#Seals of Malediction

[rileylfox]

Queen Oriens; Bael

[sedeleryart]

Some Pride Flag palettes, just because. Hel, lesbian. Sedel, gay man.

[carnivigorous]

Just your Normal Tailor. Nothing to see here.

[magpie-come-east]

Thinking about how Morgott’s cursed sword and the Omen cleaver are both classified as curved greatswords.

Thinking about how the Omen cleaver was probably the weapon Morgott primarily used pre-blood sealing and pre-Shattering War.

Thinking about how the Omen cleaver has a malediction carved into the blade that allows someone to disarm an Omen at will and was likely used to keep them from using violence against their subjugators.

Thinking about how Morgott skillfully fights with weapon incantations very similar to Carian glintblade sorceries. Thinking about how none of these weapon incantations are available to the player. Thinking about how Morgott likely is solely specialized in this branch of magic because he needed to be able to arm himself as Margit with weapons that could not be taken from him

[balshumetsbaragouin]

Daily Excerpt: Passion

Oh boy! How did you all like the end of the Second Act? Spicy right? Chapter Nineteen is on its way, and we are hurtling towards the climax at full speed now. Here's a sneak peek just a little into the future from Chapter Twenty-One: A Splurge and Maledict Devices

__________________________________________________________

She let off the last of her munitions to distract the suit, and braced herself against a nearby wall, forcing first her dislocated shoulder and then the misbehaving knee in place. It should hurt. When had she stopped feeling pain? The suit replied, it had severed the connection to several bundles of sensory nerves to prevent the pain from distracting them. She thanked her other half, and returned to focusing on the battle. They only had their own limbs-battered-and their remaining energy-depleting rapidly-to subdue the cursed tech. She dodged around another poorly aimed shot, and looked at its condition.

Another solid strike to its rockets would do it. She didn’t have the Fenton’s number; why did she not have their number? We don’t need anyone else. They would be helpful, keeping the civilians out of harm’s way. They will not be harmed once we eliminate the tech. She squared off against the suit, preparing for another exchange. She’d defeat this thing, and contact the Fentons somehow. She needed to use their portal to get Skulker anyway. The hybrid’s portal is unguarded. She shook her head, dismissing the thought. That was a problem for later.

With renewed vigor, she charged at the suit. It had lost interest for a moment, when it caught sight of the screaming crowds of people still clogging the streets below, but her battle cry drew its attention once more. She swung the blade on her stronger arm towards the suit, and this time it struck true. It carved a beautiful path through the back of the suit, marring its form. She frowned. She’d already struck the suit there once before. She was sure of it. It fell back onto the roof face down, sprawled out and flailing around for a few seconds. The edges of her gash began to pull closed.

No! The curse had given the suit increased power. Her first attack had sealed over, and now the second one was as well. She dove down towards it, hoping to pierce it with both arm blades. It rolled to the side, and her blades struck through the concrete, cracks running over the surface instead of throw the mech. She let out another frustrated scream as their quarry continue to escape its demise. They could not continue for much longer.

[strawberry-delusion]

SPOILERS!!

It's so sad that when an author creates a "goat character" most of the time they forget how to write/draw them... like gojo was a character whose death could have been organised better. It would have been nice if gege, during the fight of sukuna and gojo, made satoru think about his past and how much the title strongest has affected him through the years. Damn it would have even been really nice if gege focused on the love/loneliness concept during the fight and then, because of a strong attack that we see of sukuna, gojo dies...

But at least before dying we would have know more about him and his feelings.

Instead we have a kind of hallucination or dream?? I don't know about that because it reminded me of the harry potter and albus dumbledore scene when we audience thought (spoiler for somebody who is reading or watching harry potter!) that harry was dead but then he came back into the action.

(I'm talking about this scene here):

We always knew since chap 96 (if I'm not wrong), when we learned that gojo birth caused an increase of maledictions and also his force made them more stronger than before, that satoru was one of the characters that gege wanted to kill off before the ending. But I didn't expect him to give gojo satoru a death so shallow and underwhelming... even more because of the hype he created since gojo got sealed.

