Old Magic New Witchcraft PDF

Old Magic, New Witchcraft
‘No student of occultism can fail to be struck with the close resemblance
of the constitutions of nearly all the mystical fellowships of the middle
ages, and the resemblance of the verbiage employed by their founders
and protagonists.’ – Lewis Spence
I
t is now generally accepted that Gardner’s Witchcraft, is not a
product of the survival of some ancient Pagan religion. Whilst there
is fairly good evidence to support the idea that Gardner was initiated
in 1939, into some sort of magical group in the New Forest, by his
own account, the rituals and workings that he received from them were
fragmentary and largely unworkable. Gardner was in need of a vehicle
through which the magical current passed to him at his own initiation,
could continue.
In Order to flesh out the ‘Witch Cult’, as Gardner liked to call it he
felt compelled to turn to existing magical material and historical writings
about Witchcraft. Research readily shows that Gardner, aided by Doreen
Valiente and others, effectively devised, collected and cobbled together
many of the writings that collectively, have come to be known as the
‘Gardnerian Book of Shadows.’
Much of the source material for this endeavour came from the old
Magical Grimoires, particularly the ones that had by then, been translated
into English by MacGregor Mathers’, as well as newer esoteric material
by Crowley and Regardie, both of whom had spent time working the
Golden Dawn system of Magic. Inspiration also came from the works
of folklorist Margaret Murray, Charles Leland’s Aradia - The Gospel of the
Witches, Masonry (including Co-Masonry), the revivalist druid movement
and naturism.
This process is comparable to what Mathers’, Westcott and Woodman
had done over half a century earlier, when they formed the Golden Dawn
based on the mysterious Cipher manuscripts which they embellished with
even more hermeticism by utilising older magical writings by people such
as Eliphas Levi. The subsequent success of this Magical Order, with its
rich hermetic knowledge, combined with the fact that it spawned some
102 The King Over the Waters Old Magic, New Witchcraft 103
notorious and highly-influential esoteric characters, has assured its place This perspective, this current, is precisely what Gardner appears to have
in history and so to it seems has Gardnerian Witchcraft. plugged in to. With its roots in the old Western Mystery School traditions
Modern Witchcraft’s syncretic origin is of little import. Gardner’s vision but grounded in a more simplistic framework, it allowed the indigenous
has directly influenced a major resurgence of interest in nature religions magical soul of his native land to be reawakened and accessed by modern
and Pagan paths. What he, Doreen Valiente and others were doing was men and women. Effectively, Gardner was using old ideas, ‘Old Magic’,
exactly what so many magically-minded people had done before them; they in the creation of a ‘New Witchcraft.’
were drawing upon older arcane knowledge and material and recreating a It is beyond the scope of this book to examine all of the sources, and
magical and spiritual path that was better able to more specifically meet people, who served as inspiration for Gardner during the development
the needs of the mid-twentieth century British person. of the Gardnerian Book of Shadows and this is not to say that Gardner
Gardner’s Witchcraft is a blend of both hermetic ideas and the green- derived his form of Witchcraft from the Golden Dawn, because he did
ray, nature-orientated Pagan paths. Through the merging of currents not. But connections to the Golden Dawn and especially the work of
associated with Hod and Netzach he bought Witchcraft into the arena some of its more illustrious members are, unsurprisingly, discernable. We
of Yesod, the Moon. This is akin to the centre of Lunar Priesthood as shall now turn to look at some of these links and their influence on Gerald
envisaged by Dion Fortune and the Fraternity of the Inner Light. Not only Gardner and the ‘Witch Cult’.
did this approach make magic and ritual more accessible, its simpler form
meant that magic could become an interest for a much wider sector of Casting the Circle
society. Previously, the study of occult sciences had been largely confined The creation of a sacred space within which to work magic is nothing new.
to the domains of societies wealthier and more affluent members as they The circle is a symbol that has been used and recognised by cultures all
were the ones who tended to have both the money and time to pursue over the world for thousands of years. From the Neolithic cup and ring
such. Gardner’s Witchcraft did not require any ornately decorated temples marked stones of Britain and Europe, which are thought to have had a
or expensive, elaborate robes and regalia. It allowed everyone a simpler spiritual significance, to its current use in various Pagan paths as a way of
way to use magic for themselves, one that could be achieved in any space, defining a sacred area; a circle creates an instant ‘church’ for the practice
indoors or outdoors, with enough room to cast a small circle. Not only of Witchcraft.
that, in contrast to more traditional religions Gardner’s blended approach It is clear that the major influences on the formula used to cast the circle
allowed people a way to directly access divinity through a Priesthood that as seen in modern Witchcraft Today, have come from The Greater Key of
everyone became a member of, upon initiation. Solomon and the Lesser Banishing Ritual of the Pentagram. It was Golden
Doreen Valiente writes in a letter to John Score (founder of the ‘Pagan Dawn chiefs who were responsible for formulating the Lesser Banishing
Front’), dated October 21st 1969: Ritual of the Pentagram and the Kabalistic Cross which is often performed
with it. These highly influential magical rites appear to draw on an ancient
‘…the Craft of the Wise is basically simple - but that doesn’t mean that
Jewish, children’s bedtime prayer, writings by Eliphas Levi, pertaining to
it is not profound, too. There is a big difference between being simple
the importance of the symbols of the pentagram and the cross, as well as
and being simple-minded. The rituals of such sections of the Western
concepts that can be found in some of the old magical grimoires.
tradition as the Golden Dawn are very complicated; they needed a lot
The symbol of the pentagram appears to trace back as far as the Stone
of wealthy, cultured, leisured people to work them. They were, in fact,
Age where its image has been found amongst cave etchings that reputedly
almost a theatrical performance; in which, of course, they were in line
date from that era*. It was certainly in use by 3500BC, where its presence
with the Ancient Mysteries. However, I feel that people today need a
on pot shards found in Mesopotamia, have been found. Later on, it was
presentation of old truth in a simpler form.’*
* For examples of the five-pointed star see R. Heizer & C. Clewlow, Prehistoric Rock Art
* Letter preserved in the collection of the Boscastle Witchcraft Museum. of California. Ramona, 1973
used by people during the Mayan period of Latin America and there is
further evidence for its use during the 4th century BC, where its image Ye Bok of Ye Art Magical
was again used on pots, sometimes accompanied by the Hebrew word for If we look at Gardner’s extant personal notebooks, the earliest method of
Jerusalem. Later on it became associated with the Knights Templar and casting a circle that would be recognisable to a modern Gardnerian
found its way into Masonry. Witch, can be found in Ye Bok of Ye Art Magical*. This book is generally
Throughout this time, the image of the Pentagram has meant different thought to have been written by Gardner during the 1940s and is
things to different cultures and religions. Early Christians saw it as derived in the main, from Mather’s well-known translations of various
representing the five wounds of Christ. Hebrews saw the five points as magical grimoires, plus extracts from the King James Bible, The
being representative of the Pentateuch. The ancient Greeks used to draw Talmud, and the works of Regardie and Crowley, alongside material
it from five ‘A’s and its geometric shape drew the attention of Pythagoras that is now uniquely identified with Gardnerian Witchcraft. The cover
who studied it. It is also called the endless knot and demonstrates the bears a fire triangle surmounted pentagram, with a water triangle
principle of the Golden Ratio. Currently, the pentagram is popularly seen penetrated by the tau cross in its middle; an image which encapsulates
as a symbol for Witchcraft and Magic; its geometry depicts the synthesis much magical symbolism and meaning.
of the five elements and its inscription in the air forms a vital part of The circle-casting formula Gardner gives therein, consists of;
casting the Witches circle. drawing a circle with a Magic Sword or Athame, purification by
In Gardner’s non-fiction books Witchcraft Today (1954) and the water, fire exorcism, gathering in the circle which is then sealed,
Meaning Of Witchcraft (1959) he writes the following about the circle performance of the Kabbalistic Cross followed by the Lesser
used by Witches (who he would often refer to as ‘the Wica’): Banishing Ritual of the Pentagram, circumambulation and the
summoning of the ‘Mighty Ones’ accompanied by an earth-invoking
‘I am also permitted to tell for the first time in print the true reason pentagram.
why the important thing in all their ceremonies is ‘Casting the Circle.’ The wording of the Kabbalistic Cross, uses the Askenazic
They [the Wica] are taught that the circle is ‘between the worlds’, that is, dialect of Hebrew. For example ‘Malkus’ is used instead of
between this world and the next, the dominion of the gods.’* ‘Malkuth’. Israel Regardie in his early books, used to prefer this
“This circle is drawn with the idea of “containing” the “power” which is dialect over the more popular (hermetically speaking) Sephardic form.
raised within it, of bringing it to a focus, so to speak, so that some end Other textual evidence from Ye Bok definitively confirms that it was
may be accomplished by raising it. This focusing of force is called “The from Regardies, Tree of Life, first published in 1932, that Gardner
Cone of Power.”’ † (who had an extensive and varied magical library) copied this particular
version of the Kabbalistic Cross.
Today, casting a circle in Order to create sacred space is used not only The consecration of the water and the exorcism of fire prayer, seen
by Covens, but by many modern Pagan paths that have been influenced in Ye Bok, are near-verbatim from MacGregor Mather’s translation of
by the revival of interest in Witchcraft; a revival that Gardner played an The Greater Key of Solomon (1888). The Key is also where the
instrumental part in. It is then perhaps slightly surprising that Gardner’s majority of the incantations and procedures found in this early magical
technique for casting a circle appears to have far more in common with notebook of Gardner’s, can be found and it seems to have served as a
the techniques of High Magic, given in old grimoires, than it does with major source for him during this time, when what was to become
extant folklore concerning the practices of late medieval Witchcraft. Gardnerian Witchcraft, was still in its protoplasmic stage.
Gardner also depicts a circle diagram, alongside a small piece
about how to construct the circle using a ‘Witches Athame’. This
* Gerald Gardner, Witchcraft Today. p28 Arrow 1970. *Now
passageprivately owned by Richard
is paraphrased from aand Tamarra
section in James of the ‘Wiccan
The Greater Key of Church of
Solomon
† Gerald Gardner, The Meaning of Witchcraft. p17 Magickal Childe 1991. Canada’
entitled ‘Of the
Formation of the Circle’. The diagram is also based on one of the circle
diagrams found in The Greater Key. t
hvh
ga

