takes
form. The dotted
lines denote that
part of the icosa-
hedron not directly
visible to the eye. The
Draw another Mark the six points To reveal the shaded area indi-
circle, extending where the circle icosahedron, cates one of the 20
from where the arc intersects with the simple connect the triangular faces of
intersected the hexagon. points. the icosahedron.
horizontal line.

THE DODECAHEDRON
Close packing of 12 The 12 pentagonal Cube’s hexagonal Relationship of

spheres form a faces of the face revealed within Dodecahedron
Dodecahedron. Dodecahedron. Dodecahedron to DNA
THE DODECAHEDRON AND PHI (Ø)
Edges: 30
Faces: 12
Vertices: 20
Length: 1/Ø
Top View Side view 1 Side view 2 Tilted view
THE DODECAHEDRON
EMERGES FROM THE ICOSAHEDRON
Remember the Start with drawing Connect the 12 The dodecahedron is

Icosahedron the 12 points of the vertices, omitting suspended within the
icosahedron.. the diameter lines. larger icosahedron.
©1996 DARLENE

This suggests that the flow of energy/
information is from higher dimensions to
the lower, with the tetra as the ultimate
packing form of that energy/information
stream. We can think of this flow as cen-
tropic, or anti-time, as opposed to the
entropic flow of evolutionary time. The
MOEBIUS STRIP
switch plate, from entropic to centropic, for
our local space/time is the conscious use of
the pentagram's dimensional doorway, the
Moebius strip of packing and unpacking
tetrahedrons.
The other 4D solids emerge from their
3D analogs by the same process of adding
dimensional cells. The 16 cell hyper-octa-
hedron adds another face to each 3D face
to become an octahedron inside an octa-
hedron. HYPER-OCTAHEDRON
The same happens with the cube. Just
as the cube is formed from the square
by duplicating the square, moving them
apart and connecting the corresponding
edges, so too the hyper-cube by separ-
ating duplicate cubes and then joining
the edges. Counting the two original
cubes, this gives the hyper-cube eight
dimensional cells, each of which defines
two cells of its dual, the hyper-octahe-
dron, making the 4D pair of duals the
reverse of the
3D pair.
TWO MORE VIEWS OF THE 16-CELL

HYPER-OCTAHEDRON SHOWING
HYPERCUBE
L’IPERCUBOOR TESSERACT
O TESSERATTO RELATIONSHIP TO PENT.

Adding another eight cells to the hyper-octahedron produces the second 4D
self-referencing solid, the 24-cell polytope. It is formed by truncating the hyper-
octahedron, making each dimensional cell a 3D octahedron. We can think of
the 24 cell as the super hyper-octahedron. Its self-referencing packing and
unpacking pattern unfolds as a Mobieus strip of 23 pairs of plane faces of the
unilateral spin symmetry of the octahedron. The 24 cell can also be constructed
from two hyper-cubes by cutting one into its eight cubical cells and attaching
these cells to the dimensional cells of the other hyper-cube. The 24 cell also
embeds within it all the lower 3D and 4D solids, making it a sort of master
form for 3D/4D interaction.
THREE VIEWS OF THE 24-CELL
There are two more 4D solids, the 600 cell and the 120 cell, which are duals
and are developed from the icosahedron and the dodecahedron. Like the
cube/octa - hyper-octa/hyper-cube reversal, these higher 4D duals are also
reversed from 3D. These higher 4D solids have the same relationship with the
lower solids as in 3D. Five icosahedron merge to form the 120 cell polytope,
and fifty dodecahedrons form Phi ratios within the 600 cell figure, just as five
cubes form a dodecahedron and the vertices of the icosahedron appear within
the octahedron when its edges are divided into a Phi ratio.
COMPARISON TABLE
GEOMETRIC VERTICES LENGTH FACES CELLS
Pentatope 5 10 10 5
Hypercube 16 32 24 8
16-Cell 8 24 32 16
24-Cell 24 96 96 24
120-Cell 600 1200 720 120
600-Cell 120 720 1200 600

The basic arrangement of 3D/4D interaction is best described by the Kabbalistic
Tree of Life pattern. In this diagram, formed from the centers and intersections
of four interpenetrating circles, we find the progression of related solids, in
both dimensions. At the bottom is the tetrahedron, our singular physical form
in 3D, and its counter-part, the pentatope, the 4D self-referencing switch plate
that provides access to the other 4D solids. Above that is the cube/octa and
hyper-octa/hyper-cube grouping. This coalesces into a matrix form, the 24 cell
4D polytope with no 3D analog, which mediates the upper part of the Tree,
the dodeca/icosa and the 600 cell and the 120 cell 4D polytopes. The 24 cell
polytope takes the Daat or gnosis position on the Tree.
COMPONENT GEOMETRIES OF THE TREE OF LIFE
Three shapes enfolding together: the

Dodecahedron, the Cube, and the Tetrahedron.
© 1996 DARLENE
Dodecahedronal
Sephiroth
Tiphareth
Cubic
Sephiroth
Tetrahedronal
Sephiroth
Sephira of the Tree of Life spaced by Tiphareth, the sixth sephiroth, is at the golden heart
the Vesica Pisces at the center of the Tree of Life and is encompassed
by the Cube and the Dodecahedron.

Kether
DIVINE
WORLD
1 2
Binah 3 Chokmah
4
8 6 ARCHETYPAL
WORLD
7 5
Geburah 12 Chesed
9 10
13 11 FORMATIVE
WORLD
16 Tiphereth 14
Hod 17 Netzach
20 15 18
WORLD OF
Yesod ACTION
21 22 19
Malkuth
The Kabbalist’s Tree of Life is created by the intersection
points of four circles representing the four worlds and
the three vesica pisces they create.
The Geometry of the Earth Grid and its Connection to the Tree of Life
The earth is a dodecahedronal crystal. While the tectonic plates no longer
match the dodeca pattern, an indication of the planet's age, the basic crystal
structure survives. Each face is defined by the top point of one of twelve prism-
like 3D Trees expanding outward from the earth's core. This point becomes
the center of the dodecahedron's pentagonal face and one of the vertices of
its dual, the icosahedron. If we project all five platonic solid onto the surface
of a sphere, they nest perfectly within the pattern defined by the icosa-dodeca.
This pattern has been called the earth grid and there is much evidence that
it was used by the last pre-catastrophe civilization.
THE ICOSA-DODECAHEDRON

Just how did they use it is the question. If we think of these twelve Kether or
crown points on the surface of the earth as the center point of the vast
dimensional doorway created by the pentagonal form, then we can see them
as mediating this flow of centropic energy out through the resulting icosa-
dodeca grid geometry. This grid also contains the spherical patterns of the
other Platonic solids, which act as seeds for their 4D counterparts. Through its
grid, the earth sustains life by creating a resonant oscillation between
dimensions. Sentience itself maybe an artifact of the grid, because as we saw,
self-referencing, a pre-condition of awareness, occurs only when 3D folds into
4D, five tetrahedrons interlocking to form the pentatope and its
pentagon/pentagram shadow. To the Pythagoreans, the pentagram was the
symbol for humanity, an indication of their understanding of the self-awareness
that makes us human.
Length of Length of Length of Length of

line = 1 line = 1 line = 1 line = Ø
Length of Length of
line = Ø line = 1
THE PHI RELATIONSHIP OF THE PENTAGON AND PENTAGRAM.
If the earth grid mediates the An Unfolded Sphere showing how Four
Platonic solids and their 4D Tree of Life patterns fit together.
analogs, where do we find the
24 cell polytope, the Daat/gnosis
master solid?
We might look for something
that makes the earth unique,
such as the orbit of its satellite,
the moon. Thinking in terms of
the Tree of Life, we can collapse
the middle pillar, Kether, Daat,
Tiphareth, Yesod and Malkuth,
into two concentric circles,
Kether/ Tiphareth/ Malkuth and
Daat/ Yesod.
1 - Kether (top of sphere) 1

2/3 - Chokmah/Binah 4
4/5 - Chesed / Geburah 4
6 - Tiphereth (equator) 4
7/8 - Netzach / Hod 4
10 - Malkuth (bottom) 1
22
UN ALBERO DELLA VITA CHE SI PROIETTA SU UNA SFERA

FORMA 1/4 DELLO SCHEMA COMPLETO
This helps us see the identity between the sphere of Daat/Gnosis and the sphere of
the moon as well as the collapsing focus from galactic center to the sun and then
onto the earth, Malkuth, the kingdom. With this in mind, we can place the 24 cell
polytope in space, within the sphere of the moon. When we do this, we notice that
the cubical center of the 24 cell forms within the sphere of the earth. When Daat/Gnosis
is properly aligned, then the earth becomes a cube of space where dimensions overlap.
The Great Cross and the New Jerusalem
In preparing for the Apocalypse working, I discovered
that the Tablet of Nalvage unfolded into the 24 cell
polytope. I placed this in the sphere of the moon for
the reasons noted above. At that point, I did not notice
the importance of the central cube. But as our under-
standing of the Great Cross and its connection to the
New Jerusalem/Cube of Space developed, it became
apparent that the central cube formed by the 24 cell
4D figure was indeed a key component.
THE 24-CELL 4-D FIGURE.
The Great Cross is the moment coded on the monu-
ment at Hendaye, the moment when the cube of space is actually formed in the
heavens by the appropriate alignments of the sun, moon and galactic center. The
monument also tells us that the Cube is formed over the period of twenty years, from
the summer solstice of 1992 to the winter solstice of 2012.
The ancient Abrahamic astronomy tells us that the Cube of Space is formed from the
three dragon axis of the universe, the ecliptic axis (#1 in diagram below), the galactic
axis (#2) and the planetary equinox axis (#3). In projecting the Tree of Life on the Cube
of Space, we find that the ecliptic axis connects the top and bottom face of the cube
while the galactic and the planetary connect opposite edges on the horizontal plane.
If we also think of each axis as uniting a pair of faces on the Cube of Space, then our
three celestial axes, the ecliptic pole, the galactic pole and the equinox sunrise, form
a perfect cube within a cube on the mid-point of the twenty-year cycle, the fall equinox
of 2002. We can see this by remembering that the earth cube is formed on each
equinox. As the equinoxes precess backward against the fixed stars, the earth cube
slowly rotates. The fixed locations of the Cube of Space form a space/time constant
with which the earth cube comes
into alignment once every 13,000 North Ecliptic Pole
or so years. DRACO
Dragon Axis #1
CENTRAL CUBE
REPRESENTS OUR SOLAR The Ecliptic Axis connects the
This twenty year period of align- SYSTEM. top and bottom faces of the
Cube of Space.
ment is the window of opportunity,
the eschatological moment when Galactic
Edge
the New Jerusalem descends to
earth. In Revelations 21:16 we are
told that the New Jerusalem is a vast
cube, one that fractally encom-
passes the entire planet. Since the Galactic
embedded cube is a key compon- Center
ent in the earth grid, then we might Dragon Axis #2 Dragon Axis #3
The Galactic Axis connects The Equinox Axis
think of it, and its analog, the central Galactic Center with its Edge connects the cusps
through the cusps of of the Cube of
cube of the 24 cell 4D polytope, as Sagittarius/Scorpio and Space represented
Gemini/Taurus representing by Aquarius/ Pisces
the resonant core in this cascade of the edges of the Cube of
LESSER MAGELLANIC CLOUD
and Virgo/Leo.
hyper-cubes. Thinking in terms of Space. South Ecliptic Pole

our collapsed middle pillar of the Tree of Life, we can see the galactic center,
Kether, as a 5D hexatope, seed form of higher dimensions, mediating
energy/matter in the form of 3D/4D packets. The sun acts as a hyper-cube
step-down transformer for the galactic flow, mediating explosions of light and
matter. The cube of the earth mediates this through the earth grid.
Aquarius/Pisces
Taurus/
Gemini
Scorpio/
Sagittarius
Virgo/Leo
THE CUBE OF SPACE AS IT RELATES TO THE FOUR

CUSPS OF THE ZODIAC. THE DOTTED CIRCLE
REPRESENTS THE SUN'S APPARENT PATH THROUGH NEW JERUSALEM AS THE CUBE
THE CONSTELLATIONS. OF SPACE, 1784.
New Jerusalem then becomes the unitary model that allows the earth cube
and the solar hyper-cube to nest within the higher dimensional flow coming
from galactic central. It would mediate the centropic to entropic collapse of
light into matter by stabilizing the oscillation between 3 and 4 D, in other
words, a virtually eternal reality constructed from mind mirroring matter with
its own light.
The window of opportunity to create this is very narrow, and the results of
failure seem to be dire. The resonant alignment would seem to produce an
implosion of energy/information from the galactic core. The New Jerusalem
Cube is the switch box, and, to follow the analogy, if it is wired wrong or not
at all, then it explodes when the juice is turned on. The current is already
running, and the sparks are popping all over the planet.
The Radical Implications
In my examination of the Enochian system, I
discovered that the core of the system, the tablets
of the elements, form an unfolded hyper-
cube/hyper-octa matrix. Since the Enochian
alphabet itself develops out of an octa/hyper-
octa language crystal we might suspect that the
entire system is designed to translate the hyper-
dimensional energy cascade created by the
alignments of the Cube of Space.
THIS IS A COMPOUND
This means that the Enochian system might just OF THREE CUBES
be the best way we have of dealing with the influx FORMING CROSSES ON
EACH OTHER'S FACES.
of energy/information from the galactic core….

