Grimoire of the Necronomicon

by Donald Tyson

  The method of placing the stones at the same distance from the center of the circle is easy to tell. Obtain a cord or rope and cut it to the same length as the radius of the circle you desire. This will depend on the constraints of your sacred space, but three paces is a good length, although if necessary it may be longer or shorter. Fasten one end of this cord down in the center of the space, using a pin, a nail, the point of a dagger, or, if it is desirable that the floor not be marred, a heavy weight that will hold the end securely. Then extend the cord toward the north and place the stone of Yig at the end of the cord. Move the cord one-seventh part of the circumference of the circle clockwise and place at its end the stone of Yog-Sothoth. Continue in this manner around the circle to place the remaining stones.

  A circle lightly inscribed on the ground or floor of the sacred space will aid in the equal spacing of the stones, but it is unessential. Small variations in the spacing will not prove fatal to successful rites in honor of the lords of the Old Ones. Strive to make the arrangement of the circle as harmonious as possible. Any gross distortion in the circle, or large gap in the spacing of the stones, will create a weak point in the ring of stones on the astral level, and may have unfortunate consequences. It may allow the occult energy raised to leak away from the circle, rendering a ritual ineffective. It may even allow the intrusion of an unwelcome intelligence into the circle, to vex the attention of the magician. The more regular the ring of stones, the stronger its barrier to contain or repel.

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  The Altar

  The true altar is built up upon the astral plane using an image in the mind of the physical altar, which acts as a solid foundation to define the location, form, and size of the astral altar. The material components of the altar consist of three candlesticks with candles inset in their sockets, and three flat rods of wood, each one yard in length.

  The wooden slats are painted in the ancient planetary colors of the three higher lords of the Old Ones: Azathoth (yellow), Nyarlathotep (orange), Yog-Sothoth (blue). They are flat to prevent them from rolling when laid upon the ground or floor. A common wooden yardstick makes an ideal rod. In place of candles, small oil lamps may be used—it is only essential that three living flames burn on the altar. The glass shades of lamps have the advantage of shielding the flames from random currents of air stirred by the working of rituals.

  In the center of the circle of seven stones, arrange the three rods in a triangle upon the ground or floor of the sacred space, so that one point of the triangle is directed to the north. Standing behind the triangle and facing north, the yellow rod of Azathoth forms its right side, the orange rod of Nyarlathotep its left side, and the blue rod of Yog-Sothoth the base of the triangle of the altar. Inside each of the points of the triangle set one of the candle holders or lamps, which should be all of the same kind and size. Short, circular brass candlesticks are suitable. If oil lamps are used, they should be small and round.

  Triangular Altar

  The altar locates the invisible gate of Yog-Sothoth, which forms high above the altar at the center of the stone circle. All power descends into the circle through this gate. All chants rise from the circle through the gate above the altar. The direction of space given to Yog-Sothoth is the direction of the heights. There are six other gates, but they are all extensions of Yog-Sothoth, for this lord is the sole gatekeeper. Offerings and sacrifices are placed within the bounds of the altar, which is the space within the circle given over wholly to the Old Ones and their lords for material interactions with them. Charms and talismans are charged within the triangle. The tools of the rites are placed on the altar when not in use.

  A small sitting mat may be placed for comfort at the southern side of the altar, next to the blue rod of Yog-Sothoth. When not walking the circle, or standing before its gates and stones, the magician works seated on the mat, facing the north. If he shares the rites with a companion, she will sit on a similar mat in the north, facing south, so that the altar is between them. The mats should be flat so that they may be easily walked across without tripping the feet. The sitting posture is useful for meditation and astral projection.

  The candles should be of the same size and shape. If they can be obtained, use a yellow, a blue, and an orange candle in the points of the altar triangle, setting them by color so that they are opposite the rods of the same color. The blue candle of Yog-Sothoth is place in the north point, the yellow candle of Azathoth is placed in the westerly point on the left, and the orange candle of Nyarlathotep is placed in the easterly point on the right. If candles of the appropriate colors cannot be found, use white candles for all three points of the altar. The colors of the candles do not affect the colors of the flames, but they have a resonance with the three high lords. Those who employ transparent glass oil lamps may, if they wish, add a drop of food coloring to the clear oil of each lamp.

  Candles or lamps within the points of the altar should be lit before the start of the rite in ordered sequence, beginning with the point of the north and moving counterclockwise, which is the chaotic direction of rotation. They are extinguished after the end of the rite in reverse order. If there is more than one present in the circle, the master of the rite lights and extinguishes the candles. As many as seven may share the rite within the bounds of a large stone circle, spacing their places around the altar so that they are evenly separated from each other, but if more wish to be present, they should observe the rite from outside the circle, and may lend their voices to the chants.

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  The Gates

  The four outer gates are flat rods of wood one yard in length that are laid upon the ground, or the floor, of the sacred space in the four directions of the compass. These rods represent the thresholds of gateways in the four watchtowers of this world. To step across these thresholds in the astral body is to pass through the gates. Those things from outside can be called inside to stand before the circle of stones in their astral shapes. The mind of the magician can be projected outside the bounds of common space through the gates in any of the four directions.

