- Joined
- Apr 16, 2023
- Messages
- 10
- Reaction score
- 28
Thursday, July 9th, 2024 - 11:09AM
Ill-prepared, distracted, and rushed. My first attempt at crafting the aspersorium and aspergillium in order to begin the Verum system in earnest was, to put it bluntly, a bit of a fuck-up. In many ways, I knew it was going to be as soon as I began. However, despite the overlooking and misunderstanding of certain factors inherent in the Verum system, experiencing error first-hand has offered a kind of insight that has remained unmanifested through repetitive readings alone. The many elements of Verum, such as the correct timing of the planetary days and hours, the required set of practical craftsmanship skills, and precise scheduling requirements, all serve to make the system deceptively complex. This is especially true for those who intend to craft the instruments of the art from raw materials themselves as much as possible.
My first rendition of the aspersorium and aspergillium was created with oven-baked Sculpey in the form of a very crude bowl with the holy names haphazardly etched in using the back of a cheap paintbrush. The entire affair was then coated in an air-dry glaze which unfortunately emphasises the synthetic almost plastic quality of the Sculpey. My aspergillium was mainly improvised with a handle of locally sourced hazelwood and store-bought herbs bound with waxed hemp-wick. Who knew fresh marjoram would be so hard to find? For those looking, Hispanic grocery stores tend to carry it. I performed this work on the day and in the hour of Mercury, rushing to complete the work as quickly as possible. I did not complete the process of fumigation or speaking orisons over the tools.
I will not be using either of these tools.
- G. Ephraim
The first tools which are absolutely necessary to begin the preparatory stages of the Grimoirium Verum are undoubtedly the censer and the asperser. As for the instructions surrounding the censer, there is little given in regards to its construction, appearance, etc. It is simply listed as being required. What is certain across translations is the necessity for the coals used within to have been kindled in a fire lit specifically for the purpose of fumigation. Luckily, the instructions surrounding the crafting of the ‘asperger’ are somewhat more clear in terms of potential materials and techniques. Jake Stratton Kent’s The True Grimoire gives the instructions for the asperser as follows:
“On the day and in the hour of Mercury, when the Moon is crescent you make an asperger. Make it big so it may hold sufficient water. It may be made of brass or earthenware, or cast in lead (in the form of a flat-bottomed ladle) and varnished within and without; engrave upon it these characters:
AGLA ✠ JAH ✠ EL ✠ YHVH”
Directly following this, the reader is presented with what at first might appear to be a textual error wherein the author is giving two different sets of instructions for the same tool referred to as the ‘asperger’.
“Make an asperger from mint, marjoram and rosemary, which is bound by a thread made by a virgin maiden. To be made in the day and hour of Mercury, with the Moon crescent.”
Between the Joseph H. Peterson and Jake Stratton Kent editions of Verum, it becomes clear that the ‘asperger’ is a two-piece tool. The first piece, being that which holds the water, is often called the ‘aspersorium’. The second, being the bundle of herbs tied with virgin thread used to sprinkle the water, is often called the ‘aspergillium’. It is on the aspersorium that the characters “AGLA ✠ JAH ✠ EL ✠ YHVH” are engraved and based on the instructions this can be made via metalworking or pottery. The specification of forming the aspersorium in the form of “flat-bottomed ladle” is somewhat strange to me as in historical and contemporary liturgical use, one commonly finds the aspersorium in a form resembling a bucket or pail. It is my assumption that this is possibly due to changes across translations of earlier manuscripts, however, I am far from an expert on translation and etymology.
(Illustration showing the liturgical use of the aspersorium pot and aspergillium of bundled hyssop)
Of the options for material and craft of the aspersorium, earthenware strikes my interest as an accessible option for many modern novices of the Verum system. Additionally, the instruction given of ‘varnishing’ the aspersorium within and without leads me to settle on earthenware pottery as a suitable medium. Furthermore, it seems that pottery is a valuable skill as later in the grimoire we are given the requirement to obtain a ‘glazed pottery jar’ which, if operating in the spirit of craftsmanship over convenience, could just as well be created by the magus. This same line of thinking can be applied to the inkhorn as well as glazed pottery was a common medium for such objects. Being currently located in a major city, I am both fortunate and unfortunate regarding my ability to undertake the operations outlined within Verum. In the case of the earthenware vessels I’ve described, I’m somewhat in luck… depending on which route I choose to go.