East
al

y
C
ha
on
South
North
t
t
hvhy
el
East
 a

ynr
West
a
hyh
t
ynra
alga
South
North
Figure 2 Detail of a magical Circle from

Mather’s version of the Greater Key of Solomon.
By comparing Figure 1 and Figure 2 it can be seen that the outer circle is
West protected by images composed from triangles, much like those used in the
Golden Dawn’s, Lesser Ritual of the Hexagram. In comparison, however,
hyha the Greater Key’s version has the images for the North and West swapped
around, as too does Gardner’s version, thereby revealing his source. Gardner
has also placed the opening for the circle in the NNW and not in the NE
as traditionally seen in modern Witchcraft. This is probably because the
description of where to place the opening as given in the Greater Key’s ’Of
Figure 1: Gardner’s drawing of the Circle from Ye Bok of Ye Art the Formation of the Circle’ says simply; ‘…leaving an open space therein
Magical. towards the North whereby thou mayest enter and depart the Circle of Art.’
Additionally, in Gardner’s diagram, he has not added the Hebrew names
as shown in Figure 2, but instead has used the Hebrew names as given in
the Golden Dawn’s Ritual of the Pentagram, those being, YHVH in the
East, ADNI in the South, EHIH in the West and AGLA in the North.
Gardner has also added a triangle of evocation with a small central
circle, surrounded by El, Cha[i] and On, three of the many names for
God given in the KoS. This concept is not seen in the Greater Key, but
forms the basis of the practices given in the Lesser Key. Gardner’s diagram
in Ye Bok (Figure 1) and seems to indicate that he is merging and blending
magical techniques which in this instance are drawn from two separate
grimoires, thereby creating his own interpretation. This approach also
helps to explain why the traditional ceremonial circle which was designed much trouble for Crowley at Boleskin, when, following the observance
to keep out unwanted entities, was in Gardner’s eyes also something that of the Abra Melin Operation, Ashtaroth and a host of demons ‘escaped’.
can contain power. In a subject such as Magic, rich in symbolism and This resulted in a butcher meeting with a fatal accident at the hands of
correspondences, such a personal approach is often tempting and many one of his own knives and tales of a workman on Boleskin’s estate, who
experienced occultists will tell you, if certain symbols and ideas feel more went mad and tried to kill Crowley. This is, however, perhaps unsurprising
applicable to you than other more traditional viewpoints, use them. as Crowley’s philandering and drug taking, combined with his strokes
Unless of course your aim is to carefully follow and train the architecture of pure unmitigated genius, would probably have incited many normal
of your mind to understand and experence a particular traditions symbolic people to want to kill him.
language. Text A’s patchwork of content reinforces the fact that Gardner really
did have very little in the way of authentic Witch material passed to him
‘Text A’ by the New Forest group. From what he did receive, he recognised the
possibility that the Golden Dawn could have been responsible for much
Whilst Ye Bok, is generally considered to be an early Book of Shadows, it
of it, as he writes in his book Witchcraft Today (1954):
could also be considered a magical notebook of Gardner’s, one in which he
was experimenting with ideas which later formed the basis of his fictional ‘The people who certainly would have had the knowledge and ability to
book High Magic’s Aid (1949), which we shall look at shortly. There is, invent them [the Witches rites] were the people who formed the Order
however, another extant magical notebook of Gardner’s, dating from the of the Golden Dawn about seventy years ago, but knowing their aims
same time period, which also gives pretty much the same formula as Ye and objects I think it is about the last thing they would have done.
Bok for casting the circle (though in this case, there is no diagram). This Hargrave Jennings might have had a hand in them, but his writings are
is the Book of Shadows that Gardner was using when he initiated Doreen so involved that I hardly think he could have devised anything so simple
Valiente in 1953. This book is often referred to by Craft historians as Text and clear‑cut.’*
A.*
This statement of Gardners’ could be interpreted in a couple of different
In The Witches’ Way (Hale 1984) by Janet and Stewart Farrar a description
ways. On the one hand, it would seem to be almost agreeing with what
of it is given:
Bill Liddell wrote in The Pickingill Papers† about Hargrave Jennings having
‘Gardner’s original rituals as copied down from the New Forest been a pupil of a Cunning Man known as Old George Pickingill. Liddell
coven which initiated him, and amended, expanded or annotated by asserts that Jennings took the Witch material he had learnt under Pickingill
himself.’ and from that, developed the Golden Dawn system; thereby arguing that
the Golden Dawn came out of Witchcraft. Additionally, Liddell states
Text A is a pastiche of material and like Ye Bok, is derived in the main from
that it was into one of Pickingill’s Covens that Gerald was initiated thus
published esoteric works, Masonic rites, poetry and folk songs and lore.
explaining the similarities between Gardner’s Witchcraft and the Golden
Roughly one third has been copied from books by authors who share the
Dawn system of Magic. Similarities which led the author Aidan Kelly,
common connection of having been members of the Golden Dawn, or one
to form the New Reformed Orthodox Order of the Golden Dawn, a
of its offshoot temples. They include Dion Fortune, Aleister Crowley, A.E.
system of Witchcraft which acknowledges Golden Dawn roots. Liddell’s
Waite, Fiona Macleod/William Sharp and of course McGregor Mathers’
hypothesis’, some of which are quite tantalizing, are currently out of
who transcribed the ‘Key of Solomon’, The Goetia, as well as The Grimoire
favour due to lack of confirmatory evidence. Though it should be noted
of Armadel and The Book of the Sacred Magic of Abramelin the Mage. This
that some anthropologists acknowledge that ceremonial magic and some
latter book has a particularly hazardous reputation, reportedly causing
* Gerald Gardner, Witchcraft Today. p53 Arrow 1970
* Now owned by John Belham-Payne. † W Liddell and Michael Howard, The Pickingill Papers. Capall Bann 1994.
forms of traditional folk magic influenced each other. Alternatively this

could be one of Gardner’s ‘reveal-conceal’ statements, where he alludes “It became obvious to me as soon as I had been given Gerald’s ‘Book
to something as a possibility where in fact it is a veiled way of indicating of Shadows’ to copy that it owed a good deal to the works of Aleister
where the concept actually came from and his use of the word ‘invent’ is Crowley….”*
revealing. Doreen was quite an admirer of Crowley’s writings and during her first
Another example of Gardner ‘revealing’ something about the source of his encounter in the local library with Crowley’s Magick in Theory and Practise,
Craft material can be seen in Witchcraft Today, Gardner tells us: she had hastily copied down many of the magical correspondences given
‘The only man I can think of who could have invented the rites was therein following which she:
the late Aleister Crowley. When I met him he was most interested to ‘… rode home on the bus glowing with triumph. I remember looking
hear that I was a member [of the Witch Cult], and said he had been at the sunset clouds in their glory and knowing that I was destined for a
inside when he was very young, but would not say whether he had career in magic… After reading through volumes of platitudinous piffle
rewritten anything or not. But the witch practices are entirely different written by those who had pretended knowledge, I had seen among the
in method from any kind of magic he wrote about, and he described rubbish the gleam of gold.’†
very many kinds. There are indeed certain expressions and certain words
used which smack of Crowley; possibly he borrowed things from the cult Despite her admiration for Crowley she did not feel that his writings were
writings, or more likely someone may have borrowed expressions pertinent to the spirit of the Witch Cult and writes:
from him.’* “Gerald began to realise that he had a real chance of reviving the Old
Crowley does appear to have had an interest in Witchcraft and it has Religion, and he wanted to gain popular acceptance for it. I pointed out
been suggested that one of the motives for Crowley going to the Abbey of to him that in my opinion he would never succeed in doing this so long
Thelema in Italy was so that he could study Italian Witchcraft. Gardner as the influence of the late Aleister Crowley was so prevalent and obvious
certainly appears to have believed that Crowley was involved with the within the cult… Gerald’s reaction was, ‘Well if you think you can do
Witch Cult when he was younger, for in a letter to Cecil Williamson, in any better, go ahead.’ I accepted the challenge and set out to rewrite the
1950, Gardner writes: ‘Book of Shadows’, cutting out the Crowleyanity as much as I could and
trying to bring it back to what I felt it was…”‡
“By the way Aleister Crowley was in the Cult, but left it in disgust. He
could not stand a High Priestess having a superior position & having to Gardner’s air of resignation would seem to suggest that he had played
kneel to Her & while he highly approved of the Great Rite, he was very more than a small part in the original inclusion of the Crowley material
shocked at the nudity. Queer man, he approved of being nude in a dirty in the Book of Shadows and whilst Doreen did remove and rewrite parts,
way, but highly disapproved of it in a clean and healthful way. Also he Crowley’s hallmark is still readily found.
disapproved of the use of the scurge to release power for the practiced Coming from a different perspective, Francis King, in his book, Ritual
reason if you teach a pupil the use of the scurge, he can get a mate & do Magic in England (Spearman 1970), goes a step further and tells us that
it on his own.”† Gardner actually paid Crowley to write the Witchcraft rituals for him.
Generally speaking, most of the Crowley material in the various Books
It is no secret that there are certain passages in the Book of Shadows that of Shadows of Gardner’s date from Crowley’s earlier works which means
have obviously been derived from writings of Aleister Crowley. Indeed,
Doreen Valiente in her book Rebirth of Witchcraft writes:
* Valiente The Rebirth of Witchcraft Phoenix p54
* Gerald Gardner, Witchcraft Today. p52 Arrow 1970. Emphasis ours. † Valiente The Rebirth of Witchcraft Phoenix p36
† Letter preserved in the collection of the Boscastle Witchcraft Museum ‡ Valiente The Rebirth of Witchcraft Phoenix p61
that if this is true, all that Crowley did was rehash some of his own, old
material as opposed to writing something new. Madeline was relatively unimpressed by Witchcraft despite her spurious
The debate about whether Crowley knowingly had a hand in the title of the ‘Witch of St. Giles’. Much more the gifted ceremonial magician,
inclusion of some of his writings into the Book of Shadows, is likely to writer and founder of the hermetically inspired ‘Order of the Morning
continue running for a while yet. Analysis by Craft historians such as Star’, it is her work in these areas, that she is better known for.
Roger Dearnaley, appears to show that nothing of Crowley’s was included High Magic’s Aid was first printed, probably at Gardner’s own cost, by
that had not been printed at some time, thereby leaving the possibility Michael Houghton, then-owner of the Atlantis bookshop in London.
that Gardner had just taken it from published sources. We should not, It tells the story of Jan and Olaf; two young, disenfranchised men who
however, forget that Gardner did actually meet Crowley, in 1947, in the embark on a mission to restore their families lost status using magical
final months of the Great Beasts earthly life. power. They are taken under the wing of an old man, a Magus, called Thur
Returning now to Text A, the formula given for casting the circle, is and a younger female Witch, Morven. One can’t help but wonder if these
near-identical to that given in Ye Bok; it still includes the Key of Solomon two characters are personifications of Gardner’s interest in both hermetic
material as well as the Kabbalistic Cross and Ritual of the Pentagram. In and folk Magic, However, other textual clues seem to indicate that
the latter, however, Gardner has replaced the inscribing of the banishing Gardner was simply trying to recreate the disciple and Mage relationship
pentagram with that of the generic invoking pentagram which is also as suggested in The Key of Solomon.
attributed to the element of earth, so it would be more correct to call Together, these four characters have various adventures and fight magical
this the Lesser Invoking Ritual of the Pentagram. Magically speaking, this battles against powers which seem to personify the traditional, organised
small change is significant and would seem to indicate that Gardner was religions that were around in England, in the Middle Ages.
actively blending and revising things to suit his to suit his own magical With its publication, extracts from what is now known as the ‘Book of
ideas. Shadows’, were printed for the first time with Gardner ‘hiding’ relevant
passages amongst Key of Solomon material as indicated by his letter to John
High Magic’s Aid Symonds in 1950:

‘I enclose a Copy of my book, High Magic’s Aid, A.C. [Aleister Crowley]
Moving on to1949, we find Gardner officially publishing High Magic’s
Aid. It was edited by Madeline Montalban (AKA Dolores North) who at Read part of the M.S. & highly approved, he wanted me to put the
that time was an acquaintance of Gardner’s having met him some years Witch part in full. But I was only given permission to publish things
earlier, during the War. as fiction & they [New Forest Coven] could cut out what they liked, I
Gardner, in his idiosyncratic way, writes about her in a 1952 letter to wrote the third degree of the Witch Cult, but they went up in steam,
Cecil Williamson: & cut it out entirely, & of course things have been changed a little in
the ritual, but I’ve got it nearly asthay do it, to the great scare of the
It’s very funny. Mrs North is “Delorres”. publishers, but no one has objected in the lsightest so far. The witchcraft
She used to work at the Atlantis parts are chap xIv Dearlep, & XVII the Witch Cult.’ *
Book Shop & she typed & put the
spelling right in High Magic’s Aid. In the chapter entitled ‘Making the Great Circle’, the circle is already
She makes a living at Astrology & Love marked out on the floor and needs only to be energised. The method is
Philtres on the quiet. I know she claimed slightly different to that seen in Text A and Ye Bok and commences with the
to be a witch, but got everything wrong. exorcism of the water and blessing of the salt, followed by the purification
But she knows High Magic’s Aid & has a lively imagination.* of those present, exorcism of the fire and censing, the Kabbalistic Cross,
* Gardner to Williamson, May 1952. * Letter preserved at the Warburg Institute, Gerald Yorke Collection.
summoning of the Mighty Ones commencing in the east, tracing of circle which she had identified. In the circle casting in Text C, the Kabbalisitc
with the Magic Sword, inscribing of names of power and pentagrams Cross was originally included, but, as in High Magic’s Aid, the LBRP was
around the circle, and finished off with circumambulation. not. However, the Kabbalistic Cross has at some point been crossed out by
In this case, all the various exorcisms, consecrations and conjurations hand apparently indicating the decision to remove it from the formula.
use the relevant passages, near-verbatim, from the Key of Solomon and stick When looked at chronologically, these three books, Ye Bok, Text A, and
closely to the formula for creating the circle, given therein. The parts that High Magic’s Aid, all dating from the 1940s, appear to reveal Gardner’s
are not derived from the Key of Solomon are again, the Kabbalistic Cross plans for modern Witchcraft. By simplifying the ceremonial magic way of
(which in this case, and unlike Ye Bok and Text A, is not followed by the creating, protecting and charging sacred space, he made it less daunting
Lesser Banishing Ritual of the Pentagram) and the traditional Gardnerian and more amenable to the western, British mind. No strange vibrations
phrase used for the summoning the Mighty Ones: of weird names in alien tongues required. A few years later and by the mid
1950s when the Witch Cult was really gaining momentum, this ongoing
‘I summon, stir, and call thee up, thou mighty ones of the [direction],
process was becoming more refined until finally, the Kabbalistic Cross, the
to guard this circle.’
majority of the Solomonic passages and all Hebrew was dispensed with
The wording of the summoning* is the one spoken piece that has remained entirely leaving the now-traditional, Gardnerian way of casting the circle
a consistent part of Gardnerian circle casting right up to the present day. which still entails inscribing earth-invoking pentagrams and summoning
Though it appears to be loosely based on a convocation to be said after the ‘Mighty Ones’ at each quarter. But what, exactly, does it mean to
entering the circle, found in the KoS: summon the Mighty Ones, who or what are they?
The term ‘Mighty Ones’, could be considered to be an English translation
‘Hear ye, and be ye ready, in whatever part of the Universe ye may be, to obey of the Hebrew divine name Elohim, which is generally considered to be
the Voice of God the Mighty One, and the Names of the Creator. We let you the plural form of powerful beings, Gods. Alternatively, they could be
know by this signal and sound that ye will be convoked hither, wherefore hold seen as the kerubim, the ‘strong ones’ who have many purposes including
ye yourselves in readiness to obey our commands.’ being the angelic hosts of Lunar Yesod. In the Golden Dawn system,
the term ‘Mighty Ones’ is actually used in the title of one of the Major
Moving on to the early 1950s there is another Book of Shadows that Arcana of the Tarot. The Empress, is ‘Daughter of the Mighty Ones.’ The
is worth a brief look. This is Text C, which is the rather clinical name Hebrew letter associated with her is Daleth which means door, and her
for Doreen Valiente’s first Book of Shadows. This book, according to card amongst other things, represents the door to the Inner Mysteries and
the Farrar’s, was worked upon by both Valiente and Gardner†. There is embodies the notion of Union between the two opposing powers of force
more in the way of instructive articles advising in mental techniques and and form, fertility and the womb of manifestation. All these concepts are
occult philosophy. These have partly been derived from published books very relevant to Witchcraft, particularly the third degree initiation where
including Agrippa’s Occult Philosophy and the works of classical Hellenist the High Priestess becomes the door to the ‘secret way, the pathway of
Gilbert Murray, the late Victorian occultist and writer William Atkinson intelligence, between the gates of night and day,’ (a line from a Gardnerian
and Paschal Beverly Randolph. A significant amount of the Crowley and 3rd degree rites).
Mather’s material has also been removed in comparison to Ye Bok and The idea of there being four ‘Mighty Ones’ can be seen in early
Text A. Christianity. Origen, a third century theologian and early, ante-Nicean,
Doreen, being a very attentive person, made notes in Text C about church father was asked why there are four Gospels, why not one, he
some of the changes that she made, pieces that she removed, and sources answered and said because there are four quarters of the Heavens, North,
South, East and West and, therefore, four quarters of the human soul. His
* At one time the word ‘conjure’ was used instead of ‘summon.
† Janet and Stewart Farrar, The Witches Way. Introduction, Hale 1984 wise words indicate that people have a direct relationship with ‘things’ that
exists on a grander scale, very much like the concept of the macroscosm the rites, These are meny. they are supposed to stand outside, & watch,
and microcosm being reflections of each other. This gnostic idea, based seeing all is correct.’*
around the number four, can be extended to many other quartets; i.e.
the four elements, the four rivers flowing down the Tree of Life, the four In his first non-fiction book about Witchcraft, Witchcraft Today (1954)
Kerubim, the four sons of Horus and the four Archangels evoked in the Gardner says of the Mighty Ones:
Pentagram ritual, with all being component parts of something larger -
the four-fold name of God hiiowhy.. The modern mystic, Neville Goddard ‘…I am told that in time you may become one of the mighty ones, who
elaborates further when, in 1956, in a talk on the biblical ‘Mighty Ones’ are also called the mighty dead. I can learn nothing about them, but
he said; they seem to be like demigods -‑ or one might call them saints.’†
‘…the ladder of consciousness on which the individual descends here to ‘One has to be formally introduced to the coven, though in name one
discover his own being - the Four Mighty Ones within him, and when is introduced to the Mighty Ones ‑- the spirits of the dead members of
he finds himself completely shut out from that knowledge and he starts the cult who have not been reincarnated and who are supposed to be
the conflict within himself and discovers within himself the cause of present.’‡
all the phenomena of the world, then he starts to ascend, and the same In his second non-fiction book about Witchcraft, The Meaning of Witchcraft
being that is going to ascend is the one that descended in consciousness (1959) Gardner reiterates:
to the level of complete and utter confusion… There is only one God,
expressing himself as Four Mighty Ones within the individual.’* ‘The modern witches believe that at death the “Mighty Ones”, the Old
Ones of the cult, come for faithful followers and take them to a favoured
In keeping with this viewpoint, in Witchcraft, the summoning of the place among other initiates who have gone before.’§
‘Mighty Ones’ could be seen as a way that the participants can summon
aspects of their higher self for ‘there is no part of us that is not of the Gods’; Gardner’s perceptions are in keeping with the ideas seen in Traditional and
this being a phrase that hailed from the Egyptian Book of the Dead and Hereditary Witchcraft which have well established methods for working
came into modern Witchcraft via its use in the Golden Dawn’s Adeptus with ancestors and ancestral memories. In contrast, Doreen Valiente in
Minor ritual and Crowley’s subsequent use of it. Exactly the same can be her first Book of Shadows (Text C), draws a direct parallel between the
said of the work done with the Lesser Banishing Ritual of the Pentagram Mighty Ones and the four Archangels of the Lesser Banishing Ritual of
in the Outer Order of the Golden Dawn. If you look at the symbolism of the Pentagram and also states quite clearly:
this ritual, you have a candidate standing in the centre of the universe, with ‘Remember it is you, not the Mighty Ones, who truly come and
his or her higher self within the heart centre flanked by four archangels depart.’
and on all sides a symbol of the dominion of spirit (the pentagram). This
is sending a powerful message to the unconscious mind that they are a Doreen’s more gnostic perception of the Mighty Ones could certainly have
channel for their spiritual selves. been derived from her study of the Golden Dawn system of magic. Many
Gardner himself, seems to have his own views on what the Mighty Ones of its teachings have a gnostic slant, some obvious, with others requiring
are. In a letter to Gerald Yorke, written in 1952, Gardner’s words suggest a shovel to uncover. This is especially true of the Inner Order which
that the Mighty Ones are independent beings and that there are many of draws heavily on Rosicrucianism, itself derived from an early mystical
them: Chrisitianity fused with ancient Egyptian mysteries. Furthermore, Doreen’s
‘As soon as the Circle is cast & purified, they [the Wica] go round, what * Letter preserved in the collection of the Boscastle Witchcraft Museum
I call, evoking the Mighty Ones. To attend, to guard the circle & witness † Gerald Gardner, Witchcraft Today. P35 Arrow 1970
‡ Gerald Gardner, Witchcraft Today. P143 Arrow 1970
* http://realneville.com/txt/the_four_mighty_ones.htm’ § Gerald Gardner, The Meaning of Witchcraft. P49 Magickal Childe 1991
viewpoint is in keeping with the ideas behind the Qabalistic Cross and the There is the Paten with bread and salt, emblematic of the body, assigned
Ritual of the Pentagram, ceremonial magic techniques which were used by to the North. This is similar in some ways to Witchcrafts pentacle which
Gardner and which subsequently influenced the method of casting a circle is usually a round plate or board, often decorated with a pentagram, upon
as practised by Gardnerian Crafters and by extension, the method used by which cakes are often placed and consecrated during the traditional Cake
adherents of Wicca today. and Wine ritual. Parallels can certainly be made with the partaking of
It is not especially surprising that Gardner and Valiente appear to differ bread and wine as seen in several of the world’s major religions. This is just
in viewpoint; it is well known that if you get a group of witches in a room one of many interesting similarities that seem to reveal common threads
and ask them about the nature of the Gods, you will get several different running through so many spiritual paths, as if there are fundamental truths
answers! Similarly, you wouldn’t be hard pushed to find a Traditional and perceptions, but time and human perspective has given them various
Witchcraft practitioner that also views ancestor work as a form of self- slants leading to the formation and practice of new religions. Yet behind it
gnosis. Such independent and free-thinking attitudes are characteristic of all, a common human spiritual experience, a truth, is to be found.
many a modern Witch and the versatile nature of the Craft readily lends Moving on, the East with its airy correspondence is, amongst other
itself to a variety of viewpoints. Indeed, such flexibility has helped modern things, attributed to the censer of incense in Witchcraft and similarly,
Witchcraft’s seemingly effortless and rapid export to many countries over by a red scented rose in the Golden Dawn. A bowl or cup of water is
the last 50 years. representative of the West in both frameworks. Likewise the candle, or
In conclusion, from Gerald Gardner’s early magical writings it can be some form of fire is attributed to the south.
seen that Witchcraft’s method for casting the circle was notably influenced Magically speaking, the Order of the elements are based on the passage
by material given in the Key of Solomon, Mather’s translation. Additionally, of the Sun (which presumes one is in the Northern Hemisphere), the
documentary evidence readily shows that in the 1940’s, the Kabalistic source of all life and without which, none of us would be. The North is
Cross and Ritual of the Pentagram were also being utilised by Gardner as seen as the place of darkness, deepest night. The Sun is never seen there,
part of the circle creation process. Both of these rituals were created for the dawning as it does towards the east, bringing with it the inspiration and
Golden Dawn system of magic by Mathers (perhaps with other founder creativity associated with the element of air. Continuing in its path, the
members) although he himself largely derived them from older material. Sun peaks in the South where it reaches the highest point in the sky giving
These various methods of creating, marking and purifying sacred space us the hottest part of the day, noon. Hence we get the element of fire
could be seen as modern manifestations of much older concepts, born of associated with the South. Continuing in its journey, the Sun drops lower,
an older Magic. setting below the western horizon; which explains the association between
the impending night and death at the western point of the circle. Here,
the energy, as at the point of death, is flowing, transforming and changing
Elements and Cardinal Points as light becomes dark. Synonymous with the night, is the Moon, often
Modern Witchcraft traditionally associates the four elements, earth, air, associated with emotions and of course water due to its daily pull on the
fire and water, with the four cardinal points. This idea has been around Earths Oceans.
for a long time and can be seen in other spiritual systems such as those of At this point, it is important to distinguish between the elements and
native American Indians and the ancient Egyptians. Modern Witchcraft elementals. One of the original members of Gardner’s Cult, Fred Lamond,
usually attributes Earth to the North, Air to the East, Water to the West has recently written the book Fifty Years of Witchcraft* in which he suggests