  The rod of the north gate is colored black and accords with Yig and his works. The rod of the east gate is colored green and accords with Shub-Niggurath and her works. The rod of the south gate is colored red and accords with Cthulhu and his works. The rod of the west gate is colored purple and accords with Dagon and his works.

  The Four Outer Gates

  To step across the thresholds at the four quarters is to travel in the astral body to those lands that lie beyond the bounds of the watchtowers of this world. Transition can only be made through a gate that has been opened by Yog-Sothoth. All gates are sealed until Yog-Sothoth opens them. Yog-Sothoth is the gatekeeper to the outer gates, and to the inner gates.

  The rods of the gates should be aligned with the walls of the ritual chamber, if the rites of the Old Ones are conducted beneath a roof, and may be placed flush against the baseboards of those four walls, if the working space is limited. It will usually be the case that the four walls of the chamber do not face the four directions of space in a precise way. Each wall that is most aligned with a direction should be assumed to face that direction. The wall that most nearly lies in the east should be termed the east wall, and the rod of the east gate place against it or somewhat in front of it, even if it is not aligned exactly to the east. So for the other three walls.

  When conducting the rites beneath the stars, a compass may be used to determine north, and the four gates laid accordingly at an equal distance from the stone circle. Magnetic north should be used rather than true north, since the magnetic lines of force that span the body of the earth are aligned in this way, and are the living energies of the sleeping goddess.

  Where a formal temple of the Old Ones is established, banners of the gates may be hung on the walls of the chamber behind and above the threshold rods. Each banner shall consist of a background that is colored the color of th
e opposite gate, with the seal of the banner gate centered upon it in the color of that gate. The banner of the gateway of the north is red with the seal of Yig large upon it in black. The banner of the gateway of the east is purple with the seal of Shub-Niggurath in green. The banner of the gateway of the south is black with the seal of Cthulhu in red. The banner of the gateway of the west is green with the seal of Dagon in purple.

  The Four Banners

  The banners shall be twenty-two inches across by thirty-three inches in length, with the seals large and centered upon them. The background material may be of paper, parchment, textiles, or whichever material is most convenient for the magician. Banners of cloth may be hung from portable wooden or metal racks on stands when it is desired to erect them in an open space where they must stand freely. But in an enclosed chamber of the art, the banners may be of any convenient material and may be hung or otherwise fastened to the four walls of the chamber, centered at the level of the heart of the magician who uses the circle or leads the use of the circle.

  The four outer gates open outward through the watchtowers at the far corners of this world, but the three inner gates lie concealed within the center of being, and lead inward to the source of creation along the axis of the world. The upper gate belongs to Yog-Sothoth, the lower gate to Nyarlathotep, and the central gate to Azathoth, who resides at the center of everything. The four lower lords rule the outer gates, the three higher lords rule the inner gates, and Yog-Sothoth controls all their openings and shuttings, obedient to the music played on the flute of the idiot god, Azathoth. Nyarlathotep is the messenger who bears communications through all the gates, and who shows the astral traveler the ways that lie beyond them.

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  The Keys

  To each lord of the Old Ones is given a key for the rites of adoration and petition. When a lord is honored in the daily rite, the key of that lord is placed in the center of the altar. By repeated use, the keys acquire power to catch the awareness of the lords they represent. Through the keys the force of the magician’s will may be directed at the lords, and at any lesser spirits of the Old Ones commanded in the names of the lords.

  Yig: lemniscate

  Yog-Sothoth: circle

  Cthulhu: trapezoid

  Azathoth: spiral

  Shub-Niggurath: triangle

  Nyarlathotep: rod

  Dagon: crescent

  It is the geometric shapes of the keys that are most significant, not the materials from which the keys are made, or their colors. Rods or straps of mild steel are a good medium for the keys, although brass is better because it gives forth a purer ringing tone when struck upon the stones of the circle. The keys should be durable enough to handle daily without distortions of their shapes, and all of approximately the same overall size. From six to nine inches across in their longest dimension is manageable in the hand. It is convenient to bend them from single lengths of steel or brass rods, or flat steel or brass strapping that can be bent easily over the edge of an anvil with a hammer. The rod or strapping used must be thick enough to hold its shape in use, and to give forth a ringing when held loosely between the fingers and struck on the stones.

  Each key will give forth its own unique tone, because each is different in shape. The gap in the outline of each key is necessary to allow the rod that composes the key to vibrate freely, so that its voice can be heard during rituals. It is not necessary that the ringing of the keys be loud, so long as a distinct sound is produced when the keys are struck lightly on the stones. If necessary, the keys can be suspended in the hand from loops of twine, to allow them to vibrate more freely and produce a more ringing tone when struck, but if they are well made and held loosely between the fingers, this should not be necessary. Brass keys will ring better than steel keys, but heavy steel rods or strappings will also work well.

  It is not necessary to paint these keys since it is the outline of their geometric forms that gives them their identities. However, if desired for aesthetic reasons, they may all be painted the same flat black to conceal irregularities and imperfections and to make them uniform in appearance. A rust-resistant paint intended to cover metal should be used for the sake of durability.