Section 5
THE SEAL OF AMETH
by DARLENE and Vincent M. Bridges ©1992
OPHANIC
STUDIES
of the
AETHYREA TEMPLE of
ENOCHIAN SCIENCE
SEAL OF AMETH 155

SEAL OF AMETH 157
SEAL OF AMETH 159
SEAL OF AMETH 161
SEAL OF AMETH 163
SEAL OF AMETH 165
SEAL OF AMETH 167
SEAL OF AMETH 169
SEAL OF AMETH 171
SEAL OF AMETH 173
SEAL OF AMETH 175
SEAL OF AMETH 177
SEAL OF AMETH 179
SEAL OF AMETH 181
SEAL OF AMETH 183
SEAL OF AMETH 185
SEAL OF AMETH 187
Section 6
COMPLETE ENOCHIAN HANDBOOK

Overview of the System and Components
Illustrated by DARLENE ©1996/2009
HE OPHANIC INTELLIGENCES, chronicity, toward the Enochian mate-
T the sentience of whirling

Light, gave Dr. Dee a powerful
rial of Dr. Dee. Only now do we begin
to see the outlines of the complete
tool for leveraging reality. Imagine system and what it may be intended to
a magick tool box, small enough accomplish.
and portable enough to be scattered The starting point is the alphabet
throughout the galaxy. The tool box itself. Arranged in the sixty-four charac-
contains “tools” designed to build a ters used to spell the “title functions”
mechanism that functions as a com- of the letters, the alphabet creates a
bination radio set, life raft and emer- DNA sensitive matrix. Meditation on
gency medical instrument. Included this pattern, and its evolution into a
along with the tools is a DNA trigger 16-cell 4D geometric figure, the dual of
coded instruction sheet. the Hyper-Cube, triggers a DNA coded
Learning the alphabetic wave process that allows us to emotionally
forms of symmetry set coherent sacred and intellectually grok the Ophanic
languages, such Hebrew, Greek, San- Language.
skrit, etc., creates a stable psychic Once this is absorbed, the physical
platform onto which the inter-locking structure and psychic hardware of our
non-local dimensional structures of “mechanism” can be constructed. The
the Ophanic Language can be down- physical platform is the Holy Table. Its
loaded. This ensures that the tool box purpose is to support the floating focal
will be opened by someone with the point of the system, the Sigil of Truth
spiritual perspective to use it. The and Orb Module. The Table contains
information was originally given to Ophanic letter patterns that generate
Dee because he could understand and an operational field domain that is con-
respect the material. Mathers was able tinually unpacking higher sources into
to expand upon the material for the the local World of Action. It is insulated
same reasons. by small Sigils of Truth under each
Within the last five years, certain physical contact point to ensure that
leaps forward in our understanding local negativity does not contaminate
of the Ophanic rescue project have the system. Sort of like a surge protec-
occurred. They point, with eerie syn- tor on the power supply of a computer.

In fact the whole “mechanism” When the hardware is in place,
resembles a computer in its design then the operating system must be
and function. The Holy Table is an booted up, activating the processing
energy condenser charged by expo- routines. This is accomplished by
sure to terrestrial currents. Think of it vibrating the 18 Elemental Keys. These
as the power supply and wiring pat- Keys also bring the Tablet of Union on
terns. Next come the psychic structure, line at the same time. Once these oper-
the micro-chips, of the computing plat- ations are in place, then the content
form. These are the Elemental Tablets, rich extensions known as the Aires or
formed into their hyper-cubic Temple Aethyrs can be activated. The 30 Aeth-
structures, and the Tablet of Union that yrs form the constant localities sym-
holds them in place and maintains bolized by the 30 edges of both the
continuity of process between diverse dodecahedron and the icosahedron.
functions. These edges are contact zones where
Hebrew unpacks only into a cube- planetary and galactic forces inter-
octahedron, a truncation of a cubed phase. The 49th Key of Silence acts as
octahedron. This “dymaxion” shape a modem connecting us with galactic
allows the surface of a sphere to information central.
map accurately onto 2 dimensions. The Now our non-local computer is
Ophanic language unpacks outward turned on and running. We have a
into higher dimensions. The dodeca- choice of 93 programs that directly
hedron forms the transitional stage, a effect the earth and its immediate
blend of Hebrew and Ophanic, while environment in space, and 700 pro-
the higher unpacking of the hyper- grams for effecting individual and soci-
cube forms the 24-cell 4D figure, which etal change. Our first act with the
contains the 3D structure of both the non-local system will be to call up
dodecahedron and the icosahedron. Central and ask for more instructions
This structure is visualized as the before we begin to activate programs.
environment in which the Holy Table, The goal of this handbook is to pre-
Sigil of Truth and the Orb operate. The sent the Ophanic material in a simple
Sigil of Truth is placed on the base of and direct way, with nothing left out
the Orb Module to act as a template or or obscured by overly complex jargon.
filter for truthful or coherent informa- Only in this way can we actually expect
tion exchange. The module itself sup- to perform this complex spiritual oper-
ports this function by providing a direct ation. The clearer everyone is on what
link to a Tablet of Union balanced flow we are doing and how it works, even if
of energy. The Orb provides a link with they don’t understand the details, the
the anchoring structures on Giza. better the working will be.
THE COMPLETE ENOCHIAN HANDBOOK 189

Letters and Language
ONtheMARCH 26, 1583, early on in

transmission process, Dee
filled in with ink. The characters were
somewhat similar to several magickal
and Kelly were instructed to draw the scripts, including that described by
characters they saw in an eight by Pantheus in his Voarchadumia, but
eight square held up by the angel Ave. more refined.
A faint yellow outline of an alpha- They are also vaguely reminiscent
betic character appeared on the page of Ethiopian characters.
in front of Dee, which was then
The original 8 x 8 Arrangement of Enochian.

The titles of the twenty-one letters demonstrated, by dowsing, to be
emerged in three groups of seven; tightly focused wave guides. The dows-
twenty characters spell seven titles ing crystal forms a specific energy
in the first group, twenty-one in the oscillation for each letter. The oscil-
second and twenty-three in the third, lation changes orientation with the
for a total of 64 characters. These titles letter, indicating that the wave guide
are odd; they seem to have no relation- of the letter is omni-directional. Since
ship to the phonetic value of the letter. each letter is asymmetrical, the com-
The letters themselves have been plete group of twenty-one forms three
E A F D G C B
E A F D G/J C/K B
Graph Un Or Gal Ged Veh Pa
7 6 5 4 3 2 1
N Q P LHI
N Q P L H I/Y M
Drux Ger Mals Ur Na Gon Tal
14 13 12 11 10 9 8
T S U Z R O X
T S U/V Z R O X
Gisg Fam Van Ceph Don Med Pal
21 20 19 18 17 16 15
Ophanic Characters: Their Order and Titles (read right to left).
variations on the seven-fold symmetry

set. Only eighteen letters are used
to spell out the titles of the letters;
the three left out letters, B, Q, and Z,
one from each of the three symmetry
groups, form the three points on each
face of an invisible tetrahedron.
The missing or hidden 22nd letter,
corresponding to the Greek Theta, is
the invisible center point of the tetra-
hedron.

Each 64 character square
can be read from one of four
directions, and the reading
can start from each of the
four corners.
This produces 16 dif-
ferent symmetry sets or
patterns. Each pattern, or
way of reading the letter
titles, produces 32 different
sub-domains, that is eight
“names” or frequency signa-
tures in each of the four
directions. This gives us a
grand total of 512, or eight
cubed, individual symmetry
set domains.
The 16-cell 4D figure, Symmetry patterns within 8 X 8 grid
a 4D octahedron, or a pyr-
amid within a pyramid, has
the same relationship to the
hyper-cube as a 3D octahe-
dron has to a cube. Just as
the vertices of the octahe-
dron form the faces of the
cube, so do the vertices of
the 16-cell hyper-octahedron
form the cells of the hyper-
cube.
This arrangement is
familiar from the develop-
ment of the hyper-cube
within the Meta-Program-
ming Protocol. In that
instance, the 16 Hebrew let-
ters used to spell the four Omni-directional16 x 16 Grid
letter names of God in the
Lesser Ritual of the Penta- the inner cells of the 4D octahedron. The ver-
gram are used to form a 4D tices of this 4D octahedron form the cells of
octahedron; eight letters, A, the hyper-cube created by the four pentagrams
D, N, Y, G, V, L, and H, form the and the four godnames. The archangelic names
outer surface of the 3D octa- form the four faces and hidden center point
hedron. The repeated letters, of a tetrahedral symmetry generator that ani-
A, (3) Y, (1) V, (2) and H(2) form mates the hyper-cube.

THE CUBE OF SPACE 4 letter God Names
within Octahedron.
y
rit
Aleph
la
Po
Mem
Shin
Mem
Shin
al
on
si
Aleph
en
im
D
ATTRIBUTES OF THE CUBE OF SPACE
Position Hebrew Attributes Enochian
3 Dimensions
Up/Down Aleph Air Un - A
Left/Right Mem Water Tal - M
Back/Front Shin Fire Gisg - T
12 Edges
Above-East Tzaddi Aries Ger - Q
South Cheth Cancer Na - H
West Lamed Libra Ur - L
North Ain Capricorn Med - O
Below-East Zain Gemini Ceph - Z
South Yod Virgo Gon - I,J,Y
West Samekh Sagittarius Pal - X
North Qoph Pisces Don - R
East-South Teth Leo Vau - U/V
North Vau Taurus Or - F
West-South Nun Scorpio Drux - N
North Heh Aquarius Graph - E
7 Directions (six faces + center)
Above Daleth Venus Gal - D
East Resh Sun Fam - S
South Gimel Moon Ged - G
West Kauf Jupiter Veh - C/K
North Pe Mars Mals - P
Below Beth Mercury Pa - B
Center Tau Earth Theta

Each of the basic sixteen sym-
metry patterns of the 64 square
Ophanic alphabetic structure forms
a cell of the 4D octahedron. The
eight patterns formed on the hori-
zontal or the vertical are the eight
surface faces that show in a 3D octa-
A Hyper-Cube is a 4-D A Pyramid within a
hedron. The eight diagonal patterns
Analogue of a 3-D Cube. Pyramid.
form the inside cells of the 4D octa-
hedron. Within each cell, the 32 sub-
domains form the faces of the 4D Spatial
figure; the 16 directions and the Relationships of
eight categories of sub-domain form TETRA- and OCTA-
the 24 edges of the 16-cell figure. within the Cube.
The eight vertices are formed by
the same ranking as the categories
THREE DIMENSIONAL CROSS
of sub-domain, that is either eight
Formed by 6 cubes placed on the faces of the 7th.
across, eight down, eight names with
one to eight letters, etc.
So far, we have developed a
dimensional structure similar to that
of Hebrew; a spinning tetrahedron
throwing off symmetry angles inside
a 4D octahedron that turns itself
inside out to form the hyper-cube
of the pentagram ritual. The Ophanic
alphabet of symmetry also uses a
tetrahedron (focused on the vertices
rather than the faces) and generates
a 4D octahedron from its symmetry
sets and sub-domains.
However, instead of turning
inside out to form a hyper-cube,
the Ophanic language crystal 4D E Q U I VA L E N T S
octahedron folds outward to form 16-CELL
six hyper-cubes, one unfolding from 4D FIGURE LANGUAGE GRID
each face of the Hebrew and
Ophanic Cube of Space. (Both 8 Vertices = Ranking of Sub-domains
Hebrew and the Ophanic Letters 24 Faces = 16 symmetry sets + 8
form the faces, edges, axis of orien- categories of Sub-domains
tation and central point of a space 32 Edges = Number of Sub-domains
defining cube.) Each of these out- per Symmetry Set
wardly unfolding hyper-cubes is 16 Cells = Number of Symmetry Sets

formed from one of the four Elemental few interpretations. At any rate, a large
Tablets. number of squares were generated in
Unlike the Hebrew 16-cell 4D this trance-like way.
figure, which uses only eight of 22 let- In 1584, Dee and Kelly received
ters and delineates no further internal instructions on how to convert the
4D components, but is used at every squares of some of the tablets in the
working, the Ophanic 4D octahedron is Liber Logaeth into invocations or calls.
fully developed structurally and never This time, the angels provided a trans-
used directly in the Ophanic Language lation. The language that emerged had
or system. It seems to be a mental con- English phonology and grammar, but
struct designed to be absorbed by the the roots and other vocabulary ele-
unconscious and then used to lever- ments are not directly derivable from
age the interactions of the system at English, Latin, Greek, or Hebrew. Some
the level of the DNA. It is helpful to roots are similar to Sanskrit and Egyp-
think of the Ophanic 4D octahedron as tian, but some are simply alien in con-
a seed containing all the possible DNA struction and pronunciation.
derived probability waves. In other The Keys or Calls contain the purest
words, the literal matrix of creation. example of the Ophanic Language that
The Ophanic language developed we have. The names formed from the
from the squares described in the Tablets are more random in appear-
Liber Logaeth, or “Book of the Speech ance, and are much more difficult to
of God.” Some of this early form of translate. The Keys seem to provide
the Ophanic language resembles verb a literary structure, the grammar and
tense and other grammatical drills. syntax, that is needed to operate the
None of this was translated directly more complex frequency signatures
into English, although Dee ventured a embedded within the structure.