Anyway I will keep reading the story only to see what that damn cat of gege would draw as an ending (I have bad feelings...)

[poisonerspath]

A writing set for inscribing sigils, drawing seals and pentacles, and writing petitions. The ink is a combination of India ink and belladonna berry extract infused with dragon’s blood and wormwood. This blend combines the qualities of Saturn and Mars creating a formula that is perfect for workings of banishing, protection and malediction. It can also be used for the creation of plant spirit glyphs, especially for those plants in the nightshade family. Plant spirit glyphs are talismanic symbols created to tap into a plant spirit’s energy. The set includes one glass calligraphy pen, 10 ml of nightshade in and 5 papers treated with a deadly nightshade, dragons blood and wormwood. #nightshadeink #poisonpath #poisonwitch #poisonersapothecary #banefulherbs #spellcrafting #petitionpapers #veneficium https://www.instagram.com/p/Clj2ea-rUUg/?igshid=NGJjMDIxMWI=

[mylightsatnight]

I sip, for a decade. (The final Post) (480)

I take a sip, let out a long deep sigh, put down my book, and gaze out the window, pondering on the poet's words about the window he just looked out.

I've been doing this for over ten years. Going places, ordering a tea. Sitting for hours and hours, writing, musing, pondering, pouring, singing in my head, writing for the dead.

It's exhausting, and invigorating.

It's keeping me alive, and burying me simultaneously.

My skin, I scratch at the soil. Digging past the dark brown loam, hoping the water pipes may burst, and grow daisies and duckweed on the surface. Create a wetland of stories. Rather than this arid pale pearl of craggy mountains and arctic tundra.

Will I be here in 10 years? Will these words carry as much malediction as they always did? Do I invite the dark in, or is insistence on the light a magnet to the grey and further? Maybe these words make less sense with every syllable and scratching of lines that go together. I could have originally etched this on paper. But then how would you know? Were you in those cafes? Across from my table, but never made your way over? Did you read the same books I did, but never said a word, what if we circled the same passages, fell in love on the same hill? Were there secret screenings to love that I simply lost the invite to? Or did the theatre of crumbling clay simply worry that I had enough on my mind, so it sent a crow down the alley to pull me from my film-path, and instead guide me down a novel-lane?

These questions are too many.

These musings are too preachy.

But insofar, have been seen by less than 10.

So as I continue my search for the divine inside of the dead,

Will you continue to follow your own path, and see me as I cross by yours?

Not trying to trip me, but seeing that my shoes are untied and I don't care. That my arm is dripping blood and dirt, and flowers are blooming as they leave my imaginary skin?

I'm sick, but only of what I lost a decade ago, and

the medicine that not one barista has spiked my tea with yet, in the ten long, long years it has been since I started searching.

Whiskey is well,

Wine is weathered.

Fogs are my Fate...

//

Because those eyes are still my past. And I see them, in the novels, the comic books, the tables, the theatres, the leaves, the diamonds in the homeless pipes. In the volleyball spikes, the days of Klondike, in the poetry circled lines, and the flower pots of mothers who never deserved to be diagnosed with cancer. It was there, in the shaking fingers, in the piano ballad elegy. It was in the rumbling train tracks, absolution approaching, in the gym workouts, shaking muscles, verge of failure. It was in the 99c diner coffee that went extinct along with the golden toad. It was in my mispronounced French, my misinformed friends, my love letters, sealed in a folded napkin outside the ice cream stand. It was in the roadside tire change, my winter coat climate change, my camera shoots, single earring lost hoops, Tall cattail shoots, and stories of Greek fables that earned me the tattoos I've yet to ink. It was THERE, in the author I never shook hands with, the musician that always carried a match near my heart, but went to Israel and sang for god but against the good book. It was bicycle rides, motorcycle fantasies, fishing lures gone hooked, and carpentry not perfect, but satisfaction was always the self-sustaining goal. It was my failed toddler first steps, and my adult tumblings to get on my feet, despite the deaths I saw in the family and out. It was the president shooting, the dollar inflating, the deals I found, and the suspicions that arose, and the resolution that never turned out how I planned but finality is final, eh? It was all of this, in all it's entirety. It was the lovers, the singers, the writers, the poets, the gods, the screenwriters, the quotes, the birds, the flowers, the rivers, the winters, the fall's fallen leaves and the bathroom hanging frames. It was every forgotten garden weed, every forgotten ferry fee, every toke in a bong, every shot I regret, every dollar that I bet, every minute of my time, wasted, and spent wisely. It was in the decision to keep moving, despite every ounce of pain that flowed through my blood. ...