The first option available is to seek out a pottery studio that offers classes and open studio time. This is the quickest way to get access to lessons, tools, and a kiln. However, there are potential downsides when it comes to going the studio route. The cost can vary greatly from studio to studio and when it comes to reserving kiln spots (especially for a larger vessel as would be required for the parchment’s liming pot) the price can be considerably high to the point that purchasing premade pottery might seem more efficient and plausible. Additionally, there is an aspect of exposure inherent in using a shared studio space like this. While there is very little risk of witch trials or ostracization for modern occultists, the thought of performing the required Orisons while in the company of others is less than appealing. That being said, from what I can find there are a handful of studios near me that offer unhindered 24/7 studio access… for around $200.00 USD a month.
The other option available is pit-fired coil pottery. This is a primitive technique that negates the use of a commercial kiln and pottery wheel in favor of handcrafting and wood firing. There are plenty of resources online for this style of pottery but the process is somewhat straightforward from what I can tell:
While seemingly simple on the surface, from what I’ve found through research, pit-firing your pottery can be very unforgiving and pieces will often break if not heated correctly. Additionally, you really can’t glaze pieces in a pit-fire setting. The only added benefit here seems to be the fact that this firing process can theoretically be carried out from start to finish privately. However, I am still uncertain that this process would result in a usable tool for the Verum process due to the unglazed nature of such pottery. It is worth mentioning, however, that the red and black figure pottery from Greek antiquity is unglazed. This is also the case for the historical incantation bowls associated with Jewish and Christian practices of warding off and entraping evil spirits. The implications of this are somewhat unclear to me now, however, that may very well change over time.
To conclude my thoughts on the matter, I’ll end with this: It would seem to me that, among the required skills for the aspiring sorcerer utilizing the Grimoirium Verum or other such grimoires, pottery has the potential to serve as a fine medium for the required censer, aspersorium, inkhorn, and liming pot. Especially when compared to metalworking as the alternative, the use of earthenware seems to be much more accessible and hypothetically more affordable. I plan on further consulting Scirlin on this topic in hopes of gaining more insight on the matter.
Ill-prepared, distracted, and rushed. My first attempt at crafting the aspersorium and aspergillium in order to begin the Verum system in earnest was, to put it bluntly, a bit of a fuck-up. In many ways, I knew it was going to be as soon as I began. However, despite the overlooking and misunderstanding of certain factors inherent in the Verum system, experiencing error first-hand has offered a kind of insight that has remained unmanifested through repetitive readings alone. The many elements of Verum, such as the correct timing of the planetary days and hours, the required set of practical craftsmanship skills, and precise scheduling requirements, all serve to make the system deceptively complex. This is especially true for those who intend to craft the instruments of the art from raw materials themselves as much as possible.
My first rendition of the aspersorium and aspergillium was created with oven-baked Sculpey in the form of a very crude bowl with the holy names haphazardly etched in using the back of a cheap paintbrush. The entire affair was then coated in an air-dry glaze which unfortunately emphasises the synthetic almost plastic quality of the Sculpey. My aspergillium was mainly improvised with a handle of locally sourced hazelwood and store-bought herbs bound with waxed hemp-wick. Who knew fresh marjoram would be so hard to find? For those looking, Hispanic grocery stores tend to carry it. I performed this work on the day and in the hour of Mercury, rushing to complete the work as quickly as possible. I did not complete the process of fumigation or speaking orisons over the tools.
I will not be using either of these tools.
- G. Ephraim
On Aspergation, Fumigation, & Pottery
The first tools which are absolutely necessary to begin the preparatory stages of the Grimoirium Verum are undoubtedly the censer and the asperser. As for the instructions surrounding the censer, there is little given in regards to its construction, appearance, etc. It is simply listed as being required. What is certain across translations is the necessity for the coals used within to have been kindled in a fire lit specifically for the purpose of fumigation. Luckily, the instructions surrounding the crafting of the ‘asperger’ are somewhat more clear in terms of potential materials and techniques. Jake Stratton Kent’s The True Grimoire gives the instructions for the asperser as follows:
“On the day and in the hour of Mercury, when the Moon is crescent you make an asperger. Make it big so it may hold sufficient water. It may be made of brass or earthenware, or cast in lead (in the form of a flat-bottomed ladle) and varnished within and without; engrave upon it these characters:
AGLA ✠ JAH ✠ EL ✠ YHVH”
Directly following this, the reader is presented with what at first might appear to be a textual error wherein the author is giving two different sets of instructions for the same tool referred to as the ‘asperger’.