The Holy Table
THE HOLY TABLE is the altar com-

ponent, the point of terrestrial
connection between his Angelic work
and his geomantic research, but the
contact. As such, it functions as an nature of the 91 Governors’ relation-
energy source for the entire system. ship to the surface of the planet indi-
Condensing the telluric current of its cates a subtle geomantic wisdom on
location, the Holy Table also imparts the part of the Ophanic Intelligences.
a higher organizing principle, a kind Under the Holy Table heading,
of centropic flow, on the chaotic earth we will also look at several other phys-
energy. This geomantic consideration ical components of the system: the
is often overlooked, just as the Holy ring, the Lamen, the module and the
Table itself is hardly mentioned in the crystal Eye of Ra Orb. Along with the
Golden Dawn material. Table, these physical components are
Dee, however, was vitally con- designed to integrate the telluric and
cerned with this component, and also bio-physical energies of the place and
did extensive research into the mega- the operator with the non-local com-
lithic antiquities of Britain. We have no munication frequencies.
information on how Dee viewed the
The Holy Table

1) Actually more of a table cov- Reading right to left across, this
ering or cloth, the Holy Table is a gives us the names OIT, RLU, LRL, and
square of twenty-three sections per OOE. Down, from left to right, we find
side containing a hexagonal interpen- TULE, ILRO, and ORLO. These two sym-
etrating triangle design. Each corner metry sets give seven names out of
of the square contains the letter Pa, 12 characters. The diagonal symmetry
(B) so that the first and last letter sets give six more names, in one-two-
of each twenty-three character side three character groupings. Our basic
are the same. This suggests another frequencies begin to emerge as (6) 7,
omni-directional collection of symme- 12, (13) 21 (22) and 23. Twenty-three,
try sets. This particular grouping of the number of chromosomes each
symmetry sets is derived from the partner contributes to a child, forms
heptagonal structure of the Angels of the DNA connection at the level of
Light. In the center hexagonal figure, human sexual activity. Twenty-two, the
there is a three by four square. In each letters on each side without repeating
of these twelve squares is an Ophanic the Pa, as in both Hebrew and Ophanic
letter. Letters, is the structural components of
the Cube of Space. Each of the four sides then forms

a dimensionally imploded, from 3D to 1D, cube. The
corner Pa, or B, is the mark of pressure where light con-
denses into matter from the four directions.
As in the Mayan pyramids, these corners are aligned
to the true directions. The hexagonal central structure
serves to fix the six diagonal forces generated by the 12
central squares. In form it is very similar to the RA grid
hexagram used in the Orb Module.
The seven greater names formed from the center
grid by horizontal and vertical rankings combine with
the other six to give us our implied 13. The 21 letters on
each side, without the corner Pa, form a Fibbonaci, or phi
ratio with the 13 names. In the same way, 22/7, the rela-
tionship of the Cube of Space to the symmetry angles
(angels) of the tetrahedron, gives us an approximation
of Pi. These seven names also rule the seven talismans of
the earthly planetary forces that are placed on the circle
around the hexagonal figure.

2) Like the Holy Table and the Sigil
of Truth, the Ring and the Lamen were
part of the very earliest Enochian ses-
sions. The Angels communicated their
importance, and these items were used
as a part of the ritual setting through-
out the rest of the sessions. The Ring is
a simple Golden Mean rectangle with a
large Phi symbol in the center. The phi
is aligned horizontally; above the bar is
a V and below it is an L.
These symbolize recursion; the V is
intra-dimensional, while the L is inter-
dimensional. In each corner of the 3 X 4 Panel’s Relationship To Hexagram
rectangle is a letter, spelling the name
PELE, or “he who workth wonders” as
he was known to the medieval Kab-
balists. (I prefer the Ophanic letters for
this name.)
The purpose of this ring is to show
the tangible proof of the operator’s
understanding of the basic geometry
of the system. It sums up the whole
operation of the Holy Table into one
symbol. Central 3 X 4 Panel With Corresponding
Letters And Names.
3) The Lamen is also an adapta-
tion of the operation of the Holy Table,
only applied to physical body of the
operator. The outer perimeter names
of the Holy Table invert their symme-
try set to produce a 7 x 12 grid, from
which the central 3 x 4 grid is taken.
This 7 x 12 grid is then re-arranged
by sections to form the Lamen. When
worn in ceremony, it forms a link The Ring
between the operator and the energy
source. The central tilted square, read from the heart, of the operator and
on a diagonal, forms a protective the Holy Table array. The perimeter
energy inter-phase on the surface of square moves the energy field deep
the skin. The square enclosing the with the DNA. The Lamen should be
tilted square directs the energy to and lettered in Ophanic.

The first version of the Holy Table is derived from the names on the perim-
eter of the Table (minus the Bs). Starting at the top of the perimeter, top left
(because the letters are upside-down), read O, S, O, N, S, S, L, G, E, N, O, E, E,
O, O, F, O, D, G, G, N. This is the ordering of the first set of 21 letters. Starting
from the right hand side and working downward, three columns of twelve are
filled in. The second set of 21 letters are taken from the right hand side of the
perimeter and so forth...
The 7 x 12 Lamen Grid forms the basis for the Central Grid of the Holy Table.
The second version of the 7 x 12 Grid of the Holy Table is derived from rotatingthe
Symmetry Sets and this Forms the Basis for the Lamen.

MAKING THE LAMEN FROM THE 7 X 12 GRID
Here is the progression of creating the Lamen from the 7 x 12 grid.
The Central 4 x 3 Grid contains the letters to be placed on

the corners of the inner square.

CREATING THE LAMEN FROM THE 7 X 12 GRID
The characters in the central diamond are built from the four
outer rows. The characters of the four outermost corners make
the corners of the diamond. Begin with the “L” in the lower left,
place it at the bottom of the diamond and work clockwise .
The next few steps are very complex and involve a type
of braiding. “G” and “B” are placed at the upper two squares;
mirrored by “O” and “L” at the lower two squares. Skip the “S”
and continue with the “E” “B” “A” and “O.” Next, use the first
“N” on the fourth line, then the “O” to its right. Next use the “N”
on the third line; jump across the table and use the next “N”
and “Y.” Now pick up the “S” from the second line.
Skip the last “N” on the fourth line and begin with the last
“L” on the sixth line. Jump across to the left and use the two
“Es” on the fifth line. Move back across and use the “A” and “N”
also on the fifth line. Pick up the skipped “N.” Use the “A” to the
left of the “N” and jump across to the sixth line, using the “S”
“E” and “U.”

4) The Module is a pyramid shaped location device, floats at the level of the
structure designed to contain and shape King’s Chamber floor. Above the center
the energy operations of the Eye of Ra of the RA grid hangs a wire basket sup-
Orb. The platform, built of alternating porting the Eye crystal. The basic prin-
layers of silk and copper and aligned ciple is the intersection of the unified
edge on toward the compass points, energy torrid with the fixing structure of
supplies a coherent flow of energy that the RA Grid and the non-local reference
is then massaged into a toroidal shape point of the Eye. The pyramidal shape
by the Tablet of Union patterning around acts as a broadcasting unit transmitting
the edge of the base plate. The central the energy/information into space.
area of the plate is left open for the inser- 5) The Eye of Ra is a crystal orb that was
tion of templates such as the Seal of infused with the energy signature of the
Truth or the Round Tablet of Nalvage. original up-link to Sirius/Orion. It oper-
The pyramidal super-structure is ates as a floating point processing unit
built of copper in the correct proportions that’s without space/time limitations.
of the Great Pyramid at Giza. A RA Unifi-
cation grid, a type of hexagramic
ABOVE
NORTH / Masculine Node
THE RA GRID
©1996 Vincent Bridges
Drawn by DARLENE
Ch
(-)
ok
ah
ma
Bin
h(
KEN K’UN CHEN

+)
BACK Hesed (-) LEFT

Yes Hesed (+)
o d(
0) (0)
Kether (0)
Ho
th
are
d(
h
Tip
+)
(-)
ch
tza
Ne
CENTER
WEST Malkuth (- 0 +) Malkuth (- 0 +) EAST
K’AN LI
WATER Spirit AIR
Kether (0)
Ch
(-)
ok
ah
ma
(0) Yes
Bin
th o
h(
h are d(
0)
+)
Tip
RIGHT Geburah (+) Geburah (-)
FRONT
SUN CH’IEN TUI

(-)
ch
Ho
tza
d(
Ne
+)
BELOW
SOUTH / Feminine Node
Heaven Descending

The Seal of Truth
THE FIFTH SEAL OF THE SEVEN

Great Seals of the Ophanim the
Holy Table, it provides a unifying level
for the entire system.
Sigil or Seal of Truth is the first tem- The outer edge of the Sigil con-
plate or filter used with the Orb tains 40 characters; some are letter/
Module and the Holy Table. Its function number combinations, some have only
is to provide a coherent communica- letters. These characters form the
tion signal, a truthful response. As such, names of the four elemental rulers of
it is also used to insulate the Holy Table the Watchtowers and the seven plan-
−a Sigil is placed under each contact etary rays that animate the Angels of
point with the earth. Light. The four letters not used in these
The Sigil of Truth operates within names form the operative name of the
the physical hardware in the same unifying angel of the Tablet of Union
way that the Tablet of Union functions and the Round Tablet of Nalvage.
within the psychic hardware. With the
DARLENE’s Hand-rendered version of the Seal of Truth

The outer edge of the Sigil with its unexpressed name formed from the
circle of letter/numbers can be seen unused letters becomes both Shin
as the interface between the Atzilu- and Tau, or spirit/matter.
thic or Divine realm and the realm The planetary forces are the focus
of Archetypes, the Briatic world. The of the Sigil of Truth’s operations. It
Divine energy realm extrudes the 12 seems designed to step down Atzilu-
archetypes delineated by the 40 char- thic or Divine energy all the way to the
acters. These extrusions have specific boundary of the local World of Action,
functions that are described and cir- or Assiah, where it can then interface
cuitized by their names and Sigils. The with the Orb and the Module, the ring
four great primeval elemental forces and the Lamen.
are described by their names; their
function as the energy source for the
elemental micro-chip like Tablets is
circuitized by their Sigils, which in
turn derive from the patterns of their
names on the edge of the Sigil of
Truth. Thus they are indeed “Watch-
men” who self-monitor the flow of ele-
The circumference of the
mental energy in truthful, or fractally Seal of Truth.
coherent, patterns.
These patterns form the structure
of the Elemental Tablets, which in
turn form the supporting architecture
of the whole system. The Tablet of
Union acts as a cohesive force on
the action of the elemental compo-
nents, as shown by its 4, 5, 20 numeri-
cal structure. The Sigil of Truth is the
cohesive force acting on the planetary
centers and the chakras of the human
body. This is demonstrated by its 7/5
embeddedness. Both of these pro-
jective forces are extruded from the
Divine at the same time and at the
same point, the edge of the Sigil
of Truth, or rather, that quality of
Divine/Archetypal interface described
as “Daath” or Knowledge by the Kab-
balists. If we think of the primeval ele-
ments as the Aleph, or the primary
sequence of sub-atomic forces, and
the planetary forces as the Mem or
mediating biological forces, then the The Four Watchman Sigils.

Heptagon Forming
The Briatic Names Of
The Archangels.
The Archangels’ Names Placed In a 7 X 7 Grid

(to be Read Vertically from Top to Bottom
Starting from Upper Left Hand Corner).
The first step is to locate the Unpronounceable Names of the Briatic

highest forms of planetary action just Archangels are more archangelic than
inside the interface barrier itself. On divine. The first forms the outer surface
the Sigil of Truth this is done by plac- of Atziluth, the second forms the
ing the planetary Sigils, and frequency inner surface of Briah. Like the first
codes, in the space between the circle planetary names, these archangels
and the heptagram, implying a space- are also space-filling in function, as
filling role for the archetypal planetary depicted by their position as the space
forces. The names of these beings between the heptagon and the hep-
are not used directly; inside the heptagram. The archangelic names also
tagon, they will appear in an arch- create a 7 x 7 grid from which the
angelic form. The heptagon itself is names on the inner heptagram, hep-
formed from a 7 x 7 square filled with tagons and central pentagram are
vertically read Hebrew planetary Arch- inscribed.
angelic names. The seven squares on These angels are Yetsiratic in their
each side the heptagon is formed by a function, that is they create a foun-
horizontal reading of the Hebrew arch- dation from which the Good or Light
angelic square. This creates a multi-lev- Angels of Assiah can operate. Their
eled embeddedness resembling a web order of development, Saturn, Jupiter,
composed of seven super-imposed Mars, the Sun, Venus, Mercury and the
heptagrams. Moon, mirrors the planet’s superior,
If we think of the planetary names outside the orbit of the earth, or infe-
extruded by the outer circle as being rior, inside the earth’s orbit, location
more divine than archetypal, then the with the Sun acting appropriately as
Names and Sigils of the Seven Olympic Spirits

the focal point or nexus of the group.
As befits a foundational function, these
Yetsiratic angels are both space defining
and space-filling.
The central angels follow the same
order of development, but these angels
spiral down toward the central equal-
armed cross. This motion brings the
energy structure to the outer edge
of the Yetsiratic or foundational level,
where it can be interfaced with the
planetary and elemental forces of the
World of Action.
The Center of the Seal The Sigil also has a number of
crosses. These are actual interface loca-
tions where the World of Action can
phase-lock with the foundational forces.
Their number and placement describes
the interaction between the elements
and the chakras. The total number of
crosses on the front of the Sigil is 130,
which indicates, by gematria, the resolu-
tion of unconscious processes through
balance.
On the back of the Sigil are another
cross and the four-letter Hebrew divine
name for Earth, AGLA. This serves to seal
the Sigil off from any negative forces
The Back of the Seal coming from the earth itself.
ATTRIBUTIONS OF THE NUMBER OF CROSSES ON THE SEAL OF TRUTH
Planet / Chakra Air Water Earth Fire Total

Saturn /Crown 1 7 7 7 22
Jupiter / 3rd Eye 1 7 7 7 22
Mars / Throat 1 7 7 7 22
Sun / Heart 1 3 7 7 18
Venus / Will 1 2 7 7 17
Mercury / Sexual 1 2 2 2 7
Moon / Base 1 2 2 2 7
Totals 7 30 39 39 115