In every observation I made in this life. Every collective experience, combined into one incredible existence, even if just for a while.

That,

Is how,

I found,

My Lights, At Night.

Thank you. For not seeing a word, until it was done.

~MLAN

[dantebloodmourne]

[ 🎵 ] is there a specific song or songs you associate with your muse? why is that?

ooc: Provavelmente vou pensar em mais músicas, MAS eu ando ouvindo muito Ghost e acabei por associar umas 3 músicas com o Dante, a começar como dragão que tem literalmente o nome de uma música: Kaisarion

Caso alguém tenha interesse, vou deixar links para as músicas, mas vou explicar antes o porquê de cada uma:

Kaisarion: https://www.youtube.com/watch?v=kt6Ss5r7-qo&pp=ygUJa2Fpc2FyaW9u

Kaisarion, A prophecy told - Não que seja uma profecia a rebelião, mas o dragão Kaisarion sabe dos motivos e sabe que é algo muito bem fundamentado We are building our empire From the ashes of an old - bom, literalmente queimaram as pessoas para restaurar o reino, então seja o rei atual ou o próximo, caso haja uma rebelião bem sucedida, estará sendo criada das cinzas do antigo Kaisarion The fruit of the womb Our brotherhood of good faith Sealed an apostate witch's doom - a irmandade feita entre os cavaleiros contra qualquer "herege" It is the sound of another deadline Whistling past your ears - a sensação de que sempre estão no limite, que a data de algo importante vai chegar It is the sight of a million regrets Mounting over years - bom, uma boa referência a montar os dragões, mas qual caaleiro não tem um monte de arrependimentos? It is the words that were never spoken That echoes through the times - aqui penso muito em tudo que os pais do Dante não falaram para ele pois morreram, ou tudo que Kaisarion não pode falar por ser do códex dos dragões It is the smell of the burning temples - tudo o que se foi queimado na rebelião Swept away by rhymes Far away from the stench of the heavens - longe dos podres dos dragões, de tudo o que se é falado e guardado a sete chaves no Empírico (Hypatia) Long ago yet too close to forever - a rebelião aconteceu há muito tempo, mas tão próximo (Hypatia) When a paradise is lost go straight to - o que fazer quando se perde um possível paraíso?

Spillways: https://www.youtube.com/watch?v=u9DV1eHQpcA&pp=ygUPc3BpbGx3YXlzIGdob3N0

Through benediction - Dante considera uma benção ele ter sido poupado You tried to rid your mind of malediction - Mas ao mesmo tempo, é como uma maldição tudo o que ele teve que passar But through all this time You try to peel it off, and it's such a ride - Mesmo tentando esquecer, é complicado, e aqui fica uma referência legal a "ride" Your desolation led you into this Vile incarnation of consummated bliss I know you need it now to make you feel alive - Toda a situação o levou a ser um cavaleiro, algo que o vai consumir, mas ao mesmo tempo é o que o faz se sentir vivo All your faith, all your rage All your pain, it ain't over now - Tudo ainda é muito forte dentro dele, a raiva, a dor, o medo And I ain't talking about forgiveness - E ele nunca perdoou o general que executou seus pais It's the cruel beast that you feed - Aqui fica a besta interna, que se alimenta da raiva e ranor It's your burning yearning need to bleed Through the spillways of your soul - A necessidade de "sangrar" pelos vertedouros da alma, qualquer coisa que o faça se sentir menos mal e mais vivo, menos infeliz e desalmado pela dor do que passou

Hunter's Moon: https://www.youtube.com/watch?v=rtkaUZvMaG8&pp=ygUNaHVudGVyJ3MgbW9vbg%3D%3D