“Make an asperger from mint, marjoram and rosemary, which is bound by a thread made by a virgin maiden. To be made in the day and hour of Mercury, with the Moon crescent.”
Between the Joseph H. Peterson and Jake Stratton Kent editions of Verum, it becomes clear that the ‘asperger’ is a two-piece tool. The first piece, being that which holds the water, is often called the ‘aspersorium’. The second, being the bundle of herbs tied with virgin thread used to sprinkle the water, is often called the ‘aspergillium’. It is on the aspersorium that the characters “AGLA ✠ JAH ✠ EL ✠ YHVH” are engraved and based on the instructions this can be made via metalworking or pottery. The specification of forming the aspersorium in the form of “flat-bottomed ladle” is somewhat strange to me as in historical and contemporary liturgical use, one commonly finds the aspersorium in a form resembling a bucket or pail. It is my assumption that this is possibly due to changes across translations of earlier manuscripts, however, I am far from an expert on translation and etymology.
(Illustration showing the liturgical use of the aspersorium pot and aspergillium of bundled hyssop)
Of the options for material and craft of the aspersorium, earthenware strikes my interest as an accessible option for many modern novices of the Verum system. Additionally, the instruction given of ‘varnishing’ the aspersorium within and without leads me to settle on earthenware pottery as a suitable medium. Furthermore, it seems that pottery is a valuable skill as later in the grimoire we are given the requirement to obtain a ‘glazed pottery jar’ which, if operating in the spirit of craftsmanship over convenience, could just as well be created by the magus. This same line of thinking can be applied to the inkhorn as well as glazed pottery was a common medium for such objects. Being currently located in a major city, I am both fortunate and unfortunate regarding my ability to undertake the operations outlined within Verum. In the case of the earthenware vessels I’ve described, I’m somewhat in luck… depending on which route I choose to go.
The first option available is to seek out a pottery studio that offers classes and open studio time. This is the quickest way to get access to lessons, tools, and a kiln. However, there are potential downsides when it comes to going the studio route. The cost can vary greatly from studio to studio and when it comes to reserving kiln spots (especially for a larger vessel as would be required for the parchment’s liming pot) the price can be considerably high to the point that purchasing premade pottery might seem more efficient and plausible. Additionally, there is an aspect of exposure inherent in using a shared studio space like this. While there is very little risk of witch trials or ostracization for modern occultists, the thought of performing the required Orisons while in the company of others is less than appealing. That being said, from what I can find there are a handful of studios near me that offer unhindered 24/7 studio access… for around $200.00 USD a month.
The other option available is pit-fired coil pottery. This is a primitive technique that negates the use of a commercial kiln and pottery wheel in favor of handcrafting and wood firing. There are plenty of resources online for this style of pottery but the process is somewhat straightforward from what I can tell:
- Create your coil pottery piece by hand and allow it to dry thoroughly.
- Prepare a fire pit dug into the ground.
- Allow the pottery to gradually warm near the fire.
- Introduce pottery into the coals of the fire and build up more wood around your pottery.
- Let burn for a prolonged period of time until cooled.
- Remove finished pottery.
While seemingly simple on the surface, from what I’ve found through research, pit-firing your pottery can be very unforgiving and pieces will often break if not heated correctly. Additionally, you really can’t glaze pieces in a pit-fire setting. The only added benefit here seems to be the fact that this firing process can theoretically be carried out from start to finish privately. However, I am still uncertain that this process would result in a usable tool for the Verum process due to the unglazed nature of such pottery. It is worth mentioning, however, that the red and black figure pottery from Greek antiquity is unglazed. This is also the case for the historical incantation bowls associated with Jewish and Christian practices of warding off and entraping evil spirits. The implications of this are somewhat unclear to me now, however, that may very well change over time.
To conclude my thoughts on the matter, I’ll end with this: It would seem to me that, among the required skills for the aspiring sorcerer utilizing the Grimoirium Verum or other such grimoires, pottery has the potential to serve as a fine medium for the required censer, aspersorium, inkhorn, and liming pot. Especially when compared to metalworking as the alternative, the use of earthenware seems to be much more accessible and hypothetically more affordable. I plan on further consulting Scirlin on this topic in hopes of gaining more insight on the matter.