The Elemental Tablets
T HE ELEMENTAL TABLETS are four

12 x 13 grids joined by the mir-
Servient squares can be read to
produce archangelic names, angelic,
ror-like symmetry of the 52 square arch-caco-demonic and caco-demonic
Great Cross, which contains the Tablet names, creating an inclusive, chaos to
of Union names and the 92nd and 93rd order and back again, recursion path.
Governors. Each of the four Tablets has Each square can be thought of as
the same structure: a sigil of the Watch- a dual cell of a hyper-cube, that is
men, a Divine Name of 3, 4, 5 letters, a square within a square, or a trun-
an eight letter solar archangelic name, cated pyramid. This gives each square
six seniors of seven letters, four calvary five qualities: the letter in the central
cross tree-of-life patterns, four kerubic square, and the elemental, sephirotic
angels and 64 Servient squares. The or planetary attribution of each of the
Air of Air Water of Air Air of Water Water of Water
AIR WATER
East West
(Yellow) (Blue)
Earth of Air Fire of Air Earth of Water Fire of Water
Air of Earth Water of Earth Air of Fire Water of Fire
EARTH FIRE
North South
(Black) (Red)
Earth of Earth Fire of Earth Earth of Fire Fire of Fire

four truncated sides of the cell. From
this information, an Egyptian god-
form and a Sphinx can be derived,
so that we have five qualities and
two attributes, seven in all, for each
square.
The sigil of the primeval Watch-
men supplies the energy and is
placed either above the Tablet or
on the back. This energy is then fed
through a zodiacal processing grid.
Each element has three forms, car-
dinal, fixed, and mutable, symbolized
by the 3, 4, 5 letter God Name that
Truncated Pyramid of Square (as seen forms the symmetry or event horizon
from above) showing Attributes. of each Tablet. From the zodiacal,
the energy moves to the solar plane
with the phi-spiral based archangelic
name formed from the central eight
letters on each Tablet.
This solar spiral also flows out-
ward through the six names of seven
letters called the Seniors. Each name
begins with the sun and then works
through the planetary attributions,
moving the energy through system.
The elemental sub-quadrants, earth
of earth, earth of fire, etc., are struc-
tured as the inner four cells of a
hypercube where the outer cells are
Expanded View of Hyper-cube formed from the four complete Tab-
(shown from side). lets. (For instance, traveling east from
the Air Tablet would bring you to
the Fire Tablet, while traveling west
from the Water Tablet returns you
to Air. Within each Tablet, looking
east from the water sub-quadrant
(upper right) you see the earth sub-
quadrant, (lower left) while looking
north shows you the fire sub-quad-
rant, (lower right) and so on.)
Each elemental sub-quadrant is
composed of a calvary cross tree-

Seniors in Hexagon Pattern Calvary Crosses
of-life support structure, a kerubic

column on which it rests and a quar-
ter of a chess board floor pattern.
In 2D, this structure is a 5 x 6 grid,
broken down into a six letter central
column and a five letter horizontal
that forms the tree of life pattern;
with a four letter name above the
horizontal line and 16 squares below.
In 3D, this micro-chip pattern
inter-locks with the surface of the
earth. The Fire Tablet covers from lati-
tude 80N to 80S and longitude 150E
to 120W, the mid-Pacific, with eastern
Australia, New Zealand and part of Kerubic Pillars and Servient Squares
Siberia and Alaska. Water Tablet: 80N
to 80S, 120W to 30W, North and
South America, Greenland and the
Atlantic Ocean. Air Tablet: 80N to 80S,
30W to 60E, Europe, Africa, Middle
East, Russia. Earth Tablet: 80N to 80
S, 60E to 150E, India, Far East, etc.
The Tablet of Union covers the cen-
tral axis of the planet and is the bind-
ing force holding the planet together
just as it holds the Tablets together.

The Tablet of Union
T HE TABLET OF UNION is formed

from the 52 squares that join the
shown in reverse of the Tablets, used
to energize the Tablet of Union names
four elemental tablets into one large when used as the Governors of the
25 x 27 square grid. Twenty of these Abyss. The other four L’s are a screen
squares are used to form the Great to cover the secret name of the 93rd
Ophanic Seal known as the Tablet of Governor, formed from the unused let-
Union. On the Great Cross itself, these ters on the Sigil of Truth, which rules
twenty characters are repeated twice the space from our atmosphere out to
in mirror symmetry fashion. This leaves the orbit of the moon.
12 characters for which we have no The twenty characters of the Tablet
accurate attribution. On some of Dee’s of Union Seal are arranged in a 5 x 4
manuscript versions, we can read the grid. The four horizontal names are the
addition of P, A, R, A, O, A, N and 5 L’s. elemental control frequencies. The five
Paraoan is formed from the reversed vertical names are the spiritual quality
letters on the Tablets themselves and of the five elements. Together, they
is the 92nd Governor, ruling the inte- function as the twenty faces of an ico-
rior of the planet. The 5 L’s, symbolic sahedron, or the vertices of a dodeca-
of the five Elements, contain the L, also hedron.
The Tablet of Union

The Keys or Calls
F ORMED FROM THE grids and

squares of the Liber Logaeth,
and the unmixed sub-quadrants; seven
through 18 open the other 12 mixed
the Keys were given to Dee and elemental sub-quadrants.
Kelly by the angel Nalvage. He first 2) The Aethyric Keys− This is actu-
appeared on April 10, 1584 looking like ally the same Key repeated thirty times
a young Elizabethan Sun-King, holding with the change of one three letter
a golden rod and standing on a crystal word, the tittle of the Aethyr. The angel
etched with his Round Tablet. The keys described these levels as thirty con-
were slowly dictated, letter by letter, centric circles, from the closest, the
then translated later. Great care was 30th, to the most distant, the 1st. It is
taken to ensure accuracy and under- also useful to think of the Aethyrs as
standing. Dee’s translation is an accu- the edges of both a dodecahedron and
rate rendition, although somewhat an icosahedron.
florid in style 3) The Key of Silence − The 49th
The Keys or Calls are arranged in Key is a non-vocal, non-local operation
three basic groups: the Elemental Keys, involving the 93rd Governor and the
the Aethyric Keys and the Key of Silence. Round Tablet of Nalvage. The oper-
1) The Elemental Keys−The first ation itself consists of vibrating the
18 Keys program the architecture of name of the Governor mentally to acti-
the Elemental Tablets and the Tablet of vate the sphere of space around the
Union. The first and second Keys acti- planet, then unfolding into that space
vate the Tablet of Union, although in the geometric structure of the Round
different ways. The first Key opens the Tablet. The Call is silent, because only a
elemental operations of the Tablets; the telepathic push, as opposed to a physi-
second Key opens the 30 Aethyrs. Keys cal or sonic push, can open the com-
3 through 6 open the elemental forces, munication channel.
Angelic Angelic
Call Attribution Call Attribution
Tablet of Union as a whole of

Spirit of the Tablet of Union
of
& of of
& of of
& of of
& of of
of of
of of
of of
Attributions of the Eighteen Enochian Calls

The Round Tablet of Nalvage
ters to describe God’s actions and quali-
WITH THE TABLET of Nalvage,
we come to the seventh and ties. The four 3 x 3 interior squares are
last of the Great Ophanic Seals. Appar- then read horizontally to produce 12
ently, almost nothing was said about more divine beings who carry out God’s
this Tablet in the Golden Dawn, which is actions. A vast theology is concealed in
curious considering its key importance these simple names and phrases, but
within the Ophanic system. that is far from our purpose here.
Dee was told that the Tablet rep- The structure of the Tablet is a 2D
resented the functional activity of representation of the 24-cell 4D figure.
the Trinity itself. The sub- This geometric construct is
stance of the tablet, internally self-referenc-
milky quartz ing, that is turns
mother of pearl, itself in inside
was attributed out and
to God the remains the
Father. The same, and
circum- consumes
ference or
becomes embeds
God the all of the
Son, and 3D pla-
the pat- tonic
tern or solids as
geometry well as
of the the 16-cell
Tablet rep- and the
resents the hyper-cube
Holy Spirit. in 4D. This
This means makes it the only
that The Tablet is the master geometric
very binding force that structure that unifies
holds the whole system of the process of dimensional
angelic hierarchies in place. It accom- information/energy exchange in an
plishes this task by raising the degree of inclusive and self-referencing matrix. The
symmetry and coherence to an entirely 24 non-IAD letters form the vertices of
new level. the figure; the 24 names and phrases
The Tablet is composed of a six by of each symmetry set form the 24 cells.
six square, with four four-letter flaps. The All four symmetry sets, or ways of read-
flaps form an analog of the Tablet of ing the individual squares and the larger
Union, as the four three by three squares unitary grid, produce the 96 faces and
form an analog of the Elemental Tablets. edges of the 4D figure. Hyper-cubes and
Each corner of the 36 square grid con- 16 cell figures can also be formed from
tains the letters IAD, which translates as this highly coherent pattern of letters
God in Ophanic. This leaves 24 charac- and names.

The Book of Knowledge, of Power, and of
the Victorious Forces of Earth
T HE BOOK OF KNOWLEDGE con-

tains the 91 local planetary
of the Tablets, their unifying relation-
ship. The Governors have a dual aspect;
surface intelligences known as the they relate both to a locality or bio-
Governors of the Aethyrs or Ayres. If region on the surface of the planet
we think of the linear names formed and to the informational content of the
from the Elemental Tablets as the Aethyr, each of which can be seen as
architectural structure of our spiritual an organizational arrangement of the
computer, then it is easy to see the astral zones.
Governors as the programs or oper- It is this duality that supplies a
ations that can be done within that spirit of locality, or landscape angel, for
structure. Each Governor is defined by a each bio-region. Just as the Governors
name formed from an individual circuit are the interactive component of the
path or sigil on the Elemental Tablets. Aethyr, so too are they the interactive
These Sigils form the sub-structure component of the Earth.
The Seven-Fold Mystery of the Good Angels of Light
C ONCERNING Concerning the

Good Angels of Light, the Arch-
computer, then the Good Angels of
Light are more like personal files or
angel Michael told Dee: individualized software. The names on
“Now you touch the world; the Gov- the outer edge of the Holy Table are
ernors that work, rule under God; By derived from one hierarchy or symme-
whom you may have power to work such try set of the Angels of Light; they
things, as shall to God profit of your are ruled or programmed as a unit by
country and the knowledge of his crea- the lowest level of planetary Yetsiratic
tures.” Then Michael continues, explain- names on the Sigil of Truth. The Angels
ing to Dee that the Angels work in the of Light form a background grid of
world of Assiah, our local reality, and symmetry sets through which con-
that they are good angels under God. He sciousness, as time, moves. The Angelic
reveals a set of tablets and announces: hierarchy then becomes the literal
“Behold, these tables; herein by their structure of synchronicity, the acausal
names that work under God upon the connecting principle.
earth; Not of the wicked but the Angels Little of this system remains in
of Light. The whole government doth the Golden Dawn material, although
consist in the hands of the 49 whose we can see that it was once deeply
names are here evident, excellent and understood by Mathers and the other
glorious. Mark these tables and record high-grade Adepts. “The Particular
them. . . This is the first knowledge. Here Exordium” from the Z1 documents
you shall have wisdom.” echoes the nature of the seven tables
If the Governors are large scale as revealed by the Archangel Michael
programs running on our spiritual to Dr. Dee.

Summary of System and Structure
T HE OPHANIM delivered to Dr.

Dee and Edward Kelly a complex
dodecahedron become the twelve
gates through which the Elemental
system of magickal science that is Tablets, the Aethyrs and the Governors
both inclusive and inter-dimensional. are organized. The dodeca also orga-
It seems to function as a computer nizes the 7/5 spin imparted by the Sigil
system, with hardware, software and of Truth and the phi ratios of the Holy
programs to run, but one composed Tablet. The Tablet of Union forms the
of geometrical shapes and frequency icosahedron that contains, or unifies,
matrices. It is impossible to go very far the other forms.
in understanding the Ophanic material Without the geometric unification
without coming to the conclusion that of the Tablet of Nalvage, the structure
this is proof of contact with a higher of the system is incomplete. It will
level of intelligence. function on its own, storing and pro-
Basic symmetry set alignment and cessing information, performing oper-
dimensional projection of geometric ations and running programs, but
forms are accomplished by the without the 4D unification of the
Hebrew language operations. The 24-cell, the Tablet, it cannot communi-
Hypercube, and its dual the 16-cell, cate with other such systems. Once this
become the basic building block of up-link is achieved, then operations
the entire structure. The combination concerning the Governors or the Good
of Hebrew and Ophanic produce the Angels can be directed from galactic
dodecahedron of the Supreme Ritual central.
of the Pentagram. The faces of this