It's been a long time coming I'm coming back for you, my friend - Bom, posso pensar de fato nos amigos do passado do Dante, mas a música é bem vingativa aqui é uma referência direta ao general que matou seus pais To where we'd hide as children I'm coming back for you, my friend - Por essa e a frase anterior que penso muito nos amigos dele, mas é bem haunting pensar numa criança que cresceu e o vai caçar ainda kkkk Though my memories have faded They come back to haunt me once again - Infelizmente o Dante perdeu muitas memórias da infância mas ao mesmo tempo tem muitos pesadelos e muitas memórias o assombram And though my mind is somewhat jaded now It's time for me to strike again Tonight, it's a hunter's Moon - Por mais que se sinta cansado de toda essa história e situação, é uma vibe ele se sentir no momento de atacar, em algum momento é o que ele tem o desejo de fazer, junto ao seu dragão Kaisarion

[corvicides]

anyone else remember wuya's genshin impact au: where he's an ancient god of malediction who sealed himself away to avoid the archon war. then woke up absolutely pissed about the state of the world, and starts sowing seeds of distrust, and hate in every single mortal he comes across.

[ghostcultmagazine]

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[rileylfox]

King Satan; Azrael

[sedeleryart]

Lucifer, Archdevil of Knowledge putting up with Azrael, Archdevil of Death. idk, these were a bunch of doodles and decided to colour.

[lailoken]

‘Imago and Spiritus’

“The concept that certain objects contain and emanate magical power, sometimes given the name Fetishism, is ancient and has assumed myriad forms. The image-making powers of sorcery, and its attendant set of rites, are also encompassed by this secular term. Veneration of such objects as divine, termed 'idolatry' in the Abrahamic religions, has variously been viewed as a sin, error, crime, abomination or heresy. In contrast, from the perspective ofthe practitioner of image-magic, the concepts regarded by outsiders as fetishism and idolatry are part of a greater complex of magical knowledge and practices which permits varied levels of engagement with spirituous power. Whether such wyrd-infused images emanate bane or blessing, it is their sacrality of origin and use, transcendent of external definition, which, in part, elevates their power.

Witchcraft, because of its syncretic nature, partakes of multiple infusions of traditional image-making lore, including not only sorcery and religious iconography, but also the sciences, astrology, medicine, craftsmanship, the fine arts and magical ontologies closely resembling totemism. However, because much of its magical images are used privately, and indeed are created for a limited set of viewers, they participate in a concentrated alembic of exposure wherein all who experience them do so principally in the context of magical practice and devotion. This intensity of private magical interaction provides a locus which enables the image to transcend its medium - and indeed that fetish known as 'icon' - and generates living numen. This is one essential distinction between images made by practicing sorcerers, and images made about them, from those outside their arena of magical operation.

In using the term witchcraft, I refer here not merely to the deeds ofwitches as imagined by the Christian Inquisitor or classic anthropologist literature , where such were defined purely as magical malefactors. Rather, in ad­dition to the ideas accreted to the historical form of the maledictus, I speak of the art of the sorcerer, usually rural or marginal to society, who holds traffic with spirits and makes use of both healing and harming spells. This zone of definition penetrates many eras, and milieus, including juridical, heresiological, literary and artistic. Of greater import than all of these to our study are the actual practices exacted by these historical practitioners, which are preserved as archaeological remains - and in the teachings and practices of the modern inheritors of these magical traditions.

The modern occult embodiment of tradi­tional witchcraft, itself a reclusive and tightly­ knit body of practitioners whose practices relate to those of the historical cunning-folk, is also an inheritor of a number of traditions of im­age-magic. Consisting of small groups preserving teachings of archaic rural magic, these traditions are taught orally, passed from master or mistress to apprentice, in a direct person­-to-person means of initiatic transmission. Though rooted in the past, this corpus of magic adapts to the present, and is self conscious of an envisioned magical future. As an initiate of these traditions, this body of knowledge, in part, informs my understanding of these subjects as expressed in the present treatise.