and Fire to the South. These are also the attributes assigned to the four that the elemental attributes for the four quarters, can and should be
directions in the Golden Dawn system as shown by the arrangement of changed depending on ones physical location. For example, if you happen
items on the double cubicle altar of the Universe. to live somewhere where there is a significant body of water to your East,
* ‘Frederic Lamond, Fifty Years of Wicca p89, Green Magic 2004.
he suggests that you place water there instead of in its traditional location central fire also serves as a good focal point in energy-raising rites and
in the West. As far as the nature elementals go this makes complete sense additionally, helps to keep ones skyclad body warm on a cold night!
and is a progressive way of viewing and working within the framework
of modern Witchcraft with its strong association with nature spirits.
However, basing a circle on elementals, as opposed to elements derived
Initiation
The first degree initiation in Witchcraft has striking similarities to a
from the Solar Cycle, are two quite different things. Elementals are deities
Masonic initiation. In 1910, at the age of 26, Gardner had joined a Masonic
specifically associated with the manifestation of the four elements on this
Lodge (Sphinx Lodge No 107) in Colombo, Sri Lanka. Surprisingly, he
physical earthly plane (Malkuth). Elements, in the Golden Dawn tradition,
had an unusually rapid advancement and went from Entered Apprentice
are aspects of ones divine, higher self based on our own, personal Sun
to Master Mason in just over two months and his Grand Lodge certificate
(Tiphareth consciousness), as viewed from our physical position, here on
was officially issued on the 18th May 1911. Later, he became a member of
the Earth (Malkuth).
the Johore Royal Lodge No. 3946, retiring from it in April 1931.
In both the Golden Dawn system and that of Witchcraft the North East
His experiences in the brotherhood may help to explain why it appears
is seen as a special place. It is the location of the entryway into the circle
to have been such a big influence on the form that the Gardnerian first
of death and rebirth, coming as it does from the edge of darkness, just
degree initiation would take. The similarities could also be explained by
before the rising of the Sun. Similarly, in the Golden Dawn system this is
Gardner’s involvement in Co-Masonry, an organisation open to men and
the place from where the Keryx (herald) makes their proclamations and
women and whose rites are very similar to those of normal Freemasonry.
initiates the start of each and every ritual, it is the place where the seed of
To date there is no hard-evidence for Gardner having been a Co-Mason
light waits to unfurl; to realise its full potential.
however, Doreen Valiente, in her book Rebirth of Witchcraft asserts that
Witchcraft, Masonry and the Golden Dawn, all place special emphasis
Gardner was. Furthermore, a high-ranking Co-Mason of our acquaintance
on the East. It is a place of beginnings from which the first rays of the
assures us that Gardner was indeed a Co-Mason, but all documentation and
Sun’s dawning are taken and then drawn out to create a sphere of light.
supporting evidence for this has been lost so hard proof remains elusive. A
Invocations to the Mighty Ones and consecrations all start in the East.
vital part of this jigsaw seems to have been played by an organisation with
In Gardner’s early Books of Shadows, the circle is cast three times.
which Gardner is confirmed as having been associated with, the Crotona
Similarly, the Dadouchos and Stolistes circumambulate three times
Fellowship.
around a Golden Dawn temple during its consecration by their fire and
Following his retirement in 1936, at the age of 52, Gardner along with
water. Three has long been a magical number representative of the two
his wife Donna, moved back to England and in 1938, their main home
opposing forces, balanced by the third and is also the number attributed
was in the small town of Highcliffe on the Dorset Coast of England. That
to that great spiritual birthing house, Binah. The thrice-cast circle is also
same year, according to Bracelin/Shah’s biography Gerald Gardner Witch,
seen in the Key of Solomon.
whilst on one of his bicycle rambles, Gardner found himself in the nearby
Other similarities can be seen in the central placement of the altar.
town of Christchurch. It was here that he noticed ‘The First Rosicrucian
Some modern Covens actually have the altar in the North or the East
Theatre in England’, words that would no doubt have piqued his interest.
but originally, Gardner’s writings seemed to favour the central placement
Upon further investigation he discovered that it was the meeting place
although he suggests that during the Drawing Down of the Moon, the
for the ‘Rosicrucian Order Crotona Fellowhip’ (R.O.C.F.) , a Rosicrucian
altar is to be pushed back and symbolically replaced by the High Priestess.
offshoot organisation conceived and realised by one George Alexander
There are also practical reasons for moving the altar to the edge for it
Sullivan, who used the nom-de-plume ‘Aureolis’, the middle name of
means that you can have a central fire, the point within the circle, which,
Paracelsus who Sullivan believed to have been a Rosicrucian*. Sullivan
along with the outer circle, creates the astrological symbol of the Sun. A
* ‘Heselton, Wiccan Roots Capall Bann p 58.’
believed that he was carrying out instructions, given to him by one of his mention Grandfather. And I would have gone through hell and high
ancestors, to create an Occult Society within which Rosicrucian teaching water even then for any of them”.
could be taught. He felt sure that they had some secret, there must he something which
This fellowship seems to have been a blend of Rosicrucianism, Masonry allowed them to take the slights at the theatre without really caring.
and Theosophy. It represented itself by the image of a rose-adorned cruciform He still thought that they might be mooting Yoga, or something of that
cross overlying a five pointed star. This same image is also in Ye Bok and nature. He asked them why they were in this community, and whether
suggests that Gardner’s early Witchcraft writings were contemporary with they believed what Aurelius [sic] had to offer. They explained that they
his involvement with this Rosicrucian Order. The organisation also had had been co‑masons, and had followed Mabs (Mrs. Scott) when she had
strong ties to the local Co-Masons through Mabel Besant -Scott, daughter moved to this place; and added that they enjoyed the companionship.
of Annie Besant the famed theosophist and when Mabel had joined the Gardner felt delighted that he was to be let into their secret. Thus it was
Fellowship in 1935, she was the head of Co-Masonry for all of England. that, a few days after the war had started, he was taken to a big house
It has been suggested by Gareth Medway* that it was actually Gardner’s in the neighbourhood. This belonged to “Old Dorothy” ‑a lady of note
friend, Edith Rose Woodford-Grimes (also known as ‘Dafo’) who in the district, “county” and very well‑to‑do. She invariably wore a pearl
introduced Gardner to the Crotona Fellowship. Whether he happened necklace, worth some £5,000 at the time.
upon it whilst cycling or was introduced to them it is known that shortly It was in this house that he was initiated into witchcraft.’*
after his discovery, Gardner started attending meetings of the Crotona
Philip Heselton, in his books Wiccan Roots and Gerald Gardner and
Fellowship and began to notice:
the Cauldron of Inspiration, has done an excellent job of researching the
Crotona Fellowship, its members and the pivotal role that some of them
‘…a group of people apart from the rest. They seemed rather brow-beaten
seemed to have played in Gardner’s own inception into Witchcraft. One
by the others, kept themselves to themselves. They were the most interesting
important character in Gardner’s story was played by the aforementioned
element, however. Unlike many of the others, they had to earn their livings,
Edith Woodford-Grimes who was, according to Craft High Priestess
were cheerful and optimistic and had a real interest in the occult. They had
Patricia Crowther, the woman who gave Gardner his initiation. Edith was
carefully read many books on the subject: Unlike the general mass, who were
also a Co-Mason and a member of the Crotona Fellowship and is thought
supposed to have read all but seemed to know nothing.
to have met Gardner during the War whilst they were both ‘fire-watching’.
Gardner always felt at home with them, was invited to their houses, and
Another woman who played a key role in the activities of this New Forest
had many talks with them. The day came when one said: “I have seen you
group, was Rosamund Isabella Charlotte Sabine, known affectionately as
before”. Gardner, interested, asked where. “In a former life”. Then all gathered
‘Mother Sabine’.
around and agreed that this was so. What made it all remarkable to Gardner
Little is known about Rosamund but we can be fairly sure that she
was that one of the number proceeded to describe a scene “exactly like one
had significant esoteric knowledge for in 1930, an article of hers entitled
which I [Gardner] had written in A Goddess Arrives, which was due to he
‘Rose of the World’, about the Golden Dawn lamen, appeared in ‘The
published any day then, and which in fact came out the following week”.
Occult Review’ (Vol 52 August 1930). Such knowledge can be explained
Then someone said, “You belonged to us in the past ‑ why don’t you come
by her membership a quarter of a century earlier, of the Order of the
back to us?”
Morgenrothe (also known as the Independent and rectified Order of R.R.
“Now I was really very fond of them, and I knew that they had all sorts
et A.C., Rosae Rubae et Aureae Crucis – the Red Rose and the Golden
of magical beliefs” continues Gardner. “They had been very interested
Cross. Or, the Independent and Rectified Rite of the Golden Dawn.) This
when I told them that an ancestress of mine had been burned alive as
was the mystical Order formed by A.E. Waite after the original Golden
a witch at Newborough in Scotland about 1640; although I did not
* Gareth Medway The Origins of Wicca.’ * J. L. Bracelin, Gerald Gardner: Witch. Pg 164 Octagon 1960.’
Dawn Order had splintered into several groups following various schisms Aside from Masonry, other influences on the Gardnerian initiation are
around the turn of the 20th century. detectable. In ‘High Magic’s Aid’, Jan’s initiation into Witchcraft is described,
‘Mother Sabine’ certainly appears to have been fairly close to Gardner part of it involves introducing him to the Lords of the Watchtowers at the
in the last years of her life for after her death in 1948, Gardner acquired four compass points:
a ‘very nice little cabinet’, used to store herbs and which had belonged to
‘Take heed, O lords of the watchtowers of the [direction]. Jan, properly
her.
prepared, will be made a priest and witch.’*
On reflection, this progression of events in Gardner’s life, appears to
go a long way towards explaining why a Gardnerian first degree bears Here we find an example of Gardner using magical terminology sourced,
structure and wording reminiscent of Masonic sources. This subsidiary in this case, not from Masonry, but from the Golden Dawn’s ‘Opening
group of the Crotona Fellowship, who initiated Gardner, sound more by Watchtower’ ritual which is derived from the 16th century work of
like Occultists than Witches. Nevertheless, the rite must have been very Dr John Dee and Edward Kelley. Dee was the court astrologer to Queen
powerful and dramatic and certainly served to give both impetus and Elizabeth I, a hermeticist, early mathematician, scientist and spy. Together,
purpose to Gardner and his ensuing mission to spread this magical current with the more psychically sensitive Edward Kelley, they wrote about the
through the form of a ‘Witch Cult.’ Enochian system of magic and the power of the four Enochian Elemental
Aidan Kelly, in his book ‘Inventing Witchcraft’*, goes one step further and Tablets, or Watchtowers. These stand, invisibly, at the four quarters and
opines that the Gardnerian First Degree Initiation is based on Masonry are the homes for various deities and magical beings. The Enochian
(including Co-Masonry), the Neophyte 0=0 ritual of the Golden Dawn system is far from simple but its innate multilayered wisdom resonates
(itself derived from the Mason’s Entered Apprentice initiation) as well as strongly with the experienced Magician. This has meant that it has many
the initiation ritual of the Fraternity of the Inner Light. As the Golden proponents and it is on the curriculum of study within the higher grades
Dawn was created by people who were all Masons and as the Inner Light of the Golden Dawn Inner Order system.
was created by Dion Fortune who had been a member of the Golden Perhaps somewhat surprisingly, the Gardnerian first degree has less in
Dawn, this Masonic thread is unsurprising. Traditionally, there have the way of esoteric, philosophical speeches in comparison to the Neophyte
always been strong links between Masonry and the Magical Orders. Ritual of the Golden Dawn, or indeed that of Masonry. This would appear
There are many comparisons that can be made between the Masonic to be another manifestation of the tendency that Gardner seemed to have of
Entered Apprentice initiation, the Golden Dawn Neophyte ritual and simplifying things, thereby making them more accessible and less daunting.
a first degree initiation into Witchcraft. In all of them the candidate is Another idea that Gardner seems to have taken from the Golden Dawn is the
hoodwinked (blindfolded). Some sort of cord is used to represent the position of the Enterer. In Ye Bok it is clear that you are to enter the circle
spiritual restrictiveness of the material plane, in Masonry and Witchcraft using this sign. Again, this was later dropped.
it is given the same name, the ‘cable-tow’ and it is placed around the neck, There is less of a comparison to be drawn between the wording of the
in the Golden Dawn it is wrapped around the waist. A sharp instrument second degree initiation of Witchcraft and the subsequent grades in both
is placed to the chest, or used in some other way, to threaten the candidate Masonry and the Golden Dawn. A comparison can be drawn, however,
and an oath is sworn which hints at terrible things that will happen if it between the spiritual idea presented by the second degree of Witchcraft
should be broken. The parallels in the wording of the first degree oath, and the Theoricus Grade of the Golden Dawn. Although Theoricus is
strongly suggests that the Craft one was derived from the Masonic one. The seen as the third grade in the Outer Order of the Golden Dawn system,
candidate is given a new name and is presented to the four quarters and in it is actually only the second grade as far as working ones way up the Tree
both Masonry and Witchcraft the end of the first initiation culminates in of Life is concerned. It is achieved by treading the path of Tau, the Cross,
the formal introduction to, and presentation of, the Working Tools. from Malkuth to Yesod. This is known as the 32nd path and is ruled by
* Aidan Kelly, Inventing Witchcraft, Thoth 2007 * Gerald Gardner, High Magic’s Aid p81 Pentacle Enterprises 1993.
Saturn (planet of the Great Mother Binah) which has a strong connection (cauldron) and broomstick, with their sexual attributes would have meant