  Lemniscate of Yig

  The lemniscate of Yig has the shape of an elongated figure eight turned on its side, and represents the infinite starry void beyond the sphere of Saturn. The lemniscate is the symbol of infinity. Conceive of it as a great serpent with its tail held in its jaws, its body forming a loop that crosses upon itself.

  Circle of Yog-Sothoth

  The circle of Yog-Sothoth represents the cosmic gateway of the god, and for this reason is open at the center, so that it takes the shape of a flat hoop. It represents the circle of the zodiac, which demarcates the sphere of the fixed stars and the gateway to the higher spheres.

  Trapezoid of Cthulhu

  The trapezoid of Cthulhu expresses the alien geometry of the great stone doorway that seals the house of Cthulhu on sunken R’lyeh, where there are no right angles. Bend the rod that forms it so that each of its four angles is different from the other three, and none of them are ninety degrees. This irregular figure is known as a trapezium.

  Spiral of Azathoth

  The spiral of Azathoth stands for the vortex at the center of chaos, where the blind idiot god Azathoth squats upon his black throne, piping his cracked flute. It winds inward three and one-half turns in a counterclockwise direction.

  Triangle of Shub-Niggurath

  The inverted triangle of Shub-Niggurath symbolizes the sexual triangle of the vulva that is outlined in female pubic hair, and is sometimes referred to as the delta of Venus. When holding it, always orient it so that its point is downward. However, understand that Shub-Niggurath contains inherent in her nature both male and female sexuality, and the triangle can easily be turned so that its point is upward.

  Rod of Nyarlathotep

  The rod of Nyarlathotep is a symbol of authority, which this god has from Azathoth on the black throne of chaos as the soul and messenger of the twelve dancing gods. It is made from heavy rod or strapping, with one end filed or ground into a triangular point. This directs the flow of force outward from the point and suggests unbalanced force, for the judgments of Nyarlathotep are never impartial.

  Crescent of Dagon

  The crescent of Dagon stands for the moon and her sway over the tides and life cycles of the seas. It can be used to represent both a benevolent waxing crescent, or a baneful waning crescent, depending on how it is held in the hand—when held with both points upright it is understood to be waxing, but with both points downward, it is presumed to be waning.

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  Ritual Apparel

  It is desirable but not essential that those who observe the rites of the seven lords of the Old Ones in the stone circle of art possess a black robe. The blackness of the robe represents the darkness of primordial chaos surrounding the throne of Azathoth, as well as the inner darkness of the blind gods, who see by another sense than vision. The sleeves of the robes should be loose and extend to at least the mid-forearm, but no lower than the wrist, and the hem should be at least to the mid-calf but no lower than the ankle. The robes may be hooded or without hoods, but a magician who works the rites with a temple group should wear robes that match those of his companions.

  Comfortable clothing of neutral black is to be worn beneath the robes for all rites. The necromancer may go barefoot, or if footwear is required due to the rough ground during outdoor rites, he should wear simple shoes of black canvas that are worn on no other occasions. Similarly, the black clothing worn beneath the robes should be reserved for ritual work. If no robe is available, they serve as the outer ritual garments. Jewelry should be removed before the start of the rite, but it is not necessary to remove rings difficult to get off the fingers, or jewelry that pierces through the skin.

  S
ashes of silk or a similar fine fabric are to be worn around the waist, brightly hued in the color of the lord for which the daily rite is conducted. The sash ties the black robe closed, or if no robe is used, ties around the black ritual garb at the waist. Seven sashes for the seven lords—black for Yig, blue for Yog-Sothoth, red for Cthulhu, yellow for Azathoth, green for Shub-Niggurath, orange for Nyarlathotep, and purple for Dagon.

  Each sash shall be as broad as the breadth of the hand of the disciple who wears it, and in length the measure of his height from the soles of the feet to the crown of the head. It is tied in front on the waist above the left thigh and its ends permitted to hang free.

  There are three ranks in the Order of the Old Ones, as it is here established—Servant, Master, and Lord. Servants wear the symbol of the key of Yog-Sothoth, which is the blue circle, embroidered, sewn or otherwise attached to the left breast of their black robes. Masters add above this symbol the pointed orange rod of Nyarlathotep so that it points upward and away from the blue circle of Yog-Sothoth, to show their higher rank. Lords add the yellow spiral of Azathoth above the point of the rod of Nyarlathotep to indicate the third and highest rank of the Order.

  Emblems of Rank

  In addition to the black robe and the sash in the color of the lord of the daily rite that is being conducted, the magician shall wear on a chain, cord, or ribbon around his neck a lamen bearing the seal of the lord of the rite, so that the lamen hangs over his chest at the level of his heart. A lamen is a pendant bearing the seal of a god or other potent spiritual being. Each lamen is three inches in diameter and circular in shape. On the face of the lamens, the background color for all seven of the seals is white, the color of all seven of the seals themselves is black. Upon the back of each lamen, the sigil of its lord is inscribed in black on a white background. The sigils are extracted from the names of the lords upon the magic squares of the lords.