Appendix A
The Delian Problem and Transcendence
in Theorem XX of John Dee’s Hieroglyphic Monad
by S. Robert Wilson ©2010
N THEOREM I of the Monas Hieroglyphica John Dee sets the foundation
I for his work to depend upon the tools designated by the ancient Greek
geometers as the valid method for solving problems considered to be
worthy of mathematical investigation. These tools were simply the straight-edge
and compass. Other tools became to be used in more practical problems in fields
such as astronomy or navigation, but for the most philosophical speculations
the mathematics involved was studied for its own sake, something now labeled
pure mathematics. Dee considered these two tools more than objects for making
designs on paper, but fundamental principles that governed the structure of the
universe. In fact, throughout the Hieroglyphic Monad the explication reflects his
esteem for the geometric principles of a God created universe.
He explains to the reader that it is through the line and the circle that
“all things may be demonstrated” and therefore alludes to the actual straight-
edge and compass method as the preferred method for demonstrating algebraic
relationships. In Theorem II he is explicitly referring to Postulates I and III of Euclid
Book I concerning the necessity of a point in the construction of a line and that of
a line for the construction of the circle and therefore the point as the basis from
which “all things commence to emerge in principle.” Such a point is a Monad.
Dee expects the reader to have awareness of this Greek geometry. That expecta-
tion implies an acquaintance with the three classical geometric problems: the
squaring of the circle, the trisection of an angle, and the duplication of the
cube. Without understanding that Dee expects his reader to be aware of these
problems a large portion of the meaning of the Hieroglyph may be lost. The
hypothesis set forth is that John Dee intended for the culmination to occur
in Theorem XX by designating and thereby demonstrating a solution of the
duplication of the cube. To affect this he embraces alternative methods employ-
ing the use of conic sections, acknowledging the non-existence of a classical
solution, something that was only shown centuries later, and contrary to the con-
temporary attitude toward the quest for solutions. By considering these methods
he is not accepting defeat; rather by so doing he utilizes geometrical concepts
not in use until much later. This strongly suggests his awareness of geometry
beyond the earthly three dimensions.
According to historian of science J. L. Heilbron, in the introduction to the
translation of the Propaedeumata Aphoristica Dee really did have interest in the
duplication problem, the construction of a cube with twice the volume of a given
cube, for “there are two noteworthy points about Dee’s problems. First, they are
inspired by the ancient, unresolved problems of squaring the circle and, above
THE DELIAN PROBLEM AND TRANSCENDENCE 219

all the doubling of the cube.” 1 Second, the significance of the problem stems
metaphysically from the story of a plague in Athens; after the oracle at Delos was
consulted, in order to appease the sun god Apollo they were required to double
the size of the cubical alter. Thus it is often referred to as the Delian problem.
For a thorough understanding of what John Dee was implying by the use of
his Hieroglyphic Monad as an explanation of the duplication problem, and how
it foreshadows the impossibility of construction of necessary points, including
the ultimate transcendental nature of π, an investigation of the later develop-
ment of algebra unto the nineteenth century becomes necessary. Maintaining
consistency with the then current mode of thought that all problems have a
solution he expresses this in Theorem I. However upon scrutiny he refers to the
first and the most simple representations. In this way he relates unsolvability with
complexity. Upon recognizing this he sets out to transcend with his geometrical
demonstration of impossibility a concept with a long history of unnecessary and
artificial restrictions, the straight-edge and compass. Only in twentieth century
with the rather unexpected results of Kurt Gödel concerning undecidable logical
sentences would the notions become to be clarified.2
In the modern era when geometry is not emphasized in school such as it
was in the era of the classical liberal arts, many students are usually not well
versed in such ideas. But as any modern student of the occult will recognize,
mathematics is clearly a requisite set forth by Agrippa in the 16th century in his
Second Book of Occult Philosophy.3 Nevertheless, many today may be unfamiliar
with these problems.
Fulcanelli clearly understood this, as he shows when he states that argot, the
initiation of the Argonauts, is but “one of the forms derived from The Language
of the Birds.” This Ur-language, Fulcanelli insists, is the common language of initia-
tion and illumination behind cultural expressions as different as the Christian, the
Inca, the medieval troubadours and the ancient Greeks. And traces of it can be
found in the dialects of Picardy and Provence, and most important of all, in the
language of the Gypsies.
Posed in antiquity, these three problems remained unsolved until the incep-
tion of modern algebra in the nineteenth century. A related problem is that of
the construction of an equiangular equilateral, or regular, polygon of an arbitrary
number of sides. Constructions for these were known classically in several cases,
yet it remained until 1801 for the theory behind which polygons were con-
structible and which were not to be resolved. This was accomplished by the
great mathematician Carl Friedrich Gauss and published in his Disquisitiones
arithmeticae. It had become clear that any number that was constructible was
derived from a combination of the four elementary algebraic operations: addi-
tion, subtraction, multiplication, and division, and an additional more complex
method, the extraction of the square root. Consequently to eventually under-
stand these geometrical problems the theory of algebraic equations and the
question of the solvability of equations by radicals was critical. The complete
resolution of these classical problems only emerged when further considerations
220 THE OPHANIC REVELATION APPENDIX A

were made into the types of numbers that can arise as solutions to algebraic, or
polynomial equations, at all.
A few years prior to the publication of the Monas, in 1545 Girolamo Cardano
published his widely influential Ars Magna, or the Great Art. In it he presented
general solutions for algebraic equations, most notably the solution of the general
cubic and quartic equations, especially the most relevant one of “the cube and the
first power equal to a number.” 4 In this work the demonstrations or proofs were
almost entirely geometric. This is what Dee is referring to in Theorem I.
But it was indeed after Dee’s publication, in the 1590’s that the real advances
in algebra took hold. Those were of a kind specifically dependent upon the
introduction of new notations. The key figures, François Viète and Thomas Harriot
were in mutual correspondence and Harriot himself gives much of the credit
for his work to Viète. Dee and Harriot discussed mathematics and science in the
early to mid 1590’s while Viète had recently published his work in 1592. It is
what transpired between the three of them that is unknown. Dee studied under
Gerardus Mercator, the great navigator, and Harriot was also very proficient in
the study of navigation. In fact Harriot, under the charge of Sir Walter Raleigh
was instrumental in the survey of Virginia in 1585. While in Virginia Harriot trans-
lated the Algonquian language, and this work with linguistics played into his
mathematical researches. 5
What Viète did was build upon the works of Cardano and the great Greek
algebraist, Diophantus of Alexandria. He succeeded in developing a concept of
species, that represented magnitude and thus could therefore use algebra to
demonstrate, or solve, geometric problems. Dee did not have this insight. Viète
being concerned with reconstructing the algebra of Diophantus was however
limited in the perception of the necessity of homogeneity, or the idea that only
quantities of like dimensions could be combined. 6 Thus his challenge was to
make sense of Cardano’s cube and first power sum. He designated the series
of gradations, the “first scalar magnitude is the side or the root” and then the
square, the cube, the square-square, the square-cube, and so forth, to which
corresponded the “magnitudes of comparison” or length (breadth), plane, solid,
plano-plane, plano-solid, solid-solid, etc. 7
This language was a perpetuation of the cossic system stemming from the
introduction of algebra where originally the unknown was merely “thing” or
“root” that later was rendered cosa in Italian. These terms were not even new with
the Arabic for Diophantus also uses the “square-square” and as communicated
by Psellus, the fifth power was actually considered by the latter Egyptians to be
the “first undescribed” for beyond the fourth power nothing could be conceived.
By insisting upon maintaining this homogeneity Viète was unable to allow for a
generalization of dimension beyond four, though somehow there was this notion
of plano-plane. It was indeed Harriot that succeeded in lifting this limitation that
had its linguistic origins in this cossic system by letting a single fifth power be
written as aaaaa.
Of course the familiar space of the world has three axes and for those in
the time period three dimensions was the extent of spatial knowledge. Today
the habit of referring to time as the fourth dimension is only correct in so far
as 3+1=4; it is an additional dimension. Geometrically it is known that dimen-
sions are defined by successive orthogonal, that is perpendicular directions. Thus
when a cube is moved to a second location, the time elapsed has measured
the displacement of the cube orthogonal to all of its three directions. But geo-
metrically dimension and time are not related apart from the fact that time is
a measure of one direction just as a meter is a measure of a single breadth of
a three dimensional expanse. The analogy pertains to the difference between
space and position compared with time and motion.8 Modern geometers have
discovered many natural higher dimensional objects, in the sense of a certain
simplicity, such as a cube or a circle that can be described as simple objects based
upon a few fundamental relations. In particular, generalizations of cubes extend
into higher dimensions, in the same way that polygons extend to polyhedra, or
squares extend to cubes. As there are 5 Platonic solids and 4 stellated varieties
there become 16 regular 4-dimensional hyper-solids, a trendy modern word, in
contrast to archaic, 16 plano-planes. This cumbersome lack of language eventu-
ally just amounts to the use of n-volumes, where n designates dimensionality.
Thus a 2-volume is an area. However polytope is usually used for higher dimen-
sional regular objects.
For reasons not all too clear it is a fundamental fact of nature that there
is something inherent about four that defined a limit to dimensional compre-
hension. The search for general methods of solving higher than fourth degree
equations was also resisting success. This was resolved when Ruffini and indepen-
dently Abel proved in 1799 and 1834 respectively, that the fifth degree equation
was insolvable by radicals. This was taken further by Galois when he gave the
complete characterization of solvability based on the concept of a mathematical
group; where specifically the roots of the equation had to satisfy there own
algebraic relations. The tragic life of Galois and the resistance to initial acceptance
of his works is one of the great chapters in the history of mathematics.9
Together what this did was illuminate the concept of algebraic numbers.
Irrational numbers are of course those numbers that cannot be represented
as a proportion between two integers. Thus any number that is an irreducible
root, be it a square root, a cube root, or higher is irrational. Because the construct-
ible numbers must obtain a maximum complexity of square roots they can
potentially be irrational and not merely rational. When the analysis of the duplica-
tion of the cube is made it is seen to depend upon 3√2. Similarly the trisection
of the angle depends upon a cubic equation and Pierre Wantzel in 1837 demon-
strated these particular equations to fall beyond the constructible criteria.10
But the squaring of the circle depends upon something more complex than
these simple radicals. By setting the radius equal to 1 the area of the resulting
square would imply that π is a constructible number. As the investigations into
the nature of π progressed it was soon suspected that it was not the solution
of a quadratic, a cubic, nor a quartic equation, and in general, the solution of a
polynomial of any degree. Such a number is a transcendental number, a number

that is not the root of a polynomial equation with rational coefficients. This
means that for whatever combination of powers with rational coefficients it can
never equate to 0 upon the variable substitution of a transcendental number.
On the other hand, for an infinite sum of powers, one can readily define series
representations for numbers such as π that have a composition dependent only
upon rational numbers, yet an infinite number (of them) are necessary. This
may give an idea of the infinite or ineffable quality that can be perceived from
a transcendental number. Yet many of the naturally occurring transcendentals
appearing throughout mathematics consistently are defined in a like manner
to the natural geometrical objects, i.e. through simple relations. Specifically with
regard to π it is the ratio of the circumference to the diameter of a circle. It
actually is a fact that most all numbers are transcendental but not many are easily
determined explicitly.
The idea for the proof of the transcendence of π through the use of the
method of continued fractions is essentially due to Johann Lambert; however he
only proved its irrationality in the year 1767. Earlier, Leonhard Euler proved the
irrationality of e in 1737 but it was Joseph Liouville that in 1844 first proved the
existence of transcendental numbers in his attempts to show the transcendence
of e utilizing the method introduced by Lambert. After Charles Hermite success-
fully proved the transcendence of e in 1873, building on a relation between e and
π established by Euler, Ferdinand von Lindemann was able to extend the proof of
the transcendence of e to that of π in 1882 ultimately proving the impossibility
of squaring the circle.11
Of course Dee could not expect his readership to understand the full implica-
tions of this, as he himself did not. He did understand, however that the manner
in which the duplication of the cube was resolved classically, without the use of a
straight-edge and compass not only could be, but was central to his comprehen-
sion of the Hieroglyph and that what is being expressed is the transcendental
characteristic of God.
It is common knowledge that Apollonius of Perga was the key figure in the
development of the conic sections, but one must also understand the history of
how these geometric figures as described by Apollonius play a role in the context
of Dee’s developing awareness. Principally a conic section is the 2-dimensional
curve that is formed when a cone is cut from various angles. The interest Dee
seems to have concerns the circle, the horizontal section of a cone and a parab-
ola, the open-ended vertical slice. The parabola can be algebraically described
as having a focus a certain distance from the apex of the curve and a directrix
parallel to the tangent of the apex that is the same distance to the apex as is
the apex to the focus. Thus the distance of the perpendicular to the directrix
through the focus is twice a fixed distance. The parabola is then described as
the locus of points equidistant between the directrix and focus. Considering this
it is surprising to find that the focus and directrix properties were not given in
the Conics of Apollonius. The relationships are given by Pappus, but in historical
context this work is not found in Dee’s library.12 That should not preclude the