with the underworld and descent myths. Similarly, the re-enactment of a that they would have readily given themselves away. Again, this seem to
descent myth plays a central part in the Gardnerian Second Degree. be Gardner ‘retro-fitting’ the truth for as we have seen, it makes far more
In Gardnerian Witchcraft, as in Masonry and the Golden Dawn, there sense that the Witches elemental tools are the same as those in the Key of
are three degrees (although the latters degree’s are made up of various Solomon, a book whose influcene on Gardner is undeniable.
grades). In Witchcraft, the third degree represents union on many levels, It should also be noted that The Key does not use the word ‘Athame’
physical and spiritual with the former being seen as a physical manifestation, but some of the modern French manuscripts do use the term ‘Arthane’ or
an earth-bound echo, of the latter. It is a time when ego is transcended ‘Arthame’ and it is generally considered that it is from these, that Gardner
and union with the divine, ones higher-self, is ideally achieved. The High is likely to have conceived of the word ‘Athame.’
Priestess lies across a centrally placed altar, her womb in the middle of the The Key also uses the term ‘pentacle’, but it is worth noting that in
circle. She is Nuit the sky Goddess, waiting to be fertilised by the seed Gardner’s aforementioned, early, notebooks, he frequently uses the word
of Hadit, ‘the flame that burns in every heart of man, and in the core of ‘pantacle’ instead. Usage of the former word indicates that Gardner
every star’. Thelemites will immediately recognise correlations between almost certainly acquired it from either the Golden Dawn or Crowley.
the Gardnerian Third degree and Crowleys Gnostic Mass and it is no In Witchcraft, cakes or other offerings are often placed and consecrated
secret that the latter was obviously a major source for the wording of the on the pentacle, or spells may be ‘grounded’ by it. The pentacle is also
former. The ever astute Doreen Valiente also recognised the connection used for calling upon certain spirits though paradoxically, Gardner advises
and subsequently rewrote the verse in the third degree rite, whilst retaining against this in his books.
much of the symbolism suggested by Crowley’s version. The flail, another name for the scourge, is associated with the Egyptian
Ego transcendence can also be said to be one of the aims of the third God, Osiris, who is often shown with his arms crossed over his heart
degree in the Golden Dawn, a degree which is obtained when one takes centre, a flail in one hand and a crook or wand, in the other. The crook
the Adeptus Minor grade and all the alchemical elements of your Outer represents mastery and dominion and could be likened to the Witches
Order work have been transmuted and fused into a golden whole. athame, sword or wand. The flail exemplifies the concept of suffering in
Order to learn and was used as a spiritual tool by way of flagellation in the
The Working Tools Isis cult of Egypt and later, the Dionysian Cult of Greece. Similarly, in the
13th century, members of a heretical Christian sect, the flagellants, used
In Witchcraft the implements of the Art are collectively referred to as the
leather thongs to fervently scourge themselves into a frenzied spiritual
‘Working Tools’, a term that is again used in Masonry.
state of consciousness, presumably caused by the bodies’ reaction to the
In modern Witchcraft there are eight working tools; the Magic Sword,
increased levels of adrenalin and endorphins.
the Athame, the White-Handled Knife, the Wand, the Pentacle, the Censer,
In Golden Dawn iconography the flail or scourge is associated with
the Scourge and the Cords. Curiously, the cauldron and broomstick, items
the martial sephira of Geburah, severity and whose number is five, thus
traditionally associated with Witchcraft, are absent from the list. This is
providing one of several explanations for why five knots are traditionally
not to say that they are not used by modern Witches, for indeed they are,
tied on each of the eight strands of a witches scourge. Likewise, the wand
but the Gardnerian Book of Shadows does not list them as one of the
or crook symbolism is attached to Chesed, mercy.
eight Working Tools presented to a Witch, following initiation. Instead
The ‘Osiris position’ is used in both the Golden Dawn and Witchcraft,
the tools all bear far more resemblance to those suggested in the Key of
with the former calling it the position of ‘Osiris Risen’ they are however
Solomon with the cords and scourge being the exceptions. In his book
both identical in that it involves crossing ones arms over the heart centre.
Witchcraft Today, Gardner explains this curious absence as a deliberate
In Witchcraft you also hold the athame or wand in the right hand so that
move by the Witches of the burning times, for ownership of the cup
it crosses over the scourge being held in your left hand, thereby forming
a human representation of the tree of life and bringing the macrocosm But lacking the aid of bonds and their attention being distracted by
down to ones personal microcosmic level. The High Priestess adopts the their scourging themselves and what little power they do produce being
Osiris Position during the ‘Drawing Down of The Moon’, when the divine dissipated, as they do not usually work within a circle, it is little wonder
feminine is invoked into her by the High Priest. Part way through she that they oft fail.’
opens out into the Blessing Position so that the Goddess’ energy can be
Effective binding and flagellation can induce a trance-like, altered state of
passed to those present. The Blessing Position, in Gardners books, is also
consciousness and with the scourge’s association with Osiris and the fact
referred to as the Pentacle or Life Position and ‘Isis Rejoicing’. The latter
that suffering so often does seem to be a prerequisite to learning, its use
term is seen in Thelema, though the actual sign is different. The Blessing
as a spiritual symbol in Witchcraft becomes clearer. Some of Gardner’s
Position is also reminiscent of the ‘Osiris Slain’ position, however, in
detractors, however, suggest that the Scourge’s inclusion was based on
Witchcraft it is seen as a symbol of resurrection rather than death.
Gardner’s inability to achieve the erection necessary for the performance
The Osiris position is also reminiscent of the skull and crossbones and
of that ritual involving union on so many levels, The Great Rite. In this
reminds us that Osiris was a God of death and rebirth. Kabbalistically
there may also be some truth, after all Gerald would have been in his
speaking, this position also indicates the importance of the two forces of
seventies by this time!
severity and mercy, being balanced by the third, middle pillar force, of
The cord is something seen in the neophyte ceremony of the Golden
Tiphareth. For as Regardie recorded in The Golden Dawn:
Dawn, symbolic of the path of darkness, it is used to encircle the candidates
“Unbalanced Power is the ebbing away of Life. Unbalanced Mercy is waist three times and never to bind anyone or anything. The cord is also
weakness and the fading out of Will. Unbalanced Severity is cruelty used in a slightly more intimidating way in Masonry where it is laid
and the barrenness of Mind.” around the Cowan’s neck and forms a cable-tow. In Witchcraft too, cords
are used for binding arms and legs and to form a cable-tow around the
Osiris was a Sun God who was thought to bring the annual inundation of
postulant’s neck. In Gardners early Books fo Shadows, the cable-tow was
the Nile creating the fertile plains of Kemet. This also makes him a God
tied to a ring on an altar, an idea inpsired by ‘The Devil’ Tarot card which
of vegetation and explains why his skin is often shown as green. Cyclical
depicts people, tied to the altar of materiality and slaves to their baser,
in nature, his myth tells the story of his death and dismemberment at
nepheshistic instincts.
the hands of his darker brother, Seth, and his subsequent reassembly
A section from Aleister Crowley’s book Magick, has a chapter entitled
and rebirth, thanks to his mother, Isis. The story makes Osiris directly
‘The scourge, the dagger and the chain.’ This passage appears in Gardner’s
comparable to that of the fertile Horned God of Witchcraft, who also
notebooks, Ye Bok and Text A. The athame replaces the dagger and the
travels through a continuous cycle of death and rebirth throughout the
cords, the chain. Along with the scourge, you thereby have the three
wheel of the year.
alchemical instruments (according to Crowley) representing Mercury, Salt
In Witchcraft the Scourge’s use and purpose is revealed through a section
and Sulphur, respectively.
in the Book of Shadows referred to as ‘Of the Ordeal of the Art Magical’
The elemental attributes of the four main tools of the Zelator Adeptus
which in part says:
Minor in the Golden Dawn system, are the air dagger, fire wand, water
‘So the binding of the initiate’s hands increases the mental perception, cup and earth pentacle. In Witchcraft these correspond directly with the
while the scourge increaseth the inner vision. So the initiate goeth athame, wand, cup and pentacle and the same elemental associations are
through it proudly, like a princess, knowing it but serves to increase her used by many Witches. However, the Magic Sword of the Z.A.M., used
glory. But this can only be done by the aid of another intelligence and in for banishing and invoking is attributed to fire. In Witchcraft, the sword is
a circle, to prevent the power thus generated being lost. Priests attempt often seen as interchangeable with the athame, hence some Witches prefer
to do the same with their scourgings and mortifications of the flesh. to swap the attributes round for the wand and athame assigning them to
air and fire respectively. Gardner himself appears to have preferred the fire whole translation of the Grimorium Verum, written by Gardner completely
- sword symbolism as revealed by one of his ritual swords, still used by the in Theban. In the case of this sword, the Theban appears to translate
oldest Gardnerian Coven in England. into Azen Tius with ‘Azen’ being a word that can be found in Halliwells
Philip Heselton, biographer of Gerald Gardner, has had the opportunity Dictionary of Archaic Words, (which has also proven to be the definitive
to study this sword. In his book, Gerald Gardner and the Cauldron of source for many of the archaic words that can be found in the Book of
Inspiration, he reveals that Hebrew is etched into the Sword blade. One Shadows) and which means ‘again’. Tius is an alternative name for Tyr the
side reads ‘Jehovah Adonai Eheieh Jaye’ whilst on the other ‘Elohim Gibor’ Nordic Sky God who is also frequently associated with war. According to
is inscribed. The latter phrase is attributed to Geburah on the Tree of Life the poetic Edda it is said:
and its use as an inscription on a sword blade is referred to in the ‘Key of
Learn victory runes if thou victory wantest,
Solomon’ where it is said to impart the fiery Geburic qualities of force and
and have them on thy sword’s hilt--
control, to the sword.
on thy sword’s hilt some, on thy sword’s guard some,
The Pommel, which appears to have been added later, is based on a
and call twice upon Týr.
design found in the Key of Solomon and additionally features a pentagram
on one side and the third degree symbol of the pentagram surmounted This appears to be connected to the rough translation of Azen Tius as
by a triangle, on the other. There is also a cavity where a jewel of some ‘Again Tius’. It also reveals Gardner’s interest in the Nordic tradition and
description was probably once situated. On the end of the sword ‘Michael’ may explain why Gardner saw the North as the place from which power
is written in Hebrew. Michael, who is usually depicted as holding a sword, flowed, for in this tradition, North is the home to the Gods. Heselton
is the archangel of Hod and provides a direct channel between the martial suggests that this sword may have held the name the ‘Sword of Nuada’, a
sephira of Geburah and the earthly sephira of Malkuth. Michael is also the name shared with the magical sword in the stories of the Tuatha De Daanan
name given to the archangel of fire. where it is said to be one of the four great treasures of Ireland. Gardner is
The cross guard is also based on the KoS design given in Mathers’ certainly known to have owned a ‘Sword of Nuada’ which reputedly once
translation, which uniquely, has two disks being held between two crescent belonged to the Ancient Druid Order (originally called ‘The Universal
shapes. This small detail appears to have been an innovation of Mathers’ Bond.’). Gardner had a close friendship with George Watson McGregor
as the original Solomonic manuscripts do not depict the crossguard in Reid, who was chief of the Order from 1909 to 1946, following which,
this way. Four pentagrams are also inscribed on the crossguard, one on George’s son, Dr Robert A. F. Reid, was installed as chief with Gardner
each side of the two disks. Again this is another detail absent from the acting as one of his signatory’s.
original manuscripts, but was something that the Golden Dawn’s Zelator ‘The Universal Bond’ was a vehicle which drew upon many facets of
Adeptus Minor Sword features and presumably, the idea originated with the worlds religious and spiritual approaches including the revivalist druid
the Order. movement, theosophy, Buddhism and the Golden Dawn system of Magic.
Whilst the sword handle, pommel and crossguard are not bright George MacGregor Reid was a well-connected person and appears to have
red in colour, as is traditional for a Zelator Adeptus Minor’s sword, its personally known (probably through Freemasonry), or respected several of
characteristics suggest that this was a function it could have possibly served the early members of the Golden Dawn, including Mathers, Brodie-Innes,
at some point in its life. and Crowley.
Philip Heselton thinks that Gardner was not responsible for most of It is not clear why the sword was given to Gardner, but in later years,
the design although one bit he almost certainly was responsible for is he would loan it back to the Order for their Summer Solstice Rites for it
the Theban writing that the sword also bears. Theban is the traditional fitted snugly into the cleft on the Hele Stone at Stonehenge.
Witches alphabet featured in the Book of Shadows and as mentioned The ‘Sword of Nuada’ seems to have led an interesting life. Perhaps
earlier, Gardner would frequently write passages in it and there is even a used at one point for Golden Dawn style rituals, and later being adapted,
presumably by Gardner himself, to be more in keeping with the rituals way to preserve secrets and occult knowledge and harks back to the days
and symbols of Witchcraft. when knowledge was captured in this way by the careful illumination and
reproduction of sacred writings by Monks and other religious adherents.
Travelling even further back, this idea can also be seen in the immortalising
of knowledge through carvings on buildings and stone tablets.
Gardner tended to have the Book of Shadows open and with him in the
circle. In the Key of Solomon, one gets the impression that the Magus would
have always had his book close to hand, especially with all those complex
names and long formulae! As Gardner’s early books contain significant
passages from The Key, its place in the circle, would have greatly facilitated
the recital of passages during rituals and had the added advantage of not
relying on people to have an amazing memory.
Other Members of the Golden