Scholarly investigations of image-magic in witchcraft have focused largely upon figures used for malediction. This is often because of the tendency of many researchers to define witchcraft principally as malevolent sorcery. In addition many such images, as a conse­quence of their purpose, were fated to become part of the archaeological record, sealed in walls, thrown into wells and springs, and in­ humed under earth. The waxen image, seal­ inscribed parchment, and curse-mommet have all been the subject of scrutiny, and recur in varied permutations in historical manuals of witchcraft and grimoires. Many such images are deemed crude in their craftsmanship, at least by the standards of art history, contribut­ing to their lay perception as objects of igno­rance and superstition, or, at best, 'folk art'. The exemplar of the sheep's heart, pierced with hawthorn spines and nailed to a door as a spell to stop gossip, is a case in point.

Aesthetically, some lesser-known witchcraft images would seem to display precisely the opposite characteristics. One ofthe most strik­ing objects of this kind on record, referenced in Ewen’s Witchcraft and Demonianism, comes from an illustrated parchment found in 1606 in the chest of a Hertfordshire witch. It bore a central image of a human heart, from which radiated "very curiously divided braunches, on which hung dangling things like ashen keys'', as well as delicately elaborated arterial termini detailing very specific portions of human anatomy. The owner of the parchment admit­ ted to its use for sending magic to cause bodily harm, much in the same manner as a thorn-pierced effigy. This example reveals a high degree of imaginal complexity in the origina­ tion ofwitch-imagery, and an almost scientific, or empirical, approach to cursing.

Enchanted Images of witchcraft praxis often serve a strictly sorcerous function, being vehicula of spell-craft and manifestation, as opposed to the veneration of a spirit or god, a dynamic more often present in religion. The large number of Mandrake charms extant in folk magic, where the natural or carved root is used as a fetish, bear witness to this. Mandrake sorcery may be considered a specialization of both image-magic and herbalism, historically found in witchcraft and cunning-folk practice, but also in alchemy and ceremonial magic. The pattern common to all is the Art of image­ magic, the Fetish serving as the embodiment of sorcerous desire, or as the manifest form of a familiar or Magistellus.

Cunning-folk traditions, and surviving cor­ pora of charming practice, have within their communities an advanced set of images and regalia which exemplify a confluence ofspirit­ veneration and magical utility. Many of these objects can be found conserved in such places as the Museum of Witchcraft in Boscastle Corn­ wall, and the Pitt Rivers Museum, Oxford. The Cornish charmer Cecil Williamson, whose training intersected some patterns of cunning folk practice, was an adept maker of magical images, and several of his talismanic seals, composed for the concentration of specific en­ergies, still reside at the Museum. There is also a series of photographs taken of Williamson demonstrating the grave art of making a curse­ poppet.

Similarly, some modern traditional witch­ craft groups, drawing on the roots of their tra­ ditional cunning-folk practices, reckon the holed stone or 'hagstone' as a repository of feminine power, its central hollow having been formed by the forces ofnature and serving as a simulacrum of the lumen ofthe Goddess ofthe Sabbat. Likewise the witch regards the 'Stone God', an oblong stone naturally shaped like the membrum virile, as the telluric embodiment of phallic virtue, and used as a surrogate for the God during rites of sexual magic. Their respective magical uses encompass the power of the Holy Icon, but importantly also serve as the sexual surrogate during ecstatic rites where the witch 'mounts the gods'. In this transcen­dental state of carnal reverie, Object and Spirit are co-identified and the boundaries between their states ofidentity are effectively eradicated. The state of physical alienation thus generated by transposing the sexual act from the realm of the human-relational into the realm of 'Other' assists in incepting a magical conscious­ness ofpraeter-sexuality.