fact that Dee was unaware. Mathematical historian Julian Coolidge points out
that after Pappus it was not until 1501 when a work by Giorgio Valla and another
in 1522 by Johannes Werner reinvigorated the subject.13 Both of these works
are cataloged in Dee’s library and the Werner tract was acquired fourteen years
before the publication of the Monas.14 The work by Valla apparently summarizes
the Greek works, including that of Pappus.
Hippocrates of Chios reduced the problem of duplication to one of construct-
ing two mean proportionals. Menaechmus then successfully used conic sections,
specifically parabolas, to construct the two mean proportionals and though not
by straight-edge and compass, a solution to the duplication of the cube. Coolidge
states it such that “if between two straight lines of which the greater is double
the less it were discovered how to find two mean proportionals in continued
proportion, the cube would be doubled.” 15 Indeed Werner described eleven
methods for solutions to the Delian problem, including the intersection of two
parabolas, one of two Menaechmus described. Since the mathematical analysis
of the proportions reveals that constructed point must be determined by 3√2 in
order to effect this, take a parabola opening vertically defined as x2= ay. Then a
second parabola opening horizontally is given by y2=2ax. The x -coordinate of
the intersection is the length of the sought edge. A speculative account of how
Menaechmus came to the solution by the intersection of two parabolas is given
by Coolidge.
With knowledge of this alternative solution to
the duplication problem, upon a meditation of the
Hieroglyph as a whole it will become apparent, most
obviously, that the upper arc, the Luna glyph, is an
idealized form of a parabola. This is demonstrated
to the eye, because the horizontal line through the
center forming the cross acts as the directrix. If this is
true, one would then look for a corresponding point
as the focus, and finding only the central solar point
gives a clue to the fact that there should be a move-
ment from above to below, elevating this solar focus,
the Monad, to the lunar focus. This dynamic aspect of
the geometrical construction has gone beyond simply lines and circles. Dee has
now introduced conic sections, and with that quadratic equations, and a method
of demonstrating a part of nature that is not dependent upon just line and circle.
Now these objects become secondary and only relevant in the definition of a
cone. The impression this leaves is that now Dee has created a 2-dimensional
representation of a 3-dimensional process. Using this observation of the appar-
ent existence of conic sections, specifically a single parabola, it is possible to
critically examine his written explanations.
To analyze Theorem XX make note that the “adversary” is his counter-self,
his devil’s advocate, and a necessary part of the demonstration. Following his
thoughts, if the focus, in the sense of the conic were gone, if Christ were not
of the cross the plane would cease to exist. Instead there would be two non-
intersecting lines in space, one representing the body, or physical component,
and the other the soul, representing the mental component, of a metaphysical
material plane, consisting of physical, mental, and spiritual parts.16 The point,
focus, or Christ would therefore be the spirit aspect. When this spiritual compo-
nent does exist the two lines intersect to form a mathematically 2-dimensional
plane. Understanding that this plane represents on one hand the Earth, apart
from any alchemical connotation, then on a strictly physical level the earthly
plane resides in the 3-dimensional world of experience. Metaphysically if the
focus were not there the two lines could be mathematically existing in a
3-dimensional space, but having no connectivity they fail to define what then,
with the spirit focus, is the ground of reality, existence. So together all three
aspects, body, soul, and spirit represent three directions and thus an idealized
cube, for even if that spirit focus in the final analysis is coplanar, its very say, prior
existence within three dimensions, glues, so to speak, the earthly plane but does
not eradicate the space in which the plane is embedded.
Especially note, that if the cross is the basic cross of the crucifixion then the
horizontal identifies with the arms, the vertical, the legs, and Christ himself may
be seen as the non-physical, non-mental, transcendent being. As such He projects
orthogonally from the two dimensions into the world as a beacon of light, LVX.
Of course, light may also be identified with the Sun which shines light from
the heavenly realm onto the Earth and by extension the light of God, Christ, or
simply LVX that shines into the world with a similar perspective. With the Sun
represented as a circle having a definite center take note the placement of this
symbol at the beginning of the Hieroglyphic Monad.
When he supposes that his adversary says of the point (focus) being apart
from the Ternary he allows for the point to still exist, for without a point at all the
foundations of Euclid’s geometry collapse as emphasized in Theorem II. Thus that
point would be the point graphically within the solar component of the glyph
however it could have various metaphysical interpretations when a complete
alchemical contextual analysis is sought. Regardless, it must not cease to exist
somewhere. Now, by Theorem X Dee explicitly implies that the Hieroglyphic
Monad is not a static image when he refers to the necessity of “Aries to signify
that in practice of this monad the use of fire is required.” The use of the word
Binary has several connotations, but principally the notion of the duplication
process is usually to be inferred. He emphasizes that if the point were absent
from the Binary, the Binary would cease to exist.
Notice also that if the point that defines the focus of a parabola ceased to
exist so would the parabola. Therefore the glyph visually depicts the point and the
arc above the horizontal indicating the representation of a parabolic figure with
the horizontal of the cross corresponding with the directrix of the parabola, the
solar point corresponding with the focus and the lunar arc idealizing the parabola.
Since there is an action inherently implied, when he challenges his adversary to
remove the point, the solar, mathematical focus of the parabola would in fact
exist when the lunar component is moved downward, or what amounts to the
same thing, the sun is exalted or elevated. Then this process represents the light
coming to the Earth. But more than that the earthly material plane would only
exist because of the intersecting of the Binary by the gluing of the focus.
By showing the necessity of the focus or in other words the necessity of the
parabola this indicates that what he is referring to as the Binary, the conjunction
of the body and soul, is actually the mathematical product in a literal mathemati-
cal sense. The intersection of two sets corresponds with multiplication while the
union with addition. Thus it follows that the notion of Binary is also being used
to indicate multiplication and in this case it must mean multiplication by two
when considered in relation to the production of four, the Quaternary. Hence
the proposition that at least in an active sense Dee is using Binary as a word
for the duplication of the cube. Since the only known solutions at that time to
this so-called Delian were problem through the use of conic sections and Dee is
in particular using the solution by the intersection of two parabolas there must
exist a second focus corresponding to an additional parabola. His transformation
in Theorem XII reveals the orthogonal relation between ♄ and ♃.Thus the second
parabola being orthogonal to the first for the solution is naturally already present
within the glyph. His notion of Quaternary is then indicative of the doubling of
the Binary which is simultaneously symbolic of both the cubical space (because
the spirit infused Binary is the principal for the earthly cube) and its duplication,
the second cube with twice the volume of the original. Then the Binary as a
supporting plane implies the Quaternary may then be identified with a plano-
plane, or the duplicated cube. But also note that the word for square has long
been associated with the Latin quadrus. This gives additional support to Binary
being the multiplication by two to yield a cube of twice the volume.
By removing the point at the center of the cross there become four lines
identified as the elements comprising a Quaternary, in the literal sense of a set
of four objects. He challenges his adversary that regards the first Binary earthly
cube to be the same as the Quaternary earthly cube, contends that a cube is a
cube and any duplication only changes the scale of one and the same object.
Thus the implication of the plano-plane becomes relevant and it is at this point
the crucial observation is made. That is, this second cube, the Quaternary, is not
merely a cube of a different size but that it is actually representative of the
mathematical fourth dimension when Dee states that “the point must of neces-
sity be present, because with the Binary it constitutes our Ternary, and there is
nothing that can be substituted in its place.” Then, acting as his own adversary, he
sees that the hypothetically removed point must not just be present in his initial
Binary defined Ternary, but because the final Quaternary is also a cube, it must
have its own point that constitutes the Binary. Finally the way of the solution
of the Delian problem is when the two parabolas intersect. So if the focus were
necessary in both parabolas, call them and, then their intersection point, the solu-
tion, together with the fact that no other points were explained in this hieroglyph
due to its fundamental and primary nature, implies all three points must actually
be the same point. Therefore he must be saying only one thing, that the point
identified as Christ in the initial stage prior to the action, in the final space acting
as the bond must also be Christ and therefore it may be concluded that the
final Quaternary is that world of the time of the Second Coming of Christ. Thus
it is obvious why he was taking the trouble to illuminate the position of his
“adversary” claiming that the two are merely scaled representations of the same
thing, the earthly realm. He is rather pointing to the difference of this second
space as being one where Christ has returned via the action of exaltation of the
sun bringing forth the Light to the Earth.
According to Revelations17 it is prophesied that the Earth actually becomes
the New Jerusalem. Yet when Dee concludes against his adversary because of
his belief in the Second Coming and the New Jerusalem, the implication of a
fundamentally different world, pointing out the impossibility of the two cubes
being identical, he has still made it aware that the scaled cube is not just larger,
but the fact of being larger on the one hand it would contain the initial cube
and on the other hand by believing in the future prophesy of Revelations the
two spaces are obviously separated by time. But his hieroglyph is showing that
the two points ♄ and ♃ intersect and he is explaining the connectedness of the
spaces. He has come to a contradiction that he can only resolve by understanding
the time separation is not a separation at all but a connecting today called the
fourth dimension.
To verify this to himself he would have to use his knowledge of the seeming
intractability and probable impossibility of the classical construction problems
in the manner in which they were first prescribed, using only straight-edge
and compass. Since the problems are inherently 2-dimensional in nature he
understands the difference between a plane and a space. He also knows that
conic sections, while themselves planar, only come from a cone which resides in
space. It would not be a leap to see that the cone represents the light shining
upon the Earth. But he finds the problems of plane constructions such as the
regular heptagon introduce some error and thus there is a sort of missing piece
that must exist somewhere not on the plane, at least the plane as known to be
defined of constructible points. Anything not on the plane must be in space or
heaven above similar to the ideal forms of Plato. He knows that the doubling of
the cube on the plane can also introduce error and thus finds its unsolvability
also a property of space or heaven. But when the cube problem has been solved
by a three dimensional earthly process he can only conclude that his vague
understanding of unsolvability or impossibility is not an earthly phenomenon
but a heavenly one, and thus beyond three space dimensions. However he can
easily observe the idea of a line and intersection of two lines to define a plane,
and because his tool has been the straight-edge, or line, he must thus see that
one line is a single dimension whereas two lines make a second dimension and
that when he erects the perpendicular to the plane he has used the straight-edge
again whereby understanding the addition of one, a new dimension. Therefore
he sees the addition of one to two as a transition towards three. Since he has
come to the enlightened conclusion that the impossibility which seems concep-
tually the same thing in the polygon problem as the cube problem and of it not
being of three dimensions, it must be three plus one, or four, and is thus led to the
four dimensions. Here it is a four dimensional object that is not the plano-plane.
He would think of the complete 4 dimensional space as heaven. The impossibility
in the cube doubling, discovered to be in heaven, is something he has already
identified in this 4th dimension with the existence of the New Jerusalem, Heaven
on Earth, the Light shining down from a heavenly source, the Christ returning. He
may not have been able to extrapolate beyond the fourth dimension until later.
It is possible that his later contacts with angels would steer him in this direction,
for having realized that the New Jerusalem was in the future by perceiving time
as the 4th dimension in a way beyond just a measurement of motion he was
anticipating Einstein in a sense by regarding time as integrally related not just
by movement but a necessary part of the holistic and ultimately eschatological
description of the world.18 This is fundamentally different than the plano-plane
combination, it is a fourth dimension based upon a cube plus a first degree
object. This is precisely the important equation of the Ars Magna.
Later commentaries on the work of Harriot and his algebraic representations
of dimensional objects, such as the fourth denoted aaaa would point out the
absurdity of the objects beyond three dimensions as being anything but imagi-
nation because to add a first degree object to a cube was, and in general even
today, considered absurd. However, Booth writes that Harriot may have been able
to take the conceptual leap, beyond the dimensional restrictions, but still requir-
ing homogeneity for calculation, based upon his experience with the Native
Americans whose language he translated. 19 For the substantial difference was
that this culture had a concept of a fourth person in their language something
English and other European languages did not. This would have come as a
conceptually challenging problem for Harriot to resolve and it is suggested that
it could have really only become aware to Harriot fully by being developed into
his later mathematical researches. Those researches were aided by his work on
navigation which was dependent upon the emerging artistic concept of perspec-
tive, or projectivity.
To compare this with John Dee, when he wrote the Monas, he himself recog-
nized he was extremely inspired by the voice of God. Thus in a very literal sense
there was a fourth person, that in essence was there speaking, and not merely
the more abstract God of the traditional Trinity. Together with that Trinity indeed
there become four persons that Dee is recognizing. He would also readily point to
the fact that the tetrahedron, the equidistributed solid according to the tradition
of Plato, is to be identified with fire. This has already been emphasized in Theorem
X that without the application of fire the process described by the Hieroglyph
could not take place. He also states in Theorem XIII regarding its action that it
cannot take place in this epoch unless complicated alchemical procedures are
undertaken. This specifically references the futuristic view of this doubled cube.
In Theorem XXIII he goes further to indicate the necessity of a time period of
four super-celestial cycles. Without speculating on the interpretation of this it is
clear this only adds to the temporal aspect of the dimension. Dee, having the
same access to the concepts of perspective and projectivity again point to the
far distance of the point as it is constructed. Today mathematically projective

geometry can be described as taking a space and adding an extra dimension
through the adjunction of a point at infinity. Dee would not have thought of it
quite as technically as this but the potentials were there.
But he was also aware of the impossibility or unsolvability as some sort of
object residing in heaven. If he recognized these “errors” in approximation as
things residing in heaven, a divine place of perfection, then the errors must not
be errors after all but some other type of object in the heavenly abode. Thus most
likely his contemporaries would have seen these to be the stars. But his unique
insight told him that they were beyond the stars in something higher than the
firmament. One can only conclude that he must have thought of them as divine
objects. But for the case in point there must be a similar sort of divine energy,
that which he already identified as Christ, or LVX.
So he resolves back into the description of the glyph that it is the point that
is necessary for the Binary to define the Ternary and ultimately the Quaternary.
He has shifted the awareness to the 1, 2, 3, 4 sequence but now for those that
could see he has illuminated a sequence of dimensions. If one turns attention
to Theorem XII, the crucial lemma for XX, one may also observe his explanation
of dimension there. In the second diagram of Theorem XII beginning with ♄
notice a rotation into ♃ and a reflection. This rotation is a one to two dimensional
transformation. Next imagine raising both ♄ and ♃ into the z direction. After
rotation, the analogue of the reflection, one is left with two arcs, the halves of
the Aries sign, that define the lune. Next, upon letting the moon revolve around
the earth, a process of time, one is left with the primitive Mercurial sign. Thus he
has demonstrated clearly the results of 3 transformations and finally synthesized
it into one sign, in the spirit realm, something that could in a sense be seen as a
process orthogonal to all of the previous and thus defining a 5th dimension. One
would speculate that his kabbalistic and Pythagorean notions with regard to the
sum 1+2+3+4=10 that indicates completion, would probably put a boundary on
his musings of any higher dimensions.
Lastly observe that he outlines the correct proportions in Theorem XXIII for
the parabola in the technical construction. By defining a circle with radius 2AB
and the arc from a circle also of radius then when the center K becomes I (the
moon conjoining the sun) and then translating K=I towards B making K+I the
focus of a parabola with focal distance AB. He has demonstrated the correct
proportions but translated the focus to have the parabola degenerate into a
circle, thus creating a stable state.
THEOREM XX
We have shown sufficiently that for very good reasons the Elements
are represented in our Hieroglyph by the straight lines, therefore we give
a very exact speculation concerning the point which we place in the
centre [focus, (also Christ)] of our Cross. This point cannot by any means
be abstracted from our Ternary [cube]. Should anyone who is ignorant
of this divine learning, say that in this position of our Binary [duplica-
tion process] the point [focus] can be absent, we reply, he may suppose