Dawn and Gardner.
So far in this chapter we have goen through a bit of a tour-de-force analysis
looking at some of the connections that exist between the development of
the Gardnerian Book of Shadows, the Golden Dawn and the writings of
some of its one-time members.
Sword of Nuada* This chapter would not be complete without mention of one or two
The Copying of the Book other one-time Golden Dawn members, who could have inspired Gardner
in his quest to establish the Witch Cult.
Traditionally in Witchcraft, ones personal Book of Shadows must be
hand copied from that of your initiator and much significance is placed
on this procedure. Emphasis is often placed on the fact that every dot
and comma must be accurately reproduced. This method of passing on
J.W. Brodie-Innes
J.W. Brodie Innes was, like Gardner, fascinated with old Scottish tales and
magical knowledge is not restricted to Witchcraft. Crowley also insisted Witch trials. Innes researched and wrote about them and his book Scottish
on such with the copying out of his ‘divinely dictated’ Book of the Law and Witchcraft Trials was published privately in 1891 as a limited edition
he would have encountered this approach first-hand, during his time in of 245 copies. Later on, in 1917 an article of his; ‘Witchcraft Rituals’
the Golden Dawn. was published in the Occult Review. Besides his historical accounts of
At the turn of the twentieth century there were obviously no photocopiers, Witchcraft, Brodie incorporated Witchcraft into several fictional novels
so the rituals and lectures of the Golden Dawn system were all written with provocative titles such as The Devils Mistress and For the Soul of a Witch.
down, usually by hand. New initiates would be loaned the relevant material It seems hard to believe that Murray would not have come across Innes’
to copy for themselves. This would then be carefully checked by the writings, but he is not mentioned in any of her book’s bibliographies or
Cancellarius (secretary). As in modern Witchcraft, this was seen as a good
* Picture by Philip Heselton
reference sections. It is known that Gardner had Innes’ Scottish Witchcraft and the High Priestess thereby becomes an earthly representative of the
Trials in his library Goddess, the ‘cave in the mountains’ wherein dwells the seed of creation
In 1893, Innes ultimately became the Imperator of the Cromlech/ and inspiration. The High Priest embodies the fertilising forces of nature
Amen-Ra Temple in Edinburgh; one of several offshoot Golden Dawn and like the two conjoined circles, exemplified by the infinity sign, the
temples that sprang up around the turn of the last century. ideal aim of a magical working couple is to achieve harmony and balance
through the reciprocal giving and receiving of energy.
FraternityoftheInnerLightandGardner
Dion Fortune (Violet Firth), like Gardner, had a somewhat syncretic
approach to magic with her blend of Christianity, Hermeticism and
CharlesSeymourandChristineHartley
In the early 1930s, Colonel Seymour, a Freemason and an ex-army officer
Paganism, which she referred to as the Devotional, Hermetic and Elemental
of good-standing, joined Dion Fortune’s society. Although he was 10 years
Rays.
older than Dion, they worked closely although their relationship has been
After leaving the AO, Fortune went on to birth a new organisation,
described as a love-hate one. This was perhaps due to Dion’s belief that in
the Fraternity (now Society) of the Inner Light. Whilst Dion Fortune’s
a past life she had been a male priest who had ritually sacrificed Seymour,
Fraternity was not based on Golden Dawn teachings, it is difficult to
who, in that incarnation, had been a young and willing female.
believe that her time in that Order would not have left its mark on her or
Seymour had a characteristically different flavour to his Magic, in
indeed on her Orders teachings.
comparison to Fortune’s. Much of his work revolved around the Old Gods
Fortune is probably best-known for her excellent literary works. Two
especially Celtic ones, and he had a strong connection with the ‘Green’ or
of her most well-known books, The Sea Priestess (1938) and Moon Magic
Elemental Ray. Many of his magical experiments were carried out with his
(1956) with their rich lunar symbolism, contain much that is relevant to
working partner, friend, and fellow Inner Lighter, Christine Hartley.
modern day Witchcraft. It is thought that the Pagan undertones of these
Prior to Seymour joining the Inner Light, he had also been an initiate
two novels, were inspired in part by a series of essays written by her fellow
of the Golden Dawn and when he finally left the Inner Light, along with
Inner Light member, (who also inspired the Moon Priest character in The
Christine Hartley, they joined the Merlin temple, an offshoot of the Stella
Sea Priestess) Colonel Charles Seymour who we shall come to presently.
Matutina.
Dion had a reputation for being a dominant and headstrong lady who
Seymour was a prolific writer and many of his excellent, Pagan-flavoured
strongly believed in the magnetism and polarity that could be created
essays were published in the Inner Light’s Journal in the 1930s. Many of
between the two sexes. Consequently she did much work on the Inner
these have more recently been republished in The Forgotten Mage (1986)
Planes with this in mind.
edited by Dolores Ashcroft-Nowicki. One particular essay of Seymour’s
And the lives of a man are strung like pearls, was entitled The Old Religion (also printed under the title ‘The Elemental
On the thread of his spirit; Ray’ in Charles Fielding and Carr Collins 1985 book The Story of Dion
And never in all his journey goes he alone, Fortune) and, like most of his other Pagan writings, was first published
For that which is solitary is barren. privately in the Society of the Inner Lights journal in the late 1930s just a
‘The Rite of Isis’ – DF few years after the publication of Murray’s God of the Witches in 1931.
In The Old Religion, Seymour describes the power of the ‘Magna Mater’,
We also see this concept of gender polarity in Gardner’s Witchcraft but
the Great Mother Goddess and several references to Leland’s Aradia, a book
with a significant part of the work between the male and female being
that is undeniably a source of material and inspiration for the Gardnerian
carried out in a more physical way, involving dance, sound, scourging,
Book of Shadows, can also be found.
directed sexual energy, or a combination of these. Utilising the concept
of ‘as above, so below’ these physical acts, echo onto the Inner Panes
Intriguingly, Seymour’s The Old Religion, contains one line; ‘… so also There exists another, enticing avenue through which Gardner may have
this entity, which we call the Great Mother, Great Isis, Dana, and by many come into contact with Seymour’s work. It could have occurred though
other names…’. which is reminiscent of a line found in ‘The Charge’; a Dion Fortune, amongst whose papers, according to Gareth Knight,
passage that can be found in every Gardnerian Book Of Shadows. Seymour’s essay on the Old Religion was discovered. Philip Heselton, in
There are several variations of ‘The Charge’ but the earliest seems to his book Gerald Gardner and the Cauldron of Inspiration tells us:
have had the title ‘Leviter Veslis’ (‘Lifting the Veil’) and the line in question
‘There is an intriguing possibility that she [Dion Fortune] may have
goes: ‘Listen to the words of the Great Mother, who of old was also called
visited naturist clubs in Bricket Wood or even have had a chalet there.
among men, Artemis, Astarte, Dione, Melusine, Aphroidite, and by many
Gareth Knight refers to some land which had been acquired by Dion
other names.’
Fortune’s Society of the Inner Light in 1948 which “was situated at…
The form of ‘The Charge’ often used today is a revamped version
Brickett’s [sic] Wood, that had been part of a naturist colony and which
which was written by Doreen Valiente after she recognised some of the
was now used only as an occasional country retreat for residents of the
source material for Leviter Veslis. Indeed, ‘The Charge’ in the form that
London headquarters.” *
it was originally presented to Doreen, was undoubtedly cobbled together,
presumably by Gardner, from Aradia by Leland, Crowley’s Book of The The naturist colony at Bricket Wood referred to, was one that Gardner
Law, Liber LXV and ‘The Law of Liberty, as well as one or two other started to visit in the late 1930s, about 10 years before the Inner Light
published sources. Could Seymour’s essay have been the initial source of acquired their plot nearby. Charles Seymour died in 1943 but it may be
inspiration for Gardner? possible that a Gardner- Fortune connection may have been forged as a
In her book Rebirth of Witchcraft, Doreen Valiente asserts that Gardner result of this apparently shared, Bricket Wood connection. No definitive
was a Co-Mason and therefore it is possible that he met both Charles proof has so far come to light that could prove or disprove either of these
Seymour and Christine Hartley through this shared activity. It is known possibilities.
that Seymour and Hartley had both become members of the Notting Hill Seymour’s words resonated strongly with Doreen Valiente who was
Co-Masonry lodge, in 1941. Unfortunately, there seems to be no official fascinated by Seymour’s essayThe Old Religion. Shortly after reading it in
record of Gardner having a connection with Co-Masonry or any of its Gareth Knight’a 1968 New Dimensions Red Book she writes in a letter
lodges. However, as mentioned earlier, we have reason to believe that he to John Score:
was. We do know that at that time, Gardner maintained a flat in London
‘I don’t know if you know it; but in the New Dimensions Red Book,
and visited the Capital regularly, so it would certainly have been easy for
published by the Helios Press, there is an extremely interesting article,
him to attend Co-Masonic meetings.
written by someone who was an early associate of Dion Fortune, about
Another possibility is that a connection could have been formed through
“the Old Religion” The only clue to this person’s identity are the initials
the close companion and long-time friend of Gardner’s, Edith Woodford-
‘F.P.D.’ presumably those of their magical motto… I’ve been trying to
Grimes (also known by the name ‘Dafo’). Philip Heselton in his book,
find out who this writer is; and I think it is either Mrs. Trenchall Hayes
Wiccan Roots reveals that Edith was definitely involved in Co-Masonry so
or J. W. Brodie-Innes, who was a member of the Golden Dawn.’
by extension, this seems to make it very likely that Gardner was too.
A further possibility is that Gardner could have met Seymour when the The reason for Doreen’s inquiry becomes apparent in the next paragraph:
latter joined the Home Guard in 1939. Gardner too, was involved with
‘The point is that a lot of the Moon Magic, Dion Fortune wrote about
the Home Guard during the Second World War. Yet another possibility is
was definitely not taken from the Golden Dawn’s teachings (which I have
that they simply met through many of the Occult soiree’s that would have
been held in the Capital.
* Philip Heselton, Gerald Gardner and the Cauldron of Inspiration, p131. Capall Bann
2003. ‘
studied). Therefore, it must have come from some other source; presumably the Arguably the biggest influence during the formative years of Gardner’s
anonymous F.P.D. So there is a very interesting link – if we can find it. The Craft came via MacGregor Mather’s, with his translations of various, old,
paper reproduced in the ‘Red Book’ is, I am told, years old, and was found magical Grimoires, particularly the Key of Solomon.
lying around in some bits and pieces of Dion Fortune’s writings.’ In the pursuit of spiritual enlightenment of a more esoteric kind,
occultists have always tended to influence each other, from MacGregor
This was of course written by Doreen prior to the revealing of ‘F.P.D’s’ Mathers being influenced by Eliphas Levi and the unknown author(s)
real name (Charles Seymour) by the biographer of Dion Fortune, Alan of the Key of Solomon, to Doreen Valiente and Gerald Gardner being
Richardson, in his 1986 book Dancers to the Gods. influenced by Mathers and Crowley. There seems to be a sense of cyclicity
about these things; of knowledge being passed down to be inherited and
Summary reinterpreted by younger generations. This is perhaps unsurprising for
Earth is not the only one to have her Great Wheel. We live in a cyclical
Recent research by scholars such as Philip Heselton, Aidan Kelly and
Universe where vast galaxies down to the tiniest sub-atomic particles are
Ronald Hutton, who have written books about Gardner and modern
continually dancing around in their own unique orbits; defined by maths,
Witchcraft, have illuminated some of the darker historical corners of
mechanics and probabilities, embedded in a fabric of space-time, all woven
this now-popular spiritual and religious movement; a movement that has
together, as if by Magic!
perhaps also gained popularity due to trends in popular fiction.
Whilst it seems clear from documentary evidence that Gardner’s
Witchcraft was a ‘work in progress’ throughout the 1940s and 1950s,
it doesn’t change the fact that Gardner believed he had a responsibility
to pass on a magical stream, a tributary to the river of arcane knowledge.
Such things have always tantalised people throughout the aeons and in
this day and age, Witchcraft has provided a rich conduit for it.
Extant, personal, magical notebooks of Gardner’s reveal that the
protoplasmic form of modern Witchcraft was an eclectic tradition that
drew from many sources, not least of which was the writing of several
Occultists many of whom had a strong Golden Dawn connection at
some point in their life. Whilst Gardner’s collaboration with Valiente and
others saw the removal of much of the bliblical and grimoire material, it is
interesting that Alex Sanders, one of Gardner’s spiritual successors, put a
lot of ritual magic back into the Book of Shadows. A move that ultimately
meant witches trained by Sanders were given the name ‘Alexandrians.
Alex and Doreen, in their own way, were doing exactly what Gardner
had done and It is perhaps ironic that some advocates of modern day
Gardnerian Witchcraft appear to seek to codify it; a move that is counter
to Gardner’s original ideas behind his ‘Witch Cult’.
Doreen Valiente and the Missing AO documents 141
Meny thanks for your letter.