The Richel-Eldermanns Collection, an assemblage of ritual objects and drawings residing in the previously-mentioned Museum of Witchcraft, presents one ofthe most potent examples of image-magic in the modern European magical traditions. While clearly linked to the arcana ofthe sex-magic practices of the modern magical orders 0.T.O. and A:.A:., there is also a strong and persistent component of rural cunning-craft and witch-iconography which is grafted, in varying de­grees, to complex ceremonial formulæ. Part of this collection is a series of skillfully-carved wooden hands and genitalia, some united with sigillic forms such as pentagrams to form enig­matic magical regalia. Given the uniquity of the images, as well as the detail with which they were produced, it is reasonable to surmise they were ritually-hallowed anatomical simulacra of initiates of the sexual magic order Ars Amatoria (of which Eldermanns was Magister) or, perhaps the more obscure M:.M:. The collection, when considered as a whole, is a sound exemplar of a unified iconography within a magical order, but one arising from diverse pathways of magical aesthesis via the hands of many different artists and practitioners.

Ritual veneration of images - or eidolatria - is challenging to document in historical witchcraft practice; many such images or figures are presumably concealed within cultic shrines, or as heirlooms in private collections. The so-called Hendy Head of Anglesey, a face carved of red sandstone in the manner of other ancient Celtic heads of the region, is in present times by cultic rites similar to some forms of image-veneration in traditional witchcraft. We may also consider the wandering head of Atho, a horned countenance carved of oak originally in the custodianship of English witchcraft practitioner Raymond Howard, since stolen. This large effigy, bearing some resemblance to the Dorset Ooser of Dorchester, is carved [in] a rus­tic and eldritch fashion evocative of the Janicot, the horned witches' god. Though it was later revealed the Atho head did not possess the antiquity. Howard initially claimed, the rites of its veneration, its curious symbolism, the mag­netic folklore surrounding it, and its sudden disappearance present a fascinating example of twentieth-century image-magic in the Craft. More recently, witch-iconography present in Andrew Chumbley's grimoire Azoëtia utilizes several ancient magical visual gram­mars, notably the stele of the Near Eastern and Mayan religions of antiquity; images of the Witch-guardians or 'Passionate Retinue' in Chumbley's Dragon-Book of Essex most closely approximate polytheistic iconography.

While the ritual veneration of images is often associated with religion, its practice in witchcraft is often compounded with other magical techniques that classify it as sorcery, or, at the least as part of a cult of spirit-con­gress. In the witchcraft Traditions ofthe Cultus Sabbati, the figure of Cain is one example of such image veneration which may be publicly documented. However, if one puts aside the images and artifacts of modern witchcraft orders - even those capable demonstrating some degree of historical linkage with the cunning folk magic and popular sorcery prior to the twentieth century - the preponderance of evidence for magical images in association with magical images in association with witchcraft lies in their magical use, rather than in their veneration. This does not, however, negate their status as images of power.

Some years ago, whilst sojourning in the West Country, I was shown an imagic object of alleged cultic worship and witchcraft practice which, according to its present steward, had been used in this manner by fellow adepts of that tradition for ten generations. Indeed, the particulars of the item would place its manufacture in England, somewhere between the late sixteenth century and the early nineteenth century, a span of 150 years, and precisely the period from which some modern traditional witchcraft lineages in Britain claim descent. Upon examination, it was clear the object had been both ritually venerated and well cared for, but this no more proves its history as an image-artifact of witchcraft than any magical anecdote which cannot be independently confirmed. However, it was also evident that, whatever the facts of the idol's history truly were, there was no doubt of its owner's conviction in these matters, nor of its present power of imagic fascination.”

—

Idolatry Restor’d:

Witchcraft and the Imaging of Power

Chapter 1: ‘Imago and Spiritus’

by Daniel A. Schulke

[ave-immaculata]

Ms Tiny Catholic,

I left Christianity for a few years and fell into a ‘Wicca-witchcraft-polytheistic-blah blah- ghost contacting’ phase. Recently, I’ve found Catholicism and have been purging my belonging and habits that are related to that “witchy” phase when I find them, but I’m worried I’m not doing enough. I experienced things I can not explain and had interactions that scare me deeply now. Last night I dreamt my house was plagued by demons and woke up unwell and poorly rested. I’m not sure about most Christians, but I believe that some of the witchcraft being practiced now is real and not just aesthetic and I’ve naively let dark forces into my life. Am I just paranoid? Is there anything I can do?