it to be absent, but that which remains without it will certainly not
be our Binary [duplication process with a necessary focus for the
conic construction]; for the Quaternary [successfully duplicated cube]
is immediately manifested, because by removing the point we discon-
tinue the unity of the lines. Now, our adversary may suppose that by
this argument we have reconstructed our Binary [merely the duplica-
tion process]; that in fact our Binary [duplication] and our Quaternary
[duplicated] are one and the same thing, according to this consider-
ation, which is manifestly impossible. The point [focus] must of neces-
sity be present, because with the Binary [duplication] it constitutes our
Ternary [projecting cube], and there is nothing that can be substituted
in its place. Meanwhile he cannot divide the hypostatic property of
our Binary without nullifying an integral part of it [the transcendental
nature of the “Christ” focus, that which makes for a successful dupli-
cation]. Thus it is demonstrated that it must not be divided. All the parts
of a line are lines [inherent connectivity, (see Theorem II & VII)]. This is
a point, and this confirms our hypothesis. Therefore, the point does not
form part [separable object] of our Binary [duplication] and yet it forms
part of the integral form [active principle] of the Binary [duplication
process]. It follows that we must take notice of all that is hidden within
this hypostatic form and understand that there is nothing superfluous
in the linear dimension [projective quality] of our Binary [duplication].
But because we see that these dimensions are common to both lines,
they are considered to receive a certain secret image from this Binary. By
this we demonstrate here that the Quaternary [duplicated] is concealed
within the Ternary [the cube]. [The amazing moment of enlight-
enment comes from mentally comprehending the mathematically
essentially transcendental impossibility of this construction!] O God!
pardon me if I have sinned against Thy Majesty in revealing such a great
mystery in my writings which all may read, but I believe that only those
who are truly worthy will understand.
This analysis has been for the most part one based purely on a mathematical
level with only the inclusion of naive biblical prophecy and meaning. It thus
invites an exploration of the more abstract metaphysical connotations that
would arise from considering it as an alchemical transformation process. To this
end the study of the kabbalistic correspondences pertaining to the significance
of the Moon, the Sun, and Elements, and the relationship with the composite
glyph of Mercury, is necessary. This notion of the fourth dimension in Dee’s work
is not new. The theory proposed by Bridges and Burns is that prior to the writing
of the Monas, relating aspects of the Olympic Sprits, by connecting metaphysical
correspondences geometrically in the structure of two cubes into a composite
structure Dee was able to comprehend an object of 4-dimensional character,
that of the hypercube.20 Further, Burns and Moore reveal the existence of the
conic sections already occurring in Theorem XVI. One of the implications of this

appearance of a cone is in the proposition put forth that indeed such a cone can
be indicative of the precession of the equinoxes.21 If the space constructed by the
process of duplication of the cube is indeed representative of the New Jerusalem
cube of space and the cone is a unique one also in correspondence with the
precession cone, then the critical point of construction, the non-constructible
number, would indeed be a temporal critical point. It is presently obvious that
a major critical point of the precessional cycle, is one found at the completion
or beginning of a cycle. It is commonly held that the Mayan calendar marks this
point and it coincides with the year 2012.
This leaves several natural questions. If this 3√2 is neither constructible nor
transcendental, may it be determined by a process intermediate to these con-
cepts, an alchemical process? If yes, and that alchemically constructed point is
formed in conjunction with the precessional cone, what type of process must
occur for that critical point to exist in something more than just a theoretical
sense? What objects must conjoin? Dee uses ♄ and ♃ and Burns discusses the
apocalyptic implications of the conjunctive cycles of ♄ and ♃ in Dee’s lifetime
including the so-called “Fiery Trigon” 20 years after he completed the Monas.
Is there a conjunction of planets, in the neighborhood of 2012, which is
relevant? Is there significance related to the perceived motion being similar to
a solar eclipse? These questions and many more seem to fall in the realm of
global alchemy. What is to be said of local personal alchemy? The answers to
these questions may shed light on any perceived context on the Enochian corpus
then as it unfolded to Dee during that time of the “Fiery Trigon” and the modern
resurgence of interest combined with the modern day knowledge of the preces-
sional cycle.
From a more mathematical perspective is the fact of the Solar glyph, the site
of the original focus, represented by a circle significant to the effect of being
“squared” as a result of the cubing process? Is this then, not merely a circle but a
sphere? If the liberty of utilizing modern mathematical concepts in interpretation
is allowed, similar to a language decoding or translation process, together with
a supposition that John Dee was not merely in communicative contact with
Ophanic intelligences in later life but that his entire life had been a series of
contacts only with a culmination in the actual angelic conferences, what modern
concepts may be used to facilitate a better understanding and application of the
Enochian material? For instance can this entire object, the sun glyph, actually be
a higher dimensional sphere, of something much larger that three or four dimen-
sions? When his frontispiece states “Mercury becomes parent and the king of all
planets when perfected by stable, pointed Stilbon” and Stilbon is also another
aspect of Mercury emphasizing the scripting and communicative aspect, then
would this then not form a core or essence of Mercury and a Mercurial action,
astrologically modernized to a communication device? 24
This article was originally published in the Journal of the Western Mystery Tradition 19, Vol.
2 (2010). See http://www.jwmt.org/v2n19/Delian.html

NOTES
1 J. L. Heilbron, Introductory Essay to John Dee in Astronomy (Berkeley, CA: University of
California Press, 1978), p. 25.
2 Viète’s maxim was “To Solve Every Problem” see François Viète, The Analytic Art (Kent,
OH: The Kent State University Press, 1983), p. 32.
3 Mathematics is the subject matter of the entire second book, that begins with the
chapter heading “Of the necessity of mathematical learning, and of the many won
derful works which are done by mathematical arts only.” Henry Cornelius Agrippa,
Three Books of Occult Philosophy, (St. Paul, MN: Llewellyn Publications, 2003), p. 233.
4 “Chapter XI: On the Cube and First Power Equal to the Number” in Girolamo Cardano,
The Great Art or the Rules of Algebra (Cambridge, MA: The M.I.T. Press, 1968), p. 96.
5 Michael Booth, “Thomas Harriot’s Translations,” The Yale Journal of Criticism 16, no. 2
(2003): 346.
6 Viète titles his Chapter III of the Introduction to the Analytic Art, “On the Law of Homo-
geneous Terms and on the Grades and the Kinds of Magnitudes of Comparison.
The axiom is stated thus, “homogeneous terms must be compared with homogen-
eous terms,” The Analytic Art, p. 15.
7
Ibid., p. 16.
8 Max Jammer, Concepts of Space (New York: Dover Publications, 1993), p. 58.
9 For example, a thorough discussion may be found in Chapter XXVI, “The Rise of
Abstract Algebra” in Carl B. Boyer, A History of Mathematics (Princeton, NJ: Princeton
University Press, 1985), p.620-648.
10
Wantzel, L. “Reserches sur les moyens de reconnaître si un Problème de Géométrie
peut se résourdre avec la règle et le compas.” Journal de Mathématiques Pures et
Appliquées 1, no. 2 (1837): 369-370
11 For a general overview consult Felix Klein, Famous Problems of Elementary Geometry
(New York: Dover Publications, 1956). Technical details may be found in Jesper
Lützen, Joseph Liouville 1809-1882: Master of Pure and Applied Mathematics (New York:
Springer-Verlag, 1990).
12
Julian Lowell Coolidge, A History of the Conic Sections and Quadric Surfaces (Oxford:
Oxford University Press, 1945), p.13.
13 Ibid., p. 26.
14 Werner was acquired in April, 1550. For information on Dee’s holdings see John Dee,
John Dee’s Library Catalog (London: Bibliographical Society, 1990).
15 Coolidge, Conic Sections, p.1.
16 Agrippa and Dee view this as elementary, celestial and intellectual, or terrestrial,
astrological, and spiritual, and the Three Books of Occult Philosophy are focused
accordingly, Agrippa, p. 3.
17 Revelations Chapter 21, Verse 1, “And I saw a new heaven and a new earth: for the first
heaven and the first earth were passed away; and there was no more sea,” King James
Bible.

18 Of course Einstein went much further than any of this by pointing to the dependency
between space and forces acting over time as a type of 4-dimensional geometric
object space-time, where the relations are not simple rather they are described by
Einstein’s field equations. See for instance, Max Jammer, Concepts of Space (New York:
Dover Publications, 1993).
19 Michael Booth, “Thomas Harriot’s Translations,” p. 357.
20 Vincent Bridges, and Teresa Burns, “The Little Book of Black Venus - Part Two: Olympic
Spirits, the Cult of the Dark Goddess and the Seal of Ameth,” Journal of the Western
Mystery Tradition 13, no. 2 (2007): §6.
21 Teresa Burns, and J. Alan Moore, “The Hieroglyphic Monad of John Dee, Theorems
I-XVII: A Guide to the Outer Mysteries,” Journal of the Western Mystery Tradition 13,
no. 2 (2007).
22
Jay Weidner, and Vincent Bridges, The Mysteries of the Great Cross of Hendaye: Alchemy
and the End of Time (Rochester, VT: Destiny Books, 2003).
23 Teresa Burns, “The Little Book of Black Venus and the Three-Fold Transformation of
Hermetic Astrology,” Journal of the Western Mystery Tradition 12, no. 2 (2007).
24
See the section “The Frontispiece” of Burns and Moore.

BIBLIOGRAPHY
Abraham, Lyndy. A Dictionary of Alchemical Imagery. Cambridge, UK; New York: Cambridge
University Press, 1998.
Ashmole, Elias, C.H. Josten, and M. A. Hennings. Elias Ashmole (1617-1692): His Autobio-
graphical and Historical Notes, His Correspondence, and Other Contemporary Sources
Relating to His Life and Work. Oxford: Clarendon Press, 1967.
Ashmole, Elias. Theatrum Chemicum Britannicum. A reprint of the London ed., 1652, with a
new introd. by Allen G. Debus ed. New York: Johnson Reprint Corp, 1967.
Bitter, Wilhelm, and Gerhard P. Zacharias. Dialog Über Den Menschen. Eine Festschrift Für
Wilhelm Bitter Zum 75. Geburtstag. Stuttgart: Klett, 1968.
Bridges, Vincent. “Angels in the DNA: the Emerald Modem and Dr. Dee’s Ophanic
Language.” Journal of the Western Mystery Tradition 2.15 (2008).
Available: http://www.jwmt.org/v2n15/dna.html
Bridges, Vincent. “Reading the Green Language of Light.” Journal of the Western Mystery
Tradition 1.4 (2003). Available: http://www.jwmt.org/v1n4/readlight.html
Bridges, Vincent and Teresa Burns. “Olympic Spirits, the Cult of the Dark Goddess, & the
Seal of Ameth.” The Consecrated Little Book of Black Venus Attributed to John Dee. Ed.
Burns, Teresa and Nancy Turner. Cold Springs, NY: Waning Moon Publications, Ltd.,
2007. Earlier version available: http://jwmt.org/v2n13/book.html
Burns, Teresa and J. Alan Moore. “The Hieroglyphic Monad of John Dee Theorems I-XVII: A
Guide to the Outer Mysteries.” Journal of the Western Mystery Tradition 2.13 (2007).
Available: http://jwmt.org/v2n13/
_____ .“John Dee and Edward Kelley’s Great Table.” Journal of the Western Mystery Tradition
2.18 (2010). Available: http://www.jwmt.org/v2n18 tablets.html
Campbell, Colin. The Magic Seal of Dr. John Dee: The Sigillum Dei Aemeth. York Beach, ME:
Teitan Press, 2009.
Crowley, Aleister. Liber LXXXIV Vel Chanokh: A Brief Abstract of the Symbolic Representation
of the Universe Derived by Doctor John Dee through the Skrying of Sir Edward Kelley.,
Originally a two part article in Equinox I;7, and I;8 by By Fra.: A.’. A.’. Available:
http://www.hermetic.com/crowley/libers/liber084.pdf.
Crowley, Aleister, et al. The Law is for all: An Extended Commentary on the Book of the Law.
2nd ed. Phoenix, AZ: Falcon Press, 1983.
_____ . Liber L. Vel Legis: Sub Figura CCXX as Delivered by LXXVIII Unto DCLXVI; LiberTri-
gram-maton: Sub Figura XXVII, being the Book of the Trigrams of the Mutations of the
Tao with the Yin and the Yang; Liber DCCCXIII Vel Ararita: Sub Figura DLXX. London: 1909.
_____ l. Magick: Liber ABA, Book Four, Parts I-IV. 2nd rev. ed. York Beach, ME: S. Weiser, 1997.
Crowley, Aleister, Lon Milo DuQuette, and Christopher S. Hyatt. Enochian World of Aleister
Crowley: Enochian Sex Magick. 1st ed. Scottsdale, AZ: New Falcon Publications, 1991.
Crowley, Aleister and Israel Regardie. Gems from the Equinox: Instructions by Aleister Crow
ley for His Own Magical Order. Scottsdale, AZ: New Falcon Publications, 1988.
Crowley, Aleister, John Symonds, and Kenneth Grant. The Confessions of Aleister Crowley:
An Autohagiography. Corrected ed. London; Boston: Routledge & Kegan Paul, 1979.
234 THE OPHANIC REVELATION