First, I went down to the South Coast & saw Mrs Valiente. But it
Doreen Valiente and the was at the time when the weather & fog was so awfull, so actually
she came to see me at Christchurch. What I wanted was to go to
Missing AO documents her & have a meeting, & see how she worked. But apparently
[“they always” crossed out] the only place they can work is at
a friend’s flat, & he & it was not available when I was here.
D
They have the Golden Dawn Rituals, & a lot of Golden Dawn
oreen Valiente is a name that will forever be linked with Instruments. They have been mostly using magnatized Black
the modern Witchcraft revival. This inquisitive, intelligent Mirrors, to get Prophetic Vissions, & she claims with success. But
writer and Witch was born in 1922, in Mitcham, Surrey. Her she says, the last time they tried it, in the middle the friend suddenly
maiden name, Dominy, later became Vlachopoulos following remembered had left something boiling on the kitchen stove.
her marriage in 1941. After becoming widowed, it was her second marriage Rushed wildly to take it off, thus breaking the circle, & a locked door
to Casimiro Valiente in 1944 that gave her the distinctive name, Doreen violently burst open, & Loud Noises & Almost [unreadable word]
Valiente. Phenomenon occurred, & they’ve done nothing since. Apparently
From an early age, Doreen had a keen interest in folklore, local legends, neither seems to have realised that in that sort of work the Circle is for
the Occult and Witchcraft and wrote several books on the latter. She gave Protection & it is highly dangerous to break it (if you have succeeded in
numerous interviews and was a well-known figure in Brighton, where she calling up anything, that is) ...’*
lived for most of her adult life. Always keen to expand her knowledge,
she became involved with various Witchcraft traditions including those of From this letter, it is clear that Doreen at that time was studying and
Gerald Gardner and Robert Cochrane but ultimately, she walked her own experimenting with the Golden Dawn system of magic. This is in accordance
path. In every respect, ‘Witch’ is the aptest word to describe her, and was with a statement she makes in her 1989 book, Rebirth of Witchcraft:
a term she would use when referring to herself. ‘I had been a student of the Golden Dawn system of magic for years,
Doreen first met Gardner in 1952. An interview with Cecil Williamson, long before I ever met Gerald Gardner.’ †
then-owner of the Isle of Man Witchcraft Museum, appeared in The
Illustrated showing Williamson collecting various ingredients for a ‘poppet’. There is no evidence to suggest that Doreen was a member of a Golden
The article piqued Doreen’s interest and she wrote to Williamson who Dawn temple, or any of the related offshoot groups, that existed in
passed her enquiry to Gardner who at that time, was the ‘resident Witch’ England in the 1940s and 1950s so it would be easy to conclude that
at the museum, but went on to become the owner shortly after. Doreen was probably working from Israel Regardie’s The Golden Dawn
Gardner was busy working on his seminal and highly influential book series of books, first published in 1937. However, our research suggests
Witchcraft Today and was exceptionally eager to recruit new people into the that Doreen’s source for the magic of the Golden Dawn was not Regardie,
‘Witch Cult’. A phrase he often used which was probably inspired by his but a complete set of Alpha et Omega manuscripts and tools that she had
friend and fellow folklorist, Dr Margaret Murrays’ book, The Witch-Cult acquired as the result of a set of quite remarkable, and dare we say magical,
in Western Europe (1921). After reading Doreen’s letter, Gardner traveled circumstances.
down to the South coast to meet her. His first impressions are revealed These manuscripts are the source of the original AO material that is
through a letter that Gardner subsequently wrote to Cecil Williamson contained in this book and their origin and subsequent journey both in to
(14th December 1952): and out of Doreen’s hands, is the subject of this chapter.
* Letter in the collection of the Museum of Witchcraft at Boscastle.
My Dear Cecil † Doreen Valiente, Rebirth of Witchcraft p200 Phoenix 1989
142 The King Over the Waters Doreen Valiente and the Missing AO documents 143
had created some scandalous newspaper reports. The museum was also
Doreen’s Acquisition struggling financially and so in 1973, a deal was made to sell most of the
Museums collection to Ripley’s following which, the Wilson’s emigrated
In 1986, Doreen wrote a curious letter to Rev. T. Allen Greenfield, with to Spain.
whom she was corresponding, in which she asks: Included in Ripley’s purchase was Gardner’s infamous O.T.O. Charter,
‘By the way, have Ripley’s [the American company that acquires signed by Aleister Crowley and written in Gardner’s special calligraphic
collectible oddities] got my Golden Dawn (A.O.) MSS which were in style of handwriting that he seemed to reserve for his magical writings.
Gerald’s Museum. Because if so, I’d jolly well like to have them back! Allen H. Greenfield, who among other things was the Secretary for
They belonged to Frater “Nisi Dominus Frustra.”’* Correspondence of U.S. Grand Lodge of the O.T.O., purchased the charter
from Ripley’s in 1985. Most of the Witchcraft material was subsequently
Doreen was correct in her suspicions. They had indeed been acquired purchased in 1987 by Richard and Tamarra James of the Wiccan Church
by Ripley’s, in 1973, after they were purchased along with the majority of Canada, who had the foresight to raise the funds necessary to acquire it.
of the contents of Gardner’ Witchcraft Museum, from Monique Marie Most of Doreen’s Golden Dawn manuscripts, which had been on display
Mauricette Wilson (nee Arnoux) who was bequeathed the collection in in the museum, were included in their purchase and are still owned by
Gardner’s Will. them today.
Monique Wilson was one of several High Priestesses of the Wica (a term Original Golden Dawn notebooks are clearly of important historical
Gardner frequently used to refer to the members of the ‘Witch Cult’). value. Documents like this can help historians to track any changes that
Born in 1923 in Haiphong, Vietnam, she met and married, Campbell were made. By factoring in other information, such as the personalities
Crozier Wilson who at that time was a Flight Lieutenant in the R.A.F. By involved, and the social and political climate, it becomes easier to understand
1957 they had moved to London where their daughter, Yvette Andree, was the oftentimes complex interplay of energies that come together to create
born. Shortly after, they moved to Scotland and settled in Perth where, History. Other, original, Golden Dawn document collections, can be
amongst other things, they ran a small pea farm. found in the Warburg Institute and in private collections.
Monique had first written to Gardner in 1960, after hearing about Having established that Doreen had owned some Golden Dawn
his books and the Isle of Man Witchcraft Museum. Gardner referred her notebooks which she had loaned to Gardner for use in the Witchcraft
inquiry to Charles Clark, a Scottish friend and fellow High Priest, who museum and which were then inadvertantly sold to Ripleys, several question
subsequently initiated and began to train Monique and Campbell in the remained. How, when and from whom did Doreen aquire them?
ways of the Craft. The following year, the Wilson’s had a disagreement The answer appears to lie in the story about some Golden Dawn
with Charles about a lady that they wanted to initiate into the Coven that notebooks, recounted in Gardner’s 1960 biography Gerald Gardner:
he had helped them to establish in Perth. Charles, however, felt that she Witch(Octagon Press). This book, whilst attributed to Jack Bracelin was
was unsuitable and could attract unwanted publicity and attention. There actually written by the Sufi writer, Idries Shah. Penned whilst Gardner was
was a parting of the ways, and Monique turned to Gardner to whom still alive it could be considered almost autobiographical.
she had become close, often helping him out with the Museum and the Now Gardner, ever the trickster, was very deft at hiding things in plain
numerous enquiries that he would receive about Witchcraft. site and like several Occultists before him (and since), was prone to fits of
Following Gardner’s death, the Wilson’s ran the Witchcraft Museum creative exaggeration. It was certainly not unknown for him to give veiled
for several years but in the late 1960s, troubles with the Manx authorities or deliberately misleading accounts of something whilst simultaneously
concerning their young daughter and her involvement in Witchcraft rituals retaining some elements of truth. This was usually in an effort to make a
story sound even more interesting, but was also done out of respect for
* Letter from Doreen Valiente to Rev. T. Allen Greenfield dated 8th August 1986.
Viewable online at www.geraldgardner.com/archive/valiente/index.php) peoples privacy. One such example can be seen in an interview he gave in
the early 1960s to the reporter, Jean Macauley of the Scottish newspaper “I know; but it is no use. I tried to buy them, but she is adamant. She
The Daily Record who wrote of him: hates them, is afraid of them, and she is going to burn them”.
The witch felt that she could not very well ask the name and address,
‘This self-confessed, severely-criticised witch told me he was a Scot. It is
but managed to bring the subject around to the district where the doctor
72 years since he left the parental home in North Berwick. The skeleton
had lived. She got on a bus and went there. People in the neighbourhood
in the family cupboard was his grandfather in North Berwick, who was
told her how to find the house of the local doctor who had died.
a witch.’
“It was a semi‑detached house, pebble‑dashed. She went up the little
This is almost certainly an affectation; Gardner was actually born at the path which divided at the house, right or left. She went right. She saw
family home in Blundellsands, near Liverpool. However, North Berwick is the front door, with a porch over it, at the side of the house. She knocked
well known for its association with Witchcraft as it was there, in the 1590s, and rang for some time. There was no answer. She wondered what to
a group of witches reputedly met and conjured up a storm to destroy the do. Then she noticed that a pebble from the wall had fallen onto the
ship carrying King James VI and his bride, back from Denmark. Gardner grass. She took it to “form the link” and hurried home, for she had work
would certainly have known of this story, and almost certainly used that to do.
knowledge to make his story sound more pertinent and interesting. She called in some friends that night, and they did what was necessary,
Those who knew Gardner would often refer to his ability to deliberately and then she went to sleep”.
mislead people, taking them up the wrong path, and it is amusing to note She woke up after a while, and felt that she was out of her body,
that in his book, Witchcraft Today, Gardner tells us: naked. Her nose seemed to be pressed against something. She was out in
the open air, and it was dark. Against the sky she saw the outline of the
‘…for witches are consummate leg‑pullers; they are taught it as part
porch of the front door of the pebble‑dashed house...
of their stock‑in‑trade.’*
“She willed hard and suddenly she was inside the house. She could
Bearing this mischievious personality trait in mind, let us take a look at see a hand pointing to a green satin divan, with a lot of dark‑coloured
what is said in Gerald Gardner: Witch about the origin of some Golden books lying upon it”.
Dawn material that he acquired for his museum. A voice seemed to say: “Now are you satisfied?” Then she woke up to
find herself in bed.
‘…One day this lady was talking to her bank manager. He was a
Next morning the bank manager telephoned. “I have had a most
book collector, and he knew that she was especially interested in magical
curious phone call from that widow I was telling you about. She is in a
works. He did not know that she was a witch.
strange state. She says that I have a lady friend who will take away those
“I saw something that would have made you cry the other day”, he
magical manuscripts that I told you about. Now, I have not spoken to
said.
anyone about them except yourself. Can you explain this? I forget the
“What?”
name... Yes, here it is,... Mrs. Blank. Do you know her?”
“I was valuing for probate some things belonging to an old doctor who
The witch said she did not know her, but would go to see her if she
recently died. He had several books, which I bought from the widow”
wished it.
“Yes, but what would make me cry?”
That afternoon the witch visited the widow. “You are from the
“He had a lot of magical manuscripts, which the widow is going to
manager of the bank... come in”.
burn”.
She was ushered into a room: there was the content of her dream, a
“But she shouldn’t do that”.