Praise God that you’ve encountered His Church and are starting to orient yourself towards Him!! I had a similar experience in my conversion. In my personal opinion I think the situation could be a bit of both things (real darkness as a result of the occult, but also you psyching yourself out a little bit). I absolutely believe that (some) witchcraft is real and can invite demonic spirits in, and I can’t rule out whether or not that’s happened, but I think there’s a level of healthy paranoia and and a level of unhealthy paranoia. Here would be my suggestions! I’m going to include a list of prayers at the bottom, which are generally my favourites for demonic issues and protection from evil. Sacramentals are also a great gift of the Church and while they’re not magical talismans or anything, I find they can be very comforting, and if you have them blessed by a Priest they can help to be a protective presence. St. Benedict Medals are amazing, as well as Holy Water and/or exorcised salt. If you haven’t already, I’d also really recommend reaching out to a Priest to discuss the conversion and fears you’re having! If you’re not struggling with compulsions or scrupulosity I also find a quick Hail Mary or request for peace from the Holy Spirit can b really calming in a frightening moment.

I ask Jesus to seal me in His most Precious Blood against any and all incursions of the evil one, in particular, against any clinging, familial, familiar, or retaliating spirits, in the name of the Father, and of the Son, and of the Holy Spirit.

I adjure all of you evil spirits, in the Name of the spotless Lamb of God, Jesus of Nazareth, to depart from here. I cast you out, every unclean spirit, every phantom, every encroachment of the devil. Yield then to God! You are vanquished in your citadel,  all you vile demons. The most Sovereign Queen of Heaven, the glorious and ever Virgin Mary; her immaculate purity drives you out; before her countenance you must flee. Give way you evil spirits to the Queen of Heaven. She is destined by Almighty God to crush your head with her heel.

Almighty God, Father, Son, and Holy Spirit, most Holy Trinity, Immaculate Virgin Mary, Angels, Archangels, and Saints of Heaven, descend upon me. Please purify me Lord, mold me, fill me with Thyself, and use me. Banish all the forces of evil from me, destroy them, vanquish them, so that I do Thy Holy Will. Banish from me all spells, witchcraft, black eye, malefice, ties, maledictions, and the evil eye; diabolic infestations, oppressions, possessions all that is evil and sinful; jealousy, perfidy, envy; physical, psychological, moral, spiritual, diabolical ailments. Cast into hell all demons working these evils, that they may never again tough me or any other creature in the entire world. I command and bid all the powers who molest me, by the power of God Almighty, in the Name of Jesus Christ out Saviour, through the intercession of the Immaculate Virgin Mary, to leave me forever, and to be consigned into the everlasting hell.

May the Lord Jesus Christ be with me, that He may defend me; may He be within me, that He may conserve me; may He be before me, that He may lead me; may He be after me, so that He may guard me; may He be above me, that He may bless me, with God the Father and the Holy Spirit Who live and reign forever and ever.

Lord Jesus Christ, in Your love and mercy, pour Thy Precious Blood over me so that no demon or disembodied spirit may retaliate against me. Mary, surround me with thy mangle, blocking any retaliating spirits from having any authority over me. St. Michael, surround me with thy shield, so that no evil spirit may take revenge on me. Queen of Heaven and St. Michael, send down the legions of angels under your command to fight off any spirits that would seek to harm me. All you Saints of Heaven, impede any retaliating spirit from influencing me. Lord, Thou art the Just Judge, the avenger of the wicked, the Advocate of the Just, we beg in Thy mercy, that all we ask of Mary, the angels and the Saints of Heaven be also granted to our loved ones, those who pray for us, and their loved ones, that for Thy Glory’s sake, we may enjoy Thy perfect protection.

St. Joseph, terror of demons, cast your solemn gaze upon the devil and all his minions, and protect us with your mighty staff. You fled through the night to avoid the devil’s wicked designs. Now, with the power of God, smite the demons as they flee from you. Grant special protection, we pray, for children, fathers, families, and the dying. By God’s grace, no demon dares approach while you are near, so we beg of you, always be near to us.