DARLENE. “The Ophanic Alphabet: A Search for Meaning.” Journal of the Western Mystery
Tradition 2.18 (2010). Available: http://www.jwmt.org/v2n18/ophanic.html
Dee, John. The Consecrated Little Book of Black Venus Attributed to John Dee. ed. and trans.
by Teresa Burns and Nancy Turner. Cold Springs, NY: Waning Moon Publications, Ltd.,
2007. Earlier version available: http://jwmt.org/v2n12/venus.html
Dee, John. The Mathematicall Praeface to the Elements of Geometrie of Euclid of Megara
(1570). New York: Science History Publications, 1975.
Dee, John and Edward Kelley. Angelic Conferences of Dr. John Dee and Sir Edward Kelley.
Digitized original manuscripts available on-line: http://www.themagickalreview.org/
enochian/conferences.php
Dee, John and Edward Kelley. A True & Faithful Relation of what Passed for Many Yeers
between Dr. John Dee ... and some Spirits Tending ... to a General Alteration of most States
and Kingdomes in the World: His Private Conferences with Rodolphe, Emperor of Germany,
Stephen, K. of Poland, and Divers Other Princes about it ...: As also the Letters of Sundry
Great Men and Princes ... to the Said D. Dee. Ed. by Meric Causabon. London: Printed by
D. Maxwell for T. Garthwait, 1659. Available: http://www.themagickalreview.org/
enochian/tfr.php
Dee, John. The Diaries of John Dee, ed. by Edward Fenton. Charlbury, Oxfordshire: Day
Books, 1998.
Dee, John and Geoffrey James. The Enochian Evocation of Dr. John Dee. Gillette, NJ: Hep
tangle Books, 1984.
Dee, John and Geoffrey James. The Enochian Magick of Dr John Dee: The most Powerful
System of Magick in its Original, Unexpurgated Form. St. Paul, MN: Llewellyn Publica
tions, 1994.
Dee, John and Joseph H. Peterson. John Dee’s Five Books of Mystery: Original Sourcebook of
Enochian Magic: From the Collected Works Known as Mysteriorum Libri Quinque. Boston,
MA: Weiser Books, 2003.
Dee, John and Wayne Shumaker (trans and commentary.) John Dee on Astronomy: ‘Propae
deumata Aphoristica’ (1558 and 1568), Latin and English. Berkeley; London: University
of California Press, 1978.
Dee, John, Nancy Turner, and Teresa Burns. “A Translation of Theorems I-XVII of John Dee’s
Monas Hieroglyphica.” Journal of the Western Mystery Tradition 2.13 (2007). Available:
http://www.jwmt.org/v2n13/partial.html
Denning, Melita, and Osborne Phillips. Mysteria Magica: Fundamental Techniques of High
Magick. 3rd ed. St. Paul, MN: Llewellyn Publications, 2004.
DuQuette, Lon Milo. Enochian Vision Magick: An Introduction and Practical Guide to the
Magick of Dr. John Dee and Edward Kelley. York Beach, ME; 2008.
Eberhard, Wolfram. A Dictionary of Chinese Symbols: Hidden Symbols in Chinese Life and
Thought. London; New York: Routledge & Kegan Paul, 1986.
Evans, Robetr John Weston. Rudolf II and his World: A Study in Intellectual History, 1576-1612.
Oxford: Clarendon Press, 1973.
Fitzgerald, C. P. “The Horizon History of China” Horizon Magazine (1969): 415.
French, Peter J. John Dee: The World of an Elizabethan Magus. London: Routledge and K. Paul,
1972.
BIBLIOGRAPHY 235
Fulcanelli. Le Mystère Des Cathédrales Et l’Interprétation Ésotérique Des Symboles Hermé
tiques Du Grand Oeuvre. 3. éd. augm., avec 3 préfaces de EugÈne Canseliet. 49 illus.
photo-graphiques nouvelles, la plupart de Pierre Jahan, et un front. de Julien Cham
pagne ed. Paris: J.-J. Pauvert, 1964.
Fulcanelli. Le Mystère Des Cathédrales: Esoteric Interpretation of the Hermetic Symbols of the
Great Work; Uniform Title: Mystère Des Cathédrales. English. 2nd ed.; translated from the
French by Mary Sworder; introduction by Walter Lang ed. London: Spearman, 1971.
Ho, Mai Wan and Fritz-Albert Popp. “Biological organization, coherence and light emission
from living organisms,” in Thinking about Biology, Wilfred D. Stein and Francisco J.
Varela, eds. Thinking about Biology: An Invitation to Current Theoretical Biology. Read
ing, MA: Addison-Wesley, 1993.
Hulse, David Allen. The Key of it All: An Encyclopedic Guide to the Sacred Languages &
Magickal Systems of the World. 1st ed. St. Paul, MN: Llewellyn Publications, 1993-1994.
Hulse, David Allen. The Western Mysteries: An Encyclopedic Guide to the Sacred Languages &
Magickal Systems of the World: The Key of it All, Bk. II. 2nd ed. St. Paul, MN: Llewellyn,
2000.
Josten, C. H. “A Translation of John Dee’s Monas Hieroglyphia.” AMBIX 12 (1964): 84-221.
Judson, Horace Freeland. The Eighth Day of Creation: Makers of the Revolution in Biology.
New York: Simon and Schuster, 1979.
Kanigel, Robert. The Man Who Knew Infinity: A Life of the Genius. Ramanujan. New York:
Collier Macmillan Canada; Maxwell Macmillan International, 1991.
Küntz, Darcy. The Complete Golden Dawn Cipher Manuscript. Edmonds, WA: Holmes Pub.
Group, 1996.
Laycock, Donald C. The Complete Enochian Dictionary: A Dictionary of the Angelic Language
as Revealed to Dr. John Dee and Edward Kelley. Boston: Weiser, 2001.
McKenna, Terence and Dennis. The Invisible Landscape: Mind, Hallucinogens and the I Ching,
San Francisco: Harper Collins, 1993.
McLean, Adam. A Treatise on Angel Magic: Being a Complete Transcription of Ms. Harley 6482
in the British Library. Grand Rapids, MI: Phanes Press, 1990.
Meyer, Marvin W. The Secret Teachings of Jesus: Four Gnostic Gospels, NY: Vintage Books,
1986.
Narby, Jeremy. The Cosmic Serpent: DNA and the Origins of Knowledge. New York: Jeremy P.
Tarcher/Putnam, 1998.
Nasar, Sylvia. A Beautiful Mind: A Biography of John Forbes Nash, Jr., Winner of the Nobel Prize
in Economics, 1994. New York: Simon & Schuster, 1999.
Ovason, David. ”Green Language Techniques in Practice.” The Secrets of Nostradamus. New
York: HarperCollins, 2001. 129-195.
Ovason, David. “The Nature of Green Language.” The Secrets of Nostradamus. New York:
Harper Collins, 2001. 121-129.
Ovason, David. The Nostradamus Code. London: Arrow, 1998.
Pennick, Nigel. The Mysteries of King’s College Chapel. Wellingborough: Thorsons, 1978.
Pollack, Robert. Signs of Life: The Language and Meanings of DNA. Boston: Houghton Mifflin,
1994.

Popp, Fritz-Albert, Qiao Gu and Ke-Hsueh Li. “Biophoton Emission: Experimental back
ground and theoretical approaches,” in Modern Physics Letters B, Volume 8, Issue
21-22, pp. 1269-1296 (1994).
Prisse d’Avennes, and Olaf E. Kaper. Atlas of Egyptian Art. Cairo, Egypt; New York: American
University in Cairo Press, 2000.
Regardie, Israel, Cris Monnastre, o Carl Weschcke. The Golden Dawn: A Complete Course in
Practical Ceremonial Magic: The Original Account of the Teachings, Rites, and Ceremonies
of the Hermetic Order of the Golden Dawn (Stella Matutina). 6th ed., Rev. and enl. / com
plete index compiled by David Godwin ed. St. Paul, MN: Llewellyn Publications, 1989.
Regardie, Israel. The Complete Golden Dawn System of Magic. Phoenix, AZ: Falcon Press,
1984.
Roberts, R. J., et al. John Dee’s Library Catalogue. London: Bibliographical Society, 1990.
Rowe, Benjamin. “The Enochian World of Benjamin Rowe.” Available: http://
www.hermetic.com/browe/.
Schönberger, Martin Maria. The I Ching & the Genetic Code: The Hidden Key to Life. Santa Fe,
NM: Aurora Press, 1992.
Siliotti, Alberto. The Discovery of Ancient Egypt. Edison, NJ: Chartwell Books, 2001.
Trithemius, Johannes. Cryptomenysis Patefacta:, Or, the Art of Secret Information Disclosed
without a Key.: Containing, Plain and Demonstrative Rules, for Decyphering all Manner of
Secret Writing with Exact Methods, for Resolving Secret Intimations by Signs Or Gestures,
Or in Speech.: As also an Inquiry into the Secret Ways of Conveying Written Messages, and
the several Mysterious Proposals for Secret Information, Mentioned by Trithemius, &c.
London: Printed for Daniel Brown, at the Black Swan and Bible, without Temple-Bar,
Place: England; London, 1685.
Trithemius, Johannes. The Steganographia of Johannes Trithemius. Edinburgh: Magnum
Opus Hermetic Sourceworks, 1982.
Tyson, Donald. Enochian Magic for Beginners: The Original System of Angel Magic. St. Paul,
MN: Llewellyn Publications, 1997.
Watson, James D., et al. Double Helix 50th Anniversary Collection: The Molecular Structure
of Nucleic Acids: The Classic Papers from Nature, 25 April 1953. London, UK: Nature,
2003.
Watson, James D. and Francis Crick. “Molecular Structure of Nucleic Acids: A Structure for
Deoxyribose Nucleic Acid.” Nature (London, England). 4356 (1953): 737-8.
Watson, James D. The Double Helix; a Personal Account of the Discovery of the Structure of
DNA. 1st ed. New York: Atheneum, 1968.
Weidner, Jay and Vincent Bridges. The Mysteries of the Great Cross of Hendaye: Alchemy and
the End of Time. Rochester, VT: Destiny Books, 2003.
Wieger, Léon. Chinese Characters; their Origin, Etymology, History, Classification and Significa
tion; a Thorough Study from Chinese Documents. 2nd ed., enl. and rev. according to the
4th French ed. New York: Paragon Book Reprint Corp, 1965.
Wilhelm, Richard, and Cary F. Baynes. The I Ching; Or, Book of Changes. 3d ed. ed. Princeton,
NJ: Princeton University Press, 1967.
Wilhelm, Richard, and Cary F. Baynes. The I Ching; Or, Book of Changes. New York: Pantheon
Books, 1950.
BIBLIOGRAPHY 237
Wilson, Edward O. The Diversity of Life. Cambridge, MA: Belknap Press of Harvard University
Press, 1992.
Woolley, Benjamin. The Queen’s Conjurer: The Science and Magic of Dr. John Dee, Adviser to
Queen Elizabeth I. 1st ed. New York, NY: Henry Holt, 2001.
Yan, Johnson F. DNA and the I Ching: The Tao of Life. Berkeley, CA: North Atlantic Books,
1991.
Yates, Frances Amelia. The Occult Philosophy in the Elizabethan Age. London; Boston:
Rouledge & K. Paul, 1979.
Yates, Frances Amelia. The Rosicrucian Enlightenment. London; New York: Routledge & K.
Paul, 2002.
Yeats, W. B. Stories of Red Hanrahan; the Secret Rose; Rosa Alchemica. New and rev. ed. New
York: Macmillan, 1914.
Zalewski, Pat. Golden Dawn Enochian Magic. St. Paul, MN: Llewellyn Publications, 1990.

The Ophanic Revelation

Hochgeladen von

Dokumentinformationen

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

The Ophanic Revelation

Hochgeladen von

Copyright:

Verfügbare Formate

The Ophanic Revelation:

Angelic Science and the End of Time

Cover paintings, interior illustrations and book design © DARLENE

First English Edition, January 2011

© 2011 Aethyrea Books

II. Symmetry and Sacred Alphabets

The Ophanic Alphabet

The Ophanic Alphabet

III. Reading the Green Language of Light

IV. Basic Ophanic Geometry

V. The Seal of Ameth

VI. The Complete Enochian Handbook

APPENDIX A by S. Robert Wilson

T WAS THE WINTER of 1979 and I was making my way to California to

I study “magick” when I made a detour through Sedona Arizona to meet

2 THE OPHANIC REVELATION PREFACE

4 THE OPHANIC REVELATION PREFACE

When Beautiful Minds Talk

6 THE OPHANIC REVELATION − Section 1

8 THE OPHANIC REVELATION − Section 1

10 THE OPHANIC REVELATION − Section 1

12 THE OPHANIC REVELATION − Section 1

14 THE OPHANIC REVELATION − Section 1

16 THE OPHANIC REVELATION − Section 1

18 THE OPHANIC REVELATION − Section 1

20 THE OPHANIC REVELATION − Section 1

22 THE OPHANIC REVELATION − Section 1

24 THE OPHANIC REVELATION − Section 1

26 THE OPHANIC REVELATION − Section 1

28 THE OPHANIC REVELATION − Section 1

30 THE OPHANIC REVELATION − Section 1

32 THE OPHANIC REVELATION − Section 1

34 THE OPHANIC REVELATION − Section 1

36 THE OPHANIC REVELATION − Section 1

38 THE OPHANIC REVELATION − Section 1

40 THE OPHANIC REVELATION − Section 1

42 THE OPHANIC REVELATION − Section 1

*Alignment of Calls and Grades

44 THE OPHANIC REVELATION − Section 1

48 THE OPHANIC REVELATION − Section 1

is also available in The Journal of the Western Mystery Tradition, http://www.jwmt.org/

50 THE OPHANIC REVELATION − Section 1

52 THE OPHANIC REVELATION − Section 1

SYMMETRY AND SACRED WAVEFORM ALPHABETS 55

56 THE OPHANIC REVELATION − Section 2

THE RELATIONSHIP BETWEEN DNA, OPHANIC LETTERS,

58 THE OPHANIC REVELATION − Section 2

SYMMETRY AND SACRED WAVEFORM ALPHABETS 59

DESIGNED MY FIRST Enochian type font in 1995, having been introduced

The first recorded, little-known script Enochian alphabet (Sloane MS 3188-64r)

THE OPHANIC ALPHABET PART 1 61

62 THE OPHANIC REVELATION − Section 2

THE OPHANIC ALPHABET PART 1 63

These characters have very

64 THE OPHANIC REVELATION − Section 2

3 CURSIVE FORMS OF UN Height / width ratio is close to Phi.

UN is formed of 3 strokes. Beginning at the top

All from Dee’s Journal entry of March 26, 1583

AT RIGHT: To reveal UN’s basic structure, the mono-weighted version,

THE OPHANIC ALPHABET PART 1 65

3 CURSIVE FORMS OF PA Letter’s height to width ratio is

across from the main stroke’s angle change,

All from Dee’s Journal entry of March 26, 1583

66 THE OPHANIC REVELATION − Section 2