green satin‑covered divan with a pile of bound manuscripts on it. “Now
are you satisfied?” the widow said, “I tried to burn them, and something
* Gerald Gardner, Witchcraft Today. Pg 29 Arrow 1970.
made me take them out of the stove. And I am very frightened. Will you This, of course, is not so. I, and others known to me, have
please take them away?’ been followers of the Old Gods for many years though we see no
‘There were twenty‑eight magical books, two magical swords, two reason to make announcement of the fact to the world at large.
pentacles, and some other things. The manuscripts were those given to  The story which Gerald tells - rather indiscreetly - of how the manuscripts
initiates into the Golden Dawn ‑ a society started by the magicians were obtained is in the main true, though he does not know some of
MacGregor Mathers and Wynn‑Westcott. They should have been learnt the details. It is not the first time that the Craft has acted to prevent
by heart and returned to the organization.* One bore the name of Count manuscripts and ritual objects from getting into the wrong hands, and
MacGregor de Glenstrae, a name used by Mathers. She kept the swords, I do not expect that it will be the last. The disappearance of the ritual
but gave the MSS. to Gardner, who placed them in his Museum.’† mask commonly known as the Dorset Ooser was another such instance.
 It is most kind of you to offer to let me see some of your manuscripts,
It would seem that the ‘Witch’ being referred to, is almost certainly Doreen
and I shall be pleased to make your acquaintance. However, at the
Valiente and that this story does bear some truth about the origins of the
moment I see no likelihood of my coming to London, at least in the
Golden Dawn material that Gardner had in his museum. Confirmation of
near future. Perhaps you would care to communicate with me through
this seems to come from a letter Gardner sent to Cecil Williamson, dated
Gerald.
the 16th January 1954, in which he writes:
You need waste no time drawing conclusions as to my whereabouts
‘Have been getting a lot of fresh Crowley and G. D. manuscripts – from the postmark on this letter. It has, in accordance with custom, been
without having to pay a penny for them.’ sent to another friend in the Craft to be posted.
 Yours sincerely 
This would seem to tie in very nicely with the fact that Gardner had met
Ameth
Doreen just over a year previously. The story seems to be further confirmed
[Doreen Valiente’s magical name]
by an undated letter Doreen wrote to Gerald Yorke, collector of magical
paraphernalia and Crowley’s archivist, which has been preserved in the Returning to the story from Gerald Gardner: Witch, there are not twenty-
Yorke collection, owned by the Warburg institute in London. eight books in the James’ collection, as suggested by the tale. This may
imply that the collection was partially broken up at some point, probably
‘Dear Mr. Yorke, prior to its export to the USA. One of the notebooks in the James
collection, in accordance with the story in Witch, does bear the name
My friend Gerald Gardner tells me that you would like to hear
‘Comte MacGregor de Glenstrae’ and Doreen did own some Golden
from me, and has passed on to me a couple of letters he received from
Dawn magical tools. These are now in the possession of John Belham-
you, about some G.D. manuscripts in my possession. We of the Craft
Payne, to whom she bequeathed them. There are plans afoot to create a
are not, as you know, fond of discussion and publicity, and hence I was
museum where they can be permanently housed and viewed.
frankly somewhat reluctant to enter into correspondence.
However, it has come to my knowledge that it has been suggested that
I am a mythical personage, a mere figment of Gerald’s imagination.
The Golden Dawn Room.’
Doreen’s Golden Dawn notebooks were displayed for many years in
the ‘Golden Dawn Room’ of Gardner’s Witchcraft museum which, as
* Gerald gets it wrong here.  Each person was given a manuscript to copy, when this was
an interesting aside, was decorated largely by Steffi and Kenneth Grant
done the copy was checked by a senior official in the Order and they were allowed to keep
it.  This was on the condition that the copy was returned to the Order on their death. In with assistance from Gerald Yorke shortly before Gardner purchased the
the earliest years there was also an official copyist, although she never progressed beyond museum from Cecil Williamson. There were other Golden Dawn artifacts
the Neophyte Grade. on display too, many of which have now been sold to various persons by
† J. L. Bracelin, Gerald Gardner: Witch. Pg 179 Octagon 1960.
Ripley’s and it is possible that some of these items, may also have come and was almost certainly a Mason. As it was usually the Praemonstrators
from Doreen’s collection. name and address that was given on the front of books, it is possible, but
In the original 1950s Witchcraft Museum’s pamphlet and guide we find not definite, that in 1902, it was Dr. Gibbes who held this position.
a small description of the books: The majority of the notebooks, in accordance with Doreen’s statement
‘Case No. 7. A complete collection of the secret manuscripts of the Order to Greenfield, have the magical name Nisi Dominus Frustra written inside.
of the Golden Dawn, a famous magical fraternity to which Aleister This person’s real name, as evidenced by the signature written on the front
Crowley, W. B. Yeats, and many other well-known people at one time cover of many of them, was H. D. Kelf.
belonged. It was founded by the late Dr Wynn Westcott and S. L. Henry David Kelf, in the 1901 census record, is listed as being a
MacGregor Mathers, and claimed descent from the original Rosicrucians. pharmaceutical chemist dispenser living in Camberwell, London. He
Aleister Crowley quarreled with the Order and broke away to found his subsequently became a Member of the Royal College of Surgeons and a
own fraternity. The magical working of the Order of the Golden Dawn Licentiate of the Royal College of Physicians, London. Having probably
is founded upon the Hebrew Cabala, and its Cabalistic knowledge was obtained these additional qualifications via the Society of Apothecaries
kept very secret, though some of it has now found its way into print; but which would then have enabled him to register with the General Medical
most of the contents of this case have never before been available to the Council and practice as a doctor without having done a formal medical
public.’* degree. His magical motto, ‘Nisi Dominus Frustra’, is the motto of the
city of Edinburgh and means ‘Except the Lord in Vain’. This is a heraldic
The notebooks in the James’ collection consist of a series of small pocket-
contraction of a verse from the 127th Psalm: ‘Except the Lord build the
sized jotters with dates on them that range from 1902 to 1908. They
house, They labour in vain that build it. Except the Lord keep the city, The
contain the initiations for the five outer Order grades; 0 =0 (Neophyte),
watchman waketh but in vain’ which is also a key phrase from the Golden
1=10 (Zelator), 2=9 {Theoricus), 3=8 (Practicus), 4=7 (Philosophus), as
Dawn’s Zelator ritual.
well as the Portal and Second Order rituals. There are also several ‘Flying
As a small aside to this, R. A. Gilbert in his book The Golden Dawn
Rolls’, lecture notes, and examination answers and several of them have
Companion, mentions that there was a Lucy Margaret Bruce with the
official printed stickers on the front and are labelled as belonging to the
magical motto ‘Nisi Dominus Frustra’. However, she was initiated in
‘Hermetic Order of the A.O.’ (Alpha Et Omega). The earliest one, dated
1907, into the Stellar Matutina, a Golden Dawn offshoot group created
1902, bears Dr Edmund Berridge’s signature and is labelled with an even
by Dr. Robert William Felkin and John William Brodie Innes following
earlier official sticker which reads ‘Hermetic Order of the G.D.’ with the
one of the Orders schisms. As the name on the front of the notebooks
‘G.D.’ crossed out and ‘A.O’ handwritten over the top.
is ‘H. D. Kelf ’ and as these notebooks go back to a time before Lucy’s
Berridge whose magical name was ‘Resurgam’ (I shall rise again),
initiation in 1907, it would seem that these two individuals just happened
was the Cancellarius (secretary and archivist) of the Isis-Urania temple
to have the same magical motto. This is not as unlikely as it may at first
with Mathers being the Imperator (leader) and Wynn Westcott the
sound for in the early days of the Golden Dawn, peoples magical mottos
Praemonstrator (teacher).
were often derived from their families heraldic motto, or those of a city
Interestingly, the stickers on the front of many of these books, could
with which they had strong ties.
possibly reveal another of Dr. Westcotts successors; Westcott’s old address
Death records reveal that Henry David Kelf died on the 25th October
of 396 Camden Road, London, has been crossed out and replaced with
1951, aged 76. He was living on Sandbanks Road in Poole with his wife,
‘Dr C. Gibbes, 83 Barkston Gardens, Earls Court, London’. Cuthbert
Clara Louisa. This was just a short bus journey away from Doreen, who
Chapman Gibbes is listed in the 1901 census as having been a physician,
at that time, was living in Bournemouth. It seems almost certain that the
‘Doctor’ in Gardner’s story was Henry and it was his widow, Clara, who
* Viewable online at http://www.isle-of-man.com/manxnotebook/towns/castltwn/witch.
htm
allowed ‘the Witch’, Doreen, to take the notebooks and Golden Dawn As we have seen, this strange connection between the Golden Dawn and
equipment. the pioneers of modern Witchcraft did not begin with Doreen Valiente’s
Many of the notebooks also bear Doreen’s handwriting. She appears to remarkably coincidental acquisition of a set of AO notebooks and her
have gone through them and in pencil, has added her own thoughts and subsequent work with the Golden Dawn system of Magic. Nor did it
notes on the material. Unsurprisingly, the information in the notebooks begin with the pivotol role she played in ensuring that Tranchell-Hayes’
appear to have influenced Doreens thinking, and the course that her own Golden Dawn regalia was returned to the proper persons at a time when
magical path took. In her personal diaries and jotters she often wrote things the Golden Dawn was largely defunct. The Golden Dawn current, its
in Hebrew, the basic magical alphabet of the Golden Dawn, which you members, and its system of magic also influenced Gerald Gardner and the
are required to learn in the very first grade. Hebrew is not really associated early development of what has now come to be known as the ‘Gardnerian
with Witchcraft; where Theban is usually the magical alphabet of choice. Book of Shadows’. This book has heavily influenced the resurgence of
As Doreen had these notebooks prior to meeting Gerald Gardner it seems interest in modern Witchcraft in its many forms and has proven to be a
certain that they were responsible for both prompting, and helping her to successful spiritual channel for people all over the world today.
learn Hebrew whilst she endeavoured to learn and work the Golden Dawn
system of magic.
Doreen seems to have had a great respect for some of the ideas and essays
that she read in the notebooks. So much so, she copied a large chunk of
Flying Roll no. 5, ‘Thoughts on Imagination’ by Dr Edmond Berridge,
into her own, personal Book of Shadows, which she wrote shortly after
being initiated by Gerald Gardner, in the Summer of 1953. Whilst Israel
Regardie had published a lot of Golden Dawn material by 1940, this
particular Flying Roll, was not published until 1972, when it appeared
in Francis King’s book Astral Projection, Ritual Magic and Alchemy, so
Doreen’s source was almost certainly the notebooks.
Coincidentally, or perhaps by design, Doreen’s knowledge of the Golden
Dawn came to the rescue of some important Golden Dawn artefacts
which had belonged to Maiya Tranchell Hayes, the mentor of Dion
Fortune. In 1966 the Daily Telegraph ran a story entitled ‘Witch’s Box
Found on Beach’. The box was found on the beach between Selsey Bill and
Bracklesham Bay in Sussex, and contained quarter banners, sceptres, two
embroidered stoles and Egyptian style headresses. Doreen’s local paper,
The Evening Argus, picked up the story and she immediately wrote to
them to put them straight saying; ‘These things are not part of a witch’s
regalia. They are actually part of the regalia of a very famous Order called
the Golden Dawn.’* Doreen then contacted someone she knew in London
and facilitated the return of the items to the proper persons, which in this
case, was probably Francis King who at that time, was collecting material
for his books.
* ‘Evening Argus, October 31st 1966.

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Old Magic, New Witchcraft

Figure 2 Detail of a magical Circle from

forms of traditional folk magic influenced each other. Alternatively this

High Magic’s Aid Symonds in 1950:

Other Members of the Golden

Meny thanks for your letter.

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