St. Michael the archangel, defend us in battle; be our protections against the wickedness and snares of the devil. May God rebuke him, we humbly pray, and do thou O Prince of the Heavenly Host, by the power of God, cast into hell Satan and all the other evil spirits who prowl through the world seeking the ruin of souls.

Angel of God, my guardian dear, to whom His love entrusts me here; ever this day/night be at my side, to light and guard, to rule and gude.

God bless you anon, I hope things go well!! Praying for you.

[prome-th3us]

Witch tips #5: Witches' Ladder

Witch's ladders are such an useful tool in witchcraft and they can be used in different ways. Before getting into it, let's have a look at their history and how they were originally used.

Definition

A witch's ladder (also known as rope and feathers, witches' ladder, witches ladder, or witch ladder) is a practice, in folk magic or witchcraft, that is made from knotted cord or hair, that normally constitutes a spell. Charms are knotted or braided with specific magical intention into the cords. The number of knots and nature of charms varies with the intended effect (or spell).

Evidences from the past

The Wellington Witch Ladder

This was how it looked. When researchers found it in an abandoned house, the news reached also Charles Godfrey Leland who was in Italy at that time.

he investigated and found that the witches there used a similar form, called a "witches garland": the item was made of cord, and contained black hen feathers. The malediction was uttered as each knot was tied in and the item was placed under the victim's bed, to cause the ill fortune. (You can get more details in Part 2, Chapter 5 of Roman Etruscan Remains).

Leland also claimed that intrinsic to the witch garland was the placing of an image of a hen or cock (made of cotton or similar) next to the garland, upon which a cross of black pins is made. The whole is then hidden in the mattress of the one you are hexing. The curse is lifted by finding the hen & wreath (garland), and throwing the whole lot into running water; the bewitched is then taken into a church whilst a baptism is being carried out, where they must repeat a certain spell before bathing in holy water.

Sabine Baring-Gould's "Cungenven" gives a good description about this ladder and how it was used and if you are interested, you can download the PDF of her work here.

How to use it

Spells

So now we know that originally they were used for hexes, but you can use them to "seal" A spell or to help you concentrate for it. It can be considered knot magic.

Some ladders have 40 knots, others go from 3 to 6 to 9 (I personally use the 9 knots version).

This is how it looks. I made this just to give an example, but in the beginning you can see a crystal: you can use whatever you want, even anything, I use something to identify which is the first knot that i made.

After casting a spell, you can give it more strength by using the witch ladder, chanting something while you make every knot.

This is the order:

With knot of one, the spell's begun.

With knot of two, the spell be true.

With knot of three, mote it be.

With the knot of four, the power is stored.

With knot of five, this spell will thrive.

With knot of six, this spell I fix.

With knot of seven, the spell will waken.

With knot of eight, my intention is destiny.

With knot of nine, the spell is mine.

I chant the first line for the first knot and so on, following the order of the pic. I usually use this method for long-term spells or for personal spells to strengthen them.

This is how I connect the ladder to the spell.

When you don't need the spell anymore, you can just unknot every knot by chanting

"the spell is discharged, so mote it be"

And by cleansing the jar or what you used for it.

You can add feathers or anything you want to the knots, just make it personal.

Rosary

Rosaries aren't used only by the Catholic Church, they are useful tools to meditate or to pray to your dieties. You can repeat a single word or a mantra to honor them or simply to get concentrated. This is the one I use for Loki (I have the permission to show you) :

Another use

I saw a lot of witches around the world that call what I'm gonna show you "Witch Ladder", idk if it's correct but anyway it's a cute and useful idea to " Store " And charge your ingredients:

As you can see, I put there a protection and purification sachet, a pinecone for protection and an oak stick after Litha's celebrations. I use this witch ladder to dry my herbs while they got cleansed, but I also keep there some important spells for me, like my dedication to Loki and a prayer to Beelzebub, my other patron.

If you have some space to place this, I highly suggest to make one. As you can see it's pretty simple: I found those sticks in my garden and with some chords I created it.

Well that's all for the Witch Ladder! I hope you will like this quick chat about it. If you want to see other ways to make them, have a look here and here if you want to learn more about it.